The Questlove Show - QLS Classic: The Revolution

Episode Date: January 12, 2026

Recorded from Minneapolis: A special visit with Prince's band, The Revolution, where they talk about Prince's early days, his life and the truth behind the legend. Learn more about your ad-choices at https://www.iheartpodcastnetwork.comSee omnystudio.com/listener for privacy information.

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Quest Love Supreme is a production of IHeartRadio. This classic episode was produced by the team at Pandora. Ladies and gentlemen, this is QLS Classic. My name is KS Love, and we go back in the archives to September 2016. Some months after Prince's death, the members of his legendary band The Revolution gathered together and give us reflective moments of his life and his career. We hope you enjoy. Here we go.

Suprema. Supriva. Subma roll call Suprema Subrima Role call Suprema Subrima Role call

Seamus Questo Shut up already Damn This is a special Purple News report Dearly Beloved Check this out This is Questlove

And you're tuned to a very special episode of Questlove Supreme Only on Pandora Right now I think it's about time that me and the whole Team Supreme take a road trip up to uptown, up to Minniewood,

up to Minneapolis, the home of the legendary Prince Rogers Nelson. That's right. We're going on a road trip. All of us, all of Team Supreme, Fonticillo, Sugar Steve, unpaid Bill, boss bill.

And now a recent addition, LIE. This very special Minneapolis episode of Questlove Supreme, we're going to talk to one of the hardest working bands of all Time. That's right. I say they're the hardest working band. No band has prepped more, rehearsed more, and perfected more than the revolution.

Prince's band, that's right. I know you're like that. Revolution, exactly. We got them all. We got Bobby Zee. We got Brownmont, Dr. Fink, Wendy, Elisa. We also got Des Dickerson, and we got Andre Simone, and we got Susanna Milford. The subject of many a print song. So without further ado, we're going to be right back with Bobby Z, Brown Mark. Dr. Fink, on Westlop Supreme, only on Pandora. Without further ado, ladies and gentlemen, I'll probably say probably one of the most influential group members of, I don't know.

I mean, behind the creativity and the work ethic, I know no other band that's ever worked harder than the Revolution. We'd like to welcome Bobby Z, Dr. Fink, and Brown Mark to Questleaf Supreme. Thank you. Wow. Gentlemen, how are you? Going good.

Good, how are you? You're good, good. That's awesome. That's awesome. So I have to, you know, there's so many questions to ask, but I really would like to start with the beginning, the very beginning of how the group came together. But even before then, like, what were your backgrounds like? Are all of you from Minnesota or? I was raised here, born in Bronx, New York.

Brown, Markson, in Bronx? Yeah. Yeah, yeah. But he now. I did not know that. When did you move here? How old were you again? I was about seven.

Seven. It's been a long time. So what brought you here? My mother, she just wanted to, my dad was military, and he's based out of, he's from here. So this is where all his family was. So when they got married and then we came along, she just wanted us to be closer to his family, because he was always overseas. Okay. So that's how we ended up.

here. What about you? What's your early, you know, your... Well, I was born here. Okay. And Bobby and I were both born in the suburb of St. Louis Park, which was one of the, you know, what we're called the inner ring suburbs, like 10 minutes from downtown so you could just, you know, shoot downtown to Minneapolis really quick and easy.

So we started with music pretty early. I mean, my parents had me studying piano at a very early age. around six and studied classical really throughout, through high school and jazz. Jazz came in about the age of 14 when I demanded to be hooked up with a jazz teacher here in town. You demand it. Yes, I did. I told my parents that I really want to study jazz. So we found these really great teachers here that had studios downtown here in the city.

Minneapolis and they were called Wiggly and Associates. It was just two guys and Tom Weakland was my teacher. I credit him with a, you know, teaching me improv and improvisational techniques and all that. Well this isn't usual because most people I would think would like, oh, like see something influential rock and roll and television and be like, that's what I went. Oh, well that was there too. I mean definitely throughout all that.

I mean I was six when the Beatles came on Ed Sullivan. watched it live and then I was off and running from that too. That was a huge influence on me that time. Yeah. Okay. Sir Bobby, both of you and your brother. Yeah, I was just going to say, well, Matt mentioned St. Louis Park, which has, you know, produced a lot of great people, Al Franken and, you know, Cohen brothers. Dan Wilson, Cohen brothers. It's just kind of a strange outer ring suburb that really did produce a lot of fun. But yeah, my brother David was kind of the godfather of this whole thing because, like Matt said, our families knew each other, but David was before the Beatles with Peter Paul and Mary, the Kingston Trio, you know, the hippie folk

thing that was just moving with the anti-war movement grew, you know, the folk music. Of course, Bob Dylan came from here, but David was also, they created their own bands, the whole Soma scene here with Soma Records was Amos spelled backwards and Amos Highlature on Music Land. So they had a label with the the chancellors and the high spirits and the trash men with Surf and Bird and the castaways with Liar Liar. It was exploding here in the late 60s and those guys eventually laid the kind of the fertile ground for the musical Messiah to come and you know Owen Husney of course is part of that group and it it but Matt and I had known each other because our families our mothers worked together

very creative people man's dad was very creative and actors and radio and skits and my mother was very creative and so Matt actually would come to the house when we were very young and my brother David was already showing us how to poke holes in the player piano to make more notes. Wow. Really? Yeah. So David's older? David's eight years older. See in my head I always thought he was like your little brother because he's so funny. Yeah, yeah. I didn't know that he was the older brother. Yeah, older than Steve's in the middle of four but when David met Prince, you know

Prince had worked with a with a eight track and then David was working at Sound 80 and with the first digital actual I think multi-track digital was 3M, and they gave it to sound eight, one of them anyway. So all of, that was the main, that was the centerpiece of Minneapolis. Yeah, it was Herb Pillhofer, a big jingle writer, big orchestrator, and he built this incredibly beautiful facility for its time. You know, 48 track, two inches and, you know, incredible drum booths and stuff. It was really, it was something.

And Prince took it out like a fish to water, you know. And Pepe Willy, we recorded there at Studio B2. Okay. With the Polydor deal with 1015 and those tracks that played on. Did any of you guys have any lofty goals of like world domination? Or was it just like, hey, we'll just start a band, maybe I'll go to college or the Army and... Yeah, no, I'd... Definitely wanted to...

You wanted to break out of... Oh yeah. question. Did you feel there was a legitimate scene to nurture it in Minnesota or was it like, I got to get to New York? It was more about getting to New York or L.A. and doing it. But I always thought you could still do it anywhere

in the country because a lot of groups broke out from different cities. But we were really at that time one of the few groups that was able to do it at that time just because Prince got his deal with Warner Brothers, you know.

For me, I was on them. I was like right on the cusp of that generation gap. They were in a different generation than me. Okay. You're saying we're old? No. You know, it was weird because the generation of musicians that I hung out with, there was this distinct border of the type of music that we approached.

But I just remember when I was about 17, 16, 17, I was determined. There was nothing going to stop me. I was in the studio by the time I was 16 years old recording trying to start my own thing even though I couldn't even say I didn't care I was going to do whatever it took because I saw Prince did it, went in there, did all the instruments and I was like,

wait a minute, you know, this can be done and so I was determined. So how did Prince enter your, who was the first to enter the radar? Bobby. Okay. I was a runner for Husney, he had an ad agency. I had just done it one summer from my junior year

and then a senior year, I graduated high school and inherited the job from Jeff Segal, who went on to do the Renaissance Festival here. Just an amazing talent. And he had created this yellow, excuse me, yellow paper delivery service, which just, just, was kind of an invoice that you turn it on a yellow piece of paper on Friday. So it was, you handed in a huskney, it was like $50 a week or something to drive around. And then I was in this band, Kevin Odegaard and the K.O. Band was kind of a country rock band following Marshall Tucker and all that stuff back then. You know, my job became kind of mixed because at the studio I was walking from the back room

which the studio I've heard to is Moon Sound. So Chris Moon owned that studio. Chris Moon owned the studio. I'm a photography studio, and I think he used it to get girls mostly. I'm a photographer, English accent, but he was very charming guy.

And so I was with this band that we were helping build in the back room for free rehearsal. We were kind of painting it or doing whatever, wrecking it, whatever we were doing. And this one, One fateful day, I was just walking from the back hall from Studio B to the front door, and I heard this sound coming out of the door wide open Studio A and just looked in there,

saw the fro first, and just heard this sound, and he was working on baby, and he stopped. I got the half turned. Staddle. Just the eyes move. You know, more of a different electricity current than anything I've ever felt. I mean, we're all on the same current. He ran on a different electric current. So you could just kind of tell as the personality, even though he was shy,

that there was just so much going on in there. And so I just sat down because it's like, you know, he was just a guy recording at that point. I just sat down and he just looked at me like, you know, with that horrified. look, that we found out later was, you know, who are you and what are you doing in my chair? You know, get out of here. So I just sat there and I just kind of listened and I just go ahead, play it. You know, like, that's amazing. You know, what's going on here?

Nothing. You know, I said, yeah, yeah, sure. And then Chris Moon walked in. What are you doing in here? You know, this is Prince and everything. I said, oh, okay. I didn't know this was like a nuclear, you know. I need a special, you know, suit to get in here.

And so the laughter, the first laugh I got out of him was the connection. And humor is kind of how I got into it. And then I'd see him like every day until one day he went with the hand, you know, come here. And he goes, sit down. And I was just like, okay. And he goes, watch. Just I want you to make sure that. I want you to hit record.

And I said, okay. So I'm sitting in there and I hit record. He's out there in the drum booth and he's putting down a drum track. And I go, okay, wow, this is interesting. It's like, where is he going? What is he doing? Is this a drum track? Comes back in the boot, picks up the bass, he's putting on a bass track.

And I'm going, that's pretty incredible. Picks up guitar, does the keyboards, and I'm sitting there pretty numb at this point, watching all this go down. And then he goes, I want you to punch me on vocals. And it's like, I'll just hit record. You know, and he just record. He goes, stop.

Okay, go back to the next track. And we did the next track. So I kind of like got in there a little bit there. And then... So he jet online tricked you to engineering. Yeah, of course. I mean, it's just, you know, it's like you didn't realize all the things were... So then I became, then the studio I met him.

And then we were hired by Chris Moon for slideshows, because that's what the back, the work was back then. There wasn't any needle drop, there wasn't any music. So you'd hire these musicians to come up with, you know, jams, basically, that had no publishing rights. So me and Prince, my brother David, and the bass player from this country rock band Gary Lopak, were doing a thing.

And that's the first time I saw him play an acoustic piano, like a regular upright piano. And it was just like, that was it. When I saw the piano and the piano was moving, and it was like a Max Fleischer, Betty Boob cartoon. And with Cab Calloway, the thing was just kind of, you know, those extra notes, he kind of puts in those chords. Yeah. It was just kind of like, I've never heard anything like that before.

And how old was he at this point? He was 17. Wow. So slide shows, like these events would happen. Well, you know, when corporate shows get together now, they put together slick video and all stuff about the country. Oh, someone just sells me and put a playlist together. So, yeah. Then y'all were the playlist. We were the play. Yeah. Yeah. But it was, uh, it was. that was the beginning of the friendship,

and then Andre entered the mix, and then the three of us were the three musketeers for a while, because they got obviously some stuff happening with Morris. I came new to it because the history from the whole community, in the North Side, but flight time, Alexander O'Neill, and everything, and Andre, and I was just kind of like, you know, I, Prince wanted a rock drummer, and he said, I want you to spin sticks on fire.

And I said, I'm not going to spin sticks on it. He goes, I'll show you. So he took you to Mother's Finest, and the guy was spinning sticks on fire. That's right. Okay. You know, or I was sparkling, whatever they were doing. And then we walked away from it. He goes, what did you think?

And I said, you know, it's a crazy rock band. It's just, you know, because he had these beautiful melodies, too. And then he had these big rock jams like, Bambi. It was kind of like, what the, you know, are you mother's finest, or are you Johnny Mitchell? And then we saw Fleetwood Mac together, and that was achieved later with Wendy and Lisa. So the goals were there for long term. It's kind of a combination of Mother's Finest, the Rolling Stones, and Fleetwood Mac. But did he let you know that he wanted this utopian poster group of a white drummer and a white keyboard player and a black bass player?

Not in the beginning. We were looking for identities and costumes, and we were obviously. with Rick and you know it was you know pretty chaotic as far as getting to the revolution as far as the whole concept but it's also the look like between Meet the Beatles and Abby Road I mean there's a lot of things that go into that the success breeds more creativity but there was an identity search you know by him in the beginning you know the early costumes you know were for lack of a better But we're not formed, and then, of course, the bikini briefs.

Okay, so I kind of want to skip to the point where you guys are now professionally hired. I'll say that the one thing that I witnessed that I now know is key and important is the only because, you know, I'm like one of those collectors that really gets off on the process of how it gets done, not the final product. But I know that you guys have put in endless hours of preparation before you even hit a stage. Just the amount of times that, like, when you hear the word body heat be flat, like, does it like send you to hysterics like? Because he'll just yell it at the most in an opportune time and you guys are like instantly there. I mean, I don't want to go to the point where you guys are already a perfective. machine like around 83 84 but just in the beginning what point did you realize that oh god he

really wants to do this a 20th take or till 4 in the morning or you know oh so all of sound check is going to go right before the show i'll let them answer mark and matt get to that but i'll just i was already on that clock you know because i had started so early that i already knew that it was You know, we were jamming until dawn. It was already like that from day one. So even in the beginning, like before you guys... Dawn. We would move Owen's furniture out, jam, put the furniture back,

and they would open at 8, 9 a.m., and we would be done at 6. Wow. All night. Not that I think he would know about the 10,000-hour perfection rule, but do you just think that for him playing was much better than socializing? Or just... It was his life.

Yeah. Yeah. When I came in, I was so stunned because, I mean, I had a pretty busy schedule. I was in high school, got out at 3.30, had a job from 4 to 9.30 at the pancake house. That's where I met him. I actually cooked in pancakes. Stop everything. That's it.

That's how you really met French. He was the cook. He was. I was a good. I was a young guy, though. Wait, that's it. That's the show. Thank you very much.

You got your sound, buddy. You know, from 9. I got off at 9.30. I headed over the North Minneapolis to the community center. I rehearsed till one. So from about 10 to 1, that's what I was used to. When I got in the band, we'd start at 10 a.m. We'd be on a jam.

One groove till, correct me if I'm wrong, 3, 4 o'clock in the afternoon. Trust me, I know. I would have to go get a sandwich playing my base. I'd be in the kitchen area opening up, making the sandwich one hand and playing with one hand because the groove couldn't stop. If you stopped the groove, he's going to be looking at you. Really?

Yeah, man. So no lunch breaks or anything like that? Man, he was a driver, man. That dude was a driver. We would jam like that, would he use those as like bassists for songs? Like, would songs be born kind of in the moment? That vault is probably pat. Yeah.

We jammed all the time. Susan Rogers would just, he'd be like, roll the tape, Susan, and he would just listen to it all night long. He would just pull stuff out of it. Dirty mind came out of stuff like that. With Matt just jamming on something, and come on to the house, you know. You could tell that story.

