QLS Classic: Salaam Remi Pt. 1

Quest Love Supreme is a production of iHeartRadio. This classic episode was produced by the team at Pandora.

What up, y'all is Laiyah and It's time for another Quest Love Supreme classic. This time we take you back to twenty eighteen when Quests and Team Supreme sat down with legendary producer Salaam Remy. I mean we talk about everything, the craft of making hit songs, what is like Craig digging with biz Marky and his part in making the score with the fujis from April twenty fifth, twenty eighteen. Salam Remy Part one.

So why don't we have called sub Subpremo roll call Subprema su su Subpremo roll call Subremo.

So my name ain't Lynnee, Minnie or Rene, but as a toddler, yeah, my shoes was kN.

Son Son. My name is Fante. Yeah you can't believe it.

Yeah, shout out to Salon.

Yeah for the worker remix. So sullow roll my name is Sugar. Only work with the best.

Yeah, that's how I got to work on.

Son Supremo roll.

So Son ro Bill.

Yeah.

And you might not be a fan of me, yeah, but you definitely hate Yeah, Sean Handy.

The son up brea roll You want to tell the same.

Is my name?

Yeah, tossed out the rule book? Yeah, hold up? Is that Lauren over there? Yeah?

S Yeah, what's alarm by? Yeah, I'm trying people. One of my favorite songs. You got no damns roll come b Son.

Supreme roll call su Breamer soup, breing my roll.

My name.

Yeah, I'm on the spot. Yeah, I'm glad, super cat. Let me make get a red.

Honrad Son Brea roll call breamer something something, bring my roll called up, Breamer son Son Soup, bring my roll call.

Breamer something so supreme.

I really hate the fact that I established how gullible I am, Like I'm the common person that I was told once that gullible isn't in the dictionary, And yeah, you just did that to me. Thank you foross Bill. I turned with the quickness. I wasn't sure if that was going to work either. I was surprised now that went off.

That went off like gang busses right now, troll mirror.

I was hoping all of you, look you knew it because your inflection went up, like.

I saw that he looked over there.

I was like yes at Landa only because that was the wrong name to say ladies and gentlemen.

Exactly.

This is another episode of course Love Supreme. We have Teams Supreme.

We have Tickeolo.

Yeah you know what, we haven't had brothers sister rat at the beginning of the show for a second, and a lot has happened since then.

How's it going to your record? It's going good. I'm redoing my master bathroom. First world problem, that's that's not a New World problems.

Wait, you're redoing your master bathroom? Yeah yeah, yeah, So how many bathrooms do you? Well, there's a lot of houses. What three you got a good you got like a big daddy cane house.

I got like two.

I have too full baths and then a half bath downstairs, so it's technically three, but you know one is just that.

So we were doing our master bedroom.

We're at the tub and shower paint, redid the vanity counter top. Guys coming to measure them tomorrow. Uh marse, No, we don't do marble. Granted, we went with granted, and it's a it's a it's a it's a light it's a like a light color grind.

I think the name is like black ice or something.

So you're keeping the walls white?

There, no, no, no wall. There was a leather couches that I never like leather though it's too hot.

You go to sleep on that ship, you be sweating and ship single man's piece. I never owned a leather couch.

That's the single man. I never did that.

I was like, it's good, what you up to. I'm getting off.

I'm sorry, I mean, I'm sorry.

I'm sorry.

Yes, I have recently, I'm getting off the couch and Los Angeles and I'm very excited.

That I get off the couch. That sounds like therapy.

No, no, no, I can, I can get off the couch. She wants to know I have a good girlfriend, wants me to stay.

Okay, Kevin got a job, y'all.

Where are you moving Hollywood? Yes, okay, Scott fly one bedroom. I was looking at the tourist video of it today. Had a nice toil and approval.

You got to get your work husband's approval of your place.

It was really nice. The layout was nice, it was good. Appliants is updated. Hey, I'm proud of you, thank you, sir.

I'm feeling really good.

Uh boss Bill Now I'm gonna try that. You're so happy, You're welcome. Thank you anyway, Bill, I love that. He just said, what bing the show for me? Goodbye?

Oh that was so good. I've only I've only heard that on my phone, not in contact. That was fantastic. I'm good. I bought a new house too.

Yeah, are you like fontage? Stand like? He do it up? He dorew it up high to me. He I just did a bathroom. He did like a whole studio. Yeah, the whole night. Where do you live?

I live in and Crowton on Hudson, which sounds super for white bathroom. I don't know like two no, I used to know anymore. But I'm building a studio in the basement and that's that. And I've been parenting for two weeks and I'm fucking done with children. I was fucking like, uh ja, I've been by myself with kids for fucking way too long. Man, Hey man, patience struggle is real. He knows what I'm talking about because we know it's basically the same person we are.

We're trying to figure out your theme song, ire.

Your angle is.

He needs motivation and you know, all right, sugar Steve how's life now that you're a big time celebrity with.

Sugar good Man Good Yeah, I started my own talk show my own network, and I am also redoing my master bathroom as just a coincidence, but that's all that's also.

Happening, seriously, or am ill bro I don't have like a master back. Ladies and gentlemen, welcome to Questlove Supreme Only on fan Do Only. It's been a minute since I've had an opportunity to break metaphorical bread with a favorite, you know, not not not to offend any of the other guests that've been on the show, I still love you, Leila Hathaway. She listens and I better come correct or she'll put a hex on me. I don't know, but

I feel like woe.

Yeah, we're you know Primo where Primo is you know, uh, the local corner store dude giving you what you need.

Then I feel that, you know, Salam's uh, He's say there you go. Welcome, Ladies and gentleman. Salt Bay.

Crinkles a question, thank you, thank you. Usually when guests come on the show, ladies and gentlemen. Uh, I try to discourage small talk while we're waiting to record the show because usually the good things come out. And why he had started the small talk for Salim asking what he was doing in New York, But that was the first question, because you're never in New York.

What are you doing here? Well, I got scared. I thought Shorn sent you up here to nah Na.

Actually would I actually like to do is to make records. I've moved to Miami in two thousand and one, two thousand and two, so that's been my main base. And even though I kept a place here in La I looked at it like Miami is a bit of my farm where I'm really in my creator space, and then New York is my farmer's market.

Per se.

That's where I've been there for the last months, and I have a bunch of mango trees and fruit trees. I've been on my vegan chefing, growing trees, gardening.

Literally, I thought, you're like me, speaking metaphorically and both.

So I've been in that place like kind of trying to find my baseline. So I've actually been to New York since November for one day, October for one day, and then maybe September for a few days. I've been home for the longest I've ever been on really just digging into the music. But I was like, April's here, wait a minute, we got to put music out because I like to make music for the first day of spring.

Man.

Yeah you sound professional. Yeah, I mean I don't feel professional at all my own pocket.

I'm like, well, okay, there's something like that. So I'm putting on my business hat. I'm trying to step out of my creative hat for a couple of days, figure out what I'm doing with it, and then dig back into the music.

