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If you could spend a moment with some remarkable people and discover what the life sounds like, what would you ask?
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Welcome to Are We On Air?
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An audio encounter.
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I m Armand Maffei and each episode will feature one conversation with an inspiring friend of mine who will share with us the soundtrack to their life.
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Hello beautiful people and welcome to another episode of Are We On Air?
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This week s guest is the man about town, the DJ and music connoisseur, A-Side.
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Born and raised in London, two Nigerian parents, and now living in Los Angeles, A-Side is a music head, with a taste and knowledge of all things music.
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Some of you might recognize him as part of the hip and fashionable musical trio and label No Vacancy In, alongside the designer Jermaine Emery, former guest on the show, and Brocky Marciano.
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I met A-Side a few years ago when we were both DJing at the Prada Double Club in Miami during Art Basel and we bonded over, you guessed it, music.
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It s not often that I get to hear real good, unpredictable and eclectic music at these kind of social events.
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And to no surprise, A-Side has stories for days.
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He s worked and collaborated and befriended some of the greatest artists of our generation.
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Be it Frank Ocean, Kanye West aka Ye, Virgil Abloh or A$AP Rocky.
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You name it, he has stories with all of them.
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We met up over a glass of sparkling water at the Chateau s penthouse terrace and we talked about the birth of No Vacancy Inn, meeting Virgil Abloh through Virgil s cousin and the owner of the legendary Soho record store, Deal Real, testing the Yeezus LP with Kanye at La Bodega Negra in London for the very first time and of course what his favorite records are and so much more.
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As always, you can keep up to date with our programming of our kioskothek in Los Angeles on our Instagram at AreWeOnAir and watch this full video interview on our YouTube and Spotify channels.
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I do apologize for some of the not so perfect audio on this one, but you know, the sound of Sunset Boulevard, what can you do?
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On that note, much love and I ll speak to you soon.
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All right A-Side, welcome to Are We On Air, finally.
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Thank you.
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I don t actually know what this... I think I have an idea.
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It s about music, right?
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And records.
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You got it.
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I ve listened to a few, but it was a while back, so thanks for having me.
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Hey, yeah, my pleasure.
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Or he had your partner on Crime on the show as well, Tremaine.
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I was like, come on, we need to have A-Side on the show too.
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Yeah, no, I know.
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We just actually spoke and he said, he actually said it s one of the better things he s ever done.
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Really?
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Yeah, he said that.
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He literally just said that five minutes ago.
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He was like, oh yeah, no, it s just about music.
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So he s like, you ll enjoy it.
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I was like, okay, cool.
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Nice!
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Well, we love hearing that.
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Well, we re not at Coachella, we re here in Hollywood still.
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Yeah, it s not a bad sight, is it?
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No.
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The penthouse of the Chateau Montmartre is never a horrible place to spend a late afternoon.
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Let s talk about the soundtrack to your life, shall we?
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Yeah, let s do it.
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But before we dive into, you got to tell me that story again, how Frank Ocean s mom drove you to Coachella.
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We were just chatting.
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Oh, yeah.
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No, no, no.
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I mean, he won t mind me saying this.
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His mom s really cool.
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So the one and only time I ve actually ever been to the actual Coachella festival.
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I mean, I ve been to Palm Springs every year and kind of hung out and, you know, done that whole thing of just not going.
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But I went once and I was so brutally scarred by it.
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But.
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There are a bunch of us staying at this, I want to say it s called the Horizon.
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It s like a spa hotel.
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And a bunch of people showed up for lunch, including Frank Ocean and his mom and his brother, rest in peace, Ryan.
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Lovely kid, he passed away, unfortunately.
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And then it was time to leave for the festival and it became like a kind of car share situation.
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And there was one particular individual I didn t want to get in a car with because he s been so boisterous.
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It was Kanye.
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That was his name at that time.
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And I was just like, I think he was drunk or something.
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I was just like, I don t want to be in a car with him.
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What year was that?
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It was the year that I believe Guns N  Roses played, and the year that A$AP Rocky played.
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2019, it was off for a year.
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Was it off for a year, Coachella?
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Yeah, COVID.
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Yeah, it was off for a year.
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I think Guns N  Roses must have been before 2019.
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Yeah, so there was 2021, which had Beyoncé do.
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So yeah, it would have been 18 or 19.
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And then Frank s mom kind of took pity on us because she could see that we didn t really want to get in a car with certain people.
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Because they were just a little bit too lit.
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And then she s like, I ll drive you guys.
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That s so sweet.
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Yeah, yeah.
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So we drove.
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And he actually played me what was to become Endless, the album he released shortly before Blonde.
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And kind of just like we just spoke about it and stuff.
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So it was a really cool journey.
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And he s actually a super fun guy once you get to know him.
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Very shy, but when it comes to music and art, he s definitely very open.
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But yeah, driven to a cachelle about Frank Ocean s mom.
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It s a true story.
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I love it.
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I love it.
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What can I do to love you better than I do now?
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What can I do to love you more than I do now?
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What can I do to know better?
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What can I do to show my love?
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What can I do to know?
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Well, another true story is how we know each other for a couple of years now.
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And I remember the first time we met, we were both playing for Prada in Miami.
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And we were playing, they were different areas.
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We were playing simultaneously.
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And then I was done at some point.
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And I went to see you guys, you and Tremaine playing in the attic of this place.
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And I was like, wow, who are these guys?
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I love the sound because it obviously spoke to me.
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You play very eclectic.
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and soulful and I was like, all right, let s become friends with these guys.
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And here we are.
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But so tell me, how did you start?
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Where do you start with?
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What s the earliest significant musical memory that shaped you as an artist?
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I mean, I remember this because it s just this it s kind of embedded in my memory.