That's so weird because now, I'll say in the early days of the roots, like we would jam that relentless, but then once I discovered it like, oh, I could just loop this. Because Tarek would, like, write in real time, like as we were jamming like four hours later I'm like all right dude we play the same loop like it's wasted out of the young just let's loop it and then Tariq will use that as a basis but yeah those are early in real time is is the word loop was you know was was a limb pattern and there was no you know

everything was pioneered that the drum machine arrived I walked into rehearsal in Eden Prairie and but I heard private joy when he was recorded it that was I think one of the first LM1 tracks and and he looked at me he looked at the machine looked at me didn't say anything he was looking at the machine you know just give you that smile it's kind of like same Jedi Mind trick yeah and so I walked into rehearsal and the thing was blasting away and I went right up to Steve Farnoli and I felt like a Union Auto Worker or something and be all drummers everywhere in the history of all drummers this thing is evil

you know you must remove the machine And he gave me the best device I ever got. He looks at me and goes, it's here. Learn how to use it. That's it. That's funny. That's what we did. And then we had to create Don Bats,

who was working on our crew in our recent shows. You know, he created an interface with guitar pickups that we're using for acoustic guitar, interfaced with this spaghetti thing that they created to interface with the outs of the Lynn to trigger pads. Nobody even had that. Yeah, I was what to say, did you guys invent, at least create with them? No, we're triggering.

Like, did you guys... Don Bats was a genius. Don Bats was a genius. And he invented, Prince said, you know, I want him to play pads and John was like, I have an idea, but, you know, it was a jolopy at best. I mean, it would just kind of run and then work and then, you know, when we did the American Music Awards, the fact that it didn't double trigger was, was, you know, because it double trigger it was your fault. It's not, it was always your fault. It was always your fault. It was the machines.

I was going to ask you, all right. Maybe I've used it three times in my life. And we started using in-ears because the vibration of the monitors on stage and the bass would offset the drum set. Right. And, I mean, the hundreds of hours I've watched, I mean, I've watched concerts just to see how you react to stuff to cues and all that stuff. Has there ever been a faux pile like, oh, I don't have a job tomorrow, like... Oh, like 25 times. Sure.

I mean, has water ever spilled on there? Has the machine just cut off? First of all, maybe I'm a star turned into Simon says. So he's hiding his stop on the one cues. Mark had to relay them to me. Because he would go... Oh. What?

He would just lose himself or do it on purpose. I never really knew. You know, it was like, is he just messing with us? Or he would just go way over, way to the fans over there. And then he'd look at Mark and go, stop on the one. He knows full well, I can't see them. Well, the biggest problem, he would go, you know. Yeah, besides that, though, the biggest problem was he would hold its hands up,

fingers up in the air to give us how many horn punches. And then if you saw it sideways like that, you're like, you couldn't see how many. And then, you know, he could tell if you weren't playing, And if you were like, well, I'm laying out because I didn't see how many numbers, you know, fingers were out of it. There's one show where Bill and I just discovered, what was it, in New England somewhere.

Oh, the Worcester Mass Show? Yeah, where he yells for 112. Oh, no, that's Atlanta. There's one. Oh, but there's one in Boston where I think you, Bobby, I think you actually played a little bit. Yeah, he did five extra. Yeah, it was to the point.

$100. What did he say? Was that $45? No, the show was so loose, it was dorm possessed. The show was so loose that he actually said, OK, I'm going to get you, and I'm going to get you, and I know I'm going to get you, and I'm going to get you. And I'm like, wait a minute. Who challenges his band to mess up at an actual show?

Yeah. Well, I'll say one more technical glitch that used to take place for me. We were using the first, what are called MIDI, musical instrument, digital interface switchers. for the keyboard racks. We'd have like racks of sounds. And if you were making a program change in the middle of your song, and there would be sometimes several,

if you were holding down notes or a sustain pedal and you made a program change, the whole thing would just lock up and whatever chord you were playing would keep playing and you couldn't shut it off. So if you'd be sitting there in the middle of the song and just being, ah, you know, doing this, and then we'd have to hit the panic button

or the keyboard tech would have to run over and hit the panic and make it shut up. But then you had nothing. It was a nightmare. So you had to time your switches really, you know, quickly. You just write split-second stuff because the technology hadn't caught up quite yet with that ability. You wore that technology. Yeah. So one day I get called in the dressing room after the show after one of those problems happened.

And Prince goes, what happened during that song? And I go, well, there's a technical issue and nothing I can do about it. And he goes, all I could say was, I can't have that in my show. And that was it. And I'm saying, well, I don't know what else today. We got this technical limitation. I'll do my better. And then you just have to work with it, you know.

What song was it? Oh, it happened on any song. It could happen on any song. It didn't matter. That's what I liked about him, though. Yeah, but he was okay. There was a work ethic that he put in place that we would never get anywhere else. He trained us.

We were like battle ready at any time. That's why we could leave for 25 years not see each other. When we came back together and we hit the room, we all just looked at each other and started laughing because the energy, the power, everything was still there. And there was this sound that is so distinct. I played with many bands since I left this band. But nothing.

There's nothing like it. I don't know why, but there's a chemistry that we have that he developed with us. It's just, it's there, it's prevalent. Was he always the first to arrive? No. Was he? Was he? This is great.

This is going to be us in 30 years. I can feel it. No, we waited many. I mean, first of all, going back to the, again, you know. See, I thought he was the first new arrived in the last to leave. But Wendy's story, you know, when she told our recent shows about the freezing called Purple Rain and his advice to, you know, start your car and let it run for three hours. When we did the Capri Theater, you know, it was just, I drove him over and, you know,

a rusted out Pinto station wagon, you know, he just said, I want to put gas in your car, why don't run all day. Because he didn't want it to get cold. He just wanted to make sure that was warm. It was 20 below zero. It was 20 below zero. So it was really, I hear these over-exaggerating like 100 below it. Oh, it gets 100.

It can. You know, Siberia and Minneapolis surface. kind of connected. Really? If you look at the globe on the top, but yeah, I mean, it gets, it gets, it's just, it gets purple here on the weather map.

But, you know, I just want to go back to the show. On top of all that stuff, there was audibles, four or five, maybe six audibles that, I have a tape called, uh,

um, ice cream, which is a 59 minute jam, which is just working on the 16 bars of ice cream. We got it. All right. Let me explain. When he gets to confusion at the end of the 59 minutes,

that means we had just done that for confusion a month or a week earlier where we spent 100 hours figuring out these audibles. The audibles were extra hard to see. They were a sleight of hand to the hair. There were a stomp on the foot. They were, you know, a stripper butt move. They were just all kinds of things that you had to watch.

The napkin dropped. The napkin dropped it in the song. You had to hit when it hit. Bam. And still keep the pace, but make sure the hit hit the song. And there was fans blowing everywhere, so the thing would kind of like be on a journey on the way down. And he watched him. He had Alan Lees on the side of the stage.

Just wait. $200. $200. You know, he'd go, Bobby's a $200. And the fans are going, I just got five. Those fines were real? Oh, they were real. They all depends what kind of, yeah, they were real,

but it all depends what kind of mistake if he remembered. There was two kinds of mistakes, whether he was in the spotlight or not in the spotlight. If he was not in the spotlight changing over here and he heard it, you could sometimes hear him laugh at you. But if he was in the spotlight and you miss something, it was usually a $200 point. Yikes.

I remember I lost $1,200. What was? I just couldn't figure stuff out. Yeah, brain free. We had a new song, yeah, you get a brain free. Yeah, new song every day, set changes every day, on top of everything else, as he was bored to death. So here's a question for you guys.

You mentioned new songs. So how long would he give you guys to learn a new song? Sound check. Yeah, sound check. That's why I developed the rumble technique on the bass, because I got tired of getting fine, so I started going, you know, in the beat with the drummer. Right.

And I started to be in a cussing. It was like you were playing for no melody. buying you time. Yo, that's so weird, because I'm thinking, like, that's some innovative imagination. Just trying to get through, like, a play, and that's broken play. And he loved it.

He loved it. I mean, when he hear that on the baby. Yeah, that's his shit. He was like, turn around, he'd be like, oh, okay, Mark, just rumbled. Do the rumble thing. And then we start a whole new song like that. You know, most of the stuff I play,

if you listen on stage, ain't no notes I know that's what I can't like I'm not like this is no notes

I'm amazing that's amazing I mean that's why I can do spins and flip back flips oh my God

I can't believe that like I'm thinking like this this is some new technique because I tell my player

Martin can do the same thing like oh listen this this is what you're stolen so um

Fink, while I have you. So, you're saying that at no point where you, I mean, this is, in the early 80s, of course, technology was not invented for... Perfection, yeah, it was not, they were glitchy, you know, things could be glitchy, but go ahead. So every night, that, when Doves Cry Solo, had to be spot on and just... Yeah. How? Like... The doctor.

Well, He was a doctor. Like I said, Like when you heard it, you just thought like, oh, okay. Like, how would you at least decide, he would decide for you? Not always, but I, no, when I first heard that solo, I was scared out of my... It was sped up, wasn't it?

Well, there was a studio technique he used to create. Yeah, it wasn't, that wasn't, it was too per-it, it was too quantized. No, not exactly. He never sequenced. He never sequenced. He never sequenced. He played it slower in Sput. He, he didn't.

Yes, he had very speeded the tape, but I'm not supposed to tell that secret. But then expected. Sorry. Sorry. You'd be killing me right now. Sorry. A secret sauce. No, I told this story before I have.

But he played, but he could play that if he really wanted to. He's capable. He was. He could. I mean, in real time, he could have. But in the studio, he used it to write it so he could really perfect it and write it just the way he wanted it. And then sped it back up again. So then I had to, of course, cop.

that solo and play it live. Yeah, then of course it's just his problem. Like Darling Nicky, it was like all trick photography, you know. It's like one day at Versa goes, okay, Darling Nicky, three, four. And I'm just sitting there going, how are we going to do that, you know, on the record? So it was like, I had double kick drum next day. And it's like, well, that's not going to work. So I figured out.

You said, all right, well, you got a night to figure it out. It's on you. And I'm like, how am I going to recreate Darling Nicky live? So when he just calls the songs of random, all the stuff is pre-programmed in your Lenn drum. Depends on the song. Some are live drums. Some are played. If he says beautiful ones, you know automatically that's nine. Program 9 or like... Right, but you're jumping way ahead.

When we were rehearsing for the Purple Rain Tour, the record is like this, you know, creative, over-layered, amazing thing. But to do it live, all these parts like he's talking about, like Matt was saying, there's tricks to everything he did. I mean, he meticulously, you know, whether it was us playing or him playing, would kind of, you know, get it, you know, he was set up in Sunset Sound. He was just the wizard there. And he was just completely, you know, just. Did you have those flange effects on your, on your lindrum?

Yeah, we ran them through pedals. It ran them through, you know, just boss delays and stuff. And, you know, just getting, that's where the loops, there wasn't anything like that. So Mountains is just the lind through all these boss delays. So everything was new. But, you know, the technology was, as we discussed earlier, was being developed and techniques. So like Darling Nicky is that double kick drum

where he's just against the other track, he's just going with his fingers. He could play with his fingers on that thing. I mean, he could just go, I mean, buttons, and he was just perfect every time. But how are you supposed to? Right, so that's where it goes, okay, let's do Darling Nicky, and it's just like,

okay. So, you know, then I'm going to be fired if I don't show up the next day. It took the box home, and me and the box had that come to Jesus' moment. We really just kind of really got... I just said, well, I'll just do this program going with a visual light. Yeah. Oh, my God. And then get to the program, da-da-da-da.

Right? Uh-huh. So during da-da-da-da-da-da. I had to switch patterns. I had the one next to... And then I just go do, do, do, da, da, da. And then he looks at me. So then I did it like he did it, which was the big kick drum softer pad.

Right. So I had a technique. And then he came back and he goes, nice job. Let me fix something. And then he puts them both on the loud kick. So when people hear it, it's, and the whole thing was like kick drum there, people's heads are blown off. It was yeah, that's what I want.

Like, it just always weird things. Well, you know, and I would die for you. To speak, getting back to Don Bats, he added MIDI to the Lin so that we could connect it to my synthesizer and have the bass part play sequence through the whole thing. I was going to ask how, who handled... You know, that whole thing.

But it was played... In the studio, Prince actually played that manually through the whole song. It was not sequenced. It was him on the Oberheim. Two index things. Like he's talking about on the drum machine doing that, he did it in the studio and created that tight through the entire song.

Perfect. There was many times you just felt like that's a musician and you're not. Many times. Okay. So I kind of have to know, and I know everyone has like these purple-wing questions, but surely life had to. had to have been there must have been a

sea change leading up to Purple Rain and then life after Purple Rain. Well, being thrown off the stage with the Rolling Stones to Purple Rain yeah, that wasn't a picture. Okay, I'm so glad you brought that up. What was, could you describe the Rolling Stone, L.A. incident?

Well, I want Mark to speak to that because that was his first kid. Yeah. What? First time on stage. Yeah. Wow. Yeah.

That was pretty interesting because I was scared to death. I'm sitting, but I knew the Rolling Stones, see, you know, I knew that was rock and roll, bikers, hell's angels, you know, and I was like, how is this going to work? We're singing head, jerk you, jack you off. I'm like, this is going to be interesting. I said, I think we're going to be dead after this. You were right. Yeah, man, I'm telling you, we hit that stage and it just looked like cattle.

Have you guys heard the tape? Yeah. Oh, yeah. It sounds good, but there's a guy, there's one tape I heard where the guy... Bruce in his talking. Man, look at that. Whoa, they just threw something. Whoa.

Yeah. They're not going to last or something. But it started with an orange that hit his base in head. Great group. Great group. I mean, it just... Who brings a great friend to the road? It got stuck on the keys, the tuning keys.

It just, boom. So I was so out of tune. I didn't even know how to tune the thing, you know. And so we're playing... What songs is that? Uptown or something? No, it was... Well, he came out the gate with Bambi.

Yeah, it was why you want to treat me so bad, I think. And I was way out of tune. Bass was out of tune. I saw Jack Daniels bottle come up on the stage. Yeah, crash. Or his head, he just ducked his head in an empty Jack Daniels bottle. Just went like, right, crash against the drum riser. And then I looked at Lisa, and then when I was looking at Lisa,

things started coming, like, you know, projectile, incoming. I got hit with a bag of chicken. I mean, I don't know. I mean, it's like, one and the time. Wait, the ticket might have to be the second night, right? Like, they didn't know what was coming. The second night, they brought stuff to throw them. Yeah.

But the first night, it was like, are they, do they hate us that much that they, you know, they're just throwing their lunch at us? I mean, it's like, where were these objects coming from? It was just like, you know, you can bring lunch to Rolling Stone's show. I mean, that's what I mean. It's like, you know, what? It's like, it was just a, but Mark said.

So it was like bikers. And, you know, it's the stones. But they were the doors were at six in the morning at the Rose Bowl. It was a Coliseum. Coliseum. And so they were there all day. And then we went on at two in the afternoon.

So it's like an all day Rolling Stones Festival. Yeah. You and Jay Giles been, right? Jay Giles and George Stirling. You guys were first? Yes. We were meat. Yeah, we were just raw meat.

So then. So you sing the stadium was fooled by then? Yeah. No, well, it's a total. In my position, it's always empty. Like, when we do, like, Dave Matthews shows, like, 12 people in the audience. There were a lot of people there was at least, you know, 80,000, 60,000. There was a 90,000 seat venue.

Yeah. I just remember it looked like cattle, and they had the fire hoses, and they're spraying people down. Yeah. It was a crazy. Then there was a food fight. There was an actual food fight. Amongst themselves? Yeah.