So do you already have the music?

I'm sorry, you said music for Spring like that for at Spring song, So that means you already have the music?

You just yeah?

I mean, you know, it's funny. In twenty sixteen, I put out like a bunch of songs. I called to it for the culture and I was like, I'm going to release a bunch of music. And then the song that kind of did the best out of that, which is Miguel Myself feature Miguel Come Through and Ill. Then that was December sixteen. He put on his album December seventeen, and now it's a single. The video was about to drop next week. Things to figure out what that So I'm like, okay, oh, I guess I should put out

Besides Pandora, what other streaming services? Pandora is the only game in the mark. So, like I said, first stop, first place.

So are you saying Monday? Are you saying that Miami is? Is Miami good for? I never understood cats that wanted to be in that comfortable of an environment to make music because I figured that it's distracting and it's yeah.

You know what.

I always thought that, like my whole life. You know, I carried the New Yorker mentality. I have this thing when RAT sit in the room, when you sit in New York and you watch people walking down the street. They normally walk a certain way, but I look at it like they're carrying something on their shoulders. Either I'm carrying, I'm walking real fast. I have it they're dragging and leaning.

At this point, what does it say about me that I want to be the most uncomfortable atmosphere to make music. We would need a psychiatrist to unpack that state, or.

We could just all move to Miami.

Yeah, and plus aren't you afraid of are you there around August September or yeah?

So any of the flooding your house?

I mean this summer, this last September when they act that, you know, after Houston had the big issues. I really was in New York looking there like that, It's all my stuff going on. My guys, like, do you want me to fedext you something? I'm like my house, my life, HASSL, my e M T plates, Like what do you send me?

Everything?

All my disc But then I kind of sat here for a couple of days thinking, wow, this might be.

It is your studio protected at least for floods, and it is for the most part, but you know, for anything can happen. Anything can happen.

So I mean, realistically, everything I own, you know, at this point I pushed all into one big house. I think actually you were like my studio house. It's all set up with every other room. Every room in the house is wired together, record room into pocketed kits, and every other.

Oh I know stuff, he told me. He told me.

I don't know.

I just feel like it's sacrilegious to be that comfortable happy.

When I look at my house.

You're joking, serious, I know you. Like I'll say that an artist that I'm known working with, like his mo is like, I got to get in an argument with one of my joints so I can write.

And so I hope you not making love music.

Oh shit, Okay, I'm not the only one in the room. Okay.

So I mean, honestly, I think that me being there actually just been great for the life work balance. I've read NASA put me on the Barry Whites book, and he basically had one house that he lived in and one house that he worked in across from each other. So it was just that was part of it.

You know.

I was looking at warehouses. Okay, I build out a warehouse. I have the incredible studio. Now I have to find somebody that wants to buy a couple million dollars worth of studio in order to sell it. Cool, Okay, Cool. I get the house on the acre and I make it into the studio. Okay, Now I just take it all out and now it becomes you know, it's like I thought about the Rudy van Guel, the Blue oat house, or the Motown space or anything else. I at my space is kind of a place to be comfortable. And

You write lyrics too. I co write a lot of stuff.

Okay, Well, I push people who are around me to write, like the story is more important to me than to beat, because I can make the beat ninety times while they're sleeping, I can change it. I'm a remixer from start, so I actually push the story to be the best thing it's coming, kind of like getting the script and then shooting the movie.

So when you create a song, what's the first thing you're thinking about? Are you're thinking about.

What's my hook?

Like even before you developed, like take us through the process that gave you made you look, just from the beginning to from the rooted to.

The tutor made you look started with the conversation that Nas and I were having about Flavor Flame that when we saw Flavor Flavor, I ain't no joke video that we didn't know who he was because we hadn't really seen Public Enemy perform like that before we heard their

He was like yo.

Then he just hit me back on the two way or something come through. So then I basically drove cassette basically.

Close to that.

I had a CD burner and the who was it? The Who's the HHB CD burner. So I burned it on my HHB CD burner and took the disc and I threw a world or something like that in the truck I just bought, and I drove up to my to Orlando. And when I got there, that's not a close drive. That's four hours just to play him. Not not just to play, he just like come through because he'd already been. Basically the process was when we did.

Well.

My mom passed in May of two thousand and one. I was working on a shot, a remix for Lovers Rock. I put nads on that remix.

He came through.

He's looking at me, like what you're doing. I was like, oh, my mom passed. Me going to the funeral, but then I'll be back. You can furnish your verse. So he's looking at me like you're an alien. What are you doing when you just say what's happening? But you know, as you know, I worked through it and then shot it. Called me that they like, hey, do you want to do this? Dreamis you gotta be done on Friday? So I was like, I gotta do it. That wasn't something

So we were doing that.

I drove up Alchemists and now we're driving to the studio and I was like, yo, this is the track. It can be crazy. I actually had Amy talking. I had Amy Wyne. I was talking on the track because I was starting to work on Frank right around then. Actually I started in May. So yeah, I was like, had to do some stuff. I wanted to put Curtis Blow on it, so I'll be flipping on these niggas like we're meals. I had all these these ideas and

Basically that was he thinks in that sort of mathematicals.

He says that, yeah, what's also that? And then also, you know, the father's being musicians like that, so he thinks like a musician, and if he plays something, he'll think about it musically speaking as he's writing to it.

It's weird because in my head I thought he was trying to do a rob Bass flow because Rob based also sort of rhymes on the end instead of so speaking of an old episode of references Rob Base. His his approach was straight rock him. He was thinking about how rock Kim would have sat back on the Lets get it all in perspective, right, That was that was the thought process, but I didn't catch it at the time. I was like, all right, cool is where we're going

He finished the.

Verses, I through the birds with a thousand people.

I gotta tell you that. Wait then I tell you I never knew y'all were saying brave hearts.

I thought, see, I had my whole theory about made you look, and I thought that was his him bucking the shot.

Back at jay Z, which was still at that time. I was so.

I thought y'all were saying airball, Oh god, wow, And I was thinking, like, Yo, why is it so little the mixes that'd be so great at basketball games that you know, like a jay Z you missed me, motherfucker bought like that sort of thing.

And even when we did that, like part of my theory was just being in the clubs and being in different spaces that I faded it out because I wanted it to play, but I wanted you also to be in the club and feel like the people on the other side were doing it or whatever it was. So then now you start singing along with it, and by the time it creeps up, that was a play game.

But I mean that was the main part of it.

Cut the record, took it to Miami, played around a little bit, and by his birthday kind of played through it. And then you know, during that time, you know, he was still going through drama with the radio and everything else. So I was like, take and peach to president and just use it by itself. Alchemist was like, really, Alchemist was with me during those days because he knew where the studio was from the rental houses we were staying in.

Is that her playing? For at least that's me playing.

