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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: Think's the thing that sucks up roll call in the

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Speaker 2: virtual sense is but yeahs, you know, like if everybody

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Speaker 2: just went around did their thing without the yas.

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Speaker 1: Oh, that's the fun part, some part of roll calls

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Speaker 1: laughing at each other's roll call.

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Speaker 3: We played it, but the guests did. There's live but

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Speaker 3: obviously recorded so they can hear it.

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Speaker 4: We played back.

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Speaker 1: They figure it out.

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Speaker 5: Figure it out?

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Speaker 1: All right, My good people, Welcome to another episode of

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Speaker 1: Quest Love Supreme. Life's great rabbit hole, as I've been

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Speaker 1: dubbing it. My name is Quest Love, your host, and

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Speaker 1: of course we have your supreme effect. We got lia Yah.

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Speaker 5: Yeah.

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Speaker 1: I have to say, Layah, you're in Los Angeles right now.

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Speaker 1: How how's it going for you out there?

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Speaker 4: It's just.

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Speaker 3: I'm scared to answer that question.

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Speaker 4: I will say this.

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Speaker 1: We are allowed by the time this comes on air,

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Speaker 1: you know, by the.

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Speaker 6: Time that comes on air, we'll be allowed to eat

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Speaker 6: outside again. Because I hear that we were the only

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Speaker 6: ones on the country that couldn't go outside. Look at

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Speaker 6: these nails, couldn't get I went to a black market

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Speaker 6: nail salon. They had a black curtain on the window

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Speaker 6: yet a knock on the door.

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Speaker 1: This is what we're doing, an underground doing. Yeah, be careful,

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Speaker 1: all right. When I last spoke to you, it was

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Speaker 1: one in thirteen people. Now it's one of eleven. I

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Speaker 1: don't want the number to go down the lane. One

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Speaker 1: in seven.

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Speaker 6: We're getting better, We're getting better.

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Speaker 1: Be careful, all right, sugar, Steve. You cool?

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Speaker 2: Yeah, you know I'm in the same city you are,

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Speaker 2: New York.

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Speaker 1: We're yeah, but things are problem for you. Got a

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Speaker 1: new network, a new show, you know.

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Speaker 2: Yeah, I mean everything's going fine for me personally, but

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Speaker 2: you know, city's a mess, country's a mess.

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Speaker 1: Whatever if we've always been a mess, man, But you

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Speaker 1: know that's that's.

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Speaker 3: When you share was last month. Don't do that.

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Speaker 5: I'm not scared.

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Speaker 1: Hold me, hold me anyway. I built the bar in

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Speaker 1: my garage.

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Speaker 5: Oh you ordered online.

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Speaker 1: That I ordered online? Set up right. It has neon

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Speaker 1: lights and ship Yeah. Yeah, I needed something to do,

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Speaker 1: so I did it. Just a one of one. You

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Speaker 1: have a bar for one? Yeah, my kids sit at it.

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Speaker 1: It's a little misdirection. Yeah, you want to keep your

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Speaker 1: kids away from the bar.

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Speaker 3: Yeah, and they're going to go that way.

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Speaker 2: Just want to be able to drink in every single

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Speaker 2: room in his house, including the garage.

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Speaker 1: Absolutely, so we do COVID. We well, shit, one episode,

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Speaker 1: we just might have to take over Drink Champs and

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Speaker 1: you know, bring up bring out the alcohol here. Absolutely,

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Speaker 1: West Love Supreme. You know, was that a plug? I

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Speaker 1: see Layah frowning that I gave another podcast a plug. Anyway,

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Speaker 1: how's it down in North Carolina?

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Speaker 5: Man, I'm goodle bro, Which it's good. I mean, they

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Speaker 5: trying to open up the schools. Wait, they thought about

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Speaker 5: doing it because the kids had they testing, like the

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Speaker 5: state tests, and I didn't send my son. I was

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Speaker 5: just like, fuck that, like hein going, and they were

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Speaker 5: just like, well, he can make it up. We'll try

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Speaker 5: to make it up later in June whatever. I said, whatever,

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Speaker 5: he ain't going. And literally the next day after we

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Speaker 5: like when we pulled him, we was like, cause he's

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Speaker 5: been home the whole time. Literally the next day they

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Speaker 5: had like two cases pop up. And it's been they

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Speaker 5: we do it now, but we pretty much get texts

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Speaker 5: and emails from the principal every time a new case.

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Speaker 5: And for about the past like two weeks, I've getten.

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Speaker 5: It's been a new case, like every day yep, and

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Speaker 5: so I'm you know, we've been in the house, man.

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Speaker 5: I mean I still do my walks around the hood

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Speaker 5: and everything. But I'm cooling, bro ladies and gentlemen.

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Speaker 1: We have a distinct honor of dissecting and exploring the

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Speaker 1: third rail. We're bringing of one of the most I

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Speaker 1: will say, probably one of the most feared, respected and

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Speaker 1: astonishing mcs. Don't I don't want to use bad colloquialisms

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Speaker 1: when describing great you know, they always say, like, this

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Speaker 1: person is a monster. Oh man, he's a killer. No,

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Speaker 1: probably an assassin. Yeah, yeah, no. I feel our guest

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Speaker 1: today is probably one of the most beautiful things about

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Speaker 1: the culture of hip hop be it as one half

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Speaker 1: of one of the most loved duos of the mid

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Speaker 1: nineties with Organized Confusion. His own catalog is nothing to

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Speaker 1: sneeze at. He's constantly pushing the boundaries of what one

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Speaker 1: can do in this art form. He's usually the favorite

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Speaker 1: of your favorite mcs. I don't know if that's a

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Speaker 1: tired cliche, Like I wonder if mcs get tired of

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Speaker 1: hearing themselves being.

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Speaker 5: Nah nah man. That's an honor. I mean, that's respected.

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Speaker 5: That shows you respected by the people. They really do

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Speaker 5: the craft, you know what I'm saying, And that's I mean,

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Speaker 5: that's the highs honor.

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Speaker 1: Well, he's here with us today, so please give it

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Speaker 1: up for the one and only Pharaoh munch To. Yes,

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Speaker 1: that's what I hear.

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Speaker 4: I didn't want to see it.

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Speaker 3: But where are.

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Speaker 1: You right now?

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Speaker 4: I'm in the basement of the house and Queens, just

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Speaker 4: chilling out through a wintering mix of snow and ice

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Speaker 4: right now, And like Fante said, man, I take my

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Speaker 4: walks and then it's back inside. You know, I'm compromised

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Speaker 4: because I'm mathematics. So I just been like.

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Speaker 5: Same here, bro, Yeah, yeah, same here as well. I

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Speaker 5: can't I can't wuk around.

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Speaker 1: So you've been loyal to Queens this entire time for

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Speaker 1: your whole career, pretty much.

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Speaker 4: I moved. I moved out to l A for a

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Speaker 4: couple of months to work on stuff and it was

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Speaker 4: cool for a couple of months, then to Brooklyn and

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Speaker 4: then back to Queen. So I'm back in Queens.

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Speaker 1: Okay. So I know that our audience cannot see your

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Speaker 1: zoom right now, but I will. Yeah, I was gonna

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Speaker 1: say of all of our guests on the show. You

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Speaker 1: probably have the most interesting background right now, well next

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Speaker 1: to biz at least you have a very interesting action

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Speaker 1: figure collection behind you right now.

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Speaker 4: Like I kind of lost my mind during this pandemic.

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Speaker 4: Like I said, I've been diligent, so all I could

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Speaker 4: do was like all the stuff and go crazy. So

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Speaker 4: I went batshit crazy with the action figures and it

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Speaker 4: kind of work. Man. They keep me kind of stable, man.

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Speaker 4: I love my action figures. There's some rare pieces that

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Speaker 4: I caught h Cat on Instagram, who I followed. H

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Speaker 4: put me onto a lot of a lot of different

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Speaker 4: dope joints and a lot of different companies, and I

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Speaker 4: just lost my mind, Like I just got these, uh

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Speaker 4: these air Jordan's for my Miles Morales in the Male

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Speaker 4: just now, like you know, so I just.

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Speaker 1: Wait, wait a minute, Jordan's. You're dressing up your action

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Speaker 1: figures in Jordan's exactly. And they're just as they're rare

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Speaker 1: to get as well, they're hard to get.

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Speaker 4: They're hard to get. They just they just redid a

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Speaker 4: couple of companies who do them custom for the for

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Speaker 4: the you know, Miles Morales, Spider Man.

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Speaker 3: Please tell me, please tell me they're at the same price as.

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Speaker 1: No no no, no, no, no no, yes, it's just five

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Speaker 1: hundred dollars. Not no, that's interesting. So like your your

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Speaker 1: your your passions with the action figures, any anything else

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Speaker 1: in the in the pop culture kind of barrel.

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Speaker 4: I'm not a collector, a little bit on the sneaker side,

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Speaker 4: but I calmed down with that. You got a little

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Speaker 4: bit ridiculous. I'm not ahead, but I will catch a

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Speaker 4: couple of pieces if it's if it's something interesting. But

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Speaker 4: this during this whole thing, man, it's just been movies

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Speaker 4: and action figures and action figures.

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Speaker 5: What's the last joint? What's the last joint you saw? Movie?

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Speaker 5: Vise that talking?

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Speaker 4: I mean, I've been watching a lot of stuff over

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Speaker 4: and over again on repeat, revisiting, revisiting, and what I

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Speaker 4: really really blew me away was the Mandalorian series. Okay,

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Speaker 4: that just took me. You know, I waited so long

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Speaker 4: for the Star Wars series to get good, and I

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Speaker 4: never thought it would, and the movies were starting to

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Speaker 4: get so disappointing. But then this series was just like

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Speaker 4: it was. It was good and bad in a way.

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Speaker 4: I felt like I had the wait waits I get

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Speaker 4: got this old for them to get this good with it, you.

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Speaker 1: Know, So mandalorian Is is worth investing in.

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Speaker 4: Yeah.

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Speaker 3: Yeah, I'm gonna ask you when died it get you?

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Speaker 3: Like when it was? When it?

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Speaker 1: When it?

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Speaker 4: The was it?

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Speaker 3: Episode one?

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Speaker 1: Was it?

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Speaker 4: It was off the rip like I was, I was

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Speaker 4: shining away from getting that the Disney app. I'm like

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Speaker 4: I'm not. Yes, Then everybody kept talking about it, and uh,

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Speaker 4: yeah it was worth Mandalorian is worth getting that for

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Speaker 4: It's that good.

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Speaker 5: Yeah, I'm gonna make a suggestion, bro, if you have

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Speaker 5: a chance, whenever you get a chance, check out the

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Speaker 5: sound of Metal. I think you would love it.

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Speaker 4: Oh that's the that's the joint where the drummer loses

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Speaker 4: is hearing.

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Speaker 5: Yeah, man, what that ship? Oh my god, wait, lew

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Speaker 5: a story again? You know, like for real? Nah, it's uh,

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Speaker 5: it's your boy im and he plays a drummer that

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Speaker 5: loses hearing. It's have a metal drummer, And I mean,

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Speaker 5: you know, it's every musician's worst nightmare. But that ship

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Speaker 5: is a great fucking flick. It's it's a beautiful flick.

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Speaker 3: What streaming services that It's on Amazon?

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Speaker 4: Amazon, like the whole the whole sounds the whole sounds

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Speaker 4: gaping of how they show you how losing is.

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Speaker 5: Incredible, not a sound design. That ship is amazing.

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Speaker 1: All right, I'm on it. I gotta see it. I

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Speaker 1: gotta see it. I just got done Small Acts, so I.

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Speaker 5: Haven't watched all of them. I watched the Lovers Rock one,

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Speaker 5: but I haven't seen all the other ones.

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Speaker 1: Okay, yeah, yeah, watching in order. If everyone's most Jamaicans

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Speaker 1: that I know rock with the second one, Lover's Rock.

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Speaker 3: Okay, I'm gonna start with because the other one starts.

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Speaker 1: That's a very unique joint. Yeah, but I think you'll

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Speaker 1: you'll you'll like it.

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Speaker 6: But if we shout now a shout out night in Miami,

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Speaker 6: and then I'm done. Okay, Okay, Riverdale one night in Miami.

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Speaker 1: Wait, you're just watching Riverdale. Steve pretty good, Steve, Steve

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Speaker 1: is good for like it's Steve will be like real

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Speaker 1: like non like most pop culture things. But then he'll

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Speaker 1: just come back with like, yeah, I watched Real house

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Speaker 1: Wives of Atlanta or.

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Speaker 2: I don't watch that, but I have a question though,

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Speaker 2: and then hopefully we could get too.

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Speaker 1: Into the show.

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Speaker 2: Yeah, Mandalorian has something to do with Star Wars.

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Speaker 1: No, don't don't chat.

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Speaker 4: Yo.

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Speaker 1: Star Wars been fell off, and they're lucky that we're

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Speaker 1: still talking about them forty years.

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Speaker 3: About Little Yoda, I mean he's not Yoda's not Yoda.

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Speaker 1: But yeah, baby Yoda, Yeah, I mean yeah. Mandalorian is

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Speaker 1: like their series on the Disney Channel, and apparently it's

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Speaker 1: as good, at least to the people of my age

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Speaker 1: that are real Star Wars heads, like they're they're very

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Speaker 1: happy with the results.

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Speaker 3: Better than the last three Star Wars movies.

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Speaker 1: Okay, I'm on, Yeah, for sure, I saw one of

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Speaker 1: them that I liked, but I don't know which one

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Speaker 1: that was, and.

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Speaker 6: Don't worry about it. And you forgot it already. Only

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Speaker 6: saw one? You saw Turn the Jedi fifteen times?

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Speaker 1: Oh no, I don't mean those three. I'm talking about

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Speaker 1: the of the jj Abrams variety, that one. But anyway,

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Speaker 1: all right, so with okay, were you born in Queens.

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Speaker 4: Yes, sir, going and raised Queens, New York, jamake it

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Speaker 4: to make the South Side, Jamaica.

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Speaker 1: Okay what uh okay, so only know my New York

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Speaker 1: knowledge is just limited to whatever rappers rapping at the moment. So,

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Speaker 1: like what was your peer area, like, like who what

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Speaker 1: notable MC's that you would know of that that you

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Speaker 1: knew of before you became notable or they became notable.

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Speaker 4: I mean I was ahead, man, It's like and I'm

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Speaker 4: and I'm old as ship. So I came up there

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Speaker 4: in a park game era. So it was like, you know,

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Speaker 4: urban legend dudes like grand Master Vic and the Boss

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Speaker 4: Crew and just local hip hop crews that were doing

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Speaker 4: park James that I was you know, inspired by and

249
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Speaker 4: like Nah said, like just way too afraid to ever

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Speaker 4: get on the mic in those moments. And then it

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Speaker 4: shifted to Mikey D, the incredible Mikey D in the

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Speaker 4: l era, and I still was too afraid to get

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Speaker 4: on the mic and those jams and wasn't ready. And

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Speaker 4: then by the time you know, I started going to

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Speaker 4: high school and developing organized confusion, you know, that's when

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Speaker 4: it was like, uh, you know, large pro and lost

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Speaker 4: boys and all those cats in the in the area.

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Speaker 1: Right, So you were there for the first you have

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Speaker 1: memories of like the first generation of hip hop and queens.

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Speaker 4: Oh definitely, I mean I was, I was shorty, but

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Speaker 4: it was it was cats jamming. I mean, that's what

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Speaker 4: what attracted me to the whole thing. Like, you know,

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Speaker 4: not to sound cliche, but you could hear the music

264
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Speaker 4: rocking from down the block and you know, crowds and

265
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Speaker 4: forties and you know, you just it'll never go back

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Speaker 4: to that. And it was an air about that and

267
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Speaker 4: even the danger of the shootouts and you know, it

268
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Speaker 4: was just a different time and a different feeling and

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Speaker 4: culturally at that point, I was like I needed to

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Speaker 4: be a part of this, but I just wasn't ready.

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Speaker 1: Okay, what was your family into, Like what type of

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Speaker 1: household did you grow up in? What was your home situation?

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Speaker 4: Yeah? Man, both parents Gospel on the mom's side, jazz

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Speaker 4: on the pop side. My older brother was heavy into

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Speaker 4: the rock, which is, you know, while gravitated to that

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Speaker 4: a lot, you know, deep purple Zeppelin, Rush and all

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Speaker 4: the whole rest of it. Then my next brother was like,

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Speaker 4: you know, James Browner and funk, and my sister was

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Speaker 4: Michael Jackson. So I had the whole gamut, and I just,

280
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Speaker 4: you know, just that whole seventies thing I think we

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Speaker 4: all did, and just soaked it all in. You know.

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Speaker 3: Were your parents native New Yorkers?

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Speaker 7: Uh?

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Speaker 4: Not? There from Virginia and they moved to New York

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Speaker 4: when they had me.

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Speaker 1: You're the youngest.

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Speaker 4: I'm the youngest. Yeah.

288
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Speaker 1: Do you remember the first album that you purchased or

289
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Speaker 1: was it all just trickled down from your older brothers and.

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Speaker 4: Sisters hip hop album or album?

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Speaker 5: This album?

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Speaker 1: I want to we'll start with that album because I

293
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Speaker 1: have a come to Jesus moment with hip hop. So

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Speaker 1: your very first record.

295
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Speaker 4: My first record I purchased was Saturday Night Fiva.

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Speaker 1: Okay, that's real.

297
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Speaker 4: When I was.

298
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Speaker 1: I got that ship when I was seven, you know

299
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Speaker 1: you Okay, that's understandable. Concert wise, do you remember your

300
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Speaker 1: first one? Did you go to concerts a lot when

301
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Speaker 1: you were a kid or see performances?

302
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Speaker 4: I didn't. I wasn't a big concert goer when when

303
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Speaker 4: I and I regret it, you know, because I missed

304
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Speaker 4: so many opportunities and I'm so ashamed, Like I never

305
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Speaker 4: I never saw Prince live. Like it's just so I

306
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Speaker 4: know your relationship with that guy, But it's just things

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Speaker 4: like that that I that I regret. Also, you know,

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Speaker 4: it was we were in Queen's and it was a

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Speaker 4: journey to get to where everything was anyway, So I

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Speaker 4: was kind of like nerd do too, So I wasn't

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Speaker 4: venturing out that much back then like that.

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Speaker 1: Okay, So what was your come to Jesus moment at

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Speaker 1: least with hip hop as far as that's concerned, Like,

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Speaker 1: were you just casually wrapping around the way or was

315
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Speaker 1: this this thing where you were watching him sees on

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Speaker 1: the block and decided that's what I want to do. Like,

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Speaker 1: what was your introduction to that world?

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Speaker 4: Was I was a crazy ill asthmatic, and I knew

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Speaker 4: I had to make a choice that wasn't physical in

320
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Speaker 4: terms of what I was going to do with my

321
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Speaker 4: my my livelihood wasn't happening. Fire Man wasn't happening, garbage

322
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Speaker 4: Man wasn't happening. So I was an artist. So I

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Speaker 4: went to High School of Art and Design, Big Up

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Speaker 4: the Kwame, Big Up, the Prodigy, mob Deep. Yeah, I

325
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Speaker 4: went to that same school, and in that school was

326
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Speaker 4: just a plethora of culture, black books, graffiti, just hip hop.

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Speaker 4: Culture was rich at the time, and I just, you know,

328
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Speaker 4: before it became you know, cool even to be and

329
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Speaker 4: MC or get a record deal, I knew I had

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Speaker 4: to be invested in the culture. So I'm very thankful

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Speaker 4: for those moments because you know, I was pop blocking,

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Speaker 4: and you know I was. I was way too heavy

333
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Speaker 4: to get on the ground and do a windmill and

334
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Speaker 4: some shit, so I knew I couldn't be a breakdancer,

335
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Speaker 4: but I was just trying to get into the culture

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Speaker 4: however I could in that timeframe. And it was around

337
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Speaker 4: eleventh grade that I was like, fuck the art shit,

338
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Speaker 4: I'm gonna express myself through this, this this, this hip hop.

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Speaker 4: Even then I was beatboxing. I didn't you know, I

340
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Speaker 4: had no voice, I was. I was horrible at it.

341
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Speaker 4: Met Prince Paul had my friend tied Stick who had turntables,

342
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Speaker 4: and I was like, yo, let's go and try and

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Speaker 4: develop something, made a couple of demo tapes, took him

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Speaker 4: home and listened to him. And I'm thankful again to

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Speaker 4: be able to listen. You know. I listened back to

346
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Speaker 4: those tapes when I took him home, and I was like,

347
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Speaker 4: you're horrible at this shit, you know I do. It

348
00:18:44,320 --> 00:18:47,560
Speaker 4: was the wacky shit I ever heard. But I was lucky.

349
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Speaker 4: I was lucky to be able to hear that. I

350
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Speaker 4: wasn't good and it didn't sound like the dudes in

351
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Speaker 4: the park, and it didn't sound like the stuff on

352
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Speaker 4: the radio, which made me say you gotta work at

353
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Speaker 4: this sh bro You know, I was able to say

354
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Speaker 4: that to myself before I let anybody hear what we

355
00:19:04,480 --> 00:19:04,920
Speaker 4: were doing.

356
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Speaker 5: But when you and po, who's the oldest between.

357
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Speaker 4: Y'all, I'm probably the oldest by a couple of months.

358
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Speaker 5: Oh okay, well y'all. Y'all, y'all both went to the

359
00:19:14,320 --> 00:19:17,040
Speaker 5: same school. Y'all was in the same class, web gotcha,

360
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Speaker 5: and both of you were art majors.

361
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Speaker 4: Oh man. Back then, they had what was called rotation,

362
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Speaker 4: so we were able to do photography, computer graphics, architecture.

363
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Speaker 4: It was just the school. It was an amazing, you know,

364
00:19:34,080 --> 00:19:38,080
Speaker 4: ray of different cultures from kids from different backgrounds. It

365
00:19:38,200 --> 00:19:40,920
Speaker 4: really shaped obviously a lot of the people who went

366
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Speaker 4: to that school. So that was a blessing in itself.

367
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Speaker 1: I know, or at least I know from the folklore

368
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Speaker 1: of it all, that I believe you were one of

369
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Speaker 1: the last artists to work with Paul c. And I

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Speaker 1: assume that this is pre organized or at least pre

371
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Speaker 1: record deal, pre Hollywood basics. Where did he enter the

372
00:20:03,600 --> 00:20:07,040
Speaker 1: story and how? You know, he's one of the most

373
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Speaker 1: loved mythical figures that I've heard of in the hip

374
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Speaker 1: hop like everyone has these like incredible words, but I

375
00:20:14,240 --> 00:20:18,240
Speaker 1: can never get any story about his work, ethic or

376
00:20:18,280 --> 00:20:22,720
Speaker 1: anything about him, like what was his role in Well,

377
00:20:23,160 --> 00:20:27,320
Speaker 1: you were simply too positive before organized confusion, right, I believe?

378
00:20:27,400 --> 00:20:31,040
Speaker 4: Yeah, man, we were simply too positive. We had just

379
00:20:31,160 --> 00:20:35,719
Speaker 4: left like a local label situation and went off on

380
00:20:35,760 --> 00:20:39,520
Speaker 4: our journey to start working on our first demo. I

381
00:20:39,560 --> 00:20:42,040
Speaker 4: thought I was finding my voice at the moment. I

382
00:20:42,080 --> 00:20:45,120
Speaker 4: was starting to get some props with the bars as

383
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Speaker 4: an MC, and we went into the legendary twelve twelve

384
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Speaker 4: to work on some demos. In twelve twelve at the

385
00:20:53,560 --> 00:21:01,439
Speaker 4: time was probably seventeen dural large professor in the corner,

386
00:21:02,160 --> 00:21:05,080
Speaker 4: just on a machine. I didn't know what he was doing.

387
00:21:05,880 --> 00:21:08,440
Speaker 4: And we had went to the studio with some records,

388
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Speaker 4: laid some vocals, and during the time we were laying vocals,

389
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Speaker 4: Paul c was an engineer at twelve twelve as well

390
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Speaker 4: as a producer. He walked into our session to get

391
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Speaker 4: some wires and he was like, pardon me, excuse me,

392
00:21:20,920 --> 00:21:23,560
Speaker 4: I don't mean to thrup his session, got some wires

393
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Speaker 4: and he left. Next day I got a phone call

394
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Speaker 4: from him. I don't know how he got the number,

395
00:21:30,040 --> 00:21:31,840
Speaker 4: and he was like, I heard what y'all was doing.

396
00:21:32,440 --> 00:21:34,640
Speaker 4: I think y'all got talent. I would love to work

397
00:21:34,640 --> 00:21:38,520
Speaker 4: with y'all. And I had asthma attack. I was so excited.

398
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Speaker 1: Did you was was he at least you know, I

399
00:21:45,560 --> 00:21:47,320
Speaker 1: don't know what year this was. Was this at least

400
00:21:47,359 --> 00:21:48,720
Speaker 1: post ultramagnetic?

401
00:21:49,480 --> 00:21:54,159
Speaker 4: Yeah? Right, he had that, He had that status of

402
00:21:54,600 --> 00:22:01,480
Speaker 4: working with Ultra super Love a C and even maybe

403
00:22:01,520 --> 00:22:04,199
Speaker 4: some early rock him stuff at the time, if I

404
00:22:04,240 --> 00:22:07,199
Speaker 4: can't remember. So it was just you know, if you

405
00:22:07,200 --> 00:22:10,880
Speaker 4: can imagine, it was just like the ultimate phone call.

406
00:22:11,720 --> 00:22:14,080
Speaker 4: So we went in and worked with him, and I

407
00:22:14,160 --> 00:22:17,080
Speaker 4: bought in some different things that we were working on,

408
00:22:17,720 --> 00:22:24,040
Speaker 4: and he was a stickler for truncation and programming, you know,

409
00:22:24,240 --> 00:22:28,199
Speaker 4: gave a lot of tulige too large. And I credit

410
00:22:28,240 --> 00:22:31,480
Speaker 4: both of them for a lot of that early SB

411
00:22:31,560 --> 00:22:38,159
Speaker 4: twelve one hundred manipulation. It was very early on and

412
00:22:38,200 --> 00:22:41,520
Speaker 4: they were really doing some real amazing work with that.

413
00:22:42,359 --> 00:22:45,760
Speaker 4: And why I love Paul C Is that I went

414
00:22:45,800 --> 00:22:48,520
Speaker 4: in to do a song and like a lot of

415
00:22:48,640 --> 00:22:54,040
Speaker 4: MC's at that time, I went past the sixteen bar measure.

416
00:22:54,640 --> 00:22:59,040
Speaker 4: He stops the session, closes the session and sends me home,

417
00:22:59,119 --> 00:23:03,480
Speaker 4: like when you learn how to count bars, come back

418
00:23:03,480 --> 00:23:07,040
Speaker 4: and talk to me. And I thought, I was wow,

419
00:23:08,080 --> 00:23:09,960
Speaker 4: you know, I was getting a little name at the

420
00:23:09,960 --> 00:23:12,360
Speaker 4: time and nobody had ever told me some shit like that.

421
00:23:12,400 --> 00:23:15,639
Speaker 4: But he was just like, who's your favorite, you know artist?

422
00:23:16,240 --> 00:23:19,160
Speaker 4: I'm like, Peve was like, go listen to those records,

423
00:23:19,920 --> 00:23:22,680
Speaker 4: learn how to fucking rap, learn how to count. Until

424
00:23:22,720 --> 00:23:25,840
Speaker 4: you do that, don't come back to the studio. So

425
00:23:26,640 --> 00:23:30,720
Speaker 4: that was the first like dude who wasn't a yes

426
00:23:30,840 --> 00:23:35,960
Speaker 4: man and started to help us shape our voices and

427
00:23:36,760 --> 00:23:41,120
Speaker 4: understand how to make records. We made really, really four

428
00:23:41,160 --> 00:23:44,159
Speaker 4: good songs for the demo with him that went on

429
00:23:44,200 --> 00:23:50,600
Speaker 4: to touch Barbado's hands and Russell Simmons' hands and you know,

430
00:23:50,680 --> 00:23:53,480
Speaker 4: but more than that, you know, he just used to

431
00:23:53,520 --> 00:23:56,800
Speaker 4: invite us to his crib. He had a record, insane

432
00:23:56,840 --> 00:24:01,439
Speaker 4: record collection, played drums. It's like, even in this conversation,

433
00:24:01,520 --> 00:24:05,240
Speaker 4: there's no need to mention that he was white, because

434
00:24:05,240 --> 00:24:11,000
Speaker 4: he was just an entity of like some soul spirit

435
00:24:11,440 --> 00:24:15,120
Speaker 4: or some shit, you know, and so funky and whatever.

436
00:24:15,920 --> 00:24:19,959
Speaker 1: And back then was that the novelty like, you know,

437
00:24:20,000 --> 00:24:23,320
Speaker 1: how does this white boy know our shit better than us?

438
00:24:23,440 --> 00:24:27,280
Speaker 4: Or like how you know, you know, it's funny, man,

439
00:24:27,320 --> 00:24:29,560
Speaker 4: It's like, you know, you have to put these things

440
00:24:29,600 --> 00:24:34,000
Speaker 4: in context in that moment, I don't. I don't think

441
00:24:34,119 --> 00:24:37,240
Speaker 4: we gave a fuck, Like we really didn't. Like it

442
00:24:37,280 --> 00:24:41,520
Speaker 4: wasn't even yeah, it wasn't even a question. We were

443
00:24:41,560 --> 00:24:45,080
Speaker 4: just like, we need good shit. And I think too,

444
00:24:45,400 --> 00:24:45,640
Speaker 4: you know.