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And it s just this true part of what I have is that I discovered my dad s record collection.
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My dad was one of those African men who went to university in the UK, which is how I was born in the UK in the first place.
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But I just assumed that in the seventies, the only real way for young people to consume music was you had to buy records.
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And then I m trying to think, there was a lot of Motown in there.
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So a lot of Stevie, there was a, you know, it was a lot of kind of like, I would say,
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Funk, disco pop, soul, like Sheik was in there, I remember that.
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Sister Sledge was in there.
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People like Cliff Richard.
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I was really interested in slow tempo Cliff Richard record called Green Light, which I used to play all the time.
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Produced by Tony Visconti.
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He produced Bowie records.
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Yeah, so Tony Visconti produced a Cliff Richard album, which is actually not...
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I mean, it s not amazing, but I just remember there were a bunch of records and I would play them to death and then my dad s records.
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And that was really my inception point of like, but even earlier than that, I got told that I was obsessed by music even earlier than that.
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But that s when I genuinely remember the records and been able to touch them and feel them and play them and stuff.
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So yeah, that was that time.
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Well, we re definitely going to play that Cliff Richard track.
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It s called Green Light.
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It s pretty good.
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Searching for a green light
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I know it s very difficult because you have such a broad spectrum of a sound, but how would you describe yourself in three tracks?
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Yeah, I mean honestly it depends what day it is and where I am and what mood I m in.
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It s like a drug in a way.
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You re constantly searching for another level of excitement because there are certain records that give you a kind of weird shot of adrenaline or make you feel calm and at ease.
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And in some ways I think I m addicted to search for that feeling in records.
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So that s why I m looking for new sounds and new records to kind of take, or old records that I don t know already.
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But I think that like, they are so specific records that like, no matter where it is, where I am, where I put those records on, the feeling returns.
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And you try to pick those up, just do just down on the street.
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And not necessarily because I m a bigger Stooges fan, I m really not.
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You re gonna find out about the Stooges via Iggy Pop, but you know, kind of work backwards, right?
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I also love Pong, and I also, you know, love Nirvana, and then when you kind of trace it back...
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you kind of recognize that like the fundamental roots of that kind of way of sounding.
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It s pretty much like rooted in that Detroit, Stooges, MC5, Death, those kind of bands, right?
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Also with Nirvana, because I just saw this clip of Dave Grohl, how he explains he was basically in Nirvana as a drummer, just sampling a disco.
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Yeah, for the drum breaks.
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Yeah, exactly.
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Yeah, that was really fascinating.
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That Stooges record is just so raw and so brutal sound.
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And it sounds unique because when you listen to modern music now, people are not really that free with the music they make.
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It sounds like a bunch of angry young dudes in a room, just not giving a fuck.
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You know, but there s something about it.
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The Eagle Rises above just being like nihilistic.
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It s
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It s full of art and it s really, really an astonishing and exciting record.
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It just sounds so exciting.
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That s the thing for it.
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It just excites me when I listen to it.
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You know, it literally sounds like a car crash played out in the studio.
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It s pretty, it s pretty fun and brutal and just like, and it s funky as well.
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And that s the other thing that I think that a lot of people don t understand about like early rock and punk and stuff is that these guys all like, Dave Grohl was just saying about the disco.
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These guys, when we listen to like,
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same records that like, you know, basically the fundamental records that formed soul rock music.
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And it s also always this 20-year gap as well, like 20 to 30 years, because that s when they are grown-ups.
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They grew up listening to this, because that was just in the environment.
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So their references, even if you look at our 70s heroes, they will reference people from the 50s that were their heroes.
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Or even Warhol was obsessed with Hollywood glamour, but of the golden age.
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So he was trying to replicate that in the 70s.
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Now we re gonna be face to face And I ll lay right down in my favorite place And now I wanna be your dog
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Okay, so that s a pretty ultra record.
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I m trying to think of something in between then and now that makes me feel good that I return to.
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You know, it s so weird because the records I used to obsess by, sometimes I do go back to them and they just don t have that feel anymore.
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Like you ve played them too much and they ve happened to you.
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All the time.
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But there s certain tracks you go over and over and we re talking about like over 10 years, 15 years, 20 years.
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There s certain tracks that you can go over and over and you don t get tired of it or you can listen to it with a couple of months.
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differences, like in 12 months I can listen to this again and obsess for a week over it again, right?
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But then there s certain tracks where you just, that was just the capture of the zeitgeist, that was just the moment where I was obsessed with it and I can t listen to this anymore.
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Yeah, that s the perfect way to capture the zeitgeist.
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I think, yeah, there s also kind of like a weird metaphor between like music for me and like actual relationships and human beings.
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Like, you know,
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my favorite records are my exes, some of them, you want to kind of go back to, because you think you re going to go back to like that place and that time, like you ve forgotten why you re not together anymore.
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And then you kind of like look up again and you re like, right, right, right, right.
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You kind of exactly, yeah, yeah.
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And then you get there and you re like, this isn t as good as it sounded when I was like 17 or whatever or 21.
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So yeah, there is that with records.
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I think the second record,
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And so that Stooges thing is actually a record that I only, I m excited about, not because I knew when it came out, it wasn t even live.
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It was more to do with the fact that when I heard it, I was like, oh wow, this is the foundation of like a lot of what I like about like spunk, chunk, hard rock records.
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Like this is the foundation of it.
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Like I understand where a lot of the guys who I really like will come also.
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But another record I really admire, and it s hard for me to say any three records, but I m going to try, is Talking Heads  Once in a Lifetime.
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And the reason is because the records I think I most like or the ones I most love, they re kind of mysteries to me.
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Mysteries?
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Yeah, they re mysteries.
