1 00:00:01,960 --> 00:00:04,960 Speaker 1: R and B Money. 2 00:00:05,559 --> 00:00:06,120 Speaker 2: We are. 3 00:00:07,680 --> 00:00:10,120 Speaker 3: Take Valoti. 4 00:00:11,080 --> 00:00:18,720 Speaker 1: We are the authorities R and B ladies and gentlemen. 5 00:00:18,720 --> 00:00:22,600 Speaker 3: My name is Tank Valent time man, This Stormy Money podcast, 6 00:00:23,200 --> 00:00:26,520 Speaker 3: the authority on all things R and B. 7 00:00:26,680 --> 00:00:28,960 Speaker 1: This is there. 8 00:00:29,000 --> 00:00:32,200 Speaker 3: There are there are records, and then there are hits. 9 00:00:33,200 --> 00:00:37,040 Speaker 3: They are placements, and then there are singles. On speak, 10 00:00:38,000 --> 00:00:43,720 Speaker 3: there are producers and then there are super producers. These 11 00:00:43,760 --> 00:00:50,600 Speaker 3: are the lot of cool and yeah yeah, yeah yeah, 12 00:00:50,800 --> 00:00:51,200 Speaker 3: we're here. 13 00:00:51,640 --> 00:00:55,959 Speaker 1: Y'all missed us harmonized, that's behind the scene act. 14 00:00:56,440 --> 00:00:59,040 Speaker 4: They might have to catch a lot. 15 00:00:59,400 --> 00:01:04,679 Speaker 1: We got it. Listen, cool, I don't lie to you. 16 00:01:05,240 --> 00:01:07,320 Speaker 5: We gotta do a little harm and it would tank. 17 00:01:07,200 --> 00:01:10,959 Speaker 1: It listen he kids, or right now. 18 00:01:15,640 --> 00:01:19,760 Speaker 4: We go see like come on now. 19 00:01:21,040 --> 00:01:24,440 Speaker 3: First of all, man, you know your brothers is man, 20 00:01:24,480 --> 00:01:25,640 Speaker 3: absolutely amazing. 21 00:01:25,680 --> 00:01:25,840 Speaker 1: Bro. 22 00:01:26,600 --> 00:01:29,839 Speaker 3: You know this is coming from you know, a musician, singer, 23 00:01:30,000 --> 00:01:33,240 Speaker 3: song writer, the artist since he was nine hanging out 24 00:01:33,240 --> 00:01:36,360 Speaker 3: with Michael Jackson. Like we we are people who know 25 00:01:36,480 --> 00:01:41,040 Speaker 3: and understand what in the fuck you guys are and 26 00:01:41,080 --> 00:01:45,000 Speaker 3: it is it is awesome to have you brothers here, man, 27 00:01:45,120 --> 00:01:49,640 Speaker 3: Like we we we family, but we we value your time, man, 28 00:01:49,760 --> 00:01:51,240 Speaker 3: and we value your gift. 29 00:01:51,320 --> 00:01:51,520 Speaker 1: Man. 30 00:01:51,600 --> 00:01:54,640 Speaker 3: So this is important that you pulled up man, very expensive, 31 00:01:56,320 --> 00:02:03,080 Speaker 3: very they got so many buildings, seventeen miles of ocean. 32 00:02:04,680 --> 00:02:07,640 Speaker 1: People pull up to the destination and you know they 33 00:02:07,680 --> 00:02:09,240 Speaker 1: want to meet and greet two and you think you 34 00:02:09,280 --> 00:02:11,840 Speaker 1: can come and take some phellos with me? 35 00:02:13,040 --> 00:02:19,520 Speaker 3: Who I mean the longevity of it too is a thing, right, 36 00:02:20,360 --> 00:02:24,280 Speaker 3: So I think maybe we just start at the very beginning, 37 00:02:24,280 --> 00:02:28,960 Speaker 3: because it's like to become cool and dre right, where 38 00:02:29,000 --> 00:02:31,360 Speaker 3: does that start? Does that process start with you doing 39 00:02:31,400 --> 00:02:34,680 Speaker 3: something over here and going crazy, and you doing something 40 00:02:34,720 --> 00:02:37,440 Speaker 3: over here and going crazy, and then like, man, you're 41 00:02:37,440 --> 00:02:39,040 Speaker 3: going crazy over there, I'm going crazy? 42 00:02:39,120 --> 00:02:42,120 Speaker 1: What do you think about? Like, how does that even happen? 43 00:02:42,560 --> 00:02:45,280 Speaker 4: That's a good question. I mean I think it started first, 44 00:02:45,360 --> 00:02:47,080 Speaker 4: you know, cool and I we met in high school 45 00:02:47,760 --> 00:02:48,960 Speaker 4: and we met in choir. 46 00:02:49,440 --> 00:02:52,520 Speaker 1: So so this singing thing is different. It's real. 47 00:02:53,440 --> 00:02:54,880 Speaker 4: Oh no, not nold on on. 48 00:02:54,960 --> 00:02:57,400 Speaker 6: You can't even if it wasn't choiet, let's not disrespect 49 00:02:57,400 --> 00:02:57,840 Speaker 6: the class. 50 00:02:57,880 --> 00:02:58,720 Speaker 4: He was there. 51 00:02:58,840 --> 00:03:00,440 Speaker 5: This was vocal on sounds. 52 00:03:00,440 --> 00:03:08,600 Speaker 4: So yeah, we were. We were in vocal ensemble, performance, choir, 53 00:03:09,280 --> 00:03:11,919 Speaker 4: and choir. Like you know, like in my senior year, 54 00:03:11,960 --> 00:03:14,360 Speaker 4: I had five music classes like you know what I'm saying, 55 00:03:14,440 --> 00:03:18,640 Speaker 4: going crazy with it. And we met in chorus and 56 00:03:18,680 --> 00:03:22,240 Speaker 4: the teacher, our teacher, miss A, she was. She left 57 00:03:22,280 --> 00:03:25,560 Speaker 4: an impression on us, like like a serious imprint on 58 00:03:25,720 --> 00:03:28,800 Speaker 4: us because a lot of the things we learned in class, 59 00:03:29,560 --> 00:03:33,959 Speaker 4: we took that with us, like, you know, along the way, 60 00:03:34,240 --> 00:03:37,240 Speaker 4: you know, from producing vocalists and whatnot, everything that she 61 00:03:37,360 --> 00:03:41,760 Speaker 4: taught us about breath control and sing from the diaphragm 62 00:03:41,840 --> 00:03:44,240 Speaker 4: and your head voice, your false set, all that shit 63 00:03:44,680 --> 00:03:47,560 Speaker 4: reading music, you know what I'm saying. So a lot 64 00:03:47,600 --> 00:03:49,560 Speaker 4: of the well, you know, we started an R and 65 00:03:49,600 --> 00:03:52,480 Speaker 4: B group. That's how we started making beats. We were 66 00:03:52,480 --> 00:03:54,480 Speaker 4: in an R and B group. We couldn't find any 67 00:03:54,520 --> 00:03:58,080 Speaker 4: producers that would do anything for us, and we couldn't 68 00:03:58,080 --> 00:04:00,160 Speaker 4: afford it. So me and Cool we just put some 69 00:04:00,200 --> 00:04:03,840 Speaker 4: money together and one of the guys from the the 70 00:04:04,240 --> 00:04:06,720 Speaker 4: group had started like a T shirt company with one 71 00:04:06,760 --> 00:04:08,480 Speaker 4: of our home boys, and we were just like, man, these 72 00:04:08,520 --> 00:04:10,880 Speaker 4: niggas starting their own ship. They're not even inviting, they 73 00:04:10,880 --> 00:04:13,360 Speaker 4: ain't even asked to be part of your little T 74 00:04:13,480 --> 00:04:16,840 Speaker 4: shirt company. Me and you, let's let's let's produce man, 75 00:04:16,920 --> 00:04:20,000 Speaker 4: Let's teach you. Let's teach you how to produce. So 76 00:04:21,040 --> 00:04:22,760 Speaker 4: you know, that's how it started, you know what I'm saying. 77 00:04:23,360 --> 00:04:24,400 Speaker 4: And be a. 78 00:04:24,320 --> 00:04:26,400 Speaker 1: Part where you said y'all was an R and B group. 79 00:04:26,560 --> 00:04:28,640 Speaker 4: Yeah we we we made a new people. 80 00:04:29,320 --> 00:04:29,520 Speaker 1: Yeah. 81 00:04:29,600 --> 00:04:31,560 Speaker 4: Nah, people don't and then when they find out shout 82 00:04:31,560 --> 00:04:33,240 Speaker 4: out Seventh Street. And she might not remember this, but 83 00:04:33,320 --> 00:04:37,120 Speaker 4: she tried to test my arms. She tried to test 84 00:04:37,160 --> 00:04:43,120 Speaker 4: the club group Basic Unity. 85 00:04:44,920 --> 00:04:48,440 Speaker 6: There's five thousand promo shots of us wearing karc Andi 86 00:04:49,480 --> 00:04:55,080 Speaker 6: jackets somewhere in Miami somebody's wall or somebody's. 87 00:04:54,920 --> 00:04:56,000 Speaker 1: Just passing them joints out. 88 00:04:57,000 --> 00:04:58,919 Speaker 4: We had a little team, you know what I'm saying, 89 00:04:59,040 --> 00:05:01,960 Speaker 4: And we were performing at all the high schools, and like, 90 00:05:02,279 --> 00:05:04,560 Speaker 4: we made a name for ourselves locally at the same 91 00:05:04,600 --> 00:05:08,040 Speaker 4: time with DJs too, so you know, we're doing all 92 00:05:08,040 --> 00:05:10,200 Speaker 4: the Pirate stations. That's where we met Cayled back in 93 00:05:10,279 --> 00:05:13,080 Speaker 4: ninety six, you know what I'm saying. So we were 94 00:05:13,120 --> 00:05:16,080 Speaker 4: making a name for ourselves as DJs too, you know 95 00:05:16,120 --> 00:05:19,320 Speaker 4: what I'm saying. So we just made a conscious decision 96 00:05:19,360 --> 00:05:22,280 Speaker 4: to take music serious, and part of that was us 97 00:05:22,360 --> 00:05:26,280 Speaker 4: becoming producers. And you know, I think with me and Cool, 98 00:05:26,320 --> 00:05:29,479 Speaker 4: we just we've been so tight for so long. We 99 00:05:29,600 --> 00:05:32,719 Speaker 4: know each other so well. We know when I know 100 00:05:32,800 --> 00:05:35,560 Speaker 4: when he's in the zone. Just let him cook, you 101 00:05:35,560 --> 00:05:38,120 Speaker 4: know what I'm saying. And if I hear something he's doing, 102 00:05:38,160 --> 00:05:41,160 Speaker 4: I get an idea, I'll tell him and he'd be like, well, 103 00:05:41,200 --> 00:05:43,440 Speaker 4: come come fuck with it, or like I hated I 104 00:05:43,480 --> 00:05:47,039 Speaker 4: love it, like you know, we're going right into the hits. 105 00:05:47,520 --> 00:05:51,880 Speaker 4: Yeah a choice, Yeah right, it's just so many, you know, 106 00:05:51,920 --> 00:05:54,719 Speaker 4: so like I hate it on love the other dogs 107 00:05:54,720 --> 00:05:57,760 Speaker 4: on top, like with that, you know, cool with leave 108 00:05:58,000 --> 00:06:00,320 Speaker 4: whatever he was working on on the NP. See, he 109 00:06:00,320 --> 00:06:03,280 Speaker 4: would leave it up and we were in his mom's. 110 00:06:02,880 --> 00:06:04,880 Speaker 5: Garage shout out to the old. 111 00:06:06,360 --> 00:06:09,880 Speaker 4: Yeah, I'm saying, you know what I'm saying. So one 112 00:06:09,960 --> 00:06:12,880 Speaker 4: day I'll pull up. He's not there, and I go 113 00:06:13,000 --> 00:06:16,640 Speaker 4: to our studio and I just pressed play on NPC 114 00:06:16,800 --> 00:06:19,039 Speaker 4: and it's the hate of the love It beat. But 115 00:06:19,120 --> 00:06:21,080 Speaker 4: I heard it. I heard the flip, the sample flip 116 00:06:21,080 --> 00:06:23,280 Speaker 4: a little different than how Cool had it because I 117 00:06:23,720 --> 00:06:26,520 Speaker 4: was just listening to the black album had just dropped, 118 00:06:26,839 --> 00:06:30,400 Speaker 4: and that ourcore record was just like so special, just 119 00:06:30,480 --> 00:06:33,600 Speaker 4: the way that that John Legend was singing and flowing 120 00:06:33,640 --> 00:06:35,200 Speaker 4: on that the way that it was just you know 121 00:06:35,240 --> 00:06:36,800 Speaker 4: it was. I listened to it for like an hour 122 00:06:36,839 --> 00:06:41,680 Speaker 4: outside his mom's crib, so I had that in my brain. 123 00:06:41,800 --> 00:06:46,640 Speaker 4: So when I pressed play, I was hearing that the 124 00:06:46,680 --> 00:06:48,560 Speaker 4: way that I was listening to our core. So I 125 00:06:48,600 --> 00:06:49,960 Speaker 4: just chopped it up a little bit and then he 126 00:06:50,000 --> 00:06:51,680 Speaker 4: came back. He was like, oh, yeah, that's dope, and 127 00:06:51,760 --> 00:06:53,960 Speaker 4: he put the high hat sample on it. So sometimes 128 00:06:54,000 --> 00:06:56,920 Speaker 4: it just happens that way. Sometimes cool cook the whole 129 00:06:56,920 --> 00:07:01,000 Speaker 4: shit and and I'll just come in and a reference 130 00:07:01,480 --> 00:07:04,520 Speaker 4: like a single chorus, a single hook and whatnot. When 131 00:07:04,520 --> 00:07:06,480 Speaker 4: we when we send the record out or when we're 132 00:07:06,480 --> 00:07:08,440 Speaker 4: working with artists. You know what I'm saying. 133 00:07:09,200 --> 00:07:10,840 Speaker 5: And the somethings of magic. You know what I'm saying. 134 00:07:10,840 --> 00:07:13,880 Speaker 6: Some things of magic as well, Like like when Dre 135 00:07:14,120 --> 00:07:17,080 Speaker 6: started vibing out, I walked in and I was like, 136 00:07:17,480 --> 00:07:18,680 Speaker 6: you know, I used to I used to There was 137 00:07:18,680 --> 00:07:20,240 Speaker 6: this thing I used to like do We always had 138 00:07:20,240 --> 00:07:22,760 Speaker 6: the turntables set up and we just had a wall 139 00:07:22,840 --> 00:07:26,200 Speaker 6: of records with samples and ship and I used to 140 00:07:26,200 --> 00:07:29,440 Speaker 6: always like to like put the put the turntables on 141 00:07:29,840 --> 00:07:32,240 Speaker 6: so we can hear them live, and while the beat 142 00:07:32,360 --> 00:07:36,280 Speaker 6: is going, I would drop the needle somewhere right just 143 00:07:36,360 --> 00:07:40,040 Speaker 6: randomly dropped the needle and then when the music the 144 00:07:40,080 --> 00:07:41,960 Speaker 6: sample would come in, it would come in on us 145 00:07:42,040 --> 00:07:45,560 Speaker 6: such a different timing that you don't even recognize, you 146 00:07:45,600 --> 00:07:52,080 Speaker 6: know what I'm saying, bring it back, but it's completely 147 00:07:52,760 --> 00:07:54,239 Speaker 6: you never recognize. 148 00:07:53,760 --> 00:07:54,920 Speaker 5: That it's there, you know what I'm saying. 149 00:07:55,040 --> 00:07:58,360 Speaker 6: So this particular time I dropped it and that the 150 00:07:58,400 --> 00:08:01,000 Speaker 6: signature I had came on, I said, Yo, sample this 151 00:08:01,440 --> 00:08:03,200 Speaker 6: and we put this the high hat in there, which 152 00:08:03,800 --> 00:08:04,880 Speaker 6: ended up being a signature. 153 00:08:05,000 --> 00:08:09,880 Speaker 1: Yeah, the head give it that sids are listening. 154 00:08:10,520 --> 00:08:12,720 Speaker 7: This is this is what you're doing right now is 155 00:08:12,760 --> 00:08:15,680 Speaker 7: a master class because people aren't thinking like that when 156 00:08:15,680 --> 00:08:16,680 Speaker 7: they're sampling records. 157 00:08:16,800 --> 00:08:18,920 Speaker 6: Nah, when you sample, you know you you're going through this. 158 00:08:18,920 --> 00:08:22,280 Speaker 6: This is like drop the needle. Wear it drops. Sometimes 159 00:08:22,280 --> 00:08:24,320 Speaker 6: you get magic, sometimes you don't. But I used to 160 00:08:24,320 --> 00:08:26,480 Speaker 6: be like, drop and then it will be a. 161 00:08:26,360 --> 00:08:26,840 Speaker 1: Segment of. 162 00:08:28,560 --> 00:08:28,840 Speaker 4: Vocal. 163 00:08:30,280 --> 00:08:33,880 Speaker 5: Oh yo, but it's not like we're searching. 164 00:08:34,400 --> 00:08:39,000 Speaker 6: Just call it the random the randomizer, you know what 165 00:08:39,000 --> 00:08:39,439 Speaker 6: I'm saying. 166 00:08:39,679 --> 00:08:41,240 Speaker 5: Let's see what Let's see what happens. 167 00:08:41,600 --> 00:08:43,160 Speaker 6: But I used to I used to love doing that 168 00:08:43,200 --> 00:08:45,319 Speaker 6: because we'll have beats playing and then you're not You're 169 00:08:45,320 --> 00:08:48,560 Speaker 6: gonna get always gonna get something different when you drop it. 170 00:08:49,000 --> 00:08:51,000 Speaker 6: Sometimes you getting you ain't getting nothing, But you know 171 00:08:51,000 --> 00:08:52,800 Speaker 6: how you're searching for us for a certain songs. 172 00:08:52,840 --> 00:08:55,280 Speaker 3: It's a different kind of inspiration when it's out of 173 00:08:55,320 --> 00:08:59,320 Speaker 3: that random, magic, calculated. 174 00:08:58,960 --> 00:09:01,920 Speaker 8: And when it comes in on key it's really crazy. 175 00:09:02,880 --> 00:09:05,160 Speaker 1: Yeah, it's meant sliding. 176 00:09:04,880 --> 00:09:05,960 Speaker 5: In there, you know what I'm saying. 177 00:09:06,080 --> 00:09:08,520 Speaker 6: Or we would use it as inspiration for like a hook, 178 00:09:08,559 --> 00:09:10,840 Speaker 6: you know what I'm saying, and then Joy be like, yo, 179 00:09:11,000 --> 00:09:12,640 Speaker 6: let me let me pop a hook on there, and 180 00:09:12,679 --> 00:09:15,440 Speaker 6: at that point you just it inspired to create an 181 00:09:15,480 --> 00:09:16,679 Speaker 6: original element, you know what I mean. 182 00:09:16,760 --> 00:09:21,160 Speaker 3: So so take us from basic unity having to do 183 00:09:21,280 --> 00:09:24,920 Speaker 3: your own beats. Now you're DJs making a name for 184 00:09:24,960 --> 00:09:26,120 Speaker 3: yourselves as DJs. 185 00:09:26,559 --> 00:09:29,079 Speaker 1: You're killing all the parties. How do you get to a. 186 00:09:29,000 --> 00:09:34,280 Speaker 3: Point to where anybody in that professional space recognizes that 187 00:09:34,360 --> 00:09:36,160 Speaker 3: y'all got some shit going on and they need to 188 00:09:36,200 --> 00:09:36,439 Speaker 3: be a. 189 00:09:36,400 --> 00:09:40,160 Speaker 4: Part of I think our first sign was when we 190 00:09:40,160 --> 00:09:43,400 Speaker 4: were still in the group, when we went to Atlanta, 191 00:09:44,240 --> 00:09:46,560 Speaker 4: UH to try to get in front of La Read. 192 00:09:46,720 --> 00:09:51,079 Speaker 4: At that time, the Face Records was you know the 193 00:09:51,240 --> 00:09:56,720 Speaker 4: dream you're an artist, musician, producer the Face Records is 194 00:09:57,480 --> 00:10:00,720 Speaker 4: that's the destination. You know what I'm saying. I don't 195 00:10:00,720 --> 00:10:03,800 Speaker 4: care what you're doing, singing, rapping whatever. They had Goodie 196 00:10:03,880 --> 00:10:09,559 Speaker 4: Mob outcast, Tony Braxton, Ussher, you know what I'm saying. 197 00:10:09,760 --> 00:10:14,040 Speaker 4: They had as Yet, you know what I'm saying, And 198 00:10:14,080 --> 00:10:17,200 Speaker 4: they had they had Babyface over there. 199 00:10:18,840 --> 00:10:22,360 Speaker 6: Writing songs right and Babyface office was on one end 200 00:10:22,400 --> 00:10:23,640 Speaker 6: of the building. 