The Questlove Show - MonoNeon

Episode Date: March 2, 2026

Electric bass visionary MonoNeon joins Questlove to trace his journey from Memphis church kid and second-generation musician to Prince’s last-hired bassist and a viral internet force. He breaks down his flipped right-handed bass technique, neon-soaked persona, and Dada-inspired art mindset, plus the albums that shaped him. MonoNeon and Quest' dig into his speech-to-music videos, collaborations with George Clinton and Mac Miller, the lessons he took from Paisley Park, and how embracing “mistakes” and self-doubt became the engine of his ultimate goal: total musical freedom.See omnystudio.com/listener for privacy information.

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

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

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

Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica 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, you know, trust your girlfriends. Listen to the girlfriends.

Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. I got you. What's up, everyone? I'm Ego Vodom. My next guest, it's Will Ferrell. My dad gave me the best advice ever. He goes, just give it a shot.

But if you ever reach a point where you're banging your head against the wall and it doesn't feel funny, anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck. Yeah. Listen to Thanks Dad on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. The Questlove show is a production of IHeart Radio. All right. I promise you people that I I haven't traded drumming in for bass, but what a quinky dink. Here we are yet again on the Questlove show, highlighting yet another ass kicking bassist.

Maybe I'm looking for a collaborating. This is like the audition process, but this isn't any average run-in-the-mill influencer slash bass players we're talking to, you know, trying to make ripples on the internet. Flea himself has declared our guest today. air quote, the greatest fucking electric bass player. And I'm inclined to agree, for my own band has covered his

tunes from his many records or his many viral videos that you've seen on social media, because they are irresistible, ear candy, and funky as hell. You know, the list is expensive.

Of course, Prince knows what's up. Mac Miller knows what's up. Davis Staples, George Clinton, Sudan Archives, George Amaldry, Pete Rock, Neal, Nas, everyone knows the deal. His last project, The Dirt Loves Me More Than You, of course, blew my mind and I was left with no choice. But to have our Questlove show, QLSFam, Brittany and Cousin Jake, get on the case so that I could chop it up with the one and only mono. Neon, welcome to the Kostlove show. I appreciate it.

Thank you. Oh, man. So, I will say that I got hip to you. Well, late-ish, I'll say that a place called fantasy is where I really jumped aboard, like, oh, shit. I was in a record store once. I think I was in

in L.A. at Amoeba, and I heard all I ever wanted to do is be a mystery. And, you know, what I'll later discover about you is your method of songwriting. Like, your choruses and your verses, to me, are mantras and affirmations very much similar to, like, another native of your hometown of Memphis, Mr. Maurice White, the way that he used affirmations and mantras. essentially tricking their large fan base into positivity,

which is always a good thing. And, you know, for me, just always listening to the courses, I think for that song, you did the, you find that freedom inside yourself. And I think when I heard that, it stuck with me in a way that I didn't plan it. And so, you know, I've been a long-time fan of yours, so I'm glad this is finally our chance to chop it up.

Thank you for doing this. I want to know, what is your first musical memory in life? Your first musical memory? I think being around my dad, he still plays bass, but he gave him my first guitar, and I just flipped it over, left-handed, when I was four years old. So I remember that. I remember him taking me to

Memphis and May to be on stage with him with Rufus Thomas just playing air guitar, I remember that stuff. So those are my earliest memories, you know, as a four-year-old. So you didn't have a babysitter, but the stage was your babysitter and that's how your parents...

Yeah, pretty much. Yeah, same with me. I played air saxophone in many a nightclub with my family until, you know, it was like, all right, we'll just have him play tambourine. So talk about your father. What are his roots as far as the musical infrastructure of Memphis?

My dad was like a studio ace in Memphis. He always gets like the first calls. He played with the barcades later on when James Alexander left for a minute. He played with Pop Staples and Mavis Staples, the Memphis Horn stuff. Jay Blackfoot. Jay Blackfoot? Yeah. Taxing on the other side of town?

Now, he didn't play on that record, but later on he played, you know, did a lot of live shows with him and stuff. Gotcha. Okay. What did you learn from your father, the fundamentals at least? Well, actually, he really wasn't around when I was younger. He put the influence on me very early, and when I saw that, I just took it. But he really wasn't around, you know, because he was a tour musician. He moved to Europe when I was pretty young.

But he left such a huge, big impact on me to the point where I didn't want to do anything. else I wanted to be like him. So, and I'm still chasing that, you know, yep. Okay. So I had James Alexander on the show recently, and he gave me his version of Memphis. Mm-hmm. You were born in 1990? August 6, 1990, yep.

Yeah, so where there's a different version of Memphis, can you describe to me, like, your version of Memphis? Like, what are your fine memories? What are your first memories or fuzzy memories of Memphis, Tennessee? Well, I've come from a very loving family from Memphis. And music was, and still is a big part of, you know, my family just coming to family gatherings and reunions and stuff. And just going to church from my grandma every Sunday, the Baptist Church. And even the pastor would let me up on his stage to play air guitar for some Sundays.

Just to, I don't know why, but he would let me. His name was Reverend Acy through Liberty Baptist Church, where I got baptized it. And he would just let me come in, probably with my guitar or just let me just do whatever. And that's a, that was a big influence on me as well. And that's my memory of Memphis, being around my grandma at church and stuff. So you were an air musician even before you talk about being a visionary before you even got an instrument? Yeah. You know, even a target.

I have actually old VHS tapes of me in my grandma's living room playing with this toy guitar. Right. And just, you know, visualizing it. I can just see me just wanting this shit so bad as a kid when I look back at that. So I'm just still chasing that childlike fascination with music, I guess. I don't know. I absolutely know that. I want to know, is there a subculture in Memphis that challenges the mainstream?

In other words, you know, like for the outsider, you know, I consider myself a music expert, so of course I would say, all right, Memphis, all right, the Sun Records and the Blues and what we basically know about Memphis, but I can't discount that Memphis also gives us an occasional rebellious spirit that just goes their own direction. I mean, you could say this about Maurice White. You could also say this about Larry Dotson of the Marquay's,

I guess so for you, you seem to embody a rebellious spirit. Was this an intentional thing or did you just like sort of morph into this? Well, I guess it was kind of intentional, but I definitely morphed into it because I'm naturally bashful and shy. So this whole thing of wanting now to be up front doing my own thing is really tough. You know, it's really hard. but I have a little more courage now to do it, and I'm not really afraid because I've been trying to let go of everybody's expectations of what I should be doing. So I'm really having fun with that, like peeling off those layers of just letting go. And yeah, that's what I'm doing now.

