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Speaker 1: Wait that ass up in the morning Breakfast Club Morning,

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Speaker 1: everybody is DJ Envy Angela Yee, Charlomagne the guy. We

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Speaker 1: are the Breakfast Club. We got a special guest in

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Speaker 1: the building, DJ Premire, what's up? What's up? Thanks back,

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Speaker 1: thanks for having me back again. Of course the third time.

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Speaker 1: Third time. You got a new project hip Hop fifty Yeah,

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Speaker 1: tell us about it. It's Mass Appeal the label um.

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Speaker 1: Obviously you know Peter Bennenbender, Nah's business partners, and they

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Speaker 1: approached me about this ten producer EP where the fir

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Speaker 1: the one through nine are producers that they chose to

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Speaker 1: do an EP that contains five songs, and uh, the

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Speaker 1: ninth one is going to be voted by the fans,

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Speaker 1: so they all get to say, this is what we

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Speaker 1: want to do the tenth one. The tenth one's gonna

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Speaker 1: land on the on the fiftieth anniversary of hip hop,

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Speaker 1: which is August eleventh, nineteen seventy three, is the official birthday.

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Speaker 1: So when the tenth one drops, it to be on

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Speaker 1: the fiftieth birthday. So we don't know who that's gonna be,

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Speaker 1: since I guess he'll probably wait till they get closer

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Speaker 1: to the end. To let the fans choose, so like

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Speaker 1: every two to three months sort of, it'll be another

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Speaker 1: one released. I think Swiss is next. It only makes sense,

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Speaker 1: you nays, you know, for you to kick things off.

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Speaker 1: I was like, yo, we get to pick who we want.

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Speaker 1: So I was like, no, you gotta give me. I

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Speaker 1: know you're part of the company, but you gotta give

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Speaker 1: me at least one and I'll figure out the other four.

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Speaker 1: You got like an all star cast for these five

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Speaker 1: songs too, because you kicked it off a Joey badass yeah,

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Speaker 1: which I love. He's from Brooklyn man Bob Mon. And

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Speaker 1: then of course you put Remy Mind Rapteddy together, which

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Speaker 1: was a great matchup. Yeah. And then I even I

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Speaker 1: love this song with Slick Rick and Little Wayne too. Yeah. Yeah,

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Speaker 1: that was a last minute thing. But the dope part

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Speaker 1: was Wayne had already laid his verse when I told

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Speaker 1: Rick about it, and you know, Rick, let me hear

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Speaker 1: the verse. See what he said. You know, he talks

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Speaker 1: just like the way like the Children's Story record, And

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Speaker 1: I was like, he sounds he heard. He's like, oh yeah,

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Speaker 1: he said, do you want to hook or do you

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Speaker 1: want a verse? Or do you want to verse? In

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Speaker 1: a hook. I was like, I want both, and he'said,

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Speaker 1: all right, So those are the five songs he didn't

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Speaker 1: maybe in like two or three days. Really. Yeah, yeah,

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Speaker 1: you know it's interesting to me because I feel like

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Speaker 1: you have such a long history. Also in this game,

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Speaker 1: you're from Houston, but then you moved to me wear

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Speaker 1: a Prairie View. A lot a lot of times it's

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Speaker 1: it's left out, even though born and fifth Ward and

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Speaker 1: lived there and moved and we moved to My father

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Speaker 1: was a biology teacher at Prairie View and that's how

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Speaker 1: we ended up moving there because he wanted to be

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Speaker 1: closer to the to the college, which is only like

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Speaker 1: a forty minute drive, so he built a house in

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Speaker 1: that town. And that's how my family moved from fifth

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Speaker 1: Ward to PV. And I went to college there too,

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Speaker 1: didn't graduate. And then you moved to New York. Yes,

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Speaker 1: Now why did you move to New York? My grandfather

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Speaker 1: lived in Brooklyn, Uh, and my mom my mom my

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Speaker 1: mother which is his father, uh, but just her father. Um,

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Speaker 1: it's from Baltimore. Okay. So every summer, my you know,

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Speaker 1: you know, after schools that are we're going to New

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Speaker 1: York for the summer, and you know, his kids were like, yay,

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Speaker 1: we're going to New York. So we'd always Then my

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Speaker 1: father's from South Carolina, she's from Baltimore, so we always

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Speaker 1: stopped in South Carolina and something to see my family there,

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Speaker 1: which is the Martin family. Then we go to North

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Speaker 1: Carolina to see our on Mangel. Then we go we

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Speaker 1: go to and that's driving. Then we go to Baltimore

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Speaker 1: see my grandmother and my aunt and my cousin. Then

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Speaker 1: New York is the finale. So we always stay with

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Speaker 1: my grandfather, grandfather Bill, who's tattered on my arm because

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Speaker 1: he was a major part of me wanting to be

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Speaker 1: in the music business. And uh he was in bands

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Speaker 1: and stuff. He used to brag and show me his

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Speaker 1: photo albums of all the places he's been, and I

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Speaker 1: was just really into that, and I was really into

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Speaker 1: video I guess you can't really call him video games.

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Speaker 1: In my age and some fifty six, I was a

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Speaker 1: pinball expert. You know what I'm saying. You don't call

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Speaker 1: that video game? What do you call what do you

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Speaker 1: I don't know, okay, okay, okay, arcade games? So I

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Speaker 1: was always battling people in pinball. So whenever I'd go

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Speaker 1: to stay with my grandfather. And this is right before

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Speaker 1: I was like maybe eleven to twelve. Because as I

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Speaker 1: got older and like turned thirteen fourteen, my sisters and

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Speaker 1: them didn't want to go anymore. They're like, we want

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Speaker 1: to have someone with our friends and weren't gonna keep going.

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Speaker 1: In New York Me I wanted to go because he

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Speaker 1: was in the baseball. We would go to baseball games.

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Speaker 1: That's how I got into the Yankees. Even I'm a

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Speaker 1: die hardassro stand for life, I'm Houston everything for life

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Speaker 1: on that. But when it came to my grandfather, we

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Speaker 1: would always go to Playland in Times Square and I

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Speaker 1: would He would give me mad Roles quarters and I

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Speaker 1: would just battle people in pinball, say I'll play you,

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Speaker 1: I'll play you, and I just love the whole action

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Speaker 1: of the city. And being that he went to I

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Speaker 1: was in Tokyo. I was here, and he's showing all

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Speaker 1: these pictures. I was like, man, I want to do

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Speaker 1: that one day. One day he takes me to play

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Speaker 1: land and uh, we see some b boys breaking and stuff.

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Speaker 1: You know, they put the guitar case open to put

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Speaker 1: money in. You put your quarters and yeah, well just

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Speaker 1: seeing all you know, I didn't know what breakdancing was,

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Speaker 1: and just seeing all that and they playing the hip

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Speaker 1: hop and they got the big bone box, and I

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Speaker 1: was like, this is different because growing up in my era,

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Speaker 1: we liked our parents music. You know, now, as you know,

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Speaker 1: my son is eleven, he's not really into the music.

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Speaker 1: I'm meanto because the generation is different. Before us, we

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Speaker 1: were into Gladys Night and you know, Curtis may feel

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Speaker 1: very white, you know, the Temptations. We weren't like, oh,

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Speaker 1: that's your old folks music. We all grew liking our

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Speaker 1: parents music until Prince comes out and you know, the

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Speaker 1: Confunction and you know, cameo and we started to kind

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Speaker 1: of My mom was like that's y'r alls music, and

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Speaker 1: we separate. But when I saw them doing all that

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Speaker 1: breakdancing in Times Square, I was like, I want to

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Speaker 1: move here. And then as it building, hip hop started

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Speaker 1: to grow and records started coming out. I was like, man,

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Speaker 1: that's me. I could just totally identify, and I was like,

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Speaker 1: this is what I want to do. Did you listen

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Speaker 1: to disco too? Since did your parents listen to that? Yeah? Yeah,

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Speaker 1: that was even that. I mean you as a DJ

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Speaker 1: the twelve and single. I mean, to get it Rabbits

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Speaker 1: Delight or anything like that, you had to only buy twelves.

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Speaker 1: There weren't no cassette singles yet. There was no CDs.

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Speaker 1: You would even even have a turntable. You bought record

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Speaker 1: in the record say I owned Rabbits Delight, you know,

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Speaker 1: but we we had turntable. It wasn't twelve hundred, but

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Speaker 1: we had. We always I've always had a turn I

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Speaker 1: used to put my headphones in and just listen to

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Speaker 1: records on the turntable all day. Yeah. So so even

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Speaker 1: with that um, as it grew, I was like, man,

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Speaker 1: I'm gonna move it. So an eighty seven I started

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Speaker 1: to make my move, and I was still checking my

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Speaker 1: shame with my grandfather. Then he passed. Once he passed,

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Speaker 1: I moved in with one of my classmates parents, who

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Speaker 1: went to prayvew with us. They were from Brooklyn, and

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Speaker 1: that's how I ended up in East New York, really

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Speaker 1: deep in the hood and hanging around all these wild guys,

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Speaker 1: and then you kind of started to blend in and

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Speaker 1: become part of them. Someone were just wild and crazy.

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Speaker 1: I would I love the action being from a smaller

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Speaker 1: town and then you know, I ran the streets, did

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Speaker 1: all the crazy stuff, but not to the degree of

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Speaker 1: where it would get back to my father. The dad

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Speaker 1: I was doing doing stuff. It was like a gumbo

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Speaker 1: of music. You had, yeah, taste from Houston and South

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Speaker 1: Carolina and North Carolina and Maryland and heavy metal. I

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Speaker 1: remember seeing somewhere that you used to listen to heavy metal.

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Speaker 1: She'll do still do. Love love rock, I love jazz.

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Speaker 1: And my mother's art teachers, so she uh, she taught

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Speaker 1: all of us art. And because of that, that's another

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Speaker 1: reason why I was into vinyl, because she had so

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Speaker 1: many different types of records. And then me and her

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Speaker 1: would go record shopping and we went to concerts together,

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Speaker 1: you know, so anything that had to go to concerts,

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Speaker 1: my mother and I would always go. We go see

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Speaker 1: it was Rufus at the time, featuring Shaka Khan. We

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Speaker 1: our whole family would see Ygantina Turner, and I was

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Speaker 1: that's amazing. I got lost. You know how you in

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Speaker 1: your seats, but if you're going there's always an aisle

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Speaker 1: that separate teach row yep, I'm dancing doing my thing.

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Speaker 1: I kind of moved to the left and you know

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Speaker 1: they're not. They're not looking at watching the show. And

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Speaker 1: as I drift out of the ale that takes the

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Speaker 1: stairs all the way down to the bottom row of

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Speaker 1: that section, I ended up in the wrong one. So

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Speaker 1: now I'm looking like you cried. Yeah, I remember the

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Speaker 1: first of my mom. I lost my mom and tss boy,

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Speaker 1: did I cried? Yeah, you got me. I used to

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Speaker 1: get lost all the time, but like on purpose, and

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Speaker 1: I never was upset about it. And then my parents

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Speaker 1: would be going crazy looking for me. I show up

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Speaker 1: with a cop bringing me irresponsible. Casey, your son is here.

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Speaker 1: We have That's what happened to Hey. The crazy thing is,

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Speaker 1: you know, the ushers like where you don't know? And

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Speaker 1: I'm like, nah, okay, and they tell they have to

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Speaker 1: go make an announcement to Tina, so they stopped the music.

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Speaker 1: A little boy on stage. Yes, they found me and

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Speaker 1: my mother's boy, boy, you hit it when you get home.

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Speaker 1: My mother was a disciplinarian. My father was the extra disciplinarian,

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Speaker 1: but my mom was the one that taught me how

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Speaker 1: to throw my hands up if I got to fight everything,

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Speaker 1: So go get your shoes, we gotta fight yea. Yeah,

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Speaker 1: So so I learned early, you know, to be a

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Speaker 1: stand up guy because because my mom. And on top

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Speaker 1: of that, don't you move out of that out no more?

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Speaker 1: When you at a concert, have you seen that challenge

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Speaker 1: going around with the challenge with the parents and killing

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Speaker 1: their kids, Go get your shoes. A lot of people

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Speaker 1: saying it's disrespectful, right, yeah, but I'll be honest, that's

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Speaker 1: what I teach my kids. I teach my kids if

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Speaker 1: mom and dad or your brothers, sister have a problem,

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Speaker 1: you put your shoes on and you gotta help your family. Yeah.

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Speaker 1: So it's like I tested one of my kids the

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Speaker 1: other day and you know, he was like, all, I

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Speaker 1: put my shoes, Like we got a problem, Dad, let's go.