201 00:10:23,720 --> 00:10:30,720 Speaker 4: And so I found out, like, you know, somebody in 202 00:10:30,760 --> 00:10:33,440 Speaker 4: my family worked at Face and she had like a 203 00:10:33,440 --> 00:10:37,880 Speaker 4: big position. So we we just went up there on 204 00:10:37,960 --> 00:10:40,439 Speaker 4: faith Man. We went to Atlanta and just started hustling 205 00:10:40,520 --> 00:10:43,080 Speaker 4: and finally got in contact with her and she had 206 00:10:43,160 --> 00:10:45,040 Speaker 4: us come up to the office and we just pressed 207 00:10:45,080 --> 00:10:47,600 Speaker 4: play on the music we was recording, and we sang 208 00:10:47,679 --> 00:10:49,840 Speaker 4: live for and she was like, you know who you 209 00:10:49,840 --> 00:10:51,800 Speaker 4: need to sing for. You need to sing for Organized Noise, 210 00:10:51,840 --> 00:10:56,400 Speaker 4: Rico Wade. So me and Cool was just like ecstatic 211 00:10:56,520 --> 00:11:01,240 Speaker 4: because it was their music that really gave us the 212 00:11:01,320 --> 00:11:04,360 Speaker 4: confidence to really believe in what we was doing. Because 213 00:11:04,360 --> 00:11:07,720 Speaker 4: we were using a lot of live elements along with 214 00:11:07,840 --> 00:11:12,000 Speaker 4: samples Cool was cutting. They were doing everything that we 215 00:11:12,200 --> 00:11:16,200 Speaker 4: felt hip hop should sound like. So to get the 216 00:11:16,240 --> 00:11:19,480 Speaker 4: opportunity to sing in front of him was like, oh shit, 217 00:11:19,559 --> 00:11:22,480 Speaker 4: here we go. So we did that, and I'll never 218 00:11:22,520 --> 00:11:25,040 Speaker 4: forget every beat, every record he heard. He kept saying 219 00:11:25,200 --> 00:11:27,520 Speaker 4: who did the beat? And me and cool like we 220 00:11:27,559 --> 00:11:29,000 Speaker 4: did it, and then after that who did the beat? 221 00:11:30,000 --> 00:11:31,600 Speaker 4: So at the end he was like, man, y'all good 222 00:11:31,880 --> 00:11:34,960 Speaker 4: that this and that he goes y'all niggas sek to 223 00:11:34,960 --> 00:11:37,079 Speaker 4: do what y'all? Keep doing? What y'all doing? You know 224 00:11:37,120 --> 00:11:38,880 Speaker 4: what I'm saying. That shit gonna work out for y'all. 225 00:11:39,400 --> 00:11:42,240 Speaker 4: So that was like a huge indication because you know, 226 00:11:42,400 --> 00:11:45,880 Speaker 4: like to be able to like the people you idolize 227 00:11:46,000 --> 00:11:49,560 Speaker 4: give you that fucking that thumbs up, like yo, y'all 228 00:11:49,559 --> 00:11:53,960 Speaker 4: doing the right thing, don't stop. Was our first indication 229 00:11:54,559 --> 00:11:57,679 Speaker 4: that and it was a big one for us. Now 230 00:11:57,679 --> 00:12:00,920 Speaker 4: we worshiped Dungeon family. Anything that niggas put out, even 231 00:12:01,000 --> 00:12:03,600 Speaker 4: if it was not hitting, we didn't care, like we 232 00:12:03,600 --> 00:12:07,160 Speaker 4: was champion and they ship. So we took that energy, 233 00:12:07,240 --> 00:12:10,320 Speaker 4: came back home and went even harder. And plus we 234 00:12:10,360 --> 00:12:12,280 Speaker 4: had made a name for ourselves with the beats here 235 00:12:12,440 --> 00:12:15,800 Speaker 4: locally with like all the independent record companies, right, so 236 00:12:16,000 --> 00:12:17,520 Speaker 4: you know, paper bag, oh. 237 00:12:17,400 --> 00:12:20,400 Speaker 5: Man, oh, man, that's not just the song. 238 00:12:22,120 --> 00:12:24,760 Speaker 4: Man. Let me tell you something, oh man. 239 00:12:24,640 --> 00:12:26,640 Speaker 5: With the original brown paper bag boy. 240 00:12:27,040 --> 00:12:31,439 Speaker 4: So like you know, young nineteen twenty years old got 241 00:12:31,520 --> 00:12:35,320 Speaker 4: the condo over Biscay Bay when I was getting to it. Now, 242 00:12:35,480 --> 00:12:38,680 Speaker 4: the way the Miami Heat players lived, you know, we 243 00:12:38,840 --> 00:12:43,720 Speaker 4: in there these niggas is like, who are these guys records? 244 00:12:43,800 --> 00:12:47,160 Speaker 8: No, you have no replacements. 245 00:12:48,240 --> 00:12:48,720 Speaker 1: Replace. 246 00:12:49,720 --> 00:12:53,559 Speaker 6: This is called you know, artists finding our beat CD 247 00:12:53,679 --> 00:12:56,360 Speaker 6: and in one of their friends cars and just like yo, 248 00:12:56,840 --> 00:12:58,280 Speaker 6: we used to put the beats and we used to 249 00:12:58,320 --> 00:13:01,080 Speaker 6: put our number on there be like, man, what is that? 250 00:13:01,200 --> 00:13:02,800 Speaker 5: Let me get some who beats? 251 00:13:02,840 --> 00:13:03,320 Speaker 4: Who beats? 252 00:13:03,360 --> 00:13:03,600 Speaker 9: Then? 253 00:13:04,679 --> 00:13:09,040 Speaker 4: And then we had like consistent clientele, like guys that 254 00:13:09,240 --> 00:13:11,360 Speaker 4: was in the street doing their thing, you know what 255 00:13:11,360 --> 00:13:13,080 Speaker 4: I'm saying. Would would would? 256 00:13:13,280 --> 00:13:13,439 Speaker 1: You know? 257 00:13:14,320 --> 00:13:16,200 Speaker 4: That's how we learned business too. You know a lot 258 00:13:16,240 --> 00:13:18,760 Speaker 4: of bad habits, but good you know, good game. 259 00:13:18,840 --> 00:13:21,680 Speaker 1: We picked up from you know, just selling ya street 260 00:13:21,720 --> 00:13:23,000 Speaker 1: beats for like back then. 261 00:13:22,960 --> 00:13:25,400 Speaker 4: It was like five hundred and seven hundred thousand, you 262 00:13:25,440 --> 00:13:25,960 Speaker 4: know what I'm saying. 263 00:13:26,240 --> 00:13:28,679 Speaker 1: But we was offering them bitches, moving theuckers. 264 00:13:29,720 --> 00:13:32,920 Speaker 5: And that's when the btds had thirty two tracks. 265 00:13:36,120 --> 00:13:37,079 Speaker 1: What tied. 266 00:13:39,480 --> 00:13:42,560 Speaker 4: Got the bag right here, twenty thousand for thirty two. 267 00:13:43,960 --> 00:13:45,719 Speaker 4: So we was doing our thing, but you know, we 268 00:13:45,800 --> 00:13:47,439 Speaker 4: were blessed. I think what what took us to the 269 00:13:47,520 --> 00:13:50,920 Speaker 4: next level? Uh. We have a mutual friend with Fat Joe, 270 00:13:51,080 --> 00:13:53,800 Speaker 4: our man Rob and and he was like, Yo, Joe's 271 00:13:53,840 --> 00:13:55,439 Speaker 4: working on a new album and he's looking for some 272 00:13:55,559 --> 00:13:58,480 Speaker 4: down South beats. And I told him, Yo, I know 273 00:13:58,640 --> 00:14:01,080 Speaker 4: some guys that you know, they are on fire in Miami. 274 00:14:01,760 --> 00:14:03,640 Speaker 4: So he was like, Yo, don't give him none of 275 00:14:03,640 --> 00:14:05,640 Speaker 4: the hip hop shit. You know that y'all be doing. 276 00:14:05,720 --> 00:14:08,120 Speaker 4: Give him some down South shit. So it was how 277 00:14:08,160 --> 00:14:08,959 Speaker 4: many beats on there? 278 00:14:09,000 --> 00:14:11,560 Speaker 5: Thirty thirty two, So that used to be my lucky number. 279 00:14:11,559 --> 00:14:12,559 Speaker 5: Everything gets thirty two. 280 00:14:12,760 --> 00:14:17,959 Speaker 4: So thirty two we put thirty one straight down South 281 00:14:18,520 --> 00:14:22,280 Speaker 4: type beats for what it sounded like back then. And 282 00:14:22,400 --> 00:14:25,680 Speaker 4: we's like, yeah, we got puke one one hardcore like 283 00:14:26,080 --> 00:14:27,760 Speaker 4: the shit, you know what I'm saying. So the very 284 00:14:27,880 --> 00:14:31,920 Speaker 4: last beat was like some straight East Coast you know 285 00:14:31,960 --> 00:14:36,960 Speaker 4: what I'm saying, New York type shit. So the story 286 00:14:37,080 --> 00:14:39,760 Speaker 4: is Joe's on his tour bus and they're listening in 287 00:14:39,880 --> 00:14:42,320 Speaker 4: their car in Orlando and he's going through the CD 288 00:14:42,920 --> 00:14:45,680 Speaker 4: and he's just skipping, skipping, skipping, skipping, and the last 289 00:14:45,720 --> 00:14:49,400 Speaker 4: beat comes on and he's like, there's no way the 290 00:14:49,520 --> 00:14:54,240 Speaker 4: same niggas who did the right It's impossible. I gotta 291 00:14:54,280 --> 00:14:56,360 Speaker 4: go meet them niggas because this is my favorite beat 292 00:14:56,400 --> 00:14:56,920 Speaker 4: of all time. 293 00:14:57,040 --> 00:14:57,240 Speaker 1: Yeah. 294 00:14:57,920 --> 00:14:59,320 Speaker 4: So he comes down and. 295 00:14:59,720 --> 00:15:01,720 Speaker 6: We I remember that we got the call first, so 296 00:15:02,280 --> 00:15:05,760 Speaker 6: our man, it was like, yo, Joe wants to speak 297 00:15:05,800 --> 00:15:09,080 Speaker 6: to y'all. So Joe gets on the phone and it's like, y'all, 298 00:15:10,520 --> 00:15:14,240 Speaker 6: this is my favorite beat of all time. Gosh, this 299 00:15:14,480 --> 00:15:17,240 Speaker 6: beat on here is my favorite beat I've ever heard 300 00:15:17,320 --> 00:15:21,800 Speaker 6: in my life. He's like, in fact, it's it's such 301 00:15:21,840 --> 00:15:23,840 Speaker 6: an amazing meat that I want to record it in Miami. 302 00:15:23,920 --> 00:15:25,880 Speaker 6: I want you to come to the studio because that's 303 00:15:26,000 --> 00:15:27,280 Speaker 6: I want to meet y'all. I want to meet the 304 00:15:27,320 --> 00:15:29,520 Speaker 6: guys who did this beat. And then he and we 305 00:15:29,600 --> 00:15:31,600 Speaker 6: were already doing mad Ship with call it, you know 306 00:15:31,600 --> 00:15:35,280 Speaker 6: what I'm saying, like underground radio, and Joe comes in 307 00:15:35,440 --> 00:15:38,520 Speaker 6: the studio and we come in and you know, we 308 00:15:38,640 --> 00:15:41,120 Speaker 6: meet Joe for the first time, and Cali walks in 309 00:15:41,160 --> 00:15:43,600 Speaker 6: and goes, these are my guys, Cool and Dre I've 310 00:15:43,600 --> 00:15:44,040 Speaker 6: been telling you. 311 00:15:44,080 --> 00:15:46,480 Speaker 9: About, you know, just like. 312 00:15:48,240 --> 00:15:51,720 Speaker 4: Themiah. He's seeing the connection with us and Cal He's 313 00:15:51,760 --> 00:15:53,640 Speaker 4: like you know that, and he's like, what do you mean? 314 00:15:53,720 --> 00:15:55,920 Speaker 4: These are my guy? In fact, they was the only 315 00:15:56,000 --> 00:15:58,160 Speaker 4: niggas not hating on me when I came out here. 316 00:15:58,280 --> 00:16:01,760 Speaker 4: They actually like gave me opportunity, you know what I mean. 317 00:16:01,920 --> 00:16:05,480 Speaker 4: So it worked out like super perfect, and then from 318 00:16:05,520 --> 00:16:08,520 Speaker 4: there I think we got even closer. He had an 319 00:16:09,240 --> 00:16:11,880 Speaker 4: R and B artist, Tony Sunshine at the time, and 320 00:16:11,960 --> 00:16:14,760 Speaker 4: shout out to Tony I talking him today and he 321 00:16:14,920 --> 00:16:16,920 Speaker 4: was like, Yo, your niggas know how to do R 322 00:16:16,960 --> 00:16:18,080 Speaker 4: and B And We're like, yo, we was R and 323 00:16:18,160 --> 00:16:22,000 Speaker 4: B singers, right, yeah, singer. So we were like, yeah, 324 00:16:22,280 --> 00:16:24,680 Speaker 4: we could do that. So we started working with Tony 325 00:16:24,720 --> 00:16:27,360 Speaker 4: Sunshine and then we did this one record that was 326 00:16:27,440 --> 00:16:31,520 Speaker 4: dedicated to Big Pun and it felt like I believe 327 00:16:31,560 --> 00:16:34,880 Speaker 4: I could fly. It was that chord structure. It felt 328 00:16:35,040 --> 00:16:39,480 Speaker 4: like you know that chamber and you know. We we 329 00:16:40,040 --> 00:16:42,560 Speaker 4: recorded our saying the whole ship, and then we sent 330 00:16:42,600 --> 00:16:44,880 Speaker 4: it to Joe and he was just it just like 331 00:16:45,000 --> 00:16:47,480 Speaker 4: blew him away. He's like, I didn't know you niggas 332 00:16:47,520 --> 00:16:50,000 Speaker 4: could do all of this, y'all. I gotta come to 333 00:16:50,080 --> 00:16:52,560 Speaker 4: New York, So he flew us up to New York, 334 00:16:52,600 --> 00:16:57,280 Speaker 4: and then we spent a good four years, like you know, tussling. 335 00:16:57,400 --> 00:16:59,760 Speaker 4: What we would do is we would we would we 336 00:17:00,160 --> 00:17:01,400 Speaker 4: We had to be in the studio with Joe A 337 00:17:01,440 --> 00:17:08,040 Speaker 4: by seven o'clock, so all day, all morning, all day, 338 00:17:08,080 --> 00:17:10,119 Speaker 4: we would cook up, cook up, cook up, cook up, 339 00:17:10,200 --> 00:17:13,320 Speaker 4: cook up, cook up. Go see Joe play like twenty 340 00:17:13,400 --> 00:17:16,560 Speaker 4: new beats whatever he wasn't fucking with. The next morning, 341 00:17:16,720 --> 00:17:20,719 Speaker 4: we was hitting every studio, every record company, boom boom bom, 342 00:17:20,720 --> 00:17:23,080 Speaker 4: boom boom, passing out the shit he didn't picked, cooking 343 00:17:23,200 --> 00:17:25,440 Speaker 4: up another twenty new beats, going to the studio the 344 00:17:25,560 --> 00:17:28,080 Speaker 4: next night with twenty more new beats, like we just 345 00:17:28,160 --> 00:17:30,399 Speaker 4: kept We was just not the only shit we was 346 00:17:30,480 --> 00:17:35,119 Speaker 4: doing was probably playing GTA and fucking cooking up like 347 00:17:35,560 --> 00:17:40,480 Speaker 4: non stop and that ship. You know, the volume of 348 00:17:40,560 --> 00:17:42,680 Speaker 4: beats who was doing and the fact that we was 349 00:17:42,720 --> 00:17:45,520 Speaker 4: from Miami making them type of beats. We made a 350 00:17:45,600 --> 00:17:47,760 Speaker 4: name for ourselves, Like in the city, even before we 351 00:17:47,840 --> 00:17:50,560 Speaker 4: had a hit or anything, people were like, yo, coolan 352 00:17:50,640 --> 00:17:52,680 Speaker 4: Dre's the next this and the next that, this and that, 353 00:17:52,800 --> 00:17:53,199 Speaker 4: this and that. 354 00:17:54,040 --> 00:17:54,119 Speaker 3: So. 355 00:17:56,280 --> 00:17:57,000 Speaker 1: This is that type of. 356 00:17:58,920 --> 00:18:01,320 Speaker 3: Yeah, you know what I'm saying, man, like that the 357 00:18:01,480 --> 00:18:06,159 Speaker 3: footwork hustle is different than than the thumb, than the 358 00:18:06,280 --> 00:18:11,119 Speaker 3: thumb hustle off email, It's so different because you had 359 00:18:11,160 --> 00:18:14,800 Speaker 3: to have a different type of hunger, fire and desire 360 00:18:15,480 --> 00:18:19,480 Speaker 3: to cook up twenty. Go play the twenty. Okay, cool, 361 00:18:19,520 --> 00:18:22,399 Speaker 3: we still got fifteen left. You only pick five. Go 362 00:18:22,720 --> 00:18:26,440 Speaker 3: hustle the fifteen. Make another twenty nigga. 363 00:18:26,600 --> 00:18:28,120 Speaker 4: Like every day four years straight. 364 00:18:28,160 --> 00:18:30,159 Speaker 6: And remember this is like so, so we had an 365 00:18:30,320 --> 00:18:32,560 Speaker 6: eight o'clock session, Me and Dre would be like, yo, 366 00:18:32,600 --> 00:18:34,239 Speaker 6: we want to get in earlier to cook up. 367 00:18:34,680 --> 00:18:35,479 Speaker 1: So we get we did. 368 00:18:35,560 --> 00:18:38,560 Speaker 6: We'd at one o'clock. Cause you know, it's not like 369 00:18:38,680 --> 00:18:41,200 Speaker 6: now you just pull up your laptop and make ten beats. No, 370 00:18:41,680 --> 00:18:46,000 Speaker 6: this is like we had an equipment set up, our MPC, yeah, 371 00:18:46,119 --> 00:18:46,840 Speaker 6: the keyboard. 372 00:18:47,119 --> 00:18:49,720 Speaker 5: We had to go to the studio to produce these 373 00:18:49,920 --> 00:18:50,960 Speaker 5: these these beats. 374 00:18:51,280 --> 00:18:54,280 Speaker 6: So we was getting there ahead of time, cooking up 375 00:18:54,320 --> 00:18:57,520 Speaker 6: for hours, food coming back. 376 00:18:57,680 --> 00:19:00,399 Speaker 5: Joe gets there, were playing the vibes. Joe's like that one, 377 00:19:00,480 --> 00:19:01,760 Speaker 5: that one, that one. The rest. 378 00:19:01,800 --> 00:19:03,679 Speaker 6: The next day, like Jay said, we hustling them up, 379 00:19:04,200 --> 00:19:07,240 Speaker 6: like yo, all the A and r's we're pulling up 380 00:19:07,320 --> 00:19:09,040 Speaker 6: like we went from an RS, we met A and RS. 381 00:19:09,040 --> 00:19:11,840 Speaker 6: They were like cooling who and then and then a 382 00:19:11,920 --> 00:19:15,480 Speaker 6: couple of weeks later, Yo, where y'all I need I 383 00:19:15,560 --> 00:19:16,119 Speaker 6: need a batch. 384 00:19:16,520 --> 00:19:19,400 Speaker 1: So what's your first placement? Do you remember? Yeah? 385 00:19:19,400 --> 00:19:20,920 Speaker 5: It was it was it was a combination. 386 00:19:21,000 --> 00:19:23,119 Speaker 6: It was nineteen and the nineteen ninety nine it was 387 00:19:23,280 --> 00:19:26,680 Speaker 6: Fat Joe King of New York featuring Bougiamon Tyan And 388 00:19:26,760 --> 00:19:28,600 Speaker 6: then we had the two j T Money. 389 00:19:28,680 --> 00:19:29,560 Speaker 4: Yeah, we had placement. 390 00:19:34,920 --> 00:19:37,080 Speaker 5: So we had two on the JT Money album? 391 00:19:37,160 --> 00:19:37,880 Speaker 1: Was he on Atlantic? 392 00:19:38,960 --> 00:19:41,400 Speaker 4: We had that big song, Yeah, it just came off. 393 00:19:43,560 --> 00:19:46,000 Speaker 6: So we had two records on the album called Blood 394 00:19:46,040 --> 00:19:48,320 Speaker 6: Sweating Blood Sweating Years or something. 395 00:19:48,119 --> 00:19:49,719 Speaker 5: Like that, and we did two records. 396 00:19:49,760 --> 00:19:51,200 Speaker 4: We grew up listening to JT Money. 397 00:19:51,280 --> 00:19:52,600 Speaker 9: Yeah, so it was. 398 00:19:52,760 --> 00:19:53,600 Speaker 4: It was a big deal for. 399 00:19:53,680 --> 00:19:57,320 Speaker 5: Us to work with them. Absolutely, so simultaneous go three placements. 400 00:19:57,359 --> 00:20:01,040 Speaker 6: But Joe, I remember we went in New York when 401 00:20:01,080 --> 00:20:03,640 Speaker 6: the album dropped and I remember phone Flex, Remember when 402 00:20:03,960 --> 00:20:04,880 Speaker 6: her phone Flex playing. 403 00:20:04,960 --> 00:20:05,560 Speaker 5: It was the first. 404 00:20:05,960 --> 00:20:08,160 Speaker 6: We always say, yo, if you got the album opener, 405 00:20:08,240 --> 00:20:10,119 Speaker 6: it's a big deal because you set in the tone 406 00:20:10,240 --> 00:20:14,679 Speaker 6: the rest of the album. That opener, that middle record 407 00:20:14,720 --> 00:20:17,240 Speaker 6: and then that outro you're sitting you know what I'm saying, like, 408 00:20:17,320 --> 00:20:19,639 Speaker 6: those are important records, and I remember us being in 409 00:20:19,680 --> 00:20:21,639 Speaker 6: the car and for Master Flex dropping bombs on that. 410 00:20:23,280 --> 00:20:23,440 Speaker 2: There. 411 00:20:23,920 --> 00:20:26,520 Speaker 1: It was like, you know it was charging at this point. 412 00:20:27,200 --> 00:20:27,760 Speaker 4: Oh no, it was. 413 00:20:27,840 --> 00:20:29,480 Speaker 5: It was it was still for the law, but we 414 00:20:30,160 --> 00:20:31,199 Speaker 5: were just appreciative. 415 00:20:31,280 --> 00:20:33,359 Speaker 4: Yeah, at the end of the day, it was I 416 00:20:33,480 --> 00:20:36,280 Speaker 4: remember it was we we got fifteen hundred dollars for 417 00:20:36,359 --> 00:20:41,280 Speaker 4: that beat, right, And when we started working with Tony Sunshine, 418 00:20:42,200 --> 00:20:43,959 Speaker 4: Joe was like, YO, so how much y'all charging now? 419 00:20:44,000 --> 00:20:46,280 Speaker 4: And it's like whatever, you know what I'm saying, Like, 420 00:20:46,400 --> 00:20:49,879 Speaker 4: it's whatever, Joe, He's like, all right, y'all charge in 421 00:20:49,920 --> 00:20:53,959 Speaker 4: fifteen thousand. Now, we called our attorney, call our manager 422 00:20:54,000 --> 00:21:01,720 Speaker 4: and said, yo, new price alert because back then, you know, 423 00:21:02,040 --> 00:21:05,480 Speaker 4: when a major artist, and you know, Joe's a major artist. 