So I'm still trying to find myself, I guess. For you, in your everyday life, are you this person that I'm seeing now, or do you morph into your everyday self? I'm pretty much like this all the time I even sleep with my quilt on sometimes because I love them so much but yeah I'm pretty much like this but around my grandma and my mama you know I'm kind of

So you're not DT I mean like when do you turn it to DT probably around my mama and my grandma my cousins and them you know I got you they call me DJ I'm like DJ around them Oh my fault okay No you cool I've heard you I meant DJ coo too I meant DJ

Okay, okay. No, you good. DT. I like DT too. It's too. Is pivoting easy for you? Usually because I always pivot back to my mom and my grandma because they keep me. They keep you grounded.

You know, not even trying. They just, that unspoken love they have for me and I have for them. I need it. So I carried it with me everywhere I go. You've said that you were self-taught at four. you're a left-handed bass player. Are you a traditional right-handed bass player that still plays left or, like, are you ambidextrous with it?

I'm right-handed, predominantly right-handed, but like, I'm, with my daddy, my daddy, Dwayne Thomas gave me a guitar at four years old, I just flipped that thing over. No one corrected you at all? I mean, of course, all the old heads said, I mean, if you play the other way, you probably sound better. I heard that a long time ago, and I did. even switch over because I knew what I wanted to do. Not really, but I just felt it. I'd like, I just, let me just keep doing what I'm doing. Do you readjust the strings? Like,

is your low E on the bottom now instead of the top or? Yeah, my low, my low E is at the bottom. It's just a right-handed thing and I just, I just flip it over without changing stuff. Okay. For you, if he had it any bass or any guitar, can you keep the virtuoso levels up? Like if given a traditional bottomy on top and playing the opposite way, or is it a struggle a little bit? I wouldn't necessarily call it a struggle because I just try to adapt to anything I'm in any position I put myself in or any situation I have to go to. I just try to adapt.

So if somebody hands me like a precision base is going to make me want to tap into something like James Jamerson, but still. try to play my own shit as well, because I'm always going to sneak my thinking of somewhere. But yeah, I try to, I try to be adaptable and let the music tell me what to do at first. So, yep. I'll say the first 10 years of your life, between 90 and 2000. Who were you shedding to? Let's see.

Of course, my dad, he was the first one. Okay. And my mama used to tell me stories about him, and I just used to find anything he played on something like something. What does he played on? Um, he told me he played on animal with the barcades. Okay, okay. Yeah. And he was actually credited on that album. Got you. Okay. And contagious. He told me you played on that. Nice. Okay. So he played on two albums, but he was really playing with them live when James left for a minute. Right. Yeah, my dad, James, definitely, um, guys from home, Jack.

Clark and Spanky and Anthony Crawford. Okay. Brandon Brown. Who else? Yeah, guys from back home and stuff like that. And later on, I started really listening to Victor Wooden because I never heard nobody thump like that. So it was like, man, I want to try to do that left hand and see if I can do that.

It never worked, but I put it in there somewhere. And later on, I really started listening to Anthony Jackson very, very heavy. legendary Philadelphia Oh yeah Basis Anthony Dex Man I go back to To listen to him all the time

Just to learn something new Got you That's my favorite Got you Yeah What were the five albums That Defined you for the first 10 years of your life

And I don't even mean as a bass player Or whatever Like just between 90 and 2000 What were the five records that defined you? Let me see I'm bad with albums title name, but let me see if I can figure it out. Definitely hot butter, so, Isaac Hayes. Yes.

Yeah. I'm going to skip over some years, but two against nature, Steely Dan. Got you. Okay, let's see. What is it about that album that gravitated you? Well, first of all, that pristine production and mixing, you know, of course that's going to make anybody listen if it just sounds good, but I've always loved. Donald Fagan, and he's always been an influence on me in terms of, you know, how I want to write and

the way I hear chorus and stuff. I'm not much of a keyboard player, but when I go to the keyboard, for some reason, I think of how he sits down there and just do whatever hell he does. But Donald Fagan is really a big influence on me, especially vocally. I don't sound like him at all, but it's some stuff in there that, okay, I kind of sound like him a little bit. But now, but yeah, Donald Fagan, that album. So that's the reason. I like two against nature. That album. Got you. Okay. Yeah. Yeah.

And the other three? Mothership Connection. Okay. Parliament, George Clinton and them. Yeah. Okay. Yeah. The album cover was pretty cool. That really influenced me a lot in terms of how I wanted to look when I saw that album cover. Yeah.

Got you. At a very, very early age, I used to stare at that album cover in my grandma's living room. I had the vinyl. I used to act like I was DJ with it on the turn. table in my grandma living room just scratching it up and shit. Okay. Yeah, just playing around. So that was a big influence.

What else? That's three. My elementary school days, I have to say voodoo. DeAngelo. Damn, that heard me when you said elementary school. Oh, I didn't mean it like that. I didn't mean it. I'm playing, brother.

I'm playing. But that damn shit was definitely, you know, I didn't know what the hell was going on. I didn't know what I was listening to, but, you know. Guess what? We didn't know either. But it was one of those things, man. You just, you couldn't stop. listening to it and you felt at home with that because, you know, he came from the church too,

you know, so, yeah, I ain't going to get too much into that, but yes. That's love, man. Thank you. Yeah, for real. I'm glad I'm saying that to you, man. I appreciate it. And I know he would appreciate it. Like, I definitely know that he's hip to your work.

Okay. That's true. Yeah. What's the fifth? That was four. That was four. Find a fifth one. It's probably going to be another.

Stilly Dan album. I would say the damn it. The royal scam. Steeley Dan. Yeah. 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. 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. 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. I'm Ego Wadam.

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

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

Right, it wouldn't be that. There's a lot of luck. Listen to thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make, to the players flying under the radar. This is the insight you won't hear

anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the SportsSlic podcast on the Iheart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slicelife-Live 12 and TikTok podcast network on TikTok.

Well, it's weird. You just say you're not a keyboard player, yet you released a keyboard album or a synth album. Yeah. That's just me sitting around. That's when I first got that, that muse. I just opened the box. I plugged it in. I just told myself, just do something with it.

