Deee-Lite's "Groove Is In The Heart"

Hey OneSong Nation, today we're bringing back one of our all-time favorite episodes. It's a deep dive into a track that can still light up a dance floor where we're talking D-Lights, Groove is in the Heart. That's right Diallo, this song is a veritable musical potpourri of genre-spanning samples that even includes a surprising snippet from a 60s TV theme song. This conversation was a D-Light. You don't want to miss it, let's get into it. One, two, one, two, three, four. Yeah, dick. Sing it, baby. I couldn't pod with another. Now I couldn't pod with another. Groove is in the Heart. Groove is in the Heart. Groove is in the Heart. Groove is in the Heart. That's what I'm talking about baby. This episode is brought to you by Simply Safe. As the evenings get darker and colder, this Simply Safe On is the sound of peace of mind. Simply Safe's sensors, HD cameras and 24x7 security monitoring protect your home inside and out against break-ins, fires, water leaks and more. So you can relax. Visit simplysafe.co.uk slash pod for an exclusive discount. Industry leaders are transforming business with AWS AI. From Phillips advancing patient care to smarter auto design and games that evolve in real time, AWS AI is how innovation happens every day. Oh my gosh, that was amazing. I mean we... I don't think, I think that was perfect. I think it's indistinguishable from the actual recording. You know, Usher needed like seven weeks to prepare for the super... Not us. Not us. We just came in and we made magic happen. We nailed it. We nailed it cold. All right. I'm actor, writer, director and sometimes DJ, Diallo Riddle. And I'm producer, DJ and songwriter, luxury, aka the guy who talks about interpolation on the internet. And whispers about it too. And this is one song. Today we're talking about a postmodern, transcendent, genre-bending smash hit. That's right. Diallo, it's a song built on a bedrock of samples from disco records. Jazz, exotica, a whole potpourri of different sources. My parents didn't let me go in the exotica section. I was behind a curtain, like a beaded curtain. Kids weren't allowed back there. It's not just the samples that are all over the map. So was the band. They drew on their influences from Asia, Europe and East Village. And don't forget Queens. The hip-hop in the song comes via Queens. This song features cameos from a hip-hop luminary and a funk icon. It was ranked by Pitchfork and VH1 as one of the best songs of the 90s. It's often called out as one of the decade's best party tunes. Rolling Stone, they can't be wrong. They listed it as one of the 500 best songs of all time. And as a DJ who's done more weddings than I can count. It's still a feel-good classic that gets the over 40s to the dance. That's right. You're listening to one song, The Atlantic Rated, the 23rd best podcast in the world. I will stop milking that. No, no, no. We're number 23 like Jordan. Let's keep milking. I'm enjoying milking that. And the song we're talking about today is D-Lights Groove is in the Heart. Dig. Luxury. I know you have a lot of personal history with this song. Oh my God. This is absolutely. This is such a key song for me. I believe it. Can't wait to talk about it. I can't wait to talk about it. It's released in the summer of 1990. And it's easily the song of the summer. This song went number one in several countries and ruled the Billboard dance chart. How did you first hear this song? And what's going on in your life back then? This song came out when I was just starting my freshman year of college. I'm in Washington, D.C. I'm the music director at my school or working at the radio station at least. Music director at the school? I was, I think, going to soon be the music director, but I was at the radio station, the point of which is we get all these free records. So I got the world click record. That's D-Lights debut album. I actually got it like very early on in the school year. And while this was happening, we were also, all my and my friends were going to Tracks, this legendary gay nightclub just outside of D.C. So my experience coming into college in this moment was like house music was starting to happen and was starting to be a thing that I was exposed to. And it was also starting to be on the pop charts with D-Lights Groove is in the heart. Madonna's Vogue is also in the same year. So this is an interesting moment where there's a crossover happening basically. Absolutely. But I'm also kind of in the trenches a little bit where in retrospect, it's kind of so cool that I was, I got to be there because at the time, like we'd see this guy named Kevin, Kevin Avionso, and everyone would be like all stars struck about him. And he sort of turned into a legendary like RuPaul like drag icon in the later years. And in fact, he put out a record. I will say the name of it if we have to bleep it out. So be it. But he put out the record, Cunty, which Beyonce sampled in on Renaissance. Which song was that? The song is Pure Honey. Yeah, love that song. So this person was just there at this club that we would go to. We would sort of worship him from afar. All this to say that like this was a moment for me where electronic music was itself in the world beginning to happen in dance music in this new way with house music being starting to filter out from its origins in Chicago. And it hit my ears. It hit the radio's ears. And this Madonna's ears. So it's all kind of like crossing over. Everybody. I feel like everybody was really into this, into this song. And look, you know, like, admittedly, I'm in junior high, I think with this song. And so my only interaction with it was really through MTV. But I remember the second I saw it, it just seemed like this really cool world. That video is so amazing. The video is iconic. If you remember it at the time and you haven't thought about in a while, go back and look at that video. You will remember things that you have totally not thought about in 30 and 40. Very long time. But also rewatching it. I'd forgotten about how like in Zoolander when they do the like Franky Hollywood, like hypnotism dance. It's the same thing. It's the same thing. It's the round thing behind them. It's the little heads popping up. The little heads popping in. And I mean, like, I will say the same thing. I feel like, you know, for me, again, digesting this as a young teenager, delight. B 52s were doing love shack around this time. Like there was so much like sort of like Daisy, Daisy hippie, like 60s iconography going on. It's that iconography, but there's also like this sort of retro and kitsch factor where there's sort of 70s and 60s. Oh, elements that are coming into the music, but with like an ironic wink. You know, this is an air like there kind of wasn't like irony didn't really exist until of course it existed. But like as a mass phenomenon, like people were pretty like on the nose in the mainstream. And then you kind of get this sort of maybe Dave Letterman starts to bring irony to the masses. I'm not really sure what happened. Interesting. But by the time we get to the B 52s love shack and delight groove is in the heart. It's like you can you can kind of read. Yeah, you're kind of able to read that there's a little bit of humor happening with the choice of this like funky bassline from disco music, which also sounds cool. So you can kind of have your cake. Well, that's the thing is like I said earlier, it's a postmodern song. It's got it's got a disco sample. It's got the, you know, the I won't jump the gun here, but it's got the jazz sample. Let's say from the soundtrack to the movie blow up from the 60s. And again, as a kid, just digesting this video, like I had never, I didn't know who Bootsy Collins was. I was like, I didn't either. Weird old black guy with the glasses. By the way, he was probably like in his 30s. But he seemed like he's 100 years old. Right, right, right. You know, I knew Q-Tip because I was like, you know, into hip hop. I knew the tribe called quest, but I was like, who's the lady in the outfit doing the seductive dance moves? And who are these quirky guys who look like they work at a record store in Atlanta's, you know, little five point shout out to wax and fax. I used to go there all the time and see people who like look like these. It was like a door. It was like an art school and exploded onto an MTV video. It was crazy. I'll say. I think by the way, Austin Powers hasn't come out yet. So I feel like there was just a lot of like 60s retro. I was also a big Pee Wee Herman fan and a lot of the stuff in Pee Wee's Playhouse. That's another example. You're right. Yeah, look like it was out of a. That's another kitsch getting the mainstream example. Great example. It looked like B-52s and D-Lite. It's sort of been doing it to it. It's been not to I only wasn't invented, but certainly there were lots of there's an underground kind of cultural counterculture alt culture thing that was starting to bubble into the mainstream. Absolutely. Early 80s, maybe whip it that you can draw a straight line from whip it through the B-52s to D-Lite and they're kind of all of a piece of sort of subversive culture kind of questioning, but also celebrating American pop trash. You know what I mean? Absolutely. And I think this goes towards why we chose this song. One thing we always do on the show is we try to bring to light why these songs we cover matter. What makes them part of this musical Smithsonian we're building. I love that. Yeah, I would love to visit the musical Smithsonian. We are the musical Smithsonian. We're the curators of the musical Smithsonian. That's great. Yeah, so just to sort of summarize a little what we've been talking about, we were talking