445
00:24:46,200 --> 00:24:47,960
Speaker 5: And I think too. At that time, hip hop was

446
00:24:47,960 --> 00:24:50,119
Speaker 5: so kind of young. I don't even know if we

447
00:24:50,119 --> 00:24:52,720
Speaker 5: were thinking about it as quote unquote ours, you know

448
00:24:52,760 --> 00:24:54,320
Speaker 5: what I'm saying in terms of black people, like, yo,

449
00:24:54,400 --> 00:24:56,960
Speaker 5: this is our shit. It was. It was so new

450
00:24:57,480 --> 00:25:00,399
Speaker 5: that if you found someone else that was in to it,

451
00:25:00,640 --> 00:25:03,360
Speaker 5: whether they were black, white, whatever, it's just like, oh

452
00:25:03,440 --> 00:25:06,320
Speaker 5: they fuck with hip hop just like me. Like that

453
00:25:06,440 --> 00:25:08,119
Speaker 5: didn't happen untill later on.

454
00:25:08,760 --> 00:25:13,159
Speaker 4: Right, And so we developed a personal relationship outside of

455
00:25:13,160 --> 00:25:16,719
Speaker 4: the music. I remember us going to see Batman and

456
00:25:17,840 --> 00:25:20,280
Speaker 4: you know, him putting the raisin ats in the popcorn

457
00:25:20,359 --> 00:25:23,000
Speaker 4: and like yelling, not up on this shit. I'm like

458
00:25:23,119 --> 00:25:26,040
Speaker 4: raising this in the pile. You know, just cool, cool moments.

459
00:25:27,000 --> 00:25:32,159
Speaker 4: And then the tragedy is we finished the demo. It

460
00:25:32,240 --> 00:25:34,639
Speaker 4: was it was touching people's hands and we were getting

461
00:25:34,640 --> 00:25:38,600
Speaker 4: a buzz and he got murdered, and that's kind of

462
00:25:38,640 --> 00:25:41,199
Speaker 4: like the first of a line of kind of like

463
00:25:41,320 --> 00:25:46,520
Speaker 4: traumatic tragic things that happened. And so me and Prince

464
00:25:46,920 --> 00:25:48,760
Speaker 4: you know, had to go forward and try to get

465
00:25:48,760 --> 00:25:52,280
Speaker 4: a record deal, but we didn't have our guy or

466
00:25:52,480 --> 00:25:55,960
Speaker 4: kind of guide. And that's why that first album is

467
00:25:56,000 --> 00:26:02,560
Speaker 4: like really kind of experimental, because in that moment, we

468
00:26:02,640 --> 00:26:06,679
Speaker 4: lost the master ranger and we just was like taking

469
00:26:06,680 --> 00:26:09,800
Speaker 4: records to the studio and ship and looping stuff and

470
00:26:10,040 --> 00:26:13,400
Speaker 4: just doing ideas and you know, went back the fuck

471
00:26:13,440 --> 00:26:14,400
Speaker 4: did bar count you.

472
00:26:14,359 --> 00:26:21,879
Speaker 5: Know, yeah, noted gases. That was no bark out.

473
00:26:23,760 --> 00:26:30,200
Speaker 1: So basically, had had a situation not turnout, had a turnout,

474
00:26:30,280 --> 00:26:33,600
Speaker 1: he would have probably been the main producer of Organized

475
00:26:33,640 --> 00:26:35,320
Speaker 1: Confusion absolutely.

476
00:26:36,920 --> 00:26:38,800
Speaker 5: Wow wow wow wow.

477
00:26:39,680 --> 00:26:43,520
Speaker 1: Yeah. Well that's the thing now. The way that The

478
00:26:43,560 --> 00:26:48,720
Speaker 1: Source first introduced you guys to the world, like they've

479
00:26:48,760 --> 00:26:53,440
Speaker 1: made such a big deal of Disney having a record

480
00:26:53,520 --> 00:26:58,760
Speaker 1: label that you know, it was kind of like, wait

481
00:26:58,800 --> 00:27:01,640
Speaker 1: a minute, there's a rap group. Like the way they

482
00:27:01,680 --> 00:27:04,000
Speaker 1: did it, I didn't see it as like Hollywood basic

483
00:27:04,280 --> 00:27:07,119
Speaker 1: like just I don't even know why they had to

484
00:27:07,119 --> 00:27:10,400
Speaker 1: put like a subsidiary of Disney Records, So I kind

485
00:27:10,400 --> 00:27:13,119
Speaker 1: of like pushed it to the side, like I lowered

486
00:27:13,160 --> 00:27:17,439
Speaker 1: my expectations a lot, and I jumped on the you know,

487
00:27:17,520 --> 00:27:21,120
Speaker 1: once I heard instrumentals and whatnot, then it was like, Yo,

488
00:27:21,200 --> 00:27:22,879
Speaker 1: that Disney rap group really is dope.

489
00:27:23,080 --> 00:27:27,200
Speaker 5: Like I just kept because I think because real Wrap

490
00:27:27,280 --> 00:27:29,800
Speaker 5: the only thing they had on Hollywood was like it

491
00:27:29,880 --> 00:27:32,560
Speaker 5: was y'all and I remember you Lifers group, like the

492
00:27:34,880 --> 00:27:35,760
Speaker 5: made the album.

493
00:27:36,440 --> 00:27:39,080
Speaker 4: Life was a group. I produced the record for them.

494
00:27:39,200 --> 00:27:41,720
Speaker 4: Me and Prinson produced the record for the We literally

495
00:27:41,760 --> 00:27:44,120
Speaker 4: went into the prison and had to do that ship

496
00:27:44,440 --> 00:27:52,480
Speaker 4: and security prison. That's a whole nother I've never heard.

497
00:27:55,560 --> 00:27:58,240
Speaker 4: So you know, we're on the label and we got

498
00:27:58,240 --> 00:28:01,600
Speaker 4: a little buzz you know from you know, Underground Ship

499
00:28:01,680 --> 00:28:05,720
Speaker 4: Fudge bud YadA YadA, and they're like, yo, you know

500
00:28:06,440 --> 00:28:08,679
Speaker 4: Dave Funk and Klein. Let me just give you a

501
00:28:08,680 --> 00:28:14,680
Speaker 4: little history on him, right. It's responsible for like Brain

502
00:28:15,000 --> 00:28:19,000
Speaker 4: Tribe and Jungle Brothers over to the Europe scene, very

503
00:28:19,040 --> 00:28:23,160
Speaker 4: instrumental and and that whole thing and breaking a lot

504
00:28:23,160 --> 00:28:26,760
Speaker 4: of things over there in Europe. He's that, he was

505
00:28:26,800 --> 00:28:31,560
Speaker 4: that dude, and he was a visionary, and I guess

506
00:28:31,560 --> 00:28:33,880
Speaker 4: he got himself a record label over there and got

507
00:28:33,920 --> 00:28:37,200
Speaker 4: himself a nice team with Tim Reid, you know, and

508
00:28:37,240 --> 00:28:39,280
Speaker 4: so it was it was, it was live. They just

509
00:28:39,320 --> 00:28:42,400
Speaker 4: didn't have this aesthetic, you know. The aesthetic was.

510
00:28:46,680 --> 00:28:56,320
Speaker 1: Wait a minute, the well bench that he will never

511
00:28:56,400 --> 00:28:59,440
Speaker 1: share with me. Do you have? Do you have it?

512
00:28:59,720 --> 00:28:59,960
Speaker 1: Do you.

513
00:29:03,240 --> 00:29:09,160
Speaker 4: So? Going to the prison Roadway State Prison in New Jersey,

514
00:29:10,280 --> 00:29:14,040
Speaker 4: the group was called Lifeless Group because all the members

515
00:29:14,920 --> 00:29:19,640
Speaker 4: was doing life sentences. Dave, Funk and Klin thought this

516
00:29:19,680 --> 00:29:22,640
Speaker 4: would be a great idea because you don't get no

517
00:29:22,840 --> 00:29:28,239
Speaker 4: harder than cats that are doing life in prison. And

518
00:29:28,280 --> 00:29:29,840
Speaker 4: I was like, I don't know if this is a

519
00:29:29,880 --> 00:29:36,800
Speaker 4: good idea. Way cut the check, will go produce the record,

520
00:29:37,640 --> 00:29:40,640
Speaker 4: and I never forget going in there my first time

521
00:29:40,680 --> 00:29:45,840
Speaker 4: in the maximum security prison. They slammed the gates behind

522
00:29:45,920 --> 00:29:51,880
Speaker 4: us and they tasked me and Prince with picking from

523
00:29:52,000 --> 00:29:55,920
Speaker 4: ten inmates the five that would be in the group.

524
00:29:56,520 --> 00:30:01,000
Speaker 4: Can you already see the tragic stake that that is.

525
00:30:01,600 --> 00:30:04,080
Speaker 4: So these guys had to rap and we had to

526
00:30:04,080 --> 00:30:08,640
Speaker 4: pick which ones it was the best. Wow, I was like,

527
00:30:08,720 --> 00:30:11,200
Speaker 4: this is this is this is going to go terribly wrong.

528
00:30:14,680 --> 00:30:20,880
Speaker 4: And I remember, you know, we picked the five a

529
00:30:20,960 --> 00:30:24,680
Speaker 4: week the music. They were working on the songs. When

530
00:30:24,680 --> 00:30:26,320
Speaker 4: we go to come back with like, what's up with

531
00:30:26,360 --> 00:30:35,360
Speaker 4: the other two guys we picked? Shanked Wow, no longer

532
00:30:35,400 --> 00:30:38,120
Speaker 4: in the group. You have to pick another two And

533
00:30:38,200 --> 00:30:39,120
Speaker 4: you don't even know.

534
00:30:40,840 --> 00:30:46,479
Speaker 5: It was that wild and so you did y'all like

535
00:30:46,520 --> 00:30:48,800
Speaker 5: make the beats in the prison and everything, or like

536
00:30:48,960 --> 00:30:49,760
Speaker 5: tracked and everything.

537
00:30:50,200 --> 00:30:52,600
Speaker 4: We we tracked some stuff in the prison, brought like,

538
00:30:52,720 --> 00:30:57,080
Speaker 4: you know, portable recorder to the prison for them to record.

539
00:30:57,880 --> 00:30:59,640
Speaker 4: Oh my god, y'all killing.

540
00:30:59,360 --> 00:31:05,560
Speaker 5: Me all the years we known each other. I had

541
00:31:05,560 --> 00:31:07,600
Speaker 5: no idea Life's group dude.

542
00:31:07,880 --> 00:31:08,120
Speaker 1: Yeah.

543
00:31:08,160 --> 00:31:10,360
Speaker 4: Man, we did two songs on that project.

544
00:31:11,720 --> 00:31:14,280
Speaker 1: Yeah, I f wow.

545
00:31:14,720 --> 00:31:16,280
Speaker 5: Did like you ever keep in touch with any of

546
00:31:16,280 --> 00:31:17,120
Speaker 5: those guys afterwards?

547
00:31:17,240 --> 00:31:18,520
Speaker 1: They riot or whatever or.

548
00:31:20,280 --> 00:31:20,880
Speaker 4: You did.

549
00:31:26,680 --> 00:31:28,920
Speaker 1: Next you know, you should see the look at his eyes,

550
00:31:28,960 --> 00:31:30,320
Speaker 1: like next question believe.

551
00:31:32,080 --> 00:31:32,400
Speaker 5: Wow?

552
00:31:34,880 --> 00:31:39,160
Speaker 1: Okay, So were there any other options besides Hollywood Basic?

553
00:31:39,200 --> 00:31:42,360
Speaker 1: And why were they chosen uh to be the home

554
00:31:43,080 --> 00:31:44,280
Speaker 1: of organized confusion.

555
00:31:45,240 --> 00:31:48,320
Speaker 4: Barbido was an r at Death Jams at the time.

556
00:31:48,600 --> 00:31:51,760
Speaker 4: He was like, this demo is insane. I love this demo.

557
00:31:51,880 --> 00:31:55,640
Speaker 4: I love these guys. I just did uh him and

558
00:31:55,720 --> 00:31:59,160
Speaker 4: stretched of the day. He's still you know, my peoples

559
00:31:59,200 --> 00:32:02,320
Speaker 4: and my fans just been so many years we've been

560
00:32:02,360 --> 00:32:05,360
Speaker 4: tight and cool. And he had the demo and he

561
00:32:05,400 --> 00:32:08,920
Speaker 4: had Nase's demo. He took them to Russell and he

562
00:32:09,040 --> 00:32:13,680
Speaker 4: was like, these two demos are amazing, and Russell Simmons

563
00:32:13,720 --> 00:32:15,640
Speaker 4: rejected both demos.

564
00:32:15,880 --> 00:32:16,800
Speaker 1: Oh god.

565
00:32:18,200 --> 00:32:22,160
Speaker 4: Positive, simply too positive and not turn them both down.

566
00:32:23,360 --> 00:32:25,040
Speaker 4: And then we were like, what are we gonna do?

567
00:32:25,040 --> 00:32:28,800
Speaker 4: What are we gonna do? Got the offer from the

568
00:32:28,840 --> 00:32:33,440
Speaker 4: Hollywood Basic that was kind of really nice offer for

569
00:32:33,560 --> 00:32:36,120
Speaker 4: underground hip hop back then, and we were like, hey,

570
00:32:36,320 --> 00:32:39,280
Speaker 4: fuck it. Well, well we'll fly to We'll fly to

571
00:32:39,440 --> 00:32:44,719
Speaker 4: disney Land and you know, and record whatever. And then

572
00:32:44,800 --> 00:32:49,680
Speaker 4: last minute I seen Russell in the club and he

573
00:32:49,800 --> 00:32:53,000
Speaker 4: was like, you know what I've been listening to you guys,

574
00:32:53,040 --> 00:32:58,120
Speaker 4: demo call me tomorrow. Let's have a conversation. So we're like,

575
00:32:58,160 --> 00:33:03,800
Speaker 4: oh ship death Jams, oh ship and uh. We called

576
00:33:04,320 --> 00:33:07,160
Speaker 4: Russell Simmons the next day to talk about a deal

577
00:33:07,600 --> 00:33:14,760
Speaker 4: and he said, first off, simply Too Positive is the

578
00:33:14,760 --> 00:33:17,240
Speaker 4: worst fucking name in hip hop that I've ever heard of.

579
00:33:18,840 --> 00:33:23,040
Speaker 4: Gotta change the name. Gotta change the fucking name. We

580
00:33:23,040 --> 00:33:26,320
Speaker 4: were like, nah, it's STP. You know. STP you know

581
00:33:26,400 --> 00:33:29,719
Speaker 4: the oil even like that shi it is the most

582
00:33:29,800 --> 00:33:31,720
Speaker 4: fucked us name I've ever heard him.

583
00:33:33,520 --> 00:33:35,280
Speaker 1: It's nose.

584
00:33:36,880 --> 00:33:40,320
Speaker 4: I'm signing with that name. We got to come up

585
00:33:40,360 --> 00:33:42,320
Speaker 4: with a better name. You gotta come up with a name.

586
00:33:42,960 --> 00:33:48,480
Speaker 4: That's how we listen to Organized Confusion. Took us forty

587
00:33:48,480 --> 00:33:55,080
Speaker 4: eight hours seeing an Organized Confunction record Organized Wait, that's.

588
00:33:54,880 --> 00:33:56,640
Speaker 1: How you named the group Organized.

589
00:33:56,240 --> 00:34:00,840
Speaker 4: Confusion yep from the Confunction album. Yep. We were like

590
00:34:01,360 --> 00:34:05,160
Speaker 4: oxymoron boot boom boom, sounds good. You're there's some that

591
00:34:05,840 --> 00:34:07,720
Speaker 4: you could do. These moves. I could do that move,

592
00:34:07,800 --> 00:34:13,800
Speaker 4: you could wear this, I could wear that. Wow, let's

593
00:34:13,800 --> 00:34:14,160
Speaker 4: do it.

594
00:34:14,880 --> 00:34:16,520
Speaker 1: And you went back to Russell like okay, we changed

595
00:34:16,520 --> 00:34:17,480
Speaker 1: our names and now what's up?

596
00:34:18,080 --> 00:34:24,600
Speaker 4: Okay, we changed our names. Now what's ups? Like eighty grand?

597
00:34:26,760 --> 00:34:29,880
Speaker 4: Basic deal was like one hundred and fifty grand, and

598
00:34:29,960 --> 00:34:31,560
Speaker 4: so we took the money.

599
00:34:32,400 --> 00:34:36,720
Speaker 5: Hey, okay, as you damn will should have I see

600
00:34:37,400 --> 00:34:40,160
Speaker 5: because this is what in ninety what like you remember

601
00:34:40,160 --> 00:34:45,120
Speaker 5: like what you're it was a ninety probably ninety ninety one, right, yeah,

602
00:34:45,520 --> 00:34:46,160
Speaker 5: because that's.

603
00:34:49,000 --> 00:34:53,160
Speaker 1: Oh that period of jam I will.

604
00:34:53,080 --> 00:34:55,280
Speaker 4: You know, I just feel like I heard these rumors

605
00:34:55,280 --> 00:34:59,040
Speaker 4: are getting shelved. And ship never coming out and these

606
00:34:59,080 --> 00:35:01,960
Speaker 4: horror stories and I was like, I don't want to

607
00:35:02,000 --> 00:35:02,879
Speaker 4: go down that road.

608
00:35:03,080 --> 00:35:07,600
Speaker 1: You know, that's crazy. Well, at least then because I know,

609
00:35:07,680 --> 00:35:10,000
Speaker 1: like Reak and I used to dream of being on.

610
00:35:09,960 --> 00:35:11,960
Speaker 4: Deaf Jam like everybody did.

611
00:35:12,680 --> 00:35:14,800
Speaker 1: Yeah, so it was such a like going to Motown

612
00:35:14,960 --> 00:35:18,480
Speaker 1: like so for you to make the what you felt

613
00:35:18,520 --> 00:35:21,160
Speaker 1: was the wiser decision of the group, I mean that

614
00:35:21,160 --> 00:35:25,120
Speaker 1: that's that says a lot of what was Deaf Jam

615
00:35:25,160 --> 00:35:28,840
Speaker 1: at the time, for you to walk away from this

616
00:35:29,000 --> 00:35:34,520
Speaker 1: fabled hip hop utopian space and just go to Mickey

617
00:35:34,520 --> 00:35:35,800
Speaker 1: Bouse's new home.

618
00:35:40,239 --> 00:35:43,719
Speaker 4: I've made more terrible decisions on the way on the

619
00:35:43,800 --> 00:35:45,799
Speaker 4: road too, But I don't know, man, I don't know

620
00:35:45,840 --> 00:35:47,560
Speaker 4: if that I don't know if it would have worked out.

621
00:35:47,560 --> 00:35:49,000
Speaker 4: Who's to say, you know?

622
00:35:50,200 --> 00:35:55,040
Speaker 1: Do you you know? I know at least from if

623
00:35:55,120 --> 00:35:57,160
Speaker 1: I get it a little bit, then I know you

624
00:35:57,200 --> 00:35:58,560
Speaker 1: get it a lot.

625
00:35:59,360 --> 00:36:00,040
Speaker 5: Do you kind of.

626
00:36:00,200 --> 00:36:05,000
Speaker 1: Roll your eyes at like super fans who salivate over

627
00:36:06,360 --> 00:36:09,959
Speaker 1: you know? I mean there's so much, especially with well,

628
00:36:10,040 --> 00:36:13,480
Speaker 1: I guess with all three with equal NOx and stress

629
00:36:13,480 --> 00:36:19,440
Speaker 1: and and the self titled record the folklore of it

630
00:36:19,719 --> 00:36:24,000
Speaker 1: or like is it? I know, like sometimes Tarik is frustrated,

631
00:36:24,000 --> 00:36:27,480
Speaker 1: where like every MC after MC comes up and praises

632
00:36:27,600 --> 00:36:31,200
Speaker 1: as work, but then it's like, you don't necessarily see

633
00:36:31,200 --> 00:36:36,560
Speaker 1: the evidence of of you know, your heart work. And

634
00:36:36,800 --> 00:36:39,239
Speaker 1: I mean, does it get tiring hearing that year after

635
00:36:39,320 --> 00:36:41,000
Speaker 1: year of like how much you influenced me and how

636
00:36:41,040 --> 00:36:46,360
Speaker 1: much you influenced me, and yet this couldn't translate in

637
00:36:46,400 --> 00:36:49,520
Speaker 1: the cells and you know, at least to that level

638
00:36:49,560 --> 00:36:51,720
Speaker 1: of what it was back in ninety one.

639
00:36:52,080 --> 00:36:55,640
Speaker 4: Definitely. I think after the first record, we were a

640
00:36:55,719 --> 00:37:00,960
Speaker 4: little bit perplexed because we saw a little bit of

641
00:37:01,800 --> 00:37:06,200
Speaker 4: you know, play and whatever, but we were inexperienced, So

642
00:37:07,040 --> 00:37:10,760
Speaker 4: we chalked it off to that, you know, I'm wanting

643
00:37:10,760 --> 00:37:12,759
Speaker 4: to believe you have to stay in love with the shit.

644
00:37:12,840 --> 00:37:16,120
Speaker 4: But I can see how during that era a lot

645
00:37:16,120 --> 00:37:18,720
Speaker 4: of cats were finding out more and more about the industry.

646
00:37:18,840 --> 00:37:22,440
Speaker 4: Was kind of not sure about this girl anymore, like

647
00:37:22,680 --> 00:37:26,480
Speaker 4: kind of falling out of love with it. And I

648
00:37:26,600 --> 00:37:29,680
Speaker 4: kind of decided that can't do this unless you're gonna

649
00:37:29,760 --> 00:37:32,480
Speaker 4: love it, love it, love it, love it, regardless to

650
00:37:33,400 --> 00:37:37,920
Speaker 4: the outcome. And so I stayed in love and we

651
00:37:38,040 --> 00:37:42,360
Speaker 4: moved on from the self titled record to the Stress Record,

652
00:37:43,080 --> 00:37:45,840
Speaker 4: and I think we you know, started to really find

653
00:37:45,840 --> 00:37:50,000
Speaker 4: our voices around that record, you know, got a little

654
00:37:50,080 --> 00:37:54,440
Speaker 4: more love and pushed a little more forward with the

655
00:37:54,480 --> 00:37:56,920
Speaker 4: Stress record and a couple of joints off there in

656
00:37:57,040 --> 00:38:02,120
Speaker 4: terms of folklore and different songs on that record, and

657
00:38:02,120 --> 00:38:05,040
Speaker 4: then I think, you know, we had it with Mickey

658
00:38:05,080 --> 00:38:14,080
Speaker 4: Mouse after that record, and then we moved on to uh, yeah,

659
00:38:14,080 --> 00:38:17,880
Speaker 4: we moved on to Priority, where it was. It was

660
00:38:17,960 --> 00:38:22,160
Speaker 4: weird because at the time they they had kind of

661
00:38:22,200 --> 00:38:25,160
Speaker 4: signed a bunch of established people and they I didn't

662
00:38:25,160 --> 00:38:28,120
Speaker 4: see where they didn't break any records, and I was

663
00:38:28,120 --> 00:38:32,520
Speaker 4: feeling like we still needed to be broken as a group,

664
00:38:32,560 --> 00:38:35,800
Speaker 4: even though we were two albums deep. And we worked

665
00:38:35,880 --> 00:38:38,080
Speaker 4: on that last one and we really put a lot

666
00:38:38,200 --> 00:38:40,319
Speaker 4: into it, you know, I was trying to do this

667
00:38:40,360 --> 00:38:43,880
Speaker 4: whole story thing and back forward, you know, put a

668
00:38:43,920 --> 00:38:48,560
Speaker 4: lot of effort into it, a little bit of love,

669
00:38:48,880 --> 00:38:50,759
Speaker 4: a lot a bit of love. I think people saw it.

670
00:38:50,760 --> 00:38:53,880
Speaker 4: It's very difficult to do those type of records and

671
00:38:53,960 --> 00:38:57,520
Speaker 4: make them make sense anyway.

672
00:38:55,800 --> 00:38:59,280
Speaker 5: I love the record.

673
00:39:00,239 --> 00:39:03,279
Speaker 4: Yeah, you know a lot of people would be like, yo,

674
00:39:03,360 --> 00:39:06,600
Speaker 4: that's my favorite one of the three, but you know, it's.

675
00:39:06,520 --> 00:39:10,319
Speaker 5: My favorite one of the three, which one Equinox because

676
00:39:10,360 --> 00:39:12,480
Speaker 5: that was that came out like ninety seven. So that

677
00:39:12,560 --> 00:39:16,239
Speaker 5: was my freshman year at Central, and I remember getting

678
00:39:16,239 --> 00:39:19,160
Speaker 5: my refund checked and running the goddamn Willie's Rickorsent tapes

679
00:39:19,360 --> 00:39:25,160
Speaker 5: with him. I bought a gang of sh I bought

680
00:39:25,160 --> 00:39:26,960
Speaker 5: the man, y'all.

681
00:39:27,080 --> 00:39:29,560
Speaker 4: I remember when I first Yeah, I remember when I

682
00:39:29,600 --> 00:39:31,279
Speaker 4: first met you. You were like, Yo, I love this

683
00:39:31,440 --> 00:39:34,799
Speaker 4: record and I love the skits and so on and

684
00:39:34,840 --> 00:39:35,319
Speaker 4: so forth.

685
00:39:35,719 --> 00:39:38,759
Speaker 5: Yeah, who did Yeah? Who did the Sir Winston Howard?

686
00:39:39,080 --> 00:39:40,080
Speaker 5: Who was that that?

687
00:39:40,280 --> 00:39:44,640
Speaker 4: Yeah? No, no, no, so my my my guy Brian Fleman,

688
00:39:44,680 --> 00:39:48,120
Speaker 4: who's a writer. Now, he found this guy in the neighborhood,

689
00:39:48,160 --> 00:39:49,640
Speaker 4: like I think he was in the liquor store and

690
00:39:49,680 --> 00:39:53,719
Speaker 4: this dude was like and he was like, hey, man,

691
00:39:53,760 --> 00:39:58,800
Speaker 4: you want to do some skits on this album? For Wow,

692
00:39:59,280 --> 00:40:03,960
Speaker 4: you just had his voice and we just incredible. Yeah.

693
00:40:03,640 --> 00:40:08,759
Speaker 1: Yeah, hey, it just it just hit me that I

694
00:40:08,760 --> 00:40:12,520
Speaker 1: believe the first time that I heard of O C

695
00:40:14,080 --> 00:40:19,960
Speaker 1: was on your first Yeah. So how yeah? How did

696
00:40:21,719 --> 00:40:23,799
Speaker 1: how did he get down with the click?

697
00:40:24,640 --> 00:40:28,400
Speaker 4: And Oh? She had moved from Brooklyn across the street

698
00:40:28,560 --> 00:40:32,640
Speaker 4: from from me. In the neighborhood. You know, back then

699
00:40:32,680 --> 00:40:35,840
Speaker 4: we were playing you know, two hand touched in the

700
00:40:35,880 --> 00:40:39,600
Speaker 4: street and still playing basketball and all that ship, and

701
00:40:39,680 --> 00:40:42,680
Speaker 4: you know, I would knock on people's doors and be like, yo,

702
00:40:42,800 --> 00:40:44,400
Speaker 4: we get in the game. You want to play. And

703
00:40:45,360 --> 00:40:47,680
Speaker 4: you know, one day he was like, yo, I rap

704
00:40:47,800 --> 00:40:53,680
Speaker 4: and I was like, oh God, and he rhymed and

705
00:40:53,760 --> 00:40:59,840
Speaker 4: I was like, holy ship, Oh this kid might be

706
00:40:59,840 --> 00:41:04,319
Speaker 4: a problem. And we just you know, started hanging out

707
00:41:04,520 --> 00:41:07,680
Speaker 4: and we would we would trade and spa and he

708
00:41:07,719 --> 00:41:09,399
Speaker 4: would be like, yo, I wrote something. And he would

709
00:41:09,440 --> 00:41:12,759
Speaker 4: come over to the house do verses and wrap over,

710
00:41:12,960 --> 00:41:16,520
Speaker 4: you know, pause tapes and sit and I was like, yo, man,

711
00:41:16,680 --> 00:41:19,680
Speaker 4: you got it, man, you got something special. I just

712
00:41:19,719 --> 00:41:23,360
Speaker 4: think he for me. Oh. He always had a knack

713
00:41:23,440 --> 00:41:28,640
Speaker 4: for pocket, you know, just just command of pocket that

714
00:41:28,760 --> 00:41:33,399
Speaker 4: I could never obtain. It's just something people have that's

715
00:41:33,480 --> 00:41:35,600
Speaker 4: just they lock in, you know.

716
00:41:36,560 --> 00:41:36,799
Speaker 5: Wow.

717
00:41:37,719 --> 00:41:39,640
Speaker 4: So yeah, he lived right across the street from me.

718
00:41:44,920 --> 00:41:49,120
Speaker 1: One the the the Stress album, I always wanted to

719
00:41:49,160 --> 00:41:52,560
Speaker 1: know this. This shows you how much of a do

720
00:41:52,640 --> 00:41:58,080
Speaker 1: weeb I am. I believe your Stress review and the

721
00:41:58,160 --> 00:42:04,960
Speaker 1: source was the infamous Tupac hell Raisor issue m H.