424 00:21:06,240 --> 00:21:09,160 Speaker 4: Once the label paid that fifteen thousand, that's the going 425 00:21:11,000 --> 00:21:14,560 Speaker 4: fifteen bands, Like you know what I'm saying. So you know, 426 00:21:14,720 --> 00:21:16,280 Speaker 4: got a credit Joe too for that. You know what 427 00:21:16,320 --> 00:21:18,359 Speaker 4: I'm saying. But what you was this that's O one 428 00:21:18,440 --> 00:21:20,080 Speaker 4: oh two, two thousand and two. 429 00:21:21,280 --> 00:21:22,840 Speaker 1: That's a good number for that time. 430 00:21:23,960 --> 00:21:25,840 Speaker 4: Well, you know, that's why you gotta That's why you 431 00:21:25,880 --> 00:21:29,159 Speaker 4: gotta salute. You gotta salute the icons. You know what 432 00:21:29,160 --> 00:21:33,399 Speaker 4: I'm saying. I was having a conversation with some some 433 00:21:33,600 --> 00:21:35,440 Speaker 4: young producers at the studio the other night, and I 434 00:21:35,560 --> 00:21:39,399 Speaker 4: was like, Man, it's a different it's a different game now, 435 00:21:39,560 --> 00:21:43,520 Speaker 4: like you know, coming up for me and cool. If 436 00:21:43,600 --> 00:21:48,800 Speaker 4: you would have had two or three consecutive hits back 437 00:21:48,880 --> 00:21:52,160 Speaker 4: to back to back, you could go make some real money, 438 00:21:52,280 --> 00:21:54,960 Speaker 4: real money, because you could go That's what happened. 439 00:21:55,240 --> 00:21:55,920 Speaker 1: We run. 440 00:21:56,080 --> 00:21:59,560 Speaker 4: Yeah, we had New York for job Rule and then 441 00:21:59,680 --> 00:22:02,560 Speaker 4: for months later hated I love it and the whole 442 00:22:04,800 --> 00:22:08,680 Speaker 4: the whole energy surrounded all the artists involved on those 443 00:22:08,840 --> 00:22:12,520 Speaker 4: records and what it did. That's it's a historic you 444 00:22:12,560 --> 00:22:14,440 Speaker 4: know what I'm saying. It's a it's a moment in 445 00:22:14,520 --> 00:22:16,600 Speaker 4: the culture. So we're blessed to even be a part 446 00:22:16,680 --> 00:22:16,840 Speaker 4: of that. 447 00:22:17,440 --> 00:22:17,600 Speaker 1: Right. 448 00:22:17,880 --> 00:22:21,119 Speaker 4: So we were able to take that energy and go 449 00:22:21,480 --> 00:22:24,399 Speaker 4: hard and make a lot of hit records and a 450 00:22:24,480 --> 00:22:27,040 Speaker 4: lot of great album records and put ourselves in a 451 00:22:27,080 --> 00:22:31,520 Speaker 4: position to get seventy five thousand dollars for a beat, 452 00:22:32,000 --> 00:22:34,160 Speaker 4: you know what I'm saying. Sometimes you catch the motherfucker 453 00:22:34,240 --> 00:22:36,240 Speaker 4: for a hundred because you don't even know where they are. 454 00:22:36,280 --> 00:22:37,840 Speaker 4: They're big pop artists. They want you to do a 455 00:22:37,880 --> 00:22:41,159 Speaker 4: remakes or something because we on fire. Let see if 456 00:22:41,160 --> 00:22:43,359 Speaker 4: you get a hundred. But that only could happen because 457 00:22:43,440 --> 00:22:59,400 Speaker 4: Timberland was getting to fifty. So you know, in your place. Yeah, 458 00:23:00,080 --> 00:23:02,880 Speaker 4: and no matter how big, and no matter how hot 459 00:23:03,080 --> 00:23:07,800 Speaker 4: we get or whatnot, you know, we respect the icons, 460 00:23:08,000 --> 00:23:10,080 Speaker 4: you know what I'm saying. And you know that's why 461 00:23:10,480 --> 00:23:12,680 Speaker 4: you sit down and you say thank you for real 462 00:23:12,760 --> 00:23:14,840 Speaker 4: for getting two hundred and fifty thousand a beat or 463 00:23:14,880 --> 00:23:17,679 Speaker 4: whatever at that time, you know, because it allows us 464 00:23:17,760 --> 00:23:19,960 Speaker 4: to say, I, yo, shit, you giving them that. You 465 00:23:20,040 --> 00:23:22,080 Speaker 4: know what I'm saying, We madd at seventy five, you 466 00:23:22,119 --> 00:23:23,520 Speaker 4: get four for what you're paying for one. 467 00:23:23,600 --> 00:23:23,720 Speaker 3: You know. 468 00:23:24,600 --> 00:23:26,840 Speaker 4: So we used to be getting four or five records 469 00:23:26,880 --> 00:23:29,639 Speaker 4: on albums at a time because that was the jug, right, 470 00:23:30,600 --> 00:23:32,840 Speaker 4: So you know. So I'm telling these young guys at 471 00:23:32,880 --> 00:23:35,720 Speaker 4: the studio, I'm just like, man, it's different for y'all, 472 00:23:36,359 --> 00:23:41,280 Speaker 4: you know because nowadays, when you look at the credit 473 00:23:42,080 --> 00:23:47,919 Speaker 4: the credits, it's twelve thirteen names, yeah, in that producer section, bro, 474 00:23:48,680 --> 00:23:54,600 Speaker 4: And it's like, man, it's hard to shine and collaboration 475 00:23:54,800 --> 00:23:56,720 Speaker 4: is amazing. I love it, you know what I'm saying. 476 00:23:56,880 --> 00:24:00,440 Speaker 4: I think collaboration is great. We've collaborated, what I'm saying, 477 00:24:00,440 --> 00:24:03,400 Speaker 4: in the past five seven years, we've collaborated with producers 478 00:24:03,480 --> 00:24:06,840 Speaker 4: more than we ever had. You know, we come from 479 00:24:08,320 --> 00:24:12,680 Speaker 4: you know, we come from an era where the guys 480 00:24:12,760 --> 00:24:18,320 Speaker 4: that were at the top we're still talking about today. 481 00:24:18,680 --> 00:24:20,679 Speaker 4: Like you know what I'm saying, these guys are like different, 482 00:24:20,800 --> 00:24:22,680 Speaker 4: Like you know, when the Neptunes went on their run, 483 00:24:24,480 --> 00:24:27,120 Speaker 4: it was a different type of run, Like you've never 484 00:24:27,320 --> 00:24:29,720 Speaker 4: seen nothing like that. Like you know, I can remember 485 00:24:29,840 --> 00:24:32,080 Speaker 4: me cool, just like we had to come up when 486 00:24:33,080 --> 00:24:38,840 Speaker 4: in two thousand and one when fucking Pharrell had Britney Spare, well, 487 00:24:38,960 --> 00:24:43,720 Speaker 4: let me respect, the Neptunes had Britney Spears. I'm a 488 00:24:43,840 --> 00:24:49,399 Speaker 4: slave with an in sync fucking girlfriend record and the 489 00:24:49,560 --> 00:24:51,320 Speaker 4: Nori super. 490 00:24:54,040 --> 00:24:54,080 Speaker 3: Like. 491 00:24:54,240 --> 00:24:57,160 Speaker 4: It's just it's just like, you know, if that's if 492 00:24:57,280 --> 00:25:00,560 Speaker 4: that's the person that's set in the standards and you 493 00:25:00,680 --> 00:25:03,040 Speaker 4: respect the craft and you're trying to be great, you 494 00:25:03,160 --> 00:25:05,560 Speaker 4: got to really work hard to even you know, get 495 00:25:05,640 --> 00:25:08,200 Speaker 4: into that same space, you know what I'm saying. And 496 00:25:09,440 --> 00:25:12,840 Speaker 4: so but these kids now, man, it's like it's ten 497 00:25:12,920 --> 00:25:15,000 Speaker 4: motherfuckers on the record. I ain't saying nothing wrong with it, 498 00:25:15,040 --> 00:25:16,320 Speaker 4: you know what I'm saying. It is what it is. 499 00:25:16,880 --> 00:25:19,840 Speaker 1: But you don't you don't really know who to call facts. 500 00:25:21,359 --> 00:25:24,080 Speaker 4: You know, it's so much and and but there's more, 501 00:25:24,280 --> 00:25:27,120 Speaker 4: there's more avenues now because you know, as a producer 502 00:25:27,160 --> 00:25:30,320 Speaker 4: you can go really put together, craft the album and 503 00:25:30,480 --> 00:25:33,720 Speaker 4: create your artist page on Spotify and go hard, you 504 00:25:33,800 --> 00:25:36,800 Speaker 4: know what I'm saying. And there's there's guys like today 505 00:25:36,880 --> 00:25:41,000 Speaker 4: that that like, you know, like I appreciate what they're 506 00:25:41,040 --> 00:25:44,960 Speaker 4: doing in in the culture, Like I really appreciate what 507 00:25:45,200 --> 00:25:48,240 Speaker 4: someone like a metro Booming is doing, Like I that 508 00:25:48,680 --> 00:25:53,480 Speaker 4: is very that feels very what's the word. 509 00:25:54,960 --> 00:25:55,000 Speaker 1: Like? 510 00:25:55,160 --> 00:25:57,520 Speaker 4: I know what that feels like me? Like when I 511 00:25:57,640 --> 00:26:00,800 Speaker 4: watch that, I'm like I can resonate with what he's doing. 512 00:26:01,240 --> 00:26:04,159 Speaker 4: That feels like it comes from the lineage, you know 513 00:26:04,200 --> 00:26:06,960 Speaker 4: what I'm saying. Just in today's time, he's doing everything 514 00:26:09,640 --> 00:26:12,760 Speaker 4: possible to touch the culture, you know, and doing it 515 00:26:12,840 --> 00:26:14,240 Speaker 4: in a creative way, you know what I mean. So 516 00:26:14,600 --> 00:26:18,240 Speaker 4: not to say that there aren't producers that's you know, 517 00:26:18,440 --> 00:26:20,280 Speaker 4: really killing shit, you know what I mean, Because there 518 00:26:20,320 --> 00:26:22,160 Speaker 4: are it's just a different time. 519 00:26:22,720 --> 00:26:24,880 Speaker 3: It's just like you guys came up in a time 520 00:26:25,200 --> 00:26:27,240 Speaker 3: where as we all came up in a time where 521 00:26:27,640 --> 00:26:31,879 Speaker 3: identity was a thing, right, and so you wanted to 522 00:26:31,920 --> 00:26:35,880 Speaker 3: be identified as a certain thing so that people knew 523 00:26:36,000 --> 00:26:40,719 Speaker 3: exactly who to call for what, and and we all 524 00:26:40,800 --> 00:26:43,600 Speaker 3: love the collaborations. And I say the same thing the artists, 525 00:26:43,720 --> 00:26:46,880 Speaker 3: right when artists are like, man, I got this joint, 526 00:26:47,000 --> 00:26:49,400 Speaker 3: I'm telling you, if I get Drake on, this is over. 527 00:26:49,480 --> 00:26:52,040 Speaker 3: And I'm like, well, if you get Drake on it, 528 00:26:52,080 --> 00:26:54,879 Speaker 3: it's no longer your song, and every time you come 529 00:26:54,920 --> 00:26:57,119 Speaker 3: out on stage, they're going to be looking for Drake. 530 00:26:58,320 --> 00:27:01,520 Speaker 3: I said, But if you can just sustainablish your identity 531 00:27:01,640 --> 00:27:04,480 Speaker 3: first first, even if it's mid don't matter. 532 00:27:05,320 --> 00:27:08,199 Speaker 1: You're can establish you that that. 533 00:27:08,480 --> 00:27:10,120 Speaker 7: Like the young kid right now that got the record 534 00:27:10,160 --> 00:27:12,800 Speaker 7: for Beats, you know what I'm saying. He got the 535 00:27:12,840 --> 00:27:14,840 Speaker 7: record and Drake ended up hopping on a remix, but 536 00:27:14,920 --> 00:27:18,600 Speaker 7: that record was already established as a four best record, 537 00:27:18,800 --> 00:27:21,200 Speaker 7: you know what I'm saying. And the record is incredible, 538 00:27:21,960 --> 00:27:23,840 Speaker 7: and now Drake's on it. Cool, Now it takes it. 539 00:27:23,920 --> 00:27:25,920 Speaker 7: Now we go to the level, to the next level. 540 00:27:26,040 --> 00:27:28,120 Speaker 7: But he established that record by himself. He didn't wait 541 00:27:28,480 --> 00:27:30,760 Speaker 7: hoping he'd get a feature. 542 00:27:31,080 --> 00:27:33,480 Speaker 5: Right feature king to him, I'm jumping on that. 543 00:27:35,560 --> 00:27:37,840 Speaker 1: He was building. They saw him building a house that man, 544 00:27:37,840 --> 00:27:39,720 Speaker 1: I want a room in there, you know, I need 545 00:27:39,760 --> 00:27:40,719 Speaker 1: a floor in there? Can I can? 546 00:27:40,760 --> 00:27:44,240 Speaker 3: I get involved? And so it's like we still have 547 00:27:44,400 --> 00:27:49,040 Speaker 3: to maintain we still have to maintain that conversation with 548 00:27:49,200 --> 00:27:52,119 Speaker 3: these young artists and these young producers and this listen, 549 00:27:52,880 --> 00:27:56,000 Speaker 3: build your thing so that they have to come to 550 00:27:56,200 --> 00:27:58,720 Speaker 3: you to get that that They got to come to 551 00:27:58,920 --> 00:28:05,600 Speaker 3: that visuality as well though. And it's carving out your space, right. 552 00:28:05,680 --> 00:28:08,600 Speaker 7: It's like it's like anything, you know, people send us music, 553 00:28:08,680 --> 00:28:11,400 Speaker 7: people send you guys music all the time. I don't 554 00:28:11,480 --> 00:28:14,879 Speaker 7: want to hear what I've already heard. I just don't 555 00:28:15,400 --> 00:28:17,840 Speaker 7: I get that from them. And that's cool that you 556 00:28:18,080 --> 00:28:21,240 Speaker 7: sound like such and such, But what about sounding like you? 557 00:28:22,080 --> 00:28:26,199 Speaker 7: Even if that sound people may frown upon it at 558 00:28:26,240 --> 00:28:28,679 Speaker 7: one point, you know what I mean? But establish who 559 00:28:28,800 --> 00:28:31,200 Speaker 7: you are. Like I love when someone comes with a 560 00:28:31,280 --> 00:28:32,480 Speaker 7: refreshing new voice. 561 00:28:32,720 --> 00:28:37,080 Speaker 1: Oh give you on Friday. 562 00:28:38,040 --> 00:28:41,880 Speaker 7: You know what I'm saying, Like Daniel Caesar, like those 563 00:28:41,960 --> 00:28:46,520 Speaker 7: guys sound like themselves. You know what I'm saying, khalive, 564 00:28:46,880 --> 00:28:49,200 Speaker 7: you know what I mean, Like these these guys sound 565 00:28:49,320 --> 00:28:53,360 Speaker 7: like themselves, Like I don't want to hear fifty seven 566 00:28:53,480 --> 00:28:54,240 Speaker 7: Chris Browns. 567 00:28:55,160 --> 00:28:55,960 Speaker 1: Y'all not him. 568 00:28:56,080 --> 00:29:00,920 Speaker 7: Bro, can't flip from the top rop that's different. But 569 00:29:01,080 --> 00:29:03,360 Speaker 7: they all want to because they think he's the cheat 570 00:29:03,440 --> 00:29:07,280 Speaker 7: code and that's cool. And I'm sure I'm going to 571 00:29:07,320 --> 00:29:09,040 Speaker 7: ask him next time. I'm like, you're tired of this ship, 572 00:29:09,080 --> 00:29:12,520 Speaker 7: a little bit tired this shit, man, Don't have me 573 00:29:12,640 --> 00:29:14,080 Speaker 7: just be out here thinking like I'm just the one 574 00:29:14,080 --> 00:29:16,480 Speaker 7: of the only one tired of here fake Chris Browns. 575 00:29:18,160 --> 00:29:19,760 Speaker 4: But it's a great reference. 576 00:29:21,160 --> 00:29:24,600 Speaker 7: It's become a it's become like an epidemic of it. 577 00:29:24,760 --> 00:29:31,080 Speaker 7: Like it's like, bro, like be you, because as you 578 00:29:31,240 --> 00:29:36,080 Speaker 7: get people to buy into you, they continue to push 579 00:29:36,120 --> 00:29:38,640 Speaker 7: you up because they tell somebody about you. Have you 580 00:29:38,840 --> 00:29:41,680 Speaker 7: heard such and such? Yo, his voice is crazy or 581 00:29:42,240 --> 00:29:43,720 Speaker 7: I don't really get it all the way, but I 582 00:29:43,840 --> 00:29:46,640 Speaker 7: feel it. And this is same thing with the music, 583 00:29:47,520 --> 00:29:50,840 Speaker 7: same thing, same thing with the production side of it. Yes, 584 00:29:51,040 --> 00:29:54,320 Speaker 7: you can get on the radio by sounding like somebody 585 00:29:54,400 --> 00:29:57,400 Speaker 7: else's song, but it's another thing to have a sound. 586 00:29:58,360 --> 00:30:00,720 Speaker 1: It's another thing to have a sound. What is what 587 00:30:00,960 --> 00:30:02,400 Speaker 1: is the first hit record? 588 00:30:03,040 --> 00:30:05,400 Speaker 4: The first hit was it was New York, New York, 589 00:30:05,480 --> 00:30:08,600 Speaker 4: and we knew it because we was we were living 590 00:30:08,680 --> 00:30:11,640 Speaker 4: in New York at that time, so a lot of 591 00:30:11,720 --> 00:30:14,040 Speaker 4: records that we did that were like album fillers would 592 00:30:14,040 --> 00:30:16,480 Speaker 4: get played in the mix. So we got hot that 593 00:30:16,560 --> 00:30:18,240 Speaker 4: way too, like you know, so shout out all the 594 00:30:18,400 --> 00:30:22,080 Speaker 4: DJs definitely that that have always like rinsed our records, 595 00:30:22,120 --> 00:30:24,720 Speaker 4: even though even if they weren't singles, you know what 596 00:30:24,760 --> 00:30:26,880 Speaker 4: I'm saying. But I can remember we were in l 597 00:30:26,920 --> 00:30:30,160 Speaker 4: a for like the first time, and we was at 598 00:30:30,200 --> 00:30:37,800 Speaker 4: the mandre back when the Mandre yea to the skybar. 599 00:30:39,160 --> 00:30:41,320 Speaker 4: And the only reason me Cool could get in that 600 00:30:41,400 --> 00:30:44,320 Speaker 4: bitch is because we're staying at the hotel. The hotel 601 00:30:44,920 --> 00:30:47,280 Speaker 4: because that them people was gonna let us in that 602 00:30:47,440 --> 00:30:50,520 Speaker 4: other way, right, So we in there and were chilling 603 00:30:51,240 --> 00:30:55,200 Speaker 4: and you know it got the models and whatnot mean cool. 604 00:30:55,240 --> 00:30:57,720 Speaker 4: We like, yo, this is five and out of nowhere, 605 00:30:58,400 --> 00:31:01,080 Speaker 4: they put New York on the DJ New York and 606 00:31:01,280 --> 00:31:04,320 Speaker 4: the whole crowd start singing at me cool, like they 607 00:31:04,480 --> 00:31:08,240 Speaker 4: know this shit. They thought it was just a New 608 00:31:08,360 --> 00:31:10,600 Speaker 4: York record and it wasn't you know what I'm saying, 609 00:31:11,360 --> 00:31:14,440 Speaker 4: and that was the first time like we were like okay. 610 00:31:14,680 --> 00:31:17,720 Speaker 4: And what was dope was when when we did that record. 611 00:31:19,000 --> 00:31:20,720 Speaker 4: You know, it was originally a beat we gave the 612 00:31:20,840 --> 00:31:24,240 Speaker 4: Joe and you know it was it was a different 613 00:31:24,320 --> 00:31:26,560 Speaker 4: sounding type of beat. At that time, it wasn't too 614 00:31:26,600 --> 00:31:29,560 Speaker 4: many records or beats that felt like that. Everybody was 615 00:31:29,600 --> 00:31:31,520 Speaker 4: still like doing a lot of soul flips and whatnot. 616 00:31:32,440 --> 00:31:34,720 Speaker 4: And Joe was like, I like this, man, but it's 617 00:31:34,760 --> 00:31:36,640 Speaker 4: it's different. And we kept trying to press him like 618 00:31:36,720 --> 00:31:39,720 Speaker 4: we recorded this, I'm telling you it's that shit, and 619 00:31:39,760 --> 00:31:41,280 Speaker 4: he's like, nah, y'all could go ahead and play for 620 00:31:41,360 --> 00:31:44,800 Speaker 4: somebody else. Was like, all right, cool. So Joe Rule 621 00:31:44,840 --> 00:31:47,480 Speaker 4: and IRV and all of them are down here working 622 00:31:47,520 --> 00:31:51,400 Speaker 4: on the album. So I go over there and I 623 00:31:51,520 --> 00:31:54,440 Speaker 4: pressed play on the beat and IRV loses it. He's like, Yo, 624 00:31:54,560 --> 00:31:56,640 Speaker 4: this shit is crazy. Yo, But dre put one of 625 00:31:56,680 --> 00:31:58,360 Speaker 4: them hooks you'd be doing, man, put a hook on there. 626 00:31:58,400 --> 00:32:00,880 Speaker 4: So I go back to the spot we was using 627 00:32:00,960 --> 00:32:01,360 Speaker 4: at the time. 628 00:32:01,400 --> 00:32:03,920 Speaker 5: Remember joh, I mean Jada kiss had to be I 629 00:32:03,960 --> 00:32:06,400 Speaker 5: didn't know the Jada kiss. 630 00:32:06,760 --> 00:32:09,360 Speaker 6: After Joe said, y'all, now, y'all go ahead and Andy, 631 00:32:09,560 --> 00:32:11,080 Speaker 6: y'all go ahead and and get you know what I'm saying, 632 00:32:11,080 --> 00:32:13,440 Speaker 6: send it to other people. First person I said it 633 00:32:13,560 --> 00:32:15,320 Speaker 6: was Jada because we had been talking. I'm like, yo, Jada, 634 00:32:15,360 --> 00:32:19,760 Speaker 6: I sent you a vibe and Jada's like, yo, son, 635 00:32:19,840 --> 00:32:20,400 Speaker 6: this is crazy. 636 00:32:20,440 --> 00:32:21,720 Speaker 5: I messed with it all right? 637 00:32:21,800 --> 00:32:23,360 Speaker 4: Cool, So I didn't know nothing. 