It looked like clouds. Just clouds. Yeah. So that was like the, really. rap show of the day. You never hear about this thing. One thing I just wanted to say is that later on during the Stone set,

they actually threw it must have been two dozen pair of shoes up on Stets. Yeah, but out of love. What, you think it was out of love? Yeah, because they were three out of a rescue. Yeah, this was why. One was love, one was me. Why were they throwing shoes, though?

To get Mick to pick it up, you know, just it was a, you know, They were aiming at our head. I know they were aiming. They were throwing nicely to him. I just thought it was odd that they threw shoes up there on stage at him. And, of course, he just said, you know, I'm not a effing doormat back to the audience. Yeah, I mean, look. Wait, you stayed to watch the show?

Oh, yeah. I heard Prince, like, literally got... Oh, he left. I left, too. I was going. That he got on the plane and went to Minnesota and then Mick had to call him. Mick and Dad said to call him and... Now, without the technology, like...

Like, it's not even like cell phone action. I think it's like both on a phone technology back of the day where you used to both kind of put the phone up and both listen to the phone. We didn't have that. And Mick, you know, was with Des and I know the management. And but the story I remember at most is that he had had enough and we couldn't end songs without his cues. So when he left. We left and he went down and he walked up the stuff. I'm playing.

We're playing. He's walking back up the big red carpet where the Stone's villages. And I see Bill Graham, the legendary promoter, like, tear after him and say a few things. Hand expressions. Who knows what he said, you know, the classic, you'll never work in this town again, or whatever he said. And he just turned around, came back, ended the song, got on a plane, went to Minnesota. Mick said, do you want me to talk to the crowd? You know, because Charlie and Bill came back.

They were great. Apologetic. Apologetic. And, you know, our fans are rowdy and stuff. And they were really apologetic. And Mick said to Prince, do you want me to say something to the crowd that I wanted you? You know, Mick was the reason why we did it. He loved dirty mind so much.

Right. And Prince said to him, I don't need my mom to go up there and tell anybody anything. You know, so he... He was indignant about it. But he came back. And that dressing room before the second stuff was the most tense, thick air. I ever had with him in all the years. That moment

before the second Rolling Stone show was just, we're going to die. Oh, that's right. Yeah, well, I got hit in the head. I remember in the limo. Prince almost got hit with glass bottle, but anyway, go ahead. I just remember in the limo when we were leaving, because I got out of there too,

and I remember he said, he was so embarrassed, I think, because that was my first show. Yeah, he was sad for him. He was sad for him. Yeah, he said, He says, Mark, they ain't like this. And I said, well, I said, friends, that's the stones. You don't have to talk to me.

I know how rowdy they get. And he says, no, no, you don't understand. When we hit our first show, you're going to see my audience. And he says, it's night and day from this. And I didn't know what to think of that, you know, because I haven't seen anything. I come from the Chitlin circuit. Was he the same after that or was it like even more determination? I usually talk to him at least every third or four.

I didn't talk to him for about four weeks and he was just in the in the Purple House which became the Purple House later but on Lake Riley and he was down in the studio and then he called me one day and he said I want you to put some you know the syndromes on a song and we we put syndromes on 1999 and little bit Corvette and and I was excited that you know he was in good spirits and he was ready to you know Then we just kind of went down south where it was safe and just played and played and played. And that gets the Rolling Stones, it was. Now, Black, we got throwing food as you know about that.

We went back to find the love, you know. That is weird, though, because you would think, like, a show in L.A., like, to me, that's, like, the best thing in the world. Like, yeah, we go to L.A. man. We did Pittsburgh. We did the Stanley Theater. That was my first Real French audience And I'll never forget

The love was different It was like oh man This is sweet Not so south But we went to find the love But eventually Atlanta And you know I mean Atlanta was another

You know Fox Theater You know we just We did it Whatever happened He figured out who his audience Was And it certainly became the Stone's audience

Later it just You know He learned from all that But the physical I mean, it was definitely, you know, this is like professional baseball football. You know, you know that. And we're at that standard. That was a loss.

And there was many Ws to come. But, you know, that was a big, you know, 41 to nothing beat it. I almost think that maybe it's a good thing you guys went through that to. Totally. I don't know. In my head, it was like, okay, that's going to make a stronger, more determined. Totally. That's sort of thing you have to go through that.

I've never cried before. I mean, like that. I mean, it was terrible. I mean, it was just really. traumatic to tell you the truth. Yeah, oh, yeah. Yeah, I was actually pretty shocked at what happened because I didn't... Leading up to it, were you excited?

Like, yeah, of course. Oh, that was the dream. Are you kidding me? It was like an amazing. I mean, for Matt and I, I mean, you know, the Beatles, Stone was at Sullivan, you know, the whole thing and it was like, this was, you know, meet Charlie Watson. Yeah, everything was just punky nor. But, you know.

Well, so someone also put it to me that, um, and this, this is, like this person's theory on being born in 1958, at least for Prince, that even though Prince was technically a baby boomer. Yeah. That the audience of the Baby Boomer wasn't his audience, that technically he was the older brother, the Generation X. So all the kids and the younger siblings of the Rolling Stone audience would be Prince's true audience.

He wrote the Stevie Earthwinter Fire Ride. was where he went, Earthwind and Fire's audience, obviously with Cavala Ruffalo, they knew how to do that. And EarthWet and Fire had done such incredible, you know, with Doug Henning Magic and all this stuff.

Earthward and Fire really changed everything. Right. And then, you know, it was just crossover smashes, and that opened up, you know, us, really, in a way that we could get going. But the way we did. But obviously, you know, midnight special and there was a lot of TV that didn't go right until Saturday Night Live

and that went right and then all of a sudden we were you know more focused after all that so when things are heating up during the 1999 tour I know that the time was the openness for you guys um was the folklore really as tense as as it was as far as like to the point where it's like okay you guys cannot open force in New York? Like, were they... Was it really that much of a threat? I mean, I could speak on this. I mean, I used to have conversations

with dude every night. I'd be like, Prince. These cats are burning it up. I said, they are burning up the stage, dude. He's like, that don't got nothing on us. You watch. You watch.

And this was every night. And I think he started seeing it. And it was like... Wasn't really that much of... Because even though I've seen tapes, I've not seen audience reaction to the time. I think that was an internal thing. There's just no comparison.

This is what I saw. Okay, this is what I saw. Prince was starting to cross. Prince was starting to cross. The time was still in that black audience. That's right. So that's what you saw. But I think that was the whole goal.

Like, okay, this is me as the black group. And this is me, you know. Exactly. I thought he wanted that. But he did. But the audience, you know, they come from the hood. the time was like, oh, what? The bird and everything.

And so we were going more rock and roll. And so, you know, certain songs like, let's work, you know, we would play certain songs because we had to. But he really wanted to do the little red corvettes in the 1990. He was changing. So there were points where the audience just wanted to, like, okay, okay, they're doing, let me sit down. It got tight.

You could really see the shift. And that's when he, took them off the tour. And he had to. He had to. He had to. He had to. In my opinion, that's just my opinion.

Because he took them off in a market that my relatives never got to see him, which was New York. And they were heated because they thought, like, we never got to see the time in their prime, like, doing that period. So it was really tense. But the tension at the end of the tour became, really bad to the point where the food fight

ensued. So I was just weird. What's the food fight? The food fight is another show, but it was insane. So I'm standing in the stairwell in New Orleans at the Staling Theater in New Orleans and all of a sudden Jerome

looks at me with an orange in his hand and then just pelts me. I have a light-colored suit on and I walk back on a dressing room and Prince looks at me and says, what happened to you? I said, Jerome just hit me with an orange and he went, what? And it was like, I just thought nothing of it.

And to him, that was like Pearl Harbor. First shot had been shot at first shot in fire. And it was like, he got so enraged that it just, all I can tell you is it turned into two days of complete chaos, hotel rooms trashed, Jesse Johnson is a prisoner of war, it'll be chained to the wall. You were trying to move to a coat rack. Who had handcuffs?

Okay, this is the area. Chick and everything. Grass knuckles, handcuffs, guns, whatever you want. So Chick was actually part of this as well. Oh yeah. Chick was, got Jesse Johnson, picked him physically up, carried him in the room, and handcuffed him to the coat rack. Because he was threatening Prince. You know, verbally threatening him, you know.

Yeah, Jesse was so he didn't, I'm going to kill you. So Prince, we had a romantic name Hugh at that point. He sent him out to the store. He came up with maple syrup, eggs, and toothpaste. And Jesse Johnson's being interrogated. And they're pointing maple syrup over his head while he's chained up, and they're putting toothpaste on him. And the time is hearing that they got a prisoner in there.

And so Jesse, Jam and Lewis show up at the end of our set was shields and hefty bag suits. They made suits out of hefty bags with shower caps and they had eggs. Is anyone the audience noticing this? No. They have no idea. Later. Later.

On stage. Yeah. It was having it all through sound check on stage. Oh, Jesse Johnson was captured on stage. It was bagged on stage and dragged up. I thought Jerome was, too. Did he pull him off and during the show? During their show.

And then the rule was the time couldn't touch us. They tried. Oh, really? Okay. So the time couldn't touch us, but Prince, I think Prince jumped up there as Jesse or something. They captured Jesse, took him to the room, and Prince waited for him while they chained him up. And then, but the end of this story is Jesse breaks free with the coat rack. Yeah, yeah, yeah, yeah.

Like a monster movie. He breaks free. We're swinging the coat rack. Off the wall. And then Prince, everybody scatters. We went outside Jam and Lewis are waiting for us. us with eggs. We run, Matt and I run into Rogers room. And he's like going, what the heck's going on thinking? See? We're like, outside. And we just kind of, he's like looking at it.

Come out into the party. So we hide out in Rogers room for a minute. We come back out. They're still waiting. You know, they got eggs, they got stuff. And then the end of it, Prince had sent Hewitt out to get pies. Oh my God. Wait, what supermarkets open in the late hour? A hotel or something. And they Carts of pies show up. Carts of green pies came in like in a movie. And we had a pie fight. We had a pie fight. But Prince wasn't done. So then he goes, come on, let's go to the hotel. He gets the hotel to open up Jesse's room and we're hiding. Lisa and I and Prince are in Jesse's room with yellow mustard.

What? Prince is with yellow mustard. I said, Prince, that's yellow mustard. This is not a cost a fortune? I don't care. He's like putting yellow mustard all over his clothes and all over everything. When we hear a noise outside, and Lisa and I are in the closet, Heidi. And it wasn't just... Then we got out of the room, and he's putting yellow mustard on his door. It's the Prince's going to pay for this. Yeah, it was like $12, $15, $20,000 in damage.

Who got to pay for that? Led Zellon throws TVs out? This is nothing. The tour. The tour paid for it. Yeah. So, I mean, was there a kumbaya moment at the end, or was that, like, the last Prince Time show ever?

Well, Jam and Lewis were out, so not really. Yeah, me and Prince enough sitting in for them. Doing the Atlanta ship. Backstage, yeah, because they weren't there. Wow. So you guys were playing like backstage, like, blind the curtain with him? Yep, I hit jams. Terry's parks, Prince had jams first.

Wow. It's a movie in itself. It's just really an amazing story, and it was war. Really? Yep, yep, yeah. Well, you know, I just want to thank you guys for, I mean, I can go on forever and ever and ever and ever, but I really, really just want to thank you guys for everything that you've done

for music and for, you know, for me personally. But ladies and gentlemen, you're very honest to hear it. I just want to say thank you for being a disciple and thank you for carrying our torch for us and the love. everything you've done to keep our name alive and be on our side. We love you for that. We'll see Brown-Marc and Dr. Pink, ladies and gentlemen. We'll be back for more requests.

Love Supreme. 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 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 deserved.

Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. I got you. Everyone, I'm Ego Wodom. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. 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. give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent. He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration.

It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the 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 Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits, teams look for, to the biggest mistakes franchises make,

to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast.

And for more, follow Timbo Slica Life 12. and TikTok Podcast Network on TikTok. And we're broadcasting from Minneapolis, and we just wrapped up a great conversation with Mark, Bobby Z, and Dr. Fink of The Revolution about a crazy food fight. I guess normally I would come with a real mushy,

heartfelt, emotional intro, but based on what we just heard, I got to cut to the chase. Lisa, can you please give us your account of the food fight in Cincinnati? Oh, Lord. Um, sure. I mean, it's such a story.

I mean, it went on. I don't want to know how were you, were you, was it just all women and children and Jesse taking hostage? Yeah, women, children and Jesse. Please welcome the muses of all muses of all. No, no, like muses just feels like assistance. I feel like you guys are really the epicenter that he came to. So no more muses. muses. Ladies and gentlemen, Wendy Melboyne, Lisa Coleman.

Okay, so, I mean, there's so many questions that I know you're tired of answering and whatnot, but just for formality's sake. Actually, no, there's a lot of your background before you even came to, I guess, under the purple umbrella that I would like to know about. Both of you are, first of all, from L.A., correct? Yes. Okay. So how did you two meet? Like you two were childhood best friends, correct? Yeah. Well, here's the story is pretty interesting. We're, Lisa and I are second generation L.A. musicians. Our fathers were studio cats. That's what they're called, right?

They are part of the wrecking crew. And in the 60s and the 70s, being a studio musician was really a really respectable career. You got your pension based on how many sessions you did. So when my father and her father were in their 50s, only 50s, and all of those cats were losing their gigs to machines and to single-room producers, they started living off of pensions based on sessions, right? Which really don't do now.

our families grew up together. We went to the same schools together. We had the same doctors. We had the same hippie friends. And parents had the same drugs and the same, the whole thing, right? So there were three kids on Lisa's side, three kids on my side. And we grew up together. Growing up in that kind of environment, we were very well-versed with what it's like to be in the business,

what it's like to be musicians, what the separate. between entertainment and artistry, we knew the difference. So I think being hired by Prince, that I think that was an asset for him because we had a real, we had already had a big definition of that in our own personalities by the time,

at least I joined and Lisa joined. And, you know, we had bands together with our siblings. There was an unreleased record. on A&M. What's the name of the group? It's based off of a really horrible food substance.

Name it. Waldorf salad. It was the parents' fault. It's the parent. We all went to a Waldorf school. We all went to Highland Hall, which was this Waldorf school. It's a Steiner education.

It was real hippie. You get to crochet and do eury and make cut. Yeah. I mean. I mean, but at the time, you're making it like it was a lame thing, but at the time was it like fun? The name of the band is lame. Waldorf salad.

Who named the band? I'd have to say my father, rest in peace. Was her dad. Okay. My father and her father are also the ones that were the band for the Partridge family. My dad was Shirley Jones. and Lisa's father was the little girl tambourine player in all the sections.

West Farrow was the producer on those things. Really? Yeah. Yeah. And the Sid and Marty Croft show, which I've told you about. You're going to make my dad like freak out if he hears this. He's done lots of other cool things.

Your father did all of the Steely Dan record. So your dad was much cooler than mine at that time. They were both cool. And all the motifs. They did a lot of cool things. So what else, like go through the resume? Like what else has your father done? Well, my father really started on Motown sessions.

And he, I mean, he played with everybody. I didn't even know what all he played with until recently when he tried to design a website and he was trying to write his discography and all the albums he's played on. And it's just... Same with my dad. immense. I mean, almost every record that was on the radio in the 60s, like from 63 on, my dad was on every song.