722
00:42:05,719 --> 00:42:08,680
Speaker 1: And I also believe that they had you write hip

723
00:42:08,680 --> 00:42:10,279
Speaker 1: hop's very first op ed.

724
00:42:11,200 --> 00:42:14,880
Speaker 5: I believe. Yeah, when you talk about like the rhymes

725
00:42:14,880 --> 00:42:17,000
Speaker 5: you rolled and you clicked on the sp and.

726
00:42:18,440 --> 00:42:20,440
Speaker 1: That's funny. You remember that part. I just remember the

727
00:42:21,280 --> 00:42:29,279
Speaker 1: Chinese chicken wing take out Chinese food reference. That's how

728
00:42:29,360 --> 00:42:33,800
Speaker 1: different we are. This is supernerves. I remember the food reference.

729
00:42:34,360 --> 00:42:41,239
Speaker 1: No that you know that was no history, won't won't

730
00:42:41,600 --> 00:42:45,600
Speaker 1: pan out. How crucial that that issue of the Source

731
00:42:45,800 --> 00:42:52,080
Speaker 1: was to hip hop's future, you know, because basically I

732
00:42:52,120 --> 00:42:56,560
Speaker 1: feel like that that Tupac cover is what built the

733
00:42:56,719 --> 00:42:59,080
Speaker 1: myth in the legend of Tupac, and you know, it's

734
00:42:59,080 --> 00:43:03,200
Speaker 1: one of their highest selling issues. But I also remember

735
00:43:03,239 --> 00:43:08,640
Speaker 1: it simply because the the you know you guys had

736
00:43:08,640 --> 00:43:13,399
Speaker 1: to leave review for that album, and you know, that's

737
00:43:13,440 --> 00:43:17,360
Speaker 1: the first time that I heard of like like a separation,

738
00:43:17,880 --> 00:43:24,440
Speaker 1: Like okay, so there's underground hip hop and then there's accessible,

739
00:43:24,600 --> 00:43:26,320
Speaker 1: easy to understand hip hop.

740
00:43:27,320 --> 00:43:27,520
Speaker 4: You know.

741
00:43:27,600 --> 00:43:30,840
Speaker 1: It was almost as if the reviewer of the album

742
00:43:31,520 --> 00:43:35,279
Speaker 1: was kind of at a crossroads because he and his

743
00:43:35,360 --> 00:43:37,840
Speaker 1: heart felt that this was the perfect album he was

744
00:43:37,880 --> 00:43:41,440
Speaker 1: listening to, but because he knew that it was going

745
00:43:41,520 --> 00:43:45,319
Speaker 1: to go over everyone's heads, he might have to take

746
00:43:45,920 --> 00:43:46,680
Speaker 1: a mic away.

747
00:43:47,320 --> 00:43:48,279
Speaker 5: So it was yeah, it.

748
00:43:48,280 --> 00:43:50,879
Speaker 4: Was almost like we got four mics.

749
00:43:51,080 --> 00:43:52,960
Speaker 5: Yea, yeah, I got four, I remember that right.

750
00:43:53,080 --> 00:43:55,880
Speaker 1: But he basically said I would give this album a five,

751
00:43:56,040 --> 00:43:59,520
Speaker 1: but because this is so above the head of anyone

752
00:43:59,560 --> 00:44:01,759
Speaker 1: else that I, you know, I just have to take

753
00:44:01,760 --> 00:44:04,560
Speaker 1: a mic away because it's too smart.

754
00:44:04,840 --> 00:44:09,880
Speaker 4: I was crushed. That's another That's another moment where I

755
00:44:09,920 --> 00:44:12,319
Speaker 4: was like, you know what, I don't know if I

756
00:44:12,360 --> 00:44:14,719
Speaker 4: want to do this shit anymore because I'm starting to

757
00:44:14,760 --> 00:44:18,799
Speaker 4: see that, uh, this shit is not based on the merits, so.

758
00:44:20,520 --> 00:44:21,400
Speaker 5: On the music either.

759
00:44:21,680 --> 00:44:24,960
Speaker 4: Yeah, and so that those are the things like in

760
00:44:25,000 --> 00:44:30,840
Speaker 4: the relationship, if you will with the music, you start

761
00:44:30,920 --> 00:44:34,960
Speaker 4: to question your commitment and your love to it, and

762
00:44:35,000 --> 00:44:40,200
Speaker 4: you have to keep re assessing and and recommitting yourself

763
00:44:40,239 --> 00:44:41,960
Speaker 4: to it. But that was one of the moments I

764
00:44:42,000 --> 00:44:44,600
Speaker 4: was like, you're going to start this article off with

765
00:44:45,040 --> 00:44:46,480
Speaker 4: I would have gave them.

766
00:44:48,560 --> 00:44:55,040
Speaker 1: And I kept like I I guess I vicariously was

767
00:44:55,080 --> 00:44:58,240
Speaker 1: living through you guys, you know, because at that moment

768
00:44:58,280 --> 00:45:01,799
Speaker 1: we were just starting to make our record. And then

769
00:45:02,480 --> 00:45:04,439
Speaker 1: you know, when I read that, I was like, oh man,

770
00:45:04,560 --> 00:45:06,879
Speaker 1: he's basically saying that this album's too smart for its

771
00:45:06,880 --> 00:45:12,839
Speaker 1: own good. And had they just did a little bit

772
00:45:12,840 --> 00:45:15,600
Speaker 1: of terra firma down to earth, like make it normal,

773
00:45:16,360 --> 00:45:18,560
Speaker 1: I would have easily shown why this is a five

774
00:45:18,640 --> 00:45:23,040
Speaker 1: mic record. And that always horned me. But I never

775
00:45:23,120 --> 00:45:28,000
Speaker 1: ever got to ask you how that felt like you're dope,

776
00:45:28,200 --> 00:45:31,520
Speaker 1: but you're you're too dope, so we have to penal

777
00:45:31,760 --> 00:45:32,759
Speaker 1: penalize you for that.

778
00:45:33,560 --> 00:45:36,319
Speaker 4: It was crushing. I mean, I don't I don't know

779
00:45:36,320 --> 00:45:40,800
Speaker 4: if I I don't know if I expected a five.

780
00:45:41,239 --> 00:45:43,400
Speaker 4: It was a solid record, and I thought we had

781
00:45:43,400 --> 00:45:47,319
Speaker 4: a chance to get a five. And then, you know,

782
00:45:47,400 --> 00:45:51,040
Speaker 4: I would have been fine if you wouldn't have put

783
00:45:51,080 --> 00:45:54,960
Speaker 4: that bit in there like ooh, these guys almost moved

784
00:45:55,000 --> 00:45:57,880
Speaker 4: me to a boof. But I'm not gonna do that

785
00:45:58,000 --> 00:46:01,480
Speaker 4: because you wrapped about part of holes of molecules and

786
00:46:01,640 --> 00:46:06,920
Speaker 4: fucking right may be. So you know, you remember.

787
00:46:06,719 --> 00:46:08,000
Speaker 1: Who the writer was on that review?

788
00:46:08,440 --> 00:46:10,120
Speaker 5: Was it like the original mind squad?

789
00:46:10,560 --> 00:46:10,840
Speaker 4: Dude?

790
00:46:11,480 --> 00:46:11,760
Speaker 1: Yeah?

791
00:46:12,040 --> 00:46:12,319
Speaker 5: It was.

792
00:46:12,719 --> 00:46:16,400
Speaker 1: Damn, that's that's the one. What's it running? Bro ship

793
00:46:16,640 --> 00:46:19,719
Speaker 1: my my all my sources at at at work.

794
00:46:20,280 --> 00:46:24,239
Speaker 5: All right. I remember around the time Pharaoh you I

795
00:46:24,280 --> 00:46:26,920
Speaker 5: read an interview around the time of equinox and you

796
00:46:27,000 --> 00:46:30,759
Speaker 5: were saying that. I think Poe was saying, like, Yo,

797
00:46:30,840 --> 00:46:32,720
Speaker 5: let's get back in the studio, let's go at it again.

798
00:46:33,560 --> 00:46:35,680
Speaker 5: And you told him like, look, man, I gotta be

799
00:46:35,719 --> 00:46:37,840
Speaker 5: real at my heart really and in this ship you

800
00:46:37,880 --> 00:46:42,640
Speaker 5: know right now? What was that like? Yeah it was.

801
00:46:42,840 --> 00:46:47,680
Speaker 5: I can't remember what it was it. I mean, yeah,

802
00:46:47,800 --> 00:46:49,760
Speaker 5: he was and I read it. I was like, damn,

803
00:46:49,840 --> 00:46:52,839
Speaker 5: like he being real, you know what I'm saying. But yeah,

804
00:46:52,880 --> 00:46:54,920
Speaker 5: what was that like for for you and Poe? Kind

805
00:46:54,920 --> 00:46:57,920
Speaker 5: of that for y'all to both be in different places,

806
00:46:58,400 --> 00:47:01,400
Speaker 5: and how did that affect you both, you know, personally

807
00:47:01,400 --> 00:47:03,400
Speaker 5: and professionally in terms of relationship.

808
00:47:04,120 --> 00:47:07,000
Speaker 4: I mean we're good and we was good. Then I

809
00:47:07,040 --> 00:47:09,640
Speaker 4: felt it only right to go to him, you know,

810
00:47:09,760 --> 00:47:12,880
Speaker 4: talk to him how I was feeling. I was crushed

811
00:47:12,920 --> 00:47:16,480
Speaker 4: at the results of the last record. We put a

812
00:47:16,480 --> 00:47:20,600
Speaker 4: lot into it. It ended it ended with the group

813
00:47:20,640 --> 00:47:25,640
Speaker 4: getting dropped from priority, and that kind of hurt my ego,

814
00:47:26,719 --> 00:47:31,120
Speaker 4: but gave me some time after we had worked so

815
00:47:31,200 --> 00:47:34,239
Speaker 4: hard on that record, and I was like, I definitely,

816
00:47:34,719 --> 00:47:38,120
Speaker 4: you know, talking to myself and fleeping on it. I

817
00:47:38,200 --> 00:47:40,759
Speaker 4: definitely don't feel like going back in the studio right now.

818
00:47:41,280 --> 00:47:43,480
Speaker 4: That's the last thing I want to do. So I

819
00:47:43,560 --> 00:47:48,920
Speaker 4: need some time to kind of recoup and assess my

820
00:47:49,040 --> 00:47:53,880
Speaker 4: relationship with music again. And because I knew it was important.

821
00:47:54,080 --> 00:47:57,120
Speaker 4: You know, you need to love, love, love, you need

822
00:47:57,120 --> 00:47:58,920
Speaker 4: to love this shit, and I knew I loved it,

823
00:47:59,160 --> 00:48:01,680
Speaker 4: but I need to needed to take a step back,

824
00:48:02,320 --> 00:48:05,000
Speaker 4: and you know, I had that discussion with him. I'm like,

825
00:48:05,239 --> 00:48:09,439
Speaker 4: I'm tapped out, Like I'm really tapped out. I need

826
00:48:09,440 --> 00:48:14,759
Speaker 4: to take a hiatus. And during that time, I realized

827
00:48:14,800 --> 00:48:20,040
Speaker 4: that I just had a lot of personal things that

828
00:48:20,120 --> 00:48:25,480
Speaker 4: if I was to recommit myself to this, that I

829
00:48:25,560 --> 00:48:28,359
Speaker 4: needed to get off my chest that I even felt

830
00:48:28,400 --> 00:48:33,040
Speaker 4: would be unfair to drag him into, because you know,

831
00:48:33,080 --> 00:48:37,239
Speaker 4: in a group, you're sharing so much, and you're you're

832
00:48:37,280 --> 00:48:43,319
Speaker 4: making these, uh compromises, and you're making these, you know,

833
00:48:43,680 --> 00:48:48,279
Speaker 4: decisions collectively to put records together. And I just came

834
00:48:48,320 --> 00:48:51,799
Speaker 4: out on the other side like I really felt it

835
00:48:51,840 --> 00:48:54,320
Speaker 4: would be selfish to drag him. I feel like I

836
00:48:54,320 --> 00:48:57,640
Speaker 4: would be dragging him into these ideas that I was having.

837
00:48:58,320 --> 00:49:00,719
Speaker 4: And so went back to him and and was like, yo,

838
00:49:00,800 --> 00:49:04,880
Speaker 4: I think I'm gonna try to vomit some of this

839
00:49:04,920 --> 00:49:09,120
Speaker 4: stuff out and he he was like, yo, man, you

840
00:49:09,200 --> 00:49:12,319
Speaker 4: got my blessings, you know what I mean? So I

841
00:49:12,400 --> 00:49:13,280
Speaker 4: went on that journey.

842
00:49:14,640 --> 00:49:20,640
Speaker 1: I have actually three creative questions about your work in

843
00:49:20,840 --> 00:49:24,680
Speaker 1: organized confusion. Well, to start is, how do you guys

844
00:49:24,800 --> 00:49:29,440
Speaker 1: build ideas and your songs?

845
00:49:30,080 --> 00:49:30,359
Speaker 5: Is it?

846
00:49:31,280 --> 00:49:34,319
Speaker 1: Well? First of all, even with the production, you know,

847
00:49:34,400 --> 00:49:37,680
Speaker 1: do you guys work on beats separate or was it

848
00:49:37,719 --> 00:49:40,680
Speaker 1: a collaborative effort? And that fat like, does the concept

849
00:49:40,680 --> 00:49:42,680
Speaker 1: of the song come at the beginning or does it

850
00:49:42,800 --> 00:49:47,080
Speaker 1: just whoever adds the verse first, then that's the concept

851
00:49:47,120 --> 00:49:47,560
Speaker 1: of the song.

852
00:49:48,320 --> 00:49:50,239
Speaker 4: As soon as we landed the deal, we went out

853
00:49:50,280 --> 00:49:54,239
Speaker 4: and got us we twelve hundreds, and we started just

854
00:49:54,280 --> 00:49:58,000
Speaker 4: banging out beats with the crew of cats and queens

855
00:49:58,040 --> 00:50:02,359
Speaker 4: as well who were the organisms and they were they

856
00:50:02,400 --> 00:50:05,880
Speaker 4: were working on music as well. And I started going

857
00:50:05,880 --> 00:50:09,880
Speaker 4: out to these record conventions, the famous record conventions that

858
00:50:10,080 --> 00:50:16,480
Speaker 4: uh you know, Finesse and Large and uh uh Salam

859
00:50:16,560 --> 00:50:18,439
Speaker 4: and Tip and everybody would be at and I would

860
00:50:18,440 --> 00:50:21,200
Speaker 4: see them in there, and they're my heroes and they

861
00:50:21,239 --> 00:50:23,480
Speaker 4: would be buying these eighty dollars records and I would

862
00:50:23,480 --> 00:50:28,960
Speaker 4: be like, wow, that must be nice, and we would

863
00:50:29,600 --> 00:50:32,400
Speaker 4: you know, look for stuff. And then once I developed

864
00:50:32,840 --> 00:50:35,160
Speaker 4: a relationship with those dudes, they started to be like,

865
00:50:35,160 --> 00:50:37,560
Speaker 4: you got this, you got this. You know this guy,

866
00:50:37,640 --> 00:50:39,319
Speaker 4: you know this guy, you got this. You need to

867
00:50:39,320 --> 00:50:43,279
Speaker 4: get this. And started to you know, begin to get

868
00:50:43,280 --> 00:50:47,440
Speaker 4: my chops up with on the digging side, and we

869
00:50:47,520 --> 00:50:52,839
Speaker 4: started to you know, produce all music, and I gravitated

870
00:50:52,920 --> 00:50:57,640
Speaker 4: to what I knew, which was you know, my brothers again,

871
00:50:57,840 --> 00:51:00,799
Speaker 4: the weather Report and a lot of the Fusion Ship,

872
00:51:01,120 --> 00:51:06,440
Speaker 4: which kind of the landscape of things I wanted to

873
00:51:07,200 --> 00:51:12,640
Speaker 4: wrap over personally, and so just started putting stuff together

874
00:51:12,680 --> 00:51:15,480
Speaker 4: and taking it to the studio and trying to make

875
00:51:15,520 --> 00:51:18,120
Speaker 4: it better and getting with the right for you know,

876
00:51:18,239 --> 00:51:21,680
Speaker 4: engineers and things like that. So Prince would make a beat,

877
00:51:21,680 --> 00:51:23,880
Speaker 4: we would make a beat together. We would be like

878
00:51:23,920 --> 00:51:25,840
Speaker 4: what is this? You know, we would sit there and

879
00:51:25,920 --> 00:51:28,840
Speaker 4: be like, what is this song singing? What are we doing?

880
00:51:28,880 --> 00:51:31,719
Speaker 4: And or I would come with a concept and be like,

881
00:51:32,280 --> 00:51:36,239
Speaker 4: what if we're unborn fetuses and the mothers?

882
00:51:37,120 --> 00:51:39,600
Speaker 5: That was my ship to the in vitro Nigga. I

883
00:51:39,719 --> 00:51:41,800
Speaker 5: ran man, I ran the hell out of the damn.

884
00:51:41,560 --> 00:51:46,640
Speaker 4: Song right right, So and then you know, shout out

885
00:51:46,640 --> 00:51:50,399
Speaker 4: to Buck Wild and then around that same time, we're

886
00:51:50,440 --> 00:51:51,480
Speaker 4: working with OG.

887
00:51:51,480 --> 00:51:54,480
Speaker 5: Two man y'all o G was that Decisions record? I

888
00:51:54,560 --> 00:51:55,200
Speaker 5: love that record?

889
00:51:55,560 --> 00:52:01,040
Speaker 4: Thank you. Anton Puchowski was bringing live instrumentation to a

890
00:52:01,040 --> 00:52:04,200
Speaker 4: lot of the early shit and just pushing us along,

891
00:52:04,320 --> 00:52:07,600
Speaker 4: And it was a collective effort to answer your to

892
00:52:07,640 --> 00:52:08,440
Speaker 4: answer your question.

893
00:52:09,880 --> 00:52:13,920
Speaker 1: So I always wanted to know because you guys were

894
00:52:13,960 --> 00:52:19,880
Speaker 1: so advanced, like way past where ultramat Netic was taking it,

895
00:52:19,880 --> 00:52:23,719
Speaker 1: Because you guys were so advanced and sort of wrapping

896
00:52:23,920 --> 00:52:28,240
Speaker 1: outside the boundaries of you know, outside the boundaries, coloring

897
00:52:28,280 --> 00:52:33,560
Speaker 1: outside the lines. Was it frustrating to have such not

898
00:52:33,560 --> 00:52:37,000
Speaker 1: not limitations as far as what hip hop music could

899
00:52:37,000 --> 00:52:39,920
Speaker 1: have been. But I would always have I would have

900
00:52:40,120 --> 00:52:42,960
Speaker 1: I could imagine. I always thought of you guys as

901
00:52:43,000 --> 00:52:46,080
Speaker 1: sort of like advanced ere hip hop, like future. Well

902
00:52:46,120 --> 00:52:47,760
Speaker 1: that's the time I've seen you guys are a future

903
00:52:47,800 --> 00:52:50,840
Speaker 1: hip hop that kind of got stuck with the palette

904
00:52:50,880 --> 00:52:56,520
Speaker 1: of limited music output. Like if if you guys could

905
00:52:56,600 --> 00:53:01,160
Speaker 1: easily figure out ways to program that's twelve hundred so

906
00:53:01,200 --> 00:53:04,640
Speaker 1: that you could rhyme seven eight meter here and then

907
00:53:04,640 --> 00:53:07,000
Speaker 1: slow down there, and things that you could easily do

908
00:53:07,120 --> 00:53:10,680
Speaker 1: now on pro tools, and you know, and reasonable like

909
00:53:10,719 --> 00:53:14,560
Speaker 1: this shy yeah and all these so was it or

910
00:53:14,600 --> 00:53:17,080
Speaker 1: even things like you know where ghost Face just rhymes

911
00:53:17,120 --> 00:53:20,600
Speaker 1: over an album like I always wanted to know, Like shit,

912
00:53:20,719 --> 00:53:23,759
Speaker 1: if you guys could rhyme over Frank Zappa or my

913
00:53:24,000 --> 00:53:28,320
Speaker 1: Visa orchestra, just like you guys would have been those people.

914
00:53:28,400 --> 00:53:32,040
Speaker 1: So like, was there ever musical moments that you tried

915
00:53:32,080 --> 00:53:34,160
Speaker 1: an idea that was just like way too ahead of

916
00:53:34,160 --> 00:53:36,800
Speaker 1: its time, at least technology wise.

917
00:53:37,680 --> 00:53:40,840
Speaker 4: I was frustrated then, which is which made me happy

918
00:53:40,920 --> 00:53:45,000
Speaker 4: because I knew what I wanted to do was expansive,

919
00:53:45,640 --> 00:53:49,040
Speaker 4: you know. And I would listen to bands and they

920
00:53:49,120 --> 00:53:51,919
Speaker 4: would play a groove at a tempo and then break

921
00:53:51,960 --> 00:53:55,680
Speaker 4: it down and do a beautiful transition into a slower,

922
00:53:55,760 --> 00:53:57,960
Speaker 4: more beautiful tempo. And I was like, how am I

923
00:53:58,160 --> 00:54:01,120
Speaker 4: you know, how are we going to achieve this with

924
00:54:01,160 --> 00:54:04,120
Speaker 4: what we're trying to do? And that's kind of what

925
00:54:04,239 --> 00:54:08,600
Speaker 4: brought about that Hypnotical Gases song, which starts at one

926
00:54:08,640 --> 00:54:11,840
Speaker 4: temple and goes goes into another temple. We didn't know

927
00:54:11,880 --> 00:54:16,400
Speaker 4: how to program and at the time, so we started

928
00:54:16,440 --> 00:54:20,560
Speaker 4: off with that one loop that that that slow loop

929
00:54:21,040 --> 00:54:25,080
Speaker 4: and goes goes into the Fusion Ship. I remember Anton

930
00:54:25,520 --> 00:54:31,080
Speaker 4: Chowski having to cut the two inch tape in order to,

931
00:54:31,360 --> 00:54:33,319
Speaker 4: you know, get this ship to work, and you think

932
00:54:33,480 --> 00:54:37,440
Speaker 4: back to things like that, and he's literally like, I

933
00:54:37,440 --> 00:54:40,960
Speaker 4: gotta get this ship right, you know, He's literally slicing

934
00:54:41,000 --> 00:54:45,080
Speaker 4: the tape. I know, y'all know, you know. And I

935
00:54:45,120 --> 00:54:47,759
Speaker 4: wanted to go and I wanted to go into the

936
00:54:47,800 --> 00:54:52,560
Speaker 4: fast beat as if the band was was was doing that,

937
00:54:52,640 --> 00:54:54,799
Speaker 4: you know. That's that what was in my head. But

938
00:54:54,880 --> 00:54:57,880
Speaker 4: I had no other way to achieve it, you know

939
00:54:57,920 --> 00:55:00,960
Speaker 4: what I'm saying, Like, I didn't know how to you know,

940
00:55:01,000 --> 00:55:04,440
Speaker 4: which kind of brings this full circle, you know, moving forward.

941
00:55:04,520 --> 00:55:07,239
Speaker 4: I didn't know how to achieve that in terms of

942
00:55:07,239 --> 00:55:11,320
Speaker 4: the programming in the sample time. I don't believe we

943
00:55:11,400 --> 00:55:15,040
Speaker 4: had nine fifties at the time, you know. So I'm like,

944
00:55:15,120 --> 00:55:16,640
Speaker 4: how are we going to get this idea out of

945
00:55:16,680 --> 00:55:20,040
Speaker 4: my head? And we did it, and it's it's one

946
00:55:20,080 --> 00:55:23,799
Speaker 4: of the records that Organized Confusion is most known for.

947
00:55:25,320 --> 00:55:30,239
Speaker 1: Okay with without without uh without without want to be

948
00:55:30,280 --> 00:55:33,960
Speaker 1: starting something. How frustrating was it for you as an

949
00:55:34,040 --> 00:55:35,000
Speaker 1: n C as an M.

950
00:55:40,960 --> 00:55:42,320
Speaker 5: I mean, I've been I've been doing this show for

951
00:55:42,360 --> 00:55:46,400
Speaker 5: a little while man.

952
00:55:46,719 --> 00:55:50,239
Speaker 1: Yeah, yeah, how how frustrating was it for you to

953
00:55:50,400 --> 00:55:58,280
Speaker 1: hear just you know, without being condescending like mortal mortal

954
00:55:59,000 --> 00:56:03,520
Speaker 1: hip hop fans just salivate over I gave you Power when.

955
00:56:03,800 --> 00:56:06,880
Speaker 5: When you did Straight Bullet like years already did Straight

956
00:56:06,920 --> 00:56:10,520
Speaker 5: Bullet like how and didn't have to tell people that

957
00:56:10,560 --> 00:56:13,399
Speaker 5: you were good. That's something I hate about I gave

958
00:56:13,440 --> 00:56:18,720
Speaker 5: You Power. It's like I'm a motherfucking gun. The song

959
00:56:18,840 --> 00:56:25,359
Speaker 5: I was Gonna Dodge, Yeah, hip hop hip hop abody.

960
00:56:25,719 --> 00:56:29,279
Speaker 4: Anybody ever told that that? People hate that intro to

961
00:56:29,360 --> 00:56:29,960
Speaker 4: that song.

962
00:56:31,800 --> 00:56:34,799
Speaker 1: Between between I Gave You Power and the way that

963
00:56:34,920 --> 00:56:43,000
Speaker 1: Dre says NAS's name fucking Tray, motherfucking.

964
00:56:42,440 --> 00:56:47,640
Speaker 5: Tray and all that lead into like the word yeah,

965
00:56:47,680 --> 00:56:48,400
Speaker 5: but that's all right.

966
00:56:49,080 --> 00:56:52,160
Speaker 1: I took half of mic off just for those two intros. Yeah,

967
00:56:52,200 --> 00:56:55,960
Speaker 1: but basically like yeah, you know.

968
00:56:56,480 --> 00:57:00,719
Speaker 4: It brings it, It brings it back so many just

969
00:57:00,960 --> 00:57:05,160
Speaker 4: what we're dealing with today. From our lens, the fucking

970
00:57:06,120 --> 00:57:08,680
Speaker 4: the lore and the love we got for Stray Bullet

971
00:57:08,800 --> 00:57:12,280
Speaker 4: was just insane. You know. We would perform that record

972
00:57:12,280 --> 00:57:16,000
Speaker 4: and it would be like the crowd would be like insane.

973
00:57:16,320 --> 00:57:20,560
Speaker 4: So from our lens, we were getting the love and

974
00:57:20,600 --> 00:57:23,400
Speaker 4: the props from that record and the writing and the reviews.

975
00:57:23,960 --> 00:57:26,920
Speaker 4: We were like yeah, yeah, yeah yeah. When I Gave

976
00:57:27,000 --> 00:57:29,320
Speaker 4: You Power came out, I was like, oh my god,

977
00:57:29,400 --> 00:57:32,760
Speaker 4: that's fucking it's fucking premiere, Like what can you say?

978
00:57:33,280 --> 00:57:36,760
Speaker 4: And then and then nas is like one of my

979
00:57:36,800 --> 00:57:41,520
Speaker 4: favorite mcs, like like like literally that that's just so

980
00:57:41,760 --> 00:57:45,680
Speaker 4: uh the rush of people that came to us like hey,

981
00:57:45,800 --> 00:57:53,160
Speaker 4: got your ship. Man. Like, But but as a as

982
00:57:53,160 --> 00:57:54,040
Speaker 4: a I don't think.

983
00:57:54,600 --> 00:57:57,280
Speaker 1: I don't think to know.

984
00:57:57,520 --> 00:58:00,800
Speaker 4: Right, and that that was That was another thing. The

985
00:58:00,880 --> 00:58:06,040
Speaker 4: crew the crews were. The crews were interconnected in different

986
00:58:06,080 --> 00:58:09,240
Speaker 4: way because OC was with search Light and it was

987
00:58:09,320 --> 00:58:14,040
Speaker 4: you know, but just for real, as a as an artist,

988
00:58:15,000 --> 00:58:18,960
Speaker 4: I didn't I didn't feel away like oh man, you know,

989
00:58:19,040 --> 00:58:23,800
Speaker 4: I just I didn't get those feelings from it. It's like,

990
00:58:24,840 --> 00:58:27,680
Speaker 4: you know, as Tarik says, it's like some still sharp

991
00:58:27,720 --> 00:58:30,760
Speaker 4: and steel ship and what you're gonna do next. I

992
00:58:30,880 --> 00:58:36,280
Speaker 4: say that to say later in life, I find myself

993
00:58:36,320 --> 00:58:39,800
Speaker 4: in the backseat of a range Rover with Naves having

994
00:58:39,800 --> 00:58:46,360
Speaker 4: a conversation and now says, you know what, man, A

995
00:58:46,360 --> 00:58:48,280
Speaker 4: lot of people you know what I mean say, you know,

996
00:58:48,400 --> 00:58:50,640
Speaker 4: they came to me, they say, yo, man, you know

997
00:58:50,800 --> 00:58:53,680
Speaker 4: Pharaoh man did that ship before you man, and you

998
00:58:53,720 --> 00:58:56,920
Speaker 4: know we had a lot of similar ship d so

999
00:58:57,160 --> 00:59:01,520
Speaker 4: you know as the foundation, you know, we need to

1000
00:59:01,560 --> 00:59:03,600
Speaker 4: you know, we need to. So we had a discussion

1001
00:59:04,320 --> 00:59:09,760
Speaker 4: about it. But yeah, I never really felt like, oh

1002
00:59:09,800 --> 00:59:14,120
Speaker 4: my god, that's my concept, Like I never really felt

1003
00:59:14,160 --> 00:59:14,520
Speaker 4: that way.

