The Questlove Show - Questlove Supreme: Organized Noize Part 1

Episode Date: December 7, 2022

Questlove Supreme travels to Atlanta to kick it with some of the city's musical architects. Organized Noize appears in a comprehensive two-parter. In Part 1, Rico Wade, Ray Murray, and Sleepy Brown discuss their approach to sampling, recall the early days of OutKast and the Dungeon Family, and have a few laughs about their formation. This conversation is not to be missed.See omnystudio.com/listener for privacy information.

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And ATL. Yeah. My name is Fonte. And I'm going to speak my clout. Organized taught me. Pre-trial to get you out. Oh! And I apologize.

This may get noisy and unorganized. Rob-Han right. Supremia, and I'm over joy. It's like I'm back in college again. Yo! Supriam, Okay, I'm Rico.

Yeah. And I'm part one, part one third. Yeah. Yeah. Roll call. Okay. Supremia, sub, sub, sub, supremer roll car. Go down.

Streamer, sub, sub, supremer roll car. Well, this is Yoda. Yeah. And you know I hold it down. Yeah. Organized noise. Yeah. We're all in time.

Roll call. Supremia. Subremia. My name is sleeping. Yeah. And I'm the smoothest. Yeah. You'll never find another mother.

Yeah. That could do this. Oh, shit. Where's my manager? Where's my manager? Yeah, he was like, you didn't sign up for this. You did not sign up for this. I'm like, boy, you did not do a good job.

You're good, bro. You made enough classics to sustain. Oh, no, my part is going to reason why I'm going to go viral. Well, that's a good thing in 2020. Ladies and gentlemen, welcome to another episode of Questlove Supreme ATL edition. We are in Atlanta talking to a lot of the greats. What can I say, ladies and gentlemen, we are here. with three gentlemen who have built a movement, a sound of way of life,

literally putting not even a section of the, because that's just very reductive, but I mean, they literally change the scope of music as we know it and of creativity as we know it, you know, some of the blackest shit ever, some of the most Afrofuturist shit ever, what you would call legacy from George Skyler

or the way down the sunrod, down to P-Funk, and when the baton came in their hands, they created magic. Simply put, I'll say one of the most respected and in some producer's eyes, most feared men dogs. Yeah. I won't even talk about us, like, listen to a new album like, they did what?

Nigel, when I heard mainstream, I wanted to jump out the window. What the fuck? Y'all know what it is? Like, you kept in a loop in the vault. Literally, yeah. I've never had a production collective that just makes me like, damn, why don't I think of that shit? Seriously, this is long time overdue.

And you know all the classic LPs they've been involved in that they had their hands in. From all the entire, like, Alcass canon, Goody Mob Canon, parental advisory, slim cut of Calhoun, Joy. Oh, God. Yeah, it was on a, yeah. I totally forgot. The last awesome Great invo Invotes on.

And Janelle Monet. Yes. The names go on. Dude, on the real, I don't know if Crazy sexy cool would have been what it was.

Without a little song called Waterfalls. Trudence! Ladies and gentlemen, it's actually happening. We've been talking about this forever. Welcome. Rico Wade,

Ray Murray, and the one and only, I cannot believe, Sleepy Brown. is on Questlef Supreme Organized noise. Thank you. Man. I need my fan.

It's too much good music. Right away one place. So this is rare for us because, like, I prefer one-on-one shows where we get to grill people. Like, I mean, Steve joke that this looks like peace negotiations. Happened right now.

It does. Like what you did versus, like, I feel like it's beef between Sleepy and Sugar Steve over here. I want to renegotiate my contract. Yeah, no, but this will be really interesting. And as I said, we're in Atlanta right now, and I'm hoping to get all the eddumication

and all the questions I want to answer about just the sound that you guys have crafted for the last 30 years, damn there. So I guess I'll start, well, I know your lineage runs deep. I know all your lineage runs deep, but especially Sleepy being the son of the legendary Jimmy Brown of Brick. I'll start with you. Can you tell me what your first musical memory was? I was six years old.

Right. And it was my first concert I went to. And I was with my grandparents. And we get to the concert and walk on the side of the stage and my dad didn't start performing. And when I seen them do dads, my mouth dropped. And I looked back in my grandma when I said, this is what I want to do.

Wow. Period. I knew I wanted to do music. As soon as I saw my dad up there playing them on and everybody's screaming and going crazy, I was just like, I gotta do this. This is what I have to do. And plus, you know, my mom would buy me Jackson five albums

every Christmas. Right. You know, so I was like the sixth Jackson. Plus I was in Brick and Commodores, and I was in everybody group. So my first experience of music was the greatest era of music to me was the funk era and disco era. No music has been made more beautiful than that.

So that's my whole being, you know what I mean, no matter what, that's why they call me funk or not, because if it ain't funky, I ain't doing it. I funks with that. Assuing Daz and Dozik and Ain't Going Hurt Nobody, the Captain Avi's Brick, do you have a favorite brick song that isn't a hit or anything? Yeah.

Yep, fun. It's one of them. Happy. Happy. You know what I was going to say, damn, always always say, but I've already confessed that I'm kind of working on SoulTrain. Yeah, yeah, yeah.

Right. I always, like, preface with, like, I'm not supposed to say this, but, no, um, I'm getting to the, uh, the 77 episodes. And I got to see, your dad was a charismatic motherfucker. Even when performing happy on Soul Train, like I just... My day always had the biggest smile. It's like when you saw him perform,

he was just excited and happy to play. perform for people. And he's always been that way. When he was younger, he had a band in Savannah that did a couple of records, Jimmy and the Mighty Sensations that did pretty good. So he's always, always loved music, till this day. You know what I mean? I'm working on the album right now with him. We're doing like an instrumental, yeah, instrumental, jazz soul phone-dial. He still playing flute. He played flute. He plays flute. He plays flute. He played trombone, alto-sax. Every horn you can put in front of him and kill it. Living from the Mine was also one of my favorite.

Yes, sir. That baseline killed me. And, uh, Somerset, uh, Summer. Tell them the white album cover where they. Yeah, we're just on that house. Yeah, yeah, I know that you want. Wait, some said, something like that can relate right now. Brick Trivia.

Have you heard this tidbit about Prince? Do you know the story? Uh-oh. So Prince was such a fan of Brick. What? Do you know that he wrote Get It Up? He wrote that for Brick. and they rejected it.

We interviewed Morris. Wait a minute. I'll do this, hold on. I'll do it for you. I'll do it for you. I'll do it for you. Sound effects, sound. Yes.

Mars and we, I mean, we've had damn near every member of the time or except for Terry Lewis. Terry Lewis. But yeah, when we asked Mars about him and Prince Kraft in the first record, you know, he told us that he's playing drums on everything. He was like, when we made. get it up. For some reason like Prince was really into not for some reason. I mean everybody was into it

but. That's it. Man you just blew me a way. Prince had wrote get it up for brick. For brick. To be what whatever the album is with the green was like it's I know it's like the green leaves. It's for that album. They rejected it.

You got to talk to your dad about that. Man I'm going to call him soon. What you doing? What? Yeah, man. Are you tripping? There you go. That's crazy. All right.

So, Ray, what is your first musical memory? Me and my brother and sister used to turn the lights off and dance around to flight time by Donald Bird. Yes, sir. The airplane landed. Now as New York State of Mine. So early on, I kind of like, my father's jazz head. So he had all of this music, which was like everything that we ever heard in hip-hop. You feel me?

All of the shit that cat sample. That's the shit that I grew up with playing in the house. All three of you are born in Atlanta? I was born in Atlanta. Okay. Yeah, I was born in Alabama. And you? Where were you born?

Brooklyn? No. Well, wait, I'm about to say, you got heavy swag going, so I know where are you born? Where are you born? I was going to Pittsburgh, Pennsylvania. Oh, go. All right, yins! Yes!

Yes! My mom's from Pittsburgh. But I grew up before we came to Atlanta. We came to Atlanta with Manny Jackson. When he took over the city, when he became the first black mayor. Right. My father and mother were in Tuskegee, Alabama. So I grew up in Tuskegee, pretty much.

Right. Alabama. Okay. I got roots there, too. Shout out to Mobile. Not Texcgee, but Mobile. All right. For you, Rico, what's your first musical memory?

Oh, man. Even with listening to their memories, I was, mine is as simple as, um, that's good. No, it's as simple as hearing music on the radio. Because, um, you know what I'm saying? I didn't really hit, we didn't have a car when I was younger, so I didn't really hear the radio until, like, mom was cleaning up or something. Or, or when I finally just went into that back room, we had an extra room and I just kind of

went to digging. The guest room? Yes, the guest room. And also the room where, all the, the third bit room. All the junk sits in the boxes. Man, I ain't, I find. more than records back there one day. But the records...