What is her dad? Being a percussionist, yeah. So back then it was like a percussionist was really a cool thing to be. You want to be on a Phil Spector session as a percussionist. That's the wall of sound. Right. I mean, my dad also played on, like Marvin Gaye. He played Kongas, you know, on what's going on. whole record and stuff like that when we went on tour with when I don't know what tour it was dirty mind maybe with Prince we in Detroit they took us to the Motown mansion for a little tour and there was a picture of my father on the wall that's dope my dad never knew that and what was your dad's name was his name's Gary Gary L. Coleman okay that's amazing so you can go on the internet and see

both of our fathers on the pet sounds recording sessions because my father's doing all the he played all the organ stuff yeah like good vibrations and all that kind of stuff there's a great view of my father

young and cute and your dad's name Wendy Michael Michael Melvoine I remember your father beaming with pride as he introduced you at the Grammys Did you know it on that very night when my father introduced us on the Grammys

and my daughter happens to be one of the members of the revolution. Prince looked over at me like, I'm going to kill you. I'm going to kill you. I was going to say. I'm going to kill you. I was going to do it.

I didn't know. I know nothing. The mysteries. I was supposed to say normally like you know, they would, you know, whoever, I think John Denver was still hosting at the time, like, for artists of you guys' stature, normally like someone would big would do that.

I was like, I found weird. Normally like a narrow staff member would just say what the rules and regulations were, not introduced the biggest act of the night. So I always wondered how he got the broker. My father was the president of the National Academy of Recording on the Science. Nairus, right?

And that year, which is really funny because all of our Grammys and all of our plaques have my father's name. That's awesome. As the president of Nairus, it's very trippy. There are so many connections. connection. So that night, my father, you know, the National Academy of Recording Arts and Sciences was

like to welcome everybody to the Grammys tonight, blah, blah, blah, blah, blah, blah, which they normally do. And then he introduced Prince and the Revolution. And this is extra special for me because

my daughter happens to be a member of the Revolution. And Prince, at the time, he would be like, if he was like, you know, I mean, there was this whole aesthetic we had like, don't smile, man, look badass. Look cool. Yeah, it was all mystery.

You know, like, if there was any kind of cuddly, cuddlingness when you needed to be badass. Hi, Mom, we're on TV. I'm gonna kill you, your don't blow the bubble ass. Don't do it. I don't want to care about this at all. That's crazy. Yo, so, okay, this is one,

do you remember anything about the Sunshine Superman Sessions with Melvimore? I remember. Yeah, very much so. Really? What's the story behind that? Melbourne. Wait, before you get into the story,

let's check out Melbourne Moore's Sunshine Superman with you, Wendy, and your twin sister, Susanna, singing in the children's chorus. That was Melbourne Moore's Sunshine Superman on Questlove Supreme. We're here with Wendy and Lisa, Princess Band, The Revolution. I don't know, for me, with Sunshine Superman, I mean, just as a digger,

as a crate digger. You're just so crazy. I can't even believe it. Well, no, I mean, like the way that hip hoppers discover stuff is to look up the most unusual things ever. Sure. And then that's how we dive into the pool of music and research. So you get these albums. You're like, oh, okay, I'm going to loop that.

And then, you know, some producers actually read the credits and see who else is on it. And I kept seeing, hmm, Melvoin, Melvoin. Oh, crap. And then, you know, and then it's just. There's not very many Melvoins. We're all very closely related. I know this now. So I guess I got to bring you guys to middle America.

How did you, why did you leave L.A. to go to Minnesota? Like how did your paths even cross? Or I guess Lisa, you were first. Yeah. Well, it is kind of strange growing up in L.A. and Hollywood and being born into the music business. You know, like that was the steel mill, you know, our town. You know, I grew up in Hollywood, went to Hollywood High.

You know, my dad worked in the studios all local. You know, it was all right there. And then I moved to Minneapolis to make it big. I was so lucky. I mean, did you go there specifically to work with Prince or was it like, let me, let me. No, I don't think you chose that state to go. No, it was like, are you kidding? Because it's like Funky Town just came out.

It was about getting out. there. It was like, take me to someplace else. No, it was just through his management company. He had a female keyboard player, Gail Chappell. Yeah, right. And so how did Owen Hunty know to seek you out? Well, by that, Owen had just been fired and he had a new management, Farnoli and Cavallo. Can we probably say their name because it's just like nine of them. Steve Farnoli, Bob Cavallo, and Havallo. Joe Ruffalo. So it was

Cavallo, Ruffalo Farnoli. So there's only three. I always thought it was like four or five names. Well, it sounds like it because there's a lot of consonants in here. And Guido and

you don't want to know the other guys. You don't talk about those guys. So they, I mean, what was... So, well, they were just looking for another girl. And a friend of mine, who was my best friend in school, she had run away from home and got a job

at their company, you know, secretary. And she heard about it and she was, oh my God, Lisa would be perfect. And she told me about it. And she said, Prince is looking for it. And I was like, it was Prince. Did you know who, yeah. No, I didn't.

When did you first hear of Prince? Oh, I, when you knew all about Prince? I was a, I left my, it was the summer of 77, and I went, my sister and I escaped our houses in the middle of the night, and we went to the Starwood, which is an old club here in town. You could look it up.

And they had two places. There was a disco, and then there was a live stage. So the live stage, you'd see like secret concerts of Devo, and you'd see, you know, I mean, that's, I saw amazing performances there. But in the disco, that's where I was. And this one night, the DJ puts on soft and wet. And I'm 13.

I'm like, I'm like, I literally ran up to the booth and went, who's that girl? And the guy looks in pain. That's not a girl. It's prince. He's 17. He's from Minneapolis. From that moment on,

I knew and studied everything. And then, finding out that this one got the job playing with him, I was like, you're kidding me. Do you know who he is? No. And then she's, I'm in the kitchen of the Coleman's house in Hollywood Hills. And Lisa has a cassette.

She's just come back from Minneapolis. She comes back with a cassette of head and puts it on in the kitchen. So that, when that song came on and I was listening to it, I was like crushed with envy and pride. and like she was perfect. She was the perfect addition to his, she was so schooled and highly cultured. And to hear her voice say,

I'm just a virgin and I'm on my way to be wet. You could tell it wasn't, it was uncomfortable for her to say. The way she speaks, it was so innocent sounding, but behind that voice, if you listen carefully, that's a really serious person saying that and I got that from it and I was like this just makes

this whole song that freakier this is great it was almost so dangerous to me it's like oh my god it's not like some weird faking prostitute sounding person it was like this young girl It sounded like a caricature

It sounded real It was a trip That's weird Like you had a moment of pride And I had a moment of how to not get on punishment for three months. It's weird. Like, everyone has a soft and wet story. That's like a moment of discovery of this guy.

Wow. So, I mean, obviously, I know that Gail Chapman left the band under tense kind of this, under this tension of having to sort of cross the line. Well, yeah, I mean, religion. Sometimes, I mean, can oppress people from doing certain things. So did you, were you automatically told from the gate like we are trying to push boundaries never seen before and that sort of thing? Did you realize that you would be the? No, I just, I didn't, I don't think a.

Between Prince and myself, I think it was a different kind of relationship. It wasn't really that, like, we didn't really conceive of anything first. We sort of just explored it and then conceived, you know what I mean? So it was back and forth, but I did see that in what he was doing, and I loved it. I loved that it was outrageous and, you know. But you did see his Starsborn poster in the house when you got it. Well, what did? person. Yeah, well, yeah.

When I first flew out to meet him, and he picked me up at the airport, and it was pretty funny. He drove? Yeah, yeah. Oh, wow. That's so weird. It's like, now it's like, oh, have our manager's car service pick you, like, so there was no cars. No, no, no, no, he'd pick me up in his fiat. He'd pick you up in his fiat, yeah. He was a little fiat, and we drove to his house, and I even, like, smoked a cigarette in his car. Like, mind if I smoke? And he was like, I'm sure he wanted to say, don't smoke. Yeah, like, you're fired. He let me smoke, and I used to smoke. And, yeah, so we got to his house, and it was a trip, because I didn't know what he was about, you know, and he didn't know what I was about.

And we were looking at each other, like, what are you about? And he pointed downstairs, I go down there, there's a piano. And then I was looking at the posters on the wall. There was like, Chris Christopherson and Barbers Drex in. I was a little bit like, what? I'm certain that somebody put that up there for him. I can't see him doing his own housework. Oh, that's not true.

He did a little bit. Yes, he did. He was investigated? Yeah. Yeah. He knew how to put a piece of cloth on a lamp. Exactly. That was his thing.

And he could like just putting things on wall, like spray paint, pieces of paper. Was he extra meticulous? He seemed like he was so much. Later on he was. In the beginning, no, he was a mess. In the beginning, it was a mess. It was a mess. Yes.

You know? He was a mess. Sloppy. Yeah. You know, it's messy. I have pictures of the laundry room. But you know, and that... Oh, wow.

You know, it's funny because... He did laundry? No, I'm playing. I ended up doing it. I'm making fried egg sandwiches. He, he... One of his last piano concerts, he talks about

meeting Lisa for the first time. It was the second to the last performance of his and he says in that very moment where he points down and says, you go downstairs. He calls Steve Farnollin, he says, I don't think this is going to work out. Really?

Yeah. I don't think this is because there was something about the way. He said I didn't look him in the eyes. Yeah, something was weird to him. And then... I thought you weren't supposed to. Yeah. Don't look him in that.

And then he says, you're not supposed to look me in the eyes. That's what he didn't know. Exactly. So what ends up happening is he says, you know, go downstairs and then he calls Fernily and the phone. He says, you're going to get her out of here. I don't think get her a flight home.

I don't think this is going to work. And as he's saying that, she's downstairs, and she opens the piano, and she just starts playing. And if anybody in here has ever heard Lisa play by herself and what comes out between Satie and Hindemith, and he said, I'll call you back. So you had a classical background. I mean, when did you first start playing piano?

As soon as I could reach it. Yeah, yeah. It was just in the house, you know. My mom was a singer, and she'd have piano players come over, and there was this guy, Dick Gray, who was a very depressed man, but played so beautifully and would accompany my mom when she would practice, and she was a jazz singer. And I would just watch and look at the shapes.

And I just always, and I still have that in my mind, like, shapes, it's shapes, you know. It sounds like synesthesia to me. Yeah, I was supposed to say the performance of anesthesia. Yeah. So when you heard sound, you saw shapes. Yeah. Well, it's kind of funny because Prince always said that your sound always added a lot of color to his music. Exactly.

Yeah, yeah. So I just, yeah, it's really visual, you know. And that's how I would try to recreate it when I, after they would finish, and I'd go to the piano and try to make shapes again, you know. Usually, well, every virtuoso I know. at least in pop music. You know, they have this higher education first. Like the Motown guys were jazz musicians.

Yeah, yeah. This pop stuff's whatever. Yeah, if you play jazz. So did you feel as though, or did your family make you feel as though, like, oh, you're kind of lowering yourself? Like, you could be the next. You could be on this level of classical music. Yeah, a little bit. My father had a bit of that because he really did.

He did a lot of times. Lisa, you got the talent to be a concert pianist, you know. I really, I saw that for you in your future. And I would marry the conductor and, you know, all this stuff. And I was like, Dad, no, I'm going to be the conductor. You don't understand. You know. And it was, and he shouldn't, he knows.

I mean, and my mom knew the truth because I grew up, I mean, I didn't know and I didn't care what I would play. I just wanted to play, and I wanted to play everything forever, and they got me lessons, and I was just lucky to be advantaged the way I was that they supported me playing at all. And it was just my house, and my brother, my brother and sister were both musicians. My sister was a guitar player, and my brother was everything. Here's a nice little tidbit as well as that Lisa's father, Gary, was friends with Tom Oberheim. Wow.

And they had some of the first since in the house, and Lisa also learned all of her skills with an ARP-2600 in the house. And so Gary was doing a lot of music concrete in his studio. He was an electronic composer. Yeah, an atonal composer. And Lisa learned all of her tape skills and marking and patching. Yeah, we had the, we didn't, you know, synthesizers were, they were just like modular things.

that you had to patch together and then we would cut tape and little pieces and flip it and my dad taught me all this stuff. So you had that education early. Yeah. Oh yeah, she was a team, like a young team learning that stuff. So by the time the Oberheim came, when you were able to actually play chords on it and not like one note at a time. Right, exactly. Oh my God, then you're the perfect person.

I knew how it works. She was the perfect person for Prince. Perfect. Yeah. And in that way, my dad was right because he said, if you have the skill and then you have this knowledge, you're going to do something. do something. Okay, so I have to jump ahead a little bit. Rick James' street songs and Rick, at least the David Ritz edition of his autobiography, talks of stealing your keyboards and they're already made patches to record street songs. So by that point, was the Overheim, like,

How much programming did you, like now, of course, if you have a Triton or whatever, it's like ready made and, you know, it kind of does have to work for you, at least to get the patch sound you want. But how, did you have to pre-program this stuff specifically to get that? Well, to be honest, in the very beginning, it was actually really cool to just have the big fat kind of like sloppy sounding, you know, whatever the presets were. when they were first coming out with presets. Right. And they just had a sound. The only thing that we used to do is just like, just turn the filter up.

So there's no grand design? Like you just... No, in the beginning there kind of wasn't. It was just played loud. They were toys there. Yeah, and it just had a sound of its own. It was just as we would, as we progressed and started learning more, and then we would kind of tweak the sounds and make more sounds.

But in the beginning, no, it was really like, that's why you can get an Oberheim now and it sounds like you know you're to whatever C1 and it's those are those horns you know right so did you did you guys discover that your equipment was stolen to make this record and every time you listen to super freak like that's my keyboard well no I mean my purple rain guitars were ripped off that pissed me off really yeah my purple ones? Wait, who who, whoa, how? There was no other opening act, but you guys.

Well, it was at rehearsal, and we were loading the trucks, and someone was eyeing those So they knew instantly that the stuff would be priceless and Yeah, so bummed.

So another theme that I notice that's recurring is the meticulous hours of and relentless hours of practice that you guys have had to put in and I guess the ongoing joke, at least for all the things that I've collected, was that if there's anyone

that's an expert at James Brown's body heat, it's... You guys... Just when you said body heat, it was like a key... B flat, exactly. I'm thinking B flat. Oh my god Robots You're like slowly I turn

Step by step Well I would assume that he was working out Stuff in his head in real time But He'd have us not move for four hours And he'd be practicing dance moves Oh wow Really?

Yeah We were a machine So instead of It just turns out We were the loop We were the loop We just press go And say okay go

And then don't move don't move and he'd be doing it. Well, I kind of want to, there was a period at least that I noticed somewhere between late controversy, no, even I'll say between late 1999 tour where his dancing was sort of awkward, i.e. the dirty mind thing like, it was more like a Mc Jagger thing. Yeah, yeah. And then I guess the first time I realized like, oh God, this guy's, this guy's, I mean, inherited the baton from James Brown's Tammy show was,

I guess when you guys released the Baby I'm a star video clip from Maryland, and I actually saw you guys as the new J.Bs, like, was that just the relentless hours of rehearsing? You know, someone mentioned something about that, and I have to say that this is all a maturity thing, you know, in those specific years he became mature and he felt very comfortable in his body

and the band that was behind him was relentlessly in tune to every movie made and that was countless hours of not moving and giving him as much confidence in safety in that environment to perfect that thing

it's like he was on the wire, you know, and we were like the balance, you know. We gave him the umph underneath to keep him up there, you know, and he could just spin around on it and we just never kept, never looked away, you know, we kept our eyes on him and that we just became a body. Yeah. There's probably, I guess, out there in the, in the atmosphere, there's probably, I'll say maybe 18 or 19 hours of, the morphing of Baby I'm a Star from when you guys were first rehearsing it for the show and it sounded very much like the album version and then suddenly like the BPMs get higher and then suddenly you hear like the cues come in and I mean at what point did you realize that

you know with the idea of him stopping and all these cues that had to have been a nightmare at least tour-wise and not nightmare. Not at all. Not at all. It's kind of the contrary. It made it the job at hand, and it was, you know, if you choose to take this mission. You know what I mean? We were there and ready to do it. Yeah, it was like, what else you got?