about how the band D-Lite and we'll talk a little bit about the individuals, how they bring their own experiences literally into the music. So their choice of records that they sample and the choice of sounds that they're making comes a lot from their backgrounds. But this is really interesting because it's in this moment where we've just been having big sampling records are happening. I talk about big sampling records all the time because there's this tiny moment where you've got sort of in 80, 80, 91, it's when hip hop has reached kind of an apex as an art form. It's gotten to this point where part of the art is the collage of samples phenomenon. Sure. So you have Public Enemy, Nation of millions. The bomb squad, yeah. You have three feet high and rising. Some of those songs have like 200 samples in them. You've got three feet high and rising by D.I.L.S. Soul. You get Paul's Boutique by Beastie Boys. And it's interesting as I was listening back to this record, I realized you sort of add this to that group because world click by D-Lite and particular this song. Group is in the heart has at least 11 samples that I was able to track. So that's not something you could really do anymore. This was a moment where the lawsuits basically had not started to hit. I feel like even like D.L.I.T.E. theme, that song sounds like a hip hop record of the period because of all the looping. There's a really interesting connection I get between hip hop which literalizes itself in this song, right, as we'll talk about later when we have our guest 16 bars and we'll talk about Q-Tip in a minute. So I think it's really interesting to make that connection. It's also interesting because in this moment, you know, sometimes we talk about how Daft Punk's Pyramid at Coachella in 2006. It was a breakthrough moment culturally because that generation, a certain generation, there had been kind of a gap between the disco demolition in 1980 and 2006 where dance music was a little underground. But it actually popped its head up a couple of times in between. Famously the Chemical Brothers and Prodigy a few years later. Fatboy Slim. But in 1990, dance music also popped its head up for a minute with this song. And it's easy to kind of forget that there is a post disco demolition, disco sucks, America music, house and disco and everything underground. And they are, but every now and then they pop their head up for a huge massive global smash like this song. Absolutely. I mean, I think about like Heavy D came out around this period with Now That We Found Love, which is basically a house trap and him rubbing, hey, you, what we go to do? There's a lot of, there's a lot of hip hop artists jumping onto tracks and that made them edgy. I'm remembering a US three with Cantaloupe and stuff like that. We're not going to talk about US three. I know. Everybody's got an opinion on that song. I think the blue note guys really liked it. It was like hip hop that these, you know, old jazz musicians on blue note could really get down with. But we say all that just to say that like this is the sound of early nineties, New York and early nineties dance. In fact, I was reading some of the contemporary reviews of this song and they call it a house song, which I always considered it more of a disco song, even when it came out then. But because it has like a house BPM, right? It was considered, you know, by some of these, you know, journalists and so much of that proto house is just a disco sample with an 808. This is not an 808 drum machine necessarily. I'm actually not sure what, no, I take it back. I know that there are no drum machines in this song. So it is technically not a house music track, maybe just because there's no 808 or 909 in the mix. So it's interesting to say that. In the UK, it was a double A side single and the other side was what is love, which sounds like an amazing house record. That is still a monster. Sounds like 2024. It could be like contemporary. In fact, when we're done here, let's go back to your place and put some 909s and 808s under. Honestly, the whole record, I mean, I have a feeling we might have to touch on the one hit wonder nature of how this song and this band is perceived. But frankly, World Click still stands the test of time. I think we should talk about whether they're what hit wonder a little later in the show. Okay, so one thing about this song is that I think every one of us at an age knows it, but I guess most people know far less about the band. Talk us through it. Who are D light spelled with three E's luxury spelled with two X's. So D light are a band that form in New York. The nucleus is Lady Miss Keir, Keer Kirby, who's a guy. I'm glad you told me how to pronounce your name because I was scared to hear it's Keir. Yeah, Lady Miss Keir Kirby from from Ohio. She meets you. It's 1982 and she meets a DJ, DJ Dmitri Brill is from Ukraine, but who moved to the US when he was a teenager. Yeah, I thought he was the DJ in the band. Yeah, I mean he it's interesting the two of them really form the songwriting nucleus of the band and it kind of happens accidentally because Dmitri is a DJ. He's on the scene. He's like a resident at all the big hot clubs at the moment in New York in New York. Yeah, this is all in New York. Early 80s New York City. And so Lady Lady Miss Keir, she comes to me later. She's a fashion designer and a textile designer and she's not in she's not a musician at all, but they start dating and one night they take LSD and she starts singing. And the next day Dmitri is like, you have a good voice. We should write some music. And that's the beginning of the two of them starting to write songs together was this sort of accidental LSD experience of vocal discovery. Oh, so that's interesting. Like so many groups this this group sort of grew out of a couple grew out of a couple grew out of this accidental LSD experience, which also explains the video. I feel like watching that video again. It's it's an L it's a trip. It's so trippy. It's a trip. It's very psychedelic. They're bringing all that 70s kind of cliche stuff back again with a wink. You know, the sort of like, oh my God, what do you call the lamp the lava lamp like all that lava lamp graphics like in the 70s. If you ever watch the like velled underground, there's always like a lava lamp video thing going on behind them. They bring all that room with a wink and a nod. Yeah, absolutely. Another kind of interesting accident that leads to their starting to be a band is, you know, Lady Miss Keir tells the story about it. She says in 1986, I found $500 in the back of a cab and bought my first sampler and that allowed her. That is the best. That's so great. And as a non musician, and by the way, this is in 1986. She had the wherewithal to think I want to make music, but I'm not a musician. $500 in a cab in 1980s. And on a sampler, there was probably tons of residue on the $500. Let's slow the story down. Let's talk about the $500 in the cab. I want to know about this $500. What would you do if you find $500 in a cab? I don't know, but I think someone got killed when they showed up and they didn't have that $500. It's true. Can I just say real quick, super short anecdote. One time, Bashir and I, my righty part of Bashir and I went to a nightclub and as I walked, and we were like in our twenties and flat broken as I walked across the dance floor, I saw some money and I just picked it up and I counted it. And it was $260 all in twenties. Can you, I felt like a Rockefeller. Like, I can't tell you how many jams that got me out of like, it was just like a magic. It was like Mario when he finds a coin. Like, but like one of the, but one of the bricks with lots of coins. Wait, when you find this money, are you like looking around or are you like worried? Dude, I put that in my pocket so fast. I went to the bar where Bashir was. I was like, dude, we got to get out of here. I was like, we got to go. He's like, what happened? I was like, I'll explain later. I was like, but we just came up. We were roommates at the time. So we ate like Kings. Sizzler. We're going to the sizzler. Steak, seafood and salad. Damn. What a combo. I'm sorry. Surf and turf. I'm sorry. This is pointless. Let's get back to, she finds $500 in the back of a cab. So she finds this money in the back of a cab. She buys her first sampler and again, the wherewithal to think I'm not a musician, but I want to make music in 1986 to know to buy a sampler and that you can piece together songs from that because it's kind of happening in the world for the first time. Like now we take for granted. I can piece together some samples, some loops, et cetera. Are you, are you going to tell me that she and he co-produced this? Cause I thought he produced it. And so she was a co-producer. So it's cool because the name of the sheet, they formed an entity, like a production entity called sample, a deli productions. If you look at the record, it's produced by the delight sample, a dog productions. It's just the two of them that all tracks. And the third person they brought in was DJ tow a day who's who I love and have followed for years. We'll, we'll talk about that a little bit. His solo work is great too. He's amazing. He gets, he comes into the picture and what he brings to the table is his record collection as a DJ and as a collector of these more esoteric records. He's a Japanese, Korean born DJ who moved to New York and moves to the United States. They all meet on the club scene in the late 80s and he becomes the third and, and you know, the missing piece for the band. He had just gotten to town. I love that story. He just kind of town and immediately he's on like the hottest song in the world and makes a massive