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Speaker 1: Quest Love Supreme is a production of iHeartRadio. Yo. What's

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Speaker 1: Up Everybody?

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Speaker 2: This is fun Tigalo from Questlove Supreme and part one

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Speaker 2: of our Atlanta interview with Organized Noise. We discussed how

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Speaker 2: the gods Rico Waite, Sleeping Brown and Ray Murray got

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Speaker 2: down together. We also heard how they changed the game

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Speaker 2: in terms of sampling and really gave Atlanta a musical

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Speaker 2: identity and rap. Please make sure you check out the

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Speaker 2: first half of that interview, and that'll way back apart two.

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Speaker 2: This discussion is gonna be just as rich and even better.

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Speaker 2: I know y'all gonna enjoy this one. I enjoyed this one.

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Speaker 2: These brothers are legends and gods to me only on

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Speaker 2: q LS, Yes Her Peace.

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Speaker 3: What happens when suddenly the student wants to become the teacher? Like,

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Speaker 3: what's the division of labor in terms of you know,

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Speaker 3: I'm sure that you guys are a tight three tight

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Speaker 3: unit that.

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Speaker 1: Handles the music Noise versus Earth Tone three.

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Speaker 2: What was the Yeah, we wanted them, we wanted them

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Speaker 2: to learn them if we wanted if we wanted them

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Speaker 2: not to learn that, they wouldn't have been in the

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Speaker 2: sitting there next to us.

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Speaker 1: While we're doing it. So we wanted them to.

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Speaker 3: But how how are you guys as friends and as

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Speaker 3: business partners when it's time for bad news and production?

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Speaker 3: Who's the person that has to like, can you talk

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Speaker 3: about a song that almost didn't make it?

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Speaker 4: Like well to be very honest with our dynamic because

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Speaker 4: it was a Parliament type of family. So it's like

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Speaker 4: you had a George Clinton, then you got Boosty. You

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Speaker 4: got all these different people who came from this that

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Speaker 4: was great. Everybody legends, but they all rock with somebody

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Speaker 4: because that person had the thought process that they all

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Speaker 4: agreed upon. Ray and Sleepy thought process musically hip hop, drums,

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Speaker 4: rawness and music, vocals, harmonies being live organic, who's not

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Speaker 4: using that now?

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Speaker 1: Who's not who? It's like we got all.

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Speaker 4: The not not thinking about the breaks as much. All

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Speaker 4: the thinking about is the breaks. Like, so you got

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Speaker 4: a marriage of like something like a sound that becomes

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Speaker 4: a sound. Me the competitor. We're gonna compete with whoever

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Speaker 4: else doing it, because we got it. I got the

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Speaker 4: so we're gonna compete whatever I need to learn or

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Speaker 4: to bring to it as far as musicians, as far as.

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Speaker 1: The lame part, what kid Win, who cares what kew in?

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Speaker 4: I need to know what keep in, so I can't

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Speaker 4: say eybody know what I'm saying, Like but like they

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Speaker 4: just they just doing it so big and Drake se

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Speaker 4: Lo guilp anybody, p A Reese, anybody who's around these

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Speaker 4: two people when they were making music, Oh, me and us,

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Speaker 4: it was us, but just how hardcore they were about

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Speaker 4: their things. Like wed if Ever, if he didn't care,

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Speaker 4: none of his beats came out. We're gonna make them

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Speaker 4: every day and just throw them to the side. You

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Speaker 4: had so you you you around people who's acting like that,

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Speaker 4: you might think.

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Speaker 1: Like God, it's some dope.

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Speaker 4: He just turns it off, went to something else. I

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Speaker 4: want a chance to do it. You want to follow

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Speaker 4: into it because you want to do it your way.

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Speaker 4: Nobody ain't gonna do it the way these casts are

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Speaker 4: doing it. But you're gonna learn so much Kanye West,

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Speaker 4: any of these producers, like like what Organized Noise did

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Speaker 4: wasn't one person, you know what I'm saying, And while

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Speaker 4: they was working, I might have been at the store

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Speaker 4: of buying sounds, you know what I'm saying, or whatever,

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Speaker 4: like whatever it took budget like someone who can be

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Speaker 4: like that's let's pay for it. Yes, we could pocket

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Speaker 4: more money. Like we learned a big lesson from Parental

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Speaker 4: Advisory with Pebbles. We use a lot of samples, and

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Speaker 4: she told us, she was like, well, you got like

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Speaker 4: ninety thousand dollars left in your budget and you guys

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Speaker 4: get the remainder of the budget, but you got to

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Speaker 4: give me all the samples first. Let me clear the

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Speaker 4: samples first. Then we end up getting negative three thought

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Speaker 4: old out right, you know what I'm saying. So from

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Speaker 4: that point, from that day we started working on outcasts.

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Speaker 4: Like that's when we had found outcasts, so we knew

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Speaker 4: it's gonna be hip hop, but we we fin to

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Speaker 4: get better. So I had started incorporating with Sleepy New

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Speaker 4: with live musicians want to.

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Speaker 2: Y'all too by some of y'all session musicians like Chance

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Speaker 2: Parkman and like some of the guys like who what's

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Speaker 2: y'all's relationship?

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Speaker 4: Yeah, Preston from Preston Kenneth Right. Kenneth Wright was one

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Speaker 4: of the first ones when we did outcasts. They end

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Speaker 4: up kind of drifting to the church a little more

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Speaker 4: but great.

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Speaker 2: And who was playing piano on probably one of one

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Speaker 2: of my favorite productions. Y'll ever growing old Nigga? That's chance,

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Speaker 2: that's chance it is on that, dude, there's a chance. Okay,

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Speaker 2: there's an at Alien sampler that came out and it

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Speaker 2: has a version of growing on on it.