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I have no idea what s going on and have to kind of do some work as a listener.
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So I can enjoy it, but I don t necessarily, so, when I was a kid and I heard what was Lelita, Lelita was making that sound.
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Do you know what I mean?
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Because, you know, there s a lot of people tell you what the Beatles is and they play you the record and you see them on TV, kind of pretty much figure out like, oh, that s a guitar and that s a drum and that s doing, we re talking as I couldn t figure out what the hell was going on.
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And that really like, the internet, I guess it s because Brian Eno had a specific way of producing them where they were using like, kind of almost like loops and they were playing over it.
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So they were playing like a band, but they were using the studio as a band.
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And it s pre-digital, right?
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It s all analog and already years ahead.
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It was just specifically something that they d figured out.
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Then also, not knowing that they were ever influenced by Velocruzzi and Afro rhythms.
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which is something that I grew up with because of my family and my parents, but I didn t actually know him.
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I didn t actually force the tour cadets to listen to the fella.
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For sure.
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I had David Byrne on the show as well, and we talked about it also, his label.
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The Reissue Label.
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It s all world music, so-called world music.
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That s his, not obsession, his passion, you know.
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Talking about Cootie, I also had Sion Cootie on the show.
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That s the thing for me, so like I could relate it back to those records and, you know, once I could relate it back to those records, I could be like, oh man, the Afrobeat thing and it s sort of like whatever futuristic sort of new studio techniques that were like, people still were confused.
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And the fact that Dave Byrne wasn t even really singing, he was kind of just kind of weird, like proto-rap talking.
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Do you know what I mean?
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It was like the whole thing was just like a jumble that just really made sense and was kind of perfect and unique.
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And then the record, the third record I think is just like the godfather of it all for me is James Brown.
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Our favorite game to play when we kind of get tipsy around music guys is like, who is the most important musician of all time?
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Very hard for anyone to suggest this, anyone other than James Brown to me.
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Pretty much all of hip hop and dance music is kind of based upon the James Brown template.
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Oh yeah, for sure.
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He s the blueprint.
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He s the blueprint.
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And so really when you look at like modern music, there was
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music before James Brown and music after James Brown.
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That s literally how you- 100%.
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It s kind of like, you know, how they talk about biblical figures or whatever.
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There s no Prince, there s no MJ, nothing.
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Yeah, there s nothing.
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There s no disco.
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There s no funk.
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There s no hip hop drums.
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And, you know, even Kraftwerk, you know, in an instant, you said they were just trying to cut and change ground, but because they were like white German guys and they couldn t do funk, they used synthesizers instead.
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And, you know, Kraftwerk had a blueprint of
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modern dance music.
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James Brown is the guy.
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So, you know, There Was A Time by James Brown contains everything there is to love about James Brown.
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It s hard, it s funky, it s dirty, it s screaming, it s shouting, the fans sound like they re playing for their lives.
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You know, at the right time, with the right party, we re just in the right setting.
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That record is just
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You know, you ve got a sex machine and you ve got like, it s a man s man s world.
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You ve got this, you know, James Brown s very prolific.
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But there s something about there was a time, you know, the live version or the studio version, it s just like, it s an incredible repertoire.
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Very good choice.
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Thank you.
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Well, talking about choices and good taste in music, let s talk about No Vacancy Inn.
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What is No Vacancy Inn?
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Where did it start?
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Where is it going?
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And what song defines No Vacancy Inn for you?
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Yeah, I mean, I met Jermaine in London, and we kind of just bonded.
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He was like, oh, you smoking?
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I was like, yeah, you smoking?
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We started smoking and talking.
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But yeah, the actual point was music, actually, honestly.
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I started spending a lot of time in my apartment in London.
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I lived in London, and just playing records that he maybe hadn t heard.
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For me, vinyl was still like the litmus test for how good a record really is.
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for a bunch of reasons, but obviously, especially with live recording music, when it s pressed to a piece of vinyl and the right system picks it up, you ll hear it record.
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Yeah, that kind of became our relationship.
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from hanging out and going out a lot in Soho and we kind of became the duo became known for like, you know, Trey doesn t DJ and he makes such a, you know, thing of it.
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Like people always say, Oh, can you two DJ together?
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And he s like, I m the MC.
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He s like, he s like, there s no one ever actually looked at the thing.
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Like I don t touch anything.
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Like he doesn t DJ.
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Um,
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And I ve actually said, like, if I wanted to really make some money, I d give up, just let him do it and just kind of be the puppet master.
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I think people want to see Tremor, then they want to see me, because I m just the guy who just stands there, just like, leave me, when I m DJing, I m very much a leave me alone kind of DJ.
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But yeah, it became like a sort of hangout for us to just
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express our taste in music and style.
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And then by default, big people just wanted to hang out with us.
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So we started getting to do parties in East London and we started to get to do parties in Soho.
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That was the Mexican place, right?
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Yeah, it was called La Bodega Negra.
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Yeah, I think I m a bit into it.
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I was in London in the summer and I tried to go in and it was so bad.
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It was like pedestrian.
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It s like going into like Muslim of the places, obviously.
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Pink tacos.
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Yeah.
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It was just like, it was just like bad.
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But it used to be a super fun place because, and the reason it was good is because Serge Becker, who is the guy behind Miss Lilies and the other R.O.P.
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The other, Laskina, Laskina in New York and also was an old school DJ, music guy.
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He was one of the main OGs, one of the OGs in New York, OGs in nightlife.
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And he s one of the, a shout out to Serge, he s always been really lovely to me and to Tremaine, old friends of Tremaine.
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But he basically was one of the force behind opening the Mexican place in London.