Go ahead, try and stump the band. Exactly, try and stump the bed. But at the same time, you know, every time we'd add some kind of like, if we put mutiny into something or if we took a groove from somewhere else and, you know, like, tapped it in. It was, every time we were dialed in in a groove, we looked forward to getting to that spot where that groove would happen. It could happen. And then he would start doing the little. Yeah, you do the thing.

And whenever it was dialed in, it was almost like that thing that happens when you're, when you first hit mock two or three and you just, you're out. It's like a runner's high. Yeah, you feel like the group. groove actually sit so tight, you feel like you're in slow motion when the groove is that good and everyone looked forward to that moment and every time he wanted to

push it and do more of it and more of it we had the runners high with him. So okay, I know I'm asking a lot of privilege questions like the only stuff that I've heard like the average person hasn't heard. But I kind of have to wonder if this

is true. So I tend to notice that the best shows ever are always the shows with the least, or in the cities with the least expectations. So I'll say that, you know, a town like Providence, Rhode Island of, I mean, as a person who's heard maybe at least 70% of all the Purple Ring concerts and like studied meticulously, I noticed that some of the smaller cities, you guys were just like in this incredible zone. But I would listen to a New York show or an L.A. show, and I'd be like, oh, man, they didn't do it like that. So I can only imagine, and only having talked to Alan noticing that, like, Michael Jackson might be in an artist.

I was just going to say, it depends who's on the list. Who is on the guest list? If there was a lot of people on the guest list, the show became really mannered and tense. It was like, you know, if it was, you know, like. Calamazoo, Michigan, you guys had the time of your life. Because it was for the fans. I mean, it was more, and it wasn't because it was famous people. It was more like we thought of them as suits.

Yeah. Really? Yeah. Well, you two also hold that, I guess, this distinctive and dubious honor of sort of crossing over from his stage world into his studio, which I guess the folklore is that, you know that that was

Fort Knox or you know just like no one gets influence into no they didn't it's true there was just a small group of people that how are you able to even gain trust on that level at least to play him things like here listen to this

listen to this and listen to this and what he just offered it I mean well he said I need inspiration what do you guys got right no no no no no I mean for me if you don't mind because I was there early on and even, you know, like I lived in his house, you know, in early, early days. And, you know, he'd take a nap or something and, like, I'd be in the studio messing around.

And he'd said one time, and I remember that piece of music I did for miles, just my stepdad. It was just for fun. And he was taking a nap and he was hearing me play and everything. And he was just like, I had the best dreams and, you know, that was so beautiful. And so he knew what we had, you know. Can't stop you one second? You said the most amazing thing. What?

Prince left. Oh, yeah. Oops. Oh, no, it was just, he blinks. That's really funny. He got something in his eye just for a second. This is something people don't know, but this is really, really cute. Okay, go ahead.

So in his bedrooms, they're, you know, I mean, because he sleeps at, slept at funny hours. so, you know, the rooms were black. But the blankets and the comforters were about three feet deep, right? Like just, so he'd like, you'd just see like a little tube of like an imprint of a little body. Like a cradle. Like a cradle. Like a cradle. Yeah, just like a little cradle.

He was in his little boot of basket. You just maybe a tiny little pillow imprint, but this little tube. I mean, it was, he was. Oh, that sounds out cuddly. He was a tender button. I thought it was like the 1999 intercover with like the neon lights and the water colors. Yeah. Well, you know, it's when dubs cry sleeping in the bathtub.

Yeah. No, he was, oh no, he was a, no, he was a kitty with a ball of yarn. He was my little pony. Yeah, Lisa and I used to call him, my little pony. Did he hate that or like? No, he hated it, but he loved it. Ponys were awesome. Who could love ponies?

You know, and girls. Girls love ponies. Never mind, let's change this up. Jesus, far. So, I mean, at the rate where, you know, I guess late 84, mid 85, I mean, you guys were pretty much a lintimate McCartney combination together. I mean, could you speak on just at the point

where you were full-fledged collaborators? It became apparent that he really relied on us for a certain thing when he would be sending just a master with just a scratch vocal and a piano idea and say, finish this. Wow, trust. And so a lot of science. of the Times was done that way.

So just scaled? He was really, he was more, you know, making the movies and getting, you know, he was getting his head into other things. Well, strange relationship was like that, right? Yeah. And what's weird was that you guys weren't using patches. You guys were, were those. Oh, we played on.

Those were Middle Eastern, like. Yeah, we would get whatever instruments. My brother was also like a proficient. Yeah, my brother was an Arab. So the song We Can Fuck was. David's song around the world the day was David and his, you know, Arab and Farsi influences. So we use that stuff, you know. That's amazing.

Okay, I know in private I'll always ask about the Japanese run. Yeah. But that was tough. I guess in the past few months, I guess video has finally surfaced on the smashing of the guitars. You told me when you saw the smashing you. I was with me and Lisa and Bobby looked each other and went, it's over. It's over. Because why would he destroy?

Because he was already pissed. He was pissed anyway. There was something happening and he was pissed. And there were more people on the stage, like Sheila's band was on the stage. He looked at me a couple times during really pivotal sections and said, lay out. And when he says, lay out, you. you're out. It's not good when Prince says lay out. When he says lay out, not on the one or

just... Right. When he looks at you and doesn't want you to play, he says lay out. And when he said it to me, I was like, oh, this is not good. What's going on? And then he looked at Miko and said, turn Miko up. And I was like, ooh, there's something happening here.

And then when we played Purple Rain that night and he smashed the guitar, I was just, wow, really is this happening? I think it's happening. And we got off stage, and I was panicked. I felt it. I felt it big. And Lisa was like, stop overreacting, stop overreacting, done, da, done.

I said, no, no, I'm telling you, this is it, it's done. We all flew back to our homes. Prince flew back to L.A. Had a rental there. It's a funny story. We flew back again, and he called us two days later to go to the rental. and pulled us into the room and said, I'm going to be going in a different direction,

and I can't ask you guys to wear nipless bras and crotchless panties. Which he wouldn't be that. Yeah, true that. And we went, yeah, that's true. You know, letting somebody go is probably, or at least reprimanding someone is, that's one of the hardest things I have to do. do and I hate, I'd rather than slice my arm off.

I can't stand it. No, I mean, I get. I'm amazed that he even didn't send note that, okay. It was incredible that he had. And that, that he, what he said was the way for him to feel comfortable enough to let us go. Yeah, that was his way. Because he knew that, Lisa and I would go, well, you're right. We won't do that.

He knew that that was his in and I understood that was his way of saying it. And I knew, ultimately. that wasn't the truth. He just was ready to take full control back and felt like I've spread myself too thin. What year was this? What year was this one happened?

It was just turning into, it was almost 87. Wow. And did you guys go straight into your solo album? Right away. Me and Bobby and Lisa. Yeah, we went. Yeah, I have to say that, you know,

more than, I think the album came out with, August 31st of 87. I'm sorry. Waltzville's looking at me like, who can't? I'm like, just how? I don't remember.

Their album came out the same day that Michael Jackson's bad came out. And I distinctly remember listening to their record more than, like, you know, the whole world was waiting for bad. And... That's the day I caught you. I know.

It was hilarious. Wait, what happened? She heard bad on the radio and she called me from on the front. freeway. I had one of those phones. Big cell phones. Oh, the cell phone with the seat. I was on the phone after I heard

bad on the radio. Whatever. And I was like, here's the single. Ba-da-da-da-da-da-da-da-da. Wait for it, Lisa. Keep that in your head. Put them together. And that was... I was like, you're kidding me.

This is a musician joke It's like circus music It's circus music It's something that we joked about years prior As it being like a joking musician Yes That thing that goes like this D-D-D-D-D-D-D-D-D-D-D-D-D-D-Bi-ha

Oh, come on This is the single And then we're both like It's a smash It's a smash! Oh my God, circus music Give the people what they want Exactly So real quick

One of you were there for a meeting between Michael and Prince, right? Not me. No, we weren't there. Susanna? He came back. No, we were. No, that was different.

Was that when he wanted, when Prince got the call to sing on? Were you the other world? No. On bad. And he's like, the first line is your bud is mine. Okay, who's seeking that one? He said that on that interview with Chris Rock. He was like, imagine me saying your blood is mine.

Right. Exactly. I'm not going to happen. I'm not singing it to you. You're not singing it to me. It's right. He was like, mm-mm. So how did it, I mean, not how did it feel to, you know, start creating music on your own without his input.

But, I mean, what were those first few, you know, I've loved everything that you guys have done in your solo. West Wing, like, everything. There's even West Wing bootlegs out there. and with these ones. That's crazy. Yes, that's how that's how obsessing your fan base.

Here's the thing, and I said this at his one of his memorials. Everything that I played then and still play now, I say to myself, I wonder if he'd like it.

Really? To this day, I still do it. So, he was sort of a measure of my push and my standards. That's a hell of a standard to have. Yeah. It's an amazing standard to have. Wow.

I'm sure you feel exactly the same way. Hell yeah. I mean, you know, I don't know why no one's just called me on. You guys are just a revolution karaoke band. No, but I mean, that's... Because you're not. No, you're not. No, but I mean, it's...

I mean, to me, the... You maintained an identity. You maintained an identity. You're not an imitation. There are plenty of people out there that are fanatics for him and have emulated and learned everything, and they do not have an identity. There's appreciation, and then there's imitation.

Exactly. Yeah, right, you know. Actually, okay, I have to ask, were you guys aware of, okay, I work with a lot of hip hop. Really? Yeah, I don't know if you know this. Those hip-hop kids. I mean, you know, we once had an aesthetic in the 90s, like, you know, no biting aloud, no copy and, like, you know, do your own thing individually.

Now, like, everything's just derivative of each other. But were you guys aware of the Ready for the Worlds? Oh. But I don't know. As soon as I heard, oh, Sheila, I was like, oh, my God, here we go. Here we go. But the thing is that I feel like I always felt that this wasn't just like, oh, let me copy prints or whoever this. I just feel like, okay, you guys just happen to have the blueprint and these are the new set of rules.

So the way that cameo made shit and the comedy, like that was out the window and now this is the standard. Yeah, it's just like people. It's like vocalists now. You guys like laughing at like, you know, those groups in the early 80s that were like. Some of them. Only some. Really? Only some.

But for the most part, I got it. You know, it's just like everything. You know, chick singers in the 60s don't sound like chick singers in the 80s. Chick singers now with all that malizma and the mid-range stuff is like what. Everyone sounds like that now. And that's just the standard. Right. So it's the same.

Yeah, it's a human thing, how we evolve kind of a hundredth monkey. Yeah, but were you guys this accepting and this politically correct? No way. We're patient, no. No. No, we were cocky. Are you kidding me? Well, because at one point, until I started hearing the rehearsal tapes,

I didn't even know if you guys were even aware of modern music. But then I would hear like rehearsal tapes and hear like, oh, okay, he does know about talking heads. Well, I'm, you know, as a mixture. I have to say, I'm the, Wendy's always informed. I'm the DJ. I know, I know everything. And when I, when something was good, I pulled him aside immediately.

I mean, I played him slave to the rhythm and said, you have to listen to what happened with these chords right now. Chip Al, Trevor Horns. Right. Steve Lipson. Steve Lipson. Not Trevor? Trevor?

Trevor, yes, co-produced it. And Bruce Lilley. And Steve Lipson and Bruce Wully did those. Yeah. And that was important for me to make sure he heard that. When I remember after we had broken the band up and do the right thing had just come out. And Lisa and I went to Minneapolis and I was a phenomenal. for the main title song.

Ah, yeah, the score. And I put it on there at Paisley, and he... Wait, you were still friends? Yeah. Okay. And he seemed visibly angry at the track. And it was because he was so uneasy, I think, with Chuck D.

and what the cadence of Chuck's voice being in that lower sort of demanding frequency kind of freaked him out. It didn't seem, it was like, why are you, why am I being assaulted with that? Right. And everybody, as soon as it was played in the room, everybody was getting up and dancing, and I think it's like the metal people when they hear Nirvana, they go, oh my God, it's changed. And I think that he knew it changed right there. He knew it.

Yeah, but he also, he had a different goal, you know, and I think he sometimes maybe found it hard to, when the weight would tip, because, I mean, come on, Chuck D. That was genius. Oh, what a voice. And he knew it, but it was, it was the, it was almost the antithesis of what Prince was trying to do. Like, he was aiming at your grandmother now, not at your kids. Chuck D. was aiming. Chuck D. was aiming. I mean, you had the kids. And then Prince came back with sexy motherfucker and house quake. Yeah, it's like, I can do that too. I'll do that. I can fuck you up. Oops. I mean, oftentimes, like, you know, there's syndromes of people kind of embracing things that they normally would resent in the first place and then wind up embodying that.

I think that's just youth. You know, time goes by and you go, I get a. I totally get it. Well, okay. On a final note, I would just like to know with the reunion of the group and carrying

out the mission, how has this process been? We're bringing the band. It's like the Blues Brothers. Wow. It's pain. Blood on your thumb. Yeah.

It's been... Blood on your thumb. Lisa described. Lisa described me and Bobby and Matt and Mark as five people jumping out of an airplane with our parachutes on trying to do formations after 20 years. I'd grab each other's hands. Over here. Over here. And someone went down there too far.

We're trying to find the formation. I have to say that I haven't seen the show, especially when April came on. I mean, I told you I ran out of there. Like, I couldn't take it. Some people cried. Some people cried. Some people ran out and got chicken. Some people ran out of chicken.

So that's my. I was like, I need chicken. Let me run out. I was a salad on the wall. You need my drive-up right now. Well, I really want to thank you, too, for everything that you guys represent. I mean, you know. I mean, you know.

You would think the smallest sound bite would mean nothing, but it's just like, you know, you read like, oh, okay, she's in the Jody Mitchell. Now, I'm at the library stealing all the Joney Mitchell records, and I'm hearing that you're playing more chords with your fingers, and now I'm making my keyboard players play like nine notes with just five fingers. Lisa can Lisa does three on each of the thumbs. And I've always told you, like, you know, you are the heir apparent to Jimmy Chank Nolan of the JBs and it's it's

you two are definitely one of my favorite people ever and I thank you so much for doing the show with us and just on a on a note for you you have been the greatest champion

of him in such a beautiful respectful intelligent way and you have such a way of pointing out just the right stuff that would be would help the listeners understand him and what his musical influence is. And, you know, look, the revolution wasn't, you know, we're not, you know, a bunch of

Juilliard grads. We were a band that was meat and potatoes and clocked really well, but we were an entity. And to have you validate that for us is really lovely for us. Wow. I'm honored. Ladies and gentlemen, Lisa and Wendy. A win is a win.