638 00:32:24,160 --> 00:32:26,160 Speaker 5: I'm like, you know, cause people get beats, they say yo, 639 00:32:26,480 --> 00:32:27,240 Speaker 5: I'm with it. 640 00:32:27,360 --> 00:32:30,720 Speaker 6: And so I'm a type of person I don't like 641 00:32:30,760 --> 00:32:32,840 Speaker 6: to mention ship unless it's done, you know what I'm saying. 642 00:32:33,320 --> 00:32:35,280 Speaker 5: So that was one of those that I didn't even mentioned. 643 00:32:35,320 --> 00:32:36,560 Speaker 5: I'm like, could we get that all the time? 644 00:32:36,680 --> 00:32:36,800 Speaker 1: Right? 645 00:32:37,280 --> 00:32:43,800 Speaker 6: So we're at the studio right, and Dre's like, y'all, 646 00:32:44,280 --> 00:32:46,719 Speaker 6: I'm put a hook on this vibe so I'll never 647 00:32:46,760 --> 00:32:49,200 Speaker 6: forget it. I'm laying on the couch right because that's 648 00:32:49,200 --> 00:32:51,560 Speaker 6: what we're just vibing up in the studio in the garage, 649 00:32:51,840 --> 00:32:54,280 Speaker 6: and Dre got the beat going on NPC and he's like, 650 00:32:55,000 --> 00:32:59,240 Speaker 6: and I just started mumbling A hundreds two hundred clips 651 00:32:59,480 --> 00:33:03,880 Speaker 6: and from New York and I had it to New 652 00:33:03,960 --> 00:33:06,120 Speaker 6: York because there was a KRS one hook that popped in. 653 00:33:06,160 --> 00:33:09,200 Speaker 5: My head's like, hold on, what's that. I'm like, oh, 654 00:33:09,240 --> 00:33:11,080 Speaker 5: that's a k RS one vibe. He was like singing 655 00:33:11,080 --> 00:33:13,880 Speaker 5: again and J was like, and Drake came. 656 00:33:13,800 --> 00:33:17,600 Speaker 4: With the I got clips Nigga from New York and 657 00:33:17,800 --> 00:33:19,440 Speaker 4: I finished off the whole ship after and. 658 00:33:19,440 --> 00:33:21,800 Speaker 5: Then we go to the Hit Factory. Go to the 659 00:33:21,880 --> 00:33:24,960 Speaker 5: Hit Factory. We dre sings that he goes. 660 00:33:25,040 --> 00:33:26,680 Speaker 6: J was like, y'all got a hook idea and her 661 00:33:26,800 --> 00:33:29,400 Speaker 6: was like, yo, go later, go later. Reference J goes 662 00:33:29,440 --> 00:33:31,600 Speaker 6: in there and lays it down, Joy walks and he was. 663 00:33:31,640 --> 00:33:33,360 Speaker 4: Like, yo, what is this? 664 00:33:34,480 --> 00:33:36,520 Speaker 5: And it was history from that. So the crazy thing 665 00:33:36,720 --> 00:33:39,920 Speaker 5: is he's like, yo, I know just who to get 666 00:33:40,000 --> 00:33:42,600 Speaker 5: on this. Who was the first part he said Nas. 667 00:33:42,360 --> 00:33:46,400 Speaker 4: First was like yo. Before he said that, he's like, Yo, 668 00:33:46,440 --> 00:33:48,480 Speaker 4: I know I'm gonna put on this. We're gonna put 669 00:33:48,880 --> 00:33:52,160 Speaker 4: I'm gonna I'm gonna put Joe Crack and Nas. And 670 00:33:52,240 --> 00:33:53,520 Speaker 4: then when he said Joe Cracker was. 671 00:33:56,040 --> 00:33:58,080 Speaker 5: I know you're gonna give us pressure over It was. 672 00:34:00,440 --> 00:34:05,160 Speaker 4: IRV calls Joe and he's like, yo, man, your guys 673 00:34:05,240 --> 00:34:07,040 Speaker 4: came over here and gave us one this and that. 674 00:34:07,360 --> 00:34:09,400 Speaker 4: He's like, listen to this ship and he's playing it 675 00:34:09,680 --> 00:34:11,879 Speaker 4: and all you hear through the phone is that's my beat. 676 00:34:14,120 --> 00:34:14,839 Speaker 4: That's my beat. 677 00:34:15,840 --> 00:34:16,520 Speaker 1: That's my beat. 678 00:34:17,080 --> 00:34:18,960 Speaker 4: So I get the phone. He's like, yo, Drake, why 679 00:34:18,960 --> 00:34:21,960 Speaker 4: are you giving niggas my beat? That's my beat? I said, yo, bro, 680 00:34:22,360 --> 00:34:24,000 Speaker 4: you said you ain't want to beat no more. But yeah, 681 00:34:24,000 --> 00:34:26,200 Speaker 4: but and it had that hook on it. Nigga put 682 00:34:26,239 --> 00:34:29,200 Speaker 4: that hook on it, so you know, it was all loved. 683 00:34:29,239 --> 00:34:32,799 Speaker 4: Joe was like, all right, cool, and then IRV tried 684 00:34:32,840 --> 00:34:34,720 Speaker 4: to get Nas, but Nas is like out the country 685 00:34:34,800 --> 00:34:36,920 Speaker 4: or something at the time, so he's like, man, you know, 686 00:34:37,040 --> 00:34:39,319 Speaker 4: Noa's out the country. I know exactly who I'm I'm 687 00:34:39,360 --> 00:34:41,000 Speaker 4: gonna put Jada Kiss on it, and then cool. It 688 00:34:41,040 --> 00:34:44,480 Speaker 4: was like, oh I forgot about it, so I had 689 00:34:44,560 --> 00:34:45,279 Speaker 4: to be had. 690 00:34:46,680 --> 00:34:47,440 Speaker 5: But Jada was cool. 691 00:34:47,440 --> 00:34:49,239 Speaker 6: He's like, I saw good, I ain't cut it yet, 692 00:34:49,239 --> 00:34:51,279 Speaker 6: blah blah blah. So when IRV hit him, it's just 693 00:34:51,360 --> 00:34:52,720 Speaker 6: crazy that all. 694 00:34:52,640 --> 00:34:57,440 Speaker 4: The it's just you can't even make the shut up. 695 00:34:57,640 --> 00:35:00,360 Speaker 4: So on the reference track, just warming up, I was like, 696 00:35:00,440 --> 00:35:02,400 Speaker 4: this is this is I'm just warming my voice up. 697 00:35:03,200 --> 00:35:04,480 Speaker 4: And so when it was time to mix it, I 698 00:35:04,480 --> 00:35:06,319 Speaker 4: was selling to engineer, Yo, you could cut that shit off, 699 00:35:06,640 --> 00:35:09,200 Speaker 4: like that's just me doing a reference. It was like, nah, yo, 700 00:35:09,280 --> 00:35:10,239 Speaker 4: that shit is dope as fun. 701 00:35:10,360 --> 00:35:12,320 Speaker 5: Not leave that ship first produce. 702 00:35:12,080 --> 00:35:14,319 Speaker 4: A tag, yeah, and when we shoot the video draw 703 00:35:14,320 --> 00:35:15,960 Speaker 4: I want you in there, man, do your thing. Let 704 00:35:16,040 --> 00:35:17,879 Speaker 4: him know, And then it ended up being a tag 705 00:35:18,600 --> 00:35:20,479 Speaker 4: like you know what I'm saying, So, you know, shout 706 00:35:20,520 --> 00:35:22,759 Speaker 4: out to Earth for that. But you know that's how 707 00:35:22,880 --> 00:35:25,920 Speaker 4: that that record came. And then the crazy shit is 708 00:35:25,960 --> 00:35:28,440 Speaker 4: like four months later that record is still doing his thing, 709 00:35:28,960 --> 00:35:34,040 Speaker 4: but at the same time it's creating. It's creating like tension. 710 00:35:34,080 --> 00:35:34,600 Speaker 1: In the city. 711 00:35:34,880 --> 00:35:38,160 Speaker 4: Yeah, because you know at that time, you know, Job 712 00:35:38,320 --> 00:35:40,680 Speaker 4: was in a space where you know, people were really 713 00:35:40,760 --> 00:35:42,640 Speaker 4: really counting him out, you know what I'm saying. And 714 00:35:42,960 --> 00:35:46,280 Speaker 4: you can't blame him because you know, fifty cent dropped 715 00:35:46,400 --> 00:35:51,040 Speaker 4: this classic album, right that was just like you know, yeah, 716 00:35:51,040 --> 00:35:54,319 Speaker 4: it's a classic, right, So people were really counting them out. 717 00:35:54,400 --> 00:35:57,160 Speaker 4: So this song was just like it gave him new 718 00:35:57,239 --> 00:35:59,960 Speaker 4: life and it was just the hottest record of the summer, 719 00:36:01,040 --> 00:36:03,799 Speaker 4: and so it created at tension, these guys all start 720 00:36:03,840 --> 00:36:06,239 Speaker 4: beefing with each other out of nowhere, you know what 721 00:36:06,280 --> 00:36:08,799 Speaker 4: I'm saying, and then hated the love it comes out 722 00:36:08,960 --> 00:36:13,839 Speaker 4: with had y'all already done, It had already been done, 723 00:36:14,120 --> 00:36:16,879 Speaker 4: you already recorded that. We didn't even know. We didn't 724 00:36:16,920 --> 00:36:20,000 Speaker 4: know it sounded like until the album drop Man, we heard. 725 00:36:19,840 --> 00:36:22,719 Speaker 5: That we didn't put it this. So we got a 726 00:36:22,840 --> 00:36:26,840 Speaker 5: call like, Yo, y'all got a placement on on Games album? 727 00:36:27,560 --> 00:36:29,720 Speaker 1: Y'all know what beats? 728 00:36:29,880 --> 00:36:30,279 Speaker 2: It was? 729 00:36:30,880 --> 00:36:31,200 Speaker 4: Ship. 730 00:36:31,560 --> 00:36:34,160 Speaker 6: They're like, yo, y'all got a placement, give us your attorney, 731 00:36:34,200 --> 00:36:36,560 Speaker 6: blah blah blah. Like, Yo, we got a placement on 732 00:36:36,960 --> 00:36:39,000 Speaker 6: on this game. I'm just like a word, that's what's up? 733 00:36:39,000 --> 00:36:39,160 Speaker 1: BLA. 734 00:36:39,400 --> 00:36:41,600 Speaker 5: I didn't even know what beat it was. A week 735 00:36:41,600 --> 00:36:43,480 Speaker 5: and a half later, I'm in the car and I 736 00:36:43,600 --> 00:36:47,879 Speaker 5: hear the damn song you hated Love It on the radio. 737 00:36:48,239 --> 00:36:50,480 Speaker 4: On the radio, dog, I called Dre, So now I 738 00:36:50,560 --> 00:36:51,040 Speaker 4: know the beat. 739 00:36:53,080 --> 00:36:54,000 Speaker 5: This ship is on the radio. 740 00:36:54,120 --> 00:36:59,920 Speaker 8: So they've done the business for it. Everything shit that record. 741 00:37:00,200 --> 00:37:04,839 Speaker 4: That record. Remember the story I told you about going 742 00:37:04,920 --> 00:37:06,760 Speaker 4: to fifteen thousand dollars a beat. 743 00:37:06,760 --> 00:37:07,279 Speaker 1: As a Joe. 744 00:37:07,920 --> 00:37:11,520 Speaker 4: That record is the reason that we started getting four 745 00:37:11,600 --> 00:37:14,839 Speaker 4: points off rip on every record we produced. Because they 746 00:37:14,920 --> 00:37:17,640 Speaker 4: put the album out, they didn't do no business. Our 747 00:37:17,680 --> 00:37:20,840 Speaker 4: attorney was trying to get the business done before the 748 00:37:20,920 --> 00:37:23,279 Speaker 4: album dropped, and she kept telling them like, yo, y'all 749 00:37:23,320 --> 00:37:25,399 Speaker 4: can't put the album out. Y'all ain't even do the business. Yeah, 750 00:37:25,920 --> 00:37:28,120 Speaker 4: this ship came out. She's like, Okay, now I'm gonna 751 00:37:28,160 --> 00:37:31,799 Speaker 4: get you four points forty thou it got. 752 00:37:31,960 --> 00:37:33,640 Speaker 6: What happened was the song got leaked, you know what 753 00:37:33,640 --> 00:37:36,360 Speaker 6: I'm saying. And before that, the right when the album dropped, 754 00:37:36,360 --> 00:37:40,080 Speaker 6: the song was already doing twelve hundred Dreams of Spinds 755 00:37:40,080 --> 00:37:42,600 Speaker 6: a week smash. It was out of here because there's 756 00:37:42,680 --> 00:37:44,640 Speaker 6: the Remember the original single. 757 00:37:44,440 --> 00:37:46,080 Speaker 4: Was Dreams Dreams that shot a video. 758 00:37:46,320 --> 00:37:48,240 Speaker 6: They had shot a video to it and everything already, 759 00:37:48,320 --> 00:37:51,680 Speaker 6: so they had to switch gears. But we I found 760 00:37:51,680 --> 00:37:52,919 Speaker 6: out what beat it was on the radio. 761 00:37:53,840 --> 00:37:57,480 Speaker 5: Oh my big gable. Of course, it gave us leverage, 762 00:37:57,480 --> 00:37:59,719 Speaker 5: you know what I'm saying. The business property was it was. 763 00:38:00,320 --> 00:38:01,839 Speaker 4: It was out of here before it was a life 764 00:38:01,960 --> 00:38:05,040 Speaker 4: changer because what happened was and guess what, no one 765 00:38:05,080 --> 00:38:07,960 Speaker 4: else knew we did the beat all right, because they 766 00:38:07,960 --> 00:38:12,120 Speaker 4: don't have the tag either anything. No one else knew 767 00:38:12,160 --> 00:38:12,759 Speaker 4: we did the beat. 768 00:38:14,640 --> 00:38:15,279 Speaker 1: So we go. 769 00:38:15,880 --> 00:38:19,640 Speaker 4: We we in la at Marvin Gaye Studio because Mary J. 770 00:38:19,800 --> 00:38:21,759 Speaker 4: Blige wants to work with us because they hated to 771 00:38:21,800 --> 00:38:23,480 Speaker 4: love it. She's like, I worked with the niggas who 772 00:38:23,480 --> 00:38:25,680 Speaker 4: didn't hate her to love it. But mind you back 773 00:38:25,719 --> 00:38:28,080 Speaker 4: to the point about the tension. The first time I 774 00:38:28,200 --> 00:38:31,920 Speaker 4: heard the record was in the back seat of Escalade 775 00:38:32,360 --> 00:38:34,960 Speaker 4: with Fat Joe in the front seat and his manager 776 00:38:35,000 --> 00:38:40,200 Speaker 4: at the time, and they're playing the record like fucking crazy. Meanwhile, 777 00:38:41,320 --> 00:38:44,040 Speaker 4: Joe Krack and fifty Cent hate each other, and I'm 778 00:38:44,120 --> 00:38:46,959 Speaker 4: in the back seat like this and niggas is looking 779 00:38:47,000 --> 00:38:54,160 Speaker 4: at me. I didn't know, and they're like yo. And 780 00:38:54,239 --> 00:38:56,919 Speaker 4: then Joe loves us so much, you know what I'm saying. 781 00:38:56,960 --> 00:38:58,880 Speaker 4: But Joe got a lot of a lot of street 782 00:38:58,920 --> 00:39:02,359 Speaker 4: guys with her, and all of them this nigga man, 783 00:39:05,840 --> 00:39:10,719 Speaker 4: yo crack yo, So. 784 00:39:10,840 --> 00:39:15,600 Speaker 8: It's hard to celebrate your biggest record, right. 785 00:39:16,280 --> 00:39:18,160 Speaker 4: But it's all love. It's all love, you know what 786 00:39:18,200 --> 00:39:20,719 Speaker 4: I'm saying. It's called family business, you know what I mean. 787 00:39:20,800 --> 00:39:25,560 Speaker 4: It's it's family. That's why we family. So, but no 788 00:39:25,680 --> 00:39:28,440 Speaker 4: one outside of the circle new we did the record. 789 00:39:28,880 --> 00:39:31,480 Speaker 4: So we get called to go to La to work 790 00:39:31,520 --> 00:39:35,239 Speaker 4: with with Mary and she's like, yo, I need hated 791 00:39:35,280 --> 00:39:37,560 Speaker 4: to love it. I need that. That's the fuck I 792 00:39:37,680 --> 00:39:39,920 Speaker 4: need y'all do what y'all need to do. And I 793 00:39:39,960 --> 00:39:42,000 Speaker 4: think shar Garrett was the writer in the studio at 794 00:39:42,040 --> 00:39:44,799 Speaker 4: that time, and me and Cool was just playing beats, 795 00:39:44,800 --> 00:39:47,960 Speaker 4: playing beats, and we really didn't catch any chemistry with 796 00:39:48,040 --> 00:39:51,640 Speaker 4: Sean that that day in that session, like nothing really 797 00:39:51,680 --> 00:39:52,080 Speaker 4: came of it. 798 00:39:52,880 --> 00:39:53,279 Speaker 1: So we go. 799 00:39:53,880 --> 00:39:57,640 Speaker 4: Now we're in in in Atlanta because Jeezi wants to 800 00:39:57,640 --> 00:39:59,040 Speaker 4: work with us because he wants to work with the 801 00:39:59,080 --> 00:40:01,960 Speaker 4: guys who did the New York Beat. And he's like, Yo, 802 00:40:02,480 --> 00:40:05,359 Speaker 4: that synthesized the sound that y'all gotten that New York. 803 00:40:06,239 --> 00:40:08,440 Speaker 4: So I'm telling all my niggas, YO, listen to that, 804 00:40:08,640 --> 00:40:11,879 Speaker 4: make ship like that. I want them. Since I said, 805 00:40:11,920 --> 00:40:13,520 Speaker 4: fuck it, might as well call the niggas who did 806 00:40:13,560 --> 00:40:16,520 Speaker 4: the beat Man. So we get to New York. 807 00:40:16,640 --> 00:40:17,440 Speaker 5: I need one of them. 808 00:40:18,320 --> 00:40:21,719 Speaker 1: I need. So we go over there, and you. 809 00:40:21,760 --> 00:40:25,200 Speaker 4: Know, as producers at that time, we never wanted to 810 00:40:25,719 --> 00:40:28,800 Speaker 4: repeat the sauce like we were so hell bent on 811 00:40:30,160 --> 00:40:32,319 Speaker 4: creating a new sound, like you know what I'm saying. 812 00:40:32,560 --> 00:40:36,000 Speaker 4: So Jez's telling us to our face, give me New 813 00:40:36,120 --> 00:40:43,440 Speaker 4: York and being Cool to do everything. Horn Records, Sailpol Records. 814 00:40:43,160 --> 00:40:45,399 Speaker 1: We've we've all been there. You know what I'm saying. 815 00:40:46,400 --> 00:40:46,800 Speaker 1: We didn't know. 816 00:40:47,440 --> 00:40:50,440 Speaker 5: Remember, we got two hits simultaneous. We didn't know how 817 00:40:50,440 --> 00:40:54,160 Speaker 5: to Let's let's use the same sauce. 818 00:40:55,280 --> 00:40:57,480 Speaker 4: We ain't know, right, So we're telling the nigga, Yo, 819 00:40:57,520 --> 00:41:00,319 Speaker 4: you know we did that Hated Love It record. He's like, what, Yeah, 820 00:41:00,320 --> 00:41:02,040 Speaker 4: we did the hat of the Loving record. He' said, Man, 821 00:41:02,080 --> 00:41:03,919 Speaker 4: I you know, y'all niggas did that shit. Man, that shit, 822 00:41:04,040 --> 00:41:06,839 Speaker 4: that shit a smashed nigga. So we're trying to give 823 00:41:06,920 --> 00:41:11,800 Speaker 4: him everything else. While we're in that session. Yeah, literally, 824 00:41:12,560 --> 00:41:15,600 Speaker 4: we get the call from Mary in the Gezy session. 825 00:41:15,680 --> 00:41:19,080 Speaker 4: She goes, look, I wanted to work with y'all so bad. 826 00:41:19,160 --> 00:41:21,280 Speaker 4: I know we couldn't do anything. You know, we couldn't 827 00:41:21,280 --> 00:41:24,279 Speaker 4: cook up anything new. So I said, fuck it. I 828 00:41:24,480 --> 00:41:26,120 Speaker 4: just sang over the fucking hated I Love It beat, 829 00:41:26,280 --> 00:41:28,359 Speaker 4: did it myself. I'm gonna send it to y'all now. 830 00:41:28,719 --> 00:41:30,840 Speaker 4: So when we listen to it, as Mary j Blibe 831 00:41:30,840 --> 00:41:33,720 Speaker 4: singing overheted love It. At the end of the record, 832 00:41:34,360 --> 00:41:39,160 Speaker 4: she goes, cooling, dre this beat is hot. And when 833 00:41:39,320 --> 00:41:44,120 Speaker 4: that remix came out, it was game over because we 834 00:41:44,239 --> 00:41:48,480 Speaker 4: were still the only recognition we were getting for as 835 00:41:48,560 --> 00:41:50,640 Speaker 4: producers was the New York Record and the New York 836 00:41:50,960 --> 00:41:54,120 Speaker 4: that was a hit. So then when the Merry remix 837 00:41:54,200 --> 00:41:56,040 Speaker 4: came out, I said, Cool and Dre this beat is hot. 838 00:41:56,120 --> 00:41:58,839 Speaker 4: Niggas was like, Okay, hold up the same niggas who 839 00:41:58,880 --> 00:41:59,120 Speaker 4: did that? 840 00:41:59,360 --> 00:41:59,640 Speaker 1: Did that? 841 00:42:00,080 --> 00:42:04,200 Speaker 4: That's impossible. It's completely different sounds. And then that's when 842 00:42:04,239 --> 00:42:06,960 Speaker 4: our life like really changed, like we I can remember 843 00:42:07,080 --> 00:42:13,560 Speaker 4: being in Mansion and us Man and Forrell seen us 844 00:42:13,560 --> 00:42:15,480 Speaker 4: and he left his table to come over to like 845 00:42:15,600 --> 00:42:18,520 Speaker 4: show love and me and Cool was like, we need 846 00:42:18,600 --> 00:42:21,480 Speaker 4: to be showing you love, like like we we look 847 00:42:21,640 --> 00:42:24,319 Speaker 4: and copping please for no reason. We're like, hey, yo, 848 00:42:24,440 --> 00:42:27,360 Speaker 4: listen all them articles saying that we're the next Neptunes. 849 00:42:27,400 --> 00:42:32,879 Speaker 4: We never told him that, Like we're mad we keep 850 00:42:33,400 --> 00:42:37,120 Speaker 4: they made that ship. I'm like, I'm telling him like 851 00:42:37,160 --> 00:42:38,840 Speaker 4: and he's like, Yo, don't even worry about I'm just 852 00:42:38,960 --> 00:42:40,880 Speaker 4: letting you know, like we're upset about it too. 853 00:42:43,480 --> 00:42:45,160 Speaker 1: Just even knows about article. 