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SPEAKER_02
And so his whole, you know, sort of way of looking at things was like, well,
2
SPEAKER_02
the food always tastes better if the people are sexy and there s music playing.
2
SPEAKER_02
So it s like, so you kind of just added that to like the overall feel of the place.
2
SPEAKER_02
And because of that I ended up DJing a lot.
2
SPEAKER_02
Tremay was always there and people just started booking us.
2
SPEAKER_02
And then at one point I think we just turned around to each other and you just said, look, and you know what, it s all good being kind of friends, hanging out and kind of getting like,
2
SPEAKER_02
I have to do this, I have to do that, you know, but Tremay was working on Mark Jakes at the time.
2
SPEAKER_02
I was kind of like finishing a record, like a duo band thing that I could be outshining it.
2
SPEAKER_02
And I was just like, look, if we put a name to this, we re going to go with Vinyl.
2
SPEAKER_02
It s probably going to just seem more official to me.
2
SPEAKER_02
Do you know what I mean?
2
SPEAKER_02
You know how like when people want to book you for something, if they re like, come on, hey, do you want to do this gig?
2
SPEAKER_02
It s like,
2
SPEAKER_02
thousand bucks or whatever.
2
SPEAKER_02
And you re like, yeah, sure.
2
SPEAKER_02
But you know, the minute you go, oh yeah, yeah.
2
SPEAKER_02
It s an email to send it to somebody.
2
SPEAKER_02
And then you don t have to deal with it anymore.
2
SPEAKER_02
That person can ask for like, whatever.
2
SPEAKER_02
Exactly.
2
SPEAKER_02
And you re just like, it s got nothing to do with me.
2
SPEAKER_02
So nobody can say it was a fake way of like, kind of like making sure we come with money.
2
SPEAKER_02
It s basically like a sort of fake LLC.
2
SPEAKER_01
But then eventually also you guys branched out into apparel.
2
SPEAKER_02
Yeah, we started making merch.
2
SPEAKER_02
The merch was just like a kind of interesting way to kind of like commemorate some of the parties we were doing and some of the events and some of our friends and Virgil.
2
SPEAKER_02
And it kind of just grew into this thing actually between London, New York and L.A.
2
SPEAKER_02
You know, I spent a lot of time in L.A., dressed with Vogue originally, I was London.
2
SPEAKER_02
It s definitely been a huge part of like
2
SPEAKER_02
what I ve been doing in the last 10 years, but, you know, it s ever more so than never changing.
2
SPEAKER_02
So, you know, it s what it will be, you know, at one point it was sort of about a record label, um, but then that s kind of like the most kind of naturalist time, but what do you do in 2020, whatever year we re in 2023.
2
SPEAKER_02
Cause it s just, it s, I mean, you ve got to really be committed to start recording out of things, right?
2
SPEAKER_02
You know, it s not, you re not going to press a bunch of records and sell it.
2
SPEAKER_02
No.
2
SPEAKER_02
go back and do it again.
2
SPEAKER_02
It s a different piece.
2
SPEAKER_02
But yeah, No Vacancy is a bit of a fun ride.
2
SPEAKER_02
And what track defines the sound of No Vacancy?
2
SPEAKER_01
Oh, I hate one track.
2
SPEAKER_02
You have to ask Jermaine.
2
SPEAKER_02
He s really good at like quick... Well, we did ask him.
2
SPEAKER_02
I m sure of the answers.
2
SPEAKER_02
No, it won t be the same.
2
SPEAKER_02
I don t know.
2
SPEAKER_02
Honestly, I m trying to think.
2
SPEAKER_02
You know, it d be something really hip hop and like something, it d be something like T.I.
2
SPEAKER_02
all about the money.
2
SPEAKER_02
And I think the reason to be that record, ironically, is because that was the record that was first came to L.A.
2
SPEAKER_02
Again, I don t want to name the dates.
2
SPEAKER_02
I really can t remember.
2
SPEAKER_02
I want to say 2000.
2
SPEAKER_02
18, 17, yeah, 2018.
2
SPEAKER_02
Came for a Stussy event and we stayed downtown in L.A.
2
SPEAKER_02
And that record had just come out.
2
SPEAKER_02
And hip-hop was going through that weird phase where I think it was T.I.
2
SPEAKER_02
and Young Thug made that record to go above that.
2
SPEAKER_02
It s a really good record, man.
2
SPEAKER_02
Like, honestly, it s really, really good.
2
SPEAKER_02
But it was still going through that phase where, like, and the most interesting phases of music for me are always when the people who are making it sort of are really clearly defined.
2
SPEAKER_02
So they re sort of experimenting.
2
SPEAKER_02
And so it s like, it s such a straight wrecking.
2
SPEAKER_02
It s produced by London on the tracks.
2
SPEAKER_02
And it s got like a crazy groove and you re like these gospel sort of like keyboards and stuff.
2
SPEAKER_02
And it s not like a trap, trap record.
2
SPEAKER_02
It s actually really, it s when they used to put bass lines in hip hop records, it s just like bass sounds.
2
SPEAKER_02
And I m getting a bit technical and I should have played, but.
2
SPEAKER_02
Great.
2
SPEAKER_02
Yeah, please.
2
SPEAKER_02
I want to learn.
2
SPEAKER_03
It s when they used to have guitars on records, rather than having people on stage lip syncing.
2
SPEAKER_03
Coachella, in my day, you couldn t one sync, because there was nothing to sync to.
2
SPEAKER_01
No diss, no diss.
2
SPEAKER_03
I wasn t there, so I don t know what I would be referring to.
2
SPEAKER_03
Okay, so yeah, T.I.
2
SPEAKER_03
about the money.
2
SPEAKER_02
There you go.