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

Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw,

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

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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.

Everyone, I'm Ego Wooden. 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, who, who. My dad gave me the best advice ever. I went and had lunch with them one day, and I was like, and dad, I think I want to really give this a shot.

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

and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast.

This week on the Sports Slice podcast, it's all about the NFL draft, and we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcasts 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. We're on the road broadcasting from Minneapolis, where we just finished talking to some core members, Prince's former band The Revolution. Now let's chop it up with Prince's original guitarist, Des Dickerson, and original basses André Simone.

Give it up, ladies and gentlemen. Thank you. Yeah, so we've been pretty much just reminisced in telling stories. And I'm kind of interested in everyone's beginnings before they arrive in Minnesota and sort of develop, I guess, or become a part of the movement that will become the movement that will influence a lot of people. Now, of course, Andre, I know that you're probably key to the very beginnings of Prince's life as far as his musical movement is. But what was your musical background as far as your family's concerned and before you guys developed what you did? What was childhood like? You were born in Minnesota?

Yeah. Okay. My dad was a musician. That was my musical background. family, my brothers and sisters, I was the youngest of six. And they all had various musical tastes. And that had a lot to do with just my personal kind of perspective on music. What did your father play?

Bass. Okay. What was the environment like? Bobby and Fink explained how they grew up in the suburbs of the suburbs of the Minnesota and I didn't realize that there was such a deep music culture here. I mean, as far as them explaining what the folk music was like, but I mean, what area was your father in that? We are the projects.

Say no more, brother? Yeah, I speak to English. Projects are all pretty much all the same all around the country. So how did, I know that, you know, music was very regional. You know, now with the internet, you know, someone in Siberia can get a reference that came from southern Georgia that, you know, in lightning time. But, I mean, how did culture and what was hip and what was not hidden? What was, you know, how did you discern what was what? Well, I mean, you know, again, and I probably don't have to tell you this.

I mean, you know, being black, period, you know, in America is an interesting, you know, just reality. And so being black in a predominantly, very predominantly white society, you know, and obviously during the time that I was growing up and becoming conscious and understanding what was going on in the world, you know, it's a very, very, you know, moving experience because music is unbelievable. I mean, because Motown, you know, obviously. James Brown. And then, you know, obviously, you know, the Beatles and, you know, Jackson, Fowell, a lot of stuff was happening.

And a lot of people were saying some very, very interesting stuff, you know. And for, you know, my family was very, very militant, very much, you know, into the community. So just, I mean, I think that combination really had a lot to do with, you know, musically, a lot to do with at least where I came from, where my family was coming from. because we were, you know, I had a cousin that was in the music. He was in a band, and that's how we even got exposed to a band. You know, my cousin was in a band, so we, you know, I went to go see him rehearsed when I was like, you know, a kid. And that's how I even knew how you conducted rehearsals.

So I brought that, you know, attitude toward when we started a band. So your band experience, I would assume in school, like what was the first band that you joined or formed? We started Grand Central, yeah. So Grand Central was your first? That was all of our first band. Well, me and Prince and Charles, you know. How did she two me to even know that you had something in common? You know, like I said, I came from the projects.

Right. My mom, you know, she was, I guess, at 15, you know, had her first child at 14, whatever. But, you know, my dad was very old-fashioned. They divorced. She wound up going back to school, college, got a degree, and wound up getting a really good job. moved our family out of the projects into an upper middle class black neighborhood. And I had to go to a different school.

And so I just, you know, the new school was like, you know, I didn't know anybody there, right? Literally. I just, they line you up, they put you in the gymnasium. They line everybody up and it was just a line of dudes and I didn't know anybody. And I just thought, I don't know any of these dudes and I don't even know if I like any of them. So I looked down the whole line and then I saw this one dude. that looked a little bit like me and I thought, I'll go stand next to him.

So I stood next to him and I said, hey man, my name is Andre. He's like, oh, my name's Prince. I said, you know, so we started talking. I said, what do you do? He said, I do I do. I said, so do I play. I play piano. I said, oh, I play bass, you know.

And he said we should hook up. My dad has, you know, like a piano and, you know, a little, I didn't have a bass at the time, so he said his dad has a little four-string acoustic, acoustic guitar kind of bass slash whatever. So we went over there and that's how we hooked up. Wow. Everyone's bass story in Minnesota starts with just four string. Brown Mark was saying that he ordered a bass in the Sears catalog

and broke two strings. The five two strings were broken. So that's, he came from face by default. Was the name prints a usual thing in the 60s? like, you know, I'd, you know, it wasn't John or Thomas or, you know, like. Mostly among probably small four-legged animals. But his dad's stage name was Prince Roger Nelson. But you didn't think that was unusual that that's your name, Prince?

Like, you know, he wasn't relentlessly teased for having, you know. Well, I don't. I mean, you have to, well, you can't ask him. But I have no idea, but I know that in, in that community, in that native, We had Caesar. You know, we had... So unusual names were to start. Yeah, it was a lot of very sort of, you know, regal names. And then, you know, yeah.

So at what point did you two start playing together to know that, okay, we gel and maybe we should do something? Right then, yeah, that was, that was, because when we went over to his dad's house and we jammed, you know, we were like, we hit it off. I mean, because it was the first time I ever met him. I ever met anybody that had the same passion about music that I did. Before that, I, um, you know, I would tell anybody, you know, look, you know, I'm going to be, uh, I'm going to be a superstar. I'm going to be, you know, Jackson Five, I'm going to do this, I'm going to do that. And people would laugh at me. And when I would say it to him, he was like, yeah, let's do this. So, anyway. So was there a thought to make it happen in Minnesota or did you two think that, okay, well, we

have to go elsewhere and let's go to Los Angeles and there we'll make it as musicians. No, no, no, no. Well, it wasn't that, you know, I mean, I think the reality is I don't think kids think like that because we were like 13, 14 maybe. You don't think, I don't think you think like that. I think you just put together a band because I think at the time, that was what was going on. I mean, there was a lot of really cool bands. You know, like I said, my cousin was one of the, he was a drummer from one of the, the,

the dopest bands in the scene. city and he was unbelievable drummer and then you know you got other things like the elks and stuff like that that were all those were big things for you know young kids who want to be musicians so but I think you just you know the attitude was that you got to start here first you got to start put put a band together and you start I mean you know Des knows this stuff I'm sure you did the same thing you got to put a band together and then you got to you know then you got to you know move from there so does were you born in Minnesota like what's your I was born in St. Paul

Aha. So was life different in St. Paul than it was in Minneapolis, or was it really a Twin City? It's definitely a Twin Cities thing. You know, St. Paul was sort of the more provincial, you know, twin sister of Minneapolis. But less so then, you know what I mean? There was a lot more similarity, I think, between the cities then. But my folks had moved up from the South. They were from Clarksville, Tennessee. My dad moved up to go to art school. And then basically, He chose Minnesota to... Yeah, yeah. His older brother was at the U of M.

And was in his senior year or something. So he brought... No, he was in his doctorate, that's what it was. And he brought my dad up because my dad wanted to come up here to go to art school. So he convinced my mom to marry him, brought her up. And so I was born and raised up here.

Really? So what's your musical angle, your connection? What was your first most? moment in discovering music. Well, my dad was a musician. He was a sax player, and he quit to raise a family. He actually joined the Navy, was actually in the ship's band, played sax in the Navy, and got out and, you know, started working two, three jobs.

So one of my earliest memories is hearing, waking up in the middle of the night hearing music. When my dad was working like sort of second shift post office, he would get off work. And I remember one night waking up hearing music and kind of creeping halfway down the stairs. to like could see what was going on in the living room. And there's like four cats playing saxophone in the living room at, you know, 2 o'clock in the morning. Well, that's because my dad would get off work, you know, wide awake, work with some other guys that were also musicians. And it would be like, well, come on over to my place and we'll jam. So they would jam, like in the middle of the night when I was a little kid.

So to me, music was just something that was just there. And that was what people did. He had a huge, huge record collection, you know. That whole thing. So knowing your history and your vocabulary and knowing how much of a shredder you are and the rock influence, am I to assume that you chose that particular route

to go straight rock to adapt into the environment that you were in or did it just naturally speak to you? It just spoke to me. It chose me. I mean, we, when I was, until I was in fourth grade, we lived in the inner city. Then my dad, it was really, he really felt it important to move us out into a better school system.

But even while we were still, you know, in the hood, it was guitar that spoke to me. I remember going through my dad's record collection and he had this King Curtis single. And I flipped it over, played the B-side, and it was this raucous, like, rock and roll thing. And I was like mesmerized.

I mean, I would listen to it over and over again. So I just always felt like rock chose me. I didn't choose it. You know, it was in my DNA somehow, some way. What were the early bands that you joined before? I started a slew of bands. My first one, I was 14 years old. And I had to pay to get in my first gig.

We played like the ninth grade dance, you know, Junior High had a pain to get in to my first gig. But, you know, it was like all like Grand Funk Railroad and, you know, that whole thing. And the first several bands, because I was in, I formed or was in like nine different bands before the audition at Del's Tiger Mart, you know, all those years later.

So, you know, it was always about power trios in the beginning, you know, playing a whole lot of like Black Sabbath and Led Zeppelin and Deep Purple and, you know, anything with long guitar, our solos in it. That's what it was about. So, okay, well, to hear this tale of the two cities, I mean, how expansive did your vocabulary, and this is for Andre and does,

I mean, how expansive did your vocabulary have to be in order to get these sop hop gigs and whatnot? Like, you know, would you say that you're, would you have to adapt to whatever environment you were in if you knew that it was a high school, for black kids, you would know what the black stuff was, and then if you, I mean, was it integrated audiences by that point?

It definitely was in my background, because we had to literally go from playing little tiny towns, you know, East Crevis, Iowa, at the teen center, you know, where we would go from playing. You were traveling. Oh, yeah. My folks used to have to write me notes to get me out of school early off of high school, so I could go. we found a dude that could drive and we would go and we would play.

So we would have to go from like playing an Emerson Lake and Palmer song to an average white band song to whatever. So it was definitely about that. But again I had grown up seeing that because in the Twin Cities at that time in the 60s there were multiracial bands.

There were bands that had blacks and whites and Hispanics and everybody. Some of the most popular bands in town were multiracial. And, you know, so in this market, it was just a different thing. Now, you had to play other people's music, but that's just the way it was. So was it as utopian for you, Andre's?

Or was it just straight, like? There's another situation. No, no, no, no. We played font, R&B, and we played in the hood. We played at one of the clubs called A Bucket of Blood. It was called Bucket of Blood. We literally, my brother, I mean, you know, because like I said, we came from the other side of town. And so we were playing at, you know, clubs where, you know, people were getting shot and stabbed.

And, you know, my brother was there with his girls. And, you know, it was just, it was a different reality, you know. And then my mom, you know, would get a lot of our, a lot of our gigs. And so, you know, and then, you know, we played at barbecues. We played at backyards. You know, we played it, you know, anytime somebody was, you know, having to get together. You know, sometimes there even be, you know,

parties people have down their basement and they'd want somebody to play. And we, you know, so we, you know, it was, it was another reality. Okay, so at the rate where I kind of want to push it up a little bit, that you guys paths cross because I assume that in Prince's first incarnation

of the band included both Des and Andre. Andre is definitely the OG because you guys started out in school together. Right. But I mean at the rate when he got a deal, like how big of a deal was that once it reached the local Minneapolis circuit? Like one of us is going to make it? Or that's like, was it a big deal or was it just like, eh, okay? Yeah, it was a big deal. Absolutely it was a big deal. I mean, it was like this is what we, you know, what we had worked for.

and built up too. I mean, was it awkward, though? I mean, because I don't know if, I'm pretty sure that with anyone that's like, okay, if we get there first, then I'll pull you with me and that sort of thing. But this is clearly like, okay,

one of you is going to be the focus and the center of it, as opposed to it being a group situation. You know, it's interesting. I heard, I guess it was a documentary with Chris Moon. Okay. Because our band,

you know, we had won a battle of the bands. And one of the prizes was free recording, studio time. And I think maybe $75 or something like that. But so that's really kind of how it happened. I know that it's, you know, there's all sorts of different stories and everybody's got the myths and all that. But the reality is that's what happened. And Chris Moom, you know, heard us playing.

He was trying to figure out how he could get in, you know, getting involved with this band. Because at the time, we were hot. We paid the dues and worked our way up, and everybody was really talking about us. I mean, at the time, it was as a band. And it wasn't like, oh, just this guy or oh, just that guy or oh, whatever. But because he came in, and if you watch the documentary, he says,

you know, I went up to, you know, because he came up to me and he asked me. And I said, you need to talk to my manager. And then he went to Prince. He said, because he said, he looked like he'd be the, you know, easiest guy to sort of deal to talk to right yeah I would like to know at what point do you really push the envelope because you guys weren't just an average group I mean your your television debut caused many many yeah I mean I mean I remember seeing I think it was was Midnight Special before

after American bandstand. They were real close together. They were real close together. They were running the same Tony and Perry. Well, I remember, as a whole other story. I remember Midnight Special and just the utter tone and disgust my dad had about it, you know. And all he took away from it was, no,

no boy should be wearing no diaper on no stage. Like, you guys just look like nothing ever on, like, who's, I mean, how are you guys like with a straight face like, okay, we're just going to do things that we've never done before. I mean, how does that even come to fruition? You know, I think a lot of what, that sort of natural chemistry between you and Prince when you just first saw each other in school that day, I mean, I think that actually kind of play itself out in the band a lot. Absolutely.

Where it wasn't like, you know, we, like. So you guys even stood out even in the local localization of, of. Yeah, no, I mean, we were, you know, it's. Like, who is your closest competition band-wise? Nobody. I mean, I mean. Who's the distant second? No, no, no.

I just meant in terms of when you, I'm talking about in terms of Grand Central. What other band would you? Okay. Now you don't want to be. Sonny Thompson, their band, they had the most unbelievable band in the city at the time, bar none. I mean, I mean, I would go see them. I mean, I was, you know, I was extremely cocky.

You know, I was like, I had, you know, my attitude about being a musician, because I really felt like if you really do what you're supposed to do, practice and play and all that kind of stuff, then, you know, you pay the cost to be the boss, so I would talk a lot of trash. and just, you know, was basically in my nature at the time. You know, Prince was a little more laid back, but I was probably the opposite of that. So I was always talking trash. But the one band that I didn't talk, you know, I remember going to one of their gigs, you know, thinking about, I went there specifically to talk trash so we could, that's how I would get gigs.

And I went there specifically, you know, to talk, talk trash. And I went there and I was like, because Sonny was killing it. And the drummer and then Randy Barber, but the drummer was Joe Lewis, is still a friend of I mean, Joe Lewis is just, I mean, he was the coolest drummer ever because he would do all of the stuff that, you know, all the funky stuff, all the funky licks. But he just always had this rock and he had this fro and he just looked like, I mean, it was the 70s. And it was just, he was the epitome of a cool drummer. And so I was just, that just, that, and I went back and said, we got up our game, you know. And so, and that wasn't even a, you know, distant second.

And that was like a distant way beyond our whole thing. That's when I was like, we got up our game. So anyway. There's one particular project I would like to talk about that never really came to light unless you're deep in the bootleg circle. And that's the Rebels. What was the rebels just like a weekend idea? Like, hey, let's just...