854 00:42:46,080 --> 00:42:47,719 Speaker 4: You know what I'm saying. And he was just like, Yo, 855 00:42:48,320 --> 00:42:52,279 Speaker 4: that baseline, that baseline on that record is is forever man. 856 00:42:52,360 --> 00:42:54,840 Speaker 4: Y'all got a forever, y'all got a classic forever I 857 00:42:54,920 --> 00:42:56,319 Speaker 4: was like, yo, you're at the New York Record we did, 858 00:42:56,480 --> 00:42:58,600 Speaker 4: like you know what I'm saying, and like he went 859 00:42:58,680 --> 00:42:59,360 Speaker 4: on his way. 860 00:42:59,480 --> 00:43:01,520 Speaker 5: Shout out the Doctor Dre for putting the most amazing 861 00:43:02,080 --> 00:43:04,160 Speaker 5: in history ever on a record, like. 862 00:43:06,120 --> 00:43:09,120 Speaker 4: It won't come out until he's what's ill is when 863 00:43:09,160 --> 00:43:11,600 Speaker 4: we did we we would there were certain things that 864 00:43:11,800 --> 00:43:16,040 Speaker 4: we would emulate, not emulate. We would take a gem, 865 00:43:16,560 --> 00:43:19,920 Speaker 4: so Doctor Dre would he would do on his choruses. 866 00:43:20,160 --> 00:43:23,080 Speaker 4: He would add a tambourine to a snare, and he 867 00:43:23,080 --> 00:43:25,000 Speaker 4: wouldn't do it on every snare. He would do it. 868 00:43:25,280 --> 00:43:26,880 Speaker 4: He would do it on one snare, let the other 869 00:43:26,960 --> 00:43:29,360 Speaker 4: one breathe, and then do it on another snare. So 870 00:43:29,560 --> 00:43:31,759 Speaker 4: on Hated I Love It did that. We did the 871 00:43:31,840 --> 00:43:33,800 Speaker 4: exact same, not knowing it was ever going to do. 872 00:43:33,960 --> 00:43:34,160 Speaker 1: To Dre. 873 00:43:34,320 --> 00:43:36,759 Speaker 4: It was just a gem we picked up from him. 874 00:43:37,320 --> 00:43:37,480 Speaker 1: You know. 875 00:43:37,560 --> 00:43:39,719 Speaker 4: I can remember when we our first meeting with Jimmy 876 00:43:39,760 --> 00:43:42,239 Speaker 4: Iveen and it was about some whole other shit years 877 00:43:42,280 --> 00:43:47,160 Speaker 4: later and we're sitting there and like remind him, like, yo, 878 00:43:47,239 --> 00:43:48,640 Speaker 4: you know we did the Hated to Love It and 879 00:43:48,760 --> 00:43:51,200 Speaker 4: he was just like, that's one of the top five 880 00:43:51,320 --> 00:43:54,840 Speaker 4: records in my top five records in my career period, 881 00:43:54,960 --> 00:43:58,120 Speaker 4: like of anything I produced or anything was on my label. 882 00:43:58,320 --> 00:44:00,600 Speaker 4: He's like, let me hear, let me, let me hear 883 00:44:00,800 --> 00:44:03,840 Speaker 4: that beat before Trade did what he did to it. 884 00:44:04,520 --> 00:44:05,120 Speaker 1: So me cool. 885 00:44:05,160 --> 00:44:08,920 Speaker 4: We didn't understand what he was saying before Dre mixed it. 886 00:44:09,160 --> 00:44:11,520 Speaker 4: You know, I want to hear what I want to 887 00:44:11,560 --> 00:44:15,200 Speaker 4: hear before doctor Drake opens up the laptop, puts the 888 00:44:15,239 --> 00:44:18,680 Speaker 4: speakers on and plays the beat. Jimmy goes, it's the 889 00:44:18,760 --> 00:44:21,360 Speaker 4: same thing. It was not that you know, you know 890 00:44:21,480 --> 00:44:23,759 Speaker 4: Drake is who he is and worship from, but you know, 891 00:44:23,960 --> 00:44:25,800 Speaker 4: it was really like he couldn't believe it. 892 00:44:26,000 --> 00:44:27,279 Speaker 5: He put a hell of a mix. 893 00:44:27,920 --> 00:44:31,759 Speaker 1: You know what I'm saying was already close exactly like 894 00:44:31,880 --> 00:44:32,080 Speaker 1: he was. 895 00:44:32,719 --> 00:44:34,840 Speaker 5: He was gonna here straight like like the. 896 00:44:37,120 --> 00:44:42,560 Speaker 1: Like you're gonna do that to my man, We couldn't fit. 897 00:44:45,880 --> 00:44:46,800 Speaker 4: It's a mission to get in. 898 00:44:53,040 --> 00:44:56,799 Speaker 1: Come on, man, come on man. But man, you know the. 899 00:44:58,760 --> 00:45:04,120 Speaker 6: So Dre did have shout out Mike Alezando, I mean 900 00:45:04,160 --> 00:45:06,160 Speaker 6: shout out just Dre and everything that he did. 901 00:45:06,280 --> 00:45:08,960 Speaker 5: Man, but he put he had him play the bass over. 902 00:45:09,280 --> 00:45:13,160 Speaker 6: Because you know, you know, as music producers, musicians, it's 903 00:45:13,200 --> 00:45:17,160 Speaker 6: all about the chains that bass chain that Dre has 904 00:45:17,320 --> 00:45:20,960 Speaker 6: vocal chain. You know, it's the best quality of everything. 905 00:45:21,560 --> 00:45:26,120 Speaker 6: So when we got the credits, we saw bass by 906 00:45:26,280 --> 00:45:30,560 Speaker 6: Mike Alexandro. I'm like, that's why the bottom man, Like 907 00:45:30,640 --> 00:45:31,600 Speaker 6: when that comes on in the. 908 00:45:31,600 --> 00:45:35,560 Speaker 5: Club today, it just cuts through. It cuts through like 909 00:45:36,360 --> 00:45:37,440 Speaker 5: all he did was had the man. 910 00:45:42,400 --> 00:45:44,520 Speaker 1: We're musicians, So it's the bass. 911 00:45:45,760 --> 00:45:48,719 Speaker 3: It starts with the actual machine like it could be 912 00:45:48,800 --> 00:45:52,080 Speaker 3: a custom machine just doesn't you know what I'm saying, 913 00:45:52,120 --> 00:45:53,880 Speaker 3: doesn't have the same like it could be. 914 00:45:54,000 --> 00:45:54,759 Speaker 1: It's the pick up. 915 00:45:54,960 --> 00:45:58,279 Speaker 5: People don't understand. It's not just whatever you pick up. 916 00:45:58,320 --> 00:45:58,879 Speaker 1: First man. 917 00:45:59,280 --> 00:46:00,520 Speaker 5: When we did when we did. 918 00:46:00,520 --> 00:46:05,080 Speaker 4: My Life, we had My Life is the Game Future. 919 00:46:06,080 --> 00:46:09,560 Speaker 6: Yeah, we had the record, had an eight o eight 920 00:46:10,840 --> 00:46:12,799 Speaker 6: and before we went to mix, we could we tried 921 00:46:12,840 --> 00:46:14,920 Speaker 6: to cut the base on there like ten times with 922 00:46:15,080 --> 00:46:15,840 Speaker 6: different bases. 923 00:46:16,400 --> 00:46:20,000 Speaker 5: It kept the base kept clashing with the eight of eight. 924 00:46:20,200 --> 00:46:22,560 Speaker 6: It kept canceling out, and I'm like, Yojoe, we got 925 00:46:22,680 --> 00:46:24,400 Speaker 6: mix this where we got a deadline. Games like ya, 926 00:46:24,440 --> 00:46:26,960 Speaker 6: we got to turn this shit in. We're like, we're 927 00:46:27,000 --> 00:46:29,560 Speaker 6: at the NRG studios, remember we had Yeah, we had 928 00:46:29,600 --> 00:46:33,920 Speaker 6: a NOD session with nas and we're NRG Studios and 929 00:46:34,280 --> 00:46:35,759 Speaker 6: I'm like, yo, let's get it one last time. 930 00:46:35,760 --> 00:46:37,200 Speaker 5: And the bass player called me. It's like y'all got 931 00:46:37,280 --> 00:46:39,600 Speaker 5: a brand new base. They telling me this ship is 932 00:46:39,640 --> 00:46:41,520 Speaker 5: the magic. I'm like, bring it through. 933 00:46:41,560 --> 00:46:43,000 Speaker 6: We just to give it one last shot because we 934 00:46:43,080 --> 00:46:46,520 Speaker 6: had to, uh, Steve and the other studio, Possifi had the. 935 00:46:46,560 --> 00:46:49,839 Speaker 5: Mix up, like y'all just need the bass. So my man, 936 00:46:49,920 --> 00:46:50,480 Speaker 5: the bass. 937 00:46:50,280 --> 00:46:53,200 Speaker 6: Player, Lord of the Strings, we call him, he comes 938 00:46:53,239 --> 00:46:56,279 Speaker 6: to the base still clashing. I'm like, damn, we're gonna 939 00:46:56,280 --> 00:46:58,040 Speaker 6: have to We're just gonna have to keep the eight 940 00:46:58,080 --> 00:47:00,680 Speaker 6: to eight. So then the assist an engineer, he's like, 941 00:47:00,760 --> 00:47:02,960 Speaker 6: y'all want to try the glue. I'm like, the hell 942 00:47:03,080 --> 00:47:03,520 Speaker 6: is the glue? 943 00:47:04,600 --> 00:47:05,200 Speaker 5: He's like, hold on. 944 00:47:05,680 --> 00:47:08,680 Speaker 6: So at NRG Studios even you know that studio in 945 00:47:09,200 --> 00:47:12,200 Speaker 6: La Did, They have like Moroccan style room and shit 946 00:47:12,680 --> 00:47:15,239 Speaker 6: super vibe. So they have a sex They have a 947 00:47:15,360 --> 00:47:19,080 Speaker 6: room with all gear, vintage gear. So this guy walks in, 948 00:47:19,760 --> 00:47:22,280 Speaker 6: opens his shit up and it's a p bass fender 949 00:47:22,360 --> 00:47:26,320 Speaker 6: from nineteen fifty nine. You can't even see it's completely 950 00:47:27,160 --> 00:47:31,840 Speaker 6: raw wood from all the it's exposed hooks. 951 00:47:31,880 --> 00:47:38,000 Speaker 5: That ship up eight away comes on with the base 952 00:47:38,080 --> 00:47:39,120 Speaker 5: and it's the marriage. 953 00:47:39,680 --> 00:47:41,560 Speaker 1: It's crazy perfect. 954 00:47:41,680 --> 00:47:42,000 Speaker 4: I said. 955 00:47:42,080 --> 00:47:42,319 Speaker 1: Yeah. 956 00:47:56,400 --> 00:47:59,439 Speaker 7: So when y'all get these records right, and y'all going 957 00:47:59,560 --> 00:48:05,280 Speaker 7: from five hundred, seven hundred to fifteen hundred to fifteen 958 00:48:05,360 --> 00:48:08,680 Speaker 7: thousand to forty plus four points. 959 00:48:09,239 --> 00:48:10,200 Speaker 1: Yeah, what y'all buy? 960 00:48:10,880 --> 00:48:13,680 Speaker 7: Y'all had to buy something because now y're not just 961 00:48:13,960 --> 00:48:16,200 Speaker 7: now y'are just not in the in the apartment playing gts. 962 00:48:16,520 --> 00:48:19,239 Speaker 1: You can't look regularly in the apartment now. 963 00:48:20,840 --> 00:48:25,000 Speaker 4: We you know my my advice cars like you know 964 00:48:25,000 --> 00:48:29,400 Speaker 4: what I'm saying, Like I was hustling backwards when I 965 00:48:29,520 --> 00:48:29,960 Speaker 4: was younger. 966 00:48:30,120 --> 00:48:32,640 Speaker 5: Now was called we were signed to blow the bag records. Yea, 967 00:48:36,400 --> 00:48:39,320 Speaker 5: lo blow the records were. 968 00:48:39,120 --> 00:48:42,399 Speaker 4: Doing all the wrong stuffy you know, and I want 969 00:48:42,440 --> 00:48:46,040 Speaker 4: to shot, but I don't want to cause them because 970 00:48:46,040 --> 00:48:49,000 Speaker 4: it's nothing for love. We're working with Tyree, who we love. 971 00:48:49,680 --> 00:48:51,600 Speaker 4: You know what I'm saying. That's that's you know what 972 00:48:51,600 --> 00:48:57,520 Speaker 4: I'm saying, that's fam and we're working and uh, he 973 00:48:57,640 --> 00:49:01,040 Speaker 4: had to Batley and I can remember the Bentley the 974 00:49:01,160 --> 00:49:04,040 Speaker 4: GT car right now. I like that Benley and he 975 00:49:04,160 --> 00:49:06,160 Speaker 4: goes man. You know what I'm saying, You can get 976 00:49:06,200 --> 00:49:07,920 Speaker 4: the belly easy. You know what I'm saying. You got 977 00:49:07,960 --> 00:49:09,600 Speaker 4: a crib. I'm like, yeah, I got Creepy's like, man, 978 00:49:09,600 --> 00:49:13,759 Speaker 4: it's pull equity out that bit ship. I'm like, oh, 979 00:49:14,200 --> 00:49:21,000 Speaker 4: you could do that. He's like yeah, nigga. So like 980 00:49:21,200 --> 00:49:24,040 Speaker 4: I think my first I mean, you know, I think 981 00:49:24,080 --> 00:49:26,239 Speaker 4: the first splurge we had was when we bought to 982 00:49:26,480 --> 00:49:29,400 Speaker 4: Escalade trucks, Escalade. 983 00:49:31,040 --> 00:49:33,040 Speaker 5: As big as you can go, you know what I'm saying. 984 00:49:32,960 --> 00:49:36,840 Speaker 4: With the twenty threes, and then right after that the 985 00:49:37,040 --> 00:49:40,200 Speaker 4: Range when the new Range body came out, and then 986 00:49:40,280 --> 00:49:45,280 Speaker 4: right after that you know, uh, the Bentley GT. Coop. 987 00:49:46,640 --> 00:49:48,600 Speaker 5: At least we bought cribs though, No, no, the first 988 00:49:48,640 --> 00:49:49,239 Speaker 5: thing we did was. 989 00:49:49,360 --> 00:49:50,160 Speaker 4: We bought houses. 990 00:49:50,239 --> 00:49:52,000 Speaker 1: We knew that much, so smart. 991 00:49:52,320 --> 00:49:54,640 Speaker 4: No, that's the first thing I think, you know, I 992 00:49:54,760 --> 00:49:58,040 Speaker 4: did not. Oh no, the first thing was bought cribs. 993 00:49:58,239 --> 00:50:00,919 Speaker 4: And then but like you know, with cars and ship 994 00:50:01,080 --> 00:50:03,160 Speaker 4: like that cool to tell you, I went, I went, 995 00:50:03,320 --> 00:50:04,919 Speaker 4: I went. I went, stupid bro bro. 996 00:50:05,000 --> 00:50:06,359 Speaker 1: Like, how many cars do you have? At once? 997 00:50:06,480 --> 00:50:08,960 Speaker 4: I had seven cars parked out out front of my 998 00:50:09,080 --> 00:50:11,440 Speaker 4: house and it was it was it was so disrespectful 999 00:50:11,520 --> 00:50:16,560 Speaker 4: because all the cars combined costs more than what I 1000 00:50:16,680 --> 00:50:19,279 Speaker 4: bought the house for it. So that step one in 1001 00:50:19,400 --> 00:50:26,719 Speaker 4: Hustling backwards, you know. Part two is it's three garage house. 1002 00:50:30,280 --> 00:50:34,359 Speaker 4: You know, so it's now two cars in this one, 1003 00:50:35,120 --> 00:50:38,279 Speaker 4: one of the old schools in this one, and now 1004 00:50:38,400 --> 00:50:41,040 Speaker 4: you got four cars in the front and like two 1005 00:50:41,120 --> 00:50:44,000 Speaker 4: of them truck like you know, it was a lot. 1006 00:50:43,960 --> 00:50:45,480 Speaker 5: Of stuff with car covers on there. 1007 00:50:46,000 --> 00:50:48,800 Speaker 6: Association was like, yo, yall, can't keep car covers on 1008 00:50:48,880 --> 00:50:49,880 Speaker 6: all these cars like that. 1009 00:50:50,840 --> 00:50:55,239 Speaker 4: So the problem is because you don't have a ten 1010 00:50:55,440 --> 00:51:01,160 Speaker 4: car garage house. You know what I'm saying, I'm driving 1011 00:51:01,280 --> 00:51:04,360 Speaker 4: whatever is closest to the fucking curve, like meaning like 1012 00:51:05,480 --> 00:51:09,800 Speaker 4: I had the Ferrari and the and the and the 1013 00:51:10,200 --> 00:51:14,400 Speaker 4: Bentley in the in the in the garage. Yeah, and 1014 00:51:14,480 --> 00:51:18,520 Speaker 4: then I had the Keif for cure, I had the 1015 00:51:19,200 --> 00:51:26,239 Speaker 4: Bends and the fucking Maybac fifty seven s and the 1016 00:51:26,800 --> 00:51:30,239 Speaker 4: range Rover and the and the Escalade all of that. 1017 00:51:30,719 --> 00:51:32,880 Speaker 4: And if I wanted to take the Ferrari out to 1018 00:51:33,000 --> 00:51:34,480 Speaker 4: like go to the heat games we used to go 1019 00:51:34,719 --> 00:51:36,560 Speaker 4: all the time, I would have. 1020 00:51:36,640 --> 00:51:39,480 Speaker 5: To move all those yeah, and we had to move card. 1021 00:51:39,800 --> 00:51:40,040 Speaker 1: It was. 1022 00:51:40,239 --> 00:51:40,480 Speaker 6: It was. 1023 00:51:40,680 --> 00:51:41,440 Speaker 1: It was crazy. 1024 00:51:41,520 --> 00:51:45,200 Speaker 4: So like you know, when we started getting money, like 1025 00:51:45,360 --> 00:51:49,920 Speaker 4: if if if if splurging like for me, uh, with cars, 1026 00:51:50,000 --> 00:51:52,680 Speaker 4: and then another thing cooler and I did a lot 1027 00:51:52,960 --> 00:51:55,640 Speaker 4: was experienced, so you can't even see the money you spent. 1028 00:51:56,080 --> 00:51:59,959 Speaker 4: It only lives in your memories. Like these blind people 1029 00:52:00,280 --> 00:52:04,600 Speaker 4: in you're having dinners every night, the biggest suits, you 1030 00:52:04,640 --> 00:52:06,840 Speaker 4: know what I'm saying. And fortunately were blessed to be 1031 00:52:06,960 --> 00:52:12,000 Speaker 4: able to to to still maintain that. Like you know, 1032 00:52:12,200 --> 00:52:16,839 Speaker 4: we've seen so many horror stories, you know what I'm saying. 1033 00:52:17,160 --> 00:52:21,840 Speaker 4: So today we're still like you know, blessed to be 1034 00:52:21,960 --> 00:52:27,200 Speaker 4: able to like live a lifestyle. Thankfully we're smarter, you 1035 00:52:27,239 --> 00:52:29,440 Speaker 4: know what I'm saying. Now you know what I mean. 1036 00:52:29,600 --> 00:52:33,120 Speaker 4: So now I'm not I'm I don't need seven. I 1037 00:52:33,160 --> 00:52:35,880 Speaker 4: don't need it, but I gotta have the coloring because you. 1038 00:52:35,920 --> 00:52:38,400 Speaker 1: Know what I'm saying. I mean, you must have gotta 1039 00:52:38,480 --> 00:52:39,160 Speaker 1: have the Wraith. 1040 00:52:39,400 --> 00:52:40,000 Speaker 4: You know what I'm saying. 1041 00:52:40,160 --> 00:52:41,239 Speaker 1: Oh, you have to have the Raith. 1042 00:52:41,520 --> 00:52:45,800 Speaker 4: I mean it because it just strives mooth once you 1043 00:52:46,080 --> 00:52:48,480 Speaker 4: once you once you're in it, you know, they call it, 1044 00:52:48,600 --> 00:52:51,120 Speaker 4: that's the magic carpet ride. Like once you want the 1045 00:52:51,200 --> 00:52:52,720 Speaker 4: magic carpet ride, you can't. 1046 00:52:53,040 --> 00:52:54,080 Speaker 1: You don't want to feel. 1047 00:52:57,239 --> 00:52:57,800 Speaker 4: Got the range? 1048 00:52:57,880 --> 00:52:59,840 Speaker 1: You name two cars over five. 1049 00:53:02,680 --> 00:53:04,640 Speaker 6: We got a lot smarter now now you know what 1050 00:53:04,680 --> 00:53:06,399 Speaker 6: I'm saying. It's like, you know, we didn't been there, 1051 00:53:06,440 --> 00:53:06,880 Speaker 6: We've done that. 1052 00:53:07,440 --> 00:53:09,560 Speaker 1: You're also in a different earning space too. 1053 00:53:09,680 --> 00:53:14,920 Speaker 3: Yeah, your music and catalyg generated something crazy. 1054 00:53:14,960 --> 00:53:17,600 Speaker 6: I know it was a problem, man, because when we 1055 00:53:17,800 --> 00:53:19,279 Speaker 6: was we were spending a lot of money on that 1056 00:53:19,360 --> 00:53:20,160 Speaker 6: American Express. 1057 00:53:20,360 --> 00:53:21,560 Speaker 4: I ain't going that black car. 1058 00:53:21,600 --> 00:53:23,080 Speaker 5: And none a hold on. That's before the black car. 1059 00:53:23,160 --> 00:53:25,960 Speaker 6: When I call them people up and say, hey, I 1060 00:53:26,040 --> 00:53:27,520 Speaker 6: knew it was I knew it was serious when I 1061 00:53:27,640 --> 00:53:29,640 Speaker 6: called American Express to get the black car and the 1062 00:53:29,719 --> 00:53:33,400 Speaker 6: lady said, before I could hang up, the delivery man. 1063 00:53:34,280 --> 00:53:35,000 Speaker 1: He was here. 1064 00:53:35,080 --> 00:53:39,120 Speaker 8: They go, Oh, they couldn't wait to give y'all ship man. 1065 00:53:39,200 --> 00:53:41,520 Speaker 6: Look, I'm like talking to the lady. Then yes, the Centurion, 1066 00:53:41,600 --> 00:53:44,879 Speaker 6: no problem. It's twenty five hundred a year for each card. 1067 00:53:44,960 --> 00:53:46,600 Speaker 6: I said, Yeah, that's cool. Blah blah blah. 1068 00:53:47,200 --> 00:53:48,959 Speaker 5: My brother before I hung that phone up. 1069 00:53:52,440 --> 00:53:53,440 Speaker 4: Delivered a circle house. 