contribution because so the story of groove is in the heart as a song. Lady Miss Kier says that she'd actually already had the lyrics written separately. And then DJ, Dmitri Brill was one of his favorite songs to play when he was a DJ and not to jump the gun a little bit on the stems, but because the stories are merged, the stems are mostly samples outside of the vocals. Here's the song that he would love to play as a DJ and his DJ sets. The song is Herbie Hancock, Bring Down the Birds from the Blow Up soundtrack. You've seen the movie, Michelangelo Antonioni. So 60s. So go, go. It's, it's a hot tune on its own. I mean, you can understand, but it's so cool that he's playing this, right? Think about the tempo and the sound. Like that's unusual. That's a cool party. He's playing this and the people don't throw eggs at you. And we know everybody goes to the club with eggs in their pocket. It's so fast. It's like a 60s go-go jam. 1966. I love that. That tells me a lot about the parties that he was probably DJ. Yeah. We talk a lot on this show about Quincy Jones and the path that his career took. I don't think enough is said about Herbie Hancock. I mean, like he goes from that era, Herbie Hancock to like the jazz fusion. Herbie Hancock that gets sampled more often in hip hop to like Rocket, which was the first time my ears ever heard scratching. Scratching. Me too. Yeah. So I mean like, you know, at some point we got to give Herbie his flowers. Oh my God. Herbie is crucial. He's crucial to the song too. Cause not only, he's actually the only credited songwriter outside of the bands and Q-Tip for his rap for his 16 bars later on. That's probably. And he's also got two samples in the song because he's sampled as Herbie Hancock, but one of his other entities, the headhunters also appears as one of the samples used in the song. Oh, I can't wait to hear that. Yeah. So we have the samples, rich with samples. We'll get into that in just a minute to finish the story of how the band meets. So we've got the three of them. They come up with this name, which, you know, clearly has some connection to, I haven't heard them tell the story about like that. They took it from D-Lite Records, which was cool in the gang's label. Oh, that's right. That's not about the connection. But some connection like, you know, that's, if you ever get an old cool in the gang record. Did they spell it with three E's too? It's with two E's, but it's D-E dash light, L-I-T-E. It's very similar. It's probably connection there, but there's also the Cole Porter song. It was like, for that label was like, Oh, we've got a lawsuit. I'm going to get some of that groove of the heart money. Yay. They also probably were connected to the Cole Porter song. It's D-Lovely. You know, there's the song where there's another song on the record. That's the song that starts off. Right. Oh, you're right. It's in the song. Yeah. How do you say D-Lovely? How do you say D-Lite? D-Lite. Yeah. All right. Well, after the break, we're going to play some of the samples from Groovers in the Heart. And I guarantee you this song has some samples that are absolute chef's kiss. You have not heard them before. We're going to play them. Stay tuned. Lexie, I don't know how the current economy is treating you, but I'll say it for me and my family. 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When time away means time together, it matters where you stay. Book now at Hilton.com. Hilton for this day. Welcome back to one song. So this song is almost entirely built on samples. I know that there's some original vocals that were applied, but like this isn't a case where like the band got in the studio and even really supplied like a bass line or like a guitar there. Like explain to us like how unusual this song is. Well, you know, we talked a little bit before about the era of sampling sampling is happening on the hip hop side. It's also been happening to be fair. It's happening on the electronic side as well. Both the worlds of hip hop and dance music have a big part of their lineage is using, you know, reusing recorded material and adding, you know, drum machines and vocals to that. They've done that in this song. So they're definitely carrying on the tradition of dance music in the post disco era. They're sort of house. Yeah. That's kind of what house music starts to do that's new and different is add 909s and drum machines to loops and vocals. So they've done all that, but actually there isn't even the drum machine. That's crazy. That's so unusual. They just purely use the bass. They literally made a collage of sound with pre-recorded material. And even when you've got the bomb squad or DJ Premier. It's like they are generally adding something of like an, just like always something in addition to the samples, not always, but frequently enough that it's still, there's a knuck in the same. I can't think of too many hip hop. What's funny is every now and then like Ghostface killer will literally just wrap over the song. Like he'll leave the vocals in and everything. Yeah. That can be put his vocals over it, but that's essentially what they did here. Like there's no, to be clear, there's no band session of delight in the studio recording music. They put on stage later on and Mitri is a performer and you mentioned the song. He was in a band before. He was in many bands before. Actually, they all, part of the backstory is that they were all failing and Lady Miskeer felt bad for him. And so like the whole origin of the band was a little bit like, you know, trying to help him have his band fantasy come to life. And live he does sometimes early footage of the band actually, they would be, he would be playing guitar and sometimes he plays keyboards. But for this song, none of that's happening. They didn't add any keyboards, any, any live instrumentation except, and we'll get to this in a minute. There are some live horns and they're not just any horn player. Oh yes. There's a special horn player. There's a story there. We'll get to that. But you have some samples you want to play for us. So what do you want to play for us first? All right. So let's start with that drum beat. This is a sample from a song by Vernon Birch from 1979. It's called Get Up. That's what it sounds like. There's a little drum break and they sampled the drum break. It's a clop in classic hip hop slash dance music tradition. It's all about the break. You find a bar where there's nothing else happening, but beat and you grab that and you grab it. Grab it. Play this song from the beginning though. That is a sick jam, bro. That's what 1979 sounds like. You know, I did a deep dive on this with the help of my, my, my friend on the inside, who I mentioned on a previous episode. Well, you, we don't know on the master side in the era, they sometimes paid a hundred bucks to the record label, like on Paul's boutique, a lot of these big sampling records. When they didn't just try and get away with it, which history does, there's no record of which samples they did that on. They would often pay a pretty small sum because this was the early days of sampling. Yeah. Nobody knew how much to charge for this. You know what? It really depended. And sometimes they just try to get away with it. On the publishing side, I can tell you definitively that the only sample that was cleared on the publishing side was the Herbie Hancock one, which, which forms the basis, that main baseline that runs through the entire song. I do have a question on the issue of sampling, which is that, you know, when you go back and you listen to the version of ready to die by the notorious BIG on iTunes, they've removed a lot of the parliament samples, all of it, but Paul's boutique, which you could argue samples, even more problematic stuff seems to be generally intact. Is it not? If I go out and buy the CD of Paul's boutique, will it sound different? I mean, no, Paul's boutique won't sound different. Day less holes, three feet high and rising drastically. It does sound very different. Yes. So I just wonder what, what, what was in the Beastie Boys' camp? How were they able to clear all that stuff for perpetuity with so many other people? You know, I've been researching all this stuff now. So I'm in the middle of finding out answers. The bottom line from what I've seen so far is, look, the answer to all of it is power, leverage, negotiations. It's like, sometimes it's a matter of like, who's your lawyer and who else do they represent? You know what I mean? Like it's one of those like, hey, give us a break on this and we'll give you a break on this. Sometimes it's stuff just kind of slides by because the artist is too difficult to track down or they don't hear it. Every story is a little bit different, but I can tell you, because you mentioned it, the notorious B.I.G. situation, that was subject to a massive lawsuit. Yeah. I don't know if you've heard of Bridgeport, you know this. Oh, absolutely. Bridgeport famously bought up and the Clinton, the George Clinton Parliament funk and go like, who feature in this story later, by the way, their catalog. I think George recently bought it back. I think there's a happy ending. But for a long time, they were just basically what are called sample trolls, copyright trolls, rather, they would just go out and litigate. Like they bought the catalog in order to sue and make money from suing. They would like read the liner notes. Absolutely. If you had the bad luck that you sampled from one of their artists, you could count on a knock on your door. Whereas in other situations, maybe the artist passed away and maybe the paperwork is missing. There's every situation is a little bit different, but you're right. Paul's boutique kind of got