But my thought process was to get her to play it and then feature her that way rather than making the typical R and B. Alicia Keys comes out of nowhere with the hook record. That was my thought, but then she ended up producings Warrior Song for the album, and then you know, it was like, I know I can. Was basically, come on, we love the kids.

Man played on the radio. You love the kids. You got to do for the kids.

I know I can't.

That was Son, Yeah, basically, and that vocalist is actually uh for a while, okay, there it goes, thank you the vocal so.

I know I can.

It's actually Angela Hunt, who is was also in the group of seven sixty six nine.

Oh my god, Yeah, she's the kids so high the.

Kids voice is actually so high exactly, so that's her voice. And then she has vote Empire state of mind.

She's she came up.

And she has no big soaka record party done.

You know, it was big for the last few years or whatever.

I always wanted what happened to? Yeah, that one album, Well damn you you out rabbit hole being. But I'm still going back to the beginning. Yeah, waited a while to go back to the beginning now, like he you know, he went on a tangent. It was good rabbit holes and tangents hand in hand.

Uh, where were you born?

I was born uh, Manhattan, Saint Luke's Woman's Hospital up in East Harlem, and then I grew up. At that time, my parents lived Brooklyn Heights. But then I grew up in Queens mainly North side Jamaica, Queen's Camberg Heights.

Holding on to that accent.

Now, who's your Your father? Is my father? Okay? It's a bit of a rabbit hole. Should I go over? Yes? Yes? Perfect? All right?

So my dad, his name is Van Gabbs, producer, manager, musician, et cetera. Basically, the story how I came about is this. My dad comes from Trinidad, eighteen years old. His father already lived here in Brooklyn. He's working at some place New York Insurance Company. He's been getting older, so I've been asking him, re asking him the questions to kind of get the story straight straight. Now you can tell

Guitar? Okay? Cool?

My dad acoustic guitar? Or was starting to play electric. He's like, yo, come around my way. There's some guys that do a band. So he takes him around Queen's Saint Albans two hundred and second Street. My uncle Joseph Wiggins, who's my mother's brother, actually was the local musician, and I had another uncle named Thomas who played keys. Joseph

Never did that.

They just performed. I think it's there was a club call. I think there was a cheet that I used to be where Siri is on fifty second somewhere over there. So they performed in different places. And when I've asked other musicians of the day, they're like, oh, yeah, remember they played whatever it was. But they never really made records like that. And then my dad continued to you know, produced and stayed in the music business as one of

I don't.

I think Dope has it, but you know exactly, I think he has it.

But basically no, just in that conversation, I was able to get a really favorable sample Clarence Steal because because it was lifted from Dad's you know, original works, and you know, still just feel like the legacy comes around. Pops is always I'll say it now. He said, that was this jam that he created, you know, with his band, basically off of It's a Shame. You know, it's basically he was playing It's a Shame?

Does your father? Did you ever hear the story of Larry Levin and the four Hours of Heartbeat? No? I don't know. Do you know the story?

No?

I don't know that story. Larry Levan is right, he deal with Larry all the time. So yeah, the legend has it, you know. Larry Levan like, if I say that, then then I know it sounds familiar. Okay, He to me he's like one of my DJ idols, but he in seventy seven when uh, you know, Studio fifty four spawns off sort of rejection culture, like you can't come in, but you can come in, but you can't come in you can, So all the rejects were like, well, fuck it,

Sounds very okay, get down and then and then uh, wait a minute, that was the wrong reference to make good.

Well yeah, because Bill's face just started.

You know, it sounded familiar to I wasn't angry, I was laughing.

I thought it was funny.

Yeah anyway, so uh and then I guess you could say that the ground you gotta get another build theme that goes deeper than darker than that.

Yeah.

So uh and you know, just a lot of uh the underground, uh, gay night clubs and whatnot.

Oh like what they're about to the new Ryan Murphy John is based off of I'm sorry, I just went into a rabbit hole.

But there's a.

In the abyss now. So the thing is is that the most popular?

Well, he also DJ'ed at the Studio fifty four, but Lara Levan like wanted to build his own spot.

Leave Studio fifty four and build balls.

That's what they're called.

They used to do.

They used to host balls. Come on, Okay, I see, but this was more. I mean, he built the ultimate warehouse with with speakers, like it was probably the most like it's it's it's DJ's dream to spin in a spot like this. Anyway, you know, he had an amazing following, I mean, like, and he would do the most creative things like me, reading about a set list is what prompts me to think that I can get away with playing like Kerrent the Frog and DMX in the same setting.

But did he did he just do an edit to it or was it did he have anything to do with the creator?

He did an ed as as I know, actually created, but he did.

Beat, made Tiny Guarden a Heartbeat.

So he and pro and the next week he came back and basically played Heartbeat for four hours in a row and they relentlessly bowed.

It was like just a standoff.

We're gonna sit on the floor and protest and protest and protest, and finally they're like, look, let's just dance of the ship so you can play the next record because the ain't no other club going to let us in, so listen just you know, So anyway, that.

Was part of culture kept going because that record means a lot to you know, the Barbecue Flex and everything else that you know came after it.

And plus also like Frankie Crocker used to, you know, like he was the type of leader that other DJs would come and watch. So Frankie Crocker would look over you it, you play it and then start playing it on the radio, and then.

That's exactly so within that, you know, back to Pops, he was, uh, you know, producer ranger doing all that stuff. He did promotions, street promotions that Arista, worked underneath Vincent Davis who had Ventons Hayman at the time, and then he became Northeast regional for Arista like during the time, like he broke like jumped to it for Rita and different stuff like that, and had relationships with Frankie Kraker,

Yeah, yeah, yeah, the Seventh Heaven right, all.

That type of So he basically was the person that you know, when I talked to Slian Robbie. Now they're like nah, your father took us around and let everybody know us and whatever else it was. So he was just basically a connector through the musician scene, the jazz mobile scene, you know, part of the Jamaica boys. Know all the Hanky Great and how We Great and all those guys who are on that side were like my godfather's to say. He basically was just like a guy

Exactly more of that stuff.

And then you know, through his connections while he was at PolyGram, eventually he bought Gwyne Guthrie in even though he was promotion was supposed to be doing it, but the whole it ain't nothing going on but the rent time. But he was just like connected on both sides, management and music.

So was he an independent person because you just mentioned like a bunch of labels in a short period of time, Like how does one go from like.

Like James Evans of music? He basically he, I mean, he went through all the stuff. Basically.

His thing was that when he made his first records, he got jerked and he wanted to learn, So he went into ARIS as an intern and then ended up being Northeast Regional, and then as he left it, then he ended up going to PolyGram. You know, his whole flow was always I'm gonna he basically would be in the studio but then still be doing promotion, but then still be with whatever else, doing a little broadway in

Who was the most popular artist that he was associated with that was sort of a no name back then, like son, I want you to meet a Sissy Houston's eleven year old daughter, Whitney.

I can say it.