1070 00:53:53,560 --> 00:53:57,359 Speaker 5: Them boxes came in with a metal case. They want 1071 00:53:57,400 --> 00:53:58,560 Speaker 5: you to spend so quick. 1072 00:53:59,080 --> 00:54:02,239 Speaker 1: Yeah, you're good. They want you to go. 1073 00:54:03,320 --> 00:54:04,720 Speaker 5: They want you to go crazy. 1074 00:54:05,440 --> 00:54:12,640 Speaker 4: You know, I mean, give thanks, man, because some people 1075 00:54:13,960 --> 00:54:17,279 Speaker 4: don't recover, you know, what I'm saying. Yeah, and and 1076 00:54:17,360 --> 00:54:19,520 Speaker 4: I think you know, for me and cool, like we've 1077 00:54:19,520 --> 00:54:22,719 Speaker 4: been in We've been in the game for two decades now. 1078 00:54:23,600 --> 00:54:25,880 Speaker 4: So in order to be in the game for two decades, 1079 00:54:26,480 --> 00:54:28,600 Speaker 4: you got to be in the valley a few of 1080 00:54:28,680 --> 00:54:31,680 Speaker 4: them years. You know what I'm saying. You start off, 1081 00:54:31,800 --> 00:54:34,960 Speaker 4: you start off in the valley, you feel me and 1082 00:54:35,160 --> 00:54:37,680 Speaker 4: then so that's what you know. So it ain't nothing 1083 00:54:37,680 --> 00:54:39,480 Speaker 4: wrong with it. You know you want to go further. 1084 00:54:41,960 --> 00:54:47,640 Speaker 4: When you go further, and then that valley starts knocking 1085 00:54:47,719 --> 00:54:50,280 Speaker 4: on your door, it's like, oh, ship, that's a whole 1086 00:54:51,040 --> 00:54:54,880 Speaker 4: new feeling. Yeah, that's all. And some niggas never recover 1087 00:54:55,600 --> 00:54:58,640 Speaker 4: from that first knock on the door where it's like, hey, yo, 1088 00:54:58,840 --> 00:55:00,799 Speaker 4: this shit you've been doing, you can't do it no more. 1089 00:55:01,200 --> 00:55:04,880 Speaker 4: For whatever reason. Some people have personal problems. Man, a 1090 00:55:05,000 --> 00:55:08,160 Speaker 4: family is sick, you know, niggas will be wondering why 1091 00:55:08,280 --> 00:55:10,080 Speaker 4: whatever happened to him it was winning. You never know 1092 00:55:10,200 --> 00:55:12,520 Speaker 4: what could be going on. And if you're a true artists, 1093 00:55:12,600 --> 00:55:15,120 Speaker 4: true creative, and you put your life into your work 1094 00:55:15,160 --> 00:55:17,960 Speaker 4: and you put passion the shit that you do, things 1095 00:55:18,160 --> 00:55:22,359 Speaker 4: like a mother or father having cancer will affect your work. 1096 00:55:23,200 --> 00:55:25,440 Speaker 4: You know what I'm saying. You know, that's why you 1097 00:55:25,480 --> 00:55:29,560 Speaker 4: got to respect the people who just is like fucking 1098 00:55:29,680 --> 00:55:32,640 Speaker 4: so driven they don't let nothing, you know, slow them down. 1099 00:55:32,680 --> 00:55:34,800 Speaker 4: But most of us, yeah, because life happens. Yeah, you 1100 00:55:34,880 --> 00:55:39,200 Speaker 4: know what I'm saying. So so you know, for me, cool, 1101 00:55:39,640 --> 00:55:43,120 Speaker 4: Like we've been in the valley a few times, you 1102 00:55:43,160 --> 00:55:48,239 Speaker 4: know what I'm saying, thankfully, you know, you know, we're 1103 00:55:48,280 --> 00:55:50,760 Speaker 4: in a position now where we've lived and we've learned 1104 00:55:50,840 --> 00:55:54,040 Speaker 4: and know like you know, you know, certain urges that 1105 00:55:54,160 --> 00:55:55,920 Speaker 4: we have and you know, back in the day it 1106 00:55:55,960 --> 00:55:58,480 Speaker 4: don't even exist. Yeah, I think when you get to 1107 00:55:58,600 --> 00:56:03,960 Speaker 4: this point in your career and you're still somewhat relevant 1108 00:56:04,000 --> 00:56:06,560 Speaker 4: and you still have to impact our culture. And at 1109 00:56:06,560 --> 00:56:09,360 Speaker 4: the same time, for us, I think for like the 1110 00:56:09,480 --> 00:56:14,560 Speaker 4: last two three years, we've been leveraging our resume and 1111 00:56:14,760 --> 00:56:18,320 Speaker 4: you know, and our accomplishments and what we've accomplished in 1112 00:56:18,520 --> 00:56:21,960 Speaker 4: music to be able to open up new doors, you 1113 00:56:22,000 --> 00:56:24,920 Speaker 4: know what I'm saying, and new opportunities to do other 1114 00:56:25,040 --> 00:56:27,960 Speaker 4: things outside of the music space, you know what I'm saying, 1115 00:56:28,160 --> 00:56:31,560 Speaker 4: And and and that's been very good for us. 1116 00:56:31,640 --> 00:56:32,360 Speaker 1: Let's talk about that. 1117 00:56:32,640 --> 00:56:34,720 Speaker 7: Let's talk like come on, let's talk about the business 1118 00:56:34,840 --> 00:56:39,239 Speaker 7: side of you know, this music thing for you guys outside. 1119 00:56:39,800 --> 00:56:42,920 Speaker 7: I won't even say the business side, the ancillary things 1120 00:56:43,680 --> 00:56:45,839 Speaker 7: that now, like you said, you guys have been able 1121 00:56:45,920 --> 00:56:50,040 Speaker 7: to leverage by you know, because we all have a 1122 00:56:50,160 --> 00:56:54,600 Speaker 7: moment in our careers period where we're like, Okay, the 1123 00:56:54,760 --> 00:56:57,880 Speaker 7: network has to be your network, right, you know, you 1124 00:56:58,040 --> 00:56:59,799 Speaker 7: have to be able to say, Okay, now, what can 1125 00:56:59,880 --> 00:57:03,000 Speaker 7: I do with the accomplishments that I've had and the 1126 00:57:04,400 --> 00:57:07,000 Speaker 7: things that I've learned in this game that can take 1127 00:57:07,080 --> 00:57:11,520 Speaker 7: me to other places? We should, right, everybody doesn't do that. 1128 00:57:11,680 --> 00:57:15,080 Speaker 7: I always preach. He always preaches that you should though, 1129 00:57:15,200 --> 00:57:17,680 Speaker 7: you know what I mean, because what someone may think 1130 00:57:18,120 --> 00:57:22,360 Speaker 7: is done in this space over here, they're like, we've 1131 00:57:22,400 --> 00:57:23,280 Speaker 7: been waiting for you. 1132 00:57:23,920 --> 00:57:26,160 Speaker 4: Oh man, it's don't get no rider than what you 1133 00:57:26,280 --> 00:57:31,640 Speaker 4: just said. Man, the music business is a business. Where 1134 00:57:31,920 --> 00:57:34,200 Speaker 4: what have you done for me lately? All right? So 1135 00:57:35,160 --> 00:57:39,000 Speaker 4: you know, I remember our first time hitting the valley 1136 00:57:39,520 --> 00:57:44,000 Speaker 4: was just we had a label deal with Interscope, and 1137 00:57:44,160 --> 00:57:47,800 Speaker 4: we knew going into it. We said, yo, pay attention 1138 00:57:47,920 --> 00:57:50,600 Speaker 4: to all the other producers. When they started their own company, 1139 00:57:51,280 --> 00:57:52,600 Speaker 4: they got real quiet. 1140 00:57:52,680 --> 00:57:54,240 Speaker 5: Because they're trying to break their own artists. 1141 00:57:56,280 --> 00:58:00,320 Speaker 4: And if you don't pop your artists off, it gets tough. 1142 00:58:00,800 --> 00:58:02,720 Speaker 3: Yeah, because you also go into a space where you 1143 00:58:02,880 --> 00:58:05,760 Speaker 3: dry up the market in terms of placing records. So 1144 00:58:05,840 --> 00:58:08,000 Speaker 3: you ignore those phone calls for so long till they stop. 1145 00:58:10,680 --> 00:58:15,320 Speaker 4: You're putting all your energy and it's yours now, so 1146 00:58:15,440 --> 00:58:18,280 Speaker 4: you're putting extra blood, sweat and tears. 1147 00:58:18,600 --> 00:58:20,840 Speaker 8: That's a whole new relationship. Yeah, it's a relationship. 1148 00:58:20,920 --> 00:58:22,960 Speaker 4: Yeah, this is yours. Like you want to break a 1149 00:58:23,000 --> 00:58:27,160 Speaker 4: new artist everyone as if you're a music producer, the 1150 00:58:27,320 --> 00:58:33,520 Speaker 4: goal is to cultivate new artists and introduce them to 1151 00:58:33,640 --> 00:58:38,800 Speaker 4: the world and and and hopefully they go on to 1152 00:58:38,880 --> 00:58:42,320 Speaker 4: become you know, icons, they go on to become like 1153 00:58:42,520 --> 00:58:45,680 Speaker 4: really big artists. So you look at a doctor Drean 1154 00:58:45,720 --> 00:58:50,280 Speaker 4: and see what he's done, from NWA to Snoop Dogg 1155 00:58:51,240 --> 00:58:55,200 Speaker 4: to Eminem to fifty cent. He had a hand in 1156 00:58:55,280 --> 00:59:00,760 Speaker 4: Kendrick Lamar himself as an artist. You you can't name 1157 00:59:01,000 --> 00:59:05,040 Speaker 4: too many records that Doctor dre has produced for I 1158 00:59:05,120 --> 00:59:10,000 Speaker 4: mean produced on that's not signed to him, right, Organized 1159 00:59:10,080 --> 00:59:15,040 Speaker 4: noise outcasts, Goodie mob, you know what I'm saying. Society 1160 00:59:15,120 --> 00:59:18,480 Speaker 4: is so you can't name too many records that they 1161 00:59:18,640 --> 00:59:22,760 Speaker 4: produced on that wasn't coming from their camp, you know 1162 00:59:22,800 --> 00:59:25,680 Speaker 4: what I'm saying. So that's how Cool and I always 1163 00:59:25,760 --> 00:59:28,440 Speaker 4: wanted to function. So when we did the Interscope deal, 1164 00:59:28,520 --> 00:59:31,480 Speaker 4: we put everything into that, all of our attention into it. 1165 00:59:31,760 --> 00:59:34,520 Speaker 4: And when you do that, other people are calling you 1166 00:59:34,600 --> 00:59:36,840 Speaker 4: for music and you don't give it to him, You're 1167 00:59:36,840 --> 00:59:37,760 Speaker 4: gonna be like, what the fuck? 1168 00:59:37,840 --> 00:59:41,000 Speaker 6: Right we neglected You're naturally gonna neglect the bread and 1169 00:59:41,040 --> 00:59:44,120 Speaker 6: butter because you know what, and trying to break your 1170 00:59:44,120 --> 00:59:45,640 Speaker 6: own you know label, So. 1171 00:59:47,280 --> 00:59:50,320 Speaker 4: You know, when you don't put something out there for 1172 00:59:50,520 --> 00:59:54,000 Speaker 4: like a year and a half, two years, and now 1173 00:59:54,760 --> 00:59:56,520 Speaker 4: the artists who were trying to break maybe it's not 1174 00:59:56,720 --> 00:59:59,520 Speaker 4: doing what it's supposed to do, all of a sudden 1175 01:00:00,200 --> 01:00:02,280 Speaker 4: you're ready to just you know, okay, shit, we gotta 1176 01:00:02,280 --> 01:00:05,480 Speaker 4: get back on our shit. The game might have passed 1177 01:00:05,520 --> 01:00:08,760 Speaker 4: you by, the sonics might have changed on you, because 1178 01:00:08,840 --> 01:00:10,720 Speaker 4: niggas is going to other people, you know, and that 1179 01:00:11,680 --> 01:00:15,240 Speaker 4: me and Cool found ourselves in that position, you know, 1180 01:00:15,600 --> 01:00:20,680 Speaker 4: around I can remember around like two thousand eleven, and 1181 01:00:21,400 --> 01:00:24,800 Speaker 4: in that time, you know what I'm saying, And you know, 1182 01:00:25,120 --> 01:00:27,480 Speaker 4: fortunately for us, you know what I'm saying. My man 1183 01:00:27,560 --> 01:00:29,960 Speaker 4: worked on the Jesus Peace album. You know, we work 1184 01:00:30,040 --> 01:00:32,800 Speaker 4: with Game and got ship cracking, and then Boom do 1185 01:00:32,960 --> 01:00:35,320 Speaker 4: all the way up with Fat Joe, and then you know, 1186 01:00:35,680 --> 01:00:38,120 Speaker 4: put out an artist Kent Jones at the same time 1187 01:00:38,200 --> 01:00:40,840 Speaker 4: and then Bom. You know, you remind niggas and they're like, Okay, 1188 01:00:40,880 --> 01:00:42,439 Speaker 4: we're not going to sleep on them no more, because 1189 01:00:43,000 --> 01:00:44,520 Speaker 4: they're gonna find a way to come back with you, 1190 01:00:44,800 --> 01:00:49,080 Speaker 4: you know what I'm saying. So I think those experiences 1191 01:00:50,240 --> 01:00:53,160 Speaker 4: and being able to survive that people outside of the 1192 01:00:53,280 --> 01:00:55,040 Speaker 4: music business appreciate that. 1193 01:00:55,400 --> 01:00:55,520 Speaker 1: Right. 1194 01:00:55,720 --> 01:00:58,680 Speaker 4: So if you've been in the game for twenty years 1195 01:01:00,960 --> 01:01:04,360 Speaker 4: as a producer or whatnot, and A and R might 1196 01:01:04,400 --> 01:01:05,760 Speaker 4: look at you and be like, yeah, man, but we 1197 01:01:05,840 --> 01:01:07,680 Speaker 4: want the new thing. We want the new hot thing. 1198 01:01:08,440 --> 01:01:11,040 Speaker 4: You know, it's okay for Rick Rubin to be in 1199 01:01:11,080 --> 01:01:17,680 Speaker 4: the game for thirty forty years. You know, I respect 1200 01:01:17,800 --> 01:01:20,760 Speaker 4: Rick Rubin on another level. I respect them just as 1201 01:01:20,840 --> 01:01:23,400 Speaker 4: much as y'all do. It doesn't work like that for 1202 01:01:23,600 --> 01:01:27,240 Speaker 4: us for in our culture, you know what I'm saying. 1203 01:01:28,640 --> 01:01:32,280 Speaker 4: You know, it's changing now because thankfully we're from a 1204 01:01:32,400 --> 01:01:34,360 Speaker 4: generation where a lot of the guys I grew up 1205 01:01:34,400 --> 01:01:39,400 Speaker 4: listening to like Cameron Mace, Fat Joe, like, these guys 1206 01:01:40,080 --> 01:01:43,240 Speaker 4: are really viable right now and fucking the game up 1207 01:01:43,640 --> 01:01:46,840 Speaker 4: in the media and killing the shit. So thankfully we 1208 01:01:47,000 --> 01:01:49,520 Speaker 4: from that era where you know, like okay, just a 1209 01:01:49,600 --> 01:01:53,680 Speaker 4: new day, you know what I'm saying. But in finance 1210 01:01:53,920 --> 01:02:00,480 Speaker 4: and other industries, they want to work with someone that's 1211 01:02:00,520 --> 01:02:04,040 Speaker 4: got a twenty year resume that looks like a Cool 1212 01:02:04,120 --> 01:02:08,040 Speaker 4: and Dre that have worked with jay Z, Beyonce, you know, 1213 01:02:08,200 --> 01:02:12,440 Speaker 4: fifty cent, Fat Joe, you know, Fallout Boy, Little Wayne, 1214 01:02:12,840 --> 01:02:16,360 Speaker 4: Like it's gonna go, It's gonna keep trust me. That 1215 01:02:16,680 --> 01:02:18,640 Speaker 4: is a long list of month and they're like okay, 1216 01:02:20,080 --> 01:02:23,800 Speaker 4: and they're still say they're still viable. They're gonna want 1217 01:02:23,840 --> 01:02:25,840 Speaker 4: to do business, you know. So one of the things 1218 01:02:25,920 --> 01:02:29,160 Speaker 4: that you know, Cool and I have done in the 1219 01:02:29,240 --> 01:02:35,320 Speaker 4: past two years is like this whole this whole wave 1220 01:02:35,640 --> 01:02:42,240 Speaker 4: of artists selling their catalogs and whatnot. You know, there's 1221 01:02:42,280 --> 01:02:43,800 Speaker 4: two ways to look at it, you know what I'm saying. 1222 01:02:44,680 --> 01:02:48,760 Speaker 4: If you're smart and you have a plan, you know 1223 01:02:49,040 --> 01:02:52,400 Speaker 4: for what you're gonna do with that when you sell 1224 01:02:52,480 --> 01:02:55,240 Speaker 4: that asset, and you have a real plan on how 1225 01:02:55,280 --> 01:02:58,040 Speaker 4: to grow that money and make it work for you. 1226 01:02:58,480 --> 01:03:02,360 Speaker 4: You know what I'm saying, Then great, go do that 1227 01:03:02,600 --> 01:03:05,640 Speaker 4: and if if if you still if your mind is 1228 01:03:05,680 --> 01:03:07,720 Speaker 4: still sharp, because this is the music business in the 1229 01:03:07,760 --> 01:03:10,880 Speaker 4: same sports. We just got to have a sharp mind. 1230 01:03:10,960 --> 01:03:11,800 Speaker 1: Yeah, you can do it forever. 1231 01:03:12,440 --> 01:03:14,080 Speaker 4: We could do this shit fever, you know what I'm saying. 1232 01:03:14,800 --> 01:03:18,200 Speaker 4: Then then go create a new catalog you mad at you, 1233 01:03:18,360 --> 01:03:20,840 Speaker 4: you know what I'm saying, Or do a deal with 1234 01:03:21,000 --> 01:03:26,479 Speaker 4: If your catalog exceeds whatever was forecasted, make sure whatever 1235 01:03:26,600 --> 01:03:29,320 Speaker 4: that is that's above the forecast, make sure that shit 1236 01:03:29,400 --> 01:03:32,560 Speaker 4: get busted down eighty twenty you get the eighty you 1237 01:03:32,600 --> 01:03:38,800 Speaker 4: know what I'm saying. Every contract, no standard lego block 1238 01:03:38,880 --> 01:03:41,640 Speaker 4: shit is what you negotiate, you know what I'm saying. 1239 01:03:41,800 --> 01:03:45,080 Speaker 4: So a lot of that we've been in the space 1240 01:03:45,160 --> 01:03:48,600 Speaker 4: to where we've been working with you know, different financial 1241 01:03:48,640 --> 01:03:52,720 Speaker 4: institutions like a Franklin Templeton, working with different venture capital 1242 01:03:53,680 --> 01:03:56,400 Speaker 4: people in the tech space like an A sixteen Z. 1243 01:03:56,800 --> 01:03:59,440 Speaker 4: You know what I'm saying, Shout out Megan and Judine 1244 01:03:59,480 --> 01:04:04,760 Speaker 4: and everybody over there. To create different avenues for artists 1245 01:04:04,840 --> 01:04:09,640 Speaker 4: to use their IP to leverage it without having to 1246 01:04:09,920 --> 01:04:13,760 Speaker 4: divorce themselves from that asset. That's something that you want 1247 01:04:13,800 --> 01:04:15,800 Speaker 4: to do, you know what I'm saying. So that's something 1248 01:04:15,840 --> 01:04:19,520 Speaker 4: we've been doing. We've been blessed to be a part 1249 01:04:19,600 --> 01:04:24,480 Speaker 4: of this cannabis wave, you know what I'm saying. You know, 1250 01:04:25,760 --> 01:04:29,920 Speaker 4: we're venturing out to New York with that, blessed to 1251 01:04:30,040 --> 01:04:31,920 Speaker 4: be part of a great group of people doing that. 1252 01:04:33,000 --> 01:04:36,480 Speaker 4: So you know, we'll be in Manhattan real soon. Look 1253 01:04:36,520 --> 01:04:40,120 Speaker 4: out for us. And we're doing something really creative you 1254 01:04:40,240 --> 01:04:43,160 Speaker 4: know over there that's gonna be great for you know 1255 01:04:43,200 --> 01:04:45,320 Speaker 4: what I'm saying, people who like to smoke, and you know, 1256 01:04:45,960 --> 01:04:49,320 Speaker 4: people who are create music and everything like that. So 1257 01:04:49,640 --> 01:04:52,080 Speaker 4: you know, we got that going on. And we also 1258 01:04:52,280 --> 01:04:57,880 Speaker 4: created a new distribution company. It's called Nebula, and it's 1259 01:04:57,920 --> 01:05:01,920 Speaker 4: really cool because you know a lot of artists they 1260 01:05:02,040 --> 01:05:06,080 Speaker 4: make music and they find it hard to get their 1261 01:05:06,120 --> 01:05:09,200 Speaker 4: ship up on the DSPs or get their video up 1262 01:05:09,280 --> 01:05:11,480 Speaker 4: on YouTube. They say, it's easy as hell. I shot 1263 01:05:11,520 --> 01:05:13,720 Speaker 4: a video not too long ago, like a year ago, 1264 01:05:14,280 --> 01:05:17,240 Speaker 4: and still can't get that vitabar too right. So that 1265 01:05:17,680 --> 01:05:20,160 Speaker 4: made us say, okay, how can we make this easier? 1266 01:05:20,160 --> 01:05:23,040 Speaker 4: Because if we haven't problems trying to figure it out 1267 01:05:23,400 --> 01:05:26,240 Speaker 4: then I know, you know the person, you know what 1268 01:05:26,280 --> 01:05:29,880 Speaker 4: I'm saying. So, you know, and we're in the era 1269 01:05:30,080 --> 01:05:33,840 Speaker 4: of everyone wants to be independent and everything, which is great. 