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Speaker 1: But that's what my dad taught me. It's timatazing for

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Speaker 1: the kids who started crying, and then they posted on

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Speaker 1: social media forever. I literally just saw it, just flashing

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Speaker 1: the TV and TMZ was on and they were they

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Speaker 1: were showing Donielle Rollins asking his son do it. And

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Speaker 1: even though he walked off and went back and the

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Speaker 1: like the airport a scene like he walks back in

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Speaker 1: like I'm not doing it whatever, and then they show

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Speaker 1: the people on you know, the staff on d TMD

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Speaker 1: and they were the girl was going, that's wrong, and

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Speaker 1: she was like, then you shouldn't do that, you know,

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Speaker 1: with the whole energy of like that's not cool. And

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Speaker 1: but Donnelle didn't and someone like my pap. So when

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Speaker 1: he walked off, he thought he was gonna run, but

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Speaker 1: he stayed there. You know, I'm sure done Elle's teacher,

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Speaker 1: but that's my dad told me. My dad worked a lot,

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Speaker 1: and he was. He always told me, if something happens

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Speaker 1: with your mom, you have her back. You make sure

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Speaker 1: she's good if I'm not here. And the same thing

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Speaker 1: with my grandmother. Stayed at my grandmother the whole summer,

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Speaker 1: and my cousins they were they always thought, if y'all

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Speaker 1: get beat up, it won't get a black guy. Y'all

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Speaker 1: all better have a's down now. Sign Austin probably is

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Speaker 1: going to have to protect him one day soon because

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Speaker 1: I don't know if y'all seeing downell fight. But but yeah,

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Speaker 1: let's get back into your story though. So you're in Brooklyn, right, Yeah,

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Speaker 1: And so the first artist that you produced for was

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Speaker 1: it for Gangstaff for group Um get Gang Star. As

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Speaker 1: far as joining the group, I was in a group

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Speaker 1: called we used to be called m Season Control. It

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Speaker 1: was my man, Top Ski, Sugar Pop and style E

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Speaker 1: Teas Tyler team was was our right. He was our

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Speaker 1: like flavor, flavor of the group. This is all college

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Speaker 1: buddies from school. And as it got to the point

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Speaker 1: where we wanted to see if we could make it

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Speaker 1: in New York, the only one that could really afford

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Speaker 1: to go was me and Top because Top happened to

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Speaker 1: be from Boston, so he would always always go visit

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Speaker 1: his pops and and and it's the reason why he

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Speaker 1: was in Houston's because his mother lived in the Most City,

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Speaker 1: which is anybody text to know that's Missouri City where

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Speaker 1: we call the Most City. So we would always go

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Speaker 1: to our house during the summer, or we'd be up

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Speaker 1: in New York. When I was trying to shop my demo,

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Speaker 1: I was working at a record store in Houston called

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Speaker 1: sound Ways. It was the store in the hood that

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Speaker 1: everybody the pimps would come to the come in there

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Speaker 1: with the gators and the had cock days, dousing and

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Speaker 1: just you know, telling with the gold one goal to go,

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Speaker 1: Hey man, you got that ladder mo. You know they

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Speaker 1: only say ladder more, they say ladder Mo and and

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Speaker 1: you had to know the genre music, and you had

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Speaker 1: to know Zyetico music, which you know is you know,

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Speaker 1: the Cajun music with the kind of the accordion sound. Definitely,

255
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Speaker 1: it's big down there. Look up Zydeco. It's super big.

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Speaker 1: It's like very New Orleans. Uh, but it Texas is

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Speaker 1: big and it's very heavy out there. Everybody knows the

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Speaker 1: words said everything like a like a like a before

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Speaker 1: I let go from Maze, they know the words that

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Speaker 1: every Zyetco record. So we grew up with that. The

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Speaker 1: boss at the at the store said you have to

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Speaker 1: know all that, including country as well and jazz. So

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Speaker 1: I had a good knowledge of it because of my

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Speaker 1: mother's record collection. And as that built, Uh, I was

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Speaker 1: telling the guy that that got me the job. His

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Speaker 1: name is Carlos Garza. He's a big part of me

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Speaker 1: getting there because, uh, hip hop was just going on Billboard.

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Speaker 1: They were having a you know, finally had a hip

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Speaker 1: hop chart. He became the Billboard reporter. So he had

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Speaker 1: me become the twelve inch buyer for all the twelve

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Speaker 1: inch records that come down, so so that he could

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Speaker 1: do occupy that and they're checking. Hate was popping into

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Speaker 1: in Houston. Oh this record, this record, this record, and

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Speaker 1: a lot of independent hip hop were called to get

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Speaker 1: on that chart by having him report from Houston. While

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Speaker 1: he was doing that, he's like, Yo, man, you gotta

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Speaker 1: check out this friend of mine. He could dj. He's dope,

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Speaker 1: and he's coming to New York for the summer. Stup Fine,

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Speaker 1: who on Wild Pitch Records, which Gangstar was on at

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Speaker 1: that time, was like, hey, we we want to hear

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Speaker 1: the demo. I wasn't ready to for him to hear it.

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Speaker 1: He sent them a copy of it and I was like,

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Speaker 1: why you do that, it's not ready in And they

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Speaker 1: heard and they liked it, but they didn't want them.

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Speaker 1: They only wanted me. And I was like, well, I'm

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Speaker 1: not gonna go with out mind my group because I

287
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Speaker 1: was even not even contemplating being in the group. But

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Speaker 1: I DJed all the parties at school, so everybody was like, Yo,

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Speaker 1: you should do it, you should do it. Finally got

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Speaker 1: my courage up to say all right, we get we

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Speaker 1: get to New York. He's like, I don't like your MC,

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Speaker 1: but I'll put you in a real studio and let's

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Speaker 1: see if you can do a better demo that and

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Speaker 1: maybe I like him and we could we're interested in

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Speaker 1: sign of You. We put the put us in the studio.

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Speaker 1: Yo still didn't like it. Top was like, Yo, man,

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Speaker 1: if things don't work out in the next couple of months,

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Speaker 1: I'm gonna join the military. And Tops a while, dude,

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Speaker 1: I'm like, you ain't joining the military. That's not even

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Speaker 1: your style. You two street for that, and He's like, yeah,

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Speaker 1: I'm gonna do it. One day, when it was a

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Speaker 1: weekend and we're all living in my man Gordon Franklin's parents' house,

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Speaker 1: he made us get jobs. Everything. He said, you can't

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Speaker 1: stay in there all trendy, so you know, you have

305
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Speaker 1: to have a job. You can't him, you know. So,

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Speaker 1: and only we could, we couldn't come into like at

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Speaker 1: the five, so you know, we get get home at

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Speaker 1: night from having to stay there, and I mean we

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Speaker 1: get home at night, and then we got to stay

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Speaker 1: out until he gets back from work, so we have

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Speaker 1: nowhere to go. So I was like, I can't keep

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Speaker 1: doing this. That one Saturday when we're chilling, the doorbell

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Speaker 1: rings and the recruiting officers in the yutfit goes, hey,

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Speaker 1: how are you doing. We're looking for Theodore Campbell and

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Speaker 1: I was like, for what he goes on today is

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Speaker 1: to day he's joined in the navy and I'm like,

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Speaker 1: no way, and I'm like yelling down the basement, yo Top,

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Speaker 1: no time. And he comes up the stairs like, yo, man,

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Speaker 1: I told you, you know we nobody, they're not interested

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Speaker 1: in us. I'm gone and I'm like, how long are

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Speaker 1: you going for? He said four years? Wow. I'm like, oh,

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Speaker 1: I'm not waiting. If he said a year, was gonna wait?

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Speaker 1: He said four years. I'm like, dude, he said, I

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Speaker 1: do your thing. I'm riding with you. He's he's my

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Speaker 1: boy to this very day. We talk all the time,

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Speaker 1: bug out and next thing you know, he's gone. I

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Speaker 1: called back to the students, said, yo, Top, just when

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Speaker 1: they just the recruiting officers just took him. He's like,

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Speaker 1: so when you joined Gangstar And I was like yeah.

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Speaker 1: And that's how it became the DJ. Me and Gurgle

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Speaker 1: started just talking on the phone because I had to

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Speaker 1: go back to school to get get another semester in.

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Speaker 1: I made him beat to words. I manifest and said

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Speaker 1: I think this would be dope for you to rhyme over.

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00:15:48,560 --> 00:15:50,640
Speaker 1: He called me back and say, yo, I just wrote

336
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Speaker 1: a round check it out. And he's like, I, professor,

337
00:15:52,360 --> 00:15:54,320
Speaker 1: I don't jest for the words I'm I was like whoa,

338
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Speaker 1: because they were already gangs. I was already out, and

339
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Speaker 1: I was a fan of some of their twelve in

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Speaker 1: singles when forty five King was producing them, and then

341
00:16:01,560 --> 00:16:04,720
Speaker 1: from there, you know, and then I was a fan

342
00:16:04,760 --> 00:16:07,200
Speaker 1: of Latti, who was on Wild Pitch as well, who

343
00:16:07,280 --> 00:16:10,720
Speaker 1: is Apachee's brother, and Lati was one of the first

344
00:16:10,760 --> 00:16:12,920
Speaker 1: and Chill Rob g so all of that, and that

345
00:16:13,000 --> 00:16:15,320
Speaker 1: was all forty five King, Flavor You and this stuff.

346
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Speaker 1: Guru was the only outsider that was on that label

347
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Speaker 1: at the time, and I was like, man, this could work.

348
00:16:21,800 --> 00:16:25,080
Speaker 1: We recorded the record, Stu calls me back and it's like, yo,

349
00:16:25,640 --> 00:16:28,360
Speaker 1: it's popping on radio. Everybody's playing it. He said, but

350
00:16:28,440 --> 00:16:30,920
Speaker 1: your version on the album is a little too slow.

351
00:16:31,400 --> 00:16:33,960
Speaker 1: We need to make a more amped maybe speed it up.

352
00:16:34,000 --> 00:16:37,480
Speaker 1: I flew back there right before Thanksgiving, recorded the record

353
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Speaker 1: and did the extended one, which everybody knows from the video.

354
00:16:41,040 --> 00:16:42,720
Speaker 1: He said, we're doing a video back then You're like,

355
00:16:42,760 --> 00:16:45,440
Speaker 1: gonna get a video, and we shot the video and

356
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Speaker 1: then it just really took off. How is the money

357
00:16:47,680 --> 00:16:49,320
Speaker 1: for you back then? And deals that you signed with

358
00:16:49,440 --> 00:16:53,000
Speaker 1: this zero broke, you know. And after we made a

359
00:16:53,120 --> 00:16:56,760
Speaker 1: name for ourselves, then a guru used to listen to

360
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Speaker 1: all the demos. So he would go to the Stu's house.

361
00:17:00,000 --> 00:17:02,240
Speaker 1: It was a husband and wife label and he'd have

362
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Speaker 1: the shoe box of tapes. And when he heard my demo,

363
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Speaker 1: the second demo he found was law Ferness and Lawd

364
00:17:08,480 --> 00:17:10,880
Speaker 1: Ferness a demo. He's like, Yo, I'm trying to talk

365
00:17:10,960 --> 00:17:13,960
Speaker 1: Stuart sign this guy, Lawd Fernst. Tell me what you think.

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00:17:14,200 --> 00:17:16,600
Speaker 1: I just found law Fess a demo that that we

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00:17:17,000 --> 00:17:19,080
Speaker 1: that he's played me and I found I got my

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00:17:19,119 --> 00:17:21,560
Speaker 1: demo back from Stuart gave me my demo back, So

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Speaker 1: I'm digitizing all that stuff so I can tell a

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Speaker 1: story later on. But we listened to law Fernest and

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Speaker 1: he's students to it was like should we sign him? Like, yes,

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Speaker 1: sign him. So law Ferness was the first artist I

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Speaker 1: had produced outside of Gang Star and he became my

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Speaker 1: label mate. And law Ferness brought Diamond D. He's like,

375
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Speaker 1: I gotta have my homies from my block. He brought

376
00:17:41,320 --> 00:17:44,040
Speaker 1: Diamond he brought show Biz and he brought Fat Joe

377
00:17:44,359 --> 00:17:47,280
Speaker 1: ag He brought all of them around, So that's how

378
00:17:47,320 --> 00:17:50,119
Speaker 1: I met met them. This is eight eighty nine, and

379
00:17:50,119 --> 00:17:52,600
Speaker 1: you were supposed to produce Fat Joe's project or the

380
00:17:52,680 --> 00:17:55,720
Speaker 1: Terror Squad project. What was it that No, he signed up.

381
00:17:56,600 --> 00:17:59,679
Speaker 1: He signed me to Terot Squad and we were supposed

382
00:17:59,680 --> 00:18:01,320
Speaker 1: to do a project kind of it's kind of like

383
00:18:01,320 --> 00:18:03,359
Speaker 1: what I did with this, like a compilation album, like

384
00:18:03,359 --> 00:18:07,000
Speaker 1: the way Kalett does albums these features and uh um.

385
00:18:07,760 --> 00:18:11,480
Speaker 1: But then when show, I mean when Fat Joe left. Um,

386
00:18:12,000 --> 00:18:14,080
Speaker 1: I had it in my contract that if he leaves,

387
00:18:14,320 --> 00:18:15,920
Speaker 1: I can leave, because they wanted it to where even

388
00:18:15,960 --> 00:18:18,400
Speaker 1: if Joe leaves and go somewhere else, we still gotta

389
00:18:18,480 --> 00:18:21,000
Speaker 1: keep you at the label. And I wanted to freedom

390
00:18:21,080 --> 00:18:23,840
Speaker 1: to bounce if Joe bounce. So the first single I

391
00:18:23,880 --> 00:18:27,640
Speaker 1: was gonna drop was a fifty cent record. Wow. And

392
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Speaker 1: this is when everybody wouldn't really mess up with Fifth

393
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Speaker 1: to the fullest, because you know he was having too

394
00:18:31,440 --> 00:18:33,919
Speaker 1: much drama from after doing How To Rob and me

395
00:18:34,000 --> 00:18:37,040
Speaker 1: and Fifth hit it off right right away and clicked.

396
00:18:37,280 --> 00:18:38,920
Speaker 1: When I got on the phone with him, he said

397
00:18:38,960 --> 00:18:41,720
Speaker 1: they'll do the record, and right when it's about the

398
00:18:41,760 --> 00:18:44,920
Speaker 1: time to do the record. Boom, we get a call

399
00:18:45,720 --> 00:18:47,760
Speaker 1: Fifth can't do it, and then I'm like why not.