a pass. Whereas three feet high and rising didn't is a perfect example. Those are pretty diametrically opposed to the situation. Can we assume that like the BC boys had a lawyer or somebody involved who was very spot on and made sure that this language. I've also heard, I think Mario Caldotto, who is a member of the camp, of the beasties camp. He gets shout outs on some of their records. I think I saw an interview where he mentions that clearance. This was a situation where there actually were a lot of clearances that were done on the cheap. So in other words, instead of having to give away the IP, the copyright itself on the publishing, they paid a few hundred bucks one time only and you're one and done forever. So that might just have been a great lawyer or a great, very well contacted individual who reached out and said, Hey, you know, just let us. With a path, five hundred bucks and let us put it on the record. It's it's I'm sure every single sample has its own story behind it. I love it. And we should probably do a whole episode just on sampling law. All this stuff is like what I'm working on for this book. And by the end of the year, I'll be like even more steeped in all of it. And in two years, you can buy the book. There you go. All right. Well, that's that's super fascinating. What's the next sample you have for us? Well, let's keep it moving. There's a lot of percussion breaks. I'll just really quickly run through them because all of these play the part. And actually, this is kind of a cool expression the artists themselves used because they have these kind of building blocks of the song that main drum beat, that main Herbie Hancock thing. But then they would have a lot of these little momentary what they called fillings. So it's a really like just for a moment, something happens just to have more oral interest happening. By the way, when I say oral interest, I mean, a you are there's more than one kind of nobody thought that until you just clarified. As it came out of my mouth, I realized that it could have been. Okay. As it came out of your mouth. Okay. You know what? Give the guy a break. Oral interest can mean many things. The one song, the one song nation knows a you are. That's a good presumption. If I'm saying oral, I probably mean they're a very smart listener. They're very smart. They download every week and they're with us. But anyway, I'm sorry reserved for audio. Let's hear some of these oral fixations that you have. Oh, that's not what they are. Here's one of many fillings or oral fixations. This is one of the percussion breaks from Ray Barrettas right on 1972. Right. Recognize this? I'll play it for you. Yeah, that's a really noticeable. Yeah, that's right before the second verse. Watch out. Right. Exactly. I'll play it in the mix now. By the way, I knew exactly where Bootsy chimed in. With a watch out. So props to me too. Well done. Well done. Starving for a compliment. This is fun. I like to isolate the scratches sometimes and you can hear how imprecise they were. Because this is a human, presumably DJ tow a day on like literally on the decks scratching this in for oral interest. Yeah. Maybe later. Here's another scratch. The old helicopter scratch. What is that? What is that? I don't know. I it's hard to say. By the way, that could be. I'm sure somebody in the comments will let us know. Oh man, come on. But that's that's what the comments sound like to me. But sometimes as a DJ, you get those used to get records and now it's like an MP3 file of just like sound effects and just like. So yeah, I got it. That's right. It's like acapella is anonymous. Yeah. And you could just scratch on those. DJ tool records. Yeah, exactly. DJ tools. I'm going to say some of my favorite fill ins for when we get to the vocal section. And there's two in particular that are so funny to me and exciting to present. But let's finish up with some of these instruments. We talked about the Herbie Hancock loop, so I won't play that again. But I will mention, by the way, the bring down the birds, which is the core of the song. It does bear mentioning that this is Ron Carter on bass, who any tribe fan will know because he appears on low end theory. And he is, I just learned, according to the Guinness Book of World Record, he is the most recorded jazz bassist in history. Yeah. So this that's that's him playing that Herbie Hancock bass line. That's fun. Yeah. And by the way, it bears repeating that like with copyright law that discussion we just had, Herbie Hancock gets a writing credit, but you're not hearing Herbie Hancock. You're hearing Ron Carter, right? Well, he was the band leader. Well, I mean, you know, this gets into sort of like power dynamics with with law. I think, yeah, I mean, far be it for me to defend band leader status, but I think it's legitimate. You do. In the sense that like when you have a band full of guys and this guy is saying, OK, I want you to play this. I want you to play this. Sure. I want you to play this, especially in a pre computer nowadays. Absolutely. This computer, you can basically program everything. You know, it's the nature of it. It's work for hire. I'm pretty sure Ron Carter showed up that day knowing he would only be paid for his time in the studio, the 50 hundred bucks, whatever it was. But it also makes you really think like what you're hearing in this song is Ron Carter. Ron Carter is the heartbeat of this song, literally the entire song. He's playing that bass without researching, bring down the birds. We don't I mean, like if, you know, maybe herbie came up, came up with that and asked him to play it. Maybe they should split it. Huh? No, I agree with you. You're right. I'm all I'm all for equality. So I understand that. But I also know that it's like Prince like Prince didn't play every instrument in his band. Yeah. You know, but, you know, it is different if Ron came in and said, Hey man, I got this idea for a baseline. I gave it to herbie Hancock as opposed to herbie saying play this. I think those are two very different things. We don't know. We don't know which we don't know which it reminds me of our sister Nancy episode where we talk about that baseline for bomb, bomb, the iconic baseline. It's very similar situation. And unless you were in the room that day making eye contact, did what I play was it my idea that then you took over and improved upon like that entire conversation is his own. And nothing leads to great music like an eye towards the future lawsuits surrounding the always keep that in mind. If you're a musician, I've led to all the great music in my collection. What's interesting about the song we've talked about Bootsie a few times. Now we get to just pause and talk about Bootsie's importance to not just the song, but to the genre of funk in general. Now Bootsie Collins, we've been alluding to him. He is the voice on this record, which is funny because he's actually one of the go to those players. Yeah, he's got that like baby. I don't even know how you describe that voice. It's kind of cartoon. He's like he's kind of a living cartoon. He's a cartoon character in the most respectful, cool way that I can say he's a cartoon. I mean, like, you know, you look at him in the early days with with Parliament and Funkadelic, like he's Bootsie. And you know, thank God, you know, we still have this institution. Oh, and thank God he met George Clinton. Right. So he starts out with his brother. He's playing for James Brown's band for not very long. Like that's where he gets his start. I think he's 18 or 19. He's only in the band. He's only in James Brown's band for 11 months. But in those 11 months, it's him on sex machine, super bad soul power, like some of the like the classic tracks of that era, which is the best James Brown era. But, you know, when he's in that band, he meets some other band members. He meets members when he's with James Brown. He meets Fred Wesley on Trombo and he meets Macy O Parker and the Horny Horne's. And when one day Lady Miskir before they're signed, he she sends just a fan letter to Bootsie Collins saying, we love you. I think she sends a demo version. That makes so much sense. So he sends their demo to him and he says, he writes back and says, look, if you're ever in the studio, give me a call. And she's elated. She does a dance. And one day that call comes because they get signed to Electra. They groove is in the heart. They're recording it. They're like, let's call Bootsie. Bootsie's like, yeah, I'm down. And he comes in. He puts on that vocal track, which will play some isolate in a minute. He does not play bass, interestingly enough. Nobody's playing bass. There's no bass needed because we got Ron Carter already. I already got the sample. But he does bring Fred and bass from the horny horns. That's fantastic. So the only music added to samples and vocals that are original are the horny horns. And here they are. Here's the horn line. It's funny because to my ear, we talked about this on another episode, like in the mix, which I'll play for you now, it's blending with another line. So the melody that I had heard in my head was different because when you hear it together, it sounds like this. I thought it was done, done, done, done, done, done, done, done, done. But it's just a fraction of that. And you know why I'm just seeing it now because that horn line is interplaying with this sample. It's just that. And then the horn plays and then this happens. So I'll just play them together. That's so cool. You can tell that Macy and Fred were listening to the track and being like, you know, let's play where there isn't something already and give it like a dialogue. So I'll now play those two things together. It's almost like they're