1004
00:59:14,680 --> 00:59:17,960
Speaker 1: You know, I still maintain that Nos, I don't think

1005
00:59:18,080 --> 00:59:23,760
Speaker 1: NAS listens to that much at least and most of

1006
00:59:23,800 --> 00:59:26,720
Speaker 1: them season I know that on that level, I don't

1007
00:59:26,720 --> 00:59:27,240
Speaker 1: agree with you.

1008
00:59:27,240 --> 00:59:29,480
Speaker 4: Because I don't listen to I don't. It's like a

1009
00:59:29,480 --> 00:59:33,040
Speaker 4: handful of people that I listened to when I'm reporting,

1010
00:59:33,120 --> 00:59:37,000
Speaker 4: And then do we even listen to people's anymore as artists,

1011
00:59:37,000 --> 00:59:37,600
Speaker 4: you know what I mean?

1012
00:59:38,840 --> 00:59:41,920
Speaker 3: Yeah, season, So how you're going to be such an

1013
00:59:41,920 --> 00:59:42,880
Speaker 3: expert on I.

1014
00:59:42,880 --> 00:59:46,320
Speaker 1: Listened in the off season, but when usually when you're

1015
00:59:46,320 --> 00:59:49,760
Speaker 1: creating your thing, you're you're in your own you don't

1016
00:59:49,760 --> 00:59:51,680
Speaker 1: want to listen to other people, so that you don't.

1017
00:59:52,680 --> 00:59:56,120
Speaker 3: But if it happened afterwards, yeah.

1018
00:59:55,960 --> 00:59:58,160
Speaker 5: I listened to stuff like you have to listen, like

1019
00:59:58,640 --> 01:00:00,760
Speaker 5: so you know what not to do. Nothing else is

1020
01:00:00,760 --> 01:00:03,200
Speaker 5: more of just kind of a just like all right,

1021
01:00:03,200 --> 01:00:05,560
Speaker 5: if I know, like if I'm working on an album now,

1022
01:00:05,920 --> 01:00:07,960
Speaker 5: I'll listen to Pharaoh album be like okay, I know

1023
01:00:08,120 --> 01:00:10,200
Speaker 5: not to do this because he covered that already, you

1024
01:00:10,240 --> 01:00:12,760
Speaker 5: know what I mean, that's how it's far to go.

1025
01:00:13,240 --> 01:00:17,720
Speaker 1: Has Riek ever told you, I know for a fact

1026
01:00:17,960 --> 01:00:24,240
Speaker 1: that a big part of Tarik's development, especially on Things

1027
01:00:24,240 --> 01:00:27,160
Speaker 1: fall apart, like you know, I mean, there's a period

1028
01:00:27,880 --> 01:00:30,760
Speaker 1: for those that listen to the show, And I guess

1029
01:00:30,760 --> 01:00:34,720
Speaker 1: I can ask you this as well, Phararell. If you're

1030
01:00:35,200 --> 01:00:41,400
Speaker 1: creating this music in the mid to late nineties and

1031
01:00:41,760 --> 01:00:45,600
Speaker 1: the early arts, you know, there's usually in your head

1032
01:00:45,720 --> 01:00:49,720
Speaker 1: like a jury that you imagine, you know, listening to

1033
01:00:49,760 --> 01:00:51,960
Speaker 1: this and that you have to have it to that standard.

1034
01:00:52,840 --> 01:00:57,120
Speaker 1: So I know for a fact that Jesus Christ, like

1035
01:00:57,240 --> 01:01:04,280
Speaker 1: Tarik would run the it out of Equinox like every

1036
01:01:04,720 --> 01:01:08,920
Speaker 1: night at like religiously, like that was his that was

1037
01:01:08,960 --> 01:01:11,959
Speaker 1: his rocky music to get him hype for the show,

1038
01:01:12,120 --> 01:01:15,280
Speaker 1: like literally like it was like I gotta get to

1039
01:01:15,320 --> 01:01:18,440
Speaker 1: this level. I want this level and this this level

1040
01:01:18,440 --> 01:01:20,360
Speaker 1: of respect. Did he ever tell you, like how much

1041
01:01:20,560 --> 01:01:22,080
Speaker 1: that that that album into him?

1042
01:01:22,560 --> 01:01:25,120
Speaker 4: When we when we talk, we just we just do

1043
01:01:25,320 --> 01:01:28,760
Speaker 4: verses of each other's and different ship and not be

1044
01:01:28,880 --> 01:01:32,880
Speaker 4: like the fifth to make it all come together like

1045
01:01:32,880 --> 01:01:37,760
Speaker 4: the Zippo on a butter level, right, just you know,

1046
01:01:38,000 --> 01:01:41,640
Speaker 4: just amazing ship. Uh, nothing specific, but that, Like you

1047
01:01:41,760 --> 01:01:47,800
Speaker 4: have to know that. I imagine that when I when

1048
01:01:47,840 --> 01:01:54,840
Speaker 4: I turn in an album that Fonte and Thought and

1049
01:01:54,960 --> 01:01:58,800
Speaker 4: Broyce and and different other cats, you know, at a

1050
01:01:58,840 --> 01:02:01,720
Speaker 4: big fucking oak table and they're like.

1051
01:02:01,760 --> 01:02:03,720
Speaker 5: Now's like.

1052
01:02:05,400 --> 01:02:10,880
Speaker 1: Like the last time, like a whiteboard. Yeah, that's real.

1053
01:02:11,040 --> 01:02:11,480
Speaker 5: What is that?

1054
01:02:11,600 --> 01:02:12,080
Speaker 1: What is that?

1055
01:02:12,240 --> 01:02:12,320
Speaker 4: So?

1056
01:02:12,720 --> 01:02:18,800
Speaker 1: What is that in twenty twenty twenty one? Is because

1057
01:02:18,800 --> 01:02:21,400
Speaker 1: the thing is that we don't have that, Like right now,

1058
01:02:21,680 --> 01:02:24,360
Speaker 1: I'm current. This will be the first album I created

1059
01:02:25,520 --> 01:02:29,640
Speaker 1: in which I'm you know, in my mind. I always

1060
01:02:29,760 --> 01:02:33,560
Speaker 1: kept like, okay, the source is still a thing in

1061
01:02:33,600 --> 01:02:35,880
Speaker 1: my mind, and I have to have that level of perfection,

1062
01:02:36,120 --> 01:02:41,480
Speaker 1: Like I'm still striving for that four point five rating

1063
01:02:41,560 --> 01:02:45,800
Speaker 1: that I want even though it doesn't exist now. So

1064
01:02:45,920 --> 01:02:48,040
Speaker 1: what is what is that for you in your head

1065
01:02:48,080 --> 01:02:51,160
Speaker 1: when you're creating things or is this now you're just

1066
01:02:51,200 --> 01:02:53,080
Speaker 1: in the place where you just create for yourself.

1067
01:02:54,320 --> 01:02:58,480
Speaker 4: That's what I did on this this new project. A

1068
01:02:58,640 --> 01:03:03,360
Speaker 4: deconstructed all the shit that I don't like and you know,

1069
01:03:03,960 --> 01:03:06,080
Speaker 4: a lot of stuff I would listen to and be like,

1070
01:03:06,160 --> 01:03:10,080
Speaker 4: this doesn't have any replay value for me. Why doesn't

1071
01:03:10,080 --> 01:03:14,000
Speaker 4: that have any replay value for you? And what can

1072
01:03:14,040 --> 01:03:15,800
Speaker 4: you do when you do your shit that's going to

1073
01:03:15,880 --> 01:03:20,240
Speaker 4: give something some replay value? You know? The the lyrics,

1074
01:03:20,560 --> 01:03:25,960
Speaker 4: the lyricism work is really really good right now, just

1075
01:03:26,000 --> 01:03:29,400
Speaker 4: being a good or grade m C. It's just not

1076
01:03:29,480 --> 01:03:33,320
Speaker 4: good enough anymore for me. It's like, you know, people

1077
01:03:34,000 --> 01:03:36,320
Speaker 4: can fucking rap now. People have been rapping for thirty

1078
01:03:36,400 --> 01:03:40,480
Speaker 4: years now, more like what you know, what more is it?

1079
01:03:41,160 --> 01:03:46,240
Speaker 4: You know, just to hear somebody, Uh that's nice? It's like, yeah,

1080
01:03:46,280 --> 01:03:50,400
Speaker 4: he nice, And then I would kind of drift away

1081
01:03:50,440 --> 01:03:54,680
Speaker 4: from it. What can what can you do to make

1082
01:03:54,720 --> 01:03:58,960
Speaker 4: people retain some information? Or you're like, no, I think

1083
01:03:58,960 --> 01:04:01,320
Speaker 4: I'm gonna listen to that that that song for a

1084
01:04:01,360 --> 01:04:05,000
Speaker 4: second time, and it has to do obviously way more

1085
01:04:05,080 --> 01:04:10,000
Speaker 4: with the ranging and melody and chorus and bars as well.

1086
01:04:10,880 --> 01:04:16,200
Speaker 4: So in that time, I'm just like, let me step

1087
01:04:16,240 --> 01:04:21,440
Speaker 4: away and focus, still keeping in the mind that I

1088
01:04:21,520 --> 01:04:24,520
Speaker 4: want you guys to hear this ship, you know, because

1089
01:04:26,120 --> 01:04:30,480
Speaker 4: I'm in touch with thought. Towards the end, of the

1090
01:04:30,480 --> 01:04:34,280
Speaker 4: the record and he's just sending me tons and tons

1091
01:04:34,280 --> 01:04:36,200
Speaker 4: of shit and I'm like, how does he do this?

1092
01:04:37,000 --> 01:04:40,360
Speaker 4: Like your record records on records? And then he's sharing,

1093
01:04:40,480 --> 01:04:42,600
Speaker 4: like I'm so scared to share my ship, but he's

1094
01:04:42,640 --> 01:04:46,000
Speaker 4: just like, yo, I did this ship. Check this shit out.

1095
01:04:46,040 --> 01:04:51,160
Speaker 4: And it's like, oh my god, and so and so

1096
01:04:52,800 --> 01:04:55,040
Speaker 4: that's the bar. You know, you you know what your

1097
01:04:55,040 --> 01:04:57,680
Speaker 4: bar is, and it's high for me. But at the

1098
01:04:57,720 --> 01:05:01,000
Speaker 4: same time, Pharaoh can rap so fucking.

1099
01:05:00,720 --> 01:05:03,480
Speaker 5: What, like right, we.

1100
01:05:03,520 --> 01:05:07,080
Speaker 4: Know this already. And I don't mean that to sound

1101
01:05:07,080 --> 01:05:09,400
Speaker 4: I reckon. I mean that to say it's like it's

1102
01:05:09,400 --> 01:05:10,919
Speaker 4: the same thing with the.

1103
01:05:10,800 --> 01:05:12,680
Speaker 5: It's like the straight A student, Like if you get

1104
01:05:12,800 --> 01:05:15,560
Speaker 5: straight a's all the time, it's like people don't notice

1105
01:05:15,600 --> 01:05:17,080
Speaker 5: until you make a bee and it's just.

1106
01:05:17,200 --> 01:05:21,080
Speaker 4: You know what I mean, like the sort freestyle. Everybody

1107
01:05:21,120 --> 01:05:23,840
Speaker 4: in the note is watching that ship like y'all ain't no.

1108
01:05:25,080 --> 01:05:28,120
Speaker 4: You know, y'all ain't no. But it was so monumental

1109
01:05:28,200 --> 01:05:32,720
Speaker 4: for me because he's he's breaking the matrix in that moment,

1110
01:05:33,280 --> 01:05:37,680
Speaker 4: look at him. Only somebody who loves this tool to

1111
01:05:37,960 --> 01:05:40,800
Speaker 4: this level would even be able to put together a

1112
01:05:40,880 --> 01:05:46,280
Speaker 4: string together that level of artistry and lyricism, and so

1113
01:05:47,000 --> 01:05:50,960
Speaker 4: that that's what's beautiful about the now and getting mature

1114
01:05:51,000 --> 01:05:56,800
Speaker 4: in this and knowing that you know, I'm on my

1115
01:05:56,920 --> 01:06:00,000
Speaker 4: Morgan freemanship man, just trying to be the Morgan Freeman

1116
01:06:00,120 --> 01:06:00,880
Speaker 4: and of hip hop.

1117
01:06:04,960 --> 01:06:07,360
Speaker 1: I never heard it put that beauty. That's great.

1118
01:06:07,400 --> 01:06:09,520
Speaker 5: And even the thing with that thought freestyle, the thing

1119
01:06:09,600 --> 01:06:11,920
Speaker 5: that always tell people is like you have to you know,

1120
01:06:12,000 --> 01:06:14,080
Speaker 5: to your point kind of almost you know, fel about

1121
01:06:14,120 --> 01:06:17,520
Speaker 5: like rapping up being enough. You know. The thing is

1122
01:06:17,880 --> 01:06:21,440
Speaker 5: people watched that freestyle. It wasn't that they listened to it.

1123
01:06:21,520 --> 01:06:23,520
Speaker 5: They watched it, you know what I'm saying. And that

1124
01:06:23,680 --> 01:06:26,120
Speaker 5: was what kind of gave it the novelty aspect of it.

1125
01:06:26,200 --> 01:06:28,080
Speaker 5: Because I mean, again us we've been in the know,

1126
01:06:28,160 --> 01:06:30,720
Speaker 5: we've been knowing. But if we if he were to

1127
01:06:30,760 --> 01:06:33,160
Speaker 5: take those same bars and just spit them over beat

1128
01:06:33,240 --> 01:06:35,440
Speaker 5: and put it out and be like, yo, I just

1129
01:06:35,520 --> 01:06:38,320
Speaker 5: let some bars go, it wouldn't have been the same reaction.

1130
01:06:38,640 --> 01:06:39,240
Speaker 5: You know what I'm saying.

1131
01:06:39,600 --> 01:06:44,800
Speaker 4: People see, I understand what it did for him, Look

1132
01:06:44,800 --> 01:06:46,400
Speaker 4: what it did for all of us. You know what

1133
01:06:46,480 --> 01:06:49,360
Speaker 4: I mean, Like anytime somebody come to the table and

1134
01:06:49,480 --> 01:06:55,920
Speaker 4: they they display that it just reinforces how marginalized I

1135
01:06:55,960 --> 01:06:58,720
Speaker 4: think lyricism still is. As much as it gets praised,

1136
01:06:59,520 --> 01:07:02,400
Speaker 4: I still don't think people like even like jay Z.

1137
01:07:03,040 --> 01:07:06,400
Speaker 4: I'm like, y'all still don't understand how good he is,

1138
01:07:06,560 --> 01:07:10,600
Speaker 4: as much popular as he is. It's just levels of

1139
01:07:10,720 --> 01:07:16,320
Speaker 4: lyricism that isn't discussing forums that can be brought out,

1140
01:07:16,640 --> 01:07:21,040
Speaker 4: in my opinion as somebody who's a fan of Fonte

1141
01:07:21,360 --> 01:07:24,960
Speaker 4: and Jay like this, this is just amazing shit that

1142
01:07:25,040 --> 01:07:30,360
Speaker 4: happens to me an amazing penmanship. And you know, I

1143
01:07:30,400 --> 01:07:33,120
Speaker 4: think a lot of it goes still to this day,

1144
01:07:33,200 --> 01:07:37,600
Speaker 4: goes over people's heads. How amazing some of this shit

1145
01:07:37,760 --> 01:07:40,439
Speaker 4: is that makes any sense? All Right?

1146
01:07:40,600 --> 01:07:43,520
Speaker 1: So I'm gonna not ask you the question that I

1147
01:07:43,560 --> 01:07:47,320
Speaker 1: hate when journalists ask me this question, So I'll remix it.

1148
01:07:47,960 --> 01:07:53,040
Speaker 1: Who are your favorite MC's then? And I guess I'm

1149
01:07:53,040 --> 01:08:01,360
Speaker 1: really asking, is there anyone post twenty ten, really post

1150
01:08:01,400 --> 01:08:07,160
Speaker 1: twenty fifteen that you like? Now prepared for that answer

1151
01:08:07,200 --> 01:08:10,320
Speaker 1: to be no if it's non, no, no no, So

1152
01:08:10,360 --> 01:08:13,080
Speaker 1: that's I'll just have you just who who are your

1153
01:08:13,200 --> 01:08:13,640
Speaker 1: go to?

1154
01:08:13,960 --> 01:08:14,080
Speaker 4: Like?

1155
01:08:14,120 --> 01:08:16,759
Speaker 1: Who do you like? Really?

1156
01:08:16,840 --> 01:08:21,320
Speaker 4: Like? I'm I'm trying, you know, I pull from all

1157
01:08:21,360 --> 01:08:25,640
Speaker 4: of these dudes, But I think Kendrick is an obvious,

1158
01:08:26,439 --> 01:08:30,720
Speaker 4: an obvious choice because you know, on the on the

1159
01:08:30,840 --> 01:08:34,479
Speaker 4: album That Touched My Heart, he had an understanding of

1160
01:08:35,600 --> 01:08:38,400
Speaker 4: very early on that I'm nice, but I need to

1161
01:08:38,439 --> 01:08:42,160
Speaker 4: be surrounded by arrangement and music and all these things.

1162
01:08:42,160 --> 01:08:45,519
Speaker 4: And he made that marriage and it was a moment

1163
01:08:45,560 --> 01:08:51,280
Speaker 4: again that that pushed the envelope of what could be done.

1164
01:08:52,040 --> 01:08:57,680
Speaker 4: Kendrick is one, but just all time, like any you know,

1165
01:08:58,960 --> 01:09:02,679
Speaker 4: I mean, my all time is the same cast of dudes.

1166
01:09:03,560 --> 01:09:06,840
Speaker 4: It's a rock him and Kane and g rap Rap

1167
01:09:06,880 --> 01:09:12,040
Speaker 4: being my favorite, slick Rick, who I think influenced a

1168
01:09:12,120 --> 01:09:14,920
Speaker 4: whole array of people, but they don't get that slick

1169
01:09:15,040 --> 01:09:19,560
Speaker 4: rickers influence them because of tone. But slick Rick is

1170
01:09:19,880 --> 01:09:25,519
Speaker 4: the voice, he is a master. And Chuck d and

1171
01:09:25,600 --> 01:09:27,960
Speaker 4: Chris and l is there.

1172
01:09:27,840 --> 01:09:32,880
Speaker 1: Someone that you feel is over and overrated, overlooked, Like

1173
01:09:33,720 --> 01:09:40,200
Speaker 1: I'm realizing now that Tarik's main influence is an MC.

1174
01:09:40,360 --> 01:09:43,880
Speaker 1: He never mentions, well, not that he does interviews. I

1175
01:09:43,880 --> 01:09:47,479
Speaker 1: didn't realize how much of an influence that Greg Nice

1176
01:09:48,560 --> 01:09:52,599
Speaker 1: is on Tarik. And usually Greg Nice isn't the first

1177
01:09:52,720 --> 01:09:56,240
Speaker 1: name that comes to people's but I mean Greg Nice

1178
01:09:56,360 --> 01:10:00,759
Speaker 1: is he He's kind of like a really great tuna

1179
01:10:00,800 --> 01:10:03,559
Speaker 1: fish sandwich. Like it's not it's not the it's not

1180
01:10:03,640 --> 01:10:06,960
Speaker 1: the food. No, it's not the food that you like,

1181
01:10:07,800 --> 01:10:10,519
Speaker 1: Like it's not on your last meal list, but it's

1182
01:10:10,600 --> 01:10:13,519
Speaker 1: consistent and if may right, it hits the spot. But

1183
01:10:13,680 --> 01:10:16,040
Speaker 1: you just overlook it, you know what I'm saying.

1184
01:10:17,280 --> 01:10:20,000
Speaker 4: And that's exactly that's exactly what I'm talking about. Like

1185
01:10:20,640 --> 01:10:24,960
Speaker 4: Greg Nice is in the Hall of Fame of and

1186
01:10:25,640 --> 01:10:29,160
Speaker 4: you wouldn't realize that he could influence a black thought,

1187
01:10:29,200 --> 01:10:32,360
Speaker 4: but hell yeah he could. He influenced all of us.

1188
01:10:32,680 --> 01:10:37,680
Speaker 4: He pushed over this area and he you know, I

1189
01:10:37,720 --> 01:10:42,080
Speaker 4: can't explain it, but this shit is marginalized that can

1190
01:10:42,120 --> 01:10:46,719
Speaker 4: only be discussed in a lyric room. How Greg Knights

1191
01:10:46,760 --> 01:10:50,400
Speaker 4: can influence black thought, it's very much so. And he's

1192
01:10:50,400 --> 01:10:52,000
Speaker 4: one of my favorite MC's as well.

1193
01:10:52,800 --> 01:10:55,400
Speaker 1: Okay, I got one last organized confusing record. I swear

1194
01:10:55,400 --> 01:10:57,360
Speaker 1: to God, we'll finally get to your solo career within

1195
01:10:57,439 --> 01:11:01,559
Speaker 1: the first four hours of this. This is this question

1196
01:11:01,640 --> 01:11:05,439
Speaker 1: I've been dying to know. I have a copy of

1197
01:11:05,520 --> 01:11:11,559
Speaker 1: Stress that has different music on. Let's organize, not the

1198
01:11:11,600 --> 01:11:16,760
Speaker 1: protruce Russian sample but there's another version of Less Organized

1199
01:11:16,800 --> 01:11:20,160
Speaker 1: with Tip that I had. I guess I had the

1200
01:11:20,200 --> 01:11:23,639
Speaker 1: press copy of this Ship. Why was that music change?

1201
01:11:23,800 --> 01:11:26,760
Speaker 1: That Ship drove me crazy when I first heard it,

1202
01:11:27,280 --> 01:11:30,120
Speaker 1: and then when I brought the album it was new

1203
01:11:30,200 --> 01:11:32,360
Speaker 1: music and I was like, wait a minute, this isn't

1204
01:11:32,360 --> 01:11:36,920
Speaker 1: a version on it, and it's like snuffle up. I guess,

1205
01:11:37,080 --> 01:11:41,280
Speaker 1: like was it real? Was it not real? And anybody

1206
01:11:41,280 --> 01:11:43,920
Speaker 1: that's been on this show involved with that record? Whatever

1207
01:11:44,040 --> 01:11:48,000
Speaker 1: Tip name? I asked, was it me? Or did I

1208
01:11:48,000 --> 01:11:51,720
Speaker 1: remember another version of Let's Organize that never made it?

1209
01:11:51,720 --> 01:11:56,720
Speaker 4: It's the original version. It's ill, the ill version, and

1210
01:11:57,000 --> 01:12:01,240
Speaker 4: we will we have that version I do I could

1211
01:12:01,240 --> 01:12:07,759
Speaker 4: get and see. That's another That's another thing that won't

1212
01:12:07,760 --> 01:12:11,400
Speaker 4: ever happen again. Is we were in studios, you know

1213
01:12:11,479 --> 01:12:14,240
Speaker 4: the Drive the studio that was in the Jive building,

1214
01:12:15,280 --> 01:12:20,120
Speaker 4: Battery studios, and we were recording and Tip, you know,

1215
01:12:20,320 --> 01:12:23,200
Speaker 4: artists would be in difference and Tip just heard that beat,

1216
01:12:23,520 --> 01:12:26,680
Speaker 4: came into our room and was like, fuck, y'all, I'm

1217
01:12:26,720 --> 01:12:30,479
Speaker 4: getting on this song. Where's my part? We were shit

1218
01:12:31,439 --> 01:12:33,800
Speaker 4: and he went in and he just you know, vibed

1219
01:12:33,840 --> 01:12:36,800
Speaker 4: it out. You know this It got me moving like this.

1220
01:12:36,920 --> 01:12:38,679
Speaker 4: It got me moving. I need to be on this song.

1221
01:12:39,080 --> 01:12:42,000
Speaker 4: I remember ever could being in sessions in there and

1222
01:12:42,120 --> 01:12:46,640
Speaker 4: again it was just people flowing throughout the hallways and

1223
01:12:46,720 --> 01:12:50,519
Speaker 4: that should have never happened again in music. I think

1224
01:12:51,080 --> 01:12:55,799
Speaker 4: mistakenly I want to say mistakenly, but organically happening because

1225
01:12:55,840 --> 01:12:59,280
Speaker 4: of different people in different studios. But yeah, we're working

1226
01:12:59,360 --> 01:13:02,160
Speaker 4: on that and it was like y'all got to get

1227
01:13:02,160 --> 01:13:03,799
Speaker 4: on this song. So that's how that happened.

1228
01:13:04,520 --> 01:13:08,280
Speaker 1: Wow, Yeah, I gotta hear that, man, Like I've been

1229
01:13:08,400 --> 01:13:12,519
Speaker 1: dreaming of that moment. Why was it changed at the

1230
01:13:12,560 --> 01:13:15,040
Speaker 1: last minute or was that sample issue or.

1231
01:13:17,560 --> 01:13:21,040
Speaker 8: H I don't know, man, I think I think it

1232
01:13:21,120 --> 01:13:24,320
Speaker 8: was a label things, you know, we need to remix

1233
01:13:24,360 --> 01:13:28,320
Speaker 8: this song or whatever, and you know we fell for it.

1234
01:13:29,320 --> 01:13:33,439
Speaker 1: I mean this is actually this was the jazzier, more effective.

1235
01:13:33,479 --> 01:13:35,360
Speaker 1: I mean I've DJ'ed it and people danced to it,

1236
01:13:35,479 --> 01:13:40,120
Speaker 1: so it was it was probably the better decision. But

1237
01:13:41,080 --> 01:13:43,280
Speaker 1: the way y'all hooked that beat up on that first

1238
01:13:43,400 --> 01:13:45,519
Speaker 1: Joe Prince Pol did.

1239
01:13:45,360 --> 01:13:47,559
Speaker 4: That beat, man, if I was driving, I would.

1240
01:13:47,320 --> 01:13:50,120
Speaker 1: Have drove two hundred miles per hour into a wall

1241
01:13:50,160 --> 01:13:54,040
Speaker 1: and been happy like that. That Joe was just so incredible. Man.

1242
01:13:54,120 --> 01:13:55,599
Speaker 4: Yeah, yeah, thank you.

1243
01:13:56,640 --> 01:14:01,120
Speaker 5: In your time off from in between Equinox to uh

1244
01:14:01,240 --> 01:14:05,679
Speaker 5: you know, na, what were you doing during that time?

1245
01:14:09,800 --> 01:14:16,559
Speaker 4: Contemplating my life? Now, I thought, if you're gonna if

1246
01:14:16,600 --> 01:14:20,240
Speaker 4: you're gonna recommit, you know, on some rocky shit, and

1247
01:14:20,280 --> 01:14:22,280
Speaker 4: you're gonna do it by yourself, then you need to

1248
01:14:23,360 --> 01:14:28,320
Speaker 4: really put yourself through the the ringer and the test

1249
01:14:28,400 --> 01:14:33,479
Speaker 4: of that it wasn't a pretentious thing. Started working on music.

1250
01:14:33,560 --> 01:14:38,760
Speaker 4: I did some demos. I went overseas with Barbido and

1251
01:14:40,240 --> 01:14:45,559
Speaker 4: Que Unique and destroying those cats or retored retord Europe.

1252
01:14:46,040 --> 01:14:48,720
Speaker 4: I was by myself. I had a dabt machine and

1253
01:14:48,800 --> 01:14:51,519
Speaker 4: I was like, and you know, this is me having

1254
01:14:51,520 --> 01:14:54,160
Speaker 4: a conversation with my owner self. If you really about it,

1255
01:14:54,200 --> 01:14:58,360
Speaker 4: about it, you're gonna press that debt and you're gonna

1256
01:14:58,360 --> 01:15:00,840
Speaker 4: go on stage by yourself, and you're going to see

1257
01:15:00,840 --> 01:15:02,320
Speaker 4: if you're about it, and you're going to see if

1258
01:15:02,360 --> 01:15:04,559
Speaker 4: you got what it takes to be a solo artist.

1259
01:15:04,640 --> 01:15:06,759
Speaker 4: Because I really, if it wasn't for Prince, I wouldn't

1260
01:15:06,800 --> 01:15:10,720
Speaker 4: have got into it. Like you know, he was the

1261
01:15:10,840 --> 01:15:14,960
Speaker 4: conduit obviously to give me. You know, I'm not really

1262
01:15:15,000 --> 01:15:17,720
Speaker 4: outgoing like that, and so I needed to be like,

1263
01:15:18,479 --> 01:15:22,000
Speaker 4: are you really you know about this shit? You need

1264
01:15:22,000 --> 01:15:25,760
Speaker 4: to get up there by yourself and not having any money,

1265
01:15:25,840 --> 01:15:28,439
Speaker 4: and you know, tours in Europe, I ain't have a DJ.