I mean, even during the time he worked with Balafonte, So it's kind of hard for me to say. Wow, like even some of that ton of garden and stuff, it says if you look at that work. The Body album says recorded by David Bellefonte, fan, can you take your man?

Take David with you. I can help him.

He needs something to do, you know. He was an engineer and actually and a lot of stuff.

I can't say it was.

It's kind of weird because I saw so much so young, you know. So that first time Dougie was in the studio he called me in for birthday.

Yo.

I remember how I went to the studio and he was touching everything.

I just remember, you was submitted to do that?

Hi?

You was? Then you was?

How was you?

You touched everything in the studio and then you still do it? You know? That's still what does this do? What is this? Dude? It was almost that.

But I remember, like the first time I heard doing dunk dunk, don't don't I know how to play.

Dunk?

Don't bug? Yo, Yogi want a clapp ornet? And I remember Bert Reid actually looking at me and going, who told you how to do that?

Like? Really?

So I was around like so basically, the way it worked on the Daily Planet Block is that there was a Planet studios in the basement, and up above that there were a lot of people who had studio like

I mean, I guess for me.

It also started because all my uncles were musicians and my father's brothers as well. So my third birthday, there used to be a drum store on forty seventh and kind of like right where Unique was somewhere right in

In I went earlier.

You mentioned Larry Smith's name, and he's also like one of the uh the great pioneers of hip hop production that never ever gets mentioned in right pathana greats? And did you have any DMC Did you have an any relationship like with him or have any stories of just not really.

I mean the only time that I saw Larry wasn't until later, like when we had studios in the city and he kind of came by and he was just always like man, he basically the times when I saw Larry. He was talking to me about my uncles who had passed on by that my mother's brother, like Joe Wiggins, uncle Thomas, just about stuffing, you know, the Hollists, saying all in his neighborhood where they all were around, and then he be talking about dad. Hey man, we gotta

That's a guy.

But I didn't really correlate it until later on.

So did you is your first production Black Biproperty Demand or was it the album before Dim before McGill. I was just gonna say, did you do mcgilla Gorilla?

So Igrilla was more please play this song for y'all.

I don't know what it is.

Let me just play I'll say this no, no, no, no, don't even set it up, Boss Bill, do we have your permission to not to not even back sell this thing? I just want to just play.

This is the story about.

Let me tell you.

A little story and the whole dad. It's this is the first song on my My Good and Terrible List.

WHOA his name.

Is Miguilla.

Now on.

That sounded kind of fur realist right there. Oh actually yeah, he got up. What it does kind of sound like it's like straight up you had to go. Damn, I'm just waiting to get to the course. I'm like, I'm waiting to get to it to this is all you right.

Just.

Watified right there, I can see this ship.

We speech.

There. It is about it. You're about to get a check for this. Okay.

Now you were thirteen at the times the are fourteen.

I'm sorry. That was Curtis Blow. Well you did not know that, Curtis. You didn't have Kingdom Blow. No, the record on the IL would have been Yeah, I remember that one.

So I'll tell you Mgilla. Gorilla was my light involvement. It was an artist that my dad had named Essence, and Essence was a beat box and he would he kind of took the big thing to another level, but he'd be doing baselines and stuff. So part of it

In the studio. So but you get the credit on the album, I get the credit. But then also to Alan Smith, you.

Yeah, I got I got put into it. And then also he was working that PolyGram as a promotion person at the time for otherwise. So if you look at that record, his name is not on it, but mine is.

It's like it's like a grace Grace Yeah, Edie, Eddie Hazel.

Okay, Mikael Riley. Yeah, basically, so that record was but I was doing records.

I don't know that.

I didn't realize that what Markel Teddy Teddy was using Markel's.

Name sometimes that too, Yeah, sometimes because I know about well sometimes he's doing using Markel.

Yeah, because produced my prerogative.

So I'm like why but was taking everybody's credit and money?

Yeah, So uh, how did that? First of all, how old were you I was fourteen.

Okay, that's highly usual. So that means that you must have displayed an advanced level of some sort of musical wizardry that they're just like good, let's alarm. Like at fourteen, I wasn't. I don't even think at forty seven, I'm thinking about it.

I mean, you know, it's crazy.

I actually, you know when I was a kid, you know, I when I was playing some drums, I was doing some different stuff. But then I also, let's see, me and Aconelly went to junior high together. So I had in junior high, which would have been eighty three, was eleven, I had a little I still have a Yamaha Portal sound keyboard that I could program, and in that I was able to program beats, so I would really be

Like out.

All the influence for the beats and the records were kind of coming from me, and I was like, nah, this is this Listen to that one. I'd be giving them my pause tapes, like take it, but just make a copy, bring it back for me. Here's another one I got. So I was actually somewhat in the record street, totally his head to the street and just watching what I was doing, because he was still a musician, but he was into hip hop. You know, he was helping

Two he was still trying. He didn't come up with the concept NA.

That one wasn't me back by popular demand was my concept, but okay, I'll get off mcgilla gorilla just like what made him like was there a movie picture essence had something and he was fun and they took whatever the energy that was. And that's really what it was, almost like a jingle studio version of what's something that was dope raw four track.

It just got to you know something, it's just hard to even even after tonight's show, like when we try to make like mock mock TV theme like bad hip hop or whatever, like there's almost there's almost an art to that which even if intentional or trying to be funny or whatever, like I kind of you know, I delve into I love that type of stuff. So I actually respected what was what was the first like drum machine that you were given that you that was your tool.

That was my actual I mean, well, that Yamaha Porter Sound I was able to program on, and then seven or seven I had a Yamaha seven h seven, So you.

Just skipped the whole Cassio SK one discovery your sample thing.

I had a SK one more like eighty seven eighty eight, But before that it was kind of like here's a drum machine figure out how to program.

So I started. I actually went to college first, and yeah, I actually.

Had programmed on like I said, in the Yamaha Porter sound. I was able to take that and it had like four little things where I was able to you know, boom boom, and then I could record little keyboard things. So I was really doing that eighty three, eighty four, and then it was like, okay, well we're gonna give you this seven o seven now, and then I actually got on that. But then I was mad because I was like, the seven oh seven snare don't sound like Mally's. It's a demo snare?

What am I doing it?

Like?

How am I gonna get this? So then I got to get your your crack at the infamous Maley uh uh it real, Nah, I got.

What I got was what was it the it's one of those gated reverbs Eleasa's reverb or something like that. Oh, you just need reverb, man, and the reverb was trying to make it and it was still cool. I figured it out, but nah, that wasn't the case. And then eventually, yeah, it was a seven or seven twenty one an Elasa's drum machine.

Eventually I don't remember what that came.

Before after the nine to fifty A nine hundred, probably that later after nine hundred, because what I did was I helped my dad. He had signed mc rail and Chuck chill Out to his label eighty eight eighty nine, late eighty seven, and mc rail was from Philly rock him.

Seven like you working on that ship. Yeah. On the album Yo Yo.

I with someone my AGEIK loses min right now, do y'all remember mc ral.