No, no, no. Money boys. Oh, okay. That's better. Better than a bunch of roaches. Yes, yes, money. But like Donna Summer and like the ring my bell

and all that kind of stuff with some of the records and Isley brothers. Yeah, I was seeing that stuff as records, but on the radio when she was, it was just the energy of how she would be a different person. When the music came, on and was she turning up loud and she cleaned up. So when people always made that, I always say, you know, I like to play my music when I'm cleaning up.

I really understood what that meant. It's like, I feel good today. Today is, this is what I'm doing. I need to feel good. Right. I need to feel good while I'm getting this done. Yeah, so my examples of music. And another one at a young age was my first little job.

And I was like 10 years old, just unloading the back of an 18, like a truck or whatever. They used to play the radio. And I just remember that made it go by. So for music, music was always a, I didn't never think I could necessarily be able to make it. They never think I would be a part of the business, but I knew how important it was and how much I did, how much it did for me just at that young age. And didn't even know who, didn't know exactly who none of the artist was, just knew that at that time being a man of my age, which is 50. During that time, 1980, I was 8. So, like, what he's talking about, like soaking up at the right time, it's, it's, it's, you.

It's the end of the 70s. But they still loan it as far as the albums. I can still see an album. I still saw eight tracks. You know what I'm saying? I still wrote in cars when we did. That actually had an A track in it. I still collect them.

Wow. But your knowledge of a brick is amazing. That's amazing, bro. Because even when I found out who his father was or whatever, you just thought about, that's Ice Cube song. Yes, up, Vaseline. That's the song, the Ice Cube. got back and that was deep.

I was so happy when they did. You did. Yeah, I was glad. How did you feel about no fascinating? How did you? Pick up your cool back. That must be. Yeah, yeah.

I mean, I was with you, like, a lot of other artists had sampled before that, you know, Kim played it. Ain't going to hurt nobody. You know, Hamill did, he did, um. It's all good. Yeah, it was all good.

Yeah, all good. So, but when I heard Q on one of the coldest disc records ever. Ever. All time, bro. My heart was, I checked. We're like, yeah. My dad is my dad is,

I want my dad at record. I want my dad at record. So I was, man, that's still one of my favorite. I still play that record and act like I'm in the mirror and I'm cute. And I'm, man, let me shut up. So I have a lot of musicians

friends that are in Atlanta. Like, little John Roberts used to live down there. He's from Philly. However, there were four musicians friends of mine that gave me a theory on how they got so advanced in their musicianship. Now, you mentioned you'd be in 50, that you were eight back then.

And I know that one of the most crucial points in the timeline in a black person's life in Atlanta history, of course, and if you're eight years old, were the Atlanta murders. And what my friends told me was like basically because their parents were strict like, yo you ain't going outside you know i pick you up for school you stay in the house and because of that specific late 60s early 70s generation told to stay in the house they just got more advanced than their music can you explain this like how that period affected you guys like were you fully aware that many young black kids were getting kidnapped and all those things and like were your parents like no you you know it was it was prime time

for us. And the fact that I lived in apartments with a single parent mom. She went and she worked. So it was latchkey kid. Right. So then I had two little sisters, like six and five years younger. So it was like... And you had to watch. Yeah, and I had to watch them. So it was almost like

I was trained. I was wrong. Mom had got me ready with the knife behind here, the whoop over here. Like, pistol over at the top of the closet. Yeah, like everything was... She treated me as a young adult because she was like... I mean, I don't want the white folks doing this.

Right, right. So she was scared. So she was like, you can't outrun them, Rico. Stop thinking that. Oh, oh, ain't going to get me? That sounds like the kid. Yeah. Oh, too bad, ma'am.

I promise you, police can't get me, ma'am. I'm jumping fish. It's one leap. Like, she said, she said, nope, it's white people. You know what? And they're just trying to get rid of all y'all. They're trying to just scoop them up. And she just made me believe that it was something that it actually necessarily was,

but it wasn't, because it was a lot going on in Atlanta. It was the video games. Video games that just touched down. So that's why when I discovered them dollar pieces in that back room. Pac-Man? Yeah, she wanted to just go hit the arcade. And we had an arcade downtown Atlanta at the Omni. We had an arcade.

It's like the arcade is where you first started meeting the people, the people who do music, the people who eventually was going to be the people. The dancers, the people who loved New York, and knew that we would get shunned for acting that way. but people still would do it almost to the point with like I want to be different you know what I'm saying

didn't know that be I don't necessarily want to be copying somebody else but that's different you had some dudes you had some dudes that would straight lie to you and lie and tell you they were brumx you

so so I know you as far as the child murders we community centers so like people got a chance to do a boy scouts

they was trying to get you to do summer camps they had at the city had put a whole thing together to where they was giving out t-shirts. I remember these, these classic t-shirts would say 80, 81, 82, and then it kind of let you know that my mama care about me because she made sure I went to the camp.

Kids who don't go to the county, like, man, this shit is, me, excuse me, this is free. No, no, no, it's curse you go in. Yeah, this is free. This is free. And so, like, it's just seeing, like, and those people was also bringing it to you to as well as making sure that, you know, be with a friend, stop trying to do stuff by yourself. So that little fear was kind of how you should have felt as a young adult anyway, but

The city was so active about it or whatever as far as no trick-a-tree. You know what I'm saying? Like eventually grew into, y'all can go to the mall and do it. But really it was like, when you get home at 3.30 or whatever, go in the house. 4 o'clock, like it was a curfew. How long did this last? It wasn't apparent. It was like 80-81.

Four. Damn. These two years. That's a long-time and kids here. That's a long-time. Yeah, because he had numbers. 79. 79 was when we first started this shit.

And then 80 was the year. It was the second year. That's when everything got like, this is what we're doing. That's when I started recognizing. 81. 81, it was like, 181 and became news in Philadelphia. I wouldn't even tripping about it then. By that point, it was like, it was more like, yeah, we trained.

It was trained then or whatever. But I do remember saying like, damn, we don't get the free can. That used to be a cool. Like, Halloween used to be cool because everybody showed up at school. We used to have even a little Halloween. Then they started doing little carnivals at the school. The community kicked in. I got to say that, like, and watching the special that HBO did or whatever.

But it was most definitely informative. It most definitely enlightened me on a lot of things that I thought was going on. And it kind of like brought validity to what I knew what was happening. But I knew it wasn't just that because Atlanta's a melting pot. You know what I'm saying? Like, you know, you got San Francisco, but Atlanta's, we had gay laws put in place when I was younger as well because of disrespect. You know what I'm saying? Like somebody just wanted to be, you know, because of racism, because we've handled racism in a great way.

We was on top of that before it became a worldwide thing or whatever as far as dealing with, you know, different people of... That's dope because that explains why Atlanta is such a mecca for that community as well. America's democracy lies in the hands of Atlanta. Atlanta, like in. Or Georgia, period. Yeah. Absolutely. So all those things are because of Wayne Williams.

My dad and me, like, that's the number one conspiracy theory. Yes. I'm so glad you said Wayne Williams because I still say my... my mind, Walter Clyde Orange of the Commodores that I hate. Oh wow. Oh, yeah, he did. He did those glasses that, whatever. But I'd never, I never truly felt that it was him, especially with what's happening now, so unhinged.

Yeah. I always felt like it was something else and some other people. Yeah, I think HBO did a lot of job. It was a collective. It was a collective. I think people took advantage of an opportunity. It was like it was happening or whatever. And that's why the things that...

Off the numbers. Yes, and the things that I'm telling you, all the stuff that was reinforced, it's the reason why we didn't lose more. Because it was 32 kids. It was like 31, 32 kids. It was like, I mean... Well, technically... It was more than that.

It has never stopped. Yeah. Yes. I mean... Atlanta's the center for sex trafficking. So it technically has never stopped. You just don't hear about it. Being associated with Wayne Williams.

But abducted... abducted, missing, that hasn't changed. Yeah, but now, though, with the fact that you have people illegal, like, when I was younger, before highway, it was, like, it was, you know, it was Spanish a little bit, but now, like, we have completely, Atlanta is not just a mecca for black people. It's Latinos, it's Asians. We have everybody here working, not necessarily working together,

but been living together for a long enough to where now they know each other. Everybody cool. been a good decade for your like diversifying gentification. But back to your question, your question, you said something about did the... Oh, did that affect you in your creativity? Yeah, no, it's the neglect that made Atlanta artists perfect their crafts and talent shows. High school events, you feel me? Because there was no outlet.

Oh, you had a bunch of high talent competing against itself. without any kind of visualization in terms of everybody else. So that said, what is your version of, okay, like I know the history of the Bronx and the Cold Crest Brothers and da-da-da-da-da. So what is Atlanta's first-generation hip-hop history? Shadi, Zadhi, Rahim D dream. All independent.