Just put out something. And I just did, you know, just messed around with it because I was trying to tap into my... That's creativity. That's my whole thing, but I'm not really a deep type of person. I just... You just do it. Yeah, I just do it because I just look at it as breathing, I guess. I've been doing this thing for so long. It's just part of me. Shit, I just want this shit. I just want to be part of the music. I just want to be in it. Let me ask you, because I will say that probably the one issue that sort of handicaps my peer group is literally showing up. Like I tell them all the time, like we don't have to be prepared. Sometimes we won't be good.

But let's just show up and take one step in front of the other, one step in front of the other. one step in front of the other. And look, I'm guilty of it a lot. I was that person that believed in, no, it's not ready yet, perfectionism. I mean, I'm the guy, I'm the guy that, you know, has been sitting on his album for 11 years now. But showing up, I believe, is not only key in first, but it's really just the only rule. Like, so, I mean, have you always just been as open to, hey, where are I plug in, let's go? Or, like, have you ever had trepidation or, ooh, I'm not good enough for it? Have you ever been intimidated to be in a situation?

That's what I'm working on, working through now is, like, feeling like I'm not good enough because I feel like that all the time. I wake up feeling like that. That's why I'm always so damn depressed, probably. But, yeah, that's what I'm working through, you know, just. What is it that you want to master that, like, what is the sign that you are a satisfied with your skill level because, I mean, dude, like, you're leaving evidence all over the internet on why you are not to be messed with.

Like, I don't look at it like that. I just, man, I'd just be doing shit, but I don't, I'm not where I really want to be in terms of how I actually hear myself, you know, not to be all profound and deep, but I'm not there yet. You know, so I'm not really, I'm very hard on myself after every show. You know, I beat myself up. I try my best not to, because it can be very draining. But I'm so used to beat myself up.

I'm not trying to keep myself humble or nothing, but it's just I don't want to feel like I've arrived to nothing. I don't want to feel like, man, you're the baddest motherfucking town. No, I don't want that. I just want to just be in the space of doing my thing and getting better and better. So is it hard for you to take compliments when people... Yeah, I'm starting to say thank you now, as opposed to say, man, whatever, I try. I still say, I guess, and I tried and very, you know, whatever, I guess humble or whatever. I just, I'm not good with compliments.

I just, you know. I get it. Yeah. As a former student of non-deserviness university. Yeah. I will say that when you do arrive to that place. And the thing is, is that even though I would say I'm more evolved now than I've ever been in the last like five to six years, I mean, you know, sometimes it's struggle. I will say yesterday was probably on record one of the, a very bad day.

You know, because sometimes a dark commotion will come to light and you don't know how to handle it. and you know, but you're going to get to the place where you're satisfied and that you own it. And, you know, but I- I love watching you get to the, if this is not perfection for you, then I love watching you struggle to the destination. So keep on struggling. I'm struggling. Yeah, yeah, I am. The bass really never gets the props that it deserves.

Like, why the bass as opposed to any other instrument? Well, that's probably because of my dad again. Because, you know, I used to, I used to see him thump a lot. And I didn't, as a kid, you don't know what's going on, but you're so intrigued. You're so fascinated by this, by your dad, by this guy that's looking so cool. You got the ponytail. You got this purple bass, which he actually gave me. I played with my grandma.

I played that purple bass with my grandma. And, yeah, it was just because of him, man. So just because of your dad. Okay. Yeah. You know, just seeing that. Yep. I've heard you say a few times, and this is what I really love about your creative ethos,

your relationship to what I'll say, air quote, mistakes. Keith speak on why your theory of, like, mistakes are important ingredients for your creations and that you don't believe in the idea of mistakes, like everything is usable. Like, as a chef, you will use everything from the snout to the butt, like, everything. What is your relationship with mistakes as far? far as your creativity is concerned. I just find so much value in just embracing the mistake as opposed to, especially in musically, just, or just in life, man, just embracing it and just letting it be what it is

and just letting it have its own story, man. It's like, I just, I don't know. I really don't think too deep about it. I just love making a mistake a thing, and it's so much life into. especially playing live and stuff. I make a lot of mistakes, but there's something about giving that mistake energy and it blossoms into something I wouldn't even think of.

You know, so that's why I embrace, you know, mistakes and stuff. Did Prince ever tell you his theory? He's like, if you make a mistake, then make it again.

Yep. So that way. He told me, man, just own it. On it. We was rehearsing in an MPG music club room. Right. Back there,

and I did something that he probably felt that I wasn't confident with it. He told me, own it and on it. And that stuck with me ever since then, too, man, just you got to own it. If you're not confident

with your shit, they're going to feel it too. So that's why I kind of have this attitude behind my mistakes. Like, it's mine, niggas, so I'm just going to keep doing it. Yep. Like in your high school,

were you in an environment in which you had, like, musical bands, did you join bands as a kid? Or, what were you? your high school teen years like as far as gigging or bass playing is concerned? I wasn't band in high school. I used to stay in the band class.

You know, I just, and they had a bass in there. I used to plug my bass in the room and just play with the horn players and stuff. I play upright in high school. But I used to stay in the band class. But a lot of my foundation was the church during that time playing it in church with all the badass organ players and piano players. And that's where I really get a lot of my shit from looking at the organ players. foot or the left hand and how they move and stuff.

So really the church is a big influence, you know, on me. Gotcha. Can you speak on the metamorphoses of mononeon's journey, like, as in the character, like the journey from DJ to mono neon? Like, first of all, where did the name come from? I just like neon colors. I love, like, well, I used to call myself poly neon, but I was in my grandma's, in my bedroom, my grandma's house.

And for some reason, I just wanted to change it because I got bored or something. So I just started messing around with it. But I just like neon installations like Dave Flavin and some in just light shit by James Terrell. I used to go on the internet and just research stuff about neon lights and stuff. So it just came from that. And I love avant-garde art, like movements and like da-daism. Okay. That's where all the embracing mistakes probably came from in the rebelliousness and this anti-art shit, you know, that I keep in my head.

just wanted to just, I guess, be different, but not really. I don't care about being different. But yeah, Dada really influenced me a lot with that whole manifesto bullshit. So, yep. Got you. Got you. As far as your fashion sense, did you study much as far as Afrofuturism is concerned, or is this just your inner nine-year-old self that refuses to grow up

and you're in a constant state of play? That both, all those things, probably. Especially I don't want to grow up at all. I'm 35 years old. But now, you know, it's starting to catch it to me that I may have to grow up just a little bit here. You know, but no. I don't want to grow up. Fuck that shit now.