1266
01:15:28,680 --> 01:15:33,320
Speaker 4: I literally had a portable DAT machine. Wow, and would

1267
01:15:33,320 --> 01:15:36,400
Speaker 4: be like press play on the portable dat to my

1268
01:15:36,520 --> 01:15:38,519
Speaker 4: intro and walk out on stage.

1269
01:15:40,120 --> 01:15:42,120
Speaker 5: Hey, it was no break, it was.

1270
01:15:44,720 --> 01:15:51,479
Speaker 1: Can I ask from one too? Damn? That annoys me?

1271
01:15:52,680 --> 01:15:57,360
Speaker 1: How burdensome were annoying to you? At least in the

1272
01:15:57,439 --> 01:16:07,000
Speaker 1: last twenty years? Are those four notes from Simon says.

1273
01:16:05,080 --> 01:16:06,400
Speaker 3: I didn't say it. I was scared.

1274
01:16:07,640 --> 01:16:12,320
Speaker 4: I mean, it's strange, man. It's like I know a

1275
01:16:12,439 --> 01:16:16,400
Speaker 4: lot of artists talk about the disdain for those records.

1276
01:16:16,920 --> 01:16:20,240
Speaker 1: Yeah, te Spirit or me myself, and I like the

1277
01:16:20,240 --> 01:16:22,360
Speaker 1: group that hates their hit, right.

1278
01:16:22,960 --> 01:16:26,439
Speaker 4: But I've really embraced the ship. I've braced the love

1279
01:16:26,439 --> 01:16:30,160
Speaker 4: of it. I've braced the the way it bought a

1280
01:16:30,200 --> 01:16:33,479
Speaker 4: lot of people from different genres to that records. I

1281
01:16:33,520 --> 01:16:37,360
Speaker 4: embraced the festival ship with the record. I embraced the

1282
01:16:37,400 --> 01:16:41,240
Speaker 4: novelty of the record. It almost became a novelty before

1283
01:16:41,240 --> 01:16:43,960
Speaker 4: this shit came out, you know, Raucus was late to

1284
01:16:44,760 --> 01:16:49,160
Speaker 4: claim it, and Flex was playing it and Puffy was

1285
01:16:49,200 --> 01:16:52,719
Speaker 4: walking out to that song at the garden for intro

1286
01:16:53,960 --> 01:16:56,040
Speaker 4: before I was able to be like, wait a minute,

1287
01:16:56,080 --> 01:16:59,760
Speaker 4: this is me, you know, and we had that we

1288
01:16:59,800 --> 01:17:04,080
Speaker 4: had to push forward the reclaim the record, you know,

1289
01:17:05,080 --> 01:17:09,280
Speaker 4: to grab it. So to answer that question, like, I've

1290
01:17:09,320 --> 01:17:13,160
Speaker 4: decided to love that fucking song and it's brought me

1291
01:17:13,280 --> 01:17:16,479
Speaker 4: pain too, and and and you know with the sample ship,

1292
01:17:17,120 --> 01:17:19,559
Speaker 4: but uh I love the record?

1293
01:17:20,240 --> 01:17:28,439
Speaker 1: Wait you did? Wait? Can I ask a question? Fantee?

1294
01:17:28,640 --> 01:17:33,320
Speaker 1: Am I the only human being on earth that sort

1295
01:17:33,360 --> 01:17:37,799
Speaker 1: of associates that record and that sample that is also

1296
01:17:37,920 --> 01:17:41,479
Speaker 1: on Ladies Sings the Blues, And as a person that

1297
01:17:41,520 --> 01:17:44,720
Speaker 1: has watched Lady Sings the Blues like twenty times when

1298
01:17:44,760 --> 01:17:47,439
Speaker 1: she's getting when she's getting arranged and fingerprinted in the

1299
01:17:47,479 --> 01:17:49,280
Speaker 1: beginning during the opening.

1300
01:17:48,960 --> 01:17:51,760
Speaker 5: Creditsky okay, the music in the.

1301
01:17:51,680 --> 01:17:57,240
Speaker 1: Background is it's the same thing. So it's been used

1302
01:17:57,280 --> 01:17:58,040
Speaker 1: over and over again.

1303
01:17:58,560 --> 01:17:58,760
Speaker 4: Now.

1304
01:17:58,800 --> 01:18:01,559
Speaker 1: The thing was that I know when the lawsuit came on,

1305
01:18:02,640 --> 01:18:04,800
Speaker 1: it's one of the Godzilla people and YadA, YadA, YadA

1306
01:18:04,800 --> 01:18:09,479
Speaker 1: and whatnot. But I don't know, like I knew that.

1307
01:18:10,120 --> 01:18:11,519
Speaker 5: Some public do not public domain.

1308
01:18:11,720 --> 01:18:14,640
Speaker 1: Yeah, I knew that Lady Sings the Blues, and I

1309
01:18:14,720 --> 01:18:18,879
Speaker 1: believe like there was almost some Gilbert of Sullivan Bismarck

1310
01:18:19,840 --> 01:18:23,360
Speaker 1: Marquish it coming going on where they were trying to

1311
01:18:23,360 --> 01:18:26,759
Speaker 1: go extra hard on you from ruining the the legacy

1312
01:18:26,800 --> 01:18:32,120
Speaker 1: of this this fictional dragon. And I'm waiting a minute, No,

1313
01:18:32,760 --> 01:18:36,519
Speaker 1: Lady sings the Blues. So it's it's like, what was

1314
01:18:36,560 --> 01:18:39,920
Speaker 1: that whole ordeal? And I got mad James Murdock questions

1315
01:18:39,960 --> 01:18:41,560
Speaker 1: for you as well with succession.

1316
01:18:41,640 --> 01:18:46,040
Speaker 5: But anyway, man, man for real, for real.

1317
01:18:46,040 --> 01:18:50,479
Speaker 1: Let me, yeah, just start with that, like with how

1318
01:18:50,479 --> 01:18:54,240
Speaker 1: did that whole thing, the whole lawsuit thing come to be?

1319
01:18:55,120 --> 01:18:59,120
Speaker 4: You know, I was a fucking monster movie buff and fan,

1320
01:19:00,080 --> 01:19:04,080
Speaker 4: and my best friend, who was a DJ for Organized

1321
01:19:04,080 --> 01:19:08,439
Speaker 4: Confusion as well, Tossick calls me and he's like, yo,

1322
01:19:08,560 --> 01:19:13,120
Speaker 4: I just came back from Tower. I got this CD

1323
01:19:13,360 --> 01:19:15,679
Speaker 4: with the original shit that we used to love back

1324
01:19:15,680 --> 01:19:17,280
Speaker 4: in the days, and we used to run on from

1325
01:19:17,360 --> 01:19:20,800
Speaker 4: school to watch the four thirty after school movie shit.

1326
01:19:21,360 --> 01:19:23,920
Speaker 4: I used to have the four thirty after school Karate shit,

1327
01:19:24,479 --> 01:19:26,679
Speaker 4: and he used to have the four thirty after school

1328
01:19:27,040 --> 01:19:31,000
Speaker 4: Monster joints with Gamera and Kong and all of that.

1329
01:19:31,400 --> 01:19:33,600
Speaker 4: I got the soundtrack to the sounds and all that

1330
01:19:33,640 --> 01:19:35,599
Speaker 4: stuff that was on there, and I was like, I'm

1331
01:19:35,600 --> 01:19:38,559
Speaker 4: coming right down right now, and I go down there

1332
01:19:39,120 --> 01:19:40,720
Speaker 4: and I listened to it at his house and I

1333
01:19:40,880 --> 01:19:45,080
Speaker 4: just heard like some some notes and phrasings, and the

1334
01:19:45,120 --> 01:19:48,040
Speaker 4: whole CD is amazing. It's a couple of things that

1335
01:19:48,080 --> 01:19:51,680
Speaker 4: I could have chopped off of there, but you know

1336
01:19:51,720 --> 01:19:54,080
Speaker 4: that things that that out to me. And it was like,

1337
01:19:54,240 --> 01:19:57,880
Speaker 4: oh man, there's this intro. Every DJ loves an intro

1338
01:19:58,040 --> 01:20:01,320
Speaker 4: to his song. This is just classic hip hop. And

1339
01:20:01,360 --> 01:20:03,040
Speaker 4: I can set it up where I have this intro

1340
01:20:03,160 --> 01:20:05,559
Speaker 4: to this song and then this drop on the one,

1341
01:20:06,000 --> 01:20:08,120
Speaker 4: and then I'll just rock these four beats, do it in,

1342
01:20:08,680 --> 01:20:10,800
Speaker 4: do the four beasts and put some drums on it.

1343
01:20:11,439 --> 01:20:13,720
Speaker 4: Just rocking in the room and listening and I'm like,

1344
01:20:14,400 --> 01:20:21,840
Speaker 4: did you do that? Sp yes, sir. And then that's

1345
01:20:21,920 --> 01:20:24,559
Speaker 4: you know, and then I just had the four notes

1346
01:20:24,600 --> 01:20:28,080
Speaker 4: and then I didn't have enough time to set up

1347
01:20:28,080 --> 01:20:31,519
Speaker 4: the intro that that's where Lee Stone comes in. I'm like,

1348
01:20:31,560 --> 01:20:33,800
Speaker 4: I gotta bring you the ship and then we go

1349
01:20:33,880 --> 01:20:36,160
Speaker 4: and we work on the jigger, jigger and all the

1350
01:20:36,200 --> 01:20:40,559
Speaker 4: rest of the ship. So you know, I'm just yeah,

1351
01:20:40,680 --> 01:20:44,760
Speaker 4: listen to the record, and I'm just like, you know

1352
01:20:44,800 --> 01:20:47,120
Speaker 4: what this is. You can only fuck this song up.

1353
01:20:47,680 --> 01:20:51,120
Speaker 4: You need to tell people what to do. You need

1354
01:20:51,120 --> 01:20:55,439
Speaker 4: to be direct, and you need to write. You know.

1355
01:20:55,439 --> 01:20:57,880
Speaker 4: I wanted to write a rhyme like like how I

1356
01:20:57,880 --> 01:21:01,400
Speaker 4: felt with kind of like ll that people remember the

1357
01:21:01,479 --> 01:21:04,439
Speaker 4: rhyme and you do the rhyme and everybody saying the rhyme.

1358
01:21:04,840 --> 01:21:07,559
Speaker 4: You know, up until this point it's intricate and it's

1359
01:21:07,560 --> 01:21:10,720
Speaker 4: a lot of gymnastics, and people would be staring at

1360
01:21:10,760 --> 01:21:15,719
Speaker 4: me at shows like, oh nice. I wanted to write

1361
01:21:15,800 --> 01:21:20,360
Speaker 4: something that you know, the whole crowd is like, I'm him,

1362
01:21:20,760 --> 01:21:23,439
Speaker 4: you know, I'm him when I'm saying I said, I

1363
01:21:23,439 --> 01:21:25,160
Speaker 4: could do that shit in the Marryland if I was

1364
01:21:25,200 --> 01:21:27,280
Speaker 4: doing that song. So those are the two things I

1365
01:21:27,360 --> 01:21:32,200
Speaker 4: started with. Push come to Shove, get the record done,

1366
01:21:32,920 --> 01:21:34,559
Speaker 4: and the bare bones are the record, and I take

1367
01:21:34,600 --> 01:21:37,280
Speaker 4: it to Raucus and I'm like, I think I got

1368
01:21:37,280 --> 01:21:40,599
Speaker 4: one before I made that record. Again, if we put

1369
01:21:40,640 --> 01:21:45,920
Speaker 4: it in context of what's happening in music at that time,

1370
01:21:46,040 --> 01:21:49,720
Speaker 4: at radio and labels, I'm looking at the scope of

1371
01:21:49,760 --> 01:21:52,960
Speaker 4: the shit and I'm like I think I could. I

1372
01:21:52,960 --> 01:21:55,880
Speaker 4: think I could hang out with these guys in my way.

1373
01:21:57,160 --> 01:21:59,479
Speaker 4: New York City had a place to break records, which

1374
01:21:59,600 --> 01:22:03,479
Speaker 4: was the top. Know that shit doesn't exist anymore, and

1375
01:22:03,520 --> 01:22:07,120
Speaker 4: so I'm factoring all of this in when I'm thinking

1376
01:22:07,160 --> 01:22:10,599
Speaker 4: about the song. You need to get this record broke.

1377
01:22:10,840 --> 01:22:13,200
Speaker 4: You need to move people. It needs to be hard,

1378
01:22:13,240 --> 01:22:15,280
Speaker 4: and it needs to say you know a couple of

1379
01:22:15,280 --> 01:22:19,520
Speaker 4: things on it. You know that that could change things.

1380
01:22:19,920 --> 01:22:22,519
Speaker 4: It needs to be aggressive anyway. I take the record

1381
01:22:22,560 --> 01:22:27,080
Speaker 4: in Headquarters. Piece of Headquarters was that raucous at the time.

1382
01:22:27,760 --> 01:22:30,200
Speaker 4: They just went crazy. They was like this shit is crazy.

1383
01:22:30,479 --> 01:22:31,560
Speaker 4: I remember Headquarters.

1384
01:22:31,560 --> 01:22:33,439
Speaker 5: So the record was done before you even went for

1385
01:22:33,640 --> 01:22:35,800
Speaker 5: Rocus even heard it like, this was done before you

1386
01:22:35,800 --> 01:22:36,559
Speaker 5: were signed to Raucous.

1387
01:22:37,640 --> 01:22:40,120
Speaker 4: No no, no, I was signed, and I was you know,

1388
01:22:40,160 --> 01:22:44,040
Speaker 4: I was like, I was telling them I could, I

1389
01:22:44,080 --> 01:22:48,280
Speaker 4: could make records that can go with what is happening

1390
01:22:48,360 --> 01:22:52,599
Speaker 4: on the radio right now an hour in my way,

1391
01:22:53,400 --> 01:22:56,280
Speaker 4: you know, I felt like if this is the illest

1392
01:22:56,280 --> 01:22:59,400
Speaker 4: things that's happening right now, it was like halla, halla,

1393
01:23:03,720 --> 01:23:06,519
Speaker 4: I'm like, you know what I'm saying.

1394
01:23:07,320 --> 01:23:08,200
Speaker 5: I hated that damn.

1395
01:23:08,200 --> 01:23:10,840
Speaker 1: So you know what I like it.

1396
01:23:11,400 --> 01:23:15,479
Speaker 5: I like that era, like holla, holla, can I get out?

1397
01:23:15,520 --> 01:23:17,920
Speaker 5: And all them records was kind of kind.

1398
01:23:17,760 --> 01:23:21,280
Speaker 1: Of back then, I didn't like it, but now.

1399
01:23:22,560 --> 01:23:23,759
Speaker 4: Like hardcore now.

1400
01:23:26,800 --> 01:23:28,800
Speaker 3: It because you heard it so much. You didn't like

1401
01:23:28,800 --> 01:23:30,720
Speaker 3: it because the radio player back to back to back

1402
01:23:30,760 --> 01:23:31,200
Speaker 3: to back to.

1403
01:23:31,200 --> 01:23:33,679
Speaker 4: Back that you know exactly.

1404
01:23:33,760 --> 01:23:35,120
Speaker 5: I didn't like it the first time I heard it.

1405
01:23:35,200 --> 01:23:37,320
Speaker 3: Oh damn, yeah, you so that makes sense.

1406
01:23:37,840 --> 01:23:39,599
Speaker 1: I like it for the first time.

1407
01:23:39,800 --> 01:23:40,280
Speaker 5: That was it.

1408
01:23:41,200 --> 01:23:44,920
Speaker 4: And that's another a misnomer, Like all the cats that

1409
01:23:45,040 --> 01:23:47,720
Speaker 4: Racus was, what's fucking with those dudes. It's not like

1410
01:23:47,760 --> 01:23:52,920
Speaker 4: we were like hating you know, I like you, right, uh,

1411
01:23:53,080 --> 01:23:57,559
Speaker 4: But they drew this line and you know, cats that

1412
01:23:57,640 --> 01:24:00,479
Speaker 4: I knew on that side was like, yo, you bumping

1413
01:24:00,520 --> 01:24:04,280
Speaker 4: your ship and the whip And I was with these

1414
01:24:04,360 --> 01:24:06,720
Speaker 4: dudes and they playing you and kual Lee and and

1415
01:24:06,880 --> 01:24:09,360
Speaker 4: most in the car and they doing the ship and

1416
01:24:09,360 --> 01:24:12,000
Speaker 4: they rocking with y'all ship too. Like I don't think

1417
01:24:12,040 --> 01:24:16,120
Speaker 4: it was a bigger disparity in line between the two

1418
01:24:16,160 --> 01:24:18,840
Speaker 4: genres at the time as it was made out to be.

1419
01:24:19,240 --> 01:24:22,599
Speaker 4: Of course, I was fucking Big and Jay and Javu

1420
01:24:23,080 --> 01:24:25,679
Speaker 4: and all that shit, like who who wasn't. I mean,

1421
01:24:26,280 --> 01:24:32,479
Speaker 4: I'm from South Jamaica, queens. That being said raucus, I knew,

1422
01:24:32,800 --> 01:24:34,720
Speaker 4: you know I was. I was where I wanted to

1423
01:24:34,760 --> 01:24:37,439
Speaker 4: be and where I needed to be and was working

1424
01:24:37,479 --> 01:24:40,040
Speaker 4: on this song. I brought the record and I don't

1425
01:24:40,040 --> 01:24:44,320
Speaker 4: mean to be long winded. No love the record. I

1426
01:24:44,360 --> 01:24:47,920
Speaker 4: love the They loved the record. Jared was like, I

1427
01:24:48,000 --> 01:24:51,439
Speaker 4: don't know about this titty thing. You might want to

1428
01:24:51,560 --> 01:24:57,960
Speaker 4: change the titty thing because you know the female fans.

1429
01:24:58,240 --> 01:25:00,400
Speaker 4: If you could just go back in and rew the

1430
01:25:00,439 --> 01:25:02,400
Speaker 4: titty thing, it was weird.

1431
01:25:02,680 --> 01:25:05,000
Speaker 3: Every time it came on, we was like, wait a minute,

1432
01:25:05,000 --> 01:25:05,679
Speaker 3: what am I doing?

1433
01:25:06,360 --> 01:25:08,120
Speaker 1: Yes, I was like, what y'all doing?

1434
01:25:09,160 --> 01:25:10,720
Speaker 5: I love it.

1435
01:25:12,920 --> 01:25:15,599
Speaker 4: I literally went back into the studio because I wasn't

1436
01:25:15,680 --> 01:25:17,800
Speaker 4: a jackass artist. I'm like, let me let me you

1437
01:25:17,840 --> 01:25:22,360
Speaker 4: know see if I could rework it. And I was like,

1438
01:25:22,439 --> 01:25:25,080
Speaker 4: fuck that ship, man, leave it how it is. It

1439
01:25:25,120 --> 01:25:28,760
Speaker 4: is what it is. It's an unconventional chorus because it's

1440
01:25:28,760 --> 01:25:31,559
Speaker 4: extra long and all the ship and then it gets

1441
01:25:31,560 --> 01:25:34,559
Speaker 4: into some other ship with the itty bitty ship. I'm like,

1442
01:25:34,680 --> 01:25:44,920
Speaker 4: leadership man, it's feel it feels good and we left it.

1443
01:25:45,360 --> 01:25:48,680
Speaker 4: They rocked with it, and I came to them with

1444
01:25:48,760 --> 01:25:51,839
Speaker 4: the business side, and there was notorious there, like business

1445
01:25:51,960 --> 01:25:55,240
Speaker 4: wasn't just executed on a high level. And I brought

1446
01:25:55,240 --> 01:25:57,559
Speaker 4: the samples in and whatever, and it was like, uh,

1447
01:25:57,840 --> 01:26:00,360
Speaker 4: you know, this is saying we don't really have to

1448
01:26:00,479 --> 01:26:02,800
Speaker 4: you know, cons about the boot the book, and they

1449
01:26:02,880 --> 01:26:06,559
Speaker 4: dropped the ball on the business side. It's not like

1450
01:26:06,640 --> 01:26:09,040
Speaker 4: I hit what the fuck I was doing. I was like,

1451
01:26:09,080 --> 01:26:12,280
Speaker 4: here's the CD, here's the paperwork, here's a ship, Like,

1452
01:26:12,360 --> 01:26:14,040
Speaker 4: let's cut a shit that it could pop if you

1453
01:26:14,120 --> 01:26:15,840
Speaker 4: feel in it like that, we need to do it.

1454
01:26:16,280 --> 01:26:17,840
Speaker 4: And it was kind of like.

1455
01:26:18,960 --> 01:26:21,080
Speaker 1: So you're saying that. They just thought, like we're raucous,

1456
01:26:22,080 --> 01:26:24,200
Speaker 1: you know, under the radar, it's only going to be

1457
01:26:24,240 --> 01:26:27,000
Speaker 1: in twenty thousand units. This will sell at fat beats

1458
01:26:27,040 --> 01:26:28,519
Speaker 1: and write, you know.

1459
01:26:28,880 --> 01:26:30,400
Speaker 3: And then came radio.

1460
01:26:32,760 --> 01:26:35,400
Speaker 1: Okay, well, I was gonna ask like, did you have

1461
01:26:35,439 --> 01:26:39,160
Speaker 1: relationships with Brian and Jarrett and about to say Rupert

1462
01:26:39,760 --> 01:26:43,240
Speaker 1: James Murdoch at the time, because it's only I mean,

1463
01:26:43,400 --> 01:26:48,760
Speaker 1: do you watch Succession, Uh, the HBO kind of.

1464
01:26:50,600 --> 01:26:54,439
Speaker 4: Drama about the Murdoch family need to mourn it?

1465
01:26:55,160 --> 01:26:59,639
Speaker 1: Yeah, like they they the character that's playing the James guy,

1466
01:27:00,360 --> 01:27:02,880
Speaker 1: like you know he's going through his you know, his

1467
01:27:02,960 --> 01:27:06,200
Speaker 1: post hip hop phase. But now that I've watched that.

1468
01:27:07,720 --> 01:27:10,000
Speaker 3: Wait, I'm sorry, connected dots. Wait what are you saying

1469
01:27:10,080 --> 01:27:12,240
Speaker 3: right now, a'm mirror. Are you saying that the Murdochs

1470
01:27:12,479 --> 01:27:14,599
Speaker 3: are connected to Raucus? Is that what you're saying?

1471
01:27:14,680 --> 01:27:18,040
Speaker 1: James Murdock, Oh, yeah, the youngest son of Rupert Murdoch

1472
01:27:19,120 --> 01:27:22,520
Speaker 1: is the the kind of deceived money for Raucous Records.

1473
01:27:22,920 --> 01:27:29,080
Speaker 3: Shut the fuck up, James.

1474
01:27:29,120 --> 01:27:32,640
Speaker 1: Actually, you know, James, I forgot James brought Raucous to

1475
01:27:33,280 --> 01:27:37,439
Speaker 1: Wendy Goldstein. So at one point like, yeah, that's how

1476
01:27:37,520 --> 01:27:38,880
Speaker 1: most got on the label.

1477
01:27:40,200 --> 01:27:42,320
Speaker 3: Ship, like the most conscious rappers.

1478
01:27:42,760 --> 01:27:44,400
Speaker 4: W Yeah.

1479
01:27:44,479 --> 01:27:47,320
Speaker 1: The irony of it all is that, yes, the youngest

1480
01:27:47,400 --> 01:27:52,640
Speaker 1: Murdoch song son, James Murdoch was was one of the

1481
01:27:52,680 --> 01:27:54,600
Speaker 1: heads of Raucous Records.

1482
01:27:54,680 --> 01:27:57,320
Speaker 5: And I first heard that and from an LP song.

1483
01:27:57,400 --> 01:27:59,920
Speaker 5: It was one of his records. It was an LP

1484
01:28:00,040 --> 01:28:01,840
Speaker 5: A company for I can't remember, but he had made

1485
01:28:01,880 --> 01:28:03,960
Speaker 5: a mention of and I was like, holy.

1486
01:28:03,720 --> 01:28:07,519
Speaker 1: Shit, like you wasn't on the fun Crusher plus.

1487
01:28:07,320 --> 01:28:11,840
Speaker 5: It might have been on Fun Crusher plus yeah yeah.

1488
01:28:10,680 --> 01:28:15,840
Speaker 1: Yeah, so yeah, So if you start watching the show succession,

1489
01:28:16,760 --> 01:28:19,120
Speaker 1: which is, you know, kind of mirror. It's it's like

1490
01:28:19,200 --> 01:28:23,960
Speaker 1: McDowell's and McDonald's, like we the Vernock family, but that's

1491
01:28:24,000 --> 01:28:26,080
Speaker 1: who it is. Like one of their sons was like,

1492
01:28:26,200 --> 01:28:30,320
Speaker 1: you know, I mean not wigorous, but you know he's

1493
01:28:31,360 --> 01:28:34,639
Speaker 1: oldest steeped in the no, the youngest steeping the hip

1494
01:28:34,680 --> 01:28:39,640
Speaker 1: hop whatever. So I always wondered, like what the relationship

1495
01:28:39,800 --> 01:28:43,080
Speaker 1: was between the artist and those three at the time,

1496
01:28:43,880 --> 01:28:46,479
Speaker 1: because in my head I thought they were like that

1497
01:28:46,560 --> 01:28:49,760
Speaker 1: it was strictly a backpack. I didn't realize like.

1498
01:28:49,760 --> 01:28:53,439
Speaker 4: How it was money it was. It was heavy money

1499
01:28:53,479 --> 01:28:54,280
Speaker 4: flowing through.

1500
01:28:55,720 --> 01:29:02,600
Speaker 5: Yeah, I know, not enough money to clear samples apparently.

1501
01:29:02,720 --> 01:29:07,200
Speaker 4: Exactly exactly, so have they handled her?

1502
01:29:08,120 --> 01:29:09,160
Speaker 1: Have they handled it?

1503
01:29:09,240 --> 01:29:09,479
Speaker 4: Now?

1504
01:29:09,680 --> 01:29:13,200
Speaker 1: It's like it has it been cleared or dealt with

1505
01:29:13,280 --> 01:29:16,439
Speaker 1: or the song just that does not exist anymore unless you.

1506
01:29:16,240 --> 01:29:19,960
Speaker 4: Already had it. It doesn't and it hasn't been cleared.

1507
01:29:20,040 --> 01:29:23,600
Speaker 4: And I own that album and I own that recommended

1508
01:29:23,640 --> 01:29:26,920
Speaker 4: back in my possession and thank God for that. And

1509
01:29:28,000 --> 01:29:34,959
Speaker 4: during this pandemic things, where.

1510
01:29:34,760 --> 01:29:35,479
Speaker 5: The is that?

1511
01:29:40,800 --> 01:29:45,040
Speaker 1: Are there any plans to get the first two organized

1512
01:29:45,120 --> 01:29:48,280
Speaker 1: records on streaming or you're going through a day lossul

1513
01:29:48,360 --> 01:29:49,160
Speaker 1: thing as well.

1514
01:29:48,960 --> 01:29:52,519
Speaker 4: With we're in the midst of putting those up soon.

1515
01:29:52,800 --> 01:29:55,360
Speaker 4: But I just was telling Prince, let's do the ship

1516
01:29:55,400 --> 01:29:59,080
Speaker 4: in a real ill, you know, ill way, and not

1517
01:29:59,200 --> 01:30:02,280
Speaker 4: just make it a vaila. Let's try and shoot something.

1518
01:30:02,400 --> 01:30:05,600
Speaker 4: Let's shoot something for a straight bullet, make an announcement,

1519
01:30:05,760 --> 01:30:07,880
Speaker 4: and it would be nice to be, you know, just

1520
01:30:07,920 --> 01:30:10,480
Speaker 4: to be like, Hi, I'm Prince, Pope, Hi, I'm pharaohmont

1521
01:30:10,680 --> 01:30:17,720
Speaker 4: and we are organized for the first time. Yeah, you know,

1522
01:30:17,760 --> 01:30:19,800
Speaker 4: I think that ship would be cool. So to all

1523
01:30:19,840 --> 01:30:22,760
Speaker 4: the heads out there, it's coming. We just want to

1524
01:30:22,800 --> 01:30:25,880
Speaker 4: do it and honor the catalog. It's all we have.

1525
01:30:26,720 --> 01:30:30,160
Speaker 4: You know. It may not be what us some other

1526
01:30:30,280 --> 01:30:34,479
Speaker 4: catalogs are, but it's ours and I want to honor it.

1527
01:30:35,320 --> 01:30:37,080
Speaker 5: And that money gonna come in every month.

1528
01:30:47,479 --> 01:30:53,160
Speaker 1: I was about to say, with the Desire record, what

1529
01:30:53,280 --> 01:30:59,080
Speaker 1: was the decision process too, Well, I'm saying growth. It's

1530
01:30:59,120 --> 01:31:01,400
Speaker 1: almost as if every one between two thousand and four

1531
01:31:01,439 --> 01:31:05,280
Speaker 1: and two thousand and five was expanding their their creative

1532
01:31:05,280 --> 01:31:11,120
Speaker 1: palette in terms of their presentation, So there's a lot

1533
01:31:11,240 --> 01:31:15,800
Speaker 1: more live instrumentation. Was that just based on not trying

1534
01:31:15,800 --> 01:31:17,920
Speaker 1: to mess with samples anymore? In the whole nightmare of

1535
01:31:18,000 --> 01:31:19,920
Speaker 1: that situation, like what what brought that?