But I'm going to say this, though. I'm going to say this. Okay. S-O-S-Band or like, what's the, group, Brick, how you're talking about Brick. Atlanta had a band culture in the 70s. Yes, Camerton Role was. So when the drum machines started kicking in,

that's why they might have turned down the print song. If he had drum beats in it, because they were such a live, just like how the Roos was early on. Like, such a live thing, that was what made the package. So, like, with that, Brick had a studio, 2560. A lot of studios that was in Atlanta,

like the Elana, like the Elwood J.P.C. They used was either a church or an old musician from my. band group from Atlanta who left something there. So that was like for me, to me that's what the musicianship started at. But as far as when the drum machines,

like how Ray was saying the talent shows, it was almost like, we couldn't necessarily do music. We didn't have the culture that crush brew, like whatever, like we had Shadi, you got Rahim the Dream, you got these groups, these artists that are coming out,

but really they are somewhat emulating what we love about New York but doing it down south style. So, but the fact that like the DJ and the fact that we took on the other aspects of it. It was like our movement was why I guess we got culture. It's like we was into the style.

Like you would see people dressed like the fat laces, shoelace, I mean, the didis, the shoelaces. We literally mimicked a New York culture and the Miami culture, like from gold teeth to the big earrings. It's really what you see and what you want to see or whatever. So like for me, our most original stuff was us being, you know, having an original style of dance or a dress coming up with our

crazy hair. We was wearing perms and fingerways. It was really country. It turned up. But like... We was doing that too, yeah. Finger waves? Not the dudes, but yeah, the girls were definitely doing all that stuff. The dudes were doing all that. No, it was the dudes was doing. No. It's real

players. We all had, well, radio and Joe Coombe. Righty and me. It's real players. You got a day. We're in. We're in Fingway. That's all family. That's me. Dry Fass. Yo, so it sounds like... Drive-Aad Wade. Amir, to answer to your question. Shafat Salamante's beat.

Oh, no, they definitely. Like, and Germain also credited it. It's part of it. Jermaine said that, you know, he had to go to New York. Part of it. And live in New York and kind of bring it back. And even with, like, Chris Cross's first record, like, half those break beats came from, literally from, like,

you know what? Joe Niccolo hates when I say this, but whenever, like, mugs would leave the studio after we're going on Cyprus Hill, and like the sounds would still be in there, which is why I like, the midnight theme loop is in jump, like... You're telling too much.

No, no, he's not. No, he's not. No, he's not. No, he's not. No, he's not. He's not telling too much at all because that's, that really makes... The most sense.

Because we three, it's three of us. So it's not just Ray. It's not just me. And it's like we all have a certain amount of history in the way we dig, because we dig. Like, we're going to spend... We're going to spend as much time as you won't talk. We went into New York.

We flew in, I raised it fly to New York. Like, when we got big royalty checks or something, instead of going to the mall, instead of going to buy all the new designer stuff, we'll go to New York and get hotel rooms. Flickett Street. He raised pizza and go to all the Jewish stores and buy up everybody.

We got some, what he said that day? I got some, not Pete Rock, what name he said? He said, but it was more than Q-Till. He said, oh, yeah, I was holding these to Q-Till. And, it was-LU-Lah. Ah, large professor. So you would go to record conventions. Well, we found them.

See, see, but our discovery of New York as a source was only because we had like Pilford, Atlanta and the South. Because, you know, everybody got a record collection. I was about to say the best records I ever found were below the Mason Dixon line. Absolutely. But when we first started, I'm from my 45s. I'm talking about Carmine and Bleak. I'm sorry, this dude, he went in the back.

He already identified where the brakes came in. He had already, because all he does was, old man sitting around this at, those the spots, he would hit it. He'd like, yeah, so he didn't know what kind of money we had. He was like, yeah, you know, I charged like 40 or 50 for these. I was like, cool, how many you got? We drop in bags, thousands of dollars,

and each time we got a break, we like, that's an original. One thing about hip-hop, originality is the most important thing because it inspires and motivates. Don't buy nobody shit. Yeah, so if you come up with something, even if you didn't do it the best, you just presented it to the world. So somebody else is going to rip it another day or whatever. In these first little 18 months, they can't come behind you with it.

It's got to be your lane only right now. So as many breaks as we had, it was up to just making records that coincided or whatever. But that was our lifeline. Once we made it into the music industry, we felt like as long as we were digging, we were reading books and we were learning. And that's what New York half got for a little while. They got caught up into the... Fucking real. They done out.

And that's why the South got in there. Because we didn't... It looked like they led us in with Master P and Cash Money. It was like, that's because they fucked up and then fucked with us early on. But when we were... We're their brother. That's why it's called the East Coast.

Because Atlanta's on the East Coast. D.C. is on the East Coast. It's like all of these places are reminiscent of hip-hop, even though we give all the credit to Bronx. You have all the credit to New York, Brooklyn. because it's deservedly so. We always looked at New York as the father and Los Angeles as the mother,

and we were the child that came from. And that's why he said from neglect, is what Atlanta came from. In fact, that neglect was enough to try to figure it out on your own. Now, coming up in the South, I tell you all the time, we had to study everything.

So it's like, you know, it wasn't just if you came up in New York, you might have knew what was going on if you lived in Brooklyn, or you might have knew who the hot dude was over here. But in the South, we had to know, know everything. You had to know, all right, this is New York. This is the Midwest. This is Texas.

This is Houston. Like, you know what I mean? And it just made, it always made from me, it just gave me a greater vocabulary, you know what I'm saying? And, you know what I mean, just of knowing everything because you had to know it. 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 2, never mess with her friends either. We always say that trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends, Oh my God, this is the same man.

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

target. He's going to get what he deserves. Listen to the girlfriends. Trust me, babe. On the Iheart radio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects.

From hidden traits teams look for to the biggest mistakes franchises make to the players flying under the radar. This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the iHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. What's up everyone? I'm Ego Vodom. My next guest, you know from Step Brothers Anchorman, Saturday Night Live and the Big Money Players Network. It's Will Farrell. Woo, woo, woo, woo, woo.

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

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

Listen to Thanks Dad on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. In 2023. Former Bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in so much, correct? I doctored the test ones. It took an army of internet detectives to crack the case.

I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected. They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian, Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap.

Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences. Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice has served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Well, first of all, how did you three meet? We met very, very, see, music.

Music is why we met. Music is how we met. There was this girl I was dating at the time, named Cookie. She knew Rico, and she knew T-Bos very well. Okay. And she went T-Bos then. She was T-Hun. Yeah, she was T-Hun.

So I was in a dance group. and all the high schools, so that were kind of like the bomb. We used to go around, girls just scream all this stuff. So. Facts, facts, facts, guess. Cookie told me, now I don't know how true this is, but Cookie told me that Tion wanted me to meet Rico,

and Rico wanted to meet me. So I was like, cool. So we go, me and Cookie go over Tion's house, which is in East Point, walk up to his job, LaMate. Abuse to Plus, though. Beud Supples. Where out of his came and met me. And then I walk in, you know what I'm saying?

And then, Coo, like, yo, Rico, this, this pat, he was like, so? So? So? I'm saying, I'm saying, like. Oh, what? You got to explain that. You got to explain what the move was. I did a dance.

It's like a root. No, no, no. It was a dance that we used to do, like smurf and stuff. Oh, okay, got it. And when you ended, you hit your leg a root. Oh, right, okay. So the whole time she told me he wanted me when I meet him, he dissed the shit out of me. That's a challenge.

Oh, he tried to fleece you with the show. But I started laughing because I was like, it was funny to me. I was like, man, this dude crazy. But anyway, so, you know, we meet or whatever. I'm gonna tell this other part. So we meet or whatever and I'm like, yeah, Rick, well, you know, he said, we'll hang out someday, whatever, blah, blah, blah. So I walked back down with my girl Cookie and Tion,

which they started fussing. We get around the corner, they're in an all-out brawl in the middle of the street. Oh, shit. Wow. Who winning? I'm sorry, no, that was... I'll tell you like this. Let me tell you like this.

Tion, she might be in a little... Yeah, yeah, yeah. But that's a little feisty. Oh, I can see that. Because she threw the first... Took her. Took her. And Cookie went behind because cookie

was hood and shit. Shout out of the Reddow. Shout out of Reddivus. Anyway, they get to fight him. I'm in the middle of trying to break it up. Cars riding by. So they... They bussing each other.

walk their separate ways and I'm just standing on. I'm like, okay. So? I go out of Rico. They just got into the fight. And just to go back. This is a crazy way to meet your future. Straight up.

No, but because like he said, I already knew who he was. Because to be honest, he was a legend. Like, as far as the, like, didn't look like it as far as, as, because he had a little smurf, I mean, a pop to do, a smooke or whatever. And he was kind of like, not chubby, but just the way he was. I don't big bone. But the boy could move. Did I say the boy can move?

