When a window opens in Questlove’s schedule—even if it’s very last-minute and on July 4—you take it. As drummer for the legendary hip-hop band The Roots, bandleader for The Tonight Show with Jimmy Fallon, professor at New York University, and round-the-clock DJ, Questlove rarely gets a break in his schedule. Just minutes after getting word of his availability, I found myself speeding down the Turnpike with Eilon toward MilkBoy Studios in Philadelphia to interview one of the hardest-working men in showbiz since James Brown. We had an hour to photograph him and his vinyl collection—just enough time for him to open up about his love of music and lifetime quest for records.
When we arrived at our destination—a nondescript building in an industrial section of Philly—only “The Studio” written on the mailbox directory informed us that we were at the right address. Then a tinted-out Mercedes sedan passed our spot and came to a stop. Out walked Questlove, in a Jackson 5 hoodie with his signature Afro and Black Power hair pick in tow. We followed him through the main entrance but quickly discovered that we were locked out, all of us. Time was ticking, as he needed to be at the 4th of July Philly Jam in just under an hour. But after a few phone calls and some covert tricks (as well as a yell of “Street Cred!”), we were in. That’s right: Questlove had to break into his own studio. Even someone with his clout has to do it by any means necessary. There were records to talk about.
Entering his sanctuary, his personal getaway, we got a real glimpse into a place we had seen only in YouTube videos. This was a room with a staggering number of records, arranged from floor to ceiling, wall to wall, with built-in library ladders to access those meticulously organized, hard-to-reach LPs. Getting at them seemed impossible, though, with a drum kit, MPC3000, amps, turntables, drum stools, and a Questlove NBA jersey blocking access. Questlove quickly made a beeline for a space, muttering, “I need to find those D’Angelo DATs—I know they’re here somewhere.” A record that Dilla gave him eight days before he passed was also proving tough to locate.
Questlove waxed poetic on everything from Dilla’s favorite snare sample to his Prince phases, from growing up on the road with his musician parents to the worst punishment he ever got for stealing $10 from his father to buy vinyl. He ended up chatting for an extra 35 minutes, holding up his whole production for the Philly Jam performance. After we exchanged pounds and handshakes, he calmly concluded, “Now it’s time to work.”
“I kept the best records in the bathroom ’cause it was like, ‘Where do I keep the gems at? Oh yeah, I’ll keep ’em in the bathroom!’ … There’s also a turntable in there.”
As you were growing up, your dad had a pretty sizable vinyl collection. Did you consider yourself a collector when you were younger, or did that come later on?
I didn’t consider it, not until I built this [record] room. Once I had enough money to really buy my first house, I opted to build this studio instead of a house. I remember working on [D’Angelo’s] Voodoo record when Q-Tip lost all his records in a fire. That scared the living bejesus out of me. Imagine this hoarder level of collecting, but inside my residency! We’re talking about the living room being all records. The kitchen, all records. My bathroom. I kept the best records in the bathroom ’cause it was like, “Where do I keep the gems at? Oh yeah, I’ll keep ’em in the bathroom!” It’s easy to remember that they’re in the bathroom. My Grammys are in the bathroom. There’s also a turntable in there. But there came a point when I started cracking records, you know, trying to navigate from here to there like Indiana Jones—one, two, three, [crackle noise] as I tried to jump over stuff. By the time I cracked the 20th record, I was just like, “Man, I gotta do something. Q-Tip’s house set on fire!”
How did this record room take shape?
In ’99, I commissioned my brother-in-law, who was a carpenter at the time, to build me shelves that can hold at least 50,000 records.
How big is your collection and how did it come together?
Between the New York spot, here, and what’s in storage, I’m up to a good 75,000 records. My first collection was basically taken from the household that I grew up in, so it’s my father’s collection. Then it’s the work I put in. Then once I was in a certain position, a friend of mine hooked me up with a kind of estate planner. So say a distraught divorcée wants to get rid of her jazz collection, you get it for $2,000. A lot of that came down the pike. One of the best collections that I received was from Levi Stubbs’s [of the Four Tops] daughter. She gave me 25 of all these boxes—crazy ’60s test pressings, acetates of Motown stuff. There are a few priceless items here thanks to the right person hooking me up.
What was your memory of your first record? How did you feel when you got it?
It’s funny you say that because today at the show I’m meeting the friends of the lady who bought me my first record player. I used to just play my toy saxophone with my parents’ horn section and actually perform onstage with them from age 4 until about 7, playing tambourine and stuff. That’s how they would watch me. Once before a show, a lady walked up and said, “Oh my God, you’re so cute and everything, I just want to buy you something.” My parents were overly cautious and warned me not to accept any gifts from strangers. But I told the lady I love records, and she went the next day to a department store and got me a miniature record player like the little Numark ones we use now. And also a Neil Sedaka 45 for “Bad Blood.” I guess she was just choosing what was in the Top Ten at the time. She also got me Rufus and Chaka Khan’s “Dance with Me.” She had asked me what my favorite groups were, and I liked Rufus and Chaka Khan. I chose records by the way the logos looked. ABC Records had a great rainbow kaleidoscope thing, so I gravitated towards anything that was on ABC. That made me like Rufus. I liked Neil Sedaka’s label because he and Elton John were on Rocket, and Rocket had a really cool-looking logo. So I judged records based on how cool the logo looked spinning on a turntable. Then she got me a Jackson 5 record ’cause I always loved their look. I dunno, to me it’s based on the logo, which is rather strange considering I picked a very simple Arial font for the Roots logo. Oh God, I was obsessed with how logos looked.
Are you buying vinyl these days? Your spare time seems to be limited. With Serato and digital DJing as the medium of choice for most traveling DJs, did that slow your vinyl itch?
11 Comments
Come
It's pretty disappointing to not be able to read the full article, especially for someone like me who has read almost all your interviews since the beginning of this website and bought the first edition of the book.
Eilon
Hey, I know it is, but we are facing some publishing rights concerning the second edition. Unfortunately, this is the best I can do for now. Eilon
Eilon
I can't publish the full interview with Questlove for free on the website. I have new developments that restricts me from doing so. I hope you still appreciate the never ending hard work I am putting into Dust & Grooves. Eilon
Kevin
Is the first or second edition available in any retail stores? I searched barnes and noble and didn't find any results
Eilon
It will be available on November 28th. Mostly in record stores.
gvc
Hi Eion Like Come I've been following the blog from the very beginning, and bought the book as well (as I'm UK and as your website postage rates were steep I got got my copy via Sugar & Spice in Amsterdam) and while it is disappointing to only have an excerpt on the Questlove interview I can understand the need to sweeten the deal for new buyers! But I've noticed the blog posts aren't happening as regularly as before. Whatever your ambitions for the book and future books don't forget the blog! As you know with vinyl collectors, we can never have enough! Don't forget us early supporters who have the 1st edition either!
Eilon
Hi, not forgetting at all. I have been supplying FREE content for over 6 years, and will continue to do so. The book is my only income from this project. I refuse to place annoying ads on the website. Publishing the full interview with Questlove is not possible at the moment due to legal constraints. Keep up with the support and stay positive.
Kirk
Hey Eilon - Sorry to hear about the rights issues. Must be a huge frustration for you but the excerpt is great. Like others who have commented I eagerly await any new post here but am also continually amazed at your dedication and ability to keep D&G going as an ad-free entity. Keep up the great work.
Eilon
Thanks Kirk, Your support is important! I really appreciate it. E
DJ Mono
Keep em coming! salute 1