I'm going to be a child for the rest of my life. But yeah, that mothership connection album, that whole thing really influenced me, I guess, in Boosy Collins and all that stuff. So I come through that, you know, with the, I don't wear the goggles because of that, but, you know, I'm just being me, I guess. But that is an influence, you know. Yeah. Can you talk about your, like when you started getting session work.

Was Neo your first, like, major client or? Yep, because I remember recording that when I was going to Berkeley. The trombone player asked me to come over to his spot to record that. And I think, what was it? Derek White or something, trombone player. Yeah. Yeah, he, I think he produced, I co-produced that song I played on. But yeah, yeah, but that was my first, like, major pop song I played.

on. Got you. Making a movie. Was playing something so structured and disciplined a hard thing to do as opposed to wanting to break out of your boundaries? Not doing that time because I really wasn't, I guess, so-called tapped into doing my own thing. I mean, but yeah, I was just trying to make the do happy with whatever I was doing, you know. So if you're in a situation in which you're not the final say in a performance or whatnot,

you know, like you might hear, you might go to a relative minor of a note that sounds cool in your ears, whereas they're just like, nah, I'm doing a pop song. Like, just play basic and straight. Like, have you been in a situation where, like,

discipline was required for a client and what your instincts were telling you to go, you couldn't because you had to play something straight? No, I'm cool, you know, being produced and someone telling me to keep it simple and keep it what it should be and just, you know, play the record. I'm cool with that, you know, you know, I don't mind that. I just want to make, if I'm hired to do a session or whatever, I just want to make whoever is producing happy. It's not really about me.

If you want me to do whatever money on neon shit, I will go there if you want me to. but I just come in, just tell me what to do, and I try my best to do it for you. Actually, I'll ask you the opposite, because I'll say that I'll roll my eyes more. I mean, occasionally I'll get a collaborator that will use this adjective all the time in which they'd be like, hey, man,

I want you guys to rootify it. And I'm like, if you guys really knew the roots, then for me, like, I'm a stickler to be, original version. So like if an artist comes on the Tonight Show, like for me, it's shape-shifting into what the song originally was. And I had this one client that like, you know, they were supposed to sit in with us and one of their massive like trillion selling, trillion unit selling hits. We did it to the letter. And they were like, well, I want you guys roots of fire and remix it and I was trying to be like yo like when we go out there to do it for

America and do it for Jimmy like they're expecting you know the version that they grew up with and they're going to look at us like why are you guys trying to hipify for me though that's the challenge so do you sometimes run into a client that wants you that'll make a reference to like one of your Cardi B videos or anything like that like I want you to work it up like you did that. That has happened before and I kind of get annoyed. But, um, okay. Yeah, but if you want me to be all quirky and stuff, I can give that to you, but sometimes

it's not going to work, you know, but whatever you want, you're paying me. So I do whatever you tell me to do. Right. Okay. So you believe in giving the song what it needs and certain songs. That's always important to me. You know, I don't come in with the ego, you know, I can be arrogant if you want me to, but I don't come in, you know, with that.

Can you talk about your work with Georgia and Moldro? How did you two connect? The first thing I played on was, I think it's called Miss One. I did that with a Danish producer, Chris One, too. Okay. But, yeah, the first thing I played on was Miss One. And, like, I think two years ago was the first time I met her in person. And, yeah, I love her, man.

She's cool as hell. Yeah. So, okay, so yeah, you are in the age of where you guys can just collaborate by sending each other files. And is that, so is it jarring for you to come and create in person? Like for me, I like to create in person with the client, but I do know that there's a whole other generation that's just like, hey, you know, I'll send you the files, put some stink on it, send it back to me. And then maybe five months later, I'll be shopping. I'm like, oh. This is the song I play. So for you, like you can have absolute chemistry with someone

without ever having met them? Yep. It's been like that for me for a long time, you know. Do you prefer it that way? I mean, I'm used to it. I don't mind it, but, you know, now I like to be in the room with people, man, because it's just a different thing.

You bounce off people when, you know, when you're in the room, you know. Got you. Yeah. Okay, so, you know, Eddie Murphy is a main. Major, major, major fan of your work. Has he ever reached out to you? Not personally, no.

For someone that doesn't have a social media account, I'll say that, you know, he's extremely well equipped with, like, the idea of sharing viral videos and all those things. So, you know, for him, a typical week, you're going to get, like, 5 to 10 YouTube or TikTok or Instagram clips that he thinks is hilarious or whatever. And, you know, he went through a mononeone.

neon phase where it was almost like, I was like, damn, like, I bet you modern neon has no clue that this guy sits and watches like hours and hours of his videos. Nope. A win is a win. A win is a win. I don't care which I'm saying. Yep, that's me, Clipper Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined.

And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment, and the next we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast. It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger.

So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to The Clifford show on the 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. 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. Everyone, I'm Ego Wode. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network, it's Will Ferrell. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and Dad, I think I want to really give this a shot. know what that means, but I just know the groundlings. I'm working my way up through, and I know

it's a place that come look for up-and-coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest.

The director of the NFL's East West Shrine Bowl, Eric Galco, joins the the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar, this is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the iHeartRadio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slice Life 12 and TikTok podcast network on TikTok. How long does it typically take for you to, once you decide that you're going to take a video and then find the harmonics,

like, do you have this ability to, even as I speak now, like, to figure out, like, what key I'm talking in and where melodically my voice is going and all those things? Yeah, but I would have to, I would have to record it. I don't hear it right now. I would have to, you know, cycling. loop and... Yeah, and to actually hear... Because there's actual notes in talking. When you repeat it, you can hear the note. You can hear the contour.

You can hear a groove in it based on your sensibility. So that's what I be on. So I figured Cardi is a good subject for you to do this with because her voice is so melodic. Of the viral videos that you've done of people talking and... you providing the musical backdrop of it. Which one was the most challenging? Man, probably a car to be one, those early ones. Because that's when I really kind of started developing it and making a song out of it,

you know, making the track out of it. Because when I first started, I was just mimicking, just finding the notes of a person's speech. Right. But now I'm actually making songs, actual grooves and tracks. something you can dance to from that. So I think the early Cardi B ones was kind of hard for me. Do you have to sometimes adjust it rhythmically so that it makes more sense?

