WEBVTT - INTERVIEW: 112, Case & Total On The 90s R&B Generation, Biggie's Magic In Studio, Cool Vulnerability + More 0:00:01.560 --> 0:00:05.279 Every day a week ago, clicks up the Breakfast Club. 0:00:05.480 --> 0:00:07.400 Finish, y'all done morning. 0:00:07.440 --> 0:00:11.120 Everybody is the j n V Jess hilarious, Charlamagne the guy. 0:00:11.200 --> 0:00:13.600 We are the Breakfast Club law Ros here as well. 0:00:13.640 --> 0:00:15.560 We got some special guests in the Bountain. Come on 0:00:15.600 --> 0:00:19.759 now we have one twelve, we have total and we 0:00:19.880 --> 0:00:23.120 have Case. Welcome, Welcome, welcome, We welcome man. 0:00:23.280 --> 0:00:24.439 How are you doing? 0:00:26.600 --> 0:00:28.520 And this is not a random link up y'all going 0:00:28.520 --> 0:00:29.200 on tour together? 0:00:30.640 --> 0:00:31.840 This is the one. 0:00:31.760 --> 0:00:35.599 Twelve room one twelve thirtieth anniversary tour. We're so excited 0:00:35.920 --> 0:00:38.559 about our brother Case and our sister's total with us. 0:00:38.560 --> 0:00:41.000 So you know, have a good time. Man. 0:00:41.080 --> 0:00:48.040 First first shows win November health Yeah, November twelve. Staff 0:00:48.040 --> 0:00:50.320 for Connecticut Brooklyn is November thirteenth. 0:00:50.720 --> 0:00:53.040 So there's a members missing. So are the members going 0:00:53.120 --> 0:00:54.800 to be on tour or this is the tour? 0:00:55.280 --> 0:00:59.600 Okay, okay, this is okay, okay, yeah, nice. 0:00:59.160 --> 0:01:01.680 My other members. 0:01:04.640 --> 0:01:06.640 By yourself, we're made. 0:01:06.760 --> 0:01:08.440 Now the right time for all of y'all to come 0:01:08.440 --> 0:01:09.280 together for this tour. 0:01:10.040 --> 0:01:13.120 Oh that's a great question, bro. Honestly managed it. It 0:01:13.200 --> 0:01:15.600 just felt right it being thirty years, you know, us 0:01:15.600 --> 0:01:17.920 being in the game. So it just it just makes 0:01:17.959 --> 0:01:19.759 sense for us to just get out there and just 0:01:19.800 --> 0:01:22.640 show the fans that we really appreciate what they've been doing, 0:01:22.720 --> 0:01:24.280 you know, been rocking out with us for the last 0:01:24.280 --> 0:01:27.479 thirty years man, So you know, we're really excited about it. Man, 0:01:27.560 --> 0:01:30.480 Like we're managed totally and one twelve are managed by 0:01:30.480 --> 0:01:31.679 the same you know crew. 0:01:31.760 --> 0:01:34.080 So of course that was an easy, you know decision 0:01:34.120 --> 0:01:34.680 to make with that. 0:01:34.720 --> 0:01:37.760 And then in case you know, being you know bro, Yeah, 0:01:37.800 --> 0:01:39.160 that's the bro, you know what I mean, and all 0:01:39.200 --> 0:01:41.800 of us having that catalog is definitely we wanted to 0:01:41.840 --> 0:01:44.800 bring back that ninety nostalgia you feel and all. 0:01:44.800 --> 0:01:47.160 Y'all still sing thank you. 0:01:47.280 --> 0:01:49.640 That's you know, not everybody doing it, but y'all can 0:01:49.680 --> 0:01:50.280 still sing. 0:01:50.440 --> 0:01:51.760 That's important. Good, yes, man. 0:01:52.360 --> 0:01:54.680 So were you guys on the road already on tour 0:01:54.720 --> 0:01:57.160 before or you you have to break from family obligations 0:01:57.160 --> 0:01:58.320 and be like, I'm gonna need to take some time 0:01:58.360 --> 0:01:59.080 out and get on tour. 0:01:59.600 --> 0:02:01.680 We Keisha and I were on. 0:02:01.880 --> 0:02:03.920 We just started back a year ago. 0:02:03.960 --> 0:02:06.760 We came back out. We did the R and B 