responding to another band member, but it's Ron Carter, you know, recorded 15 years earlier. By the way, that was my favorite part of the horns. That's so great. That little line, that really makes it a lot of fun. Yeah. I'm embarrassed to say that, but you know, it was a function of my age. The first time I ever saw Bootsie was probably in this video. Oh, definitely me too. And the first time I ever been for 10 years, the first time I ever heard the phrase horny horns was in a Paula Abdul song. I mean, in a funky way. Horny horns. And I was like, what is she talking about? But by the way, that was also like an early house song that I feel I could have easily been played in some of these, not the most underground, but like sort of like pop underground New York house music parties at that period. I don't know the song. Play it. Yeah, it's called virology. Here's a little sample of it. That's so funny. I've never heard this song. It's so funny hearing it is that like it's so contextually a house track that could not exist without delight and Vogue coming before it. Absolutely. Steer the ship on what the housiness is. This sounds like the Paula Abdul that was probably going to the glam slam. And like trying to like get Prince to write your next album. And and I love that. And and and and and and and and and and and and and and and and and and and like that's like that's like the fun piano driven. Yes. Early nineties house music that, you know, was just kind of on our radar. We didn't know there was a whole culture that went with it. But like I hear it on Madonna's Deeper and deeper. Totally. You know, great track. Somebody should somebody should bring that sound back because it's it's very catchy pop house overlap where it's not being spun in the deep house clubs at three in the morning necessarily, maybe for fun it is actually. But it's not like one of those early masters at work, like, you know, seminal tracks. It's not a little Louis bag. But but it was the house that made it to, you know, relatively not suburban house, but like a house in Zone 4 in Atlanta in the early night where I was listening. Not everything in this song is a sample. That's very somebody did actually go into the studio. Lady Miss Kier. What do you have from half of the vocals, all of the like melodic vocals, I should say, come from Lady Miss Kier. And then there's these wonderful. There's there are two different raps happening and I've got some outtakes from that from Bootsy's rap that wasn't fully used. And of course Q tip, we're going to hear from him. But then the other half of the song's vocals are from these wonderful samples and some of them are amazing. And these are the little interspersed fill ins that I was mentioning before. So all together they comprise the vocals. Let's start with Lady Miss Kier and her iconic every episode. I got to say the word iconic. Not going to stop. And her iconic first verse. The chills that you spill up my back keep me filled with satisfaction. When we're done, satisfaction of what's to come. I couldn't ask for another man. Those vocals are actually, I don't want to say that they're better. I always knew she could sing, but like they actually sound like more robust and sexy rich, right? Yeah, really rich. And she's it's really fun sounding to like that. So many songs. I guess you can actually forget that at the heart of it is actually a really good vocal. The song would not work if it was just all these incredible samples. Yeah, it's Lady Miss Kier is the heartbeat of all of it. Yeah, and of course the lyrics and the message. You know, she's always heard the album is called World Click. And so much about who she is as a person, as individual, is there's so much virtue and beauty and like love that comes from her. She talks about on the record that the world is a global village. There's songs on later records about like global warming. She's very much kind of bringing a message, which actually now I think about it is a very kind of hippie message, right? It brings that into the music. So let's hear a little more of Lady Miss Kier. Is that everybody's favorite part? That little swoop. The groove. That little swoop in the fourth repeat. The whole thing works. Yeah, the whole thing works. It's beautiful. What a freaking good voice. I think that's that's maybe the part I did not anticipate about actually hearing that. Yeah, it's funny. I've been thinking about this band a little bit because you can go back on YouTube. There's all this great like live footage of them. So their earliest performances are all these sort of East Village night clubs. You know what I mean? Like this is a band that forms out of dance music, which reminds me a little bit of the massive attack story. Yeah, there's a lot of overlap. DJ centric artist entity where they're writing songs that are sort of poppy, but it's coming from a DJ perspective of piecing together with the skills that they have and the instruments and the same period. Samplers they have. Roughly the same period. But also the performance is taking place not in a rock band setting, but in a dancing setting in its open air, I suppose, in Jamaica and in the massive attack Bristol example. But here this is a East Village nightclub and it's the classic live PA situation where you've got a backing track, you've got lots of dancers. It's really about the show and the song. It's off to say it's secondary, but it's a little bit secondary. You're in this gay nightclub in the late 80s and it's a big show and there's 20 people on stage have a blast. And I was just struck by how that kind of reminds me. You mentioned the B 52s. They have a party background to later on. The parties in Athens, Georgia. Scissor sisters have a similar beginning. East Village. It wouldn't shock me. Yeah. In fact, I'd love to do a sister's sister's episode because that first album was so great. So great. And very similar beginnings where it's East Village. It's backing track with like performance more than it is like we're a band and we're rocking you. Yeah. So it's interesting the connection between all of those bands. Absolutely. And then maybe this is everyone's favorite part. The Horton Here's a Who. The depth of Hula Grove. The end hoop. You want to hear that with a with a harmony? Let's let's layer that a little bit. The depth of Hula Grove. Moses to the end hoop. We're going through to what is a who. Now, I will say, I don't know what I thought she was. I definitely didn't hear anything about the end hoop. And I definitely didn't catch Horton Here's a Who. So, you know, you didn't have the Internet guys. Like it was so easy to just guessing, whatever you thought the person was singing back. Phony. I actually when I bought the Digible Planet's rebirth of Slick album in the back of the liner notes, it said, hey, if you want a copy of the lyrics, send a self-addressed envelope to this box. I did. And they never sent me the lyrics, but that's how big a fan. You have that on vinyl. That is so hard to get. I've been looking for that. That's that's like 300 bucks. I think there's a cassette. Even the cassette's back there, obviously, at the liner notes. And you could send you could you could use snail mail to get the lyrics said to you. And speaking of Digible Planet's like there are I do have World Click on vinyl. And it's funny because I forgot that. Original. Yeah, the original copy. And I forgot that it does have like on the inner sleeve, it's got like a cartoon story, which is very similar to Day Last Souls, Three Feet High and Rising. If you remember, also as kind of a cartoon story. But in this cartoon story, Lady Miss Keir says something about how her nickname is Doodlebug. Oh, no, more lawsuits. All right. So the thing I want to play next is Qtip's verse. But before we get into that, Diallo, I know you're a fan. We're both fans of Tribe Called Quest, but you're an especially deep fan. So please talk to me about Qtip. Well, look, I mean, this is not going to be our Tribe Called Quest episode. Obviously, we will be doing one. We're going to do one ones in the work. But to me, this is a part of what Qtip has has done for so long, which is he jumps from genre to genre and he shows up in just some amazing songs. He, you know, this was one of the first times, obviously, that we got to see his versatility. This song came out before Low End Theory, which is kind of blows my mind. But, you know, I think about the song Bang Bang Bang that he did with Mark Ronson, a little party never killed nobody off of the Great Gatsby soundtrack. I think it was like a furgy song. But of course, Qtip came on for the lid. I just I find him to be a music fan. Yeah, yeah. And so it doesn't surprise me that he's an early adopter of the idea that a rapper can show up on anything, an R&B song. He can produce. He produced, you know, like he was, I believe the producer on the first two hip hop songs that he ever popped up on the Jungle Brothers. I think he produced two songs for the and and had his own verse on those even before people's instinctive travels. So, you know, came up with the name for the band, right? In that verse. Something. Yeah, that's where he renames the group of Tribe Called Quest. So I think that, you know, and he produces so many of the when when you discover that Qtip is actually the force behind some of the most artistically sampling hip tracks that a Tribe Called Quest has released. The fact that he remixed Nas and he remixed so many people in the 90s and the 2000s, you know, before he ever gets to even vibrant thing, which is enjoying a second life right now as the sample basis of a dance track called Dust right now in 2024. He's just, he's got that versatility and he knows how to come in and