The boy was in the number one best group in Atlanta at that time or whatever. And I had just took, was taking dance lessons from a member of that group. Somebody who was in that group. But they put him out. They put him out because he was, no one, he's doing too much. But he taught me how to dance. But I knew I was never going to be them. So when I saw him that day.

It was more like, so? I can't. I can't do. I'm bad too. Ah, so? I can be dead too. But from that day, he, like I said, he laughed or whatever, but he did see the fact that I had a job and I was kind of, I was doing stuff. So, so, yeah, so he was like, he was tired of dancing.

I had just learned how. He was like, two, three year legend already. He was ready for music then. He was already starting to do like four tracking demos and I'm just looking like, Oh, yeah, yeah. Yeah, you did. I have a task scale for a tree. Yeah, he doing this.

Tatscale. This is a drum machine. So when we talk about your first experience with music, never thought this would happen. Never thought I would meet somebody that actually made music. He was showing me. So now I'm getting money. I'm doing stuff and I'm not selling dope.

Like, I'm really got a job. Just want to stay fresh. Just trying to look like I'm just don't live in these apartments right here. You know what I'm saying? You got a car. I'm living like I live in Buckhead. But I'm living in these point Like I'm heading in the love

You know what I'm saying So yeah But he was the one who was like Yo This is just local Dancing This is local He's the one

He didn't want to start the group I want to be an artist And I just I believed in the I love the fact that he believed In me or nothing I felt like I could sell it I felt like I can do it

So I started learning about music I started like reading Whatever you can learn The little special events Whatever jacked the rapper Whatever's gonna come to town I'm trying to do him right then he bumped into a race

at the studio we at Joseph Karn Jean Kahn Oh, yeah, yeah, yeah Jay and John Because, no, they lived They moved here They moved here They moved to him, she lived in Philly now

But yeah Yeah, her son Joe Kahn Yeah, man, the things you learn That's my family You're like my cousin We just shot you just taught yourself Yeah, yeah

Oh wow Yeah I'm a student Huh We ain't ever seen you over there Yeah no because I don't live here I graduated from Clark I didn't come back

Where year did you go to Clark Uh When you were eight years old. When I was eight, I went to 96 and 99. Okay, thank you. Prime, right in the midst of it. Dugie Houset over here. Yeah, but Joe, Joe had a little studio.

A nice little built on. Nice little studio in his house. And he used to let, you know, me and Rico go there and work and stuff. No, we used to pay for it. Oh, of course. He didn't. Rico, we went on let. Rico is paid for.

It's paid for. It's my fault, my fault. All right. So, one day, I'm in a little. working and Joe tells me like, yo, I gotta run somewhere, you cool, you can stay here. He told me, he said, yo, my boy Ray gonna come through here and grab something right quick.

He won't be nothing but a minute, but you know, you'll meet him, whatever. I said, okay, cool. So I'm in, I'm confused because I don't know what the hell I'm doing. All of a sudden, here the door closed. Ray comes around the corner, he doesn't talk to me at all. All he does is grab his head.

I'm like, okay. So he goes and he gets to the keyboard, loads his disc, do all this. and when he hit it, my mouth dropped because I'm like, how in the fuck he just do? Wait a minute, this just sounded like put a big enemy. Like, bro, how you make this, I'm gonna go with that sampling, and all this and he looked at me and woke up.

And I'm looking at him- So, Ray, you're the quiet storm of the three? Boy. Yeah, I'm looking at play. I'm amazed. So, all the man, as soon as I saw Reed, I said, Reed, bro, I'm gonna miss some nigga named Ray. We got to have him.

I said he has to be a part of this, bro. You don't understand. He could teach. Like, he has to be a part. Because the way Ray taught me samples, I came from the funk era where I thought he was a lot. Right. I swear to God, I thought everything was.

Same. Right? Right. So when I first started hearing, like, you know, all rapping and everything, I thought in my mind with some stuff, it was original. Right.

He came in there with a bag by this big with nothing but tapes. Ramsey Lewis, James Brown, Blackburn, just everybody. All the break. Start playing stuff and I'm like, wait a minute. That's what you got. Wait a minute, why do you get there? He's like, you know, Ray Bennett.

It's a half. It ain't. It ain't that. I've been recording every time I go over somebody's house, you know what I mean, because I was playing with these records when I was little. Right. I love music. So I record, and I was a DJ way early.

Like, you know what I mean? Running him first came out. I was one of my home was. taught me how to DJ, so I was DJing, back spinning, you know, Sucker MC. So later on, I found out that through my DJ friends that a lot of the records, that's when we first found this, the breakbeat collection. Ultimate beats and breaks. Shout out the breakbeat, Lou.

See, I didn't know, just like Sleepy. I didn't know everything was a sample at first. I thought that these guys incredible. These guys are making this music, da-da-da-da-da. So I learned how to program based on listening to shit and trying to try. trying to reprogram it on boss drum machines, on Alicia's drum machines, on 909s, on 505, 707. You name them.

I didn't do it. Then I started, when I found this sampling record, I said, oh, these motherfuckers, the shit. Wikipedia, they just... Yeah, so this is what I didn't figure out. This is what I didn't know. Did the compilation come out before the records were a hit? Right.

Or after? Probably after. Okay, because in my mind, they came out before. So I was like, oh, well, then I just need to get the records before they motherfucker can come out and do it first. Right. So I started digging deep. Wait, let me do a quick 30-second tutorial. So basically, for those that, 2% of you that have been listening to us for six years, that don't know.

So basically, you know, we always say that in the folklore of breakbeautology that basically African-Mibata was the collector. Like, Kuh-Hurik was the system. Flash was the technique and Bambaato was the collector. And of course, they were wiped the labels away off the record so you couldn't Shazam your way. What's he spinning? What's he spinning?

And eventually, our homeboy, breakbee loo, decided to just make a cheat sheet. You know, we could say the Wikipedia of it, or we could say Cliff Notes of all the essential

breakbees, like the basic four fruit groups of the meat and potatoes of, of breakbeatology of what they were spending in the 70s. And Mr. President, Baybroof. Come 1985, 86, when you're listening to License to Ill and like early pre, that period between like the Marley Mall, Rick Rubin period. And yeah, I too was disappointed.

Like I really thought Jamestor J was doing them bells on like Peter Piper. Man, thank you. Thank you. That's what I'm saying. Dude, I thought the time was really doing seven, seven, seven. Come on, man. That's a drum machine.

That's incredible. Are you speaking everything? No, but it was... It still was amazing, though, that it took Bob James and he was mixing it with a drum pattern, and he was keeping it on beat for the breakdown part. It still was amazing. It was just that you could possibly do it too

if you worked at your craft. But it wasn't going to be by doing what they did. So it's now just a complete study session. How he said, let me see if I can reprogram the same beats with the same drums. Let me just get... to the level I'm there. And then, like you said, we started digging

because one thing they taught you, they had to put the name of the artist and they had to put the year. So you start studying years. If you're a student, if you're a student, they start studying years. Yeah, that was me, say, years and kind of, then you would know.

When you're getting like the 80s, it's kind of, eh, that's what you're like, yeah, it could be anything. It could be anything. It was cut to cut to. No. What's your, what's your, no, it don't stop. It maybe, maybe.

It changed, but. I'm going to tell you when it got whack for me. Okay. When the fucking drum machine started going and cameo. When the cameo drum sound. 85. Word up.

It was like the sound, the sound, though, because you got to understand. You're coming from a real snare, a snare amplified, a snare distorted, until this fucking 80s. I don't know what the pop and sound was. It's kind of Princess Paul. I realized All right, so I'm studying the Isley brothers

We might do an Ernie episode And when it came down to their ballots I was like, yo, why doesn't Ernie Isley Ever play the hi-hat? Like he'll just play the kick And he'll just do the basic fibers of it And it just hit me That for a lot of 70s cats

Drums are almost just simply a metronome And everything sits on top of it I mean, there's a few, you know, James Brown, George Clinton, whatever. But when Prince came along, the loudness of those handclaps. By the way, I mean, most people know this because they read the Dillard book, those Lind drum handclaps, that's Tom Petty and the Heartbreakers. Didn't know. So, yeah, when Roger Lenn was sampling handclaps.

I did, no way, I didn't know that, but I knew from Jimmy Iveen, we've talked about it because he's had. Yeah, no, he was there to report the same. He was there recording the sounds. He was crazy with it, bro. We're dweeps here, man. Damn, you kidding. I'm gonna say this.

Yeah. Out of all the producers being in hip hop, the ones that I truly love and respect. I love Martin Molle. I love fucking Larry Smith. That's talk about it. Absolutely. Talk about it.