Rail dog.

A rock I put an mc I put em c rail post in the askbaan, Yeah, you.

Didn't say I produced this.

I didn't produce all of it. I did one song, That's why I got my.

Man.

But that was actually on my dad's label. Chuck Chill Out and cree Chip and mc rail.

What was your dad's label.

It was called Palm Tree at the time, but he had Palm Tree PolyGram. He basically left PolyGram as a promotion person and got a label deal and put those two artists out. And mc rail's life of an entertainer was actually mc ral in the House Rockers with some casts that were from I think they were from Columbia, South Carolina, the House Rockers and then ral was from Philly.

Where from Yeah, where from Philly was he? I can't remember. I feel like he was from West Really.

See this, this this really helped. This really helped the root situation out all right. The way this is mcrail's life of entertainer base. What he's sounding just like rocking feet. Say you're playing drums in the video everybody wants to rap will be a thing. Guy Todder working on that job at Chapelinga's the boss Stone buses back. But you're bringing it all out six now. And this casey had his care his noise. There is sign he was more.

These two acts that it was like it did us no justice, like em c rail was like our ore are broke?

Uh rock him? And and then there was the.

Rhythm Radicals and they were like are fake public getting.

You ever heard the rhythm? Yeah? Did you produce them to?

I feel like I feel like when this episode is done that you're gonna reveal like two artists that you know most likely it was your dad's label. Was that the same label the Chu the Chuck Shot Out and the Cool Chup album with slaves to the rhythm?

Okay, you produced that all the time. No, The only thing I did on that was I'm Large. I went and changed the mix. They had a mix where they programmed like I was like Tommy Road that sounded like MC night, turned that up and they had boy White, Rob White who Rob Lewis was his name. He had programmed on top of it, kind of some loud want to be Freddy being the mic master. Drums that weren't exactly it, and it was just like it sounded like they put seven to seven drums on top of Tommy

So him and you remember I'm Large when it was on like video jukebox doing that. We didn't have we didn't have vide.

But yeah, I'm Large was Uh. It was one of those things where at the end of the video was something to be continued.

Shit.

But then they show a commercial and then be like, yo, save us from help the bond from detonating, detonating one eight hundred one nine hundred no no.

No, no, no, save us. And I'm like the secker on the phone, like trying to come up with those pops he got you. Yeah, you look he was good.

Greg Knight still be like, you'll tell you pops. He owed me thirty five dollars from talking to girl because they had a thing where you could dial up and talk to certain artists, right, so rich Knights when he was an artist.

Greg Nice.

Different people will come to the office and now they be able to you know, you Dillar number and you for a dollar in it, and he's like, yo, I'm gonna give you twenty five cent a minute. And so people be over there talking to different people from all over the country and they think, tell your pots. Healed me thirty five.

Hours the first Internet. Yeah, his first chat room.

He must he used that whole Northeast regional to his his advantage when it came along with.

I mean was a hustler. He's still a hustler.

Use I mean to have his ear on air, like especially the cities on the East coast because he already had had to do that.

Work and whatnot.

Definitely that and then in the music space, like I'm skipping all types of stuff, but just in general, he was always in it, always in Jazz Mobile and different places. So he had his basically my with the music that I work on, he pretty much did all of it. I'm just expanding on it in different ways and kind

Like that was you toss it up shit, you know, we gotta go.

Yeah, Yo, did you have anything to do with the Payback mix, the Payback mix, the James Brown Mega mixed thing.

Oh yeah, I did that game. It's called bit you produced it where you throw some or no, I did that.

That was That was Harry. He Harry Wenger came to me at that time and was like like sixteen. But my dad worked at PolyGram branch with Harry Wingo. So I met Harry when I was thirteen years.

I was trusted twenty six year older now, let alone with a sixteen year old.

I was in the vaults. I know you were in the vaultes early and I was in there. You know, I was sample police early.

Hey, that's you. I was in there. I was going to say, here's.

But I got access. Okay, I was Rick FROs Fed. I was helping people out.

Do me, give us three acts, give us three acts or three joints?

That you kind of that you snitched. I can't even remember right now, But were you bad? Were you like, okay, that's the drumming snare that's ours or no, no, no no.

I was like if there were like whole records, it's basically what I was doing. Like the Funky People Part three, I think had the version I did of blow your head without the noise on it. Yes, so that was something I went and did. So I was telling them like, look if we have some of these records where.

He was laying traps, because you also did that for Things got to Get Better for Marvel Whitney.

So I did that.

So there were the three versions of the mostly there was a James version of him singing things got to get Better, there was a Lynn Collins version, and it was a Marvel Whitney version. So then I made a mix where I put all three of them together and I put the drum beat on the beginning unwind yourself, Unwind yourself.

I did that? Was you, Yeah, so you was laying little traps so yeah, but cats were coming jacket and he was so basically well, but it was it was.

That I was trying to get the drums out of records that we couldn't get.

I see that, but it's also I thought you.

Were basically he would take the original reels and make versions, put little drum injoyers on it, and then motherfuckers like me like yo, you're in the open drums and start taking it.

And then you think because you think he was the original source, but he just kind of yeah, I'm knew.

I did it.

And then back to the James Brown Payback mix. It was like a lot of stuff that I pulled off for Rails and I think at that time Most's fortieth the anniversary or whatever it was, so I actually was in there and I just went through and made one big mix. But then I think his publishers wouldn't allow us to put it out because we were going to add it to the whatever Harry did at the time

I don't know how.

Because it was just like whe did I work on that for five days for you know, just basically going through it just to sit there. But you know, once again, it was for the culture. That is crazy for the culture. But I had access to James Brown stuff because my dad was at PolyGram, because I knew people, nay, you know, asked Oscar Wang Harry Waninger.

Did you work in the Jungle Groove?

Jungle Groove was out before me, before I was around, but I had a copy of it early, so I had a copy of the.

Do Do Do Do Do? What is that load? That was the mother load? Yeah?

Yeah, jungle Groove actually had That's what we used for Curtis blow from back By.

Yeah, okay, that was you. That's what should be called.

But though that stuff helped me out later when I was doing NASA's Get Down, having a nice clean, exactly great shot.

That helped me when I was doing where are they now? You know, clean damp tamp? Wait, get on, I'm getting to is on? I put Yeah, is there a stereo version of that? Because only I just had to clean.

I had the drums I had, I had the clean parts, so I was able to make it.

Okay, that's it to something else.

Yo, man, I'm highly amazed that what he's saying. I know, we're talking to my al a minute about.

Yeah, because I was also thinking, I'm like, so does this mean too that you were like of the privilege, you didn't have the issues that a lot of people had with the estate and whatnot.

Did I was okay, all right.

So he had no no, he had the clear like everyone else.

But he whereas we would take it from the records, he would take it from He just went to the now in twenty eighteen we can get but back in nineteen ninety something to get access to that on the reels?

Were you the only one at the time of your age that was.