For starters, you guys recorded the speed of sound. and, you know, the entire project can be done within a week. So to even have that much output in such a little time, like, what was the beginnings of the rebels or the idea of it? Or was that just a folklore that's only in Minnesota fan music mind? It's real, but I can tell you what the real. Give me the real, 100? I mean, it's like, you know, I mean.

I know the folklore, but. What was the basis? The real deal is he had a band of very talented musicians. And we had done some stuff, and we probably could have gone off and done other things. So rather than have us scramble out into different areas and go do solo things here and our own thing there, it might be a good idea to give them something to occupy themselves. So this is keeping you from moonlighting. There you go.

It's kind of like the same theory that some parents, use well we'd rather have you have the party here we'll get the alcohol and make sure that you don't leave the hot control chaos but it was still fun I mean you know we had I mean we had so much fun that was that was you know I got to know Des a whole lot better and Des so why didn't it come out Des is one of the funniest dudes on the planet earth he kept me in stitch especially that project go ahead I'm sorry yeah what why didn't it come out It was a decision that was never really clearly articulated to us,

you know what I mean? Which happened from time to time subsequently. Because those songs were complete. There's at least five or six that could have easily been on the Dirty Mind record. Yeah, it was a record. And it had the different personalities of the different members of the band because everybody wrote stuff and everybody brought things to the table. And that was his vision was that everybody contribute, you know.

So personally, maybe you know something I know, but I don't know what happened to it. Who all was in this band? Who exactly were the members? It was the band. Yeah, Audrey and I, Gail Chapman, was the keyboard player at the time. It was the same band, but I guess Prince would have lessened his role and made it less about him and more about a band unit. At least that was the idea, I assume. Yeah.

And I think what happened, because the record company, when they got it, they wanted, they wanted to thrill your kids. failure to be a single. And that probably might have been, you know, because the whole life, the whole idea was to get the band and occupy them until we did the next tour and he finished, you know, his next record. To put out a single with one of the band members, you know, their song as the lead single it could maybe be successful, which would change sort of, you know, you could lose a certain amount of control, you know, possibly.

But, you know, I think the thing is, you know, is it, bottom line is I think everybody at the time were very dedicated to his thing, to his project. I know I was. So it was like, I mean, and I only found that out through obviously through the management because the manager was constantly talking to me because, you know, Prince wasn't a big talker.

I know it has to be weird to mix friendship with business and it's like at one point you guys are best friends but then like clearly someone has to be the 49, 50, 1% of it all and that could make it awkward. Probably the most notable thing, at least for both of you, is that both of you stepped away from the camp and left camp right at the moment when the, I guess, the climax or the explosion, at least for what you guys have been relentlessly doing all these endless hours of rehearsal for.

and, you know, we've already discussed the Rolling Stone situation. What's happened in L.A. and another segment. But at what point, I mean, I'm not saying for regrets or anything like that, but, I mean, how hard was the decision, at least for both of you, to step away at the times when you both did to pursue your own career and your own interest? I mean, for me, it really wasn't hard at all. Because the day that I auditioned at Dell's Tyermart, the infamous 15-minute audition, Prince and I went out in the parking lot.

He asked me some very deep, very career-minded questions for a young man of that age and basically said, you know, he posed it to me this way. Would you be willing to come help me do what I do? And then when the time comes, you know, you help me. me make this thing work, then I hope you do what you do. So we had a deal from the beginning that at some point I was going to go back

to being a front man, to being a band leader guy. So he came to me after 1999 and said, look, here's the deal. This film, I need a solid three-year commitment. Do the film. You wanted to do the 80s. Yeah.

And at that point in time, I just couldn't get my mind around three more years. So the other option was management will take you on right now. We'll get your record to it. You can go do your thing. It just, for me, it really, really felt like I need to do this

now. So it was not hard at all. And I was back out on the road within, you know, four months. I was out. Solo shows first, then on the Rebel Yel tour with Billy Idol, the special guest out there. Drey, I guess it should also be noted. I mean, you've done

a lot of work since year, actually probably the most notable, is your production for Jody Wiley's first three, first three albums. What was that transition like? And I mean, what was the feeling to, I mean, really, really, truly score? I mean, because this wasn't just like, you know, throw it on the wall and see if this, you know, type of, I mean, this was really impactful. I mean, it was Grammy nominated, well, it won, you know.

So what was that just process like? Well, I'd have to agree with that as it was easy. Easy to leave that situation, not just because it's like, you know, my whole thing was, you know, three albums, you know, that should give you enough time for your thing to jump off. And, you know, then I wanted, because I never thought about being anybody's band. So, and then I did the solo stuff and I did space music and the record company didn't get it and they didn't promote it. So I went and said, if you guys aren't going to promote it, why don't you just drop me? They wouldn't drop me. They heard Kelly's eyes and didn't feel like, yo, this is this isn't it?

And so, I mean, but that was it. And so they wouldn't let me off the label, so I quit recording. And so I thought, well, I got to make some money. And I met Jody when I was doing the video for Dance Electric. And, you know, we wound up hanging out. And I was like, you are really, really talented. You should, you know, and she had some stuff that she was working. And I was like, I'd love to shoot you some tracks.

And I shot her, I think, five tracks. And she wrote lyrics to them. And I guess the rest is history. And we started working together. That's amazing. I wish I had more time because I have so much more I want to ask. But I want to thank you, Des and Andre, for being on the show. And we'll be back with Susanna Melvoine.

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 Fourth. I 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 Ego Wadam. My next guest, you know from Stepbrothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell.

Woo. Woo! Woo! Dad gave me the best advice ever. I went and had lunch with him one day. And I was like, and Dad, I think I want to really give this a shot. I don't know what that means, but I just know the groundlings. I'm working my way up through, and I know it's a place that come look for up and coming talent.

He said, if it was based solely on talent, I wouldn't worry about you, which is really sweet. Yeah. He goes, but there's so much luck involved. And he's like, just give it a shot. He goes, but if you ever reach a point where you're banging your head against the wall and it doesn't. feel fun anymore. It's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck.

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

If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice podcast on the 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. Wow, what can I say about our next guest? One of my favorite, favorite people ever.

Can't say enough about Susanna Melvoin. A twin sister of Wendy Melvoin and member of the family, Seminole group whose 1985 record had tremendous influence on me and not to mention just her presence alone. is inspired so much life-changing material. Welcome Susanna Melvoine to Quest Love Supreme. Susanna's pajamas.

Yes. Susanna, how are you? I'm good. I have to know, growing up in such a musical family in California, and first of all, do you play any instruments? Because I'm curious about siblings who were one particular sibling picks up an instrument and the other doesn't. I know that Alan Leeds, his brother, Eric's a monster, saxophonist, but doesn't necessarily, he doesn't play instruments himself.

Are you, do you play any instruments? Well, I, like many singers, I can play the guitar, I can play piano, but that's not the, that's not what I do. Okay. So, yeah, no, I, I was, well, while Wendy was playing, yeah, guitar lessons, I was, um, I, um, ballet dancer. And then we were both session singers as kids because of my dad. So I mean, did you have any desires to become a singer yourself? Were you just, you just happen to have a good singing voice and that was that and, you know? I never thought of anything else, ever. I had, I was terrible in school. I was great in art. I was horrible in school.

And I was thankful that I was like, I don't need to go to school anyway, because I have this other thing I want to do. And that's all I know how to do. That's what I do. That's what I was born into. Wendy and I and Lisa, all of our families grew up together.

Our parents were session players and the wrecking crew, and we were just in music all the time. We went to schools where, you know, you had to play record. in nursery school and you had to play violin in second grade. And we were, Wendy and I were in all state choruses. And it's just, you know, we just, that's what we did.

And, but there was a time when... Your sister mentioned something when she talked about her first encounter with Prince. And she said it's so, as a matter of fact, that it didn't even hit me to question it. She said we were 13 years old inside of a nightclub. I'm like, wait, what was the car? policy. Or y'all back developed physically. Yeah, I was going to say.

Kind of both. It was, you know. It's before those times where, you know. I don't know how we got away with it, but Dad, we're going out tonight. How old are you? 13. Yeah, so as I was picking us up,

we're going to go to the Starwood. Oh, you told them the truth. Right, straight up. Oh. Straight up. I'm like, we're going to library. No. No, no, no.

Dude, I went to church. Just need to see the Thanksgiving Purple Ring Show that I got on punishment for. Oh, this was crazy. Wendy and I would go at the 13-year-old girls, and we were the only, I don't know how it happened, but Wendy and I were the only girls at 13 who were not going out to do dope or we were going out to dance. That's all Wendy and I wanted to do. We were kids that we were so heavy into disco. We were just such dancers.

We were just, we were doing the line, we were doing the hustle, we were doing everything, we were doing all this new stuff. We went to school with, we went to this crazy little art school and the Jackson 5 had gone to this school. Michael had graduated already, but Randy was in a grade or grade or two ahead of us. And we'd sit in the parking lot and we'd do line dances together and do all that, you know, just crazy. It was all about us dancing and are you going to go to Xenons tonight? Are you going to go to blah, blah, blah. We're going to Starwood on Saturday. Trust is an amazing thing when it works out perfectly.

Well, when you've got kids that come home and they're not, you know, effed up and they've just been dancing all night, there's something that, you know, and if your kids are sort of straight up, I guess we were, you know, or my father was a knucklehead. So did you meet Prince at the same time that Wendy met him, or did you come in later? When did you realize, like, oh, God, there's another one of you? I was working when I got out of high school, and this was right before I got the gig with Quincy, I was working for David Geffen.

Got out of high school, I got a gig answering the phones at Geffen Records. The David Geffen Company, and after a while I'd be late, have a cup of a coffee company, have a cup of coffee company. David Geffin Company, have a coffee company. It was just running, running, running. Anyway, Christmas party, 1980, whatever, I'm 17 years old, Christmas party for Warner Brothers. and I already know Lisa's got the gig already like

yeah, I'm Wendy and I'd been listening to those records. We'd be dancing at the Starwood to, you know, I want to be your lover and all of that we're like, who is this woman? So I get this silly outfit and it's my first time like you're going to go to a really big corporate party

and I just was like, oh God, I can't believe I'm going to do this I had my hair permed and it looked like a poodle, and it would just like the whole thing would move at once with the wind. And it was a silly little black thing. It just felt ridiculous. And I walk in and there's Prince and Vanity. Standing at the wall, two of them together. Me and my little self.

Hi! I'm Wendy's twin sister, Susanna. I just wanted to meet you and say hi. and, you know, no clue that, like... Some of this guy's best songs of me were about you. And he gave me that sweet little smile, and he said, Wendy's your sister, right? And I said, mm-hmm.

And then said, Lisa's my sister, too. And he was like, oh, mm-hmm. And then Vanity leans down, she grabs my face, and she goes, oh, you're so cute. What the fact you're teeth? Oh. Save. I'm going to what you're the kids are.

And I was like, great, okay, bye. Aren't you cute? Aren't you cute? Cut to Purple Rain Rehearsals. She's out the door, walking out the door the last day of her gig. She's out. It's like, we've got to find another lead. And here comes Susanna walking in to rehearsal.

And she came right up to me. You're going to have them. Wow. More seed. And I literally, I was like, I kind of gave her like, why do you keep talking to me like this? And I could see him. And he looked over and he was like, he shook his head, he went, like that. And then it's funny because Des had his birthday party.

And shortly, like within that weekend, it was in August. And I went to his birthday party. And I'm sitting on the couch and in comes Prince. He comes walking in. He jumps on the couch, sits next to me and he goes, Did you dream of me last night? And I said, just so happens. I did.

And I had. Oh, I don't take a woman. Uh-huh. Uh-huh. And, you know, there's other stories. But that's when it all started. The fourth game was crazy. That's when it all started.

I see. And then Prince had heard my demo. So we used to go to the airport and pick him up in Lisa's car. And he'd come stay with us at our little, the three of us lived in this teeny little house on Melrose. And so we would go pick him up in Betty Flounder. That was Lisa's car. And so it would be Wendy and Lisa, we'd have, yeah, Betty Flounder. And no, Betty was around through all the purple rain.

And even you remember Betty Flounder. It was like an old Buick 57 Buick salmon colored. So we'd all go to pick up Prince with Betty Flounder. He called her Betty. We're all like in Betty Flounder, and he'd come and stay with us. Wait, I got two questions. Huh. I got two questions.

And I don't know if it's the fact that I come from, and the era of music that was just so overdone with budgets and whatnot. But I would think during this time period, like you guys were picking each other up from the airport. Oh, yeah. First of all, Prince was taking a plane, because in my head, I'm like, oh. He took a plane by himself, we'd go pick him up. at the airport and you'd come stay with us and my cats would jump all over him and he'd be on the

couch and he'd be like, I mean, would he get your cats? Would he at least, we're a baseball cat or something to, what you was this? Like, what? 80 for four? Three. Was this post-primproper, right? So, okay, so at least in our heads, because I'm thinking like this guy cannot step out the door without getting mobbed.

Oh. Now, I know that some of that stuff is, you know, what we just saw growing up as kids. But he could take the plane and maybe one or two people be like, oh, there's Prince and... Yeah, yeah, particularly with the three of us. And I'll pick you up from the airport. We'll be there, yeah. What time you'd be here and we'd be there and pick him up and... There's no person to sign like Prince Nelson.

Not during this time, no. But I imagine his flying outfit is different from his... You know what I mean? Like, his whole look is different from from a plane. Well, his whole look was always different, but he was a... This is a beautiful kid, you know. He was a beautiful kid. kid. I mean, and he would, you know, he just wear, you know, a vintage old, you know,

grandpa coat, and he'd look so beautiful in it, and he'd wear his, you know, his jeans, and he'd wear, you know, whatever top. I mean, and that's, he'd just come out like that. I mean, there was no, it wasn't like, who's that weirdo, it was just like, who's that cutie pie? And he'd be so confident, he'd be so happy to be coming and hanging, and there was it. I just can't imagine him flying commercial or. him sitting in a pinto or that sort of thing. Oh, no, you, not many people know how important this particular period of time was for him and for us. Because this was like, this, we became, it's so interesting, talking about it now, but we became like, pals.

Yeah, the four musketeers are. deep. Like, you know, not many people know that, like, he's sleeping on the couch and our cats are running and jumping on him, and he's saying, can somebody get the cats off me? You don't imagine Prince sleeping on a couch in a house full of women. I'm going to say that right from the jumps. No, no, you don't, but then it's, that's what it all straight. I'm not going to say. No. They got on the couch eventually. No, but I'll tell you a really funny story. So one of the nights he's there, we lived in this itty-bitty. place and it didn't have

bathroom door. It had one of those sort of saloon doors. It was horrifying and it was in my bedroom. And so it was like if anyone needed to do their business it was like, okay, everybody's going to get out of the house now, right? Or nobody's going to be around.

You can hear everything. You could just, yeah, just hear anything. It's just horrifying. So I'm in that room and Lisa, what am

I suppose, you know, if I need to, what? You know, if I need to... She's like, well, just tell Susan to leave the room. So, nothing went further than that, but he did come into my room. And he sat on my bed, and I was on one side of my bed, and I had this really crappy mattress, and it had a huge, huge deep dent in it. And he went, you sleep in this thing?

And he said, do you have a job? And I was like, And he's like, can't you get yourself a new mattress? How do you sleep in that? And I was like, I sleep on that side. I don't sleep in the hole. Right. I don't know it, though.