0:02:06.880 --> 0:02:10.240 tour part of that. Yeah, we were home. We came 0:02:10.639 --> 0:02:12.919 my family and. 0:02:12.440 --> 0:02:14.440 How difficult was that getting back on the road, getting 0:02:14.480 --> 0:02:17.400 back on dancing, getting back on How difficult was that? 0:02:17.720 --> 0:02:19.120 It really it wasn't. 0:02:18.960 --> 0:02:22.079 It really wasn't difficult. It's like, you know, like riding bike. 0:02:22.080 --> 0:02:24.600 Once you did it, you done. So it's just you know, 0:02:24.639 --> 0:02:27.040 my kids are older, Keisha still has a high school child. 0:02:27.400 --> 0:02:29.520 But so it wasn't hard at all. They're very supportive, 0:02:29.960 --> 0:02:32.440 you know. They actually was like, go do it. 0:02:32.880 --> 0:02:37.200 By yeah, yeah. 0:02:37.280 --> 0:02:37.520 Yeah. 0:02:37.680 --> 0:02:39.920 Rehearsals was dope. We had to you know, work it 0:02:39.960 --> 0:02:42.240 out a little bit. But like Keema said, it's like 0:02:42.320 --> 0:02:43.880 riding a bike. Once you get started. 0:02:44.760 --> 0:02:46.120 My vibe is very authentic. 0:02:46.280 --> 0:02:49.560 So it's you know, but people went through dancing from 0:02:49.600 --> 0:02:52.240 the old videos. If you ain't hitting them them. 0:02:52.120 --> 0:02:57.640 Dancing, we danced and we got our box. 0:02:58.240 --> 0:03:00.120 How did y'all find that balance back in the day 0:03:00.720 --> 0:03:04.359 between being like sexy was strong, was still street with it, Like, 0:03:04.400 --> 0:03:05.600 how did y'all find that balance? 0:03:07.200 --> 0:03:10.040 It was just natural, like that's just who we are 0:03:10.160 --> 0:03:11.760 growing up Jersey like. 0:03:12.360 --> 0:03:15.160 How we were, Yeah, and that's what made us. To me, 0:03:15.440 --> 0:03:18.520 that's what made us who we were. Total the name 0:03:18.720 --> 0:03:22.000 started out as total opposites because we were all individuals 0:03:22.520 --> 0:03:25.360 in our own way, you know. So it was it 0:03:25.400 --> 0:03:26.919 wasn't like you had to buy the brand. 0:03:27.480 --> 0:03:28.480 We came as we were. 0:03:29.160 --> 0:03:32.560 Yeah, yep. How was the bad Boy ever back then? 0:03:32.760 --> 0:03:33.200 Growing up? 0:03:33.240 --> 0:03:36.240 Right, because there was a time nineties two thousand it 0:03:36.280 --> 0:03:38.840 was nothing but bad Boy in the radio, nothing but 0:03:38.960 --> 0:03:42.360 bad Boy on the streets, mixtapes to clubs. How was 0:03:42.400 --> 0:03:45.280 that era where just it felt like anything y'all did hit. 0:03:46.640 --> 0:03:47.920 It was, it's some beautiful things. 0:03:47.960 --> 0:03:51.040 It was fun, it was. That's what we learned a 0:03:51.080 --> 0:03:53.000 lot of our grind from that whole era. 0:03:54.040 --> 0:03:55.119 Grinding just out there. 0:03:56.440 --> 0:03:58.600 It was going to the time like it was just fun. 0:03:58.680 --> 0:03:59.800 It was just like a. 0:03:59.720 --> 0:04:04.559 Big yep, yeah that's crazy. 0:04:04.800 --> 0:04:06.360 Us coming from Atlanta. You know what I'm saying. 0:04:06.400 --> 0:04:08.120 It like it was a different it was like a 0:04:08.120 --> 0:04:10.880 different culture. So you know, you know, you can imagine 0:04:10.920 --> 0:04:11.320 how that felt. 0:04:11.320 --> 0:04:11.640 He's coming. 0:04:11.720 --> 0:04:14.680 I know, he's from the you know what I'm saying. 