That? I was beyond?

I mean actually it was on the Jiggy album. Even there's a couple.

Not on that. It's funny how I ended up doing that, but not not on that. On all that.

Glitters ain't gold, and a couple of the songs, I might have used some pieces and some cleaner pieces of different stuff.

So how did how did you come in contact with you? Jiggy? Good?

Rap a hole here? So Dennis Davis runs into my dad. Dennis Davis is the drummer who played with boy Airs on Stevie your cousin. Oh there you goes wow? All right, So Dennis.

Dennis playing by himself, man exactly.

So Dennis ran into my dad on forty eighth Street. Man, he's somewhere one of the record stores. It's like, hey, my stepdaughters got this boyfriend. He can rap whatever it was. So I was like, okay, so they exactly he can rap. So then they gonna bring him by. Hey, so long you know I ran to Dennis. Okay, yeah, you know Dennis comes by at that time, he had like short dreads probably up the head, so Stevie looking exactly. So he was like, yeah, I'm gonna come by and bring

Joints? You know what I'm saying.

I put a little that thing, Oh cool, that was all for the James Brown. But he's like diamonds, like why did you ever do that? Like I see you at the break conventions with us, why did you do that? And I'm like, cause they had dances, you know, they they flex had the thing like champion feet, happy feet through sit down, I'm about to play something else, so he'd always be going at him. So I was like, cool, I gave them that seeing what they could do, but they may toss it up.

Cosmic keV played the ship out there in Philly like you're you're feeling royalty checks wasn't been high because that was like toss it up was like the anthem there. But it's funny you said that because if you remember when Premiere was on the show and I was trying to explain to you what he said that that did, what Large Professor was doing for the like why would you give him such obvious shit? All the all the drums on Jay Rue's first record was kat and obvious shit.

Is something I did as an exercise anyway. But it was still like, you know, yeah, but could you.

Could you really afford your reputation to be I'm a substitution?

Wasn't that old?

You know?

This was ninety or ninety one? Z he was ninety two.

It came out ninety two, But yeah, when that happened, it was ninety one.

Substitution was having to It was like.

Substitution, amen, brother, cramp your style, but Isaac Cay's it was just like all basic obvious stuff. But then once again it was about the song, and that's where we got together because the beat was in.

But then they all came out of nowhere that work. The shit worked in the club.

And that's that's And then also I was with Flex and Chuck chill Out at all time, because basically Chuck chill Out had this group Deuce as Wild Non Double m Centipede and funk Master Flex. So everywhere that Chuck went from eighty nine when he lived in the building in the studio with us, I was there with him. So when he got to funk Master Flexes on the one and two they were using my turntables.

Wait, so Flex wasn't How about Chuck chiller Out was the main DJ in funk Master. Flex was like this record guy, yeah, and I was the other person with Flex. So you would have to carry the crates and all that stuff, all that stuff. How many crates was Chuck chill Out using at the time.

Probably about four or five. But then when Chuck was talking, he was also when basically Chuck got fired off a kiss. When Chuck would mess up a kiss, Flex had the DJ for him Chuck is late your Flex quoters mess up. He wouldn't show up sometimes.

I thought that sniff meant something.

Sometimes he wouldn't show up or he'd be all over the place. But basically when he got to bls now cause my dad had the relationship with Franky Kraker and Mally was no longer on due to whatever drama was in control was not there.

I don't know what that was.

Then basically my dad was like, well, Chuck, you gotta talk. So Chuck got turned to talking, and now funk Master flexes on the one and two became a phrase. And then they were using my turntables because Mallie was always working on the basic you know, pretty much mixing on the board, right. Yeah, So now they're like, nah, we gotta bring some twelve hundreds, and so they were using my twelve hundreds basically.

And so you were there doing the whole magic of with BLS or yeah, yep, wow.

So basically my Fridays and Saturdays would be at the radio station all the way from that BLS time being in the clubs with Flex in the view day.

Being So this explains the freaking Fuji's remixed and why Flex played it so goddamn much.

He actually liked it. No, no, no, I mean it's a classic, but so help that relationship helped.

It no more than a relationship. I'll tell you what happens from the time that Flex is in the clubs, whether it's Red Zone, Powerhouse, the Muse home base. I'm there with him because he used to having me everywhere and I lived in midtime. So as I'm in the clubs, I'm watching the door. Yo, Buster just walked in play the Leaders. He's trying to get no leverage. He asks

Can I ask you this question? Yeah, how do you feel about that mix of.

Nappi Heads. Yes, the bass is very loud, very very loud. The studio that I mixed it in had a really compression room, so if you didn't catch it, the base is super loud.

But it worked.

It sounded great on the radio. I was gonna say, it sounds better on the radio.

No song frustrates me more to spend back when I was using wax to spend in the clubs than the Napiers remix because it was so freaking silent. It was so low because the bass was so loud, right, but then you hear like to hear flex mix that ship on the radio. Found, Yo, how come.

I'm not getting and it comes in low and then it goes no.

Just the way that the record is. Basically the room that I had it sound works and that's where I mixed that. It was a compression room, so if I turned it up basically even if the base was loud, like he comes the Hot Step, I had a loud base like that. Different records I did kind of were just super bass heavy, but then the top end of

But yeah, you're right, the.

Age of I definitely remember like having to do I would make my own Uh well, I do, like I said, different Kanye like re eq is because.

He uses way too much base exactly, so with in that, but also I knew that as a snare started but put that that's DJ then cheap with cheaper, y'all, I'm gonna leave, but y'all, okay, cool, what this one's a right? She would cheaper y'all, I'm gonna leave with y'all. You know what, it's not bad, all right, it's the Fujis. And then when he was writing his verse, I played the come Clean instrumental Come Clean a cappella and it ain't hard to tell a cappella over the track, So

Okay, So explain your work with the Fujis and just what was that like? You came you had nothing to do with one on reality? No all, she came at the tailing of how did you manage to.

Even get to them? Well, not weaselly a weigh in, but trust because I know that basically what ended up happening was that.

I'd done Megabanson sond Boy Killer remix, which had the.

Barry White you know whatever it was exactly, so I was doing it.

Yeah, yeah, So so I did those pieces. But basically that came from being at b LS Bugs, the m D. Bobby Condas is working the BLS. Bobby Conda sees me going to Hole Jackson's Records plucking out samples.

Yo, I'm going to studio.

Can you come with me? Maybe you could program some bets with me. So, now, in between whatever else I'm doing trying to make the real hip hop, trying to keep up with the piets and premiers and large pros, I'm able to go with Bobby Condas and just sell him breaks that everybody used already for dance mixes, R and B mixes, reggae mixes.

So he wasn't a producer per se.

Bobby was a producer, but you did word. I was the promote. I was doing programming for him of certain things, so he'd have a keyboard, dude, but just like some real hip hopes, because he saw me coming in there snatching brakes out of the library and that's what it was his office. That's what he said, Yo, what you got so cool? Now I'm going to studio making three hundred, four hundred, five hundred a thousand, just giving him breaks that everybody already used in hip hop for another purpose.