400
00:18:47,880 --> 00:18:50,160
Speaker 1: They'd like he's about to sign the eminem and Doctor

401
00:18:50,240 --> 00:18:53,399
Speaker 1: Dre and I'm like no, because we already committed to us,

402
00:18:53,440 --> 00:18:55,480
Speaker 1: and then like nah, he and I talked to Dre.

403
00:18:55,680 --> 00:18:58,600
Speaker 1: Dre was like, pream I love you, but he's not

404
00:18:58,640 --> 00:19:01,320
Speaker 1: doing any more recording. So he does his debut album

405
00:19:01,359 --> 00:19:03,560
Speaker 1: with well, not his debut because obviously power of the

406
00:19:03,600 --> 00:19:06,520
Speaker 1: dollars the debut, but signed to them get rich to

407
00:19:06,600 --> 00:19:09,080
Speaker 1: do Trying and look what happened. Wow. You know me

408
00:19:09,119 --> 00:19:11,400
Speaker 1: and I always tell Fair you still owe me that track.

409
00:19:11,720 --> 00:19:16,359
Speaker 1: I'm think I think you're gonna up. I was gonna

410
00:19:16,359 --> 00:19:19,040
Speaker 1: ask what when you and Guru first met? How was it?

411
00:19:19,080 --> 00:19:22,160
Speaker 1: Because you know you're coming from him, coming from Boston,

412
00:19:22,520 --> 00:19:26,480
Speaker 1: different slings, different sounds. How did y'all connect? Um? Just

413
00:19:26,600 --> 00:19:28,959
Speaker 1: phone calls and naturally it was doing the Mutant New

414
00:19:29,040 --> 00:19:32,760
Speaker 1: Music seminar, so everybody was in town. I was a starstruck.

415
00:19:32,840 --> 00:19:35,479
Speaker 1: That goes ice tea, there goes there, goes chucking flame

416
00:19:35,640 --> 00:19:38,760
Speaker 1: and you know, just just everybody. You know, it was

417
00:19:38,920 --> 00:19:42,320
Speaker 1: you couldn't go into the Battle, the DJ Battle and

418
00:19:42,359 --> 00:19:46,119
Speaker 1: the MC Battle and then um we went to the world.

419
00:19:46,200 --> 00:19:48,159
Speaker 1: They had a showcase. It's a lot of showcases and

420
00:19:48,200 --> 00:19:50,760
Speaker 1: the show I remember it was ice cream Tea. Remember

421
00:19:50,920 --> 00:19:54,359
Speaker 1: from it was a strong City record, shout to jazz

422
00:19:54,560 --> 00:19:58,320
Speaker 1: j and uh it was ice cream Tea and busy Bee.

423
00:19:58,480 --> 00:20:00,919
Speaker 1: That's some suicide was out. I remember he brought Mellie

424
00:20:00,920 --> 00:20:03,919
Speaker 1: Mail on to to to rock on stage rhythm and

425
00:20:03,960 --> 00:20:05,480
Speaker 1: he was like when I was a young boy and

426
00:20:05,680 --> 00:20:08,119
Speaker 1: Mellie Mail was flexing, I was like, Wow, it's Mellie Mail.

427
00:20:08,800 --> 00:20:12,479
Speaker 1: And then Coolgi rapping Polo performed after that. And for

428
00:20:12,560 --> 00:20:14,760
Speaker 1: me at that time, when Roman rode to the Richard

429
00:20:14,920 --> 00:20:19,040
Speaker 1: was out and I was just like, I gotta I

430
00:20:19,160 --> 00:20:22,000
Speaker 1: gotta be here, I gotta get on. And I remember

431
00:20:22,000 --> 00:20:24,960
Speaker 1: my father was like, hey, if you if you're gonna

432
00:20:25,040 --> 00:20:27,919
Speaker 1: stay out there and nothing in school, please make a

433
00:20:28,000 --> 00:20:30,960
Speaker 1: name that people remember. He said, he said, I'm counting

434
00:20:30,960 --> 00:20:33,159
Speaker 1: on you to keep our name hot. And I was like,

435
00:20:33,240 --> 00:20:35,520
Speaker 1: all right, I'm a definitely due. You'll see. And me

436
00:20:35,560 --> 00:20:38,280
Speaker 1: and Grew would just talk about everything we had in common,

437
00:20:38,560 --> 00:20:41,239
Speaker 1: the artists, we life, you know, smoking blunts, you know,

438
00:20:41,359 --> 00:20:45,639
Speaker 1: just just everything was just so exactly in sync. Now,

439
00:20:45,680 --> 00:20:48,800
Speaker 1: I was gonna ask with m B, I, G and

440
00:20:48,880 --> 00:20:51,840
Speaker 1: jay Z, how did you develop those relationships? I know

441
00:20:51,880 --> 00:20:54,480
Speaker 1: you talked about it before Button in depth and also

442
00:20:54,560 --> 00:20:56,879
Speaker 1: with like one in the Million and the beats changing.

443
00:20:57,440 --> 00:20:59,399
Speaker 1: You know, did he always agree with that or was

444
00:20:59,440 --> 00:21:01,800
Speaker 1: he like I don't know, so talk about that the

445
00:21:01,840 --> 00:21:03,399
Speaker 1: first call with when you got in the studio with

446
00:21:03,480 --> 00:21:06,120
Speaker 1: Big and who called, well, we're big. We we lived

447
00:21:06,160 --> 00:21:07,760
Speaker 1: right down the block from That's how we met, and

448
00:21:07,920 --> 00:21:09,560
Speaker 1: GREU was the one that's going, yo, you gotta check

449
00:21:09,560 --> 00:21:11,800
Speaker 1: out this guy, Biggie Smalls. And it wasn't big, you know,

450
00:21:11,840 --> 00:21:14,080
Speaker 1: it wasn't Big or it's just Biggie Smalls. And I

451
00:21:14,080 --> 00:21:16,600
Speaker 1: got a credit mister C because mister C lived down

452
00:21:16,600 --> 00:21:18,760
Speaker 1: the block from us, and it was and it was

453
00:21:18,800 --> 00:21:21,080
Speaker 1: a wee spot down down near where he lived at

454
00:21:21,080 --> 00:21:23,880
Speaker 1: the time that had just opened. And any time back

455
00:21:23,920 --> 00:21:25,800
Speaker 1: then in those days, since we were all promoting to

456
00:21:25,840 --> 00:21:29,159
Speaker 1: get you know, getting lifted um, you would go to

457
00:21:29,200 --> 00:21:32,719
Speaker 1: the new spot hopefully they got some good good you know.

458
00:21:32,800 --> 00:21:35,960
Speaker 1: So every time we went to the spot, we'd either

459
00:21:36,000 --> 00:21:38,200
Speaker 1: go down to the block that with C lived about

460
00:21:38,200 --> 00:21:41,040
Speaker 1: his church or and make the so we could park

461
00:21:41,040 --> 00:21:43,200
Speaker 1: somewhere away from the spot, go go get it, get

462
00:21:43,200 --> 00:21:45,880
Speaker 1: our stuff and move on. And every time I see

463
00:21:45,920 --> 00:21:49,800
Speaker 1: mister See, he'd go, yo, Biggie Smalls, when you're gonna

464
00:21:49,800 --> 00:21:51,959
Speaker 1: listen to that demo? And I was like, yeah, I'm

465
00:21:52,000 --> 00:21:54,439
Speaker 1: gonna listen to it. Brushed it off right, go on

466
00:21:54,480 --> 00:21:57,960
Speaker 1: to the spot again, you know, and we're rolling. Miss

467
00:21:58,240 --> 00:22:01,600
Speaker 1: just happened always be out that outside, No Biggie smaller.

468
00:22:01,680 --> 00:22:03,920
Speaker 1: He would do that every time, Biggie Smalls and we're

469
00:22:03,920 --> 00:22:07,840
Speaker 1: just like okay, okay, okay, chilling out the crib because

470
00:22:07,880 --> 00:22:10,440
Speaker 1: we lived in brand from Ourseluss crib on Washington between

471
00:22:10,520 --> 00:22:13,080
Speaker 1: Lafayette and Green because he was moving out and he

472
00:22:13,119 --> 00:22:15,320
Speaker 1: wanted somebody to rent the brownstone. He's trying to sell it,

473
00:22:15,400 --> 00:22:17,119
Speaker 1: but he said, just somebody to rent it. Me and

474
00:22:17,119 --> 00:22:21,600
Speaker 1: Greg moved in together and rented it. So every every

475
00:22:22,200 --> 00:22:24,480
Speaker 1: day pretty much. Other can say every weekend, but every

476
00:22:24,560 --> 00:22:27,399
Speaker 1: day we're always going to buy forties and we'd go

477
00:22:27,440 --> 00:22:30,120
Speaker 1: to Folding in Washington. We're bigging him, always hanging out,

478
00:22:30,480 --> 00:22:33,080
Speaker 1: so Gules like you gotta check out to do. Biggie Smalls,

479
00:22:33,080 --> 00:22:36,240
Speaker 1: I'm like, yo, see been pressing me about that all right,

480
00:22:36,280 --> 00:22:38,000
Speaker 1: I'm gonna go with you. I go down to the corner.

481
00:22:38,400 --> 00:22:41,680
Speaker 1: That's why he's the documentaries they've done on him. I said,

482
00:22:41,680 --> 00:22:44,480
Speaker 1: he on the green army jacket and the hat, that's

483
00:22:44,520 --> 00:22:46,480
Speaker 1: what he had on. And I'd go down there. We

484
00:22:46,560 --> 00:22:52,240
Speaker 1: met the whole Junior Mafia, met Kim Chico, uh Nino,

485
00:22:52,400 --> 00:22:56,880
Speaker 1: del Veg, Clep, d Rod, Gotta, everybody. They'd be there

486
00:22:57,119 --> 00:23:00,920
Speaker 1: every day, just on that corner. We drink forties together,

487
00:23:00,960 --> 00:23:03,919
Speaker 1: smoke together. And as that built, he was like, yo,

488
00:23:03,960 --> 00:23:06,160
Speaker 1: Puff's interesting to sign him. And he didn't even sign

489
00:23:06,280 --> 00:23:08,399
Speaker 1: him yet, and I was like, yo, go with Puffy,

490
00:23:08,480 --> 00:23:10,000
Speaker 1: Gonna blow you up. He looked what he did with

491
00:23:10,080 --> 00:23:12,480
Speaker 1: Uptown and Joe to see and all that. He's like,

492
00:23:12,480 --> 00:23:14,119
Speaker 1: but I want to get signed now. Why can't you

493
00:23:14,160 --> 00:23:17,639
Speaker 1: sign me. I'm like, dude, he's already in a different pocket.

494
00:23:17,720 --> 00:23:20,280
Speaker 1: We're just good on on a certain level. We're not

495
00:23:20,320 --> 00:23:21,960
Speaker 1: even plating to Martests to even be able to sign

496
00:23:22,040 --> 00:23:24,400
Speaker 1: you like that. And I was like, Puff gonna put

497
00:23:24,400 --> 00:23:26,680
Speaker 1: you where you need to be. And as time passed,

498
00:23:27,240 --> 00:23:31,240
Speaker 1: I remember Marcus Mark Pitts, his manager. He was like, Yo,

499
00:23:31,760 --> 00:23:33,240
Speaker 1: you think this guy? I should sign with this guy

500
00:23:33,280 --> 00:23:38,440
Speaker 1: for management. I was like, yo, Mark kind of resemble yea, yeah,

501
00:23:38,480 --> 00:23:40,520
Speaker 1: just a little bit. I said, give him a shot.

502
00:23:40,560 --> 00:23:42,440
Speaker 1: I mean, if it don't work and fire him. Then

503
00:23:42,480 --> 00:23:45,440
Speaker 1: next thing you know, Gooch is uh is his uh,

504
00:23:45,520 --> 00:23:49,000
Speaker 1: his manager and we all were cool and so as

505
00:23:49,000 --> 00:23:51,120
Speaker 1: it built up, we were one of the first ones

506
00:23:51,160 --> 00:23:55,360
Speaker 1: to get his demo, the Big Mac. At that time.

507
00:23:55,359 --> 00:23:57,399
Speaker 1: I remember it wasn't Warning. It was called Hot Buttered

508
00:23:57,480 --> 00:23:59,879
Speaker 1: Soul because they you know, from not from the record

509
00:23:59,880 --> 00:24:03,679
Speaker 1: that easy mone sample. So that's how early it was.

510
00:24:03,960 --> 00:24:07,200
Speaker 1: Hear Warning, and all his homies had it, the whole

511
00:24:07,240 --> 00:24:09,639
Speaker 1: Junior Mafia had it because back then in the nineties,

512
00:24:09,640 --> 00:24:11,639
Speaker 1: you know, you want your friends to already have your

513
00:24:11,640 --> 00:24:14,080
Speaker 1: stuff before it drops. You know. Now we're afraid of

514
00:24:14,119 --> 00:24:17,040
Speaker 1: leaks yea yeah, but your team you want them to know.