Absolutely. The band for Sigger Hill. The band for Sigger Hill, bro. Those records. Doug Wimbish and the most incredible mixed sounding records ever. You're right. Yeah, Larry Smith, he really brought

like an R&B kind of sensibility to hip hop, but it was still hip hop and the record sound really big. I mean, you listen to like friends or like... Everything. It's now, it's still. One love, right. Just crazy.

Everything. Go back to, what's the name of his group that he was in? Orange Crush. Orange Crush. Yeah, of Curtis. Yeah, yeah. Of course he knows, man.

I'm just telling me, boys. We all know. Who's the regular with my dad, I'm still blown. That's what I'm saying. That's what I'm saying. That's what I'm saying. I was trying to, you know,

the last question I asked, Jay, I've seen him maybe like four months before. And the thing that always confused me was he would actually scratch the intro boo, go, go, go, go, go, go, go, go,

yeah. And the thing was, he would take that same break and scratch it for Rockbox. Doo do, do-do-do-do-do-do-do. But in my mind, I was like, wait a minute. I know you guys are using a DMX rhythm machine. So how did you scratch that without like, like did you just make a 13 second intro

and send it to the factory for you to scratch it? And then he told me that initially for Suckermsys, running J wanted to rhyme to action by Arch Crush. With that intro, there you go. That's what. So what? So what they wound up doing, I think he said that the engineer did a distortion trick and just turned up the compression so much.

Like when you really – you could weigh in on this, right? Yeah, shout out to engineers who are the secret sauce of everything that's ever happened. Steve's our engineering. Like, Steve is co-engineered every classic, like from voodoo to, you know, just whatever, like all these classic records. But yeah, I always wanted to know how Jay was able to scratch and he's basically scratching Orange Crush's action intro, but they compressed it so much that it sounds like the drum machine that they eventually programmed on a D.

Quist you, I never know when you have a class somewhere, bro. Hip-hop Clay. I used to teach at NYU. My manager made me quit NYU to do the show. No, man. No, no, no, no, literally. I stopped NYU to just do the podcast. So can I ask a question?

You guys said when you were originally starting to dig and because they were wiping the labels, or they had to list the... Well, that's a piece of it. Initially in the old days. But you said they would only list the artists in the year. So you were shopping or digging by year. What about by label?

They listed everything. We was just looking at the fact that those were the key points. They listed the whole title, the publishers, the writers. They listed everything. But we would look for the years. First. First, just so we could go. Would you stop at 79, maybe 81?

No, I get to 80, about 80. It depends on the cover to me, too. I'm still the color. I still like the pictures. I like the pictures, too. I like the pictures. But the years can help me trust it because I was into focus well. because you can get some hard drums and pretty riffs or whatever like so like and then just

the jazz you had to listen to even though you didn't want to you had to because you would you would miss the whole phase of hip hop it was like like because i was thinking earlier when we was talking about it when um far side part side oh yeah when they dropped that like and you realize what came from weather where you're in weather reports jimmy and when the um tribe called quest did um something they had that that was Was it many, Realpton? It was something. Oh, my love. Lyrics to go. Lyrics to go. But once you start doing, once you start loving it for that, it didn't matter if you found

something first. You was like, oh, God, they killed that. They did with it. It killed that. I like how they, you know what? So it's also about that, too, like to be. So was that inspiration for mainstream? Man, listen, listen.

You know what? I hate y'all for that shit, man. I'm so mad, man. No, you gotta. I'm gonna tell you, go here. I was gonna say, you gotta really appreciate that, Because we dug so deep, because we appreciated all of these changes in production style, how it went from a pure James Brown vibe to incorporate melodies and drums and then getting away from them being combined. Two dope boys?

No, it just hit me right now. Dude, the drums are mainstream. Okay. Same drums from Fall and Love. Yes, indeed. Yep. Fuck. Blombelly.

Yes, even now, I'm like, even now, even now. You tell me, you tell me, now. Let me hear what you say. Why you say that? No, no, no. It's literally the same break. Your face is kind of saying some days. Oh, I'm not trying to snitch.

No, no, no. It's not about snitching. See, this is the assumption. This is the assumption is that everything is as it was. I'm assuming that it's lifted as a loop. Well, I'm sure you'd shop it. But it may have been just sounds. programmed in such order

with advance... I mean, you gotta remember now. This is what you don't know. Wait, let me explain something. Let me explain something to you. I love it. Larry Smith is... His foundation of production

is partly because he's in the band, but also because of the technology he's using. SSLs, right? Okay. We started. When we got to the music industry, they left us in the room with SSLs.

Yeah. So this is where we learn how to make a snare. You got L'A and babyface old equipment. And high hat. Oh, wow. You know what I'm saying? We started off on reels. Yeah, we started out with LLN.

The synthesis is what you got to really appreciate. Not necessarily the copying. You feel me? Okay. The ability to be able to make something be something else. And I'm going to get into the part because, to be honest, you could be right. I'm not sure. So wait.

But I do. You're just saying, wait. Only be. Because I'm such a stickler for reverb sounds. Okay. I assumed that you guys used Iron Butterfly Soldier in our town for the drums. Drop it. Let me hear it.

But I can't speed it up. You're right. You might be close. It might be it. But the key to it, though. You might be close? The key to it. That's what I said.

Yes. The program, because they make stuff out tempo or whatever, we might take drums. and then reprogramming the same loop, but you end up touching other sounds that make it might change the hi-hat. I change this part. Oh, yeah, you're going to accessorize your drums. If it makes it better.

But the greatness or whatever, I'm impressed with, like, you, Raphael-Sadique, a lot of other people, when they talk about mainstream, I love it because creative people, the fact that y'all love that and the fact that it wasn't orthodox. Absolutely. It wasn't, it was, I was, it really low there.

Can I ask, is, is, Is Debra playing bass on that? No. Okay. And then the thing is, I think we had that little red keyboard. What's that? That was the magic box. Not in Sonic.

Nordle? North Lee. And we discovered that list sound. We just let that sound go. But the main thing is that I think it was also... That's what I'm about to get to without telling too much. It was like a cell therapy, you know how we got that dump, that bounce before the bounce come in.

We got like a quarter like, like, do-d-d-d-d-d-d-d-tun. So it's like we have a half of, so like it's like a six-bar loop, like rolling. Yeah. Uh-huh. Like the way we cut it off,

mainstream was that with a straight beat. You're right. It was giving you a, it was flipping it or a different part, but I couldn't figure out how to do that weird beat to that point in my career. So I had to go easy. Just keep it down the middle. Keep the drums down the middle,

but the music go crazy. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Clifford Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball

to college football, or my career in sports media. Well, somewhere along the way, this platform became bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show.

This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not 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 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 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. What's up, everyone? I'm Ago Vodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and the Big Money Players Network. It's Will Ferrell. Woo, woo, woo, woo, woo. My dad gave me the best advice ever. I went and had lunch with them one day.

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

If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Listen to Thanks, Dad, on the IHeartRadio app, Apple Podcast, or wherever you get your podcast. In 2023, former bachelor star Clayton Eckerd found himself at the center of a paternity scandal.

The family court hearings that followed revealed glaring ink. inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Sunlight's the greatest disinfected.

They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg Alesspian, Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences.

Ladies and gentlemen, breaking news at Americopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice is served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. All right. So now what we know as the Dungeon's students do, Before you guys get a budget, before L.A. and whatnot. Like I'm certain that you guys are creating a workspace in some sort of environment or, you know, you called it the dungeon. What is the equipment there and who's there?

I mean, because just based on the videos, I'm assuming that it's almost like the southern Wu-Tang where it's like 12 of y'all just like... The dungeon was my mother's basement, unfinished basement, the wooden steps, go down the steps. Ray was Yoda. He is the cookup. He'd wake up and get on the drum machine. And it was an MPC. From the time an MPC came out, we had one before we even moved over there.

Like from the very first MPC, we had one or whatever. And the problem was it was an unfinished basement, so it was dusty. So he used to load the 3.5 floppy. Yes. So sometimes we have to be concerned about... Stop, Steve! About losing things.

This is why Steve's making fun of me. I know. DeAngelo's. That's why we laugh when we hear floppy disk. He's still using them shit. DeAngelo is still 1997 with him. And he isn't want to move. No, no, but it's almost a good...

It's a good sound, though. It's an analog texture. I mean, some things you do for a sound or whatever, like the SB 12. Like, that's what I'm saying, the other drum machine that we didn't mess with that much because the past was... It was stick.

Once we figured out, we midded that to the MPC and programming from the MPC, but get those... Let's still get those Lidgen 808s. So you would filter the SB12 and then just midi it through the... Yeah.