0:04:14.680 --> 0:04:17.320 So you're coming to New York culture culture, you know. 0:04:17.839 --> 0:04:20.000 So you know, but but it was so much fun 0:04:20.000 --> 0:04:23.600 because it was just like, okay, clubs smaller, but you 0:04:23.600 --> 0:04:25.400 know what i mean. But it was like in your face, 0:04:25.600 --> 0:04:27.720 so you know what I'm saying. So, but we learned 0:04:27.960 --> 0:04:29.560 a lot musically here. 0:04:30.160 --> 0:04:30.560 M hmm. 0:04:31.000 --> 0:04:32.839 What about you for you case now, you weren't on 0:04:32.920 --> 0:04:35.440 bad Boy, You're on Death Jam Jam. You a songwriter, 0:04:35.600 --> 0:04:37.640 you had you have the I always say, you have 0:04:37.680 --> 0:04:39.760 that one wedding song that you will get paid. 0:04:39.520 --> 0:04:41.440 For for the rest of your life. Happily ever after, Like. 0:04:44.480 --> 0:04:46.400 That was that was coming up for you in that 0:04:46.480 --> 0:04:48.200 and during that time because at that time you were 0:04:48.279 --> 0:04:51.480 death Jam. Death Jam was heavy pop, and you was 0:04:51.480 --> 0:04:53.080 probably one of the only R and B singers at 0:04:53.120 --> 0:04:53.400 the time. 0:04:53.880 --> 0:04:54.440 I mean it was. 0:04:54.600 --> 0:04:57.239 It was cool for me, except for the only problem 0:04:57.279 --> 0:04:58.800 that they was learning on the fly how to do 0:04:58.920 --> 0:05:01.040 R and B and so I caught up in that sometime. 0:05:01.120 --> 0:05:04.280 But yeah, I mean, you know how big they was then, 0:05:04.360 --> 0:05:06.400 so that part was cool. It was just a lot 0:05:06.400 --> 0:05:08.360 of times they had a lot of hip hop sensibilities 0:05:08.360 --> 0:05:10.520 because it's hip hop labor. But one of the things 0:05:10.520 --> 0:05:12.960 that helped me was that I was the last artist 0:05:12.960 --> 0:05:15.520 that Russell personally signed to Death Jail, so I'd always 0:05:15.520 --> 0:05:18.280 call him and be like, yo, I can snitch. 0:05:20.160 --> 0:05:22.160 The record was gonna be so timeless, like touch me, 0:05:22.240 --> 0:05:23.839 tease me happily ever ever. 0:05:24.160 --> 0:05:25.960 I didn't know, but that's what I always wanted to 0:05:26.000 --> 0:05:28.560 do like I never wanted to make like trendy stuff. 0:05:28.880 --> 0:05:30.719 I always wanted to make music like my parents would 0:05:30.760 --> 0:05:33.279 listen to stuff from like twenty thirty years earlier, and 0:05:33.279 --> 0:05:35.160 it would have me doing it. And so my thing 0:05:35.279 --> 0:05:36.760 was like, if I could do that, then I'd be 0:05:36.760 --> 0:05:38.640 happy and then everything else will fall in line. 0:05:38.760 --> 0:05:45.159 You worked with a Mary Jay Beyond Foxy Brown, who else? 0:05:45.160 --> 0:05:48.800 There's a bunch of people ll ghost Face, ghost Face, 0:05:48.880 --> 0:05:51.839 genuine Tyrie, genuine Tyr, Jam and Lewis. 0:05:52.520 --> 0:05:54.680 What's a session that changed the way you saw yourself 0:05:54.680 --> 0:05:55.240 as an artist? 0:05:56.839 --> 0:06:00.880 M probably Jam and Lewis because I was a huge 0:06:00.920 --> 0:06:02.479 fan and I'm like, I'm sitting in room with Jimmy, 0:06:02.520 --> 0:06:06.799 Jame and Terry Lewis and I'm like and they was like, well, yeah, Janet, 0:06:06.800 --> 0:06:07.720 we're gonna have Janet comes. 0:06:07.760 --> 0:06:08.120 She loves you. 0:06:08.160 --> 0:06:11.159 And I'm like wait, wait wait wait, I'm like wait 0:06:11.200 --> 0:06:13.920 wait wait, got a call that Yeah, yeah, we don't 0:06:13.920 --> 0:06:15.680 need to do that. I was just saying, I love 0:06:15.720 --> 0:06:17.360 I don't have don't have a walk in here, because 0:06:17.360 --> 0:06:20.760 that had have been different, But it was really that 0:06:20.760 --> 0:06:23.040 one because I'm like sitting there, I've been listening to 0:06:23.120 --> 0:06:25.919 him forever and I'm like, dag, I'm sitting here. Another 0:06:25.920 --> 0:06:28.119 one was the first time I worked with Charlie Wilson. 