515
00:24:17,200 --> 00:24:20,119
Speaker 1: And they knew the worst everything. And uh So from there,

516
00:24:20,760 --> 00:24:24,000
Speaker 1: as he updated it and started finishing up Ready to Die,

517
00:24:24,880 --> 00:24:26,760
Speaker 1: he was dropping Juicy as a single and he said

518
00:24:26,760 --> 00:24:29,440
Speaker 1: he's one song shot, just having a street record for

519
00:24:29,440 --> 00:24:36,840
Speaker 1: for the streets. Believe yeah, crack man. So from there

520
00:24:37,440 --> 00:24:40,560
Speaker 1: we uh. I told him that I don't have time

521
00:24:40,600 --> 00:24:43,200
Speaker 1: to do it right now, and I was like man,

522
00:24:43,720 --> 00:24:46,560
Speaker 1: maybe next time on your next album, and he goes, Joe, Man,

523
00:24:47,080 --> 00:24:49,960
Speaker 1: it's the last one, and he said, my budgets already

524
00:24:50,080 --> 00:24:52,760
Speaker 1: run over. I got five thousand dollars. At that time,

525
00:24:52,760 --> 00:24:56,399
Speaker 1: I was making like twenty a tract. You were like

526
00:24:56,480 --> 00:25:02,119
Speaker 1: five thousand dollars. I was like, I'll do it for

527
00:25:02,200 --> 00:25:04,000
Speaker 1: five thousand, and I said, I don't know what I'm

528
00:25:04,000 --> 00:25:05,679
Speaker 1: gonna come up with, because everybody knows I'm making my

529
00:25:05,720 --> 00:25:07,800
Speaker 1: songs on the spot. He go, I don't care what

530
00:25:07,840 --> 00:25:09,760
Speaker 1: you use. Let's just I don't give it in piece

531
00:25:09,800 --> 00:25:12,720
Speaker 1: of president. Whatever I'm coming up. He comes to dn D.

532
00:25:13,280 --> 00:25:14,960
Speaker 1: I cook it right there on the spot. He's the

533
00:25:15,000 --> 00:25:16,919
Speaker 1: one that told me to do all the But do

534
00:25:17,000 --> 00:25:19,320
Speaker 1: you know all the different things I did it to

535
00:25:19,400 --> 00:25:21,800
Speaker 1: his instruction, you know which I don't like people telling

536
00:25:21,800 --> 00:25:24,880
Speaker 1: me too. But Big always had this stuff mapped down

537
00:25:24,880 --> 00:25:28,640
Speaker 1: on how he wants to do it. Did the record boom? Where?

538
00:25:28,760 --> 00:25:32,240
Speaker 1: Uh we turn it in and I've told the story

539
00:25:32,320 --> 00:25:36,560
Speaker 1: before where I'm driving and uh, I know this is power.

540
00:25:36,600 --> 00:25:41,320
Speaker 1: So it was on another station. We're rotting, and uh

541
00:25:41,359 --> 00:25:44,720
Speaker 1: this is maybe two days after we're rolling, and uh

542
00:25:44,840 --> 00:25:47,359
Speaker 1: we hear it blasting out somebody's car. Could we go

543
00:25:47,440 --> 00:25:49,439
Speaker 1: about to get on the Brooklyn Bridge over by the

544
00:25:49,560 --> 00:25:53,199
Speaker 1: by the uh by, um all the courthouses, and you

545
00:25:53,240 --> 00:25:55,000
Speaker 1: know it's that's it's almost like a day and you

546
00:25:55,000 --> 00:25:57,320
Speaker 1: have to make the lefty on the bridge. As soon

547
00:25:57,359 --> 00:25:58,879
Speaker 1: as we're trying to pull up, I'm trying to get

548
00:25:58,960 --> 00:26:00,919
Speaker 1: up on the guy before he can get past me,

549
00:26:00,960 --> 00:26:03,119
Speaker 1: because once you're on the bridge you might go too fast.

550
00:26:03,160 --> 00:26:06,440
Speaker 1: Now I can't be going yo, so right, we're about

551
00:26:06,160 --> 00:26:08,200
Speaker 1: to make the level. I pull up on him and

552
00:26:08,280 --> 00:26:10,680
Speaker 1: go yo yo, where you get that from? He goes,

553
00:26:10,680 --> 00:26:13,159
Speaker 1: it's all nice seven flex playing it right now? And

554
00:26:13,280 --> 00:26:15,840
Speaker 1: I go, wow, you know, it's like we just made

555
00:26:15,880 --> 00:26:19,320
Speaker 1: an ascetate. He flex had to ascetate, you know which

556
00:26:19,880 --> 00:26:22,600
Speaker 1: you know what I say it is? It's a dub play.

557
00:26:23,800 --> 00:26:25,720
Speaker 1: You know what the dub play is. It's like a

558
00:26:25,800 --> 00:26:28,560
Speaker 1: real thick record that we shouldn't really be dj right,

559
00:26:28,920 --> 00:26:31,159
Speaker 1: you know what I mean? And it's yeah, anytime you

560
00:26:31,200 --> 00:26:33,520
Speaker 1: play the quality gets worse, the worse the word right.

561
00:26:33,880 --> 00:26:36,040
Speaker 1: And it's really just to test out a song. When

562
00:26:36,040 --> 00:26:38,919
Speaker 1: you get something mastered, so um, they'll give you a

563
00:26:38,960 --> 00:26:40,800
Speaker 1: dub play just to test it and play it on

564
00:26:40,840 --> 00:26:43,359
Speaker 1: a turntable. If you like it, then they start pressing

565
00:26:43,440 --> 00:26:46,679
Speaker 1: the massive copies of vinyl. Times have change and well,

566
00:26:47,240 --> 00:26:52,400
Speaker 1: well well Jamaican, Yeah, the same thing. It's just they'll

567
00:26:52,440 --> 00:26:54,760
Speaker 1: do the ten inchial ones that are smaller. You could

568
00:26:54,760 --> 00:26:57,359
Speaker 1: play them a lot more times where and that's and

569
00:26:57,400 --> 00:26:59,320
Speaker 1: it's an instant record just right there. You put on

570
00:26:59,359 --> 00:27:02,320
Speaker 1: a thing called lay put it on there, run the

571
00:27:02,359 --> 00:27:04,240
Speaker 1: song and you already have and you could play it

572
00:27:04,359 --> 00:27:07,000
Speaker 1: right away and you know, before taking it to a plant.

573
00:27:07,320 --> 00:27:09,600
Speaker 1: So to have a double play it on the twelve

574
00:27:09,680 --> 00:27:12,280
Speaker 1: and like you said, you can't even wind it back

575
00:27:12,320 --> 00:27:15,960
Speaker 1: it's that heavy. You gotta kind of just push it. Yeah.

576
00:27:16,119 --> 00:27:18,639
Speaker 1: So hearing that and they said, yeah, flex got that.

577
00:27:18,680 --> 00:27:21,240
Speaker 1: Got the it's called an ascetate. And then he said

578
00:27:21,280 --> 00:27:24,240
Speaker 1: flex got the acetate. So I was like, wow, man,

579
00:27:25,000 --> 00:27:27,919
Speaker 1: sitting it might pop off. And next thing, you know, unbelievable,

580
00:27:28,040 --> 00:27:31,480
Speaker 1: was just Summertime, that and Juicy together and then what

581
00:27:31,520 --> 00:27:34,199
Speaker 1: about Hole? How did you do Hove? And you know

582
00:27:34,560 --> 00:27:37,280
Speaker 1: some of your projects which with a million of one questions.

583
00:27:37,280 --> 00:27:40,639
Speaker 1: The crazy thing is, uh, he called me and said

584
00:27:40,680 --> 00:27:43,560
Speaker 1: I wanted to do this song that intros val in

585
00:27:43,640 --> 00:27:46,399
Speaker 1: my Lifetime volume one. He did the rhyme over the

586
00:27:46,440 --> 00:27:49,760
Speaker 1: phone and and said, just like he did with the Evils,

587
00:27:49,760 --> 00:27:51,159
Speaker 1: he did the rhyme over the phone, said I want

588
00:27:51,440 --> 00:27:53,840
Speaker 1: he's on, want these scratches here, and I did the

589
00:27:53,840 --> 00:27:56,800
Speaker 1: scratches to his instruction. Same thing with Million Know one.

590
00:27:57,400 --> 00:27:59,880
Speaker 1: He said. He didn't tell me the scratches. He just said,

591
00:28:00,040 --> 00:28:02,560
Speaker 1: I wanted to go into another song that's gonna be

592
00:28:02,560 --> 00:28:05,040
Speaker 1: called Rome No More. He said, but I need you

593
00:28:05,080 --> 00:28:09,400
Speaker 1: to think like this when I say motherfuckers, can't you

594
00:28:09,440 --> 00:28:11,880
Speaker 1: gotta have something that just jumps out when I say

595
00:28:11,960 --> 00:28:14,720
Speaker 1: Rome No More? And he said, so split him, he said,

596
00:28:14,760 --> 00:28:17,280
Speaker 1: and he see those little breakdowns you do, do a

597
00:28:17,320 --> 00:28:19,160
Speaker 1: breakdown so we can weave him together as one song.

598
00:28:19,320 --> 00:28:21,639
Speaker 1: I said, Okay, got it. I go to DND to

599
00:28:21,680 --> 00:28:24,480
Speaker 1: start cooking the first one. Jay Walkson was too short,

600
00:28:24,560 --> 00:28:28,560
Speaker 1: and I'm like, oh, you know, which we had been

601
00:28:28,600 --> 00:28:31,639
Speaker 1: known each other for years already because the gang starts history.

602
00:28:31,720 --> 00:28:34,159
Speaker 1: But see, did you know coming to D and D

603
00:28:34,440 --> 00:28:37,399
Speaker 1: was like a big deal, especially for the streets and

604
00:28:37,560 --> 00:28:40,120
Speaker 1: short was there to do a week ago. So they

605
00:28:40,120 --> 00:28:42,240
Speaker 1: were gonna They were in run room working around that,

606
00:28:42,400 --> 00:28:43,960
Speaker 1: and Jayson I said, he said, when you get the

607
00:28:43,960 --> 00:28:46,240
Speaker 1: first half. Let me know. I was just coming and recorded,

608
00:28:46,960 --> 00:28:48,800
Speaker 1: got the first half. Y'all come listening to him, and

609
00:28:48,800 --> 00:28:51,120
Speaker 1: too Short come in there and listening. I said, you ready,

610
00:28:51,360 --> 00:28:54,600
Speaker 1: And for some reason, Leah a million and one in

611
00:28:54,640 --> 00:28:57,280
Speaker 1: a million, which is one of my favorite Timberland produced songs,

612
00:28:58,120 --> 00:29:00,240
Speaker 1: just came to my mind, just on some DJ shit,

613
00:29:00,960 --> 00:29:03,200
Speaker 1: and I put it in. He didn't have that, he

614
00:29:03,200 --> 00:29:05,680
Speaker 1: didn't always gonna do that part. Loved it right away,

615
00:29:05,720 --> 00:29:08,520
Speaker 1: said turn the mic on, cut the album. I'm going

616
00:29:08,560 --> 00:29:10,880
Speaker 1: back in there with Short, I work on round on

617
00:29:11,000 --> 00:29:14,600
Speaker 1: more got it. And then and when I come into Jason,

618
00:29:14,640 --> 00:29:17,280
Speaker 1: I said, I got it. He says, do not press

619
00:29:17,360 --> 00:29:20,360
Speaker 1: that play button until I say, because I gotta make

620
00:29:20,400 --> 00:29:22,520
Speaker 1: sure it's the write vibe. He said, I'm gonna say

621
00:29:22,640 --> 00:29:25,560
Speaker 1: motherfucker's can't, and then you hit it. I said, all right,

622
00:29:25,600 --> 00:29:29,400
Speaker 1: and I'm just waiting to go motherfucker's can't. Man, he

623
00:29:29,480 --> 00:29:31,880
Speaker 1: was like, oh that said, and he said, turn the

624
00:29:31,960 --> 00:29:34,240
Speaker 1: mic on and cut it. So that's one of my

625
00:29:34,320 --> 00:29:37,120
Speaker 1: favorite records because of like the story I'm telling y'all

626
00:29:37,880 --> 00:29:40,040
Speaker 1: was dope and two show Over was there to witness it,

627
00:29:40,400 --> 00:29:42,800
Speaker 1: and uh, it's just that was just an amazing thing.

628
00:29:42,800 --> 00:29:44,400
Speaker 1: And you know, Jay always came and got me for

629
00:29:45,320 --> 00:29:48,280
Speaker 1: whatever for every album. So at all the artists that

630
00:29:48,320 --> 00:29:51,160
Speaker 1: you work with, who is probably the most amazing in

631
00:29:51,200 --> 00:29:53,160
Speaker 1: the studio? Who's your top three if you can only

632
00:29:53,240 --> 00:29:55,480
Speaker 1: name three as far as you're surprised with the way

633
00:29:55,480 --> 00:29:57,280
Speaker 1: they write or how they do it, or how they

634
00:29:57,320 --> 00:30:00,000
Speaker 1: record or how professional they are the ideas I got it,

635
00:30:00,080 --> 00:30:02,920
Speaker 1: say Kress one for sure because for him giving me

636
00:30:02,960 --> 00:30:05,000
Speaker 1: the opportunity when I wasn't really producing a lot of

637
00:30:05,080 --> 00:30:08,200
Speaker 1: artists on his level. Um, he reached out to me

638
00:30:08,240 --> 00:30:10,120
Speaker 1: and said, I'm doing this new album return of the

639
00:30:10,120 --> 00:30:13,160
Speaker 1: Boom bab or like Kars, I'm doing a new album,

640
00:30:14,120 --> 00:30:16,720
Speaker 1: return of the Boom back. You know, he talks to

641
00:30:16,720 --> 00:30:19,640
Speaker 1: you the same way like you know, like he's lecturing

642
00:30:19,680 --> 00:30:22,560
Speaker 1: you and shit. And I was just like, so that

643
00:30:22,640 --> 00:30:25,600
Speaker 1: was just a dope opportunity. And that was ninety two.