do hip hop on a song that may not technically be hip hop, but make it feel like it's hip hop. And I'm just always been a supporter. I'm going to give a shout out real quick to his solo album, which was called Kamal the Abstract. And there was a song on there called Even If It Is So, which I just every time I hear it, it gives me chills. It's just one of those great hip hop songs. Maybe he has so much work that I haven't even like delved into, which is two of so many of my favorite artists. I haven't heard every David Bowie song, but like I got it. I'm going to check that out. Because I haven't heard that. He's just firmly this New York guy, you know, this rapper who, you know, if he had been alive at the time, he would have done the rap verse on Blondie's The Rapture. You know what I mean? Like he's just that guy. You know what? It's interesting you said that because the backstory about how he got connected to this song, the story that Lady Miskear herself tells is, she said, this is before tribe blew up. Yeah. He was hanging with the Jungle Brothers and we opened for them one time at a club called Hotel Amazon. We played that song live and he asked if he could do 16 bars on it. I also heard, I mean, maybe it's the same story, but I also heard that Tawate knew Africa Baby Bomb, who is a member of the Jungle Brothers. Maybe that's the connection. Maybe that's maybe how they were on that show together. That would make sense. Well, the other story, which we're about to hear the bars themselves. Dimitri explains how when he came into the studio, Alia was a notepad. He just started writing. This is a quote from DJ Dimitri from Delight. As we were laying down boots, his party started writing. He just listened to the song and said, give me 15 minutes. And then he goes in and he lays down the rap and the backup vocal. Two takes and he was in and he was out. Now there you go. There you go. Let's hear a little bit of that. Get, get, where they, where they can't then quit it, quit it, stomp on a stoop. When I hear funk loop playing pop, pipe, follow hoods, shoot, baby. Just sing about the groove. Man, you know, people think they can rap until you try and do rap in like karaoke night. And then you realize, oh, I don't know what the hell I'm doing. It takes so much breath control. And, uh, you know, with nothing else around it, you realize just how difficult it would be to both write that and to perform. I'm not hearing any punching in and out. That's that is the one take. No, that's a one take. It took place. That's amazing. Here's the, by the way, I think growing up, the only thing I knew was baby, just think about the groove. Yeah, just how it ends. I think I remember electric torso. I remember thinking that was kind of like a cool thing. Well, and just for fun, here is some of, here is his second take where he does the back where he's responding to his first take. Oh, something lurks in this tour. So yeah. Hot gotta deal. You wanna know, know, know, know, like, full tulips and like, full life, making it, doing it, especially at a show show. And by the way, another cool thing that I hope people notice there is like, he's not even doing like, you know, a, a, b, b, c, c rhyme scheme. Like there are times when like he goes half a bar and then rhymes it. Like that's something that I equate more with like Nas, you know, about three years after this, right? Yeah. Who would like cut the bar in half and then just make a rhyme with that first half of that one bar and like maybe a little rock in there doing it right here. Yeah. Well, the thing about rock him is that I think that, you know, he's more like what I feel like people thought rap was and K-R-S won. Like it was like hard and Q-Tip is really one of those first, obviously there's like Rick, there are a lot of people who are rapping smooth, but like, but the abstract poet, AKA Q-Tip, AKA Kamal, uh, he was really rhyming smooth early on and I, and it's easy to forget that he's one of the first people to do that. It's incredible. Yeah. Such a great verse. I also really appreciate the fact that it's part of this daisy age and hip hop where like, you know, everybody was kind of dressing alternative. There were a couple of guys in my high school. I wasn't pulling up to pull it off, but they were sort of dressing as sort of like neo hippies at the time. And the one place where I did meet them was I wore like a piece medallion. You know, like that was like, that was my contribution to the culture. You had the piece medallion. I had the piece medallion. Was it Africa with like, like the colors? I didn't have the African medallion, but it's like my best friend wore the African medallion. I wore the piece medallion. We thought we were cool. And we were damn it. I can still see the white shirt that I used to wear. It was an all white shirt. So it accentuate the fact that I had this black rope with a piece medallion at the bottom. You're absolutely right. And I'm saying, but it all goes towards the idea of a world click. Yes. And it should be noted that like, the like, their philosophies are fully overlapping with the DLSO tribe. It's called Grooves in the Heart. It meshes all these different genres. Seventies. They're pulling in Bootsie from the seventies samples, literally from like, you know, hip hop and New York culture. It really makes me wonder, like, what is going on right now that could be as cross germinating in terms of genre and as welcoming. I mean, there's something really welcoming about this song, not just in its lyrics and its music and its people, but it's just, it kind of just welcomes you all in to say, Hey, we're going to play some music. We're going to dance and we're going to have a good time. Right. And I feel like, you know, I would love for somebody to make a song like that today, because I do feel like nowadays people take their genre pretty damn seriously and everything has to be so personal that only one person can even sing it. You know, like, I think that it'd be great to have that sort of welcoming vibe in one song. Perfectly put. And speaking of welcoming vibe, what a perfect segue into the third, but not least important voice on this record, which is Bootsy himself, who interjects all these really crucial, we're talking about the fillings with the samples. He does the same kind of thing with his little silly interjections. So let's play a few of those, which also, by the way, you were just talking about the over, we were talking about the overlap just culturally and philosophically with the Daisy age and the delight aesthetic of retro 70s samples. Well, P Funk, you could argue with their bringing funk and rock and psyched dealia together and like kind of crazy cartoonishness with their live performances and personas. They were doing something very similar, like a previous generation. So what a perfect meeting of the minds. When you think about collabs these days, they don't necessarily always feel authentic, because maybe there isn't the same kind of meeting of the minds. But what a perfect combination that we've got Tribe Called Quest with D Light and, you know, P Funk James Brown in the form of Bootsy on this track. Well, let's hear him. Let me give you a plug, sweet lips, while I'm on the air. Now, I've been over my body and rub your fingers through my hair. Your mouth run like water. A very beautiful sight. Now put on my favorite group. They call themselves Delight. Now, I have never heard that in my life. That's not in the song. That's not in the song, but that is on some of the remixes used some of his. I was like, that should be way buried in the mix. No, no, no, it's not in the final version, but it is. That was used in one of the like remixes, I believe. Yeah, no, Bootsy's got a whole rap. Actually, he's got several different sections of the song that he just kind of writes his own little poetry like that. They ended up just using his little like moments like. That's the truth. Yeah. Yeah. Dig. Right. That's how that's so crucial, though, just this one. I remember it. I remember. Watch out. Is that the next one? No, that's right. I remember that one too. Astronomical. What does he say there? That's astronomical. Oh, I thought he said something about a monocle. Astronomical. There's the gold right there. Astronomical. But for the sake of the sound, like he says astronomical. Listen to it again. Astronomical. There's a distinct M sound in there. But there is no word. No, I know. I think it's a flow, but it's hilarious. Astronomical. He's so funny. He's such a character. A TV show called Astronomical. It's going to be a woman who balances her mother, you know, being a mom and working at NASA. Groove is in the heart. I think they used that. This is a good. I never thought a sucker tash is being filthy, but now I'm going to think twice about ordering that, of course, the song ends with. Come on, you're crazy, man. Was that cool? Can I hear that last, that last verse thing, the whole last verse thing? Lots of lots of really. He sounded like he was ready to get out of there and get to the club. He's like, is that cool? Are we done yet? Because I've given you my best. Now, we can't conclude the samples without, as promised, getting to some of those little fill ins that are from these random exotica in 60s records that are part of the vocal, but are actually samples. They're not musical samples. They're little thingy samples. I've got two in particular that are really that are two of my favorite. OK, so one of my favorite samples is, of course, we all know that I couldn't dance with another. Yeah, what is that? That this is a really fun sample because it actually comes from this. This is the Green Acres theme from 1966. And that little moment is