2
SPEAKER_00
You briefly mentioned Virgil, R.I.P.
2
SPEAKER_00
You guys were very close.
2
SPEAKER_00
When did you guys meet?
2
SPEAKER_01
What was the plan and what track defines Virgil for you?
2
SPEAKER_01
Oh, wow.
2
SPEAKER_02
They try to ask us like that.
2
SPEAKER_02
I first met Virgil, again, dates terrible.
2
SPEAKER_02
What I do know is the first time we hung out, it was a nightclub, it was called the Double Club.
2
SPEAKER_01
Yes, I played it, you know.
2
SPEAKER_01
You played at the Double Club?
2
SPEAKER_01
I curated the one in Miami, the 10-year anniversary.
2
SPEAKER_01
Right, there you go.
2
SPEAKER_01
So the one in London.
2
SPEAKER_01
In London, I was just a guest.
2
SPEAKER_02
So when was the 10-year anniversary?
2
SPEAKER_01
2017, 2009 was with Karsten in London, and then 10 year anniversary was I think 17.
2
SPEAKER_01
So we were at a double club.
2
SPEAKER_02
One of the best places ever.
2
SPEAKER_02
Yeah, the one in London was amazing.
2
SPEAKER_02
So that year was a part of a cast of horror.
2
SPEAKER_02
Yeah.
2
SPEAKER_02
Prior to that, there s a gentleman called Tony Tager who ran a record store.
2
SPEAKER_02
saw something intertwined.
2
SPEAKER_02
He ran a record store in London with some business partners and it was called Deal Rail Records, which had previously been another record store called Deal Rail Records that the owners I think sold to Tony.
2
SPEAKER_02
Tony s Ghanaian, British of Ghanaian descent, grew up in London at this record store and the record store used to host hip-hop nights, which funny enough,
2
SPEAKER_02
like Freestyle MC Nights, which is where Atra actually met Kanye and became Kanye s DJ.
2
SPEAKER_02
Everyone asked you to hang out there.
2
SPEAKER_02
The streets used to hang out there.
2
SPEAKER_02
It was like a really cool vibe and so I loved it.
2
SPEAKER_02
But I bring up the story because Tony Tago mentioned to me at one point he said, Oh, you d really like my cousin.
2
SPEAKER_02
You should meet him.
2
SPEAKER_02
I think you two would really get on.
2
SPEAKER_02
And his cousin happens to be Virgil Abloh.
2
SPEAKER_01
Oh, wow.
2
SPEAKER_02
That was that.
2
SPEAKER_02
So Tony s British and Virgil s American, but they were related.
2
SPEAKER_02
And you know, I was talking about it then.
2
SPEAKER_02
next to a lot of nudity.
2
SPEAKER_02
You know, Connie used to come to London a lot, which is how I met him.
2
SPEAKER_02
And it basically showed up on Virgil.
2
SPEAKER_02
And we just spoke about everything.
2
SPEAKER_02
Yeah, over a decade plus, just became super tight and super friends and just kind of ended up
2
SPEAKER_02
always in, you know, in different countries around the world, working or hanging out or doing stuff, you know.
2
SPEAKER_02
But there was never really a plan, you know.
2
SPEAKER_02
I think Virgil had his own plans and he executed them, as we can all see.
2
SPEAKER_02
And we kind of just watched him do it.
2
SPEAKER_02
And we were very kind of proud of him and always like, what s the word, all inspired continuously.
2
SPEAKER_02
But I think if I was to find a record that exemplifies
2
SPEAKER_02
Do Virgilist to me, it s kind of a hard one because there s so many things.
3
SPEAKER_01
But I think of us all together in London, there s memories of so many parties that were amazing.
3
SPEAKER_01
But there s a James Bley record that we all, basically it came out and I remember playing it and like, they d all come down to hang out at La Bodega Negra and they were leaving because they just like, oh God, it s too busy.
3
SPEAKER_01
And I think they all turned around when that record started playing because it was just like,
3
SPEAKER_01
And that was the night I remember that Kanye first basically tested out Yeezus in the room for people.
3
SPEAKER_01
And it was deep.
3
SPEAKER_01
It was special.
3
SPEAKER_01
Because not only were there kind of demos of the record, so they weren t finished.
3
SPEAKER_01
You know, you were hearing different lyrics that ended up on the actual finished album.
3
SPEAKER_01
Like, I know a lot of people hate Yeezus.
3
SPEAKER_01
I think it s probably the best album Kanye West has ever done.
3
SPEAKER_01
And it s pretty much up there with a lot of albums for me.
3
SPEAKER_01
know, especially in London in that period and he made it between London and Paris and you can kind of hear that in some of the textures.
3
SPEAKER_01
But I think the whole of that album, Yeezus, really represents
3
SPEAKER_01
Like for me, the friendship that we all had and we continue to have because, you know, we were all in Europe.
3
SPEAKER_01
We were all hanging out.
3
SPEAKER_01
Everyone s figuring out where they were going to go in the future.
3
SPEAKER_01
And like, you know, even though certain themes in the record are quite dark and paranoid and angry, and it s still a very fun record.
3
SPEAKER_01
And we just had so much fun.
3
SPEAKER_01
And it s a nighttime record.
3
SPEAKER_01
Yeah.
3
SPEAKER_02
I am a God.
3
SPEAKER_02
I am a God.
3
SPEAKER_02
I don t remember ever hanging out with Virgil at the beach.
3
SPEAKER_01
I don t remember.
3
SPEAKER_00
Didn t see that one coming.
3
SPEAKER_01
Yeah, I don t remember hanging out.
3
SPEAKER_01
You know, we ve been to Miami probably at least 20 times and I don t think we ever hung out at the beach once.
3
SPEAKER_01
Like, I think I pretty much...