0:06:28.160 --> 0:06:29.800 I had wrote a song for him and I was 0:06:29.800 --> 0:06:32.279 a huge fan. And I'm sitting in the booth behind 0:06:32.320 --> 0:06:34.800 him on the floor while he's doing his vocals and 0:06:34.880 --> 0:06:36.960 I'm tripping out like this is really happening. 0:06:37.040 --> 0:06:39.640 So it was a lot of different moments. 0:06:40.000 --> 0:06:42.520 I felt like, def Jim didn't treat you like a 0:06:42.560 --> 0:06:45.200 regular artist, right with total. 0:06:45.000 --> 0:06:45.680 In one twelve. 0:06:46.080 --> 0:06:48.240 I would see them out in the club like bad 0:06:48.240 --> 0:06:50.160 Boy would have him Mountain Death Jim artists, Deaf Gym 0:06:50.200 --> 0:06:52.560 would have them mount I didn't see you Deaf Jim 0:06:52.640 --> 0:06:53.880 put you out as much like that? 0:06:54.000 --> 0:06:55.040 Was it because you didn't want. 0:06:54.880 --> 0:06:56.120 To go out or probably didn't know what to do 0:06:56.080 --> 0:06:56.960 it because he was R and B. 0:06:57.760 --> 0:06:59.480 I think a lot of it. Yeah, First of all, 0:06:59.480 --> 0:07:01.520 I hate going out, okay, So if I didn't have 0:07:01.640 --> 0:07:04.120 to be there, listen, that's why you always be like yo, 0:07:04.200 --> 0:07:05.160 you had a lot of stuff about you. 0:07:05.360 --> 0:07:08.640 I know how to be over here. 0:07:09.360 --> 0:07:11.920 So yeah, I mean I wasn't really big on going out, 0:07:12.000 --> 0:07:13.920 or when I did, it'd be I'd be somewhere else 0:07:14.800 --> 0:07:17.760 unless I had to be somewhere with them. 0:07:17.960 --> 0:07:20.840 Gotcha, did you guys? Well, Mike, I saw you say that. 0:07:20.920 --> 0:07:24.400 You feel like, you know, you guys, first album. Without that, 0:07:24.440 --> 0:07:25.640 you don't think that R and B would be as 0:07:25.680 --> 0:07:27.679 prevalent or as worldwide as it is right now. 0:07:29.840 --> 0:07:34.360 Yeah, okay, so yeah, because we felt like we contributed 0:07:34.760 --> 0:07:36.960 a lot more than one twelve. You know, we walk 0:07:37.040 --> 0:07:39.840 around with modesty on our shoulders and stuff, and I 0:07:39.880 --> 0:07:42.360 know that that's you know, Huberts to say that while 0:07:42.400 --> 0:07:45.520 you're talking about modesty, right, But yeah, we we always 0:07:45.560 --> 0:07:47.520 walked around with this this mindset that, man, we'll. 0:07:47.400 --> 0:07:49.680 Let our actions speak for themselves. 0:07:50.200 --> 0:07:53.720 But we would always challenge people like find us because 0:07:54.000 --> 0:07:57.040 our niche in the industry was hip hop and R 0:07:57.040 --> 0:07:58.920 and B. We weren't just hip hop artists, I mean 0:07:59.120 --> 0:08:00.520 R and B artists. We were hip pop and R 0:08:00.560 --> 0:08:03.680 and B artists. So yeah, the mind frame was we 0:08:03.880 --> 0:08:06.600 started that whole trend. It's like the way music sounds now. 0:08:06.640 --> 0:08:08.440 One twelve had a lot to do with that because 0:08:08.960 --> 0:08:12.840 no one can really give us a group that did 0:08:12.840 --> 0:08:15.280 it the way that we did it before one twelve, 0:08:15.320 --> 0:08:17.680 Like as far as singing over hip hop beats and 0:08:17.680 --> 0:08:20.160 stuff like that, Like you I challenged in but find 0:08:20.160 --> 0:08:22.000 me a group that did it, because back then in 0:08:22.000 --> 0:08:23.320 the day, what you had the A side and you 0:08:23.320 --> 0:08:25.240 had the B side right, and then on the B side, 0:08:25.280 --> 0:08:27.240 so the records, right, they had the records, you had 0:08:27.240 --> 0:08:28.920 the uptempo records where they were singing, but they were 0:08:28.960 --> 0:08:34.280 always all that singing over uptempo beats and stuff. It 0:08:34.320 --> 0:08:35.440 was like it was confusing. 