The Questlove Show

Questlove sits down with Tame Impala’s Kevin Parker, the multi-instrumentalist from Perth—one of the most isolated cities on Earth—who spent years letting the world believe his one-man project was a band.
Parker talks about turning down a big-name producer to make Innerspeaker alone in a beach shack he later bought, the more than 1,000 voice memos labeled “this will change my life,” and why he devotes 90% of his time to drum sounds. He also unpacks the idea behind Tame Impala's latest, Deadbeat, the feeling of always being on the outside—no matter how successful he becomes—and the strange ways stress and anxiety fuel his best work.
Along the way: sneaking into a White Stripes show with his brother’s ID, a Batman Forever soundtrack confession, and his new life building synthesizers.
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Recorded in early 2020, this classic episode of Questlove Supreme is Part 2 of the Family Stand conversation. Sandra St. Victor recounts leaving Atlantic for Elektra Records, and her alleges that Sylvia Rhone shelved her intended debut LP, Sanctuary. The band also discusses Prince hearing the album and working with Sandra, Curtis Mayfield’s warm mentorship, their defiant Moon In Scorpio era, and Jeff’s incredible saxophone work on hits by Billy Ocean and Debbie Gibson.
Along the way, The Family Stand share wild stories about a 1983 night at Rick James’ house and Roy Ayers on tour in Africa, pay tribute to their late guitarist Ronnie Drayton, and reflect on the Black Rock Coalition. The episode closes with Stevie Wonder humbly taking their notes and a preview of the band’s new album, which grew out of their reunion concert at the Met.
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We said we’d come back for Part 2—and we did. Arthur Baker, the architect behind “Planet Rock,” “Confusion,” and so much of the ’80s dance-floor sound, returns to The Questlove Show to finish what we started nearly a year ago.
Arthur takes us from carrying crates of vinyl onto airplanes to the Synclavier sessions for Hall & Oates’ Big Bam Boom, the clubs and DJs who shaped his sound, and the Brooklyn studio sessions that led to what he jokingly calls “New Arthur” records with New Order.
He also opens up about Streetwise Records, the making of Beat Street, the story behind “Sun City” and Artists United Against Apartheid, his connections to Miles Davis, Diana Ross, and Little Steven, and why he wrote his memoir, Looking For The Perfect Beat, for his daughter.
Arthur Baker is back.
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This early-2020 episode of QLS is among Questlove’s absolute favorites. The incredible trio of Sandra St. Victor, Peter Lord, and V. Jeffrey Smith joined Ahmir, Laiya, Boss Bill, and Suga Steve for a comprehensive and highly spirited two-part conversation. The result is informative, engaging, and often hilarious.
Peter recalls that watching The Exorcist left him so frightened that he played the radio every night—and that’s how he discovered music. V. Jeffrey Smith reveals that his famous saxophone solo on Billy Ocean’s “Caribbean Queen” was pieced together by producer Keith Diamond from recordings of him warming up. The trio also explains how the international hit “Ghetto Heaven” grew out of hearing a young Salaam Remi make beats in his father’s basement, how “Rush Rush” began as a playful jab at Babyface’s songwriting style before becoming a hit for Paula Abdul, and how one disastrous MTV Awards performance derailed the momentum of “Vibeology.”
Enjoy this QLS episode. It’s truly a classic.
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In part two of Questlove’s conversation with Wallo267, the tables turn. Wallo takes over, pushing Ahmir to make some changes. They trade questions about the albums that changed their lives, ’80s jackets, Soul Train Saturdays, and the day Wallo flew to London to meet the artist whose music carried him home from prison. The result is raw, funny, and—as Questlove admits—the most public intervention he’s ever received. Wallo's latest book, Yes To You, No To Them is available now.
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