Well, probably, yeah, for me to make more sense. Like place notes so that, okay. Yep, yep, yeah. Especially within the song structure, I wanted, you know, I wanted to have a groove to it. So, yeah, I do structure a little bit different, wants to get to that part. Once those videos are made, do those grooves just lie exclusively? there or will you sometimes return to it? Because as you know,

our listeners might not know. I don't know why we played. I think it's when Cardi B. hosted the Tonight Show. I'm really. We decided to do, they should have never gave some goddamn shmoney. And the track alone man was just like,

I remember once I made a 45 minute loop to that song just so I can walk. Like I'll do my morning walks in, you know, from my apartment to work. When I tell you, my walk change, listening to you playing that. Hell yeah.

So it's like once those, like you just move on to the next, you never turn around to the... Sometimes I do. Okay. Sometimes I go back and actually use it for one of my original songs. I put my own lyrics to it.

Sometimes I do that. Yeah. Okay. Have any of your subjects reached out to you once they've seen the video? Like has Cardi ever, is she aware of these at all? Has she reached out? I think she'd seen it. I think Pete

Rock reposted it one time a couple years ago and I think she'd comment it or something. I may be wrong, but... Oh, gosh. Yeah, I think a few people have seen it. I know Tiffany Haddish, when I did something she did on the breakfast club about a man's something, I don't know. I re-harmed that and she

reposted it. Yeah, I think some people would be seeing it, but I don't care and shit. I'd just be doing it for myself. Yep. Got you. What are your upright bass-filling chops like? Like, are you proficient in traditional upright base playing? My Pizzikado shit is okay. You know, I need to work on my arc code, my bowling.

But if you want me to play upright, I'm not afraid to go nowhere. I play upright, you know, for a whole show if you want me to. Got you. All right. So you're a Memphis native, and, you know, blues and Memphis are synonymous with each other. How proficient are you as far as like the blues history of Memphis and are there any notable bass players of that genre that you feel are unsung or you know, not talked about?

I would have to say my dad again, Duane Thomas. I always have to go back because, man, people need to know about his contribution, you know, not to put him out in it. When they do Holy Ghost, does he, did he make James proud doing Holy Ghost? Man, I got this cassette tape my dad played on with the barcaids. It's on YouTube.

I uploaded the whole thing. I think I did. Well, it's on Facebook or something. And yeah, yes, he was that dude just to let you know. I got you. Yeah, it still is. James is so hilarious because, I mean, because of the history of that song,

Holy Ghost was made in 1973. Yep. And just sat in the vault like it was nothing. And, you know, some five years later in 1978, they just made a quickie throwaway album. And I'm like, how could you throw away a song like this and just let it sit there? I don't like, Holy Ghost is my all-time favorite barque song. And I would imagine as a bass player, like for you, like, what, what are your memories of like watching them play? And there were a few times when Larry would call you on stage to play with them, correct?

No, that was Rufus. My dad called me to play with Rufus. But yeah, my mom used to pick me up from school, elementary school, to take me to go see the barcaves live. That's when my James was playing with him then. Gotts. Barcaves are such a big influence on me. And Larry Docton, that's why I probably kind of flamboying with my whole style as well because of seeing Larry with the snake and stuff and the blonde hair. I would just with him for his birthday. I hung out with him and stuff.

Those snakes were real? Hell yeah. I remember the yellow and white one he used to have around his neck. I could have sworn that was not real. That's a real snake. It's not, worth it and nothing. Have you ever asked him if the snake on the cover of the cold-blooded album was his? No, I didn't ask him that.

Okay. Was that a rattlesnake? I don't know. Yes, or. I'd rattle. Yeah. I don't know. Okay, I got you.

Okay. So for my gearheads. What did you start out with and what do you continue to use to this day as far as your gear is concerned? First of all, it was a guitar. My dad gave me a guitar, but I played it like a bass because that's all I knew was the thumping. I just used to thump. So it was a guitar. Then eventually, you know, I actually had a actual bass.

But I think it was an Abenaz sound gear. Had a transparent orange finish. Yeah, it was an Abenaz, old Abenaz bass. And you mentioned you went to Berklee's sound gear. I don't know why every time I meet a Berkeley musician, I'm just like, ah, that experience would have been a nightmare for me. What was your Berkeley experience like? It was terrible. No, it was all.

I don't like going to school, first of all, but I'm glad I went because I met some cool people. But I hardly went to class, though. What was your years there? 2008 to 2010. So I was there two years, and I went back home. how do you decide who your tribe is or who your circle is? Actually, for me, that experience was eye-opening. I just looked at that thing totally different because that was my first time being around so many musicians that were good.

And they were, I guess, better than me. So I wasn't even trying to outplay nobody. I wasn't trying to be better. It opened me up to saying, okay, there's a lot of good musicians out here. So you have to do something way totally different. And so that's why I started tapping into wearing the neon colors, becoming a persona, really tapping into that because I just didn't want to just be a musician. You know, I wanted to be something else.

So being at Berkeley was really eye-opening thing beyond music, I guess. As far as your actual fully fleshed out mono neon character, when did you make your debut as far as sock on bass, duct tape? cat's goggles, like when did this person come to like light? I had to sock on my base at Berkeley I think I got to look back and look at it. What was the logistics of that this is just to be different or like was it no it was just I was just reading a lot about

ready made art by Marcel Duchamp that where he just yeah just ready made art where he takes this ordinary object and he may write some sort of pseudonym on it or he may reposition it. And for some reason, I just wanted to do that with my base. I like, okay, since I want to be this persona, I need to tap into something that's beyond music. Let me read something about visual arts.

Let me get into sculptures. Let me be influenced by something else. Because I can't continuously just be influenced by music because it's going to get boring for me. I want to be influenced by something else. So that's why I started reading about Dada and turning my base into a ready-made thing in my world, I guess. So it happened like that. What percentage of your live show is improvised and what percentage of it is actual, like, prepared set list, A to Z execution?

I have a set list usually. I would say 80% of my show is imparved. I have to have my improv in there, but some of it's a structured. I really don't rehearse a lot. Sometimes we get on stage and just wing it because we all know the song. So, you know, there's a lot of mistakes in there. So it opens up a new world for me. But there's a lot of improv in there, but it is structured a little bit.