0:08:35.480 --> 0:08:35.720 Puff. 0:08:35.760 --> 0:08:37.040 One one thing that Puff told us. 0:08:37.120 --> 0:08:39.400 Was like when you're in the club, when you when 0:08:39.440 --> 0:08:43.360 you're recording a record, right, sing the song as if 0:08:43.360 --> 0:08:45.120 you're in the club drinking and you're trying to holler 0:08:45.120 --> 0:08:45.560 at the girl. 0:08:45.679 --> 0:08:48.120 You ain't gonna be in this girl talking about yeah 0:08:48.840 --> 0:08:54.160 you gonna go. I want to be with you else, 0:08:54.520 --> 0:08:56.200 you know what I mean. It's gonna be something smoothing. 0:08:56.440 --> 0:08:58.640 So when we wrote records, when we wrote the uptimbo 0:08:58.760 --> 0:09:01.280 records and then Slim having the voice being able to 0:09:01.360 --> 0:09:02.920 just lay on the tracks the way that we did, 0:09:03.080 --> 0:09:06.120 like that started an hold ever where people now like 0:09:06.120 --> 0:09:08.520 when you hear R and B, it has a hip 0:09:08.559 --> 0:09:09.320 hop element to. 0:09:09.360 --> 0:09:11.439 It as well. It's not just R and B. It's 0:09:11.440 --> 0:09:12.680 a hip hop element isn't that. 0:09:12.760 --> 0:09:14.679 A bad boy formula or wasn't that Diddy? Like I 0:09:14.720 --> 0:09:16.920 feel like Diddy did that like with Jodysie. I feel 0:09:16.920 --> 0:09:18.520 like he did that with Mary j Blige, like he 0:09:18.559 --> 0:09:19.640 did that with Total. 0:09:19.600 --> 0:09:20.240 I'll give you that. 0:09:20.520 --> 0:09:23.360 I'll give you Mary j Blige because yeah, she she helped, 0:09:23.440 --> 0:09:26.000 uh because we always say that Mary is between Mary 0:09:26.040 --> 0:09:28.400 and one twelve, but one twelve really and then yeah, puff, 0:09:28.440 --> 0:09:30.360 did you know he did contribute because we came in 0:09:30.400 --> 0:09:32.400 with just we are and B we aren't b bro, like, 0:09:32.440 --> 0:09:34.400 forget all that stuff man like hip hop that's gonna 0:09:34.440 --> 0:09:36.680 cheapen our sound and all this sudden stuff. And he's 0:09:36.679 --> 0:09:39.600 had the vision was like, Yo, this is what's gonna 0:09:39.640 --> 0:09:42.040 separate y'all from the Drew Hills, from the Jaggets, from 0:09:42.080 --> 0:09:44.560 the you know, the Ajets and all these other groups 0:09:44.559 --> 0:09:45.800 that were coming out at the same time. 0:09:45.840 --> 0:09:47.920 And you know what that that didn't make perfect sense 0:09:48.000 --> 0:09:50.160 right instead of all I would love a nigga to 0:09:50.200 --> 0:09:51.439 come up to me and class, let. 0:09:51.440 --> 0:09:58.040 Me tell you what exactly. 