Programming the SB 12. I mean, like, you know, samples edited in the SB 12. Right. Then... Since literally, every SB 12, the buttons get stuck

so you can't really program, so you just made it a mid... Once we've learned MIDI, for real, we're like, oh, I can control this drum machine with this drum machine or whatever, because it had MIDI,

so once we start doing that, like Waterfalls had the SP12 on it. Ludicrous Saturdays used SB12. And I promise you, that was the sound that was like the bass music. It was like Andre 3,000 on bombs over back there.

All that, that's SB, bomb. That's that SB 12 type of vibe. So we had an SB12 down there. We had an MPC down there. And you couldn't really record. We had a six track so you can hear stuff. He had two big house speakers down there or whatever. And most of the time it was about writing.

Because you had the steps. So people would sit on the steps. You have big boy Dre. You have Kudjo. You have Big Root usually closer to Ray. Because, you know. On your basement. on your steps, on the wood steps.

The wood steps, you would see them down the steps, but it was like, it was almost like going down to, you know, Ray on the drum machine, and it was already known you got really talking to Ray. And all you can do it is like, is appreciate this music box. So they're all writing? They all writing.

And the person that finishes first, they own that song? No, they're all writing. And he changed, whenever he finished what he's doing for that sequence, he changed the beat. And everybody turned the page and try to remember it. When you go back to death, but I get back on it.

But you'll keep writing. over a new beat. So now your styles are changing. Because now you were just writing with a certain thought process. Now that thought process has been enhanced by the beat changing. It's like the plant-based version

of drink champs right now. It also reminds me like when you watch the Bhutan saga. Yeah. And then digging in the crazy fact that Ray would start so early. Some people would be, you would get a chance

just the knowledge of like, you'll hear it, you'll sample it, Now he's chopping it up. Now he's messing it up. Now he fit to program something to it. But he might sample five or six things before he start programming. Or when I go down there later or when Sleepy get on there,

he already didn't pack the drum machine up with so many different things. Some of them he started on some of them he didn't. So it's like, sometimes you might be like, hey, get that, Ray, get that for me. You know what I grab that. Or Sleepy does it all the time. You got to call it. You got to call it. Call it bills.

Yeah. No, because he has his own sound. was cold about sleepy. Like, most artists get confused around Ray because he's going to go from waterfalls to cell therapy. We diverse. So the fact that he might be digging on some craigs and all of a sudden he might go into something that's,

in my mind, I'm the business person. Like, that's not for you. That's going to be involved. So you'll determine. You're the traffic cop. Yes, but I don't determine it. Like, I don't say it in front of nobody. I said to him.

I said, hey, we can use that for him. Yeah, we trust each other. You trust me, I'm not going to tell the artist. Because the invoked song was Cool Bree's song. Cool. Cool. What? Cool.

Cool. That's my... But it was only the... It wasn't the full live drum thing. It was on that little... It wasn't even live drums. It was on the... It was a beat.

It was a beat on it. It was a beat on. Like he said, it was that. Cool breeze was writing to that. Hold on and don't let go. That's the song we're talking about. What's it going to? Yeah.

But when it got beautiful, I think we call a little... Little John, yeah. We called the John here. I happened to be. We called the John here for that. So the night that he tracked that, I believe we were at the tabernacle because he told me. Oh, the tabernacle. Right.

Because when I saw Little John later that night, he told me that he just did it like two days before or whatever. And so that's how. I think the tabernacle not exists anymore. No, no, no. No, no. It's a time. Wait, wait. And I'm also glad you told this story because I always.

felt like you were secretly judging me, like you and James, and kiss my ass James Poyser. All the time. I feel like, I wanted to explain to you because the way we were, you know,

is that I always, I use my computer, but I always put it through that SB-1200. I got, and I never use that SB-1200. Yes, the reason is, I don't,

there's a new version of the, there's a new kidded-out version of ESP. I got it. It has great texture, but I haven't learned to really freak it yet. So I still do my shit on my computer, but I like the texture of how samples go through. They should just have an SP12 plug-in.

And they kind of got one on MPC, but you just don't believe it. Yeah, it's too. It's not. Some things you just want to like, like that A2. What I'm willing to do is to try to sample the sounds digitally again. But the quality, I got to be honest, little John, how his sound really changed America. Like that clean 808. The DJ?

The DJ. The DJ. And I once thought that Little John Roberts, was Lil John. I was like, yo, he's really revolutionized. Because the thing was, I knew DJ drama

back when he was backpack. Dramatic. Dramatic. Dramatic. And when Tarek's trying to convince me that this guy, gangster grills is dramatic. That's what I said to him here.

Get the fuck out of here. Until I seen him, I was like, holy shit, you really did. Like, so I did one point, I did think that little John Roberts was revolutionizing

dance culture in Atlanta. And then I realized there was two of them. What kind of MPC was it? 60. Oh, wow. The first one. For which was, I mean, for your original. You're a weapon of choice.

Original studio. The original studio downstairs. It was the big, the clunky one. The first one. The very first one. The very first one. We started on the first one and then graduated with each one. Do you feel like there's a different sound between the different models?

They are. They are like, like. Okay. Now, some people swear about the 3,000. The 2000 was the second one, right? No. No, 3000 was second. Well, that's the, okay, that's the one.

That was the one. The 3,000 was the one that they started using the effects. Or ABC2. The effects. The 3,000, the one they started using the effects. They started using the little, where they could like, you can make a sample. You can hide a sample. That's delicious.

They started doing that. The 2000 was the bounce box. The way, anything you did was bouncing or whatever. So it does have different. It does all of them have a different sound. What? What gives it the, balance the quantizing?

Yes. Yes, good job. Well, to be specific to the drum machines, when they changed them around, they kept putting the fucking click, the tap button on different fucking sides. So if you started on the first one, you tap what your left or whatever.

And if you start another one, you tap what you're right. So it made people be biased to the drum machine. I like this one. I don't like that one. It seems like the 3,000 is like the one, right? 3,000 is the one if you're Dilla. Now, and the thing is that Roger Lynn didn't, it has his name, but Roger Lynn had nothing to do with the 2000.

It's almost like the easy Adidas situation where they have a name, but that sort of thing. So really the last thing that he did, he did the MPC 60, the MPC 62, and then he did the 3000, and then NBC60 came and like, here's a boot, you know. And my sucker asked Phil for the 2000 because it's for left-handed people. All right, rapid fire. All right, yeah, it's raping fire. Okay. Which doctor, a swat healing ritual. Okay.

Oh, you're going that far. Look, man. We look, bro, we ain't got time, man. Fonte been ready. Bro, we just got to look, man. That probably to me, that and Coobreys album, like, ghetto camel. Bro. Those records, I've heard parts of the story.

What happened with those two records in the Interscoat deals and, like, What was that situation? Interscote situation was a good deal, but it was just bigger than what we was used to or whether we had more power or whatever. So like in the artists, you know what I'm saying? By that time, we as a company, we was a production company,

but we were a label. And the artists had more responsibility or whatever. Like we was making your music, but we wouldn't holding your hand to make sure you went on your shows, to make sure you did this. Did your in stores and all that. Yes, we did that without cast.

But they were 17 years. 18 years old. It was more about do you even have a bank card? You know what I'm saying? I don't want to leave you out there. But by the time we got the Giddy Mob, y'all grown. Yes. And not to deflect, but I did. I've been wanting to say this to Quest because

how did you feel when you first met? Because the first tour of GuddyMod went on was with the roots and with the Fugis. Ooh, now that was already dramatic. No, it wasn't. Because we first met Goody Mob, like my first introduction to, I mean, besides seeing Outcast on TV but in real life, we, uh, our very first trip to Atlanta, we went to this radio station. And, and I remember that. So I didn't go to the radio station that night, but I listened. And basically all of Goody Mob and the

like freestyled for 20 minutes. It was on YouTube for the longest. Like it was like a legendary moment. I just remember Reek coming back like, yo, there's even more of them. Because the thing is, because the thing is, yes, there was a lot of bias towards how we in the Northeast, yes, we're very snobby, very particular,

very territorial about culture and whatnot. So, yes, we tend to think that most of the down south was just Luke and nothing else. And so shout out to Cosmickev for, he always wrote for the Players Ball remix. Now, I will be super, super transparent, honest. The original Players Ball, I remember when it came on BET, and it was, the jury was up in the air because we were like, All right, so here's my thing. Come on. Come on.

All right, what it happened was. No, no, no, no. Where I was, I was dirty, dungeon, hip hop has to be filthy, like the first Jungle Brothers record, the first Wu-Tang record. And when the chronic came out, I told you, and Dre laughs his ass off. I hated the chronic for like 20 years because it just sounded too pristine. Whoa. Yeah, it was too, it was like, I was.