Okay, so of the dozen plus albums that you've released, I'll say for me, Jelly Belly, Dirty Somebody is one of my, well, you know what? Surfing my brain, there was a, there was a point, there was a point where I think I wanted to remake that join for us, because I mean, the groove is, you know, otherworldly. But for you, like, what is, what's the album project that's the dearest to your heart? Oh, yeah. Crested neon missionary Baptist church with my grandma. I've been writing songs with her.

She's the number one collaborator. That's my lady. I can talk about her all day. I miss that. That's why I don't like being away from homo because I'd be wanting to just sit wood and watch watch Price is right. But yeah, that's my girl, man. And these times with her are very special to me. You know, I try not to read into it too much, but it's such a feeling sitting next to her and with my bass, my dad's purple bass. She's singing old hymns. She used to sing in the Baptist Church. Yeah. It's just one of those things, man, where I'm just happy that I have this time with her.

and actually writing original music for her to sing, and she actually loves it. You know, so I'm finding, I'm finding her hump and her shit, bro. So it's just, it means a lot to me. Yeah, I was going to say, I wasn't prepared when you put out crusty neon missionary. And you open would take me to the water. I was like, oh, damn. Like, instantly I'm second grade at first Pentecostal, like at my grandma's church. Like, I instantly started missing my grandkids.

mom. Man, that's my girl, man. Such a big influence on me. I appreciate and love the way that you, I guess we could say documented recipes for us to stick to. I want to speak of your collaborations. So, first of all, what's your decision process when it comes to like the many collaborative projects that you've done? Like I know you've done Chris on two before or.

or the screaming headless torso's project or even with Kras from Soul Live and drummer, Joe Russo. Like in that, or even with Corey Henry. Or like when you do a project with people who are traditionally not like the musicians that you are accustomed to playing with, like how do you decide like who the alpha is or who man's the ship or who lays the anchor or like what the roles are how do you collaborate with other people i don't come in with no ego you know i listen more than i talk

well i don't talk much anyway but i make sure i read the room the best way i can and uh yeah i just i don't decide who who is in control of the room i just i just let it happen and it's usually the other person because I'm not trying to control nothing. I just want to, especially being a bass player and I'm hired to play in the band. I'm not trying to step out front. If you want me to, I will. But I'm just trying to just be there and play the best I can and make the person happy, whoever hired me.

So you can be the alpha all you want to. Just go ahead. Yeah. Yeah, but I mean, as a creative, I'm almost certain that you two have ideas and directions you want to go. Oh, yeah. So is it easy for you to communicate to other musicians exactly what it is that you want? Nope. I just tell them, try again.

Let's do something else. That's using my thing. Yes. Try something else. Yeah, let's try something else. Gotcha. You hold, I guess what I dove, an unfortunate, honorable title, which is, I believe that you were the last musician that our dear brother, Prince Roger Nelson, hired before his passing in 2016.

Ten years ago, first of all, how did you guys come across each other? And how did he reach out to you or you, him? Tell me this story. Who reached that? It was an email. You know, he wasn't a phone call. It was one of his manager. I think it was Fadra, something about a Theo, whatever.

But they emailed me and they said, Prince wants you to come to Paisley Park to Jam. And that was late 2014, actually. actually. And I think the next day or two days later, I went up there and Judas Hill was there, Dominic Taplin, Taboran Lockett. And we ended up jamming with Judith that night. Then the next day, we flew home. Then I guess that was my audition for Judas and Prince. And I started working at Paisley Park early 2015. And what did he play if you were on bass? He wasn't playing. He was there, though, because he would call Judith to tell him.

the band to do something. So he was there. So he heard hear the rehearsals, but was it in the room? Yeah. He was, no, he wasn't in the room, but he would call Judith to tell me or Dominique or Tehran to, you know, play something different or whatever. But yeah. So I didn't meet him the first time I went, but he was there. But when I came back, he started coming around. Was it dark in there and were those eyes staring at you from those paintings? I swear to this day that every time I passed those murals on his wall. Yeah. It's almost like the three stooges episode when the eyes are like looking at you. Mm-hmm. Yeah. What was it like walking do there? Man, there's so many words I can use to describe that

experience. It was, I, okay, so wait, here's the thing. I don't know. Prince came into my life when I was eight. Mm-hmm. And what's weird is that you came on this earth a year after. Okay, so look, I'm, I'm part of and this is where Prince Orgers get angry at me. But, you know, most people, when they have a magic streak, most artists have a magic. And I know I'm sounding like a critic right now, but just as someone that's observed music, most artists, if they're lucky,

get a four-year streak in which they shit gold. And Prince is actually a figure, much like Miles Davis. that was, in my opinion, given in 11 to sort of 12-year period of which every shot's going in, no matter where he shoots it from. Every idea is just like changing your life and whatnot. So you came on earth when Prince was already a legend. And I grew up when Prince was a nobody. And then six years later became a legend.

So he was like my, he was everyone's secret niche artist and then became ubiquitous. But for you, like, were you a student of his music? Did you know much about him besides, hey, I know a genius lives in Minneapolis or like, what did you know of his work? I mean, of course, I knew a new prince. You know, I knew him, you know, I've seen on TV. I've heard his music, you know, his music was everywhere. But I didn't really listen to him like that as a kid. you know, I really

As you should. Yeah, you know, I, you know, I really, but I knew it's just stuff. I knew the grooves, but he wasn't he wasn't that for me, but once I started being around him and started, you know, having to learn songs and

rehearse with him and play with him, that's when I started going back and listening to his stuff and started to really be influenced by that and started incorporating that. Not even intentionally, it just happened, you know, because I was around him, He's like, man, I saw so much of what I wanted to be in him once I started being around him. He was like, man, I really, whatever he's on, I want to vibrate like that.

That is pretty cool, man. So it was that type of thing for me. Once in a blue moon, he would, like, there's songs that haven't been released by him that I feel like are so the foundation of what the ground that you're standing on right now. I don't know if you ever heard his song, Movie Star. Man, that's my favorite. That's my all-time favorite for his song. Man, that quiet, fuck, whatever you want to call it. Man, it's such a, that's my go-to.

I don't know why, but it's in that thing. I want that. I want it. Yeah, movie star also, to a lesser stint, I'll say probably the crazy song he's done is, have you ever heard there's others here with us? Yep. It's.

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

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

this is right where you need to be. Listen to the Clifford Show on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok Podcast Network on TikTok. 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 podcasts. I'm Eaglewood. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network.

It's Will Ferrell. Woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place they come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you. which is really sweet.

Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there.

Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East-West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else.

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the Iheart Radio app, Apple Podcasts, for wherever you get your podcast. And for more, follow Timbo Slical Life 12 and TikTok Podcast Network on TikTok. Can you talk about him as a bass player because I think of all of his mastery.

And this is with lyrics, as a businessman, as a director, as a singer, as a harmonizer, as an engineer. I feel like the one attribute that he never gets enough phrase for is his bass play. It was a struggle just to get people to notice his guitar. People really didn't start noticing he was a guitar master until my guitar gently weeps moment.

I'm like, dude, have you not seen Perforay or any of the clips? But can you just talk about him as a. basis? Well, unfortunately, he didn't play bass around me. I wish you did. But, you know, the shit that he did play on, he just had this uninhibited type of rebellious, whatever you want to call it type of funk, man, that can't really be duplicated by anybody. You can learn from it. You can be influenced by it. But he had his own thing that was so uncanny. I don't know, man. He just had this weird type of funk that I just love and that I just gravitate towards and that I just learned from just listening to it.

And I've kind of found my own thing with it. And I never try to be like him. But when I listen to him play, it's like I want a piece of it. I just try to make it part of me, especially now. So that's what I get from his base plan. It's just that rebellious type of funk. Like he ain't trying to be like nobody else but himself.

But you can hear the influences. You can hear Larry and Sonny, but he's still, yeah. There's a drop he does that's like a trademark of or on the one, like he does it a lot on Let's Work. Yeah, yep, yep, yep. Like, did he make you do that a lot in his? Yeah, he would make me,

would not necessarily make me, but he would tell me to play a certain way. He would tell me to, there's this song called Stare. I didn't play on the song, but we used to play that a lot with him. There's a song called Stare, and I used to put a lot of, just, you know, how bass player I put a lot of ghostos in it just to keep time, but he would tell me to remove it and just keep it clean.

And I've kind of learned it from him, you know, within that song. So he would tell me certain things to do. You didn't want you to play ghost notes? Not for that song. Not for that. Okay. But he would let me do my thing. But if he wants something particularly, he would tell me, you know.

Okay. Only because Brown Mark would be the opposite. He would say Prince would want to play ghost notes and that rumble stuff. rumble more than the actual notes. And, okay. Yeah, he likes that stuff too. But for that particular song, I would just remember him telling me, don't add the whatever.

Yeah. Okay. The single you have now, a bottom feeder. Yeah. With your grandmom and George Clinton, which is such a full circle moment. You've worked with George a few times before. How did you guys meet up? The first time I played with the wood was at a festival, a music festival.

I sat in with him. but I eventually started working with him on a song called Quilted me and my friend David Nathan this is his studio now all these keyboards David Nathan but yeah the first song I actually did with him was quilted and yeah that's when we first started collaborating together on on the song but we went down to Tallahassee and recorded his vocals and stuff like that so whenever I do hang with him

I go down to Tallahassee to his studio and just yeah and just hang with him and smoke a lot A way, man, that nigga be smoking. But I don't mind. I don't mind smoking with him. That's my dude. Hey, man. It's Madison. Yes.

Yep. Okay. So, also, I want to know about your work with John Bryan and Mac Miller on a complicated song. How did that project come to be? I didn't get a chance to meet. But actually, we talked. He sent me a message on Instagram about that song.

He sent me the track and everything and told me to do whatever. And that was the last time we talked. I never, you know, I didn't get a chance to meet him. But before he passed, he sent me that song. And that was such a weird thing for him to send me that. And he just passed away like that. And I never changed to meet him. It just, I don't do well with, you know, death and stuff, man.

It just really fucked with me. But yeah, I wish I got a chance to meet him. But we talked, you know, through Instagram, you know. So yeah. Gotcha. Yeah. What determines you wanting to dive into the, this creative pool. Like, when do you know it's time, like, okay, this is time for new album?

Or even how do you name your albums? Man, it just happens. I'd just be thinking of the weirdest combination of words, like jelly, belly, belly, I can't remember, jelly, belly, belly, dirty somebody. I don't know. I just, I'm just, first of all, I'm from Memphis, I'm country, so I've just be, it just happens, you know, it's just one of those things. But I don't know, I just, the album I'm working on now with my friend Davy, you know, he's helping me with producing and writing songs with him. So

the album that I'm working on is a bunch of duets. You know, I was going to say, is this the duets album? Yeah, we're working on that. You know, I've been getting people in, and it's been coming alone. So each song has two people, or is that the whole Yeah, me and

another vocalist or me and some more musicians, you know, one of those things. But it is a very, one of those things. But it is a very, one of my biggest collaborative projects. I got some pretty cool people on it. But yeah, that's what I'm focusing on now. And that's why I'm here, you know, trying to get shit together.

But yeah, that's the thing I'm working on. Do that thing. What is the singular moment that has changed your life? Let's see here. There's a couple of single moments. I'm going to be fast, though. When I started playing with Prince, that was influenced. That put a fire under me.

That's why I'm doing what I'm doing now, being up front. and just trying to show people what that experience meant to me. You know, being around Prince, that was singler. With my dude, David and Nathan, working with him, you know, writing songs with him. You know, he's kind of taking me to, honestly, another level in terms of, you know, production. And being a singer, he'd be getting me out of my comfort zone with these vocals. But I'm satisfied. So working with Davey, you know, it's really pretty cool.

That's a singular moment in my thing. and being around my grandma doing this time, writing songs with her and shit like that, you know, that type of shit and just touring my own music and being up there and trying to be a better frontman and whatever. All those singling moments. So singing is someone of a, like a vulnerable exercise for you? Man, it's really vulnerable.

That's why I wear the sunglasses in the mask. It's like I ain't trying to be no gimmick enough, but I have to hide, you know, I just, it's just one of those things, like singing and hearing myself on those big ass PA speakers, my little-ass voice, man, it's just a, man, like, God damn, I don't want to hear this, but I have to do it. I got to do it. That's weird.

Like, your voice is so suited for the music. Like, to me, it's. Oh, not to my ears, but I'm trying. Okay. Well, you just got to own it. Get out of your head, man. People don't really know. I'd be in my head, man.

Gotta be out of your head, though. I'm trying. I'm trying. That's what I'm working down. I'm getting it. I'm getting out. Is there a book or a movie that changed the direction of your life? The Passion of the Christ.