But I came home the next day from working for Geffen Records, David Geffen, and there was a huge mattress at my door. So it was like so. Oh. Yeah, yeah, yeah, yeah. Yeah. Use your mattress. Yeah.

See you assertive. Yeah. You're a good lady because I want to be. They're like, is that for me or for us? Oh, no. That's so funny, you should say that. I mean, it just never occurred to me at that point that, like, he was actually courting me in any way. I just, you know, I was just like, this is a really sweet gesture.

And I love you. But he heard that demo. He heard that demo in that house, this particular, one of these particular things. And he said, well, when he said, can we play him the demo? And I said, no, don't play him anything. God, don't play him in it. It was so flipped out because I loved everything he'd done. And I was working with Quincy.

I was doing like, you know, session work and, you know, just wasn't that. And I said, I want to hear it. And so I said, okay, I'm leaving the house. So I left the house. Came back. And he came right up to me and he said, you want to come and do what we're doing? He goes, wouldn't you rather do that? And I said, yes.

And he said, well, I think you'd have a really good time. I see. Wait, okay, before I let you go, I just have to ask one last question. Oh, God, what a bummer that I'm just talking about this. No, no, no, I know, because there's so much more. But I would like to discuss. Yeah. I know that he would often communicate with cassettes, which, I mean,

I mean, if I'm in the studio making a song, I'm thinking like, okay, how can this be hit? How can, like, I'm not just going to make, like, a song aimed at one person, like, and that's it. Instead of us talking out a problem or whatever, like, here's the thing. I mean, how many cassettes have you received of, like, just stuff were like, here, this for you, like, of just custom-made songs, because that, to me, is an amazing art, too. Um, none. Wow.

Even Lisa got a... The tapes that I would get, the tapes that I would get were on the floor of my car. He wouldn't hand them to me. They'd be dispersed at the bottom of the car, and so it'd be like, ooh. Or like, these are for you? Or he just never put them in your hand? They're mine now. No, I don't mean, like, songs just made.

that he just left there. Specifically for me? Well, I know that he made Lisa's song strange ways of saying, I love you. Like, they had an argument, whatever, and he didn't know to say sorry. No, anything that we did, anything, he would specifically say,

let's go in the studio. You and me. We're going in. Oh, so you were there. We're going in. You and I were going in, and then you're going to hang here until I'm ready to have you come

and sing your vocal, and this is what we're doing, and this is what I'm thinking about, and then that would be it. And then we'd, listen to everything together in the car. Right. And that would go on for days and days.

And then we'd go in and do more overdubs or, you know, it'd just be like that. But I was, it was never, it wasn't, it wasn't that disconnected. Like, here's your tape. It was like, we, let's go. We're doing this. Yeah, we're doing. Not that I'd even collaborate, but it was like, there, you know, I need you by my side because I'm going to have you do this. but you're going to be with me from the get-go.

Now, I'm not going to call you at some point, you're going to come in. No, you're going to be with me. Before we go, I've got to ask you the Starfish and Coffee Story. Okay. All right, for our listeners, could you please, please, please give us the genesis of the Starfish and Coffee Story? During the many, many car rides together, he would have, you know, occasionally asked me. Wait, before you say that,

You say car rides. Or you just drive around the city listening to music? We lived in the car. We lived in the car. We would drive everywhere for any reason all the time, from vanilla milkshakes to going to Minnehaha Falls and drinking that milkshake, then getting back in the car,

listening to the music, listening to our music, and talking. Going to the lake, sitting at the lake, going back in the car, listening to more music, talking, talking, talking. So it wasn't weird to listen to his own music? No, because he wasn't listening to it, like, listen to how bad.

I am, although I'm sure he was doing that. It was work. You know, like, we're listening to it. Does it sound right? What's it sound like in the car? When we put something else on. And there were other times when we would listen to other records, you know, and it was the kind of records that he'd never heard before that, you know, I had introduced him to or Wendy and Lisa had introduced him to.

And so we would listen to those records and, you know, sonically, you know, the audio, the, the, the, became audio files. Like, how does it sound and what was going on with those. records. So, but these, this, there were many of those rides and, you know, we would talk about our histories and our secrets and, you know, what was it like here and what did you do with that? And I'm going to take you over to where I grew up and what was it for you guys. And I would tell him about this one story about this girl Cynthia Rose, who Wendy and I were in school with from nursery school up into sixth grade. And back in this particular time, you know, nobody knew what autism was, but she was an incredible and just the most extraordinary girl.

And he would ask me on occasion, like, tell me about Cynthia, tell me about this story. And so we would tell him, I'd tell him and we'd laugh because I would get to the part where she would say, you know, she'd rock back and forth. She was like, would you have a breakfast this morning? Cynthia, she was, I had starfish and peepie. Are we? Yeah. Starfish and peep.

And you know what my favorite number is? And she, I mean, this was for years, and I loved her. I thought she was the sweetest kook ever. And, you know, I just like that she was, it was just, anyway. So this one particular day in, I want to say some, in the fall of 85, we were at the house, and we were in the kitchen. And he came upstairs from the studio, he said, can you, you tell me the whole story of Cynthia again? tell me the whole thing with Cynthia Rose? He goes, can you write it down? And I was like,

sure. And so in detail, I'm writing him about, you know, who the class was. There was Kevin and Lucy and, you know, Wendy and myself and there were many other kids. And there's Cynthia and there's my teacher, Miss Kathleen, and doing the whole day what it was like to be with her, to watch her do her. And he was like, okay, and then I wrote down, you know, and then she would say a starfishing And then he took it and was like, okay, he runs downstairs and the studio comes back up and he says, um, starfish and peepies, that's got to go. He goes, do you mind if it's coffee?

He says, he goes, do you mind if it's coffee? Because I don't think I can sing, peepee. I was like, it's all good, go ahead. You do what you got to do. And it was so sweet. He was like, yeah, of course you're not going to sing pee-pee. So he goes down to stand the studio, and like six hours later, seven hours later. I mean, it's like early in the morning, and he comes up and he says, come down.

And actually, it was Susan who came to get me, Susan Rogers, and brought me back downstairs. And he was standing at the console, exhausted and sweet little smile on his face. And he goes, here it is. And he just pressed play, and Starfish and Coffee was there. And yeah. Thank you for that. You're welcome.

I have so much more, but I got to wrap it up. Another time. Yes. There's plenty more. Susanna Melvoine. Thank you so much. I have to say, that was an eduication. We learned a lot about Minnesota and what it had to offer.

That was like a PhD. That was a doctorate course. and all things prints Minnesota. Like, I don't think we needed was Kirby Pucket. All the Minnesota, oh, Kirby, right? Kirby's dead, actually. Thank you, Steve. Oh, yes, dead.

Kirby's dead. So what did you want to like you? I learned that I'm a lazy bastard. I thought I was lazy just being your friend for the last few years. but now that I really learned about Prince and his work, I think I need to get my shit together. It was a lot of stuff, but at the end of the day,

it's about me, something like, yeah, just get my shit together. I'm Paid Bill. Why is everybody from Minnesota in a fucking musical family? Every one of them was like, my dad played the bass, my mom did this, and I was just like, my parents are doctors.

Like, I thought to myself, I was wondering what it would be like to grow up in it, because you did grow up in a musical family and what that's like and how that, It was like music wasn't in my house. I didn't live in that world. Like, I had to go find it myself. It wasn't on me.

Like, I didn't learn in a church. I didn't do anything. I don't know. I just think that's... The way they were presenting it was like, music was like an option. In my case, like, I don't know if my... My mom was probably Jedi mind-tricking me into music to keep me off the streets. Really, to keep me from getting my ass-wop by the neighborhood kids.

But like Wendy and Susanna, growing up in like the wrecking crew house, like that wasn't an option. Yeah, it just felt like options. Well, I'm amazed that they told the truth. Like, we're going nightclub. Yeah, that was good. Yeah, that was.

And the fact you had parents that would be cool enough to be, I mean, I worked in the nightclub, but I mean, you know, my parents, like they put me in the nightclub to keep an eye on me to keep me from wanting to go to the nightclub, which, you know, didn't work. That's what I felt.

I was like, wow. Must be nice. I didn't want a thag and I was like, wow. Hashtag must be nice. Is there anything that we didn't cover, Bill? I mean, you and I probably the biggest Prince fans that we know. Did we miss something?

There was one thing I really wanted to talk to Matt and Bobby about, and that was the Bullhorn incident on the plane. Oh, that led to the... When they all got taken to jail. There's so much that I wanted to ask about, but we just didn't have enough time. We need to do like four hour episode time.

I'm really... I mean, we have like 42 different... There's a lot of people in here that. Yeah, there's a lot. Yeah, Suzanne. I'm proud we pull this shit off. The Starzs show... Can we get ourselves in here?

Yeah, we get ourselves in here. I mean, Susanna and to our Supreme Leader. Yeah. That sounds very Jim Jones. I know that sarcasm. Yeah, give props to the Furor. Yeah. I just think that at least with Susanna alone,

like, you know, there's a lot that I wanted to go into, but, you know, I felt it was too soon, but, like, a lot, like, the beautiful ones, like all those songs were about her. But did it feel ill to you yet that, you know, even when Wendy was here, and I think that a couple of other band members, the way did they feel about you and what you've done to them?

That was, yeah, that was really well. That was, like, ill. Well, yeah, I mean, I just, it's, again, like, okay, So were any of you in the car with, no, it was, I was in the car with Maya and Gretchen from Prince's last night. And this weird Prince fan stopped the car and like actually said, you know, he starts a sentence with, I have $100,000. And I want to give it to you just so I can tell you my life story. And what? Exactly.

I said it verbatim. Yes. I know Steve's like, I'm here, you over-exaggerated. Well, it was probably like $80,000 or something. Steve's like, why don't you take $100,000? No, and it just hit me like, yo, Prince has the weirdest,

even them watching that audience that when we went to see the Revolution show, he has the weirdest-looking audience. I might, just might, have been arm's length with my audience as well if that were my fan base. I'm not saying like

I'm not saying anything God. I'm not saying it was the onezy guy. With the hoodie with the there's a guy with the onesie with like all these images of Prince all over his body. No, it just

I know that Prince fans can seem weird and I know that Prince also felt a certain way about his male fans. I mean, any male... Fans in general though because like he had the whole thing

about the word fan how he hated the word because it was short for fanatic yeah it's just you know how like the tricks rabbit always had to conceal his excitement for tricks without you know and then get busted by the kids

and hey guys it's really me he he like I don't ever want to be that guy like okay I gained your trust let me not let you know like the only indication that they really have gotten that it's like oh myriad his level of fandom might be

you know more than the average person was just like the demos I started pulling up you think that's it in their present well I mean I've I've learned that you've got to be cool in those situations I know for me like

fans be thinking like oh man if I mention that Japanese B side you have and you'll know we're like organics yeah that ain't the way yeah that's I don't even miss what's the way y'all in order to like to like

in order to like to the way to the game the trust of it I think it's like wait wait wait wait wait wait for you answer are you sure you want to give this this away oh everybody starts trying to no even no trust me even if I gave it away people will still fuck it okay okay they'll still they'll still I think for me and I mean from me maybe different I think there's a fine line you know I'm saying from for me is if I meet quote unquote a fan the last thing I want to talk about is music and I think this is just something for you know when that

person you're meeting in that field, you know what I'm saying? If it's, you know, if they're actors, sports people, whatever, that person has been talking about what they do all day, every day. You know what I'm saying? If I'm Michael Jordan, you know what I mean, I don't want to talk about basketball. You know what I'm Michael Jordan. You know what I'm Kirby Pocket. I don't want to talk about, you know, he's dead. He's dead. He's not talking. Yeah, he ain't talking about, he's saying shit. But other than that, you know what I think, you know, that being a artist or being a famous person, let's be clear, as we really about fame. You know what I'm there? I think, like, my theory on fame is that it's kind of like jail, right?

You know what I mean? It's like whatever year, like, you know, people say, whatever year you go to jail in, whatever age you are, that's the age you stay. You don't really develop past that point, you know what I mean? I think fame is a lot. I never heard that. Oh, no, but me and Bill looked at each other like, wow, such a wisdom. Like, good, you strike again, boom. You strike again for the time?

No, but so it's like, I think fame's the same way. I think whatever year, however age you are, that when you pop, like when you just become the man or the woman, whatever, that's kind of, you kind of live in a state of a rest of development. So to me, the thing that is most endearing is when you meet people, and they just talk to you just like regular fucking people. You know what I'm saying? Like, I don't want... Hot-X. Like, oh, Pont-Den, you see that post-up? Yeah, or whatever.

Like, yo, you see that shit on Instagram? Do you see the twerking shit? Like, we can just talk about just regular shit, you know what I mean? But it's weird. But that's a hard middle to do because I have people in my life that do the opposite. Like, Amir, I'm gonna let you know you ain't shit just to let you know. Ah, yeah, I got you. I got to get them.

I don't know. And then they gotta go too. Well, what are those people are going to do right now. The people to try to just take it too far. Like just the be... Well, somebody got to be your life to keep you hungry. You already think. Yeah, but that's being super obvious that...

Right. It's an issue, but you're doing the... Like, I have... Probably this room is... As normal as you is. Yeah, I mean, that's why I'm not saying I gathered you here, like a master plan, like... But you did.

It's all right. Please get your Kool-lade on the way out. Right. A mirror strikes and getting on it. Joe. Put on your Nike Cortez. Steve, what did you learn? Too soon, man.

Oh, man. Are you all wearing purple, too? I think they were. I think they were. Some hail bob shit. Okay. Wait, did they take that Nike off the market place because of...

Not, of course. I think they might have went up in sales, actually. Jeff causes everything else. It's right. Well, we owe a thank you to, Sugar Steve. You were a little silent of this episode. Oh, yeah.

We made... Yeah, we're putting this together, man. shout out to Henley Audio of Middalenk. Andrew Henley, great job, great job. Thank you. Thank you. Because I'll be honest, I thought we were all just going to have to turn on our iPhone.

That was my first plan when you said this. Yeah. I said, everybody bring an iPhone. I thought it was interesting. Everybody who we interviewed, you were sort of pressing them on when Prince would make them, you know, stand there and loop some music for an hour or two hours,

whatever, dancing and nobody seemed to resent any of that everybody saw that there was a purpose behind it and they kind of took pride in it like if you told me i'm playing drums for four hours you just sit there and watch me or whatever but um you know everybody seemed to to see the the method to his madness you know yeah yeah so that was pretty cool wow play drums while i dance just go ahead i'll be over here dancing and go in the hotel kitchen pinkie you're saying Yeah, I'm going to take on my splits. All right, well, this is an amazing, amazing episode of Questlove Supreme.

I hope you guys join us next time on behalf of Questlove, Fonte, Bill, both unpaid and Boss Bill, Laiia, and Steve hope you join us next Wednesday for another episode. I guess, what, 1 p.m. and 10 a.m. Pacific standard time. Pacific. Pacific. Pacific. Pacific. Yes. Specific. This is Questlove signing off.

Questlove's Supreme. Thank you very much. Coss Love Supreme is a production of I-Hart Radio. This classic episode was produced by the team at Pandora. For more podcasts from IHartRadio, visit the IHartRadio app, Apple Podcasts, or wherever you listen to your favorite shows. A win is a win. A win. A win is a win. Yep, that's me, Clifford Taylor the 4th.

You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfilled of conversations with athletes, creators, and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clifford Show on the IHeard Radio app, Apple Podcast, or wherever you get your podcast.

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