I was like, wait, I thought we were against this. I thought we didn't want to sound like afternoon radio. Whoa. And to me, then suddenly hip-hop just sounded clean and big and, right, but I didn't come from, like, club culture with shit had to kick. I wanted this shit to sound like that. Right. And I was just like, I don't know, man. Like, it's too clean and da-da-da-da-da-da.

And then I got in Cosmic Kev's car and he played the main ingredient. remix version. And when them drums kicked in, you know what? Let me to kick you off because you've been dropping these motherfucking gyms. I didn't know what he was talking about. I didn't know what he was talking about.

That's coming out. I'm thinking about the producer main ingredient. I'm thinking about it. You did a remix? Well, I think the statute of limitations is over. You really reveal it. No, we literally played it with the piano and had Sleep becoming and singing.

Yeah. You got to say it. See, like, it's cool. Yeah, that's what we did, but that ain't what we did. Well, wait, I thought it was. Listen to it. Right. It's that, but it ain't that.

I grew up with shame on the world as a record, so I instantly knew, so maybe. And then, guess what? Somebody else came behind us and did that. And did that one. You didn't do the kids. Youngsters, they did mad problems. They did.

They were like, oh, this what they did. How did you know that? And all that was the record. I ain't going to lie. When I heard that youngster's record, I liked it because I liked the sample. Yeah. I actually liked the beat and the sample was real cool to me.

Oh, damn. Wait, what? It was mad props. Come on, come on, come on. I didn't even know that too now. Reve it. Caught up. No, no.

I'm having a moment where I didn't even think of that shit. No, no, no. But when Cosmicab is like Philly Swampmaster Flex. And that's hard. When he used to have his, like, mixtapes out, like, I'd be in the car. And when he put it on. The way them drums, it was like a hard version of friends. You know what I mean?

You're good. And I was a parade. That was the parade. That was the play. Right. Amir, you are so good at this. Oh, Joe. Listen.

Yeah. I mean, it was a hard version of friends. Like, if I were drumming. Organized. Say it again. That's what you say. If I were drumming. Yeah, well, here's the thing.

Like, I wasn't, even though I'm immersed in hip hop and all that shit, like, I'm still trying to figure out, hey, how can I recreate these bricks? I would have been a perfect supplement to that shit. So when he did that, then that's when that was my Kaiser Sosa coffee drop reveal moment of, I was like, oh, shit, this is a problem. Then I was like, y'all really did earn those four and a half mics in the swamps? Yeah, thanks. Yo, we were rehearsing one day and boy brought it the easy issue and the source, we were like, all right, let's go.

And I would, I would like try to read the review before I see what the mics are. And I saw a half, and I was like, wait, it's a lead review. They wouldn't do no three and a half leave review. Two, three. Oh, great. Yeah, so.

Yo, four and a half. Like, we stopped rehearsal and I immediately went to record. I got to get this shit. And, hey, man. So it's so monumental, with what you're saying now because to even back that up, I remember when L.A. Reed, because it was important

to him to call me in every Tuesday, every day, every once a week when radio reports come out. He just wanted me, he was excited but he knew it wasn't his. He was excited, but he knew this is y'all, this y'all need to be excited. And he said that to us. He said that to us, yeah.

He was on the show about four weeks ago. Yeah, a month ago, yeah. Yeah, and he definitely said that even, like, he didn't know the world. Like, if it was TLC, he, he said, he, He could instantly have say. Hip hop, he didn't really know. But what y'all was just like, whatever y'all say, Al-Cousin, like, that's what. He just trusted.

Absolutely. But he started to felt, you know, like, I owe you to teach you. And he was like, yo, if this market plays your record, it's probably going to trigger these markets around it. So, so shout out to the Bay. Because that's who really, that's who, that's, man. They broke y'all? Absolutely. Wow.

Playing a ball. Absolutely. That makes sense. That makes sense because the soul's a mystery. Absolutely. They played the original one. They played the original one. Vegas, every other market.

New York, when we at our peak, I'm looking at New York, I'm like, I said, they still ain't added. Come on, not the cool kids. And he's just looking at me and said, they're just, they're not really, no, fucking with it. But I said, that's all you had to say. We went and did.

Soonzy, soon as he let me know. Soonzy said they didn't like, I said, they don't want to hear all that music, shit. Okay, cool. Let's break it down. Let's just break it down. Let them hear. We was already gold at that point.

It was like, we need to give a, and for you to tell me that Cosmicare, somebody who was a big influencer in the East Coast, because guess what? Everything turned around once we dropped that remix. The whole East Coast lit up for love for Outcast. A win is a win. A win is a win. I don't care what you're saying. Yep, that's me, Cliver Taylor the 4th. You might have seen the skits, the reactions, my journey from basketball to college football, or my career in sports media.

Well, somewhere along the way, this platform became big. bigger than I ever imagined. And now I'm bringing all of that excitement to my brand new podcast, The Clifford Show. This is a place for raw, unfiltered conversations with some of your favorite athletes, creators, and voices that not only deserve to be heard, but celebrated. One week, I'll take you behind the scenes of the biggest moments in sports and entertainment. And the next, we'll talk about life, mental health, purpose, and even music. The Clifford Show isn't just a podcast.

It's a space for honest conversations, stories that don't always get told, and for people who are chasing something bigger. So if you've ever supported me or you're just chasing down a dream, this is right where you need to be. Listen to the Clifford show on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes,

follow at Clifford and at TikTok Podcast Network on TikTok. There's two golden rules that any man should live by. Rule one, never mess with a country girl. You play stupid games, you get stupid prizes. And rule two, never mess with her friends either. We always say that, trust your girlfriends. I'm Anna Sinfield, and in this new season of the girlfriends,

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

Listen to the girlfriends. Trust me, babe. On the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. 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.

What's up, everyone? I'm Ago Vodam. My next guest, you know from Step Brothers Anchorman, Saturday Night Live, and The Big Money Players Network, It's Will Farrell My dad gave me the best advice ever I went and had lunch with him one day And I was like

And dad I think I want to really give this a shot I don't know what that means But I just know the groundlings I'm working my way up through And I know it's a place that come Look for up and coming talent He said if it was based solely on talent I wouldn't worry about you

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

a calendar of, you know, the cat, just hang in there. Yeah, it would not be. Right, it wouldn't be that. There's a lot of luck. Yeah. Listen to Thanks Dad on the IHeartRadio app, Apple Podcast, or wherever you get your podcast. In 2023, former Bachelor star Clayton Eckerd found himself at the center of a paternity scandal. The family court hearings that followed revealed glaring inconsistencies in her story. This began a years-long court battle to prove the truth. You doctored this particular test twice in someone's, correct? I doctored the test ones. It took an army of internet detectives to crack the case. I wanted people to be able to see what their tax dollars were being used for. Some lights the greatest infected.

They would uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian, Michael Marantini. My mind was blown. I'm Stephanie Young. This is Love Trap. Laura, Scottsdale Police. As the season continues, Laura Owens finally faces consequences.

Ladies and gentlemen, breaking news at Maricopa County as Laura Owens has been indicted on fraud charges. This isn't over until justice has served in Arizona. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. You had such a crazy momentum, especially with Outcast as your main Trojan horse, to literally change the narrative of how the world thought Southern hip hop was. This is what I got to know. As a lead single, yes, a song being 80 BPMs, and. In 2022,

2015, whatever, like we'll say the second half of the arts between 2010 and 2020 is normal. But in 1996... Elevators. And the thing was,

you know, I asked, even off campus, Grilled Dre and Big Boy about this, but I, since y'all create, how, like,

that was such a risk. Y'all could have just play it safe and just kind of fit in what did it follow though no but I can tell you this for a fact meaning that what did we do before that well I mean

waterfalls wait wait wait wait wait what do we do before that what do we do before that hip hop wise to me it was goody mob oh it was a soap so because they broke the ground with pianos

in this this totally contrasts when you were in a lane with with uh self-fills It was easy for the cast to pick up that the time and be different. It was so risky. I promise you. I promise you. There's a real story behind that.

Give it to me. We were too hard. No, the real story. No, no, no. No, no. No. The music is going to slow down. That was great.

Oh yeah, we had to think about this. This is the actual. This is the actual bees knees. This is what happened. Antonio Reed. At this point, we was in a contract negotiation. We were trying to bring our label. We wanted to be a label.

We want an outcast to be signed to us. Red clay records. So if you look at the original versions of elevators, it's a red clay records. We end up leaving. But so we was in a little bit more control. Big and Drake, say first single they produced. Right. They produced it.

They produced. Elevators? Right. They produced. That's the first single they produced. Big Boy came up with this incredible hook and we produced it in the sense of we put Devere on it. We made it sound like a big song.

So they want to put it out. I looked at it as a set-up record. It's just a little street. It's going to be the street record. L.A. read them like, nah, you got to give me an up temple. We got to maybe, you got to do, you know, all the bases of the food group. Come on, this is your first single. Come on, A.T. L. E.L.