Eva Gabor right here. And in the mix, they've taken that and they've done a kind of classic early sampling thing where you just go, I, I, I, I, I, I, I love it. I love this stuff like that. It's a sampler. Yeah, that's awesome. Kai, the $500 that she found in the back of the cab. It's made so many hits. Went to sampling Eva Gabor from Green Acres and doing and then more importantly, which is so like two of hearts. I need you, which had already come out, which by the way, I, I, I, I need you. Wow. Wow. Action, right? I love it. I mean, there's something about a good sampler used as a percussive instrument that will never get old. Because Stacey. Right? That I, I, I, I, I trope came from 1986's Stacey Q hit, Two of Hearts. So that's coming from Green Acres, the TV show. And this other sample, if you've got children, cover their ears just for the next little moment, because what I have been in my notes, I call the motorboat sound. I'll play it for you in the mix. Has a pretty funny origin, but it is a little bit not safe for work. So that little moment that I call it the motorboat. You did that. So I heard that it's like a person like, whoo, like, you know, shaking. That's what I thought until I found the source. Okay. And the source is going to blow your mind and offend your children. Guys turn it off. Dancers turn it off. This is a track called hateful head Helen by sweet pussy Pauline. And the song is called work this push. John, the music is this song is called work this pussy. They want to put their face in our asses and go, but they don't know how to ask. The context, that's the best. I feel like this whole song I've ever heard name a bit of sample. I can't even mine. Green, you got green acres was great. Oh, green acres. I think green acres is still prime. I prefer, but I will say this. This to me, this whole song seems like a collage of like albums and songs that Demetri and maybe tell a taste. Well, we're playing in their set and they're like, let's take our favorite moments from like all these, this word, because you're absolutely right. Because hand clap, this tambourine, physically, their ability to do that. They existed with the record they already owned and we're playing and the sampler. Suddenly it's like we can make music now with these tools. But by the way, that means this song, which I'm not going to ask you to repeat the title, this song must have had an acapella on like the B side of the, at the 12 inch, because where else do you get the acapella? Exactly. At that time in 1989, by the way, they say that the time you'll be getting them on the 12 inch, on the 12 inch. By the way, we haven't even mentioned it. They were, they were playing and performing the song as early as 1989. So like this is a song they probably crafted in 1988, which is, which is not right, which is not. They were crafting it. And then the final icing on the cake. Well, if I may work this pussy acapella. There you go. You, I think you just like looking me in my eye and saying, um, now for the part for the sample I'm most excited about the one part of this song that I even my young brain knew had to be a sample. But back in the pre-internet days, we had no way of looking up. What a sample, you know, but I could tell it came from another song. Right. And it's the very beginning of the song is bumping on, which you like to dance. And like it's so a part of this song, but you're about to play. And you're absolutely right to point out that it, because it is the beginning of the song, it instantly gives you the vibe for the song. You could tell it like that it's old. It's kind of weird. I hadn't DJ before. I could tell this sounded like a record skipping. You know, it sounded like a very clear loop. Yeah. Um, I am so thrilled to share this with you guys, because I can guarantee a lot of you have not looked this song up before. I know I haven't luxury. Will you please play us the song they sample for the first sample in the song? This is from the album, the art of belly dancing. 1969. Love it. Belle Chazard, Tommy, Gennapopoulos and the Grecian Knights. We're going to dance and exercise and have some fun. So that you will fully enjoy yourself. How about getting into some loose clothing? I mean, I'm going to say right now, listen to this on YouTube. It is such a cool, cool song. Shout out to all the belly dancers out there. I wish I had known we have a lot of belly dancers. I would have mixed this in to some of my DJ sets early on because I because the song is incredible. It is really cool. It's just the nature of music law. We can't play that much of the song here on the show. But when the show is over, please go off and listen to it. It's a really cool song. Right. Well, now's as good as chances any to plug our one song playlist, which does exist on Spotify. We forget to mention it almost every episode, but we do have every song we play on the episode in one easy to find playlist format. So just go to Spotify and search one song. I added the word interpolation there to the title to make it easily found. And yeah, you can just relive both the episode and then listen to all the songs afterwards. I need a catchphrase. Yeah, I need a catchphrase. Every, you know what? We're not catchphrase balanced right now. I think your catchphrase is shout out. Like last time we talked about it. Not my. But then you went on to the episode. So you shout out many times in that same episode. Not not. Well, the burden of effort is on you to come up with the better. No, I think it's on the listeners listeners. D.M.E. What is the ground? Diallo, D.I.A. L.O.L.O. And tell me what my tell me what my catchphrase should be. I need a catchphrase. Maybe that they should demand. Maybe there should be some sort of like, I don't know, prize. Yes, we'll come up with a prize. The prize. The person with the winning catchphrase. Their name mentioned. We're going to not only mention your name, but we're going to get you something nice. Probably from the closet of Kevin Hart or a pristine copy of hateful head, Helens work that. No, no, we're not. The kids have their ears uncovered. They've already heard. No, we told them to cover twice or three times. I mean, you like slipped it in. Dude, what do you mean I slipped it in? You're the one who said slipped it in. I'd be HR is going to disgusting, disgusting. All right. So Diallo, D.L.I.T. Are sometimes categorized as a one hit wonder, which rubs me the wrong way a little bit, but I understand where they would get that impression. This is a monster hit and there wasn't really anything after this that was quite as monstrous. So neither of us think that's fair. Well, we'll talk about that in a minute, but let me ask you this. Yeah. What other acts are unfairly categorized as one hit wonders? Let's set the record straight. Oh, well, you know, I actually have a little bit of an issue with the phrase one hit wonder. I obviously there are some bands and artists for which this is true. It really comes. We're looking at you. But, you know, I did some research on this matter, right? And Rolling Stone did a list of like the top 10 one hit wonders where they listed delight alongside like Chumba Wamba and Harvey Danger. I'm like, you know, by the way, the same list had the verb. It had House of Pain. I'm not even the biggest house of pain family. Like that first album was actually really good. And the second album had some, had some basically some other groups. And I was just like, what? I feel like one hit wonder usually comes from a place of ignorance. I think I've seen blur on these lists, by the way. I've seen blur song too on these lists. It's insane to me. It's very to me like, were they big enough in the United States? Because usually it's an artist who had a very full and happy career. Not on the shore. So I don't know if I believe in one hit wonders as applied here, but I will turn to the question. I don't think of delight as a one hit wonder. Maybe a one album wonder. Is that a fairer thing? But, but I'm asking you. I agree. So I'm going to build on what you say. I think the phenomenon of calling it a one hit wonder speaks to the speaker of that sentence, not necessarily being a musician or even an artist themselves. Because it implies that it's just the numerical value of unit ships or chart positions that determines the validity. Because to call somebody a one hit wonders, to demean them. It's essentially to say, you only did one thing that was important. Yeah. Everything after that doesn't matter, which I find like kind of offensive as an artist. So, you know, the thing specifically with delight I can address is again, the album itself, first of all, power of love is arguably as good if not a better. That's the song I'm more likely to DJ, for example, than Groove is in the heart. So the whole record, though, world click has lots of bangers on it. And I bought the two follow ups. And the second one was a bit, I will admit, I wasn't so crazy about the second record when it came out as a bit disappointing, but the third record is incredible. And I'm going to play something for from that record a little bit later on the episode. But, you know, delight, I think certainly peaked with this song in terms of their global appeal and their ability to get, you know, booked for shows, etc. It's definitely the case that when I've tracked their post band experiences, it seems like Toa Tay has had a pretty good career. Absolutely. I mean, like that's that's my other problem. I'm calling them one who wonders because, you know, the individual pieces of this band have gone on to do such great stuff. You know, one song that I wanted to play is Tao Ita's Technova. Oh, perfect. Because, you know, it's a very catchy tune. Some of the people