3
SPEAKER_00
I can just see all of you on the beach.
3
SPEAKER_01
And it s like Star Trek.
3
SPEAKER_01
How did we get here?
3
SPEAKER_01
Like, were we being down?
3
SPEAKER_01
No, we hung out in nightclubs and like, and then and in studios, and in, you know, artists studios and in design studios and in music studios and nightclubs and bars and restaurants.
3
SPEAKER_01
Those are the places that we hung out and we socialized.
3
SPEAKER_01
Yeah, so
3
SPEAKER_01
I think, you know, use this for me is and also, you know, he called me in for some of the sessions.
3
SPEAKER_01
We were all just like very actively.
3
SPEAKER_01
Yeah, it was a crew actively involved.
3
SPEAKER_01
And I remember going to like Ye s house in Paris and it was just like the craziest coolest little like sort of like studio slash apartment slash
3
SPEAKER_01
What the fuck is this guy got like a caboose here, kind of like whatever, like centerpiece with like a drum machine on top of it, you know, like just like wild, wild, like kind of interesting lifestyle that these, you know, these guys were living.
3
SPEAKER_01
Yeah.
3
SPEAKER_01
And, you know, and I think that record is also quite a complete record in a lot of ways.
3
SPEAKER_01
Like it starts off really kind of like kind of angry and dark and sarcastic, I think sarcastic.
3
SPEAKER_01
You know, and there s a lot of information contained with it about the kind of like, like if you really think about certain things like New Slaves and what Kanye s saying in that record and you relate it to like even the fashion industry and stuff, which, you know, Virgil was a part of and a lot of those guys helped promote as well.
3
SPEAKER_01
You can really see the sort of like the connection, you know, it s kind of mad when you really look back on it that way.
3
SPEAKER_01
But then you also get to the end of the record and it s like something like Bound is just like a love song.
3
SPEAKER_01
you know, and Virgil was already kind of deeply in love with his wife and Kanye was, I think, either getting married to Kim or they just got married, you know, so like, I think for me, that record really represents all the sides of like, that world and who these guys were when I met them, you know, it s probably the best answer I can give you.
3
SPEAKER_00
That s a great answer.
3
SPEAKER_01
Yeah.
3
SPEAKER_02
When the whole thing with Kanye just happened, I was thinking, what would
3
SPEAKER_00
How would have Virgil reacted to this?
3
SPEAKER_00
Or was his thinking seeing all this happening publicly?
3
SPEAKER_00
Because Virgil was, in a way, even though he was so out there in public, he was also very, I think, always in thought and more shining inwards rather than out.
3
SPEAKER_00
There are certain things that were out there, which was very work-related by himself.
3
SPEAKER_00
It was kind of private.
3
SPEAKER_00
And then seeing how Kanye went the complete opposite, I was kind of curious.
3
SPEAKER_00
Because they had an interesting relationship as well.
3
SPEAKER_01
Yeah, I think it s very hard to like speak on behalf of someone, you know, and to kind of like, try to assume how they would react to a situation.
3
SPEAKER_01
But I think those guys relationship is definitely like a complicated one.
3
SPEAKER_01
And it s something that only they could really understand.
3
SPEAKER_01
Kanye s Kanye man, like, you know, the thing about him is it s like, what he says and how he thinks and what he does.
3
SPEAKER_01
are sometimes simultaneous and sometimes they re really at odds with each other.
3
SPEAKER_01
And I think people are going to find the part that speaks to them and stick with that.
3
SPEAKER_01
People are going to find a part that repels them and stick to that.
3
SPEAKER_01
You know what I mean?
3
SPEAKER_01
And he s like a polarizing figure, right?
3
SPEAKER_01
And maybe relishes that more than he should.
3
SPEAKER_01
I don t know.
3
SPEAKER_01
But I think that like, because of that, you know, when he doesn t say anything, it gets taken
3
SPEAKER_01
so far beyond the context of what he s saying and becomes like this.
3
SPEAKER_01
But, you know, people have to also understand that like artists aren t politicians, man.
3
SPEAKER_01
Like, I mean, politicians are barely politicians at this point.
3
SPEAKER_01
I mean, they re kind of entertainers, but you know, it s like, and I m never going to excuse someone else s, you know, what someone else says.
3
SPEAKER_01
it s not my business to do that.
3
SPEAKER_01
Like what he says, he has to own it and live it and that s his point of view.
3
SPEAKER_01
This is.
3
SPEAKER_01
I don t, you know, I don t have to tell anyone if I agree or disagree unless they ask me personally, because I didn t say it.
3
SPEAKER_01
It s like, why would I have to give an opinion on it beyond like... No, you shouldn t.
3
SPEAKER_01
Yeah, right.
3
SPEAKER_01
But I think that like,
3
SPEAKER_01
I think that Virgil was a very loving guy and he s a very open guy.
3
SPEAKER_01
And I think Kanye is too.
3
SPEAKER_01
That s the irony of all of this.
3
SPEAKER_01
I actually don t think he has any hatred, you know, really deep down in his, in his heart for anyone of, you know, from any background.
3
SPEAKER_01
And I think that like, as we, the world that we re in now, because, you know, people have to understand stuff like about music and art, like over the years, there s been some of the controversy that
3
SPEAKER_01
artists from previous generations went through, they wouldn t survive in this day and time.
3
SPEAKER_01
They wouldn t be given a chance.
3
SPEAKER_01
But the difference is now, different cultural awareness, we re just in a different time.
3
SPEAKER_01
And people will just take whatever you say.
3
SPEAKER_01
And then if you re doubling down as well, it doesn t help.
3
SPEAKER_01
So it s just like, as I said, I can never tell you how Virgil could feel or react.