644
00:30:25,960 --> 00:30:28,240
Speaker 1: That was when I started to be confident that anybody

645
00:30:28,240 --> 00:30:31,640
Speaker 1: that calls me, I'm man, I could I could produce anybody.

646
00:30:31,920 --> 00:30:35,280
Speaker 1: Guru I always put number one because I could experiment

647
00:30:35,320 --> 00:30:37,840
Speaker 1: with beats that I and other people would definitely not take,

648
00:30:38,040 --> 00:30:40,760
Speaker 1: like like Robbin her theory on the Moment of Truth album.

649
00:30:41,040 --> 00:30:43,440
Speaker 1: Always loved the beat. I knew he'll mess with it

650
00:30:43,440 --> 00:30:45,880
Speaker 1: and he did write a dope ram to it and

651
00:30:46,120 --> 00:30:53,920
Speaker 1: and uh um care arrest um gur Man because yeah,

652
00:30:54,000 --> 00:30:58,840
Speaker 1: because Jay was fun, Big was fun. Nas Nas another

653
00:30:58,840 --> 00:31:02,640
Speaker 1: one that was fun, just because he always visualized what

654
00:31:02,720 --> 00:31:04,880
Speaker 1: he what he wants, especially when I Gave You Power.

655
00:31:05,120 --> 00:31:06,640
Speaker 1: I want to do a song like if I was

656
00:31:06,680 --> 00:31:09,200
Speaker 1: a gun and somebody like found it and picked it

657
00:31:09,280 --> 00:31:12,440
Speaker 1: up and misused it, and already I'm just like, and

658
00:31:12,440 --> 00:31:14,040
Speaker 1: this is after we've done New York State of Mind

659
00:31:14,080 --> 00:31:17,080
Speaker 1: and all that stuff. So so with that, I was like,

660
00:31:17,560 --> 00:31:19,400
Speaker 1: that would be crazy to do a record like that,

661
00:31:19,760 --> 00:31:22,000
Speaker 1: and look what it turned out to be. At the

662
00:31:22,040 --> 00:31:24,520
Speaker 1: time it was called Gun, and then we changed until

663
00:31:24,520 --> 00:31:26,080
Speaker 1: I Gave Your Power and he said he didn't want

664
00:31:26,080 --> 00:31:28,120
Speaker 1: it to just say gun on the track list, and

665
00:31:28,160 --> 00:31:31,760
Speaker 1: when he did it, but yeah, he was. I don't

666
00:31:31,800 --> 00:31:35,320
Speaker 1: want to keep saying, you know, Biggie J and Nas,

667
00:31:35,440 --> 00:31:38,400
Speaker 1: but they were all fun sessions, you know what I'm saying.

668
00:31:38,480 --> 00:31:41,280
Speaker 1: They were really fun sessions and a lot of laughing,

669
00:31:41,800 --> 00:31:45,640
Speaker 1: a lot of bottles everywhere, and a lot of trees. Now.

670
00:31:45,720 --> 00:31:48,880
Speaker 1: You also did a Gang Star album not that long ago.

671
00:31:49,400 --> 00:31:51,200
Speaker 1: So can you talk about the process of that, because

672
00:31:51,200 --> 00:31:53,640
Speaker 1: clearly you had some vocals or able to get your

673
00:31:53,640 --> 00:31:55,360
Speaker 1: hands and some things. I know that was a whole

674
00:31:55,360 --> 00:31:58,640
Speaker 1: process for Yeah, I bought vocals from his business partner.

675
00:31:58,680 --> 00:32:00,000
Speaker 1: You know, I don't like to say his name because

676
00:32:00,320 --> 00:32:05,720
Speaker 1: we just don't click and um. And the crazy thing is, um,

677
00:32:05,760 --> 00:32:07,760
Speaker 1: I'm pro too savvy, but not to the degree of

678
00:32:07,840 --> 00:32:10,400
Speaker 1: where I see the part where you can check date

679
00:32:10,520 --> 00:32:13,040
Speaker 1: created and when you look at some of the dates

680
00:32:13,040 --> 00:32:15,840
Speaker 1: created that some of the stuff I bought were not

681
00:32:16,120 --> 00:32:18,680
Speaker 1: from the era of when they would have been recording.

682
00:32:18,760 --> 00:32:21,200
Speaker 1: They were someone from ninety nine, two thousand. We didn't

683
00:32:21,200 --> 00:32:25,000
Speaker 1: need None of us knew that guy then somewhere and

684
00:32:25,120 --> 00:32:28,000
Speaker 1: well I figured when Greu was sick or whatever. Plus

685
00:32:28,040 --> 00:32:30,800
Speaker 1: his house burned down in some type of way when

686
00:32:30,800 --> 00:32:33,760
Speaker 1: he was in the hospital. Maybe, I mean again, it's

687
00:32:33,760 --> 00:32:37,160
Speaker 1: all alleged, but somehow that they were in his possession,

688
00:32:37,320 --> 00:32:38,320
Speaker 1: you know what I'm saying. We don't know if he

689
00:32:38,360 --> 00:32:41,280
Speaker 1: got him prior to it, you know, prior to the

690
00:32:41,320 --> 00:32:44,400
Speaker 1: house burning down, who knows, you know. But at the

691
00:32:44,480 --> 00:32:47,880
Speaker 1: end of the day, we negotiated a price. I bought him.

692
00:32:48,280 --> 00:32:50,760
Speaker 1: Did paperwork to make sure everything was there tight. I

693
00:32:50,920 --> 00:32:53,720
Speaker 1: have good life, good lawyers, which I'm sure all yeah,

694
00:32:53,800 --> 00:32:57,880
Speaker 1: I knew who you do. His family, Yeah, yeah, they

695
00:32:58,040 --> 00:33:01,520
Speaker 1: we have a great relationship. His son is now, you know,

696
00:33:01,600 --> 00:33:04,600
Speaker 1: twenty one, so he's actually in charge of the He

697
00:33:04,600 --> 00:33:06,160
Speaker 1: was always in charge to to stay with his mom.

698
00:33:06,400 --> 00:33:10,160
Speaker 1: Shout to Lana and uh he um now you know

699
00:33:10,400 --> 00:33:13,040
Speaker 1: has meetings with us, says, and he's into fashion like

700
00:33:13,120 --> 00:33:16,000
Speaker 1: Guru was. So he has a lot of dope ideas

701
00:33:16,040 --> 00:33:17,600
Speaker 1: like we should do this, we should do this, and

702
00:33:17,640 --> 00:33:20,000
Speaker 1: he's at the age. I remember when the Gug passed

703
00:33:20,000 --> 00:33:22,040
Speaker 1: and he was nine years old. I was getting the

704
00:33:23,160 --> 00:33:25,800
Speaker 1: shout to marsh, I was getting him certain sneakers made,

705
00:33:26,200 --> 00:33:27,920
Speaker 1: and he asked me when he was nine years old,

706
00:33:27,960 --> 00:33:30,120
Speaker 1: he said, Yo, when I get older, can I pitch

707
00:33:30,200 --> 00:33:33,800
Speaker 1: into business ideas? I was like, And now he'll see

708
00:33:34,040 --> 00:33:37,160
Speaker 1: present stuff that's dope. Check this out, check this out,

709
00:33:37,240 --> 00:33:39,440
Speaker 1: will you know, check the companies and make sure they're legit.

710
00:33:39,800 --> 00:33:42,800
Speaker 1: But he brings dope stuff to the table and uh

711
00:33:43,360 --> 00:33:46,200
Speaker 1: we still we uh handle business with Greu's sisters shout

712
00:33:46,200 --> 00:33:51,280
Speaker 1: the trishuh Gu's uh son's mom and also his nephew

713
00:33:51,360 --> 00:33:54,360
Speaker 1: justin who's the one that went on YouTube to expose

714
00:33:54,760 --> 00:33:56,680
Speaker 1: the guy about all the stuff that was going on

715
00:33:57,080 --> 00:33:58,680
Speaker 1: that we didn't know about because I hadn't seen Greu

716
00:33:58,920 --> 00:34:02,240
Speaker 1: in a couple of years. With that, Once we all

717
00:34:02,280 --> 00:34:05,800
Speaker 1: teamed up and started the business, I said, let's let

718
00:34:05,840 --> 00:34:08,000
Speaker 1: me see if I could put an album together. And

719
00:34:08,040 --> 00:34:10,319
Speaker 1: I just pull it up at about thirties you know,

720
00:34:10,440 --> 00:34:13,520
Speaker 1: unused tracks. Some of them were not the gurgle, that

721
00:34:13,719 --> 00:34:16,920
Speaker 1: flowing stuff that I like and know that's him. But

722
00:34:17,000 --> 00:34:19,080
Speaker 1: the ones that really stood out, I'm like, that's one.

723
00:34:19,239 --> 00:34:22,600
Speaker 1: That's one started putting beats inside and matching things, and

724
00:34:22,640 --> 00:34:24,920
Speaker 1: you know, as a DJ, we we do our cappellas

725
00:34:24,920 --> 00:34:27,680
Speaker 1: with beats and see if it flies put out. I

726
00:34:27,719 --> 00:34:30,359
Speaker 1: put in my serato fly in, Yeah, that's dope, dump

727
00:34:30,400 --> 00:34:32,799
Speaker 1: and make a beat. And we came together and put

728
00:34:32,800 --> 00:34:35,080
Speaker 1: out one of the best shared which did very well

729
00:34:35,120 --> 00:34:37,520
Speaker 1: for us, and it also fed the family very well.

730
00:34:37,600 --> 00:34:41,600
Speaker 1: So and I the other previous albums just get more extremes.

731
00:34:42,239 --> 00:34:44,200
Speaker 1: I thank thanks to Jay cole Man because when we

732
00:34:44,239 --> 00:34:47,440
Speaker 1: were dropping the Family and Loyalty, cole was the one

733
00:34:47,520 --> 00:34:49,839
Speaker 1: that's like first thing he asked me, He said, how

734
00:34:49,840 --> 00:34:52,640
Speaker 1: did y'all do y'all's promo back in the nineties, and

735
00:34:52,640 --> 00:34:55,239
Speaker 1: I told him how we did it. He goes, do that,

736
00:34:55,719 --> 00:34:58,359
Speaker 1: and I said, because we always drop a street record first,

737
00:34:58,480 --> 00:35:02,719
Speaker 1: radio record second. Every time yep boom, maybe a week

738
00:35:02,800 --> 00:35:04,520
Speaker 1: or two passes, we're getting ready to set up the

739
00:35:04,560 --> 00:35:08,120
Speaker 1: single bad Name. Cole calls me out of the blue

740
00:35:08,120 --> 00:35:12,480
Speaker 1: and goes, yo, uh that thing I told you about

741
00:35:12,680 --> 00:35:16,440
Speaker 1: how you set up your nineties era of promo. Don't

742
00:35:16,440 --> 00:35:18,439
Speaker 1: do that. He said, I think you need to drop

743
00:35:18,480 --> 00:35:20,640
Speaker 1: mind first, and I'm like, yeah, but that's more for radio.

744
00:35:20,920 --> 00:35:23,879
Speaker 1: He goes, listen, I have a fan base that has

745
00:35:23,960 --> 00:35:26,279
Speaker 1: no idea who y'all are. He said, I want you

746
00:35:26,360 --> 00:35:28,359
Speaker 1: to take advantage of that time with me to pop

747
00:35:28,440 --> 00:35:30,719
Speaker 1: that off. And they might go I like this when

748
00:35:30,719 --> 00:35:33,000
Speaker 1: with Cole on, let me look at these other Gangs albums.

749
00:35:33,040 --> 00:35:35,080
Speaker 1: Oh man, this is how this is how oh man,

750
00:35:35,080 --> 00:35:38,600
Speaker 1: I like Gangs are now. So he said that I

751
00:35:38,600 --> 00:35:40,440
Speaker 1: thought about. I was like, wow, he made he has

752
00:35:40,440 --> 00:35:42,600
Speaker 1: a point, So a right. We switched it and made

753
00:35:42,600 --> 00:35:44,920
Speaker 1: that the first one and it worked all out. So

754
00:35:44,960 --> 00:35:46,680
Speaker 1: shout to Cole man. One thing I was said about

755
00:35:46,719 --> 00:35:48,720
Speaker 1: Cole is shout to Cole he's cold as a student

756
00:35:48,800 --> 00:35:51,440
Speaker 1: to the game. It doesn't matter how much money Cole has,

757
00:35:51,480 --> 00:35:55,960
Speaker 1: how many fans. Cole really loves those conversations like the

758
00:35:56,080 --> 00:35:57,960
Speaker 1: how yeah, how did you start to mix tape? I

759
00:35:58,000 --> 00:36:00,560
Speaker 1: remember Cole Cole me one out the Blue and he

760
00:36:00,640 --> 00:36:02,759
Speaker 1: was like, yo and me question. He was like, how

761
00:36:02,840 --> 00:36:04,759
Speaker 1: did you get all the records from your mixtapes back then?

762
00:36:05,160 --> 00:36:06,920
Speaker 1: What do you mean how did you get the song?