1536
01:31:20,000 --> 01:31:20,800
Speaker 5: On?

1537
01:31:20,800 --> 01:31:22,639
Speaker 1: One of my favorites on that record was your terror

1538
01:31:22,680 --> 01:31:23,160
Speaker 1: Dom cover.

1539
01:31:24,240 --> 01:31:30,160
Speaker 4: Well, thank you man, probably you know, looking back emotionally

1540
01:31:30,200 --> 01:31:35,360
Speaker 4: and psychologically, but more so than that, I had went

1541
01:31:35,479 --> 01:31:39,559
Speaker 4: through so much trauma with the sample and the label

1542
01:31:39,640 --> 01:31:45,800
Speaker 4: shit and uh raucous folded and went to MCA, and

1543
01:31:45,800 --> 01:31:47,799
Speaker 4: then they went over there, and then they was at Geffen,

1544
01:31:47,880 --> 01:31:50,080
Speaker 4: and then it was this, and I was caught up

1545
01:31:50,080 --> 01:31:52,680
Speaker 4: in all that shit. And in the midst of that,

1546
01:31:53,439 --> 01:31:58,080
Speaker 4: uh there was there was some almost uh me going

1547
01:31:58,120 --> 01:32:01,920
Speaker 4: with Shady and then Sylvie and then over here, and

1548
01:32:01,960 --> 01:32:04,720
Speaker 4: then I was just all over the place. And then

1549
01:32:04,720 --> 01:32:06,800
Speaker 4: I finally was like, you know what, I'm gonna just

1550
01:32:07,439 --> 01:32:09,479
Speaker 4: try to be a free agent and get out of

1551
01:32:09,520 --> 01:32:12,519
Speaker 4: this kind of web. And I was finally able to

1552
01:32:13,000 --> 01:32:16,080
Speaker 4: walk from it all. And when I walked from it,

1553
01:32:17,560 --> 01:32:20,400
Speaker 4: I felt free again. And I was like, I don't

1554
01:32:20,439 --> 01:32:24,400
Speaker 4: even know if I want to do this shit again

1555
01:32:24,520 --> 01:32:26,639
Speaker 4: right now in the way that I'm used to doing it.

1556
01:32:27,080 --> 01:32:31,440
Speaker 4: And I had a bevy of songs that I have recorded,

1557
01:32:32,000 --> 01:32:34,360
Speaker 4: and I had love. I was on tour with most

1558
01:32:34,400 --> 01:32:37,040
Speaker 4: and Qua. We was on a Sony PlayStation tour with

1559
01:32:37,160 --> 01:32:43,080
Speaker 4: tour buses. I had landed a publishing gill and I

1560
01:32:43,200 --> 01:32:45,640
Speaker 4: was chilling and I was like, I'm not signed. I

1561
01:32:45,680 --> 01:32:48,439
Speaker 4: don't want to look for a record deal. I'm good

1562
01:32:49,479 --> 01:32:55,639
Speaker 4: and Corey Qualley's manager at the time, Blacksmith, Blacksmith was like, yo,

1563
01:32:55,680 --> 01:32:58,519
Speaker 4: what you're working on? And I put something on the

1564
01:32:58,560 --> 01:33:00,720
Speaker 4: tour bus and I played a couple of songs and

1565
01:33:00,800 --> 01:33:04,920
Speaker 4: he lost it and he just tore me apart and

1566
01:33:04,960 --> 01:33:07,879
Speaker 4: he was like, these songs are great, They're not yours.

1567
01:33:08,640 --> 01:33:11,080
Speaker 4: They're given to you from a higher place. It's wrong

1568
01:33:11,160 --> 01:33:12,559
Speaker 4: for you to hold on this stuff.

1569
01:33:13,280 --> 01:33:14,040
Speaker 7: What are you doing?

1570
01:33:14,640 --> 01:33:16,479
Speaker 4: You know it's not yours to hold onto, Like, what

1571
01:33:16,520 --> 01:33:19,439
Speaker 4: are you doing on? I don't know. You know, I'm good.

1572
01:33:19,479 --> 01:33:22,559
Speaker 4: I'm on tour with with Most and Quad, and you know,

1573
01:33:22,560 --> 01:33:24,800
Speaker 4: I'm just turned off by the record label shit. And

1574
01:33:24,840 --> 01:33:27,519
Speaker 4: he really beat me up and was like, and you

1575
01:33:27,560 --> 01:33:31,320
Speaker 4: need to give them away? And there was again putting,

1576
01:33:31,479 --> 01:33:35,640
Speaker 4: putting music in context. The industry is changing, like you

1577
01:33:35,640 --> 01:33:37,840
Speaker 4: said at the time, and I couldn't understand. As the

1578
01:33:38,000 --> 01:33:44,160
Speaker 4: nineties do the concept of give the what no record cover?

1579
01:33:44,439 --> 01:33:44,680
Speaker 1: Like what?

1580
01:33:44,960 --> 01:33:48,519
Speaker 4: Uh like? No artwork? What do you mean? Give this shit? Away,

1581
01:33:49,080 --> 01:33:51,720
Speaker 4: and he was really like, this, it's not really yours, man,

1582
01:33:51,760 --> 01:33:55,080
Speaker 4: you have fans, you need to let it go. I

1583
01:33:55,120 --> 01:33:58,920
Speaker 4: was just like, I can't get the concept. I go

1584
01:33:58,960 --> 01:34:00,960
Speaker 4: on to record more on Me music, and I do

1585
01:34:01,040 --> 01:34:04,639
Speaker 4: realize that what I'm feeling is I want to uplift,

1586
01:34:05,080 --> 01:34:12,920
Speaker 4: So I incorporate Mila Machinko and Showtime Showtime, because I'm

1587
01:34:12,960 --> 01:34:16,479
Speaker 4: hearing that these harmonies can can be uplifting in the

1588
01:34:16,560 --> 01:34:19,719
Speaker 4: song and these tones. And I knew that I wanted

1589
01:34:19,760 --> 01:34:24,320
Speaker 4: to perform and have people feel a certain way because

1590
01:34:24,360 --> 01:34:28,280
Speaker 4: I feel like I was let free from my situation.

1591
01:34:28,960 --> 01:34:31,120
Speaker 4: So I was incorporated, you know. To answer your question,

1592
01:34:31,680 --> 01:34:36,280
Speaker 4: sorry for being long winded. I was trying to incorporate

1593
01:34:36,360 --> 01:34:41,080
Speaker 4: this instrumentation that can make you feel good and get

1594
01:34:41,080 --> 01:34:47,760
Speaker 4: a goosebump, hopefully from the live performance. And that's why

1595
01:34:47,800 --> 01:34:50,000
Speaker 4: the Desire record sounds like that.

1596
01:34:50,880 --> 01:34:52,599
Speaker 5: How did you hook up? Man?

1597
01:34:52,760 --> 01:34:52,880
Speaker 4: How?

1598
01:34:53,000 --> 01:34:54,519
Speaker 5: What was How did that connection happen?

1599
01:34:55,960 --> 01:34:58,400
Speaker 4: There was there was I was moving back and forth

1600
01:34:58,520 --> 01:35:01,880
Speaker 4: between Shady and this and that, and we hooked up

1601
01:35:01,920 --> 01:35:05,040
Speaker 4: and he's responsible for a lot of that. And you know,

1602
01:35:05,080 --> 01:35:07,280
Speaker 4: I was in Detroit, man, it was one of the

1603
01:35:07,280 --> 01:35:10,760
Speaker 4: best times. You know, just being out there with with

1604
01:35:10,840 --> 01:35:13,880
Speaker 4: Black Milk and Guilty and the Non and and that

1605
01:35:14,000 --> 01:35:17,880
Speaker 4: whole crew, and uh, he sold Soulful and he bought

1606
01:35:17,920 --> 01:35:21,000
Speaker 4: a lot of that. You know. That's why I gravitated

1607
01:35:21,080 --> 01:35:25,639
Speaker 4: that way because he sings and you know, I broken heart.

1608
01:35:25,680 --> 01:35:27,639
Speaker 5: I'm still waiting for that. I need that to come

1609
01:35:27,680 --> 01:35:29,800
Speaker 5: out on something like I.

1610
01:35:29,800 --> 01:35:33,639
Speaker 4: Love that man, Thank you man. And uh, that's that's

1611
01:35:33,720 --> 01:35:36,680
Speaker 4: why I went in that direction because I'm I was like,

1612
01:35:36,760 --> 01:35:40,000
Speaker 4: I need to move people in a in a different way.

1613
01:35:40,520 --> 01:35:44,640
Speaker 4: And that being said, the record that most of the

1614
01:35:44,680 --> 01:35:48,360
Speaker 4: demo got dropped. When I was in Detroit working with

1615
01:35:48,439 --> 01:35:50,960
Speaker 4: the Nan, I was also writing for Puff.

1616
01:35:54,120 --> 01:35:58,040
Speaker 9: I wanted to ask you, So I'm feeling I'm feeling

1617
01:35:58,080 --> 01:36:00,840
Speaker 9: really good and I don't have a record deal and

1618
01:36:00,880 --> 01:36:04,479
Speaker 9: I'm just fortunate that d narm is helping me out

1619
01:36:04,560 --> 01:36:08,880
Speaker 9: and I'm working on music again, feeling really fortunate.

1620
01:36:08,560 --> 01:36:12,240
Speaker 4: And I'm I'm I'm writing and I'm doing shit, and

1621
01:36:12,280 --> 01:36:13,960
Speaker 4: I don't know where this music is going to go.

1622
01:36:14,640 --> 01:36:18,000
Speaker 4: And there was an actual created and actual bidding war

1623
01:36:18,160 --> 01:36:22,640
Speaker 4: just to push this forward. It was src Puff was

1624
01:36:22,680 --> 01:36:25,240
Speaker 4: loving what he was hearing because he would ask me

1625
01:36:25,280 --> 01:36:27,000
Speaker 4: to play shit when I was in the studio with

1626
01:36:27,120 --> 01:36:32,599
Speaker 4: him No Desire and uh the ship with Alchemists and

1627
01:36:32,640 --> 01:36:35,439
Speaker 4: the different songs that was on that album. People were

1628
01:36:35,439 --> 01:36:39,240
Speaker 4: feeling and my lawyer was like, I can't believe that

1629
01:36:39,560 --> 01:36:43,280
Speaker 4: in this context, in this timeframe, that you actually have

1630
01:36:44,640 --> 01:36:49,920
Speaker 4: three deals on the table Sony SRC and Puff was like,

1631
01:36:50,040 --> 01:36:56,040
Speaker 4: whatever they offer you double that ship, true story, and

1632
01:36:56,080 --> 01:36:57,439
Speaker 4: I was like, I don't believe you.

1633
01:36:58,600 --> 01:36:59,240
Speaker 5: I don't believe.

1634
01:36:59,680 --> 01:37:02,240
Speaker 4: I don't leaders will work there. You know, we would

1635
01:37:02,240 --> 01:37:03,920
Speaker 4: have the hearts and he would be like why, and

1636
01:37:03,960 --> 01:37:07,360
Speaker 4: I'm like, I tarrell Mont's bad Boy in the building.

1637
01:37:07,439 --> 01:37:11,439
Speaker 4: I was like, nobody's trying to wait.

1638
01:37:12,200 --> 01:37:15,640
Speaker 1: That's real, though, I gotta ask only because you know,

1639
01:37:16,840 --> 01:37:20,840
Speaker 1: there's there's a part like Past the mid Arts two

1640
01:37:20,840 --> 01:37:22,400
Speaker 1: thousand and five, two thousand and six, where you just

1641
01:37:22,400 --> 01:37:26,759
Speaker 1: stopped reading credits. So I don't know, but I always

1642
01:37:26,880 --> 01:37:31,160
Speaker 1: felt in my heart that one of them rhymes on

1643
01:37:31,280 --> 01:37:34,120
Speaker 1: Diddy's I'm So Glad You said that press play album.

1644
01:37:34,560 --> 01:37:34,760
Speaker 4: Yeah.

1645
01:37:34,760 --> 01:37:37,640
Speaker 1: I didn't want you want to insult you. I was like, wait, it.

1646
01:37:37,720 --> 01:37:43,639
Speaker 5: Was a future right, it was, yeah, wait to see.

1647
01:37:43,520 --> 01:37:46,360
Speaker 1: Because I always thought that you wrote uh everything I

1648
01:37:46,439 --> 01:37:50,439
Speaker 1: love the one that Kanye did because the way he's

1649
01:37:50,520 --> 01:37:52,200
Speaker 1: riding on about someone's going.

1650
01:37:52,640 --> 01:37:59,200
Speaker 10: I was like this, he's penny like coome bar this,

1651
01:38:00,080 --> 01:38:02,679
Speaker 10: And I always wanted to know, did you go write

1652
01:38:02,680 --> 01:38:03,160
Speaker 10: that joint?

1653
01:38:03,200 --> 01:38:04,160
Speaker 1: Okay?

1654
01:38:04,400 --> 01:38:08,559
Speaker 5: He I sat it was the press Play album, right.

1655
01:38:10,560 --> 01:38:13,599
Speaker 4: Yeah, press Play sat with him, had a meet with him.

1656
01:38:13,760 --> 01:38:16,960
Speaker 4: He was like, I'm working on an album. I got

1657
01:38:16,960 --> 01:38:19,479
Speaker 4: to meet with him because I had did this publishing

1658
01:38:19,520 --> 01:38:22,920
Speaker 4: deal and the writers there and y'all know how that go.

1659
01:38:23,160 --> 01:38:26,400
Speaker 4: And my only thing was when when I sat with him,

1660
01:38:26,439 --> 01:38:28,519
Speaker 4: I'm like, I'm good. I just want to be credited,

1661
01:38:28,560 --> 01:38:31,240
Speaker 4: which is why I don't have any problem saying what

1662
01:38:31,320 --> 01:38:33,479
Speaker 4: I'm saying because I'm credited as a writer on the song,

1663
01:38:33,560 --> 01:38:39,200
Speaker 4: so it's not like speaquiet right, Okay. And then you know,

1664
01:38:39,360 --> 01:38:42,320
Speaker 4: I just again, I just I just learned so much

1665
01:38:42,360 --> 01:38:46,920
Speaker 4: from him. You know, I thought he credited me so

1666
01:38:47,040 --> 01:38:50,519
Speaker 4: much on my work ethic, but he's really an animal

1667
01:38:51,840 --> 01:38:56,960
Speaker 4: at that ship too, And I watched him and and

1668
01:38:57,080 --> 01:39:00,599
Speaker 4: learned about applying, re applying myself and a different way

1669
01:39:00,600 --> 01:39:03,040
Speaker 4: when it comes to my own shit. Because I'm like,

1670
01:39:03,120 --> 01:39:04,920
Speaker 4: no way, I'm gonna work this hard on his ship

1671
01:39:05,000 --> 01:39:07,960
Speaker 4: and not work that hard on my ship, and just

1672
01:39:08,040 --> 01:39:10,120
Speaker 4: learn so much from him in that sense of how

1673
01:39:10,120 --> 01:39:14,320
Speaker 4: he pushes really good at figuring out how to push

1674
01:39:14,320 --> 01:39:17,000
Speaker 4: your writer or to push your artists. I love that

1675
01:39:17,080 --> 01:39:17,519
Speaker 4: dude for that.

1676
01:39:18,040 --> 01:39:20,280
Speaker 1: So yeah, I want to know what that process is

1677
01:39:20,439 --> 01:39:23,040
Speaker 1: like when you're is it like does he just take

1678
01:39:23,080 --> 01:39:25,280
Speaker 1: what you give him? Do you have to be there

1679
01:39:25,479 --> 01:39:28,519
Speaker 1: to coach him? Like say it like this, like how

1680
01:39:28,600 --> 01:39:32,639
Speaker 1: how much work does he put into the preparation? Because

1681
01:39:32,680 --> 01:39:35,559
Speaker 1: I mean, he pulled it off to the point where

1682
01:39:35,720 --> 01:39:38,000
Speaker 1: I was like, Wow, he's he really got good at rapping.

1683
01:39:38,000 --> 01:39:39,240
Speaker 1: And then I was like, wait a minute, this guy

1684
01:39:39,400 --> 01:39:41,519
Speaker 1: somebody for him. And then when I.

1685
01:39:41,439 --> 01:39:43,880
Speaker 5: Heard I write rhymes, I write checks.

1686
01:39:43,720 --> 01:39:45,720
Speaker 1: Right, And then when I heard the rhyme scheme, I

1687
01:39:45,760 --> 01:39:48,479
Speaker 1: was like, Yo, this feels like farah some pharaoh would say.

1688
01:39:48,479 --> 01:39:53,000
Speaker 1: And I was like, there's no way that he reached

1689
01:39:53,040 --> 01:39:57,040
Speaker 1: that deep into the to the wrapper bag. Yeah, to

1690
01:39:57,080 --> 01:40:01,000
Speaker 1: go to go that level, but now realize and he

1691
01:40:01,080 --> 01:40:03,040
Speaker 1: goes in cycles where he's like, Okay, I got to

1692
01:40:03,040 --> 01:40:05,120
Speaker 1: take it back to the beginning. Like even right now

1693
01:40:05,120 --> 01:40:08,800
Speaker 1: as we speak, he I hope I'm not letting this

1694
01:40:08,840 --> 01:40:12,320
Speaker 1: cat out the bag like he's trying to make He's

1695
01:40:12,400 --> 01:40:15,720
Speaker 1: he's now making like Camp Diddy where it's like he

1696
01:40:15,800 --> 01:40:21,200
Speaker 1: has two underground cats, Like he's trying to go back

1697
01:40:21,240 --> 01:40:23,320
Speaker 1: there again. You know what I'm saying, He doesn't.

1698
01:40:23,840 --> 01:40:27,400
Speaker 4: You got to realize who he discovered. Yeah, at the

1699
01:40:27,439 --> 01:40:28,960
Speaker 4: end of the day, you got to realize who has

1700
01:40:29,000 --> 01:40:32,120
Speaker 4: written you know, you know we could, we could, you know.

1701
01:40:32,200 --> 01:40:35,000
Speaker 4: Even having conversations with him off the rip, he was like,

1702
01:40:35,080 --> 01:40:36,840
Speaker 4: I know what niggas say about me. I'm like, what

1703
01:40:36,840 --> 01:40:39,040
Speaker 4: do they say? He said they'd be in the barber

1704
01:40:39,080 --> 01:40:41,280
Speaker 4: shops and they be like, I funk with his junes

1705
01:40:41,479 --> 01:40:42,799
Speaker 4: and I don't funk with his music.

1706
01:40:46,200 --> 01:40:54,880
Speaker 1: With his music, I can say that I was. I

1707
01:40:54,920 --> 01:40:57,640
Speaker 1: was once a short John model.

1708
01:41:01,160 --> 01:41:02,400
Speaker 3: Question because I.

1709
01:41:02,360 --> 01:41:04,200
Speaker 6: Do want to know the answer to the question of

1710
01:41:04,240 --> 01:41:06,200
Speaker 6: the process that you asked me about, Like what is

1711
01:41:06,240 --> 01:41:08,479
Speaker 6: that process like? And were you in the studio and

1712
01:41:08,600 --> 01:41:12,040
Speaker 6: there for like all the infections and what again?

1713
01:41:12,200 --> 01:41:14,840
Speaker 4: In those heart the hearts? He was like, Yo, if

1714
01:41:14,840 --> 01:41:19,559
Speaker 4: you have an issue, tell me to my face, be

1715
01:41:19,680 --> 01:41:21,840
Speaker 4: honest with me. And that's why I took the job.

1716
01:41:21,880 --> 01:41:24,320
Speaker 4: There's been a lot of ships that a lot of

1717
01:41:24,400 --> 01:41:26,080
Speaker 4: things that I was offered in my career, which is

1718
01:41:26,080 --> 01:41:28,879
Speaker 4: where I'm in the position. I'm not in the higher

1719
01:41:29,200 --> 01:41:31,240
Speaker 4: position that I could be that. I was like, ah,

1720
01:41:31,439 --> 01:41:33,360
Speaker 4: it's just not in my heart to do it. But

1721
01:41:33,439 --> 01:41:36,559
Speaker 4: when he told me that, I was like, all right, nigga,

1722
01:41:37,720 --> 01:41:39,680
Speaker 4: if you're going to be that raw and you're going

1723
01:41:39,760 --> 01:41:43,240
Speaker 4: to be that honest, then then let's do it. And

1724
01:41:43,320 --> 01:41:46,719
Speaker 4: he played me the beats and it was like has

1725
01:41:46,800 --> 01:41:50,559
Speaker 4: it the lawn? I'm like, oh shit, I was like,

1726
01:41:50,640 --> 01:41:52,559
Speaker 4: this is what the A list beats sound like.

1727
01:41:52,680 --> 01:42:03,599
Speaker 7: I was like, oh my god, this music is good.

1728
01:42:04,680 --> 01:42:08,679
Speaker 4: Let's do it. So he flies me down the Miami

1729
01:42:09,320 --> 01:42:11,000
Speaker 4: and I'm writing and I'm writing and I'm writing and

1730
01:42:11,320 --> 01:42:14,360
Speaker 4: we're nailing the ship and the engineers are in there

1731
01:42:14,360 --> 01:42:16,200
Speaker 4: and they're like, this is crazy. This is crazy. This

1732
01:42:16,240 --> 01:42:20,240
Speaker 4: is crazy. He's going to love this. And he he

1733
01:42:20,240 --> 01:42:23,599
Speaker 4: would come in in the eleventh hour and be like,

1734
01:42:23,880 --> 01:42:28,160
Speaker 4: A maybe the last four bars, you know, going into

1735
01:42:28,200 --> 01:42:30,960
Speaker 4: the thing could be could be a rewrite. And we

1736
01:42:31,120 --> 01:42:34,720
Speaker 4: you know, we work hard on stuff. So I got

1737
01:42:34,760 --> 01:42:39,360
Speaker 4: it done. You know, there was some some great stories

1738
01:42:39,400 --> 01:42:40,320
Speaker 4: down there in my own me.

1739
01:42:46,800 --> 01:42:48,240
Speaker 1: What was it like recording down there?

1740
01:42:50,640 --> 01:42:54,840
Speaker 4: Not going there. I was working on my album with

1741
01:42:54,920 --> 01:42:57,000
Speaker 4: the Nawn at the same time, and I really was

1742
01:42:57,080 --> 01:42:59,519
Speaker 4: like I want to finish this so I could go

1743
01:42:59,560 --> 01:43:03,160
Speaker 4: back to d Troit and finish my shit. And he

1744
01:43:03,320 --> 01:43:05,920
Speaker 4: was like, Yo, your shit is amazing as well. You

1745
01:43:06,040 --> 01:43:08,479
Speaker 4: might want to think this out. Boom boom boom. I

1746
01:43:08,520 --> 01:43:12,479
Speaker 4: finished my writing. I flew to Detroit and we're working

1747
01:43:12,520 --> 01:43:15,720
Speaker 4: on my stuff. And I'm in the studio with the

1748
01:43:15,920 --> 01:43:20,920
Speaker 4: non maybe Milk may be guilty with chilling and with writing,

1749
01:43:21,479 --> 01:43:24,960
Speaker 4: and I'm having some whiskey and I get a call

1750
01:43:25,479 --> 01:43:30,400
Speaker 4: from Sean C and he says, my brother, I think

1751
01:43:30,439 --> 01:43:33,120
Speaker 4: Puffy's gonna use one of your joints as the first single,

1752
01:43:34,280 --> 01:43:36,519
Speaker 4: first release kind of. And I'm like, you gotta be

1753
01:43:36,560 --> 01:43:39,320
Speaker 4: fucking shitting me, and he's like, you got to hear it.

1754
01:43:39,880 --> 01:43:43,160
Speaker 4: And I was like, send it to me. And they

1755
01:43:43,200 --> 01:43:47,240
Speaker 4: send me the song and the nan has this elaborate studio.

1756
01:43:47,400 --> 01:43:48,160
Speaker 5: He puts it.

1757
01:43:48,080 --> 01:43:51,360
Speaker 4: In, puts it on, puts it on the big speakers

1758
01:43:51,360 --> 01:43:56,240
Speaker 4: in press play, and all you could hear is laughter.

1759
01:43:57,040 --> 01:43:59,680
Speaker 4: Everybody in the studio is laughing at the top of

1760
01:43:59,720 --> 01:44:04,679
Speaker 4: the ark and lungs because it sounds like Pharaoh manch

1761
01:44:05,400 --> 01:44:11,640
Speaker 4: coming out of Puffy's mouth. Yes, yeah, And I'm like,

1762
01:44:12,560 --> 01:44:18,320
Speaker 4: you know, I actually did it, you know, with I

1763
01:44:18,360 --> 01:44:20,880
Speaker 4: did it with a New York swagger on the demos

1764
01:44:20,920 --> 01:44:23,720
Speaker 4: and it's kind of laid back and it, you know,

1765
01:44:24,280 --> 01:44:26,680
Speaker 4: kind of has like a lot of flavor that I

1766
01:44:26,720 --> 01:44:31,040
Speaker 4: don't even you know, project back then. That's not where

1767
01:44:31,080 --> 01:44:33,479
Speaker 4: I was with it. And it was so ill. So

1768
01:44:33,520 --> 01:44:36,880
Speaker 4: he said, if you have an issue, you can call me.

1769
01:44:37,280 --> 01:44:38,760
Speaker 4: So I was like, I gotta get him on the phone.

1770
01:44:38,800 --> 01:44:40,439
Speaker 4: I want to fly back. I want to re record

1771
01:44:40,439 --> 01:44:42,280
Speaker 4: these vocals. I want to fly back to New York

1772
01:44:42,640 --> 01:44:44,920
Speaker 4: and I want to go in with him and re

1773
01:44:44,920 --> 01:44:48,400
Speaker 4: record these vocals. And I was like, I gotta get

1774
01:44:48,439 --> 01:44:50,760
Speaker 4: him on the phone. And they just steady laughing. It's

1775
01:44:50,800 --> 01:44:53,960
Speaker 4: just laughing in the background, and I'm calling and I'm like, hello,

1776
01:44:54,000 --> 01:44:55,599
Speaker 4: it is Pharaoh. Can I speak to Puff? And it's

1777
01:44:55,680 --> 01:44:58,360
Speaker 4: like Pharaoh, who what? What? Like Fara, can I speak?

1778
01:44:58,400 --> 01:45:04,519
Speaker 4: Hold on? Who what? Pharaoh? Okay, hold on. Finally get

1779
01:45:04,560 --> 01:45:06,960
Speaker 4: through to him and I'm like, just listen to the record.

1780
01:45:08,240 --> 01:45:15,520
Speaker 4: I think we could re record these vocals more laid

1781
01:45:16,280 --> 01:45:19,400
Speaker 4: and relaxed. And he was like, fuck you man, I

1782
01:45:19,439 --> 01:45:20,880
Speaker 4: love this ship. I'm not changing it.

1783
01:45:25,439 --> 01:45:26,920
Speaker 1: Yeah, so much talk.

1784
01:45:30,800 --> 01:45:35,400
Speaker 5: Wow, wow, man, what what do you think made you

1785
01:45:35,400 --> 01:45:38,639
Speaker 5: go with? You know, go with s RC rather than

1786
01:45:38,680 --> 01:45:42,320
Speaker 5: going with bad Boy or going with like Sony. You

1787
01:45:42,360 --> 01:45:45,520
Speaker 5: know you said some what what how did you choose them?

1788
01:45:45,880 --> 01:45:47,960
Speaker 4: I mean, I know what that record was sounded like

1789
01:45:48,040 --> 01:45:51,160
Speaker 4: it was a non and I'm like, I don't you

1790
01:45:51,200 --> 01:45:53,320
Speaker 4: know you I would be like explaining to me how this,

1791
01:45:54,120 --> 01:45:56,120
Speaker 4: how this would work, and you know, it's like I

1792
01:45:56,160 --> 01:45:58,439
Speaker 4: could walk you on the MTV, I could do this today,

1793
01:45:59,760 --> 01:46:01,800
Speaker 4: and this was like, I just don't think if it's

1794
01:46:01,880 --> 01:46:06,120
Speaker 4: the aesthetic unless something else is kind of created. And

1795
01:46:06,760 --> 01:46:08,760
Speaker 4: I love that dude, and I would have loved to

1796
01:46:09,080 --> 01:46:12,880
Speaker 4: have worked with him under his tutelage and got all

1797
01:46:12,920 --> 01:46:14,920
Speaker 4: that extra kind of love, but I just didn't think

1798
01:46:14,960 --> 01:46:15,920
Speaker 4: it fit. There.

1799
01:46:16,760 --> 01:46:19,439
Speaker 3: Was that your last experience in the writing? Because did

1800
01:46:19,520 --> 01:46:21,360
Speaker 3: you write some more for other folks?

1801
01:46:21,880 --> 01:46:26,520
Speaker 4: I quit after that. It's such it's so taxing. You

1802
01:46:26,560 --> 01:46:30,160
Speaker 4: give all of your heart to his soul and it

1803
01:46:30,360 --> 01:46:33,800
Speaker 4: just this is kind of draining in a way.

1804
01:46:35,439 --> 01:46:38,879
Speaker 1: If I say, who did you say no to? If

1805
01:46:38,920 --> 01:46:42,599
Speaker 1: I'm allowed to ask, did he can't be the only

1806
01:46:42,640 --> 01:46:44,080
Speaker 1: person that asks you to hook up his pen?