No, I'm joking. I love comedy and comedians. You know, comedians are a big influence on me. So it would probably have to be Jim Carrey movie, Peck Detective, Cable Guy. Gotcha. Stuff from your childhood. Yeah, man.

All that type of stuff. and stuff with David and Alan Greer in it. Comedians are a big influence on the black exploitation movies with comedians and stuff. So it's that type of thing. You know, I'm not really on no profound type of movies type of shit. Sometimes I am. Have you scored anything or?

No, just my word. Have you gotten asked to score? No, I haven't got asked to score nothing. They don't believe in me. All right. I'm going to change that for you, bro. Oh, shit. Don't give me too much of a task.

But yeah, I do it. I got you, man. I'm a, I'm a, I'm a, I'm a, I'm a, I'm a, I'm a, I'm a, I'm a, I'm a, I'm a, come on. Is it possible for you to enjoy music without participating in it? Like, when's the last time that you were just an audience member without having to go on stage and play? The last thing I went to was a Zach Fox. He was DJing in Memphis. That's really the only thing I went to just being, you know, an audience.

Participative. Yeah, and it still felt weird because I wanted to get on stage and just jam with them. But it's hard for me to go to concerts because I get anxious. You know, I want to be on stage. I want to sit in, you know, so I really don't go to concerts just to enjoy. Just to watch it. Yeah, it's hard for me. I should, though, you know, but no.

So playing music is cathartic for you, but taking in music is not as far. I really don't even listen to music because of that thing. I know it takes, I have to push myself. to listen to music because I start thinking, man, I want to write something like that. I want to sound like that. I want to play like that. I want to sing like that.

So it takes me, I have to push myself to listen to music. Yeah. Got you, got you. So, okay, well, when you talked about visiting George and fishing, I know he loves fishing to death. Mm-hmm. And painting, too. Yeah, I do.

Bad ass painter. During the pandemic, I purchased three of his pieces. He did a, really beautiful canvas, a mothership painting. Beautiful stuff. That hangs in my kitchen right now. What everyday activities are you proficient in that we would be shocked that you partaking, cooking, snowboarding? Boy, I don't do nothing but music, unfortunately, and just buy quilts off Etsy.

I don't really, I don't do nothing. You buy quilts on, like you. you can crochet a knit? No, I don't crochet, but I buy them. I have an eye for quilts. Okay. That's... And sometimes I dabble into a little painting

and see if I can tap into my abstract expression to some stuff. But I really just do music, man. I sit behind my computer and just try to create and just post it and do it again, post it, do it again and post it. When do you first wake up in the morning? Like, what time do you typically... The morning, I wake up about it. in the afternoon.

Okay, because what time do you go to sleep in? Probably about five in the morning. Okay. I'd be on my, man, I'd be on my phone, doom scrolling and shit and just trying to figure out what next video I can do or typing in my phone, like voice memos or some melody I'd be hearing. That happens, like, a lot. I got so much shit.

I was going to say, when you get an idea for a melody and there's no acts around to really record it, like you're, you just have to, suffer where you are with your voice memo until you get home to record it? Usually. And there's some stuff in here that I don't even go back to, but sometimes I do, but I really go back to my voice memos. Once you go to your voice memos, can you still make out? Does it still sound the same in your...

No, sometimes it don't. Don't you hate that shit? Man, I thought I was the only one. I thought I was going crazy. But yeah, it don't sound the same sometimes. Yeah, I'll sing a song for an hour, each part, each bass line, each, and then I'll go back to the next day. It's just like,

yeah, yeah, that's funny. Okay. All right, so my final two questions. Yep. When you were younger,

what was your version of making it? Honestly, bro, playing with the barcaves. I just wanted to play with the barcage. Okay. I'm like, I'm just an old-spirited person.

But yeah, that was my, that was my making it thing, just being on stay with the barcaves because I used to just envision my dad just being up there, just funking out and stuff. But yeah,

there was one of those things. or playing with Mayford Staples or or playing with a big gospel choir, you know, because the church was a big influence of me. But yeah, it was one of those things. Just a simple thing.

So even now with where Memphis stands, be it like new acts or even legendary acts, Glorilla, Yogadi, or even back to, you know, Project Pet or 36 Mafia,

or even A Ball, MJG, like, as far as the hip-hop community's concerned, have you done or had a desire to do any collaborations at all? Yeah, I would love to. Glorood is one of my favorites right now. Be honest, you're so straight up Memphis. But, yeah, I want to do something with A-Ball, MJG. Got it. But I just never, I tried to do something with Project Pat.

Yeah, that didn't work out. But, yeah, I mean, I've always wanted to do that. But it's just never, you know, worked out. I want to do something with play a fly. I want to do something with gangster boo. But, you know, she's no longer hearing the rest of soul. Yeah, rest of soul. Yeah, we, there's actually a Project Pat root song that probably won't ever see the light of day.

Oh. No, Pat, Pat's one of our favors. Yeah, man. That's what we always plays on the tour of us. So my final question is, when all is said and done, what is it that you would like us to say about, you and your art. I guess I can just use one word and it's very cliche, but just freedom,

you know, not too deep, just freedom. Just having to, the freedom to be free, I guess, you know, I know that's very cliche, but just freedom, just freedom. George Clinton once said, freedom is the, I think he said, true freedom is not having the need to be free. Yeah, ma'am.

And I get that. All right. I will say this DJ, brother Monon Neon, I'm very grateful and thankful that you are here to show us the light and just with your overall creativity. I'm a massive fan and I thank you for granting me

a one-man audience to get all my nerdy questions out. It's all good. Being on the Questless show. Thank you so much. And to all of you listening, We'll see you next week on the next go-round of the Questlove show. Thank you. Bye-bye.

The Quest Love show is hosted by me, Amir Questlove Thompson. The executive producers are Sean G., Brian Cahoon, and me. Produced by Brittany Benjamin and Jake Payne. Produced for Eyeheart by Noel Brown. Edited by Alex Conroy. IHeart Video Support by Mark Canton. Logos, Gravit. Graphics and animation by Nick Malawi.

Additional support by Lance Coleman. Special thanks to Kathy Braun. Special thanks to Sugar Steve Mandel. Please subscribe, rate, review, and share the Questlove show wherever you stream your podcast. Make sure you follow us on socials. That's at QLS. Check out hundreds and hundreds of QLS episodes, including the Questlove Supreme shows in our podcast archives.

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