listening will probably know it. Bebel, yeah. And by the way, you know, let's let's hear a little bit of that. So good. This is so the sound of 1994 or whatever. Mid 90s. Like, it's such a great song. And by the way, just to close the loop on that. So Q-Tip comes on Grooves in the Heart. Tao Ita releases that song, Technova. And then Q-Tip finds a way. Interpolation. He finds a way. Well, here, check this out. He finds a way to sample it for the song, Find Away. And it's part of a special genre of hip hop, where I love that they sample something and the thing that they're saying is not what is technically being said. I'll explain on the other side. Check this out. Now you clump my heart for the evening. Kiss my cheek, move then you confuse things. Should I just sit out or come harder? Help me find my way. So I'm sure you can hear the sample in there. She's singing in Portuguese. You know, she's a Brazilian singer. I love that Fife is singing English words that sound kind of like what she's singing. But it's not at all what she's singing. It's a sample and interpolation happening at the same time. Yeah. And I also like this. One of my other favorite examples of this of all time is the remix to it ain't hard to tell by Nas because it sounds like Bismarck he's saying Nas is the king of disco and Nas Nas Nas is the king of disco and when in fact what Bismarck he had actually said was I'm happy. I'm highly recognized as the king of disco and and he, they just, you know, they, they, they chop off the first part of recognizing. So tell me, saying Nas Nas Nas is the king of, but it sounds like Nas and we thought he was saying Nas. So I love it when people sample something, but they don't say what the person's actually singing. It reminds me a little bit of like the white lines to liquid liquid comparison. Oh yeah. Liquid liquid in Caver and the original song. So he's saying something like slip in and out of banana. And I mean it's like maybe a little bit. But that's like, it's actually a creative technique to mishear something and turn it into what it sounded like to you. Did it in a script just two days ago. It's a normal way. I made up a word and I was like, that's a funny word and then we put it in the script. And then it's yours. You own it because you, you kind of worked from it. The problem is they also took the baseline while they were doing that. So if you don't also take the baseline, you can kind of get away with using it as a creative tool. That's really cool because I didn't realize I'm a fan of liquid liquid and obviously white lines. I didn't realize that liquid liquid wasn't saying that until I, you pointed it out just now. Right. That's really cool. It's funny. My favorite story about white lines is that apparently the original version it was, you know, it was like white lines. It was basically a pro cocaine song. And then when they found out that like that wasn't cool, they had it in the, but don't do it. It feels like an after fact, because get higher baby sounds like everyone. Higher baby. Everyone in the inside student 54 is like, yeah, get higher baby. So whenever it comes down, that sounds like it. Then they throw in the, but don't do it. It's almost like singing a song and they'd be like opposite day. It's barely plausibly credible that they mean it when they say that. So tell, I mean, sorry, toe a day. We sort of, we've followed his career. By the way, he's come out with some really good albums in just the last three years. He comes out with an album almost every year. Recently, I would say go check them out. One of those albums is called LP. It's a really good album. We're checking out where are the other. Glasses line too. He's got those iconic glasses. I think he puts out his own glasses. I believe it. And he lives in like a really remote part of Japan. Now he lives the life. He just puts out albums and he lives in this mountainous region. I think it's a Nagano. It's like, it's the only part. It's like the furthest part of Japan from the ocean in any direction. So he's as far from the ocean. He just listened to his records all day and makes designs. Really cool records. Check out LPs. I think it's 2021. What about Super DJ Dimitri? So I looked into what happened to Lady Miskiir and Dimitri. They don't really have much of an internet presence after a certain point, but I know that Lady Miskiir has been DJing for many years. That's sort of her primary thing. And she's got a very activist streak. Very big activist streak. Absolutely right. So she's continuing the same philosophy that she's always been doing. She's just making art in the world, sort of touring, doing DJ stuff. And it's kind of funny because I was looking at what happened to DJ Dimitri. He moved to Berlin and ended up marrying, I won't say a friend of mine, but someone who I know from the San Francisco scene, who randomly ended up there, this woman, Jesse Evans, who's a musician that I remember from San Francisco back in the day, wound up in Berlin and wound up marrying Dimitri Brill. And they have a band together called Naughty Siren. So he's still in band. Still making music. That's amazing. That was good for him. Yeah, doing it in Berlin. I love that. So all of them doing well. And if they ever reach out to the show, maybe we'll have them on. Before we go, we're going to do one more song. This is the part of the show. Where we share a new song with you, the one song nation. And with each other a lot of times, because obviously I don't know what you're going to share. You don't know what I'm going to share. Luxury, you go first. What do you got for me? Well, as I promised, you know, the lights third record in particular, it's called Do Drops in the Garden. That was so slept on. And like, I actually returned to that record a lot, like over the years, just like it dawns on me, like I want to hear, especially this song in particular, which is called Apple Juice Kissin. It's just a really fun song. And it reminds, it's very New York in the summer kind of song. Has that vibe going for it? And just one thing that's fun about that song is, you know, this song Groove is in the Heart was one of the first songs where we've talked about how we had in our, you know, we were younger then, we didn't necessarily know how music was made, but we recognized that there were samples in it. That was the beginning of that mode where I was starting to be like, well, what was the sample? Where did it come from? And of course, kids today don't know, there was no who sampled back then. There was no YouTube, there was no Shazam. So sometimes in life, you would just go for months or years, and then you'd be in a cafe and you'd hear the break in the full song that it came from. And you just, well, this is me, I would say you. One would, I would add that to my mental roll adex. Yeah, I would add that to my mental roll adex. So I just bring that up because this song has a couple of really fun connections I'll quickly take you to. One is that introduction comes from this song by The Clash. This is Armageddon Time. Which is a cover of this song by Willie Williams. Which last but not least relies on the rhythm from this famous song, which is called Real Rock, Sound Dimension. This is a classic Studio One classic. So this is the fourth and final layer of that song. And I actually lied, there's a fifth layer, but I'm not going to get into it. But just part of what I love about the phenomenon of sampling is the storytelling and the layers. And over the years, you start to be like, oh wait, and you hear a new thing that connects it to the previous thing. So I didn't know some of these layers until many years later, but delight, I have to thank for being one of the first bands that unlocked the beauty of sampling for me outside of hip hop. That's really cool. Diallo, what about you? Do you have a one more song for me? Yeah, I mean, we were talking about Q-Tip earlier and I revisited his, you know, one of his later albums, solo albums. And I might have even mentioned it earlier in the show, but the name of the song is Even If It Is So. And it's one of those songs that I think is just, it builds, it builds, and it's just wonderful. And this is a Q-Tip, aka Kamal. And the song is Even If It Is So. So that snippet won't really do it justice. You have to sort of listen to the whole, I think it's about a six minute track, but it's really a great song. It gives me such joy when I'm reminded that artists that I love have more work that I haven't been exposed to that I haven't heard yet. So like, I'm so excited to go and dig deep into Kamal's career. Yeah. And I assure you that at some point, we will do a Tribe Called Quest episode. I worked with Q-Tip on the Maya Rudolph show briefly, middle of last decade. So if we can get them on the show, we will do that. That would be a dream. Absolutely. Come on the show. Q-Tip. As always, if you have an idea for one more song, reach out to us. The best way to reach me is on Instagram, I am at DIALLO. And on TikTok, I am at D'Ala Riddle. And I am at LuxuryLUXX. You are Y on Instagram or at LuxuryXX on TikTok. As always, we love it. If you like the show, please tell your friends, share it with them, give it five stars and a nice review. It really helps. Really helps. You're going to give us one star? Just don't. Every episode, we're going to jump playing about the one star. It was just one dude one time. It's so annoying because we're like 4.9 on all the platforms. Oh, that guy. And he was wrong. He was wrong. He was wrong. He was wrong. All right. Help me in this thing, Luxury. Well, I am producer DJ, musicologist, Luxury. And I'm actor, writer, director, sometimes DJ, D'Ala Riddle. And this is one song we will see you next time.