I'm so glad someone said it. No, it's a fact. It's a fact. A.T. Lians, throw your hands in the air. Like, that's why you end up being second. It was supposed to be. It was going to be the first. They was going to come with that.

They had their plan. They had their rollout plan. Same reason why he wanted Ms. Jackson. to be the first single on another album. But since we were in control and we, and in the spirit of hip hop. Right.

Thanks, we're New York now. We Atlanta. Right. I'm saying, we're powerful a little bit. Fuck it. We're going to leak it. That's right. Took off. Shit took off. Let's go. Shit took off beyond anybody's belief.

So we took, we leaked it. I wonder how y'all leaked it back then. Did you leak it to a DJ? Yes, we went straight to Greg Street. Oh, the Grey Street? That wasn't Greg Street. It wasn't straight yet. It was, um, yeah.

It was actually mixed. It was probably people like 89.3. It was 91. It was a college station. Because back then, we had been schooled in the fact that that's the only way hip hop is going to be heard first. Mainstream radio wasn't an option. It wasn't even an option. It wasn't something you thought was going to happen.

So at least we get there. It was just a real, trying to make a real hip-hop community in Atlanta. Outcast was big enough to where it was a cool record. We didn't, and we did a remix where we probably took another one of those good breaks on there. Parliament Yeah, the parliament Guilty. Right, y'all make him Ray, man.

Man, this is my thing. By the way, how can Ray see him? The same drums from one love. And that thing. Ray, have you ever said here and had somebody depict your shit like a lot of people? It's a lot of questions.

They ain't going to call Spons out, man. No, it's not that. Listen, I come from a call to you out. I'm saying, it's cool. I like this shit. I literally. I'm literally on a producer's thread of like just 30 dwebes who sit and just... That's all we do.

Just sit in... When I found so fresh, so clean, I was like, get the fuck out. That's not a sample, bro. I know that. We know that. We know that what I'm saying. What am I? All right, all right.

We'll stop. I never heard the record. We never heard the record. This is this, right? This is a... This is a... I'm not saying no titles, bro. I just want you to appreciate how the universe works.

Right. Yes. When you tune in to the frequency. On that one, we really and truly didn't never see. Like, everything else. I mean, on God. On God. We never.

Like, that was literally like us producing, like, by ear. I mean, like, like, sleepy. I had a role, sleepy playing a melody. He playing a melody and me programming a beat that fitted the melody or whatever. And we actually created a breakbeat. Like, we created a break beat. And then years later, somebody said, man, this is a jazz record that sounds just like, so fresh, so clean.

I said, did they redo our shit? But shit came out in the 70s. I'm like, wow. Now, let me say this. I never heard the record, but maybe it played when I was dreaming

one night. Because I swear to God, I went to Rico house. I said, Rick, I got this ideal, man. He's like, well, I'm like, do, do, do, do, do. Come on, man, I'm just saying. I sat down.

And then re-came with the... Ozzy got a couple like that. But... Barry got a couple like that. You know what? No, dude. It happens all the time. It literally happens all the time.

Where you see, subconsciously heard some... One thing you can say for a fact, there are 88 keys. And it... I got to say, it felt good to his fingers, the movement. So that's why... You play it again. That sound like... But they didn't stay there, though.

Fonte, it goes... I ain't got no comment. Ray, it don't sound nothing like this. Don't. My eyes go do do do do do do do. Sleepy, it don't sound nothing like that. That's for the lies. All right, we're not, okay, okay.

No, no, no, no. We're not even, we're not in that whole gotcha journals and shit. But we are scientists that just means that how shit it gets built. Absolutely. But wait, let me just make it. I can't wait. I can't wait. I can't wait.

I can't wait. I can't wait. That's a sample. That's a sample. That's a sample. That's a sample. That's a sample. Now that was just an intro.

That's what they say. But listen to it though. Listen to it right now. A little straight. That's the Lamont Doza. But everything else? Right. No, it's like that's just to me.

This is dead. Whoever is DJ Premier, if it's, you know, all the great ones. That's why I organize noise is respected and is a part of this. This class of people, you know what I'm saying? Because you spend time. Now they've given the kids so much technology to where they got the notes on the board for them. They're showing, so the music sounds cleaner, but very musical, but people don't respect it as much. It's not as creative.

Because we have to do a lot more. We had to, like, speed things up a little or slow it down to get it in tune. Because you only had a little bit of sampling time. Like, the SP only had like 10-half seconds. Can I ask? Speed it up to, yeah. How does your cousin... feel about

like does he look at you guys like or you guys are like like has Future ever asked like no man future do some shit on my record or yes he did he did he did that and I hated it because I mean I ain't hated it I loved it I loved the thought of doing it but the fact that like

he wanted to do it because he wanted a song that sounded like back in the day and that's cool but we want a song that sounds like right now so let's evolve let's come together and do something that's not just some old sounding shit but some new sound and shit with the old with the with the with the familiarness can y'all just do both yeah that's what that's what that's what i would love you here well it would have happened anyway right i mean you

well well i got a whole i got a whole album anyway but i want you did that where the fuck is it i'm so i got him rapping over everything future me i got few man future is my cousin and if i want and if we wanted to yeah future's like like like like we wanted to we could we his that's what's working for him or whatever's like it's maybe not because the song we did he did some under 300,000. There's some hundred or three thousand rhyming on the whatever. And it was dope. I just think that to be honest, it was just, um, it sound, it was, it was dope.

But me and Ray had a version that we had kind of like made it a little more futuristic. And it was stupid. And they, and they didn't want to use that one. So I've been mad since. Yo, what's up everybody? This is Fonte, Fonte dello for Questlove Supreme. This interview was so meaningful for me. And I'm sure y'all can tell whether you listen to along or watching the

on YouTube. I was losing my mind and just geeking out the entire time. We're pausing this two-part discussion here for now, but please make sure you come back for part two for the Questlove Supremes. Atlanta Sitdown with the gods organized noise. We continue to speak about Outcast, learn

one of the biggest R&B hits, began as a beat for Dungeon Family MC and also did a deep dive into some of their best works. This was amazing. Check it out. QLS. Pontillo. Yeah. Quest Love Supreme is a production of IHeart Radio.

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 is a win. I don't care what I'm saying. Yep, that's me, Clifford Taylor the 4th.

You might have seen the skits, my basketball and college football journey, or my career in sports media. Well, now I'm bringing all of that excitement to my brand new podcast, The Cliver Show. This is a place for raw, unfiltered conversations with athletes,

creators and voices that not only deserve to be heard, but celebrated. So let's get to it. Listen to The Clifford Show on the IHeard Radio app, Apple Podcasts, or wherever you get your podcast. And for more behind the scenes, follow at Clifford and at TikTok's podcast network on TikTok. When a group of women discover they've all dated the same prolific con artist, they take matters into their own hands. I vowed. I will be his last target. He is not going to get away with this. He's going to get what he deserved.

We always say that trust your girlfriends. Listen to the girlfriends. Trust me, babe, on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. This week on the Sports Slice podcast, it's all about the NFL draft. And we've got a special guest. The director of the NFL's East West Shrine Bowl, Eric Galco, joins the Sports Slice podcast to break down what really matters when evaluating draft prospects. From hidden traits, teams look for. to the biggest mistakes franchises make to the players flying under the radar.

This is the insight you won't hear anywhere else. If you want to understand the draft like an insider, you don't want to miss this episode. Listen to the Sports Slice Podcast on the IHeartRadio app, Apple Podcasts, or wherever you get your podcast. And for more, follow Timbo Slica Life 12 and TikTok podcast network on TikTok. What's up, everyone? I'm Ago Vodam. My next guest, it's Will Ferrell. My dad gave me the best.

advice ever. He goes, just give it a shot. But if you ever reach a point where you're banging your head against the wall and it doesn't feel fun anymore, it's okay to quit. If you saw it written down, it would not be an inspiration. It would not be on a calendar of, you know, the cat. Just hang in there. Yeah, it would not be. Right. It wouldn't be that. There's a lot of luck. Listen to thanks dad on the IHeartRadio app, Apple Podcast, or wherever you get your podcasts. In 2023, Bachelor star Clayton Eckerd was accused of fathering twins. But the pregnancy appeared to be a hoax. You doctored this particular test twice, Ms. Owens, correct?

I doctored the test once. It took an army of internet detectives to uncover a disturbing pattern. Two more men who'd been through the same thing. Greg, a lesbian. Michael Mancini. My mind was blown. I'm Stephanie Young. This is love trapped.

Laura, Scottsdale Police. As the season continues, Laura Owen, finally faces consequences. Listen to Love Trapped podcast on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. This is an IHeart podcast,

guaranteed human.