763
00:36:07,520 --> 00:36:10,520
Speaker 1: I was like, WHOA, Sometimes I paid interns, I said, sometimes,

764
00:36:10,600 --> 00:36:13,000
Speaker 1: you know, I remember we got a Biggie song. It

765
00:36:13,120 --> 00:36:15,560
Speaker 1: was a valet guy. When the valet was parking Biggie's

766
00:36:15,560 --> 00:36:18,560
Speaker 1: truck and Biggie had the CD at the time listening

767
00:36:18,600 --> 00:36:20,680
Speaker 1: to his own music. The valet guy stole it and

768
00:36:20,719 --> 00:36:24,759
Speaker 1: sold it to me like different ways back then. It's like, really,

769
00:36:24,840 --> 00:36:27,040
Speaker 1: intellect I wanted I always wanted to know, and I

770
00:36:27,120 --> 00:36:29,160
Speaker 1: love that. I was gonna ask you, you know, we're

771
00:36:29,200 --> 00:36:32,400
Speaker 1: producing all those songs from way back when you were

772
00:36:32,440 --> 00:36:36,080
Speaker 1: earlier on started. Did you always get your proper royalties

773
00:36:36,120 --> 00:36:38,400
Speaker 1: back then or did somebody take advantage? Because you had

774
00:36:38,440 --> 00:36:40,800
Speaker 1: so many crazy stories of people taking advantage because you know,

775
00:36:41,160 --> 00:36:45,000
Speaker 1: you were doing NAS's first album, Bigg's first album, Holes

776
00:36:45,040 --> 00:36:47,000
Speaker 1: first album. Did you actually get all the money you're

777
00:36:47,040 --> 00:36:49,880
Speaker 1: supposed to? Yeah, at that point, then the nineties, because

778
00:36:49,960 --> 00:36:53,279
Speaker 1: I never had an attorney. Like when I signed to

779
00:36:53,880 --> 00:36:56,960
Speaker 1: join Gangstar, I shout to my man lead Van Richardson,

780
00:36:57,080 --> 00:37:00,839
Speaker 1: who told me in Texas and when he looked at

781
00:37:00,920 --> 00:37:04,440
Speaker 1: he said, dude, contract is not in your favor. I

782
00:37:04,480 --> 00:37:06,880
Speaker 1: wouldn't sign it because you sign your life away. But

783
00:37:07,000 --> 00:37:09,480
Speaker 1: I just wanted to be in a video. I just

784
00:37:09,640 --> 00:37:11,719
Speaker 1: wanted to be on MTV raps at the time, and

785
00:37:12,320 --> 00:37:15,440
Speaker 1: I'm like, Okay, I won't sign you. Don't even try

786
00:37:15,480 --> 00:37:22,040
Speaker 1: to negotiate, no, because I just change this. Yeah, I

787
00:37:22,120 --> 00:37:25,480
Speaker 1: just turned twenty twenty one. You know, you're just like, man,

788
00:37:25,680 --> 00:37:28,520
Speaker 1: you're thinking, if I don't sign it, somebody my opportunity.

789
00:37:28,520 --> 00:37:30,840
Speaker 1: I'm watching MTV raps and all this stuff, and I'm like,

790
00:37:30,880 --> 00:37:32,320
Speaker 1: I just want to be on there where people are like,

791
00:37:32,400 --> 00:37:35,800
Speaker 1: I'm buying you because I saw your video, sou And

792
00:37:35,880 --> 00:37:38,000
Speaker 1: I even my father's like, don't do it. As soon

793
00:37:38,040 --> 00:37:40,160
Speaker 1: as they were not in my I mean I think

794
00:37:40,200 --> 00:37:42,440
Speaker 1: I signed the same day and my parents I was

795
00:37:42,560 --> 00:37:45,719
Speaker 1: eating eating some lunch or something. Next thing, you know,

796
00:37:45,880 --> 00:37:49,920
Speaker 1: as it got to where I was having discrepancies about payments,

797
00:37:50,520 --> 00:37:52,279
Speaker 1: and then I took it to a lawyer to look

798
00:37:52,320 --> 00:37:54,080
Speaker 1: at it and they were like, Yo, this thing is

799
00:37:54,239 --> 00:37:57,759
Speaker 1: air tight. You can't get out of this. Started looking

800
00:37:57,800 --> 00:38:00,839
Speaker 1: for a lawyer on the New York law who wish

801
00:38:00,880 --> 00:38:03,840
Speaker 1: to wish. I'm still with this very day. Shoutout to

802
00:38:03,920 --> 00:38:08,799
Speaker 1: Mark and he was like, I found a loophole and man,

803
00:38:08,920 --> 00:38:10,440
Speaker 1: that could probably get you out, but you got to

804
00:38:11,200 --> 00:38:13,080
Speaker 1: buy yourself out. And I was like, I don't care.

805
00:38:13,200 --> 00:38:15,600
Speaker 1: Like we were we were. They were interested in signing

806
00:38:15,640 --> 00:38:18,080
Speaker 1: us at Chrysalis Records because we had done a record

807
00:38:18,120 --> 00:38:21,879
Speaker 1: with Spike Lee from Obetta Blues called Jazz Thing and Brand.

808
00:38:21,920 --> 00:38:23,680
Speaker 1: That's how I met Brand from ourselves to move in

809
00:38:23,960 --> 00:38:25,719
Speaker 1: and how me and Guru moved in with him. That's

810
00:38:25,760 --> 00:38:28,280
Speaker 1: how we met him because he was he was overseeing

811
00:38:28,320 --> 00:38:33,080
Speaker 1: the project from Obetta Blues and so from there Chrysalis liked,

812
00:38:33,360 --> 00:38:36,400
Speaker 1: liked our music, said they wanted to sign us. The

813
00:38:37,120 --> 00:38:40,040
Speaker 1: majority of our money went to buying ourself out, but

814
00:38:40,200 --> 00:38:42,600
Speaker 1: now I had the freedom to just do what how

815
00:38:42,680 --> 00:38:44,560
Speaker 1: we wanted to do it. And we stayed with them

816
00:38:44,719 --> 00:38:46,880
Speaker 1: all the way through Emi to Virgin which was all

817
00:38:46,920 --> 00:38:49,040
Speaker 1: still part of the same family, and that's how we

818
00:38:49,440 --> 00:38:52,120
Speaker 1: finally started to getting some gold plaques and things like that.

819
00:38:52,320 --> 00:38:54,480
Speaker 1: But the best thing was now that I had a

820
00:38:54,560 --> 00:38:57,879
Speaker 1: really thorough lawyer. He's been making sure we've been straight

821
00:38:58,000 --> 00:39:01,400
Speaker 1: from nineteen ninety on. So you got all your your

822
00:39:01,440 --> 00:39:04,640
Speaker 1: stuff back from not not not all the not all

823
00:39:04,640 --> 00:39:08,480
Speaker 1: the other albums. They're still over over universal, but who

824
00:39:08,560 --> 00:39:10,840
Speaker 1: was You know, it's moved around from so many labels.

825
00:39:10,840 --> 00:39:13,239
Speaker 1: You know, everybody sells and stuff and now somebody else

826
00:39:13,280 --> 00:39:15,520
Speaker 1: acquires and then they sell, don't after there was a

827
00:39:15,600 --> 00:39:17,759
Speaker 1: rumor like after twenty years or something like that you

828
00:39:17,840 --> 00:39:19,640
Speaker 1: get your stuff back. Is that true? Or though it's

829
00:39:19,840 --> 00:39:22,160
Speaker 1: in some cases it is. Yeah, like like after a

830
00:39:22,239 --> 00:39:24,600
Speaker 1: certain period you can either buy either buying back or

831
00:39:24,640 --> 00:39:27,440
Speaker 1: they're just now yours. It's really what what's negotiate on

832
00:39:27,520 --> 00:39:31,279
Speaker 1: your paperwork. But we have already been like we're gonna

833
00:39:31,360 --> 00:39:34,560
Speaker 1: look into getting dollars back because it's been a while.

834
00:39:34,600 --> 00:39:36,319
Speaker 1: And on top of that, we recouped all the time.

835
00:39:36,400 --> 00:39:38,719
Speaker 1: It was usually we had, you know, getting one hundred

836
00:39:38,719 --> 00:39:41,040
Speaker 1: and fifty grand back in nineteen ninety was like we're rich.

837
00:39:41,160 --> 00:39:44,960
Speaker 1: We got right then the next one on hundred seventy

838
00:39:45,000 --> 00:39:48,600
Speaker 1: five and splitting that with gre and paying our taxes

839
00:39:49,080 --> 00:39:52,080
Speaker 1: and living together, which was cool because you know, but

840
00:39:52,160 --> 00:39:54,719
Speaker 1: he's getting two cars. I just bought my second car.

841
00:39:55,080 --> 00:39:57,799
Speaker 1: He's buying his third crib you know, like Greg had

842
00:39:57,800 --> 00:40:00,880
Speaker 1: a crib in Miami. Um, this is and this is

843
00:40:01,160 --> 00:40:04,239
Speaker 1: what I was, being platinum and and going gold either

844
00:40:04,640 --> 00:40:06,759
Speaker 1: and that's how I'm at Zoe Pound all of them

845
00:40:06,880 --> 00:40:08,680
Speaker 1: way back in Miami and like like we were at

846
00:40:08,760 --> 00:40:11,360
Speaker 1: the jet skis on the water. He had the Cribbin

847
00:40:11,440 --> 00:40:14,160
Speaker 1: Valley streaming Long Island and he had a cribbin Brooklyn.

848
00:40:14,239 --> 00:40:16,920
Speaker 1: I was like, this is living and we we never

849
00:40:17,040 --> 00:40:20,839
Speaker 1: cried broke because we always made money, right, always made money,

850
00:40:21,000 --> 00:40:24,080
Speaker 1: and you were also really cool. Um Rage the lady Rage,

851
00:40:24,120 --> 00:40:27,319
Speaker 1: Oh yeah, just lived by us. Oh really yeah. Then

852
00:40:27,480 --> 00:40:30,719
Speaker 1: when when we moved into Branfords, she and Nicky Dee

853
00:40:30,800 --> 00:40:33,400
Speaker 1: lived together from Death Jam and Nicky Deal you know

854
00:40:33,760 --> 00:40:37,640
Speaker 1: Daddy's little girl Daddy. Yeah, they lived together. I remember

855
00:40:37,719 --> 00:40:41,400
Speaker 1: one time, uh I met them because Nicky Dee was

856
00:40:41,400 --> 00:40:43,560
Speaker 1: having a released party that def Jam was thrown. We

857
00:40:43,600 --> 00:40:45,759
Speaker 1: all went to the party and I gave them right

858
00:40:45,840 --> 00:40:48,400
Speaker 1: home because they lived nearest Chubb Rockley lived nearest. We

859
00:40:48,520 --> 00:40:51,120
Speaker 1: all see each other, Chubb rock Uh. This is before

860
00:40:51,200 --> 00:40:54,959
Speaker 1: big but still rage, and we'd hang out. Easymobile would

861
00:40:54,960 --> 00:40:57,280
Speaker 1: always come by, the rizzle would come by, the Jizer

862
00:40:57,320 --> 00:40:59,880
Speaker 1: would come by. Shipers Hill came and stayed with us

863
00:41:00,000 --> 00:41:02,799
Speaker 1: before they went to their first video shoot for How

864
00:41:02,800 --> 00:41:04,359
Speaker 1: I Could Just Kill a Man. They had a need

865
00:41:04,440 --> 00:41:06,600
Speaker 1: this place to hang out, come to. Our house was

866
00:41:06,719 --> 00:41:09,200
Speaker 1: the frat house for real. I feel like you see

867
00:41:09,239 --> 00:41:11,359
Speaker 1: that no more. Yeah, it's like that all the time,

868
00:41:11,400 --> 00:41:14,000
Speaker 1: and like, you know, you don't see it anymore. You know,

869
00:41:14,400 --> 00:41:18,480
Speaker 1: it was our house. Wasn't remember animal house. It was

870
00:41:18,560 --> 00:41:21,200
Speaker 1: like that, minus jumping through the window and getting thrown out.

871
00:41:21,239 --> 00:41:25,439
Speaker 1: But it just our house was that crazy. You ask

872
00:41:25,520 --> 00:41:27,920
Speaker 1: any of them, they'll tell you. Our house was the

873
00:41:28,080 --> 00:41:33,760
Speaker 1: house to stay at and hang out. It was party, party, party, party, party, party, party, party, party, party,

874
00:41:34,200 --> 00:41:39,560
Speaker 1: fights shooting in front of our crew every neigh Yeah,

875
00:41:39,960 --> 00:41:42,200
Speaker 1: people waiting outside the gate, and I'm like, yo, who's that?

876
00:41:42,280 --> 00:41:45,040
Speaker 1: And we all we were all strapped back then and

877
00:41:45,080 --> 00:41:47,000
Speaker 1: we all just looking, Yo, who's that? And we all

878
00:41:47,080 --> 00:41:48,560
Speaker 1: kind of go out there, Yo, what's up? No, I

879
00:41:48,560 --> 00:41:51,239
Speaker 1: just want to get my CD. You know, you listen

880
00:41:51,239 --> 00:41:53,920
Speaker 1: to my CD. You know, next time some other hoodie

881
00:41:53,960 --> 00:41:56,800
Speaker 1: dudes out there, we're all nervous, like, who's that you

882
00:41:56,840 --> 00:41:58,600
Speaker 1: also want to give you my CD? It was always

883
00:41:58,640 --> 00:42:00,600
Speaker 1: just somebody just wanted to hear the hit him rom

884
00:42:00,760 --> 00:42:02,920
Speaker 1: you know, Blas ain't Blais, you know out loud and

885
00:42:03,280 --> 00:42:06,360
Speaker 1: PF cutting. We'd all and everything on that song, soliloquy

886
00:42:06,440 --> 00:42:08,879
Speaker 1: or chaos in the Daily Operation, all the names. He said.