0:09:58.120 --> 0:10:01.199 That's exactly what it was, because nine times out of 0:10:01.200 --> 0:10:02.160 ten ain't gonna be able to sing. 0:10:02.240 --> 0:10:03.760 So he's like, bro, all of that in my ear, 0:10:03.840 --> 0:10:05.200 like I don't want to hear all that, you know, 0:10:05.520 --> 0:10:06.280 so that. 0:10:06.160 --> 0:10:08.800 You agree with Mike's assessment. Not to start any arguments here, 0:10:08.840 --> 0:10:10.080 but the case, do you agree with that? 0:10:11.400 --> 0:10:13.040 Yeah, I mean it was, it was part of it. 0:10:13.280 --> 0:10:15.480 I mean that during that era, but that's when hip 0:10:15.480 --> 0:10:18.640 hop and R and B was Yeah, yeah, pretty much, and. 0:10:18.640 --> 0:10:20.280 I feel like bad Boy was at the forefront of. 0:10:20.880 --> 0:10:24.000 Yeah, definitely, yeah, because Total was hip hop with that 0:10:24.040 --> 0:10:26.320 touch of R and B. R and B group, but 0:10:26.360 --> 0:10:28.600 I think we were more base hip hop with the 0:10:28.640 --> 0:10:30.960 touch of R and B, and Mary definitely was the 0:10:31.040 --> 0:10:33.000 pioneer of that sound. 0:10:32.920 --> 0:10:34.640 And Total, you guys are some of the I'm sorry, 0:10:34.640 --> 0:10:35.440 go ahead shout out. 0:10:35.320 --> 0:10:36.560 To No no no. 0:10:36.600 --> 0:10:38.280 I was just gonna say when he when Puff did 0:10:38.320 --> 0:10:40.920 the remixes with Jodasy, because Jodasy was just. 0:10:40.840 --> 0:10:42.480 The R and B and then he brought the hip 0:10:42.480 --> 0:10:43.719 hop elementary. 0:10:43.600 --> 0:10:46.600 Ghost facing Ray Kuon on the Freaking You remix, you know, 0:10:46.880 --> 0:10:48.560 like I can't even I don't want to hear can't 0:10:48.600 --> 0:10:51.080 you see without Biggie part? Like I hate hated when 0:10:51.080 --> 0:10:52.640 some of the urban AC stations back in the day 0:10:52.679 --> 0:10:55.240 didn't play Raptors, just played the R and B I hated, 0:10:55.960 --> 0:10:59.720 I was, I mean. 0:11:02.720 --> 0:11:05.319 I would go before record. 0:11:06.559 --> 0:11:10.240 Yes, because they didn't want you didn't play played. 0:11:11.440 --> 0:11:13.160 So how did y'all sign to Puff? When did y'all 0:11:13.160 --> 0:11:14.679 meet Puffing? Puff is like, this is the group that 0:11:14.720 --> 0:11:14.959 I want. 0:11:15.000 --> 0:11:16.680 How did that start? Because the first time. 0:11:17.880 --> 0:11:24.359 We met Puffy through we met these guys that introduced 0:11:24.400 --> 0:11:28.120 us to Kathy. Kathy was from Mount Vernon, Kathy, Kathy Duke, 0:11:29.559 --> 0:11:32.600 She's how we met Puff. Puff is. What's her son's 0:11:33.200 --> 0:11:36.480 what is her son's godfather? He's the little baby, the 0:11:36.520 --> 0:11:39.120 little first boy baby put closer. 0:11:41.360 --> 0:11:43.160 So that's how we met him. 0:11:43.960 --> 0:11:46.840 Can I can I bring Can I bring them in? 0:11:46.960 --> 0:11:51.800 So Kathy one day when when we were introduced to Kathy, 0:11:51.880 --> 0:11:54.720 Kathy was like, I would love to represent y'all manage all. 0:11:54.880 --> 0:11:57.840 So we ride and ride and Kathy was like, y'all 0:11:57.840 --> 0:11:59.839 gotta always be ready, always be ready. 0:12:00.040 --> 0:12:02.160 So she pulls up, she goes upstairs. She's like, I'll 0:12:02.160 --> 0:12:02.679 be right back. 0:12:02.880 --> 0:12:05.280 She comes downstairs and she was like, Okay, I need 0:12:05.320 --> 0:12:07.400 y'all to make up a song and put Puffy's name 0:12:07.400 --> 0:12:10.600 in it. At the time, Puffy's Puffy, He's actually in 0:12:10.679 --> 0:12:13.760 the studio with Joe Tosy doing the remix. So he 0:12:13.840 --> 0:12:17.840 comes downstairs, he introduces himself and then we just start singing, 0:12:17.840 --> 0:12:18.720 but we're performing. 