1270 01:05:34,400 --> 01:05:37,600 Speaker 4: So let's create something for people to go and and 1271 01:05:37,800 --> 01:05:41,840 Speaker 4: be able to put their music throughout distribution and get 1272 01:05:41,880 --> 01:05:45,680 Speaker 4: their ship up on all the right all the DSPs, 1273 01:05:46,280 --> 01:05:49,440 Speaker 4: get the right looks at certain playlists and whatnot. And 1274 01:05:49,560 --> 01:05:53,880 Speaker 4: we've incorporated AI technology with our platform, which makes us unique, 1275 01:05:54,320 --> 01:05:57,080 Speaker 4: makes us different, you know. So there's a cool and 1276 01:05:57,160 --> 01:06:04,040 Speaker 4: dre you know, brain and the actual distribution platform. So kids, 1277 01:06:04,120 --> 01:06:08,360 Speaker 4: can you know, ask any questions on how to you know, 1278 01:06:08,960 --> 01:06:11,720 Speaker 4: what kick should I use, or what preset should I use? 1279 01:06:11,920 --> 01:06:13,760 Speaker 4: Or you know what I'm saying, how do I go 1280 01:06:13,880 --> 01:06:18,040 Speaker 4: about marketing and promoting my my my single or my 1281 01:06:18,240 --> 01:06:22,360 Speaker 4: video or whatever questions they have? You know, we have 1282 01:06:22,520 --> 01:06:25,479 Speaker 4: the technology that's going to answer it right on the spot. 1283 01:06:37,800 --> 01:06:40,200 Speaker 1: Yeah, now it's got to happen. Has to pull on 1284 01:06:40,240 --> 01:06:44,000 Speaker 1: my keyboard. That job was talking about keyboard, serious keyboard. 1285 01:06:44,800 --> 01:06:48,320 Speaker 1: New way I don't think is hold on, let me 1286 01:06:48,360 --> 01:06:50,280 Speaker 1: get to my damn muscles. You should have just. 1287 01:06:50,280 --> 01:06:53,400 Speaker 3: Picked up a grand piano and walked it upstairs. Man 1288 01:06:53,560 --> 01:06:54,520 Speaker 3: wouldn't be the same. 1289 01:07:01,200 --> 01:07:04,800 Speaker 1: Come on with it. I'm gonna sustain pedal either. So 1290 01:07:05,680 --> 01:07:07,479 Speaker 1: that's that you know, I'm really working this ship. 1291 01:07:10,680 --> 01:07:16,040 Speaker 3: Cool and dre You've you've been part of historical moments, Yes, 1292 01:07:16,120 --> 01:07:19,080 Speaker 3: they have, and now the people want. 1293 01:07:18,920 --> 01:07:20,480 Speaker 1: To know if you know your history. 1294 01:07:20,720 --> 01:07:24,800 Speaker 3: Come on, out of all the songs you've heard, out 1295 01:07:24,840 --> 01:07:26,920 Speaker 3: of all the tunes you've sampled. 1296 01:07:27,840 --> 01:07:28,520 Speaker 4: What is your. 1297 01:07:31,400 --> 01:07:42,080 Speaker 9: H T five, your top five? Come on, tip five, 1298 01:07:45,160 --> 01:07:45,960 Speaker 9: your top. 1299 01:07:45,840 --> 01:07:48,480 Speaker 1: Five all Revy singers? 1300 01:07:49,160 --> 01:07:52,440 Speaker 9: Oh wow, already songs? 1301 01:07:52,760 --> 01:07:55,600 Speaker 1: Oh wow, we've got to know. 1302 01:07:56,560 --> 01:08:01,880 Speaker 3: You got to show how many cars and how many boats? 1303 01:08:02,360 --> 01:08:22,320 Speaker 4: Your yes? Yeah, now top four you're stop five. 1304 01:08:24,960 --> 01:08:34,240 Speaker 1: Oh yeah, that's serious. How many guys? How many boats? 1305 01:08:36,560 --> 01:08:36,800 Speaker 6: Man? 1306 01:08:37,400 --> 01:08:40,479 Speaker 4: Top five R and B singers, Top five all time, 1307 01:08:40,840 --> 01:08:43,880 Speaker 4: all time time, Wow, all time? 1308 01:08:44,800 --> 01:08:45,000 Speaker 1: Man. 1309 01:08:45,880 --> 01:08:50,080 Speaker 4: All right, I'm gonna go with I'm gonna go with 1310 01:08:50,200 --> 01:08:53,760 Speaker 4: my favorite. All right, it's not even about them being 1311 01:08:53,880 --> 01:08:59,200 Speaker 4: like my favorite top five. De'angelo is gonna be the 1312 01:08:59,240 --> 01:09:03,320 Speaker 4: first one. Yeah, the second person I'm gonna put and 1313 01:09:03,479 --> 01:09:06,040 Speaker 4: don't even play with it. When I say the name, 1314 01:09:07,240 --> 01:09:10,519 Speaker 4: don't even play is gonna be Prince. And if you 1315 01:09:10,600 --> 01:09:16,719 Speaker 4: have a problem with it, if you have a problem 1316 01:09:16,800 --> 01:09:20,080 Speaker 4: with it, play Diamonds and Pearls because I know y'all 1317 01:09:20,120 --> 01:09:22,519 Speaker 4: want to be what you do. Let's go Crazy, which 1318 01:09:22,560 --> 01:09:27,280 Speaker 4: is a classic, played Diamonds and Pearls. Another guy that 1319 01:09:27,400 --> 01:09:30,280 Speaker 4: doesn't get the credit he's supposed to get as a singer. 1320 01:09:31,479 --> 01:09:35,519 Speaker 4: His name is Joe. You know, I love m J. 1321 01:09:35,640 --> 01:09:38,840 Speaker 4: Because MJ's voice is so pure. And if you watch 1322 01:09:38,920 --> 01:09:40,920 Speaker 4: the little documentary they put out the other day on 1323 01:09:41,040 --> 01:09:44,719 Speaker 4: We Are the World watching takes, don't play. 1324 01:09:47,160 --> 01:09:49,280 Speaker 1: You guys gon enjoy your world. 1325 01:09:49,320 --> 01:09:49,600 Speaker 2: You know what. 1326 01:09:52,600 --> 01:09:56,840 Speaker 4: Perfect I'll put Michael just you know what I'm saying. 1327 01:09:56,920 --> 01:09:58,920 Speaker 4: It just is what it is that that you know, 1328 01:09:59,240 --> 01:10:01,120 Speaker 4: just go back to and he was six years old 1329 01:10:01,200 --> 01:10:04,400 Speaker 4: singing man killing grown men? 1330 01:10:04,920 --> 01:10:05,800 Speaker 1: Right, all right? 1331 01:10:05,880 --> 01:10:12,960 Speaker 4: So MJ. And then last but not least, you know 1332 01:10:13,080 --> 01:10:16,840 Speaker 4: why he was a beast? You know what's crazy about? 1333 01:10:17,640 --> 01:10:22,559 Speaker 4: Why is a beast? But over the years I've started 1334 01:10:22,640 --> 01:10:27,400 Speaker 4: to really, really really appreciate them runs that Sean Stocker 1335 01:10:27,520 --> 01:10:35,479 Speaker 4: was getting off sciences that I mean, we we always 1336 01:10:36,160 --> 01:10:39,000 Speaker 4: you know, always kicked the door down at the end, yes, 1337 01:10:40,200 --> 01:10:42,799 Speaker 4: but man, that boy Sean Stockman got them run. 1338 01:10:44,479 --> 01:10:47,439 Speaker 1: With the runs too, was just oh you snuck that 1339 01:10:47,600 --> 01:10:48,160 Speaker 1: in there. 1340 01:10:48,760 --> 01:10:55,880 Speaker 4: Man, crazy. So last I'm gonna throw a female in there. 1341 01:10:56,960 --> 01:11:01,880 Speaker 4: I'm gonna say name and and and you all know it. 1342 01:11:01,960 --> 01:11:05,960 Speaker 4: But the reason I'm saying this name is because we 1343 01:11:06,080 --> 01:11:09,200 Speaker 4: worked with her when she was fifteen years old, and 1344 01:11:09,360 --> 01:11:12,839 Speaker 4: I never heard a fifteen year old, sixteen year old girl. 1345 01:11:13,200 --> 01:11:13,800 Speaker 1: Sound like this. 1346 01:11:15,000 --> 01:11:18,720 Speaker 4: In fact, we did a record for her when she 1347 01:11:18,880 --> 01:11:23,360 Speaker 4: was signed a Job Records, But Barry Weiss shout out, 1348 01:11:23,360 --> 01:11:23,920 Speaker 4: Barry Weis. 1349 01:11:24,840 --> 01:11:25,559 Speaker 1: I know his son. 1350 01:11:25,760 --> 01:11:27,160 Speaker 4: Well, I don't know, but you know our medicin, so 1351 01:11:27,160 --> 01:11:31,240 Speaker 4: I ain't gonna say nothing crazy. So we ended up 1352 01:11:31,320 --> 01:11:35,920 Speaker 4: giving the record to Christina Million. It's called say I 1353 01:11:37,080 --> 01:11:39,920 Speaker 4: and Christina killed it to you know what I'm saying. 1354 01:11:40,439 --> 01:11:44,599 Speaker 4: But the original of that was sung by a female 1355 01:11:45,320 --> 01:11:54,280 Speaker 4: name Jasmine Sullen, and she oh like when Miku heard 1356 01:11:54,320 --> 01:11:56,280 Speaker 4: her for the first time, we started champion her. We 1357 01:11:56,280 --> 01:12:01,679 Speaker 4: ain't never seen like that, never seen someone sitting down singing. 1358 01:12:02,760 --> 01:12:07,240 Speaker 4: So those are my five, you know, Jasmine Sullivan, Prince, 1359 01:12:08,200 --> 01:12:15,559 Speaker 4: m J. DeAngelo, and Joe. Those are those are my five. 1360 01:12:15,960 --> 01:12:19,760 Speaker 6: That's an amazing list. That's amazing list off off rip 1361 01:12:19,880 --> 01:12:24,840 Speaker 6: number five for me. You know, I'm I'm I'm an 1362 01:12:24,880 --> 01:12:28,280 Speaker 6: old soul at heart. You know what I'm saying, I 1363 01:12:28,320 --> 01:12:35,640 Speaker 6: would go Donnie Hathaway. Hmm, Donny Hathaway, just when that 1364 01:12:35,800 --> 01:12:40,600 Speaker 6: come on, it resonates with your with your bloodstreams, you 1365 01:12:40,640 --> 01:12:43,120 Speaker 6: know what I'm saying, Donny Hathaway. 1366 01:12:44,720 --> 01:12:46,600 Speaker 1: Number four Luther. 1367 01:12:48,280 --> 01:12:51,840 Speaker 5: Luther was just too smooth man. That ship was like. 1368 01:12:53,320 --> 01:13:01,759 Speaker 1: Like honey over the beat, cleanliness mhm. 1369 01:13:02,240 --> 01:13:07,880 Speaker 5: Personal favorite. I gotta put Lauren Hill in there there. 1370 01:13:07,920 --> 01:13:10,960 Speaker 4: You got to I ain't mad at you because she 1371 01:13:11,160 --> 01:13:11,559 Speaker 4: just she. 1372 01:13:11,720 --> 01:13:14,880 Speaker 6: Just ain't give us enough. And that one album was 1373 01:13:15,040 --> 01:13:18,760 Speaker 6: just like you play it today and it's like, I mean. 1374 01:13:18,720 --> 01:13:23,880 Speaker 4: She doesn't get the credit for being the artist that 1375 01:13:26,400 --> 01:13:30,840 Speaker 4: as an MC was at the very top of the 1376 01:13:31,040 --> 01:13:35,880 Speaker 4: MC class and as a scene made you forget. 1377 01:13:35,680 --> 01:13:40,120 Speaker 5: You forgetting forget the rapper. The rapper was second because fuck. 1378 01:13:40,840 --> 01:13:43,840 Speaker 4: And by the way, she's on the big screen too, 1379 01:13:44,000 --> 01:13:46,320 Speaker 4: she was active to talk, you know what I'm saying. 1380 01:13:46,479 --> 01:13:49,880 Speaker 4: So I think she's a blueprint that sometimes people forget, 1381 01:13:50,120 --> 01:13:50,720 Speaker 4: you know what I'm saying. 1382 01:13:51,080 --> 01:13:53,040 Speaker 6: Yeah, she just when that voice come on, it's just 1383 01:13:53,120 --> 01:13:56,320 Speaker 6: something about that tone. And when she get to singing 1384 01:13:56,400 --> 01:13:58,040 Speaker 6: some of them and her son Y G. 1385 01:13:58,200 --> 01:14:01,200 Speaker 5: Barley's got her on first single. 1386 01:14:02,800 --> 01:14:03,240 Speaker 4: Shout Out. 1387 01:14:03,280 --> 01:14:06,680 Speaker 5: You know what I'm saying, dat Lenis though the Marley. 1388 01:14:07,000 --> 01:14:12,840 Speaker 4: And the cout. Congratulations on that. 1389 01:14:15,360 --> 01:14:15,920 Speaker 5: Number two. 1390 01:14:18,240 --> 01:14:18,400 Speaker 9: Uh. 1391 01:14:19,840 --> 01:14:21,800 Speaker 6: I would have to say m J as well. You 1392 01:14:21,880 --> 01:14:25,679 Speaker 6: know what I'm saying, Michael Jackson for sure, just too many, 1393 01:14:26,600 --> 01:14:31,680 Speaker 6: It's just too much. Voice was just immaculate. And then 1394 01:14:31,720 --> 01:14:34,559 Speaker 6: you know when you started like seeing some of all 1395 01:14:34,600 --> 01:14:37,599 Speaker 6: the songs, he was just writing on his little recorder, 1396 01:14:38,760 --> 01:14:39,720 Speaker 6: beat boxing. 1397 01:14:39,400 --> 01:14:45,840 Speaker 4: The whole hit, the whole hit Different, Different. 1398 01:14:45,720 --> 01:14:54,680 Speaker 6: Man was alien and one of my personal favorites. For 1399 01:14:54,800 --> 01:14:58,599 Speaker 6: my number one, I would have to say Marvin Gaye, 1400 01:14:58,640 --> 01:15:02,960 Speaker 6: Oh yeah, what I'm saying. We had the honor of 1401 01:15:03,040 --> 01:15:05,519 Speaker 6: working in the studio, like Jay said, with Mary and 1402 01:15:07,720 --> 01:15:09,559 Speaker 6: we got they have this paint Have you been there 1403 01:15:10,360 --> 01:15:14,000 Speaker 6: in Marvin Gaye studio? So it's a it's a sunset 1404 01:15:14,360 --> 01:15:17,000 Speaker 6: and there's a painting on the wall. It's like ten 1405 01:15:17,120 --> 01:15:20,880 Speaker 6: feet by like six feet, and the painting comes with 1406 01:15:20,960 --> 01:15:25,880 Speaker 6: a book and the book each each portion of the painting, 1407 01:15:26,320 --> 01:15:29,240 Speaker 6: the book explained the part of his life, you know 1408 01:15:29,280 --> 01:15:32,240 Speaker 6: what I'm saying. And we was going through the as 1409 01:15:32,320 --> 01:15:35,639 Speaker 6: I was going through the book, you know you see 1410 01:15:35,760 --> 01:15:38,720 Speaker 6: on there like from a moment he passed away. You 1411 01:15:38,800 --> 01:15:41,040 Speaker 6: know what I'm saying the moment he was killed. But 1412 01:15:41,200 --> 01:15:43,360 Speaker 6: you see on there like all the stages of his life. 1413 01:15:43,680 --> 01:15:46,080 Speaker 6: He was the first guy to get a million dollar check, 1414 01:15:47,000 --> 01:15:49,160 Speaker 6: Barry Gordon. It was on there like the actual check, 1415 01:15:49,240 --> 01:15:54,800 Speaker 6: you know what I'm saying, And it was like so 1416 01:15:54,920 --> 01:15:57,200 Speaker 6: you know, just that that experience of we felt his 1417 01:15:57,400 --> 01:16:00,240 Speaker 6: energy in there, you know what I'm saying, And yeah, 1418 01:16:00,240 --> 01:16:01,799 Speaker 6: that's my top five man, Marvin definitely. 1419 01:16:01,840 --> 01:16:04,840 Speaker 5: You know he's he's a goat. He's a goat. 1420 01:16:05,000 --> 01:16:06,040 Speaker 4: Great top five. 1421 01:16:06,439 --> 01:16:12,080 Speaker 1: Yeah, yeah, what else you got form? I think I 1422 01:16:12,080 --> 01:16:12,560 Speaker 1: ain't got it. 1423 01:16:13,080 --> 01:16:15,320 Speaker 3: Play a grand piano, this little machine guy. Let me 1424 01:16:15,360 --> 01:16:20,479 Speaker 3: go to grand piano to him. Hey, I ain't saying 1425 01:16:20,560 --> 01:16:23,360 Speaker 3: no nigga. Hey, I ain't saying no names. I ain't 1426 01:16:23,400 --> 01:16:25,639 Speaker 3: saying no names. I ain't saying no name. 1427 01:16:25,800 --> 01:16:28,040 Speaker 1: Whe he was who was weird? 1428 01:16:28,920 --> 01:16:29,599 Speaker 9: What you did? 1429 01:16:30,320 --> 01:16:34,840 Speaker 1: Don't say she? I ain't saying no name. 1430 01:16:41,360 --> 01:16:45,840 Speaker 4: It's crazy, yo. Yeah, before you do anything. What's the kids? 1431 01:16:46,160 --> 01:16:51,280 Speaker 4: The kid's name that's got the outrageous voice with his 1432 01:16:51,520 --> 01:16:55,479 Speaker 4: natural is what you was on stage singing with. 1433 01:16:58,400 --> 01:16:58,800 Speaker 1: The mother. 1434 01:16:59,120 --> 01:17:04,519 Speaker 4: Every was cold as fuck. Not too manyiggas. Game that's 1435 01:17:04,880 --> 01:17:06,080 Speaker 4: cold blooded. 1436 01:17:06,320 --> 01:17:10,120 Speaker 1: He's not playing games on Listen on demand. 1437 01:17:11,439 --> 01:17:15,120 Speaker 4: That Nigga was singing some ship and it popped up 1438 01:17:15,200 --> 01:17:19,479 Speaker 4: on my TikTok, and my TikTok is usually aliens and 1439 01:17:19,880 --> 01:17:24,320 Speaker 4: all kind of Joe Rogan and I scrolled up and 1440 01:17:24,400 --> 01:17:28,840 Speaker 4: that Nigga was singing the Tavin Campbell and I just 1441 01:17:28,880 --> 01:17:30,800 Speaker 4: sat there and just listened to the ship. I said, 1442 01:17:31,560 --> 01:17:35,840 Speaker 4: what with with with extra extra sau And you know 1443 01:17:35,960 --> 01:17:38,880 Speaker 4: the algorithm catches you if you watch something long enough, 1444 01:17:39,280 --> 01:17:41,720 Speaker 4: So he just started flooding my ship. And then I 1445 01:17:41,800 --> 01:17:44,000 Speaker 4: seen you and him on stage, right, y'all was growing out. 1446 01:17:44,000 --> 01:17:46,679 Speaker 4: I was like him and why ye was on stage 1447 01:17:46,720 --> 01:17:48,480 Speaker 4: with him from boys. 1448 01:17:48,200 --> 01:17:48,599 Speaker 1: To men. 1449 01:17:51,400 --> 01:17:52,840 Speaker 5: And singing ship? 1450 01:17:52,960 --> 01:17:55,560 Speaker 4: I was, you know, why he ain't foling? You know 1451 01:17:55,600 --> 01:17:58,920 Speaker 4: what I'm saying, ain't folding. But Wilson was giving him 1452 01:17:58,920 --> 01:17:59,840 Speaker 4: a run for his money. 1453 01:18:00,400 --> 01:18:02,640 Speaker 1: Yeah, okay, I just. 1454 01:18:02,680 --> 01:18:03,479 Speaker 4: Want to know. 1455 01:18:03,560 --> 01:18:05,559 Speaker 7: We got to shout him out. Yeah, yeah, yeah, oh 1456 01:18:05,680 --> 01:18:09,080 Speaker 7: blooded yeah, that brother is special. Well, you know, we've 1457 01:18:09,120 --> 01:18:11,439 Speaker 7: come to this moment. We've come to this moment. You know, 1458 01:18:11,680 --> 01:18:14,439 Speaker 7: my brothers are here. You know, we gotta we gotta 1459 01:18:14,439 --> 01:18:17,960 Speaker 7: have some you know, some good times. Right, So we 1460 01:18:18,040 --> 01:18:19,679 Speaker 7: got this segment of the show it's called I Ain't 1461 01:18:19,720 --> 01:18:22,519 Speaker 7: saying no names, right, Well, y'all tell us a story. 1462 01:18:22,640 --> 01:18:27,200 Speaker 7: Our stories funny, are fucked up, are funny and fucked up. 1463 01:18:28,560 --> 01:18:30,920 Speaker 7: But the only rule to the game you just can't 1464 01:18:31,000 --> 01:18:31,759 Speaker 7: say no names. 1465 01:18:32,439 --> 01:18:32,920 Speaker 4: Mm hmmm. 1466 01:18:33,520 --> 01:18:35,440 Speaker 1: So I need Cool and Dre's. 1467 01:18:37,479 --> 01:18:40,559 Speaker 7: Journey in the Times and the Life and Time, Life 1468 01:18:40,600 --> 01:18:42,720 Speaker 7: and Time, Miami's owns O. 1469 01:18:44,160 --> 01:18:45,439 Speaker 1: I ain't saying no names. 1470 01:18:46,160 --> 01:18:53,479 Speaker 4: All right, So I ain't saying no names. But this 1471 01:18:53,680 --> 01:18:56,120 Speaker 4: is early in me and Cool's career. We were in 1472 01:18:56,240 --> 01:18:59,280 Speaker 4: New York and like we were saying earlier, you saying 1473 01:18:59,280 --> 01:19:02,200 Speaker 4: we had a we were buzzing without any hit. You 1474 01:19:02,240 --> 01:19:04,400 Speaker 4: know what I'm saying, We're just buzzing off of the placements. 1475 01:19:05,040 --> 01:19:06,760 Speaker 4: We didn't even know what a placement was. I just 1476 01:19:06,840 --> 01:19:09,799 Speaker 4: learned the words placement like three years ago. We just hustled, 1477 01:19:09,880 --> 01:19:11,080 Speaker 4: you know what I'm saying. We make a music the 1478 01:19:11,160 --> 01:19:12,800 Speaker 4: niggas we fuck with, right, you know what I'm saying. 1479 01:19:13,680 --> 01:19:15,639 Speaker 4: And then the young kid says, y'all got a placement? 1480 01:19:16,000 --> 01:19:19,479 Speaker 4: Fuck you talking about placement anyway. So we in the studio, 1481 01:19:19,960 --> 01:19:26,560 Speaker 4: we're working with an artist who's also is known for 1482 01:19:26,720 --> 01:19:32,360 Speaker 4: something else and very popular, very big. But this person 1483 01:19:32,560 --> 01:19:36,840 Speaker 4: also is taking a stab at being an artist and 1484 01:19:37,240 --> 01:19:43,559 Speaker 4: it's on an iconic collaboration song. That's iconic, all right. 