887
00:42:09,400 --> 00:42:11,880
Speaker 1: That was really how we were rolling. Every time we

888
00:42:11,960 --> 00:42:14,319
Speaker 1: were making a move. How was your ego back then?

889
00:42:14,480 --> 00:42:17,520
Speaker 1: Because you're a huge producer right where there ever time

890
00:42:17,600 --> 00:42:19,680
Speaker 1: that you needed something from like an artist and they

891
00:42:19,719 --> 00:42:22,719
Speaker 1: didn't come through in time? Like, how was how was

892
00:42:22,800 --> 00:42:25,440
Speaker 1: that for you? No, we were really cool with everybody.

893
00:42:25,520 --> 00:42:27,719
Speaker 1: I mean we had drama fights just like anybody else

894
00:42:27,760 --> 00:42:30,520
Speaker 1: over some knucklehead acting up and we were wild out,

895
00:42:30,600 --> 00:42:34,080
Speaker 1: but never to where anybody had like like some problems

896
00:42:34,160 --> 00:42:36,839
Speaker 1: with us or anything like y'all think y'all hot man,

897
00:42:36,960 --> 00:42:40,160
Speaker 1: fuck y'all. Never you know. The only one that was

898
00:42:40,280 --> 00:42:43,480
Speaker 1: really a crazy story was when Gurgle got robbed for

899
00:42:43,600 --> 00:42:46,239
Speaker 1: his truck at gunpoint and they took his brand new

900
00:42:46,320 --> 00:42:48,960
Speaker 1: four Runners. When four Runners the new style was hot

901
00:42:49,560 --> 00:42:51,600
Speaker 1: and they robb him for his four runner because he

902
00:42:51,640 --> 00:42:56,200
Speaker 1: went to the store by himself. Dude called him, took

903
00:42:56,239 --> 00:42:59,120
Speaker 1: the took the truck. I remember, we had to go

904
00:42:59,200 --> 00:43:00,759
Speaker 1: pick him up because he called us tell us he

905
00:43:00,800 --> 00:43:03,279
Speaker 1: got robbed. And he's standing on the corner rolling a

906
00:43:03,440 --> 00:43:06,160
Speaker 1: blunt going y're arguing with the other guys on the corner,

907
00:43:06,239 --> 00:43:07,759
Speaker 1: even if they took his truck going, you know, just

908
00:43:07,880 --> 00:43:10,759
Speaker 1: fucked up what y'all doing, right? You know, it's really

909
00:43:10,840 --> 00:43:13,839
Speaker 1: fucked up, y'all. Motherfucking like they could have jumped him

910
00:43:13,840 --> 00:43:16,440
Speaker 1: and beat him down and do whatever. He's still like,

911
00:43:17,080 --> 00:43:18,880
Speaker 1: you know, yeah, I can't stand you over there. I

912
00:43:18,920 --> 00:43:20,880
Speaker 1: can't see y'all. Belie, y'all did this to me. And

913
00:43:21,040 --> 00:43:24,399
Speaker 1: then the eldest story and I've told it a few

914
00:43:24,520 --> 00:43:27,239
Speaker 1: years ago, they still was still looking for looking for

915
00:43:27,280 --> 00:43:29,360
Speaker 1: the guys that took the car. You know, obviously it

916
00:43:29,480 --> 00:43:31,959
Speaker 1: was cell phones were only car phones at that time,

917
00:43:32,200 --> 00:43:33,719
Speaker 1: because he had the calls from a pay phone to

918
00:43:33,760 --> 00:43:36,920
Speaker 1: tell us he got robbed. They finally see the guy

919
00:43:37,040 --> 00:43:39,239
Speaker 1: with the car. There's some days later he's still driving

920
00:43:39,280 --> 00:43:42,040
Speaker 1: round with the car. Yeah, that's crazy. This is how

921
00:43:42,120 --> 00:43:45,120
Speaker 1: just a good of rep was born. It's chasing after

922
00:43:45,239 --> 00:43:48,919
Speaker 1: him in the car. Cops start going, you know, seeing

923
00:43:48,920 --> 00:43:52,040
Speaker 1: all this hot speed chase and and they're likes, that's

924
00:43:52,080 --> 00:43:54,040
Speaker 1: our car. He just stole our car. So now the

925
00:43:54,120 --> 00:43:57,239
Speaker 1: cops jump in and help follow him. The dude too,

926
00:43:57,840 --> 00:44:00,720
Speaker 1: dude swerving and he slammed into an ice scream truck

927
00:44:00,840 --> 00:44:04,160
Speaker 1: and dies in stock And that day is the day

928
00:44:04,239 --> 00:44:05,839
Speaker 1: we said that we're doing just to get a rub,

929
00:44:05,960 --> 00:44:08,239
Speaker 1: And that's how the song was written. That day we

930
00:44:08,360 --> 00:44:11,319
Speaker 1: went to Brooklyn to such a sound studios and cut

931
00:44:11,400 --> 00:44:13,600
Speaker 1: the record and that's but that's why we did it

932
00:44:13,680 --> 00:44:18,200
Speaker 1: because of that Wow, just here to represent true story.

933
00:44:18,520 --> 00:44:20,200
Speaker 1: You know. He altered it like thing as we know,

934
00:44:20,320 --> 00:44:22,719
Speaker 1: things come back, and it wasn't about stealing a car,

935
00:44:23,000 --> 00:44:26,160
Speaker 1: but it was relatable the way he wrote it. But

936
00:44:26,239 --> 00:44:28,880
Speaker 1: he wrote it based off of And the crazy thing

937
00:44:28,920 --> 00:44:30,920
Speaker 1: too is when he got the car. I wish we

938
00:44:31,000 --> 00:44:33,680
Speaker 1: had these pictures still. When he got the car, we

939
00:44:33,760 --> 00:44:35,919
Speaker 1: both bought. I bought a Males, then Phoev he bought

940
00:44:35,960 --> 00:44:38,799
Speaker 1: the Forerunner. We're in front of our crib posing like yeah,

941
00:44:38,800 --> 00:44:41,759
Speaker 1: we got our new ride. And then we had the

942
00:44:41,840 --> 00:44:45,520
Speaker 1: precinct and the cars all smashed like an accordion. It's

943
00:44:45,560 --> 00:44:49,960
Speaker 1: all squasser and google standing next to a going so

944
00:44:50,160 --> 00:44:53,279
Speaker 1: he had the before yeah after did you have did

945
00:44:53,320 --> 00:44:55,000
Speaker 1: he have a shot us on it? Oh yeah yeah

946
00:44:55,200 --> 00:44:59,440
Speaker 1: yeah so but it was smashed bad where you couldn't

947
00:44:59,480 --> 00:45:01,320
Speaker 1: lisk about it behind the steering wheel. It was that

948
00:45:01,520 --> 00:45:04,040
Speaker 1: smutch stuff. And but we went to we had to

949
00:45:04,080 --> 00:45:06,440
Speaker 1: go to priests and to fill out paperwork. But the

950
00:45:06,560 --> 00:45:10,080
Speaker 1: cops were there's witnesses chasing the guy too, and you

951
00:45:10,160 --> 00:45:13,040
Speaker 1: know that that was a crazy, crazy event. And you

952
00:45:13,160 --> 00:45:15,120
Speaker 1: had quite an air for talent back then too, working

953
00:45:15,120 --> 00:45:17,879
Speaker 1: with Jay Rude Dama group Home. What happened with Group

954
00:45:17,920 --> 00:45:22,080
Speaker 1: Home tapp is and is out is out? I think

955
00:45:22,120 --> 00:45:24,719
Speaker 1: in the Polonos Melocot talked all the time. I talked

956
00:45:24,719 --> 00:45:26,719
Speaker 1: to death from time to time because obviously I got

957
00:45:26,840 --> 00:45:28,680
Speaker 1: him again on the Gangster album that we did in

958
00:45:28,719 --> 00:45:31,719
Speaker 1: the twenty nineteen and uh, they're all chilling, you know,

959
00:45:32,040 --> 00:45:34,440
Speaker 1: still get a lot of shows and going to Japan

960
00:45:34,719 --> 00:45:37,640
Speaker 1: and they did. They did a Gangster Foundation tour with

961
00:45:37,719 --> 00:45:41,279
Speaker 1: Big Sugar Group Home and Jay Jayru was living in

962
00:45:41,480 --> 00:45:44,799
Speaker 1: uh in Germany. Jayru, out of everybody, was the most

963
00:45:44,880 --> 00:45:48,000
Speaker 1: that learned the business from us, teaching them and seeing

964
00:45:48,040 --> 00:45:51,200
Speaker 1: how we did it. And from that point, he's his

965
00:45:51,320 --> 00:45:55,040
Speaker 1: guys own website. He know, he sells his own sneakers everything,

966
00:45:55,120 --> 00:45:58,880
Speaker 1: and he just stays really in the know. He's ooting

967
00:45:58,960 --> 00:46:01,360
Speaker 1: shows and you know he's all you know, it's his

968
00:46:01,520 --> 00:46:04,680
Speaker 1: Instagram is really interested in the stuff he posts. You know.

969
00:46:04,800 --> 00:46:07,560
Speaker 1: So he's still the same Jay Rule, you know, real

970
00:46:07,640 --> 00:46:11,640
Speaker 1: loud Brooklyn boy, y'all praying. You know, he he talks

971
00:46:11,640 --> 00:46:15,040
Speaker 1: like he romes. But as you know, with everything, you

972
00:46:15,280 --> 00:46:18,560
Speaker 1: didn't did production for every artist. Damn. Then now you know,

973
00:46:18,640 --> 00:46:21,080
Speaker 1: you see law enforcement using hip hop lyrics in courts

974
00:46:21,160 --> 00:46:22,959
Speaker 1: against the artists. What are your thoughts on that? Because

975
00:46:22,960 --> 00:46:24,439
Speaker 1: we see it with Young Thug, we see we gonna,

976
00:46:24,480 --> 00:46:26,800
Speaker 1: we see the bot other artists. Yeah, they shouldn't do

977
00:46:26,880 --> 00:46:29,800
Speaker 1: that because music is music, and yeah, some of the

978
00:46:29,880 --> 00:46:31,600
Speaker 1: lyrics are harsh, A lot of them are real, and

979
00:46:31,760 --> 00:46:36,320
Speaker 1: you know, but be it be it uh fabricated or not.

980
00:46:37,840 --> 00:46:39,719
Speaker 1: You can't really mix the music and then leave that

981
00:46:39,800 --> 00:46:42,759
Speaker 1: alone and just deal off the stuff, you know. I mean,

982
00:46:42,800 --> 00:46:45,440
Speaker 1: don't get me wrong, some people do be drowsing nigen

983
00:46:45,560 --> 00:46:48,600
Speaker 1: on their lyrics, but I still don't think it should

984
00:46:48,600 --> 00:46:50,680
Speaker 1: be used. You know, if that skate's rock and roll.

985
00:46:50,719 --> 00:46:53,279
Speaker 1: They've talked about how somebody said all the song told

986
00:46:53,320 --> 00:46:55,759
Speaker 1: me I'm the I'm with the devil and to kill everybody.

987
00:46:56,440 --> 00:46:58,440
Speaker 1: Same thing. You can't use that, yeah, because we saw

988
00:46:58,480 --> 00:47:00,879
Speaker 1: people go to jail for like doing scams and they'll

989
00:47:00,920 --> 00:47:04,160
Speaker 1: write a song about the scamp, you know, exactly, show

990
00:47:04,239 --> 00:47:05,759
Speaker 1: the money in the video, and then they end up

991
00:47:05,760 --> 00:47:08,280
Speaker 1: getting arrested and then they used that. So that shouldn't

992
00:47:08,320 --> 00:47:11,560
Speaker 1: be allowed. Yeah, yeah, the music should be kept in

993
00:47:11,800 --> 00:47:17,160
Speaker 1: its own lane. And of yeah, not with the music,

994
00:47:17,360 --> 00:47:20,440
Speaker 1: no way. Now who is your amount Rushmore or producers?