1807
01:46:46,280 --> 01:46:46,759
Speaker 4: I can't.

1808
01:46:46,880 --> 01:46:47,680
Speaker 7: I can't.

1809
01:46:49,040 --> 01:46:54,559
Speaker 1: Wait a minute, wait, wait, wait, just yes or no?

1810
01:46:55,439 --> 01:47:00,280
Speaker 1: Are these like rappers? That we would respect that we

1811
01:47:00,439 --> 01:47:04,680
Speaker 1: be shocked at or is it like a less celebrities

1812
01:47:04,720 --> 01:47:07,680
Speaker 1: that want to rap based on that. I already know

1813
01:47:07,720 --> 01:47:13,240
Speaker 1: the answer, never mind, and I'm born I think I

1814
01:47:13,360 --> 01:47:14,200
Speaker 1: knew the answers.

1815
01:47:14,360 --> 01:47:23,040
Speaker 5: But anyway, uh wow wow. So like once you talk

1816
01:47:23,560 --> 01:47:26,760
Speaker 5: talk to me about like after you left, you know,

1817
01:47:26,840 --> 01:47:30,160
Speaker 5: after Desire and then the years I think, like the

1818
01:47:30,200 --> 01:47:33,040
Speaker 5: four years uh three four years when you came with

1819
01:47:33,200 --> 01:47:36,720
Speaker 5: the War LP. How is it like to get your

1820
01:47:36,760 --> 01:47:39,559
Speaker 5: mind frame of being ready to be an independent artist

1821
01:47:39,600 --> 01:47:42,360
Speaker 5: and like really like doing it yourself in a way

1822
01:47:42,400 --> 01:47:45,360
Speaker 5: that you had never had prior to any point in

1823
01:47:45,360 --> 01:47:45,759
Speaker 5: your career.

1824
01:47:46,640 --> 01:47:51,720
Speaker 4: After the Desire album, Steve and we went back and

1825
01:47:51,800 --> 01:47:58,840
Speaker 4: Steve loved a record, yeah, telling me him and his

1826
01:47:58,880 --> 01:48:01,439
Speaker 4: wife at the time, and was it was something that

1827
01:48:01,479 --> 01:48:05,840
Speaker 4: they played and they they had sex to and it

1828
01:48:06,000 --> 01:48:09,040
Speaker 4: was really on some real ship. Like he was like,

1829
01:48:09,600 --> 01:48:16,080
Speaker 4: really record and he was very disappointed I think.

1830
01:48:17,880 --> 01:48:28,519
Speaker 1: When he had the War record, No, no Desire to

1831
01:48:28,560 --> 01:48:35,639
Speaker 1: the War record, that's an ex videos channel okay, my bad,

1832
01:48:35,880 --> 01:48:36,559
Speaker 1: my bad.

1833
01:48:37,680 --> 01:48:45,360
Speaker 4: Me and immortal Technique and and so he uh, he

1834
01:48:45,600 --> 01:48:50,120
Speaker 4: was like I loved this record and and I was

1835
01:48:50,240 --> 01:48:54,960
Speaker 4: in the system in which I believe that that in

1836
01:48:54,960 --> 01:48:58,840
Speaker 4: that two week frame, little Wayne dropped the Lollipop record

1837
01:49:00,080 --> 01:49:04,840
Speaker 4: and that shit shut it shut everything down. I think

1838
01:49:04,880 --> 01:49:09,040
Speaker 4: it like killed Erica had America, I think at the time,

1839
01:49:09,120 --> 01:49:11,880
Speaker 4: and from what I could see from my optics, it

1840
01:49:12,000 --> 01:49:15,200
Speaker 4: just soaked up all of the moneys from everywhere and

1841
01:49:15,200 --> 01:49:18,280
Speaker 4: they put all their money on on that shit, and

1842
01:49:18,320 --> 01:49:22,000
Speaker 4: we kind of got yeah. But that being said, I

1843
01:49:22,040 --> 01:49:24,280
Speaker 4: tore it off that record. I did Rock the Bells

1844
01:49:24,360 --> 01:49:28,479
Speaker 4: off that record, and it was very well received, and

1845
01:49:28,520 --> 01:49:31,559
Speaker 4: I saw a different level of fan coming in. I

1846
01:49:31,640 --> 01:49:35,360
Speaker 4: remember being on Rock the Bells Overseas with nas and

1847
01:49:35,479 --> 01:49:38,400
Speaker 4: Daylight and the Elevator, and I was talking to Nads

1848
01:49:38,439 --> 01:49:40,640
Speaker 4: and I said, yo, you know, I put this out,

1849
01:49:40,880 --> 01:49:43,519
Speaker 4: and you know, head seemed a little disappointed that I had,

1850
01:49:43,600 --> 01:49:47,439
Speaker 4: you know, the singing and this, and nas imposters like,

1851
01:49:47,479 --> 01:49:51,320
Speaker 4: don't worry. These things are like children. They grow, they mature.

1852
01:49:52,800 --> 01:49:55,160
Speaker 4: Talk to me three years from now and see what

1853
01:49:55,200 --> 01:50:00,240
Speaker 4: it's like. So when I ask people desires is it

1854
01:50:00,320 --> 01:50:03,240
Speaker 4: was up there and and my my solo ship that

1855
01:50:03,240 --> 01:50:06,479
Speaker 4: that people vibe was still brought in new fans, and

1856
01:50:06,600 --> 01:50:11,160
Speaker 4: I was starting to learn that that's okay. As I'm

1857
01:50:11,200 --> 01:50:13,800
Speaker 4: moving forward, so I go back to Steve and then

1858
01:50:13,880 --> 01:50:17,120
Speaker 4: that moment when we're going into the new record, I

1859
01:50:17,160 --> 01:50:21,200
Speaker 4: was like, Yo, I got these samples and ship and

1860
01:50:21,240 --> 01:50:23,280
Speaker 4: I want to do some rock shit and I want

1861
01:50:23,320 --> 01:50:25,240
Speaker 4: to do some of this ship and that shit was

1862
01:50:25,320 --> 01:50:27,920
Speaker 4: like nah. And then I was like I want to

1863
01:50:28,000 --> 01:50:29,439
Speaker 4: leave them and I want to be on the label,

1864
01:50:30,000 --> 01:50:33,400
Speaker 4: and they let me go because we're all mature and

1865
01:50:33,520 --> 01:50:37,720
Speaker 4: whatever and whatever. And Guy Route, my manager at the time,

1866
01:50:37,920 --> 01:50:41,360
Speaker 4: was like, you know, I think this major label shit

1867
01:50:41,439 --> 01:50:44,519
Speaker 4: went over people's heads. You know, you're telling me. People

1868
01:50:44,520 --> 01:50:46,719
Speaker 4: see you in the mall and they're like, you still rapping,

1869
01:50:46,720 --> 01:50:50,720
Speaker 4: and I'm like, I'm want to major right. You know.

1870
01:50:50,840 --> 01:50:55,040
Speaker 4: It was something they connected and the labels is changing

1871
01:50:55,080 --> 01:50:59,320
Speaker 4: and it's going digital and they're missing it. We decided

1872
01:50:59,360 --> 01:51:02,560
Speaker 4: to go into pen It learned under the Tulge tutelage

1873
01:51:02,600 --> 01:51:07,040
Speaker 4: of duck Down and get the game from somebody who's

1874
01:51:07,080 --> 01:51:10,120
Speaker 4: been doing it for twenty five years, you know, and

1875
01:51:10,120 --> 01:51:13,280
Speaker 4: not just jumping to the game. And we talked to

1876
01:51:13,320 --> 01:51:16,040
Speaker 4: them and we went there and we did the The

1877
01:51:16,160 --> 01:51:21,839
Speaker 4: War record, which again for me, you know, from my lens,

1878
01:51:22,120 --> 01:51:25,600
Speaker 4: did better than the Desire Record because we had a

1879
01:51:25,640 --> 01:51:28,679
Speaker 4: record on there. I had a record on there called

1880
01:51:28,760 --> 01:51:35,480
Speaker 4: Still Standing with Jill Scotty that performed extremely well overseas

1881
01:51:35,520 --> 01:51:38,400
Speaker 4: and kept me out on the road, which is obviously

1882
01:51:38,840 --> 01:51:41,240
Speaker 4: the only way I was making money at the time,

1883
01:51:41,840 --> 01:51:44,280
Speaker 4: the only way I could earn so I was enjoying

1884
01:51:44,360 --> 01:51:45,200
Speaker 4: staying on the road.

1885
01:51:46,880 --> 01:51:49,960
Speaker 5: Yeah, and we did Black Kancide. We shot the Black

1886
01:51:50,000 --> 01:51:54,800
Speaker 5: Kancide video with that was man. That was you. The

1887
01:51:54,840 --> 01:51:58,480
Speaker 5: one you introduced me to Terrence Dance, who is the

1888
01:51:58,520 --> 01:52:04,639
Speaker 5: director of uh Random Acts of Flyness on HBO, and

1889
01:52:04,680 --> 01:52:07,280
Speaker 5: he's also and he's one of one of his homies

1890
01:52:07,320 --> 01:52:10,040
Speaker 5: is also. I don't think he was on set that day,

1891
01:52:10,200 --> 01:52:13,400
Speaker 5: but his man Shaka King, I don't know, you know

1892
01:52:13,560 --> 01:52:16,640
Speaker 5: Shaka Yeah, yeah, you know who's thebody who did the

1893
01:52:17,400 --> 01:52:20,679
Speaker 5: upcoming Fred Hampton joint. But but nah, man, I really

1894
01:52:20,840 --> 01:52:23,120
Speaker 5: the videos that y'all did for that record. I just

1895
01:52:23,160 --> 01:52:25,840
Speaker 5: I remember just telling guy, you know, because we shot

1896
01:52:25,880 --> 01:52:28,240
Speaker 5: our video the Black Hand Side joint with styles P.

1897
01:52:28,800 --> 01:52:32,800
Speaker 5: But before that, Yard shot Clap and I was like, Yo,

1898
01:52:32,920 --> 01:52:36,280
Speaker 5: these ships is like movies, dude, And you know, it

1899
01:52:36,400 --> 01:52:39,280
Speaker 5: always just made me think of you and just wonder

1900
01:52:39,320 --> 01:52:41,840
Speaker 5: if you ever had any aspirations of going into screenwriting

1901
01:52:41,920 --> 01:52:44,640
Speaker 5: because perfect fit of the ship man.

1902
01:52:44,720 --> 01:52:47,360
Speaker 4: Yeah, I wrote all of those. I wrote the concept

1903
01:52:47,400 --> 01:52:50,679
Speaker 4: for black Hand Side with the through the different lens

1904
01:52:50,720 --> 01:52:54,479
Speaker 4: of the shades. I wrote the concept for Clap and

1905
01:52:54,560 --> 01:52:58,519
Speaker 4: Still Standing. And obviously I was lucky enough to hook

1906
01:52:58,600 --> 01:53:03,679
Speaker 4: up with tern Nance, who's uh fucking that is going

1907
01:53:03,720 --> 01:53:08,760
Speaker 4: to do incredible, insane, major major things. But I was

1908
01:53:08,880 --> 01:53:13,240
Speaker 4: lucky to fall into that that laying with him and

1909
01:53:13,320 --> 01:53:17,880
Speaker 4: his cinematographer Sean and get those visuals done, which really

1910
01:53:17,920 --> 01:53:19,880
Speaker 4: really helped the record a lot.

1911
01:53:21,200 --> 01:53:26,880
Speaker 1: Pharaoh. All right, so we we got here finally in

1912
01:53:26,920 --> 01:53:34,120
Speaker 1: three hours, explain to me the concept behind the thirteen project.

1913
01:53:34,560 --> 01:53:36,280
Speaker 5: Damn, you're gonna steal my one question?

1914
01:53:36,360 --> 01:53:39,280
Speaker 1: All right, good Steve asked your question.

1915
01:53:39,520 --> 01:53:45,240
Speaker 2: I mean, I love Daru Jones and Marcus Machado, and

1916
01:53:45,320 --> 01:53:48,160
Speaker 2: yet if you could just tell us about the trio,

1917
01:53:48,600 --> 01:53:53,760
Speaker 2: but specifically why you chose a drummer or drums and

1918
01:53:53,800 --> 01:53:58,280
Speaker 2: guitar as as the other two parts.

1919
01:53:57,080 --> 01:53:57,320
Speaker 5: As you.

1920
01:53:59,840 --> 01:54:03,320
Speaker 4: Know, of course, you know the rock thing has been

1921
01:54:03,920 --> 01:54:09,080
Speaker 4: sprinkled throughout. You know, I had some some ill samples

1922
01:54:09,120 --> 01:54:11,439
Speaker 4: that that didn't make the record of stuff that I

1923
01:54:11,479 --> 01:54:15,559
Speaker 4: was rocking over, and I realized if if I wanted

1924
01:54:15,600 --> 01:54:19,120
Speaker 4: people to take me a little bit more serious than

1925
01:54:19,120 --> 01:54:23,640
Speaker 4: me even saying that word that I needed to incorporate musicians.

1926
01:54:24,160 --> 01:54:26,599
Speaker 4: I liken it to somebody from the rock side saying

1927
01:54:26,640 --> 01:54:30,559
Speaker 4: he's gonna do an authentic hip hop record, and how

1928
01:54:31,080 --> 01:54:33,480
Speaker 4: everybody on this side would be like, yeah, the fuck

1929
01:54:33,560 --> 01:54:39,120
Speaker 4: out of here, and so, you know, I wanted I

1930
01:54:39,120 --> 01:54:42,200
Speaker 4: wanted to at least get a look on that side.

1931
01:54:43,880 --> 01:54:46,200
Speaker 4: I'm a fan of the genre and I respect the genre,

1932
01:54:46,920 --> 01:54:50,200
Speaker 4: and I know people have tried to have done these

1933
01:54:50,240 --> 01:54:54,840
Speaker 4: type of matchups before, so uh, I wanted someone who

1934
01:54:54,880 --> 01:54:59,440
Speaker 4: had who could who could do the late Diller ship

1935
01:54:59,720 --> 01:55:03,080
Speaker 4: as well as had rock chops because a lot of

1936
01:55:03,080 --> 01:55:07,040
Speaker 4: the stuff was straight ahead, and I knew it should

1937
01:55:07,040 --> 01:55:10,000
Speaker 4: be more straight ahead than more laid back in the pocket,

1938
01:55:10,160 --> 01:55:14,160
Speaker 4: you know, thinking about what I wanted, and I wanted to,

1939
01:55:14,440 --> 01:55:17,720
Speaker 4: you know, get somebody who who can understand that. And

1940
01:55:17,920 --> 01:55:20,880
Speaker 4: you know, I know how busy darru is, but I

1941
01:55:20,880 --> 01:55:23,600
Speaker 4: was like, fuck it, yo, I'm doing this project and

1942
01:55:24,120 --> 01:55:26,720
Speaker 4: I need a bit of commitment, and I know cats

1943
01:55:26,760 --> 01:55:30,240
Speaker 4: are always gigging, but he was like, I'm down, and

1944
01:55:30,600 --> 01:55:32,560
Speaker 4: that was like, you know, one of the main things

1945
01:55:32,600 --> 01:55:35,600
Speaker 4: because I needed to do. Obviously a couple of straight

1946
01:55:35,640 --> 01:55:40,280
Speaker 4: live records to make it make sense, but more importantly,

1947
01:55:40,320 --> 01:55:44,680
Speaker 4: I wanted it to keep the temperament and not lose

1948
01:55:46,680 --> 01:55:49,400
Speaker 4: hip hop because that's the core of the shit still.

1949
01:55:49,880 --> 01:55:54,240
Speaker 4: It's the reason why I liked the genre. You know,

1950
01:55:54,680 --> 01:55:59,680
Speaker 4: to begin with, you're talking rush. It's savage as Zeppelin,

1951
01:56:00,360 --> 01:56:04,040
Speaker 4: you know, that's all shit I would rhyme over. You know.

1952
01:56:04,080 --> 01:56:07,040
Speaker 4: I heard Tom Sawyer and I'm like, I don't know

1953
01:56:07,080 --> 01:56:10,200
Speaker 4: any MC who wouldn't want to rhyme over that. So

1954
01:56:10,280 --> 01:56:14,080
Speaker 4: to me, I'm like, that's that's hip hop to me.

1955
01:56:14,160 --> 01:56:18,360
Speaker 4: And it's always been the genre's kind of blending to

1956
01:56:18,520 --> 01:56:23,280
Speaker 4: each other for me. So I knew that was very

1957
01:56:23,320 --> 01:56:28,840
Speaker 4: important to bring in the knots so that the shit

1958
01:56:29,000 --> 01:56:33,840
Speaker 4: is official in terms of that pocket, but then able

1959
01:56:33,920 --> 01:56:39,320
Speaker 4: to expand outside of what you would get and an

1960
01:56:39,360 --> 01:56:41,880
Speaker 4: intro and outro of a record, so we could stretch

1961
01:56:41,880 --> 01:56:44,800
Speaker 4: a little bit. So that's what that's all about. On

1962
01:56:44,880 --> 01:56:46,080
Speaker 4: the musical side.

1963
01:56:46,720 --> 01:56:50,000
Speaker 5: What is the what is your almost this fault called

1964
01:56:50,000 --> 01:56:53,400
Speaker 5: it obsession with the number thirteen because you're publishing this

1965
01:56:53,440 --> 01:56:56,480
Speaker 5: stress condecta for over you, which is the fear of

1966
01:56:56,480 --> 01:56:59,280
Speaker 5: the number thirteen. Great. Is that right? So that, yeah,

1967
01:56:59,320 --> 01:57:02,320
Speaker 5: what's that? That's that recurring kind of theme in your career.

1968
01:57:03,960 --> 01:57:08,440
Speaker 4: So with the asthma shit, when I got it when

1969
01:57:08,440 --> 01:57:14,400
Speaker 4: I was little, I contracted it at thirteen months of age,

1970
01:57:14,640 --> 01:57:16,400
Speaker 4: and that's what I would hear all the time. People

1971
01:57:16,400 --> 01:57:18,080
Speaker 4: would be like, how long has it been since he

1972
01:57:18,120 --> 01:57:20,000
Speaker 4: had asthma? And my mom would be like, since he

1973
01:57:20,080 --> 01:57:24,520
Speaker 4: was thirteen months old? And I, you know, it just

1974
01:57:24,600 --> 01:57:27,200
Speaker 4: kind of stuck in my head like that. And then

1975
01:57:27,640 --> 01:57:30,640
Speaker 4: as you know, I went on, I was born on Halloween,

1976
01:57:30,760 --> 01:57:34,640
Speaker 4: which is thirty one, and the number just kept reoccurring.

1977
01:57:34,680 --> 01:57:36,920
Speaker 4: And then I'm a big sports fan, and then a

1978
01:57:36,920 --> 01:57:40,520
Speaker 4: lot of the players that I like water number. So

1979
01:57:40,800 --> 01:57:44,760
Speaker 4: when me and Prince picked numbers, you know, his favorite

1980
01:57:44,840 --> 01:57:47,200
Speaker 4: number was eight. We played on the high school basketball

1981
01:57:47,200 --> 01:57:49,200
Speaker 4: team in the art school, so it wasn't really that

1982
01:57:49,280 --> 01:57:55,160
Speaker 4: good and thirteen was my number, and so it stuck

1983
01:57:55,200 --> 01:57:58,160
Speaker 4: with me. And that's just the basis behind that, you know.

1984
01:57:58,440 --> 01:58:02,760
Speaker 4: And it's cool to to do the awkward ship and

1985
01:58:02,920 --> 01:58:06,360
Speaker 4: just I think it's hip hop to be like, yeah,

1986
01:58:06,360 --> 01:58:08,360
Speaker 4: it's supposed to be bad luck, but fuck it. And

1987
01:58:08,400 --> 01:58:11,800
Speaker 4: it's also rock to be like supposed to be bad luck.

1988
01:58:11,920 --> 01:58:13,560
Speaker 4: So that's what the thirteen is about.

1989
01:58:14,040 --> 01:58:17,600
Speaker 1: Okay, So not to totally weird y'all out. Okay, So

1990
01:58:18,560 --> 01:58:20,840
Speaker 1: you know, as of this recording, I don't know when

1991
01:58:21,360 --> 01:58:25,200
Speaker 1: this will hit the air, but as of this recording,

1992
01:58:26,760 --> 01:58:30,880
Speaker 1: I just celebrated a birthday and someone was gracious enough

1993
01:58:32,040 --> 01:58:38,200
Speaker 1: to gift me a medium, a three hour session with

1994
01:58:38,240 --> 01:58:42,840
Speaker 1: a medium, and oh wow, nice. Yeah it was deep.

1995
01:58:42,880 --> 01:58:43,120
Speaker 5: Man.

1996
01:58:46,160 --> 01:58:48,320
Speaker 3: No no no, they're not nice, not nice.

1997
01:58:48,960 --> 01:58:51,839
Speaker 4: No, no, no, I'm saying that's amazing.

1998
01:58:54,160 --> 01:58:57,960
Speaker 1: The thing is is that, yeah, you know, I've also

1999
01:58:58,080 --> 01:59:01,960
Speaker 1: been looking at my my my lineage and my bloodline,

2000
01:59:02,200 --> 01:59:08,080
Speaker 1: which the Bedeen people of Africa are also connected to Haitians,

2001
01:59:09,200 --> 01:59:15,200
Speaker 1: and so I'm slowly just discovering that there is a

2002
01:59:15,200 --> 01:59:21,320
Speaker 1: lot of propaganda with the number thirteen and also the

2003
01:59:21,400 --> 01:59:25,640
Speaker 1: number six, which, of course, you know, we've been taught

2004
01:59:26,040 --> 01:59:29,880
Speaker 1: kind of postcolonial Christian America that you know, six six,

2005
01:59:29,960 --> 01:59:32,040
Speaker 1: six is the market, the beast and signed the devil,

2006
01:59:32,080 --> 01:59:35,080
Speaker 1: and there's no thirteenth floor anywhere, none of those things.

2007
01:59:35,680 --> 01:59:42,200
Speaker 1: And I'm slowly realizing in my studies, especially in Haitian culture,

2008
01:59:42,240 --> 01:59:48,240
Speaker 1: that thirteen is actually a holy number, and it's almost

2009
01:59:48,320 --> 01:59:51,120
Speaker 1: as if, you know, the propaganda that that's been used

2010
01:59:51,880 --> 01:59:55,800
Speaker 1: to sort of to tear you away from embracing it,

2011
01:59:56,080 --> 02:00:03,680
Speaker 1: say it's evil, but it's actually that's actually a very spiritual.

2012
02:00:03,960 --> 02:00:06,960
Speaker 1: It's it's for African culture. It's it's a spiritual number.

2013
02:00:07,040 --> 02:00:11,800
Speaker 3: So kind of everything y'all do is bad. God damn.

2014
02:00:12,520 --> 02:00:17,280
Speaker 1: Yeah. So I'm realizing this year that actually we need

2015
02:00:17,320 --> 02:00:20,560
Speaker 1: to embrace the number thirteen, which I when I saw

2016
02:00:20,840 --> 02:00:23,160
Speaker 1: the name of the group, I was like, damn, he

2017
02:00:23,200 --> 02:00:24,960
Speaker 1: took my number.

2018
02:00:27,520 --> 02:00:30,040
Speaker 5: Man, I didn't know that thirteen is my number.

2019
02:00:30,080 --> 02:00:31,000
Speaker 1: Damn it. Did you?

2020
02:00:31,520 --> 02:00:35,160
Speaker 2: Did you know Marcus or did Daru bring him aboard

2021
02:00:35,800 --> 02:00:36,200
Speaker 2: or to you?

2022
02:00:37,520 --> 02:00:42,040
Speaker 4: I knew Marcus uh from you know Vernie Reed and

2023
02:00:42,080 --> 02:00:47,360
Speaker 4: those cats and family stand and he grew up around

2024
02:00:47,400 --> 02:00:51,520
Speaker 4: those people, and you know, when it came to you know,

2025
02:00:52,800 --> 02:00:55,000
Speaker 4: I need you know, I need someone who could take

2026
02:00:55,040 --> 02:01:00,680
Speaker 4: it there and you know, do some double time or

2027
02:01:00,840 --> 02:01:04,320
Speaker 4: you know, do some funk. You know. His he he

2028
02:01:04,440 --> 02:01:07,400
Speaker 4: was the dude. And uh, I've seen him play and

2029
02:01:07,440 --> 02:01:10,840
Speaker 4: it was like you know, blue Note, and I was

2030
02:01:10,880 --> 02:01:13,080
Speaker 4: like he got that. I just needed to see if

2031
02:01:13,080 --> 02:01:18,440
Speaker 4: he had the edge, and uh, you know, obviously he's

2032
02:01:18,480 --> 02:01:21,760
Speaker 4: a Jimmy fan and and I even needed it a

2033
02:01:21,760 --> 02:01:25,240
Speaker 4: little more edgier than that. And he's just that dude,

2034
02:01:25,320 --> 02:01:31,400
Speaker 4: like he's he's a prodigy, like I asked for. We're

2035
02:01:31,440 --> 02:01:33,560
Speaker 4: still in the beginning stages, so we don't know, but

2036
02:01:34,080 --> 02:01:38,200
Speaker 4: I asked for two dudes who could if we break

2037
02:01:38,240 --> 02:01:40,880
Speaker 4: this ceiling and people be like, I don't know any

2038
02:01:40,880 --> 02:01:43,160
Speaker 4: of these guys. I don't know the fucking rapper, I

2039
02:01:43,200 --> 02:01:47,000
Speaker 4: don't know who any of them are, you know, or

2040
02:01:47,200 --> 02:01:49,520
Speaker 4: run the juice style. I wanted people to be like,

2041
02:01:49,560 --> 02:01:52,280
Speaker 4: I'm here for the fucking guitarists. I'm here for the drummer,

2042
02:01:52,960 --> 02:01:56,240
Speaker 4: like the vocalist is cool. And I asked for you know,

2043
02:01:56,360 --> 02:01:59,960
Speaker 4: cats that can shine like that, because I think, you know,

2044
02:02:00,080 --> 02:02:04,440
Speaker 4: the goal is to take away the pretentiousness of what

2045
02:02:04,560 --> 02:02:07,600
Speaker 4: you get. You know, like I said, I'm trying to

2046
02:02:07,600 --> 02:02:11,720
Speaker 4: deconstruct and I just got tired of seeing dudes in

2047
02:02:11,760 --> 02:02:15,480
Speaker 4: the front with whatever, and I'm like, I need to

2048
02:02:15,520 --> 02:02:20,280
Speaker 4: see a team. So I told them, you know, I

2049
02:02:20,320 --> 02:02:22,400
Speaker 4: didn't want my name on this shit at all, but

2050
02:02:22,560 --> 02:02:24,560
Speaker 4: obviously because of algorithms.

2051
02:02:25,480 --> 02:02:28,160
Speaker 5: The algorithm, yeah, you know.

2052
02:02:28,200 --> 02:02:30,480
Speaker 4: That, like we got to put Pharaoh in here somewhere

2053
02:02:30,480 --> 02:02:34,040
Speaker 4: to take advantage of your millions of people who have

2054
02:02:34,160 --> 02:02:36,400
Speaker 4: locked into you on Spotify and all that shit. So

2055
02:02:36,440 --> 02:02:38,480
Speaker 4: that's what that's about. But if it was up to me,

2056
02:02:39,200 --> 02:02:41,600
Speaker 4: I'd have just been like thirteen. But you know, I'm

2057
02:02:41,640 --> 02:02:44,360
Speaker 4: not as stupid to run away from what I've been

2058
02:02:44,360 --> 02:02:47,280
Speaker 4: working on for thirty years. So that's why my name

2059
02:02:47,360 --> 02:02:48,760
Speaker 4: is even on the shit.

2060
02:02:48,880 --> 02:02:51,760
Speaker 3: You know, can you break down?

2061
02:02:51,760 --> 02:02:53,360
Speaker 6: Because I think Amir asked you, but when you never

2062
02:02:53,400 --> 02:02:56,520
Speaker 6: got a chance to answer about the concept of the group,

2063
02:02:56,560 --> 02:02:58,839
Speaker 6: and even I mean the videos, there is a concept,

2064
02:02:58,840 --> 02:02:59,480
Speaker 6: there's a focus.