3
SPEAKER_01
I just know that he was just a really loving guy.
3
SPEAKER_01
And he was just cool with everyone.
3
SPEAKER_01
That was what was amazing about him.
3
SPEAKER_01
And he was actually, in a lot of ways, one of the most neutral people I ever knew.
3
SPEAKER_01
You know, he s kind of like Switzerland most of the time.
3
SPEAKER_00
I love that.
3
SPEAKER_00
I use that, the Switzerland thing and the neutral for a lot of things as a, as a example.
3
SPEAKER_01
Yeah.
3
SPEAKER_01
But, and yay is not Switzerland.
3
SPEAKER_00
What s the opposite of Switzerland?
3
SPEAKER_01
Let s not go there.
3
SPEAKER_01
Let s leave that one to the historians.
3
SPEAKER_00
Well, going back to the music, let me help you to dig yourself out of this hole.
3
SPEAKER_00
Yeah, yeah, there you go.
3
SPEAKER_00
Well, we had our Awe and Akios here a couple of weeks ago during Oscars in LA and of course wanted you to DJ, but you weren t in town, you were on your way to Ghana.
3
SPEAKER_00
Yeah.
3
SPEAKER_00
I love Accra, I love Ghana, there s a lot of
3
SPEAKER_00
great energy coming out of Accra and Lagos as well to the world.
3
SPEAKER_00
I mean, it s always been there, but the world has woken up to it.
3
SPEAKER_00
We re talking about the art scene is thriving.
3
SPEAKER_00
The music scene is thriving.
3
SPEAKER_00
Design is thriving.
3
SPEAKER_00
I mean, the pulse is in world culture coming out of the African continent.
3
SPEAKER_00
So tell me what s happening, what s cooking, what s hot, any artists that we need to listen
4
SPEAKER_00
I mean, honestly, I was there for such a short period of time.
4
SPEAKER_00
It was four days, we were in and out.
4
SPEAKER_00
Like, it was pretty rock and roll.
4
SPEAKER_00
Like, we went there to work to shoot a mining campaign, but, like, a mining no vacancy campaign.
4
SPEAKER_00
But, I mean, I want to get back as soon as possible.
4
SPEAKER_00
I think, you know, the amazing thing now for me, you know, there are parts of, like, the internet and, like, I guess kind of, like, unlimited access to, like,
4
SPEAKER_00
information via your phone and your computer or whatever, your smart thing, is that sometimes it s just like, you can kind of see where it s just not helping us as people.
4
SPEAKER_00
You know, like it s not progressive.
4
SPEAKER_00
I think it s holding a lot of people back.
4
SPEAKER_00
A lot of thoughts have been formed in weird ways.
4
SPEAKER_00
There s basic layers of addiction happening.
4
SPEAKER_00
But then the other flip side of it is it s like, you don t even need to necessarily go to another country now to know what s going on there.
4
SPEAKER_00
Like, you know, we are in the most,
4
SPEAKER_00
plugged in and tapped in time and history to have access to like, what people are doing.
4
SPEAKER_00
And it s really interesting because the youth, you know, you know that, like, you know, Africa is like, I think something more, like more than 50% of Africa s population is like around the age of 20.
4
SPEAKER_00
They re young, man.
4
SPEAKER_00
It s young, you know?
4
SPEAKER_00
So like, they re just gonna do stuff, you know?
4
SPEAKER_00
And when it comes to art and music, those guys are doing stuff and it s like, let s put it this way.
4
SPEAKER_00
I think that like,
4
SPEAKER_00
America, you know, due to its kind of vast geographical spread, and Europe to an extent, have always pumped out like a lot of music.
4
SPEAKER_00
Right now in America, Africa, what s happening is unparalleled.
4
SPEAKER_00
You know, you re talking about so many different variations on sound, like, you know, I went to see Carl Craig play at the MoCA on Saturday.
4
SPEAKER_00
Yeah, I went to see him play the mocha on Saturday night and he probably played about... Wait, you were there on a Saturday?
4
SPEAKER_00
Yeah, I was there on a Saturday.
4
SPEAKER_02
I just went to see Moody Man and then I had to head out.
4
SPEAKER_00
Yeah, after Moody Man, Carl Craig jumped in.
4
SPEAKER_00
He was great, he was incredible.
4
SPEAKER_00
It was an amazing night.
4
SPEAKER_00
Yeah, it was a beautiful night.
4
SPEAKER_00
But he played about at least half an hour of it on a piano.
4
SPEAKER_00
You know, which is a South African kind of house slowed down to kind of like a really, really...
4
SPEAKER_00
really beautiful pulse and stuff.
4
SPEAKER_00
And I was just like, Wow, like, this is the it s like a Detroit legend.
4
SPEAKER_00
He s played African house music.
4
SPEAKER_00
Do you know I mean, like, that s a really, really, really like,
4
SPEAKER_00
really cool just idea that that s even happening.
4
SPEAKER_00
Right.
4
SPEAKER_00
And so for me, I mean, to answer your question, I couldn t tell you anything specific that I found, but I need to go back and just add.
4
SPEAKER_00
But one thing I do know, and even when I was there, it s just moving so fast, you know, because as I said, it s like over 50% of the population in Africa are pretty much around the 20 years old mark.
4
SPEAKER_00
They just, they just, they re making stuff, man.
4
SPEAKER_00
Yeah.
4
SPEAKER_00
And I want to explore more and really, really hear and see what people are doing.
4
SPEAKER_00
So, you know, maybe I ll be able to come back and kind of update you.
4
SPEAKER_02
But yeah, please, please.
4
SPEAKER_02
Yeah.
4
SPEAKER_00
Yeah.