0:12:19.120 --> 0:12:21.079 We had him all backed up against the wall and 0:12:21.840 --> 0:12:22.120 he was. 0:12:22.360 --> 0:12:23.960 At us like yeah, his mouth open. He was like, 0:12:26.360 --> 0:12:26.880 how are you? 0:12:27.480 --> 0:12:31.480 He asked our ages came upstairs. We watched him, you know, 0:12:31.559 --> 0:12:35.120 direct Jo Tosy, and then he asked us how well 0:12:35.160 --> 0:12:37.200 did we get along in the studio, like if we 0:12:37.240 --> 0:12:39.440 had an argument, did we get back in the studio? 0:12:39.920 --> 0:12:41.040 And we were like yeah. 0:12:41.240 --> 0:12:43.960 So he was like okay. So he was like, yo, y'all, y'all, 0:12:44.040 --> 0:12:45.160 y'all sound really good. 0:12:45.200 --> 0:12:46.319 He was like, yo, I just. 0:12:46.600 --> 0:12:48.720 Encourage y'all to keep doing what y'all doing, you know, 0:12:48.760 --> 0:12:51.360 don't let nobody break y'all. Up two o'clock that morning, 0:12:51.360 --> 0:12:53.240 he called Kathy. He was like, don't take them nowhere 0:12:53.360 --> 0:12:53.960 on the signum. 0:12:55.320 --> 0:12:56.760 What was the first song that y'all did? What was 0:12:56.760 --> 0:12:57.720 the first one y'all recorded? 0:12:58.240 --> 0:13:02.320 Well, we recorded songs that never went anywhere because we 0:13:02.320 --> 0:13:04.240 were just trying to find our sound. But can't you 0:13:04.480 --> 0:13:05.480 no Juicy. 0:13:05.280 --> 0:13:08.679 Juicy Juicy was the first record I did and I 0:13:08.720 --> 0:13:12.720 was working with Biggie Amazing. You gotta break it down, 0:13:12.760 --> 0:13:14.679 both songs, Juicy and the Can't you. 0:13:14.640 --> 0:13:17.679 See The story behind how we wind up recording Juicy 0:13:17.840 --> 0:13:20.199 is like Big was like our little big brother. 0:13:20.320 --> 0:13:22.280 Like we were close with Big, so. 0:13:22.360 --> 0:13:25.720 We would frequently be in New York hanging out in 0:13:25.760 --> 0:13:27.319 the studio with him. So he called this one day. 0:13:27.320 --> 0:13:28.800 He was like, come to the city we was in. 0:13:29.000 --> 0:13:31.000 He was in the studio. So we went to the 0:13:31.040 --> 0:13:34.800 studio and he was playing Juicy. Keisha started humming something. 0:13:35.120 --> 0:13:36.680 Big he was like, y'all should go in there and 0:13:36.679 --> 0:13:38.640 put that down. So he, you know, just gave us 0:13:38.679 --> 0:13:40.720 some words or whatever, and we went in there and 0:13:40.800 --> 0:13:43.560 we put it down, and Puff had us come back 0:13:43.679 --> 0:13:45.839 the next day and do the one More Chance songs. 0:13:45.920 --> 0:13:54.880 So that's how it started. Juicy, Yeah, original one more Chance, 0:13:55.000 --> 0:13:56.880 the one on the album is different from the. 0:13:58.400 --> 0:13:59.440 With the voicemail in the front. 0:14:00.080 --> 0:14:01.840 Need to work on that Juicy. 0:14:02.000 --> 0:14:04.640 It says it now when you google it. But I 0:14:04.679 --> 0:14:08.000 assume that it wasn't necessarily supposed to have been a 0:14:08.000 --> 0:14:09.920 feature for me because it was his first single and 0:14:09.960 --> 0:14:10.440 stuff like that. 0:14:10.559 --> 0:14:13.400 So yeah, and I think, you know, we were new. 0:14:13.440 --> 0:14:16.200 I don't think it was something that just happened, like 0:14:16.240 --> 0:14:17.680 we were in the studio and we got in trouble. 0:14:17.800 --> 0:14:19.600 It was our maners like, don't do that no more. 0:14:19.880 --> 0:14:22.400 But I just think they didn't plan for it to 0:14:22.520 --> 0:14:25.280 be Biggie's first album to have a feature on it. 0:14:25.320 --> 0:14:27.000 Did y'all get writing cres for it? No? 0:14:27.520 --> 0:14:29.360 No, because Big wrote it right. 