2065
02:02:59,600 --> 02:03:06,720
Speaker 4: It's see yeah, you know, it's just anybody who who

2066
02:03:06,840 --> 02:03:11,920
Speaker 4: has a brain and any empathy, you could just feel

2067
02:03:11,960 --> 02:03:18,160
Speaker 4: that the system in the country is way heavy on

2068
02:03:18,200 --> 02:03:21,920
Speaker 4: our spirit and when you think about how do you

2069
02:03:21,960 --> 02:03:25,600
Speaker 4: get back to zero, you know it's going to be

2070
02:03:25,640 --> 02:03:29,240
Speaker 4: some hardhass discussions that need to happen because of the

2071
02:03:29,280 --> 02:03:33,720
Speaker 4: atrocities that this country has founded on. And so you know,

2072
02:03:33,760 --> 02:03:35,640
Speaker 4: in my mind as an MC, I'm like, you know,

2073
02:03:35,680 --> 02:03:38,360
Speaker 4: the only real way to do that ship, the only

2074
02:03:38,400 --> 02:03:43,040
Speaker 4: real way to atone collectively is an exorcism, even if

2075
02:03:43,040 --> 02:03:46,800
Speaker 4: it's with ourselves, and I as an MC, I know

2076
02:03:46,840 --> 02:03:48,960
Speaker 4: people would hit that word and be like woo, And

2077
02:03:49,000 --> 02:03:51,040
Speaker 4: I was like, good, fuck it. You should be scared

2078
02:03:51,440 --> 02:03:55,360
Speaker 4: because this shit is scary that's going on. But it's

2079
02:03:55,440 --> 02:03:57,920
Speaker 4: kind of like the it's kind of like a cleansing too,

2080
02:03:58,680 --> 02:04:02,920
Speaker 4: you know. And it's been cathartic for me as well

2081
02:04:03,480 --> 02:04:08,280
Speaker 4: doing it. And also, you know, we've been kumbayan and

2082
02:04:08,400 --> 02:04:10,880
Speaker 4: praying and all that shit for a long long time

2083
02:04:10,920 --> 02:04:14,400
Speaker 4: now and holding hands, and I just wanted to like

2084
02:04:14,440 --> 02:04:16,600
Speaker 4: it myself and be like, let's just come at this

2085
02:04:16,720 --> 02:04:19,920
Speaker 4: to like real dark and meet the ship head on

2086
02:04:21,240 --> 02:04:24,720
Speaker 4: how it's coming at us, because you know, to keep

2087
02:04:24,760 --> 02:04:29,000
Speaker 4: information from people and to you know, not allow people

2088
02:04:29,040 --> 02:04:31,680
Speaker 4: to have loans to get homes and all the secret

2089
02:04:31,680 --> 02:04:34,400
Speaker 4: shit that's been going on for all these years. It's

2090
02:04:34,440 --> 02:04:39,480
Speaker 4: pretty evil, you know, point blank. And I was like,

2091
02:04:39,520 --> 02:04:41,919
Speaker 4: how about we we we come down to that vibration.

2092
02:04:42,040 --> 02:04:44,960
Speaker 4: I know, it's like light shines on the dark, but

2093
02:04:45,920 --> 02:04:49,280
Speaker 4: I'm like, how about we go there and throw this

2094
02:04:49,360 --> 02:04:52,440
Speaker 4: system a little voodoo and get a little dark with

2095
02:04:52,480 --> 02:04:55,320
Speaker 4: the ship motherfucker's back in the face.

2096
02:04:56,080 --> 02:05:02,000
Speaker 1: Yes, Hey, I have one last question before we wrap up,

2097
02:05:03,440 --> 02:05:08,400
Speaker 1: Fronte you okay, yeah, because I feel like I'll get

2098
02:05:08,560 --> 02:05:12,200
Speaker 1: roasted for not asking this question because we asked about

2099
02:05:12,200 --> 02:05:16,480
Speaker 1: like your history, and we asked about your records and

2100
02:05:16,560 --> 02:05:20,040
Speaker 1: your business decisions. But the one thing I never asked

2101
02:05:21,400 --> 02:05:26,560
Speaker 1: was your actual creative process, Like can you just give

2102
02:05:26,640 --> 02:05:29,440
Speaker 1: us you know, and I know MC's and artists have

2103
02:05:29,640 --> 02:05:33,360
Speaker 1: general you know, it just comes when the spirit hits me.

2104
02:05:33,520 --> 02:05:38,280
Speaker 1: But do you idea of a specific ritual, like do

2105
02:05:38,320 --> 02:05:40,200
Speaker 1: you get up in the morning, do you like what

2106
02:05:40,280 --> 02:05:43,720
Speaker 1: is your what is your ritual when you are creating

2107
02:05:44,920 --> 02:05:45,400
Speaker 1: a song?

2108
02:05:45,800 --> 02:05:47,560
Speaker 5: Does it come instantly?

2109
02:05:49,200 --> 02:05:52,840
Speaker 4: I'm a sponge. I love good conversation. I love talking

2110
02:05:52,840 --> 02:05:56,840
Speaker 4: to people who are way more educated than I am

2111
02:05:57,120 --> 02:06:00,480
Speaker 4: and listening to them and talking to them and and

2112
02:06:01,520 --> 02:06:07,280
Speaker 4: sponging and film and I sponge off of films like this. This,

2113
02:06:07,280 --> 02:06:12,280
Speaker 4: this whole project is probably off of Fury Road, Logan

2114
02:06:13,360 --> 02:06:18,160
Speaker 4: and Joker in a sense that you look at the

2115
02:06:18,240 --> 02:06:22,240
Speaker 4: commitment that I looked at the commitment that Joaquin Phoenix

2116
02:06:22,360 --> 02:06:25,000
Speaker 4: made to that film and literally went back in the

2117
02:06:25,000 --> 02:06:26,960
Speaker 4: studio and it was like, I got to redo verses.

2118
02:06:27,640 --> 02:06:31,200
Speaker 4: I need you to be more committed to the verse.

2119
02:06:31,440 --> 02:06:33,960
Speaker 5: Yeah, you were one of the first simc's I'll say too,

2120
02:06:33,960 --> 02:06:35,720
Speaker 5: man like you were one of the first casts that

2121
02:06:35,800 --> 02:06:39,040
Speaker 5: I've really someone I respected at the time in hip

2122
02:06:39,040 --> 02:06:42,400
Speaker 5: hop when everybody was trying to be Ja and fifty.

2123
02:06:42,680 --> 02:06:44,040
Speaker 5: I get it in one take, Guru. You know what

2124
02:06:44,080 --> 02:06:45,960
Speaker 5: I'm saying, Like, Oh, I got it in one take.

2125
02:06:46,000 --> 02:06:47,560
Speaker 5: I got in one take. You were one of the

2126
02:06:47,560 --> 02:06:50,360
Speaker 5: first cats I remember hearing saying like, no, I treat

2127
02:06:50,400 --> 02:06:54,120
Speaker 5: my vocals like a performance or you know, treating almost

2128
02:06:54,120 --> 02:06:57,200
Speaker 5: like an actor where it's like, you know, if I

2129
02:06:57,200 --> 02:06:58,920
Speaker 5: got to do it two three times, or even if

2130
02:06:58,960 --> 02:07:01,360
Speaker 5: it's like comping and just okay, I want to do

2131
02:07:01,400 --> 02:07:03,720
Speaker 5: this line right here, you know what I'm saying. And

2132
02:07:03,760 --> 02:07:06,800
Speaker 5: that was so mind blowing to me, and it just

2133
02:07:06,880 --> 02:07:10,240
Speaker 5: opened me up because that was in rap world. That

2134
02:07:10,400 --> 02:07:12,920
Speaker 5: was thought of something that was just so like, oh,

2135
02:07:12,960 --> 02:07:14,520
Speaker 5: you don't do that. We just come in and rap

2136
02:07:14,560 --> 02:07:17,720
Speaker 5: and that's it. It was never thought of as being

2137
02:07:17,760 --> 02:07:20,360
Speaker 5: a performance and treating it, you know, like a voice

2138
02:07:20,400 --> 02:07:21,160
Speaker 5: actor would.

2139
02:07:22,440 --> 02:07:26,120
Speaker 4: In the beginning, because you know, we couldn't afford studio

2140
02:07:26,200 --> 02:07:27,880
Speaker 4: to time, it was like you gotta knock that shit

2141
02:07:27,920 --> 02:07:31,560
Speaker 4: out with two MC's on one microphone. You know, it's

2142
02:07:31,800 --> 02:07:34,920
Speaker 4: just you know, as we keep going back to context,

2143
02:07:35,120 --> 02:07:38,160
Speaker 4: but now it's like, do you believe yourself, you know

2144
02:07:38,160 --> 02:07:40,520
Speaker 4: what I mean, Like, listen back to the ship.

2145
02:07:40,640 --> 02:07:41,600
Speaker 7: If you ain't.

2146
02:07:42,960 --> 02:07:47,920
Speaker 4: Convincing you, you definitely ain't gonna convince Spante, Black Thought,

2147
02:07:48,560 --> 02:07:53,400
Speaker 4: Royce Quest or anybody else. So just listen and see

2148
02:07:53,400 --> 02:07:56,560
Speaker 4: if it is cutting through in that sense and if

2149
02:07:56,600 --> 02:07:58,440
Speaker 4: I if I could get the Yeah, I think I

2150
02:07:58,480 --> 02:08:02,040
Speaker 4: got it and I can let it go. And it's

2151
02:08:02,080 --> 02:08:05,280
Speaker 4: not wrong with that. Like even after Nicki Minaj came

2152
02:08:05,320 --> 02:08:08,760
Speaker 4: out and I noticed how the way they were producing vocals,

2153
02:08:09,120 --> 02:08:12,760
Speaker 4: which we you know, that's a part of making the record.

2154
02:08:13,440 --> 02:08:15,920
Speaker 4: You know, they took that ship to a whole other level.

2155
02:08:16,160 --> 02:08:18,000
Speaker 4: And even on some of the songs or some of

2156
02:08:18,040 --> 02:08:22,160
Speaker 4: these songs, I'm like, I need to, you know, produce

2157
02:08:22,240 --> 02:08:27,880
Speaker 4: the vocals. I am I getting young? Am I giving away? Nah?

2158
02:08:28,040 --> 02:08:30,440
Speaker 5: Dude, man, this.

2159
02:08:30,400 --> 02:08:32,680
Speaker 6: Is what it is, showing the different aspects of the

2160
02:08:32,800 --> 02:08:34,600
Speaker 6: art too, because like Fante said, a lot of people

2161
02:08:34,640 --> 02:08:36,080
Speaker 6: do just think you dope if you can get it

2162
02:08:36,080 --> 02:08:38,080
Speaker 6: out of one tape. People didn't even think that, Wait

2163
02:08:38,120 --> 02:08:39,800
Speaker 6: a minute, let's treat this life art.

2164
02:08:39,920 --> 02:08:41,120
Speaker 3: So no, thank you for that.

2165
02:08:42,080 --> 02:08:42,280
Speaker 4: Nah.

2166
02:08:42,280 --> 02:08:42,720
Speaker 5: It's real.

2167
02:08:43,000 --> 02:08:43,160
Speaker 4: Nah.

2168
02:08:43,200 --> 02:08:45,400
Speaker 5: And he's one of the most I've never worked with

2169
02:08:45,560 --> 02:08:49,720
Speaker 5: much in the studio, but the times we have were

2170
02:08:49,840 --> 02:08:52,160
Speaker 5: you know, we would just send each other stuff whatever.

2171
02:08:52,280 --> 02:08:55,360
Speaker 5: I mean, he is just one of the most meticulous.

2172
02:08:55,360 --> 02:08:57,280
Speaker 5: Like I remember you sent me back your verse for

2173
02:08:57,320 --> 02:08:59,240
Speaker 5: the Wee Go Off record we did for my Alum,

2174
02:08:59,720 --> 02:09:02,240
Speaker 5: and you sent me that shit and I was like, Yo,

2175
02:09:02,280 --> 02:09:07,240
Speaker 5: this nigga doing sound effects. He got it. But it

2176
02:09:07,320 --> 02:09:09,760
Speaker 5: was that shit was just what the fuck you know,

2177
02:09:09,840 --> 02:09:11,840
Speaker 5: I needed and that was why I called you like

2178
02:09:11,880 --> 02:09:14,720
Speaker 5: to do just that. And you know that was the

2179
02:09:14,760 --> 02:09:17,960
Speaker 5: time I remember, like when we was back in I think, man,

2180
02:09:18,000 --> 02:09:20,800
Speaker 5: this was even before Minstrel Show came out, because you

2181
02:09:20,840 --> 02:09:22,680
Speaker 5: were one of the cats that we were thinking about

2182
02:09:22,680 --> 02:09:26,600
Speaker 5: putting on on Hiding Place. Me and Pool was talking,

2183
02:09:26,760 --> 02:09:29,640
Speaker 5: you know, about putting you on that record, and you

2184
02:09:29,840 --> 02:09:31,480
Speaker 5: came to Raleigh, I think it came to Durham and

2185
02:09:31,560 --> 02:09:34,000
Speaker 5: we went and got some seafood or something. I can't remember,

2186
02:09:34,000 --> 02:09:35,680
Speaker 5: but we were just talking and you was telling me

2187
02:09:35,720 --> 02:09:37,760
Speaker 5: about the time Desire was about to come out, and

2188
02:09:37,760 --> 02:09:40,160
Speaker 5: he was like, Yo, man, new ship coming. I'm about

2189
02:09:40,160 --> 02:09:41,680
Speaker 5: to be like Tom Jones on this bitch.

2190
02:09:41,760 --> 02:09:42,280
Speaker 1: You know what I mean.

2191
02:09:44,520 --> 02:09:47,000
Speaker 5: You talking about you know the Body the Body Baby record.

2192
02:09:47,160 --> 02:09:48,640
Speaker 5: I mean, but uh.

2193
02:09:48,960 --> 02:09:54,040
Speaker 4: Yeah, you hear artists and they don't fit. It's all

2194
02:09:54,080 --> 02:09:56,560
Speaker 4: good like you're supposed to be, like, let's see if

2195
02:09:56,560 --> 02:09:59,000
Speaker 4: this guy fixed this puggle and sh it has to

2196
02:09:59,040 --> 02:10:01,880
Speaker 4: work like you know, that's how it's supposed to be,

2197
02:10:01,920 --> 02:10:03,920
Speaker 4: Like you.

2198
02:10:02,440 --> 02:10:06,400
Speaker 5: Know, yeah, for everything we've done, like all the records,

2199
02:10:06,440 --> 02:10:08,200
Speaker 5: like you ever reached out to me for I'm just

2200
02:10:08,240 --> 02:10:10,000
Speaker 5: like anytime I have a chance to rhyme with you,

2201
02:10:10,040 --> 02:10:12,360
Speaker 5: I'm just like, dude, just say the word. I'm there whatever.

2202
02:10:12,840 --> 02:10:14,320
Speaker 5: I don't care if produced it, I don't care what

2203
02:10:14,360 --> 02:10:16,520
Speaker 5: it is. Like I'm going ahead to head. And I

2204
02:10:16,560 --> 02:10:19,600
Speaker 5: just always appreciated the way that you just always you know,

2205
02:10:20,760 --> 02:10:22,840
Speaker 5: I could I always tell like the I think when

2206
02:10:22,840 --> 02:10:25,000
Speaker 5: we did the Black Kan side video, that was probably

2207
02:10:25,000 --> 02:10:28,680
Speaker 5: the first time that I really saw and I mean

2208
02:10:28,720 --> 02:10:31,200
Speaker 5: this like in a in you know, in a very

2209
02:10:31,200 --> 02:10:34,080
Speaker 5: beautiful way, just how sensitive of an artist you were,

2210
02:10:34,120 --> 02:10:36,800
Speaker 5: and not like, oh man, I'm sensitive, not like that,

2211
02:10:36,840 --> 02:10:40,400
Speaker 5: but just how intuitive I guess you were, and how

2212
02:10:40,640 --> 02:10:42,640
Speaker 5: you know it was. And it wasn't even on no

2213
02:10:42,760 --> 02:10:46,760
Speaker 5: music shit, it was just we was talking. I never

2214
02:10:46,880 --> 02:10:49,240
Speaker 5: get this, bro. We was talking and I think we

2215
02:10:49,280 --> 02:10:51,000
Speaker 5: had finished shooting for the day. We don't had like

2216
02:10:51,000 --> 02:10:54,120
Speaker 5: one scene left or something. But this was around the

2217
02:10:54,200 --> 02:10:59,040
Speaker 5: time when man, don't I think they hit like Kadafi.

2218
02:10:59,200 --> 02:11:01,040
Speaker 5: This was when all that ship was popping on with

2219
02:11:01,080 --> 02:11:05,000
Speaker 5: Kadafi and his son had got killed or some ship.

2220
02:11:05,080 --> 02:11:08,960
Speaker 5: It was something. I'm all the history people listening to

2221
02:11:09,000 --> 02:11:12,000
Speaker 5: this interview, please don't crucify me. But I just remember

2222
02:11:12,040 --> 02:11:15,000
Speaker 5: someone on set came in and like delivered that news

2223
02:11:15,080 --> 02:11:17,440
Speaker 5: and you were just sitting in this chair and you

2224
02:11:17,520 --> 02:11:19,920
Speaker 5: just looked up and you was like, Yo, they killed

2225
02:11:19,960 --> 02:11:23,480
Speaker 5: Goddaffi's son. And I just would never get to look

2226
02:11:23,480 --> 02:11:25,320
Speaker 5: in your face like he was just like, yo, boy,

2227
02:11:25,440 --> 02:11:27,520
Speaker 5: these crackers ain't ship. God damn.

2228
02:11:30,200 --> 02:11:31,080
Speaker 1: He was that look.

2229
02:11:31,160 --> 02:11:34,160
Speaker 5: He was like yo. But I just remember seeing that

2230
02:11:34,240 --> 02:11:36,880
Speaker 5: and I was like, man, like you really, you know

2231
02:11:36,920 --> 02:11:39,240
Speaker 5: when you said like a sponge, You know what I'm saying,

2232
02:11:39,240 --> 02:11:41,760
Speaker 5: Like you really I saw the quality in you. You

2233
02:11:41,760 --> 02:11:42,160
Speaker 5: know what I mean.

2234
02:11:42,280 --> 02:11:45,360
Speaker 4: I'm an EmPATH and it is what it is. I

2235
02:11:45,360 --> 02:11:47,520
Speaker 4: don't know if that's a cool thing to even say,

2236
02:11:47,800 --> 02:11:50,360
Speaker 4: but it is what it is. And I love this ship.

2237
02:11:50,400 --> 02:11:50,560
Speaker 3: Man.

2238
02:11:50,600 --> 02:11:53,240
Speaker 4: I love I love you, I love I love the

2239
02:11:53,240 --> 02:11:55,800
Speaker 4: little Brother. I love you too, brother, I love I

2240
02:11:55,840 --> 02:11:58,560
Speaker 4: love the roots. And it's cool to say that ship like,

2241
02:11:58,640 --> 02:12:00,600
Speaker 4: I'm a fan fan, you know.

2242
02:12:00,880 --> 02:12:03,400
Speaker 5: Bro, when you came. Man, when we did DC, like

2243
02:12:03,440 --> 02:12:05,560
Speaker 5: we was like one of the last kind of shows

2244
02:12:05,560 --> 02:12:08,880
Speaker 5: we did before you know, everything shut down. You know,

2245
02:12:08,960 --> 02:12:11,440
Speaker 5: we had booked d C the same night, and I

2246
02:12:11,520 --> 02:12:13,320
Speaker 5: hit you this, I hit you. I was like, Bro,

2247
02:12:13,440 --> 02:12:15,360
Speaker 5: I had no idea this was gonna happen. I didn't

2248
02:12:15,360 --> 02:12:18,280
Speaker 5: even find out to Athawards, and so I hit you. You

2249
02:12:18,200 --> 02:12:21,600
Speaker 5: were doing the Kennedy Center. We were at Howard Theater

2250
02:12:22,160 --> 02:12:23,640
Speaker 5: and I was like, Yo, I'm gonna come through. I'm

2251
02:12:23,680 --> 02:12:26,080
Speaker 5: talking to guy and there I'm like, yo, I'm coming through,

2252
02:12:26,120 --> 02:12:28,360
Speaker 5: and I'm a you know, feral show.

2253
02:12:29,760 --> 02:12:32,480
Speaker 3: That live for a second. You was doing the Kennedy Center. Okay,

2254
02:12:32,480 --> 02:12:34,560
Speaker 3: I'm sorry, damn right, you know what I mean.

2255
02:12:35,120 --> 02:12:35,400
Speaker 4: He was.

2256
02:12:35,600 --> 02:12:36,360
Speaker 1: We was in that thing.

2257
02:12:36,960 --> 02:12:39,320
Speaker 5: So no, man, I came over and like rock with

2258
02:12:39,360 --> 02:12:42,440
Speaker 5: you and and you know, and then you know, afterwards,

2259
02:12:42,600 --> 02:12:44,600
Speaker 5: I told us, like, yo, were going to LB show

2260
02:12:44,640 --> 02:12:46,920
Speaker 5: and so y'all came over and we didn't get a

2261
02:12:47,000 --> 02:12:49,080
Speaker 5: chance to talk afterward. But bro, I never got a

2262
02:12:49,120 --> 02:12:51,480
Speaker 5: chance to tell you. Man, that ship meant so much

2263
02:12:51,840 --> 02:12:53,440
Speaker 5: for me and Pood to be on stage and we

2264
02:12:53,560 --> 02:12:56,240
Speaker 5: looking in the back and you don't normally in the back,

2265
02:12:56,320 --> 02:12:59,120
Speaker 5: it might be just whoever, right, but we're looking like

2266
02:12:59,280 --> 02:13:02,360
Speaker 5: behind where DJ is and it's you. I think Fame

2267
02:13:02,520 --> 02:13:05,640
Speaker 5: was back there from Mop guys back there, like it's

2268
02:13:05,680 --> 02:13:08,800
Speaker 5: all these dudes that we grew up listening to watching us.

2269
02:13:08,920 --> 02:13:11,880
Speaker 5: And I remember Guy was asking me before, he said, man,

2270
02:13:12,040 --> 02:13:14,360
Speaker 5: you know, if you want much to come on, you know,

2271
02:13:14,600 --> 02:13:16,800
Speaker 5: just just you know, we got you. I said, nah,

2272
02:13:16,880 --> 02:13:19,960
Speaker 5: bro like munch Fame. I said, Man, let them niggas

2273
02:13:19,960 --> 02:13:21,560
Speaker 5: be fans tonight, bro, like, just.

2274
02:13:22,120 --> 02:13:23,600
Speaker 1: Dang got you know what I mean.

2275
02:13:23,640 --> 02:13:25,400
Speaker 5: Just let them chill, you know what I mean? And

2276
02:13:25,720 --> 02:13:26,440
Speaker 5: that meant so much.

2277
02:13:28,040 --> 02:13:29,720
Speaker 4: I wish I could have been in the audience that

2278
02:13:29,800 --> 02:13:32,000
Speaker 4: it was so packed in that motherfucker. I couldn't even

2279
02:13:32,080 --> 02:13:34,080
Speaker 4: go out there, like I know.

2280
02:13:34,080 --> 02:13:39,280
Speaker 5: Now I would have been a problem, you know, but.

2281
02:13:39,360 --> 02:13:43,560
Speaker 4: Like I said, man, you know not, you know, fuck it, man,

2282
02:13:43,680 --> 02:13:49,240
Speaker 4: like flowers, flowers, flowers, you know for what everybody, it's

2283
02:13:49,320 --> 02:13:52,320
Speaker 4: dope to just be a fan fan. It's fun to

2284
02:13:52,360 --> 02:13:56,000
Speaker 4: be a fan fan, you know, so give love.

2285
02:13:57,240 --> 02:13:58,839
Speaker 3: It's dope to hear brothers give love.

2286
02:13:59,600 --> 02:14:00,600
Speaker 4: Real love.

2287
02:14:00,680 --> 02:14:04,440
Speaker 5: We evolved. Niggas go to therapy.

2288
02:14:06,040 --> 02:14:07,000
Speaker 3: Brother like I like this.

2289
02:14:07,200 --> 02:14:08,680
Speaker 1: Ye y'all talked me last week.

2290
02:14:08,760 --> 02:14:12,560
Speaker 2: So yeah, hey, if you love me too, I got

2291
02:14:12,600 --> 02:14:14,840
Speaker 2: a Sugar Steve action figure for you for your top

2292
02:14:14,880 --> 02:14:15,560
Speaker 2: shelf over there.

2293
02:14:17,200 --> 02:14:21,280
Speaker 1: Are you probably do I don't think, yeah, he probably does.

2294
02:14:21,440 --> 02:14:24,400
Speaker 5: Joke okay, but but nah, bro, I mean I've told

2295
02:14:24,400 --> 02:14:26,200
Speaker 5: you time to time good. But now, bro, you were

2296
02:14:26,280 --> 02:14:28,680
Speaker 5: like one of the greatest like to ever do this

2297
02:14:28,720 --> 02:14:31,800
Speaker 5: ship and you're always in See that makes me, you know,

2298
02:14:31,880 --> 02:14:33,800
Speaker 5: sends me back to the drawing board, and I hear it.

2299
02:14:33,800 --> 02:14:35,720
Speaker 5: I'm just like, holy shit, like I got to step

2300
02:14:35,720 --> 02:14:38,280
Speaker 5: it up again, and uh to be able to maintain

2301
02:14:38,320 --> 02:14:41,760
Speaker 5: that intensity for the last thirty fucking years, I mean,

2302
02:14:41,920 --> 02:14:45,800
Speaker 5: and and with no signs of decline or slipping off

2303
02:14:45,920 --> 02:14:48,080
Speaker 5: or you know, I got you know, I posted early.

2304
02:14:48,120 --> 02:14:50,800
Speaker 5: I bought the thirteen record. I had a chance listen

2305
02:14:50,800 --> 02:14:53,000
Speaker 5: to it yet because I've been like just running around

2306
02:14:53,000 --> 02:14:55,440
Speaker 5: all day. But uh, but nah, man, just from what

2307
02:14:55,480 --> 02:14:57,240
Speaker 5: I heard, you know, I mean, I was like, yeah,

2308
02:14:57,320 --> 02:15:01,480
Speaker 5: manch is doing this ship is Yeah, the visuals, everything

2309
02:15:01,640 --> 02:15:03,360
Speaker 5: is on point, man. And I just want to give

2310
02:15:03,360 --> 02:15:05,160
Speaker 5: you a flowers to say thank you for always showing

2311
02:15:05,200 --> 02:15:09,720
Speaker 5: me that love. I love you respect, Thank you utmost Brothers. Yeah, yeah, yeah, man.

2312
02:15:10,360 --> 02:15:15,200
Speaker 4: Prior to the pandemic, I was I was difficult with compliments.

2313
02:15:15,680 --> 02:15:17,640
Speaker 4: After this ship, I'm soaking all.

2314
02:15:17,520 --> 02:15:28,200
Speaker 1: The Yeah, we'll get your flowers. Man, thank you for

2315
02:15:28,240 --> 02:15:32,040
Speaker 1: doing this episode. It's definitely uh, you know, one one

2316
02:15:32,040 --> 02:15:36,240
Speaker 1: for the record books, one one for our our or what.

2317
02:15:36,120 --> 02:15:36,600
Speaker 5: Do you call it?

2318
02:15:37,000 --> 02:15:40,560
Speaker 1: Check off the bucket list, the bucket list, right, I

2319
02:15:40,600 --> 02:15:42,440
Speaker 1: was about to say a notch in the bed post.

2320
02:15:43,040 --> 02:15:46,960
Speaker 1: Oh no, exactly.

2321
02:15:48,000 --> 02:15:49,560
Speaker 3: Looking good over there, mister.

2322
02:15:51,400 --> 02:15:51,640
Speaker 5: Yeah.

2323
02:15:51,640 --> 02:15:54,040
Speaker 1: But thank you for doing the show, man. I really

2324
02:15:54,040 --> 02:15:55,920
Speaker 1: appreciate it, of course.

2325
02:15:56,080 --> 02:15:59,200
Speaker 4: Man. And I'm on it. Man. Thank you guys for

2326
02:15:59,240 --> 02:16:02,520
Speaker 4: having me. I need this. I got a new record out.

2327
02:16:02,880 --> 02:16:06,080
Speaker 4: We we we. This's the first week we we came

2328
02:16:06,120 --> 02:16:09,160
Speaker 4: in at sixteen. We did the tiny desk. We got

2329
02:16:09,160 --> 02:16:12,000
Speaker 4: a lot of stuff flowing. So I appreciate this, man,

2330
02:16:12,160 --> 02:16:13,080
Speaker 4: you know, appreciate it.

2331
02:16:13,160 --> 02:16:15,120
Speaker 5: No, man, Shout out to God for hooking it up.

2332
02:16:15,120 --> 02:16:17,320
Speaker 5: Shout out my brother God, man like whatever.

2333
02:16:17,640 --> 02:16:20,800
Speaker 1: Absolutely all right on behalf of on pay Bill and

2334
02:16:20,880 --> 02:16:23,879
Speaker 1: the Sugar Steve and Layah in particular. My name is Questlove.

2335
02:16:24,520 --> 02:16:26,600
Speaker 1: Thank you to the Great paramounts for joining us, and

2336
02:16:26,680 --> 02:16:29,080
Speaker 1: we will see you next week on quest Love Supreme.

2337
02:16:29,240 --> 02:16:35,240
Speaker 1: All right, Red, Hey, this is Sugar Steve.

2338
02:16:35,920 --> 02:16:38,119
Speaker 5: Make sure you keep up with us on Instagram at.

2339
02:16:38,160 --> 02:16:41,800
Speaker 2: Q LS and let us know what you think we

2340
02:16:41,840 --> 02:16:43,600
Speaker 2: should be next to sit down with us.

2341
02:16:44,240 --> 02:16:47,240
Speaker 1: Don't forget to subscribe to our podcast.

2342
02:16:52,959 --> 02:16:55,759
Speaker 5: Ust Love Supreme is a production of iHeartRadio.

2343
02:16:58,760 --> 02:17:02,080
Speaker 1: For more podcasts from my heart Radio, visit the iHeartRadio app,

2344
02:17:02,280 --> 02:17:05,320
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.