4
SPEAKER_02
I mean, it s happening.
4
SPEAKER_02
Yeah.
4
SPEAKER_02
Yeah.
4
SPEAKER_02
Well, to wrap up, well, not to wrap up, but to go slightly more intimate.
4
SPEAKER_02
What s your go to falling in love or heartbreak song?
4
SPEAKER_02
Oh, wow.
4
SPEAKER_00
You know how hard these questions are?
4
SPEAKER_01
They re really, really hard questions.
4
SPEAKER_02
The first thing that pops into your mind.
4
SPEAKER_00
Oh, man.
4
SPEAKER_00
Falling in love.
4
SPEAKER_00
have to be like some kind of Michael Henderson record, maybe.
4
SPEAKER_00
I love Michael Henderson.
4
SPEAKER_00
You know, he s like a session player, bass player in the 60s and 70s.
4
SPEAKER_00
And then he did like really beautiful sounding.
4
SPEAKER_00
I m really obsessed with there s a particular sound.
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SPEAKER_00
I m obsessed with lots of sounds, but there s a particular sound I m obsessed with, which is just like, you know, friends of mine will come around and they ll just like, please, can you stop playing this music?
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SPEAKER_00
And it s like this kind of weird mid to late 70s soul sound that specifically came out California.
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SPEAKER_00
A lot of it was produced by like Quincy Jones.
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SPEAKER_00
A lot of like Rufus records, George Benson records, Gimme the Night, which are kind of more popular things.
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SPEAKER_00
You know, Patti Austin, who worked with Quincy Jones on a lot of backing vocals and vocals.
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SPEAKER_00
She did a bunch of it, but there s like a sound.
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SPEAKER_00
So there s like a Michael Henderson record called.
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SPEAKER_00
Let Me Love You, Goin  Places is the name of the album.
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SPEAKER_00
That entire album for me, that s just like driving up the PCH, Malibu, Fallin  In Love, Sunset.
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SPEAKER_00
Beautiful, beautiful record.
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SPEAKER_02
That s the best thing about LA, it s exactly what you just described.
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SPEAKER_02
Top down, down the PCH.
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SPEAKER_00
Yeah, yeah, yeah.
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SPEAKER_00
That s it, that s it.
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SPEAKER_00
It s like, it doesn t matter, you know, and yeah.
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SPEAKER_00
All the records from that period, pretty much, even the ones that Quincy didn t produce, you know, things like... So on the flip side of that, my heartbreak record would be like Rufus and Shank can t stay.
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SPEAKER_00
It s on the album Street Player, I think, which also has a song Street Player, Chicago song as well.
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SPEAKER_00
But that song is...
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SPEAKER_00
heartbreaking.
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SPEAKER_00
It s Chaka Khan at her best, strings, slow, L.A., blissed out.
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SPEAKER_00
Yeah, yeah, that s it.
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SPEAKER_00
Yeah, Chaka Khan stay.
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SPEAKER_00
Yeah.
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SPEAKER_02
And then after the heartbreak, when you re out and about in town, driving down Sunset Boulevard, in your car, feeling super sexy.
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SPEAKER_02
What s the sexiest song?
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SPEAKER_02
Oh, we re back to Chaka Khan always.
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SPEAKER_00
Chaka Khan and Rufus, Any Love.
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SPEAKER_00
Yeah, Any Love, dude.
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SPEAKER_00
That s just...
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SPEAKER_00
For me, I mean, honestly, I m obsessed by that sound in that period.
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SPEAKER_00
And that record is so beautiful.
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SPEAKER_00
And Chaka Khan is, luckily she s still around.
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SPEAKER_00
She s just one of those performers that like, you know, it s funny, I was looking at my record collection today and for no reason, I think I was looking for something.
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SPEAKER_00
I was trying to find a record and I ended up looking and I realized how many records I had by the same bands or the same performers.
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SPEAKER_00
And I always knew it, but something just struck me about that.
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SPEAKER_00
Like how nowadays, you know, it s almost impossible to get like five albums that you love by the same band, you know, like that s becoming a rarity, which is kind of sad.
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SPEAKER_00
You know, like I m not a Coldplay fan at all, but I was watching a YouTube random thing about where did Coldplay go wrong?
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SPEAKER_00
And it s like, they re in a six album.
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SPEAKER_00
It s like they ve done six albums.
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SPEAKER_00
Like they haven t gone wrong.
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SPEAKER_00
Like do 10, do 20.
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SPEAKER_00
So, you know, I really love the fact that like I can have like,
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SPEAKER_00
eight Chaka Khan albums and Rufus albums that I love, do you know what I mean?
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SPEAKER_00
And they re all really good and they show the growth and they show the, you know, the kind of maturity and it s just different sides of the band.
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SPEAKER_00
But yeah, Chaka Khan and Rufus, man, if I think I was just that to make a choice and just like, go with just like, okay, this is what you get to take out of the house, I would go with those.
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SPEAKER_02
Well, I decided to wrap up our little chat.
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SPEAKER_02
If your life would be a movie, what song would play in the end credits?
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SPEAKER_00
Frank Sinatra, L.A.
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SPEAKER_00
Is My Lady.
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SPEAKER_00
Thank you, man.
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SPEAKER_02
Yeah, I think I ll unpack my bags and hang around here a little while longer.
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SPEAKER_01
Thank you for tuning in this week.
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SPEAKER_01
If you want to listen to the full playlist, visit AreWeOnAir.com or our Spotify channel.
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SPEAKER_01
You can also find us on Instagram and on YouTube at AreWeOnAir.
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SPEAKER_01
And a big thank you to my wonderful team at Studio Neu.
4
SPEAKER_01
I m Armand Lafey and I ll speak to you soon.
5
you