I'm gonna ask you something. I'm gonna ask you something.

Did you use a Willie Hutch sample for Bobby Condors the the iced tea high.

Roll his joint use that ship for a Mel before she group and the mail was on the record.

That was her singing it and she couldn't finish the vocal and he actually took her lead off. So that was mels first recording.

Yeah, she played me that ship and you did that ship? Yeah, that was me.

So I was working with Bobby and we did mac Daddy and we did that.

You did Macdaddy? Yeah, I did.

I did probably most of the hip hop stuff on that album. So I did that, which is a massive Sounds album. He had a song called mac Daddy that was like huge.

You don't remember Macdaddy Bobby's Yeah, yeah, yeah, it was in the it was in the dance hall set.

Yeah, so basically that set.

So the dance all set at that time, from say ninety ninety one ninety two was a combination of me staying in the booth with Flex and then being around Bobby and saying, okay to go from dance hall, which was heavy at the time, to hip hop. How we're gonna bring it. So now I was taking the hip hop putting together. So back to the food Geez, which

Remix.

I did all those pieces. I was just like, in the middle of the reggae and hip hop mix?

Was that you playing keys on that remix? Yeah?

On one of them, because I think one is Chris you know, I did the one I did on there was actually I think I used a little Richard drums on there or something like that.

Seventy two ye the real thing? Yeah, yeah, yeah, the real thing. Choice.

Well, basically my whole mo was I was able to take these West Indian records and get them on the radio, get it going you for the reason we.

Were grinding the hip hop.

So how come you never work with Carris One, who was such a champion of mixing reggae and hip hop together?

Because Carris One would ask me, salom So, I'm making an album right now, why aren't you in my face?

That type of stuff? I left that on my voicemail one time.

Well, has there ever been an artists that's been on this show that hasn't More times Terris Know that just hasn't used inflections.

His impressions are great. This show never met that doesn't have a chress person like.

The articulation is just that it was.

It was basically I was there when he made madism that went over the place.

Every time someone like Karas One, they make him sound like a James Bond feeling.

There's like a person like a person.

Trying to figure out how you detail your thoughts charrass one. And I was sitting there and I've been working with Channel Live. Dang, I'm all over the place.

Basically I've been working with Channel Live and so were you on the well the first one that Matification, So I did probably four or five songs, So basically.

No Charris One did it.

But basically while I was that the studio, I did bush Babies and Tough. He was that working at the studios intern So he's like, when I get my deal, I want you to work on my album. So when he got the deal eventually through care Res was Capital for Station Identification, He's like, yah, I want you to work on it. So I'm doing beats for them. But Karras hadn't met me in person, so the day they were doing mad Is and was the first day I was going to D and D and you know, the

Did you do? I'm just I remember.

Here, okay, So I'm coming. I'm coming back, not bead. So basically, Jeff Burrows is like, you can make the Caribbean stuff work. Can you get with this group? He comes, I was like, all right cool. At the time, they were managed by David Sonenberg and Bernard like Sandra so exactly, and at that time they had bizz wait let me say this, there we go. So David, who was definitely a character, was a fan of my personality because we

The East West and.

They basically had a record, and the guy, the black guy, who was a black guy and white guy in the group, and the black guy really wanted me to do some beats. He evented my studio was like, you'll heard you doing these beats. So I went to meet with David. I listened to it. I was like, nah, it's a pop record. You're rating your money. Keep your money.

I'm good.

But but for me being eighteen and nineteen years old and not taking his money and telling them, oh, you're nice on Riverside Drive, keep your money. I don't need your record because I always pick with records I wanted to work on and didn't just work with.

Anybody they were.

So now when the come up there managed by David, and he's like, oh wow, Slam, I can get back to him. He'd already sent me Ain'ty Camosi probably around that time to start working on the demos that be came Here comes a hot Stepper, And then also Jeff Burrow said it, and I was like, oh, Columbia, all right, cool, I know what to do here. I know who I'm

Yeah? That was the same thing.

Yeah, well not the bust of Wins, but I just basically had the vibes and that, and it was the same album that Pete used for Pete's sake. I can't remember what it is the white album. But basically I was just like kind of chopped that up and then I was like, oh, we're going to the studio. So we went in the studio and why Cleft freestyle for two full times on the rail. I have still a recordings of like twenty minutes of him just freestyling. Then I went back and took the different.

Parts, so you just pieced it together.

Well, I went back and told him, Okay, we're gonna keep that that your mona Lisa, that's the hook. You're just a flyaway. You know, we're gonna keep that part. Your cheap achiap like I basically took he had a cheap a cheaper y'all numba leave y'all.

Rapp was something I.

Was the last reason dinosaur, Like, he had all these pieces and I just took like four or five pieces to what he said during that twenty minutes and said, this is your verse. Now we're gonna say that with the chill out, wild cleft tone rather than the loud wild clift tone. And basically that's where the record started. Pre pro tools, pre pro tools. Yeah, but I didn't didn't, I didn't actually edit it. I actually told him this is the part we're gonna keep. This is the part

Then cut it again, he said.

Then he read said it in the more because wyd Cleft has this MENI mony to him a voice that I kind of referred to where he kind of talk raps and you know that other space. So that's basically how Nappyheads came up. Lauren had her verse, we kind of it was all miss Hill to you.

At the times.

Before she had the Miss on the Hill basically, No, but basically before it was there, it was just like her priests. And then Proz had his part and that session became the Napiads basically, and that you know, started it going. Then I did a remix of Vocab. Then they did a remix of Vocab that really became the real proper one.

Mom, did you do that like the slow.

Yeah, there was Shelley Man with a black sab of drums.

Okay, so what I guess by this point, did you decide that your injury is going to be like hard ass drums with this sort of psycho psychedelic Uh?

I don't think.

I don't know if I could tell salam Remy like, there's always there's a beautiful flute, breezy element to your work with.

Some hard ass drums under.

I think that's there's always like when people are ask me my favorite producer back then, it was like Munk Higgins, and it was munk Higgins because he always had all this orchestral stuff happening on the top and then boom boom, boom boom. It was like a groove that was rocking. So I still love the juxtaposition of you know, a vamped out groove that still got me there.

But then I love melodies.

I like that.

I like Marvin Gaye for the same reason, like that I Want You album. I feel like the drums, the bass and drums put me in the pocket, but then the orchestrations of the music and the vocals kind of take me somewhere. So that's kind of like My Beauty and the Beasts.

You know.

My Jamaican engineer called it Chris and Karanni, or the top end Chris, but the base Kranni.

Like it's it's always an energy.

That we go for that we want to have, you know, it's a pretty facing the fat ass basically both.

Who was your go to engineer back then or do you just work with who you were giving or did you ever not?