995
00:47:21,800 --> 00:47:25,040
Speaker 1: Um definitely Molly Mall was just a big impact on

996
00:47:25,200 --> 00:47:27,520
Speaker 1: me because of the rain of the Bridge, seem Molly

997
00:47:27,560 --> 00:47:30,640
Speaker 1: Moore yesterday, How crazy is that? The restaurant Queen's He's

998
00:47:30,640 --> 00:47:34,600
Speaker 1: so man, he he just revolution now sampling on a

999
00:47:34,800 --> 00:47:37,880
Speaker 1: whole other level to hear a record like the Bridge,

1000
00:47:38,200 --> 00:47:40,440
Speaker 1: and I was just like, how are they making it

1001
00:47:40,600 --> 00:47:42,359
Speaker 1: not sound all like all the drum machines we were

1002
00:47:42,440 --> 00:47:44,840
Speaker 1: using it hip hop prior to sampling. How is he

1003
00:47:45,000 --> 00:47:49,880
Speaker 1: doing it? You know? And then him, uh, definitely the

1004
00:47:49,960 --> 00:47:54,120
Speaker 1: bomb squad um man when you when you don't eat

1005
00:47:54,239 --> 00:47:59,000
Speaker 1: yea and you're just keep grazing. We can't hear. I

1006
00:47:59,040 --> 00:48:01,640
Speaker 1: feel I feel like these picked up. It was like

1007
00:48:01,880 --> 00:48:06,880
Speaker 1: the uh, definitely the bomb squad. What they did with

1008
00:48:06,960 --> 00:48:12,560
Speaker 1: Public Enemy was just amazing. Um. I gotta say, Larry Smith,

1009
00:48:12,680 --> 00:48:14,480
Speaker 1: you know he did all the Houdini records. He did,

1010
00:48:14,640 --> 00:48:17,600
Speaker 1: you know he did everything Houdini records run DMC, even

1011
00:48:17,760 --> 00:48:19,680
Speaker 1: from the time we heard suck MC and he said

1012
00:48:19,760 --> 00:48:23,400
Speaker 1: Larry put me inside to let and we asked, DMC,

1013
00:48:23,600 --> 00:48:26,400
Speaker 1: was that true? He said, absolutely, everything was. It was

1014
00:48:26,440 --> 00:48:28,279
Speaker 1: really what Larry didn't you know doing all the just

1015
00:48:28,400 --> 00:48:31,879
Speaker 1: classic records like that, and um uh you said Mount

1016
00:48:31,960 --> 00:48:39,440
Speaker 1: Russ Foreheads so Morley bomb squad uh Um. I always

1017
00:48:39,440 --> 00:48:42,440
Speaker 1: got to put Dre in there for just him bringing

1018
00:48:42,480 --> 00:48:45,160
Speaker 1: a sound that we didn't even know about until I

1019
00:48:45,200 --> 00:48:47,560
Speaker 1: went to college, and I'm like, it was easy. And

1020
00:48:47,760 --> 00:48:49,919
Speaker 1: you know my friends from me to the West Coast,

1021
00:48:50,080 --> 00:48:51,840
Speaker 1: it's like, yo, they put me on the Boys in

1022
00:48:51,920 --> 00:48:54,399
Speaker 1: the Hood and everything. He always just said Dre, doctor

1023
00:48:54,440 --> 00:48:56,480
Speaker 1: Dray and and sometimes would say yellow you know, on

1024
00:48:56,600 --> 00:49:00,319
Speaker 1: the side. But I always put Dre in there. There's

1025
00:49:00,400 --> 00:49:03,120
Speaker 1: there's more than than the four, but I always put

1026
00:49:03,160 --> 00:49:04,319
Speaker 1: them in there because you know, I'm a big fan

1027
00:49:04,360 --> 00:49:08,480
Speaker 1: of Rick Rubin, you know, and you know even you

1028
00:49:08,560 --> 00:49:13,120
Speaker 1: know from Knots and Shoviz and and you know even

1029
00:49:13,280 --> 00:49:17,759
Speaker 1: Pete and the Large Pro. But for what influenced me

1030
00:49:17,880 --> 00:49:22,880
Speaker 1: in the beginning, definitely Molly the Bomb squad Um Larry Smith.

1031
00:49:23,480 --> 00:49:26,600
Speaker 1: And how do you feel about modern technology making producing

1032
00:49:26,680 --> 00:49:30,920
Speaker 1: so accessible people using like what is it? Fruits? Yea

1033
00:49:31,160 --> 00:49:33,800
Speaker 1: and logic And it was a lot different when you

1034
00:49:33,880 --> 00:49:36,040
Speaker 1: were coming up and to make beats. Do you think

1035
00:49:36,080 --> 00:49:38,680
Speaker 1: that the sound gets more ordered down or you think

1036
00:49:38,680 --> 00:49:41,800
Speaker 1: it's a great thing that pretty much anybody could be

1037
00:49:41,800 --> 00:49:44,800
Speaker 1: a pretty thing. It's just whatever works for you. Because

1038
00:49:44,960 --> 00:49:47,400
Speaker 1: a lot of people ask me what GimC NPC should

1039
00:49:47,400 --> 00:49:50,200
Speaker 1: I get? I'm like, the machines are useless without your

1040
00:49:50,320 --> 00:49:53,759
Speaker 1: mind manipulating it to do something. So it's just like

1041
00:49:54,080 --> 00:49:57,560
Speaker 1: I can get buy a Ferrari somehow some wave even

1042
00:49:57,560 --> 00:49:59,399
Speaker 1: I don't know all the extra switch and I still

1043
00:49:59,440 --> 00:50:01,319
Speaker 1: ought to drive a car, you know what I'm saying.

1044
00:50:01,400 --> 00:50:04,560
Speaker 1: But and and I'm a deem, I'm a race demon,

1045
00:50:04,680 --> 00:50:08,560
Speaker 1: so it's like it's the same thing if I'm behind

1046
00:50:08,600 --> 00:50:12,279
Speaker 1: the wheel. Shut him a man, Panchi of the Nygez.

1047
00:50:12,320 --> 00:50:14,200
Speaker 1: He always says, Yo, you have two modes. You have

1048
00:50:14,360 --> 00:50:17,040
Speaker 1: driving mode and you have airport mode. Because I've had

1049
00:50:17,080 --> 00:50:19,839
Speaker 1: the rush to there for right before the flames taken off,

1050
00:50:20,120 --> 00:50:23,440
Speaker 1: and I will get you. Yeah, even if I got

1051
00:50:23,520 --> 00:50:25,840
Speaker 1: to go on the shoulder hop, I'm gonna get you

1052
00:50:25,920 --> 00:50:27,719
Speaker 1: to end. You don't have to go look at look

1053
00:50:27,920 --> 00:50:31,440
Speaker 1: look out. You're gonna be fine. But what's your preference? Personally?

1054
00:50:31,960 --> 00:50:35,360
Speaker 1: Um NPC became my preference. I started out on the

1055
00:50:35,520 --> 00:50:38,919
Speaker 1: SP twelve just as twelve before there was a floppy disk.

1056
00:50:39,360 --> 00:50:42,080
Speaker 1: Then the SP twelve hundred came out with a floppy disk,

1057
00:50:42,480 --> 00:50:45,480
Speaker 1: and and uh I stayed on that and then all

1058
00:50:45,520 --> 00:50:49,560
Speaker 1: the way till uh nineteen ninety two when I met

1059
00:50:49,680 --> 00:50:52,120
Speaker 1: Eddie Sancho, who we worked at d n D as

1060
00:50:52,120 --> 00:50:53,800
Speaker 1: an engineer that you had to hire when you just

1061
00:50:54,040 --> 00:50:57,600
Speaker 1: did a record. Show Biz was doing a remix for

1062
00:50:57,680 --> 00:51:00,680
Speaker 1: Lord Finess. It was called Return of the Man remix,

1063
00:51:00,719 --> 00:51:03,759
Speaker 1: and they wanted me to do scratches, So, UH show

1064
00:51:04,080 --> 00:51:06,240
Speaker 1: lawfing nets book the session. That's how I got to DND.

1065
00:51:06,680 --> 00:51:08,439
Speaker 1: He's like, we're gonna be at the place called dn

1066
00:51:08,520 --> 00:51:13,040
Speaker 1: D show U. They had me later scratches. He said

1067
00:51:13,040 --> 00:51:14,680
Speaker 1: he had to leave he said, can you get the

1068
00:51:14,760 --> 00:51:17,319
Speaker 1: mix and just bring me a cassette of the mix.

1069
00:51:18,160 --> 00:51:21,160
Speaker 1: I had my sound system in the MPV. I listened

1070
00:51:21,200 --> 00:51:24,760
Speaker 1: to it and was like, wow, this is knocking boom.

1071
00:51:24,880 --> 00:51:26,920
Speaker 1: I said, we were gonna go to Colliope did where

1072
00:51:26,960 --> 00:51:29,840
Speaker 1: we did Step in the Arena and because Queen Lativa,

1073
00:51:30,320 --> 00:51:34,200
Speaker 1: Jungle Brothers, Ultra Magneticum Sees Daylight saw they will working.

1074
00:51:34,280 --> 00:51:35,719
Speaker 1: Then I was like, I want my stuff to sound

1075
00:51:35,800 --> 00:51:39,200
Speaker 1: more grimy and dirty like them. I did the first

1076
00:51:39,239 --> 00:51:41,839
Speaker 1: album there with Stephan the arena we're about to get

1077
00:51:41,920 --> 00:51:44,480
Speaker 1: we just got our budget for Daily Operation. I said,

1078
00:51:44,480 --> 00:51:47,200
Speaker 1: I'm going to dn D. Never left there and left

1079
00:51:47,239 --> 00:51:51,320
Speaker 1: from that point when when we were recording the last

1080
00:51:51,400 --> 00:51:55,319
Speaker 1: song and we're about to work on Dwick, I did

1081
00:51:55,680 --> 00:51:57,560
Speaker 1: it on that No What teket Person was the last

1082
00:51:57,560 --> 00:52:00,920
Speaker 1: song we did in the in the A room. Everything

1083
00:52:01,040 --> 00:52:05,680
Speaker 1: was on the A room. Eddie was like, Yo, every

1084
00:52:05,800 --> 00:52:08,640
Speaker 1: the way you're laying your beach down, you should use this.

1085
00:52:09,040 --> 00:52:11,200
Speaker 1: He said, I'm about to sell it, but this is

1086
00:52:11,239 --> 00:52:13,279
Speaker 1: called an MPC sixty And then I said I know

1087
00:52:13,360 --> 00:52:14,520
Speaker 1: what it is. He said, well, let me show you

1088
00:52:14,600 --> 00:52:16,920
Speaker 1: what it does. He says, almost like a tape machine.

1089
00:52:16,960 --> 00:52:19,080
Speaker 1: Without a tape. He showed me all the way I'm

1090
00:52:19,160 --> 00:52:21,440
Speaker 1: laying my tracks individual and I was like, wow, I

1091
00:52:21,600 --> 00:52:25,040
Speaker 1: like this thing. Ended up doing that and did twig

1092
00:52:25,120 --> 00:52:27,880
Speaker 1: on it, but we couldn't book the a room. They

1093
00:52:27,960 --> 00:52:29,520
Speaker 1: put me in the b room. Man. I was like,

1094
00:52:29,600 --> 00:52:31,319
Speaker 1: dawn't want to do it in there. I've never been

1095
00:52:31,360 --> 00:52:33,480
Speaker 1: in there. I go in there, we do it and

1096
00:52:33,600 --> 00:52:36,520
Speaker 1: just said well when the day, when the room opens up,

1097
00:52:36,520 --> 00:52:38,319
Speaker 1: you can do maybe another mix in the other room.

1098
00:52:38,680 --> 00:52:41,719
Speaker 1: We mix it. Me and Greg Knice dubbed C was

1099
00:52:41,760 --> 00:52:44,520
Speaker 1: there and when we did, Dwick and Don Baron of

1100
00:52:44,600 --> 00:52:47,160
Speaker 1: the Masses of Ceremony came with Greg Knighte. We did

1101
00:52:47,239 --> 00:52:49,800
Speaker 1: the record. It popped off. It was knocking. I was like,

1102
00:52:49,840 --> 00:52:52,239
Speaker 1: damn the mixing it sounds better. And from that day

1103
00:52:52,280 --> 00:52:55,319
Speaker 1: I stayed and that became Premier's Room at that point

1104
00:52:55,600 --> 00:52:58,359
Speaker 1: and I've been on the MPC sixty ever since. I'm

1105
00:52:58,400 --> 00:53:01,759
Speaker 1: on the NPC renaissance now because of the computer and

1106
00:53:02,239 --> 00:53:05,680
Speaker 1: more more memory time, but still don't on the NBC.

1107
00:53:06,360 --> 00:53:08,960
Speaker 1: You know, we appreciate you for joining us. Hip Hop,

1108
00:53:11,160 --> 00:53:16,960
Speaker 1: Joey Rhapsody, Nahs, Run the Jewels, Little Wayne and Slick Rick. Yeah,

1109
00:53:17,160 --> 00:53:19,640
Speaker 1: thank you. So much about the video to with Remy

1110
00:53:19,680 --> 00:53:21,839
Speaker 1: and Rap. It's gonna be that's gonna be amazing. They

1111
00:53:21,880 --> 00:53:23,320
Speaker 1: were talking a lot of issue on there too, you know.

1112
00:53:23,400 --> 00:53:25,480
Speaker 1: I like that though. Yeah, they took that took they

1113
00:53:25,560 --> 00:53:27,759
Speaker 1: both can spit. Yeah, yeah man. And and and that's

1114
00:53:27,800 --> 00:53:31,000
Speaker 1: why there are two different combinations of mcs. You know.

1115
00:53:31,480 --> 00:53:34,239
Speaker 1: Rap is to remind me of it, kind of like

1116
00:53:34,320 --> 00:53:37,440
Speaker 1: the Lauren Hill type of of of Lane, and then

1117
00:53:37,520 --> 00:53:41,479
Speaker 1: Remy is just Remy you know that time. So we're

1118
00:53:41,480 --> 00:53:43,040
Speaker 1: about to shoot the video to that. That's gonna be

1119
00:53:43,120 --> 00:53:46,319
Speaker 1: so much fun. Man. We already got our how we're

1120
00:53:46,320 --> 00:53:49,239
Speaker 1: gonna dress already mapped out, so it's gonna be the

1121
00:53:49,360 --> 00:53:53,440
Speaker 1: gutter alright. Well, he's having us. It's Primo DJ Premier, Yes,

1122
00:53:54,000 --> 00:53:55,160
Speaker 1: the Breakfast Club. Good morning,