0:14:29.880 --> 0:14:33.560 I didn't know y'all was on Juicy Alom and we 0:14:33.640 --> 0:14:36.880 know those records more chance Dirty version is like one 0:14:36.920 --> 0:14:37.880 of my favorite records. 0:14:39.280 --> 0:14:42.680 Wow, and can't you see why can't you see it 0:14:42.720 --> 0:14:43.160 come together? 0:14:44.080 --> 0:14:46.720 We just came to the studio and the track was 0:14:46.720 --> 0:14:49.720 playing and we were like, oh snap. 0:14:50.720 --> 0:14:53.960 And then Terry Robinson Terry what was the group that 0:14:54.040 --> 0:14:54.440 Terry was? 0:14:55.000 --> 0:14:55.480 The girls? 0:14:55.840 --> 0:15:00.560 Terry Robinson's so incredible as far as songwriting, and she came. 0:15:00.640 --> 0:15:03.160 She was like, this is this is what it is? Okay, 0:15:04.040 --> 0:15:06.440 verse I like that verse. She liked that verse, like 0:15:06.480 --> 0:15:09.600 that verse. We went recorded it and it was what 0:15:09.680 --> 0:15:13.360 it was it. No, No, Big wasn't on it. 0:15:13.680 --> 0:15:14.280 He was a studio. 0:15:14.320 --> 0:15:15.960 He was in the studio and then he came in 0:15:16.000 --> 0:15:18.000 and laid it down. It's crazy. 0:15:18.400 --> 0:15:19.160 Wow, that's crazy. 0:15:19.240 --> 0:15:19.400 Yeah. 0:15:19.840 --> 0:15:21.080 I was gonna ask when you say we got to 0:15:21.120 --> 0:15:22.840 work on it, you can go back and make sure 0:15:22.840 --> 0:15:25.360 that you guys are credited on the song now, even 0:15:25.360 --> 0:15:29.040 though like it's been listed ways to certain how that. 0:15:29.000 --> 0:15:31.920 Works because I think I think Pam was able to 0:15:32.000 --> 0:15:34.880 do that with Hypnotized. 0:15:35.520 --> 0:15:38.760 So and then we get our sounded, we get we 0:15:38.800 --> 0:15:41.320 can performance royalties for it, like our sound Exchange and 0:15:41.360 --> 0:15:44.440 stuff like that, and it has gotten updated. We had 0:15:44.440 --> 0:15:46.640 it updated on the internet. So now if you look 0:15:46.680 --> 0:15:49.600 it up, it does say feature in total. But it 0:15:49.800 --> 0:15:51.280 just didn't go out like that. 0:15:51.440 --> 0:15:53.840 Yeah, crazy a lot. 0:15:53.680 --> 0:15:59.280 Of y'all, can't, you know. 0:15:59.400 --> 0:16:03.320 I just I just never like realized that it didn't 0:16:03.320 --> 0:16:07.880 say featuring. Right, your voice is definitely y'all. 0:16:07.760 --> 0:16:11.080 Know, y'all know the question did y'all enjoy the moment 0:16:11.080 --> 0:16:12.880 of the nineties, Because when I look at y'all, it's 0:16:12.880 --> 0:16:16.280 like y'all are like mythical figures to me, right, Like 0:16:16.360 --> 0:16:18.960 you know what I'm saying, because y'all defined not just 0:16:19.000 --> 0:16:22.200 the genre, but like y'all would have soundtrackted our lives. 0:16:22.200 --> 0:16:24.920 Did y'all enjoy the moment? Yes? 0:16:25.600 --> 0:16:36.440 Yeah, when they said boy was in the building road, it. 0:16:35.120 --> 0:16:37.640 Was when we were on a high. I mean, you 0:16:37.680 --> 0:16:40.080 couldn't ask for a better label. You know, and a 0:16:40.120 --> 0:16:43.280 place to be and especially like aspiring artists when this 0:16:43.400 --> 0:16:46.600 is something that you dream of doing to land on 0:16:46.720 --> 0:16:49.200 bad Boy and I do. We remember the time clearly 0:16:49.320 --> 0:16:53.400 when bad Boy was everywhere. It was nothing to just 0:16:53.480 --> 0:16:56.960 walk in the club or walk anywhere and just get. 0:16:56.720 --> 0:16:58.680 That love, admiration and respect. 0:16:58.960 --> 0:17:02.280