I had my own studios, so I was always kind of keep my people around. So at first my father's partner, Edison, who actually produced a lot of stuff with him and was doing a lot of stuff. But then Gary Noble saw to work with me in ninety ninety one, and you know, to this day, Gary still makes a lot

Now, you mentioned Biz earlier, and I know that you're good friends with Biz. Yeah, have you just ever had a normal moment where Biz where it wasn't just like trying to one up you? Like anytime I see Biz. I mean it's like twenty years ongoing, it's always a one up game.

Yeah, quest, you got this, I got this? Come all right.

First of all, what is your take on Mardi Grassa one of his situations?

I mean, Biz's got stories, and he always would find a way to do something. I had it over here, I put it over there.

I mean.

The funny part is that during that time when I was working with him, he had a period where he would just come to my house, which was no I had a room basically that had like three crates of records, and it was a room that I basically made the ghetto at hots and everything else. And I had a half broken chair, like a chair where the back wasn't on it. And Biz would come there and sit at my house for five, six, seven hours a day and just be sitting there.

Come on, what you got?

Now?

You got something else in here? Funky? What else you got?

And I would always be in the city going through stuff. My boy Raheem that worked the downstairs records in different places would be with us, so we'd always be coming through doing stuff. But Biz would just sit there all day, like, what else you got? That's funky? So I had different beats, and you know, that was the time when he was doing I guess it was the album with what he Got sample, the one he got suit for I Need a Haircut, So around the time he was doing it,

You mentioned like those record conventions, like for our listeners, by our listeners, I mean me describe. That's one thing I never got to do because like just the whole like where a bunch of hotel hotel record vendors rnt out of a ballroom and you like, who's the first in line, like who's basically been outside?

Who's yeah, really happened? What was really happened? With the record conventions. It was great because we found out before that. Sometimes we would get together and you know, go shopping, go to Princeton, go to a one. You know, me and Rashon might go here, or me and Lynn Funk was my boy. So we would always go to different places. A lot of us kind of met and downstairs at different points, and some of them actually worked there. Trouble that worked in downstairs still works for me now. It's

There was just certain people.

You know, Bob Gibson from Boston would have a lot of records, so I would always be dealing with him and sometimes he would send me like a box of records and let me pick what I want and send the rest back.

Yeah, Crust System somewhat.

He probably got burned a couple of times, but you know, things happened, you know, But but in general that was kind of like the energy of it. But at the record convention, just off the top of my head, who's there, like Pete Rock, Q Tip uh Primi will pop up sometimes Juju from beating nuts less sometimes Uh t Ray, Prince, b Craig Caleman, of course who else would be there just Breakhas you know, most of Buck Wow Finesse.

Show.

Sometimes Diamond would definitely be there with Shaw to be there.

When did it start?

When did it start to get ugly? Like I I came up in a time in which, like you know, Pete would allegedly and I'm winking, you know, b rate certain dealers for giving records out or you.

Know, yeah that bis records, And I mean certain times because people didn't like the fact that you would go and try to buy something that's exclusive and then you're giving it to three other people who are in the same business as you making beats. So if somebody had something and I found this singing, I asked him to find this record for me, but then he found two

So was it like, was it a breathless race of the finish if you found like a certain many Alexander record.

Or that sort of thing.

It was just elbows and too many people because now you were going to I think certain people like Tip and Premier just stopped going because they didn't want to go shop and wear everybody else was and it became too much. You know, after a while, it's like Christmas. You felt like everybody's getting you because they know that they can get you, and they want you to spend

That's how that happened.

Yea, who's the mastermind behind the score? Like because there were so many producers like who gets the.

I Well, basically the fujis as an element.

I'm clear that.

Lauren is soul to the max, wy Clef is eclectic and that's what he's still if you look at you know, just their voices and what they do.

They continue to be that.

But Pros was the popper if you look at the score. If you look at the score, it says executive producer Pros co executive producers wy Clef and Lauren Proz has the.

The Beasts not loud enough. What's the hook? I don't get it? You know.

Just Staying Alive was produced by Plas I mean on on why Clep's Carnival, Pros Dick Guatana Mayor and Staying Alive. The rest of the album was pretty much done, but it was like we need singles. That was Proz going, Yo, I need to put something together that's actually gonna stick this together. Then you know later on his Ghetto Superstar Records, that's him, that's his air of certain types of records

But Spike didn't want to use it really.

And then during that session, why Clef, Lauren's like, play the fat joby, play the beat, you different Joe because I made the foolgielyot beat for Fat Joe. At Joe came to the crib, He's like, you keep giving them the beats. He it ain't damns the beat, it's the beat. So Fat Joe and Chris Lightdy came to my apartment. I was like, all right, cool, it's Tuesday. Come back

I can't tell. Lauren comes by.

I'm playing them some beats, the beat that I use for Greg Naxon's let's take it back to the whole school. Let's take so the actual record is what I wanted to get. The foodie She's like, it sounds like we did it already. It sounds kind of try we did that already. That sounds like Nappy has is so then the next beat comes on in this Fuji line, She's like, see that's what I'm talking about.

That's disgusting.

So during that session for the Project Heads record, she was like, yo, play the Fat Joe beat.

I'll play it. And then.

Cleft jumps up we used to be number ten and spits his verse. Wow, and it was just like that was a moment, all right, cool, so you know what, we need to record that. So before they even really had the budget for the score, I had a studio. They came back and we finished recording Fujila. They got their second budget open. And then if you listen to how Cowboys sounds, which I think Forte did Cowboys or a co producer whatever, a lot of the records were

Record Killing Me Softly? Who was gonna do that record? How would you do that? Yeah?

I probably do kind of like flip flipped like the Apple bomb. Oh that's the same thing I was thinking. I call you right, yo, I know what happens, Yo, what's that record?

Apple?

I got an idea, I got an idea. I know you just said that Yo, this and that.

Then if you listen to Killing Me Softly, the beat, the baseline on it is just like nappy Heads, boom boom, boom, boom boom. I never said something on nappy Heads. The bass notes are like the.

The and.

So it's boom boom boom. If you took that boom and unfiltered it. You hit typical drastic.

No, no, what, it's super yo, and it's just filtered like a motherfucker.

Yeah, because I don't know somehow, I don't know how I ended up having that, but I ended up having it and the piece and I actually just filtered. Well, I think I mighty just recorded it with just the base up.

But that is fun. It gets drastic, you bastard.

So you know that's so Killing me Softly is basically a copy of.

That in hindsight, and you know, part family member and part outside of looking at whatever. Do you think that after eighteen million copies of that album sold, did it serve them well or not?

H ah?

Sorry to interrupt you, but you know to hear Salam's answer to that question. Tune in next week for Part two, West Love Supreme Minities just aalt Remen. We'll also talk more about nas Amy, White House, Cannabis.

And much much more. All Right, see you next time.

West Love Supreme is a production of iHeartRadio. This classic episode was produced by the team at Pandora. For more podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts or wherever you listen to your favorite shows,