1485 01:19:45,040 --> 01:19:47,960 Speaker 4: So we're working with this artist. We do a record, 1486 01:19:49,600 --> 01:19:53,280 Speaker 4: and we want to get the feature on the record. 1487 01:19:54,360 --> 01:19:59,240 Speaker 4: So this artist has this particular artist in mind because 1488 01:19:59,400 --> 01:20:03,560 Speaker 4: this artist is like had a buzz around them. It 1489 01:20:03,680 --> 01:20:08,600 Speaker 4: had a big single. So they booked the artists to 1490 01:20:08,640 --> 01:20:09,720 Speaker 4: come to the studio. 1491 01:20:09,680 --> 01:20:13,960 Speaker 1: To do He started laughing. 1492 01:20:14,080 --> 01:20:25,559 Speaker 2: Immediately, I swear rushed my brain so le I literally right, 1493 01:20:25,640 --> 01:20:27,000 Speaker 2: not just then passed out. 1494 01:20:27,160 --> 01:20:32,200 Speaker 4: I swear to god, Oh my god, I was gonna 1495 01:20:32,200 --> 01:20:42,120 Speaker 4: go yo, wow, damn my nigga. They booked the session. 1496 01:20:45,360 --> 01:20:49,200 Speaker 4: So the artist is in the studio. The feature artist 1497 01:20:49,400 --> 01:20:54,439 Speaker 4: is in the control room learning the parts and everything. 1498 01:20:55,040 --> 01:20:56,960 Speaker 4: Now the main artist who we produced the record for, 1499 01:20:57,760 --> 01:21:01,920 Speaker 4: pulls up to the studio. It's their session. Yeah, So 1500 01:21:02,479 --> 01:21:05,960 Speaker 4: they go in say what's up? Sits down, and the 1501 01:21:06,160 --> 01:21:10,519 Speaker 4: energy in the room is not like popping like that, 1502 01:21:10,720 --> 01:21:20,320 Speaker 4: you know what I'm saying. So the engineer, the future 1503 01:21:20,439 --> 01:21:27,360 Speaker 4: artist tells the engineer to tell the main artist, hey, 1504 01:21:27,439 --> 01:21:31,799 Speaker 4: can you wait in the lounge. You know they're catching 1505 01:21:31,840 --> 01:21:34,400 Speaker 4: the vibe and you know want their own space, you 1506 01:21:34,439 --> 01:21:36,720 Speaker 4: know what I'm saying. So the main artis like, no, 1507 01:21:36,760 --> 01:21:39,640 Speaker 4: it's no problem. We respect that. I respect that. I 1508 01:21:39,640 --> 01:21:40,800 Speaker 4: don't want to get it done. I don't want to 1509 01:21:40,800 --> 01:21:41,840 Speaker 4: buy a record. 1510 01:21:41,920 --> 01:21:42,400 Speaker 9: You know what I'm saying. 1511 01:21:42,400 --> 01:21:47,320 Speaker 4: I don't want to buy So the lounge is next door, literally, 1512 01:21:47,920 --> 01:21:50,400 Speaker 4: like you know, walk out the control room, the lounge 1513 01:21:50,479 --> 01:21:55,400 Speaker 4: is there. Main artist sits on the sofa, turns on 1514 01:21:55,520 --> 01:22:02,200 Speaker 4: the TV. Low. Ten minutes, nobody comes in, nobody comes out, 1515 01:22:04,320 --> 01:22:07,760 Speaker 4: ten minutes go by. The engineer opens up the door, 1516 01:22:08,560 --> 01:22:14,360 Speaker 4: goes to the main artist and says, hey, so you know, 1517 01:22:17,280 --> 01:22:20,920 Speaker 4: you know, they not feel like really comfortable, like they 1518 01:22:21,000 --> 01:22:23,880 Speaker 4: want you to know, wait downstairs in the lobby if 1519 01:22:23,920 --> 01:22:27,640 Speaker 4: it's cool. So the main artists are, way, I'm in 1520 01:22:27,720 --> 01:22:33,360 Speaker 4: the lounge. I'm in the louch. I'm not bothering. 1521 01:22:34,320 --> 01:22:34,840 Speaker 9: It's just me. 1522 01:22:35,120 --> 01:22:42,160 Speaker 4: It's just me, you know, I can't. They just asked 1523 01:22:42,200 --> 01:22:46,160 Speaker 4: if you could wait downstairs. So the artists like, fuck 1524 01:22:46,240 --> 01:22:48,719 Speaker 4: I fuck it. I go downstairs. Sh'S my session. 1525 01:22:48,880 --> 01:22:49,200 Speaker 1: Fuck it. 1526 01:22:51,240 --> 01:22:55,360 Speaker 4: Goes down the stairs, turns the corner, go sits in 1527 01:22:55,439 --> 01:22:58,960 Speaker 4: the lounge of the studio by the front door, like 1528 01:22:59,120 --> 01:23:01,800 Speaker 4: this is a very very popular artists or anybody walking 1529 01:23:01,880 --> 01:23:09,400 Speaker 4: in that front door. We got a picture about forty 1530 01:23:09,439 --> 01:23:14,160 Speaker 4: minutes go by. The engineer walks down the stairs. 1531 01:23:14,040 --> 01:23:24,120 Speaker 1: Get the fuck out of no way, no way, no, no, 1532 01:23:25,960 --> 01:23:26,960 Speaker 1: this is not about to happen. 1533 01:23:27,160 --> 01:23:29,320 Speaker 5: No, I tell you this ship here, you can't make 1534 01:23:29,360 --> 01:23:29,600 Speaker 5: it up. 1535 01:23:30,120 --> 01:23:33,200 Speaker 4: It walks down the stairs, It goes to the artists 1536 01:23:33,240 --> 01:23:41,320 Speaker 4: and said, look, they're in the booth. They're trying to 1537 01:23:41,360 --> 01:23:43,920 Speaker 4: get it done. They asked me to see if you 1538 01:23:44,000 --> 01:23:47,640 Speaker 4: were still downstairs. So the artists like, oh, okay, they 1539 01:23:47,680 --> 01:23:52,240 Speaker 4: want me to come up. No, can you wait outside? 1540 01:23:55,320 --> 01:23:58,719 Speaker 1: What the fuck is fucking perhaps in your car. 1541 01:24:01,680 --> 01:24:02,240 Speaker 5: Outside? 1542 01:24:02,400 --> 01:24:05,519 Speaker 4: The artist goes the building. Are you fucking kidding me? 1543 01:24:05,800 --> 01:24:09,320 Speaker 4: What the fuck you want? Be away outside the fucking studio? 1544 01:24:09,400 --> 01:24:10,439 Speaker 1: Man, what the fuck? 1545 01:24:12,160 --> 01:24:13,840 Speaker 4: I don't know what to tell you, Like, they asked 1546 01:24:13,880 --> 01:24:15,720 Speaker 4: me if you were down there, and if you're down there, 1547 01:24:15,760 --> 01:24:21,960 Speaker 4: that's why they can't get it done. So artists goes 1548 01:24:22,040 --> 01:24:25,000 Speaker 4: into the truck, into their into their car. 1549 01:24:25,240 --> 01:24:25,720 Speaker 1: What have you? 1550 01:24:26,479 --> 01:24:30,160 Speaker 4: Sits in there and they're stressing that. Like an hour 1551 01:24:30,280 --> 01:24:33,880 Speaker 4: later passes. They see the artists leave the studio, jump 1552 01:24:33,920 --> 01:24:37,639 Speaker 4: in the suv and drove off. So they're like, fuck, 1553 01:24:37,760 --> 01:24:40,000 Speaker 4: thank god, let's go and listen to what the fuck 1554 01:24:40,040 --> 01:24:43,720 Speaker 4: you know? It's been like three hours whatnot. They go upstairs, 1555 01:24:44,360 --> 01:24:46,840 Speaker 4: all right, let me hear what the let me hear, 1556 01:24:46,960 --> 01:24:48,840 Speaker 4: let me hear what they did. The engineer goes, they 1557 01:24:48,880 --> 01:24:50,240 Speaker 4: weren't really feeling the song, so. 1558 01:24:53,840 --> 01:24:55,439 Speaker 5: Br this ship can't make it up. 1559 01:24:55,640 --> 01:24:57,160 Speaker 4: Yeah, we heard the story. 1560 01:24:57,800 --> 01:24:58,280 Speaker 1: Was crying. 1561 01:24:59,280 --> 01:25:00,679 Speaker 5: We said, Yo, this is a story. 1562 01:25:00,800 --> 01:25:03,559 Speaker 4: This is exaggeration, right. The Edgindeary was right there, said, nah, 1563 01:25:03,800 --> 01:25:06,200 Speaker 4: I witnessed it. I played a role in it, like 1564 01:25:08,680 --> 01:25:12,519 Speaker 4: I don't know what the fun just happened. But that's 1565 01:25:12,720 --> 01:25:16,639 Speaker 4: that's the story. That's like, like to this day, it's 1566 01:25:16,720 --> 01:25:18,640 Speaker 4: one of the ill ship that. 1567 01:25:18,720 --> 01:25:20,400 Speaker 5: You pulled that one out. I wasn't even thinking that, 1568 01:25:20,520 --> 01:25:23,439 Speaker 5: but then that was a good one, right. 1569 01:25:23,439 --> 01:25:26,439 Speaker 4: No illmatic that ship was the only ship ever. So 1570 01:25:26,920 --> 01:25:28,679 Speaker 4: that's that's that's the story. 1571 01:25:30,080 --> 01:25:36,880 Speaker 5: I don't say no names, man, never the person who 1572 01:25:37,040 --> 01:25:38,800 Speaker 5: is the artist gonna see this. They gonna bust out, 1573 01:25:39,280 --> 01:25:39,880 Speaker 5: They're gonna hit. 1574 01:25:39,880 --> 01:25:43,639 Speaker 1: Us, like I would be looking for that artist. I'm 1575 01:25:43,640 --> 01:25:48,200 Speaker 1: gonna be looking in the comments. I'm looking for the 1576 01:25:48,439 --> 01:25:50,759 Speaker 1: comment I was there never. 1577 01:25:50,720 --> 01:25:53,080 Speaker 4: Seen no ship like that. That's that's that's one of 1578 01:25:53,120 --> 01:25:55,559 Speaker 4: the ill ships that I've never seen nothing like that ever. 1579 01:25:56,600 --> 01:25:58,840 Speaker 1: No, So there you go. Well, my brother's cool and 1580 01:25:58,960 --> 01:26:01,080 Speaker 1: dre again. Man. 1581 01:26:01,120 --> 01:26:03,240 Speaker 3: We we first of all, we can't thank you enough 1582 01:26:03,320 --> 01:26:06,760 Speaker 3: man for taking your time out and coming up here 1583 01:26:06,880 --> 01:26:09,840 Speaker 3: and just you know, giving us an opportunity to give 1584 01:26:09,880 --> 01:26:12,720 Speaker 3: you your flowers, man, and and giving our community an 1585 01:26:12,760 --> 01:26:17,080 Speaker 3: opportunity man to just hear the journey man, hear the here, 1586 01:26:17,200 --> 01:26:20,400 Speaker 3: hear the mountaintops, here, the valleys lows man, and and 1587 01:26:20,600 --> 01:26:22,280 Speaker 3: and hear how you've come out on the other side 1588 01:26:22,320 --> 01:26:24,639 Speaker 3: of all of those things and some into some really 1589 01:26:24,760 --> 01:26:25,719 Speaker 3: really great things. 1590 01:26:25,840 --> 01:26:26,040 Speaker 9: Man. 1591 01:26:27,000 --> 01:26:30,280 Speaker 1: We're proud of you, man, like we look at you 1592 01:26:30,360 --> 01:26:32,160 Speaker 1: and see you like, okay. 1593 01:26:32,120 --> 01:26:36,320 Speaker 4: Appreciate the big fans of the podcast. Yeah, killing it. 1594 01:26:36,920 --> 01:26:42,960 Speaker 4: I'll be I'll be singing harmony with your niggas, but 1595 01:26:43,080 --> 01:26:44,160 Speaker 4: I'm at the crib sing. 1596 01:26:45,520 --> 01:26:47,519 Speaker 1: Oh not that I know. Don't worry about it. Yeah, 1597 01:26:47,520 --> 01:26:49,080 Speaker 1: I don't worry about We're going to be the future. 1598 01:26:51,120 --> 01:26:51,880 Speaker 1: These records done. 1599 01:26:52,280 --> 01:26:54,800 Speaker 4: I'm ready, stay ready. 1600 01:26:54,960 --> 01:26:56,760 Speaker 1: Yeah. I can't thank you guys enough man. 1601 01:26:56,880 --> 01:27:00,280 Speaker 6: And when you get ready to put that music, got 1602 01:27:01,360 --> 01:27:03,280 Speaker 6: run one of them new singles through Nebulas. 1603 01:27:05,560 --> 01:27:06,920 Speaker 5: We're gonna show it that extra. 1604 01:27:09,720 --> 01:27:10,680 Speaker 4: To reck it out right now. 1605 01:27:10,840 --> 01:27:17,599 Speaker 1: Yeah yeah, really, well, let's go, Lord, is the Lord's 1606 01:27:19,720 --> 01:27:20,000 Speaker 1: I want. 1607 01:27:20,080 --> 01:27:21,679 Speaker 6: I wanted to mention this because you know what I'm saying, 1608 01:27:21,760 --> 01:27:23,080 Speaker 6: Like at the end of the day, me and Dre Man, 1609 01:27:23,120 --> 01:27:24,680 Speaker 6: you know, we we all spiritual brothers, you know what 1610 01:27:24,680 --> 01:27:27,720 Speaker 6: I'm saying, And we definitely believe that God is the 1611 01:27:27,800 --> 01:27:29,679 Speaker 6: reason we're even still here, you know what I'm saying. 1612 01:27:29,840 --> 01:27:35,080 Speaker 5: And you know we believe Cole heartily like and just 1613 01:27:35,160 --> 01:27:37,400 Speaker 5: have patience in his plan for your life, you know 1614 01:27:37,479 --> 01:27:37,920 Speaker 5: what I'm saying. 1615 01:27:38,640 --> 01:27:42,640 Speaker 6: And I'll never forget, man, when we was in our 1616 01:27:42,800 --> 01:27:48,600 Speaker 6: journey early on, you know, everything, I felt like everything 1617 01:27:48,680 --> 01:27:50,200 Speaker 6: in life there's a. 1618 01:27:50,240 --> 01:27:55,360 Speaker 5: Purpose for it, like this this interview, it is a 1619 01:27:55,400 --> 01:27:56,000 Speaker 5: purpose for it. 1620 01:27:56,160 --> 01:27:56,760 Speaker 4: You know what I'm saying. 1621 01:27:57,120 --> 01:28:00,599 Speaker 6: When me and Dre was doing I'll never forget when 1622 01:28:00,600 --> 01:28:02,640 Speaker 6: we were doing the R and B thing. We was 1623 01:28:02,760 --> 01:28:06,800 Speaker 6: doing performance and we perform in like different places, and 1624 01:28:07,600 --> 01:28:09,400 Speaker 6: our manager at the time, he had us perform at 1625 01:28:09,439 --> 01:28:15,639 Speaker 6: this at this hospital, right and this this always stayed 1626 01:28:15,640 --> 01:28:18,400 Speaker 6: with us because of what happened after. So we performing, 1627 01:28:18,520 --> 01:28:20,360 Speaker 6: we were in the cancer ward and we're performing for 1628 01:28:20,520 --> 01:28:22,720 Speaker 6: all terminally ill kids and I. 1629 01:28:22,760 --> 01:28:25,040 Speaker 5: Remember there's this girl in the front. She was just 1630 01:28:25,160 --> 01:28:25,800 Speaker 5: smiling and. 1631 01:28:25,960 --> 01:28:30,400 Speaker 6: Just like we was dancing, singing for the kids, and 1632 01:28:31,120 --> 01:28:34,360 Speaker 6: we're taking pictures and you know what I'm saying, signing 1633 01:28:34,439 --> 01:28:37,519 Speaker 6: little autographs and left it at that. A couple of 1634 01:28:37,600 --> 01:28:40,680 Speaker 6: days later, our manager caused us, He's like, hey, man, 1635 01:28:40,680 --> 01:28:42,920 Speaker 6: you wouldn't believe what happened to the girl that was 1636 01:28:42,920 --> 01:28:44,960 Speaker 6: sitting in the front. Her mom called me she wanted 1637 01:28:45,479 --> 01:28:49,240 Speaker 6: the pictures in the video that we shot because the 1638 01:28:49,360 --> 01:28:52,479 Speaker 6: day after she said she hadn't seen her daughter smile 1639 01:28:53,000 --> 01:28:55,320 Speaker 6: in years, and this is the first time she's seen 1640 01:28:55,360 --> 01:28:57,479 Speaker 6: her smile in years. Was when we performed for her 1641 01:28:58,000 --> 01:29:01,360 Speaker 6: and she passed away and me and Dre we were 1642 01:29:01,360 --> 01:29:04,439 Speaker 6: at Taco Yeah, like the next day she passed away 1643 01:29:05,000 --> 01:29:07,000 Speaker 6: and me and Dre were you know, we ain't had 1644 01:29:07,040 --> 01:29:08,920 Speaker 6: that bag like that, so we was always a Taco 1645 01:29:09,000 --> 01:29:10,840 Speaker 6: Bell was the cheapest thing to eat, so we would 1646 01:29:10,920 --> 01:29:13,000 Speaker 6: we would pull up at Taco Bell, grab our food 1647 01:29:13,000 --> 01:29:15,280 Speaker 6: after we left my mom's garage, and we would park 1648 01:29:15,320 --> 01:29:18,160 Speaker 6: at the Taco Bell and just talk and then just eat. 1649 01:29:18,800 --> 01:29:21,439 Speaker 6: And I'll never forget, I said, you know, Dre, what 1650 01:29:21,560 --> 01:29:27,680 Speaker 6: if what if the sole purpose of the group that 1651 01:29:27,800 --> 01:29:30,160 Speaker 6: God put together, the sole purpose was to make this 1652 01:29:30,320 --> 01:29:32,760 Speaker 6: girl smile one last time? And that's the end of 1653 01:29:32,800 --> 01:29:34,840 Speaker 6: the group. And what if me and you are meant 1654 01:29:34,880 --> 01:29:38,680 Speaker 6: to be big producers? And Dre was like, nah, we 1655 01:29:38,720 --> 01:29:40,479 Speaker 6: about to be the biggest R and B singers in 1656 01:29:40,520 --> 01:29:43,880 Speaker 6: the game. I was like, I'm just saying, you know 1657 01:29:43,920 --> 01:29:45,479 Speaker 6: what I'm saying, you don't know. And it just so 1658 01:29:45,680 --> 01:29:48,960 Speaker 6: happened that look at us now, you know what I'm saying, 1659 01:29:49,320 --> 01:29:51,080 Speaker 6: and this is like we had nothing, this is pre 1660 01:29:51,600 --> 01:29:54,240 Speaker 6: is this is like this is we just bought our keyboard. 1661 01:29:54,280 --> 01:29:56,680 Speaker 6: I said, what if God the whole plan was for 1662 01:29:56,760 --> 01:29:59,080 Speaker 6: the group to get together to make this girl smile 1663 01:29:59,200 --> 01:30:01,800 Speaker 6: one last time when she went to heaven from her mom, 1664 01:30:02,479 --> 01:30:06,160 Speaker 6: and bring us together to make music. And it was like, 1665 01:30:06,240 --> 01:30:08,120 Speaker 6: you know that that stuck with me because I felt like, 1666 01:30:08,640 --> 01:30:11,800 Speaker 6: you know, God has definitely had had his hand in 1667 01:30:12,040 --> 01:30:15,599 Speaker 6: our career from our whole career, you know what I'm saying. 1668 01:30:15,960 --> 01:30:17,000 Speaker 5: And we've always been like. 1669 01:30:17,080 --> 01:30:20,960 Speaker 6: Yo, when it's God's time, it's God's time. You know 1670 01:30:21,000 --> 01:30:22,360 Speaker 6: what I'm saying, just leave it in his hands. 1671 01:30:23,000 --> 01:30:26,040 Speaker 5: And we just hear man. We just honored to be 1672 01:30:26,080 --> 01:30:28,080 Speaker 5: here with y'all brothers, you know what I'm saying. And 1673 01:30:28,320 --> 01:30:30,000 Speaker 5: because at the end of the day, we go we go. 1674 01:30:30,600 --> 01:30:32,960 Speaker 6: Like when I seen he when he hit me, He's like, 1675 01:30:33,080 --> 01:30:34,680 Speaker 6: YO were in Miami. I said, man, you still got 1676 01:30:34,720 --> 01:30:38,479 Speaker 6: the same number. That's how you know you're dealing with 1677 01:30:38,560 --> 01:30:41,360 Speaker 6: some good brothers, you know what I'm saying. Like, my 1678 01:30:41,479 --> 01:30:43,080 Speaker 6: man got the same number. I was like, of course, 1679 01:30:43,240 --> 01:30:44,800 Speaker 6: be an honor man, because at the end of the day, y'all, 1680 01:30:44,840 --> 01:30:50,040 Speaker 6: y'all can't leave Miami without having cooland jail. So it's 1681 01:30:50,040 --> 01:30:51,240 Speaker 6: the honor to be here with y'all man. 1682 01:30:51,920 --> 01:30:54,920 Speaker 1: Love. Listen, my name is thank V. 1683 01:30:55,439 --> 01:30:58,960 Speaker 3: This is the Army Money Podcast, the authority on all 1684 01:30:59,080 --> 01:31:03,599 Speaker 3: things are and B and these have been my blowing money, 1685 01:31:03,680 --> 01:31:08,960 Speaker 3: fast brothers, a lot of cars. 1686 01:31:08,640 --> 01:31:11,160 Speaker 1: A lot of money spent, but we're still here. Make 1687 01:31:11,240 --> 01:31:11,839 Speaker 1: some noise. 1688 01:31:14,320 --> 01:31:16,160 Speaker 8: A thank you. 1689 01:31:17,760 --> 01:31:18,840 Speaker 3: R and B Money. 1690 01:31:20,000 --> 01:31:21,760 Speaker 7: R and B Money is a production of the Black 1691 01:31:21,800 --> 01:31:26,560 Speaker 7: Effect podcast Network. For more podcasts from iHeartRadio, visit the 1692 01:31:26,680 --> 01:31:30,519 Speaker 7: iHeartRadio app, Apple Podcasts, or wherever you listen to your 1693 01:31:30,560 --> 01:31:34,400 Speaker 7: favorite shows. Don't forget to subscribe to and rate our show, 1694 01:31:34,760 --> 01:31:37,360 Speaker 7: and you can connect with us on social media at 1695 01:31:37,439 --> 01:31:41,680 Speaker 7: Jy Valentine and at the Real Tank. For the extended episode, 1696 01:31:41,800 --> 01:31:46,360 Speaker 7: subscribe to YouTube dot com, Forward slash, R and b money,