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Speaker 1: I think it's an early version, right looking at that

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Speaker 1: tenth rocks fat ass to turn the flap.

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Speaker 2: Yeah, it's a verse. It's before I guess y'all played version.

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Speaker 2: I like the at Ali's version, the one that came out.

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Speaker 2: That's like, that's the one. But was that the reason

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Speaker 2: why y'all took the sample out?

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Speaker 1: What sample was it? I don't know the sample. It

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Speaker 1: was just a different version.

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Speaker 4: I don't remember a different version sample was I don't

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Speaker 4: remember no sample. If it was a different version, I.

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Speaker 1: Know, I know, I don't know. Maybe this is a

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Speaker 1: piece negotiation. It is a piece of I don't know

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Speaker 1: who did. It was just a different version. It was

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Speaker 1: a different version.

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Speaker 2: This is why I said, this is yeah, but no,

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Speaker 2: that's like just a gorgeous FU song had spoken.

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Speaker 4: I was just I was thinking it was about that

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Speaker 4: that Markuez Marquis wrote that hook or whatever, like and

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Speaker 4: Hades did waterfalls, so like we just wanted to sound.

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Speaker 4: We felt like we owe outcasts of record that sounded

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Speaker 4: more like something, even if it wasn't if it wasn't

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Speaker 4: a third single or whatever. We felt like since we

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Speaker 4: produced them, we got to present some of the kind

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Speaker 4: of music that we've done on other artists. And that's

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Speaker 4: something else I want to say two quest. It's like

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Speaker 4: why we never had that problem with Big and Dre

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Speaker 4: because we was going like we we had waterfalls out

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Speaker 4: before they second out, they thought we would have these

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Speaker 4: are the guys whoever they put out. They didn't know

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Speaker 4: Outcast was gonna end up being twenty million sellers. And

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Speaker 4: what I'm saying, it's like but they took they they

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Speaker 4: had a like in vogue, like even the fact that

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Speaker 4: we did sell Therapy Rock New York like this this

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Speaker 4: this song and watch for the hook.

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Speaker 1: I watch for the hook.

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Speaker 2: When we did the Tunnels in New York City the

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Speaker 2: night that I knew New York loved m famous my

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Speaker 2: theory watched I thought that was like y'all's answer to Benjamins,

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Speaker 2: Like it's you know what I mean, just the sixteenth

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Speaker 2: pats that like it felt it felt like that like

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Speaker 2: a y'all's answer to like what the East Coast Club

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Speaker 2: record was.

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Speaker 1: It's the foundation of hip hop. Yes, break I would

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Speaker 1: do that.

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Speaker 5: I'm gonna do, but you gotta understand, like just listen, listen.

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Speaker 6: I just want to say this, this is this is

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Speaker 6: hip hop from the South.

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Speaker 1: Right.

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Speaker 2: What song do we say, No Southern Man, come on,

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Speaker 2: come on saying brother man.

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Speaker 4: It's said brother man, you and everybody else. But if

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Speaker 4: you dug in the crates, you'd be like, man, this

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Speaker 4: song called Southern Man.

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Speaker 1: Come on man? Oh yeah, killed that.

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Speaker 2: No East Point is great listen, man, like that record

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Speaker 2: I remember reading, but just all the stuff that happened

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Speaker 2: with Intersco and everything, like y'all's production on that album.

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Speaker 1: Man, like Witch Doctor.

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Speaker 2: And Cool Breeze, Like man, y'all was in the zone

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Speaker 2: and that ship.

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Speaker 1: And really we were just giving back.

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Speaker 4: We did Goodie Mob abut every time we was in

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Speaker 4: a position to do what you said, keep it rough

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Speaker 4: and raw, even if we sacrifice having a commercial, bigger success,

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Speaker 4: we put some swat healing Rich, Witch Doctor, like I'm saying, like,

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Speaker 4: and Cool Brees and it was like it's like it's

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Speaker 4: like it's like is dirty South.

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Speaker 1: For one.

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Speaker 4: It was on the Goodie Mob album but he the

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Speaker 4: one who said what you really know about the dirty side?

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Speaker 4: It's his song, so it's almost like it was his

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Speaker 4: song get Up, get out. That's see low that was

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Speaker 4: his song. Wow, it was on Outcast album, but it

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Speaker 4: was his song. See That's what they did as a family,

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Speaker 4: like like like being around it was like it was

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Speaker 4: our Wu Tang other people. They were setting their people up,

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Speaker 4: you know what I'm saying, and not doing it too

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Speaker 4: commercially like you know, like it's BBD Boys and Men

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Speaker 4: and ABC like, but but doing it like that because

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Speaker 4: we come from.

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Speaker 1: R and B.

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Speaker 2: You know what me and Re always talked about, if

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Speaker 2: that first Outcast album would have been called Dudgeon Family,

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Speaker 2: people would get it more, people would get it on,

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Speaker 2: and we would be in the same thing as Wu Tang. Yeah,

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Speaker 2: because y'all put everybody on. Everybody. That's what the album was.

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Speaker 2: It was just our care. It was everything set up.

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Speaker 4: Working on this song was everybody was around that every

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Speaker 4: day like literally because these kids was kids fifteen, sixteen,

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Speaker 4: seventeen during it and by time he worked on that album,

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Speaker 4: there was seventeen you mean or whatever, So so at

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Speaker 4: that point we put them first. But the same time.

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Speaker 4: We all knew it was all our opportunity. So I

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Speaker 4: need I need your best, I need your best. They

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Speaker 4: gotta they gotta do their part. They gotta do their part.

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Speaker 4: But everywhere where there's a little spot sleep, I'm gonna

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Speaker 4: need you to do funky ride. I'm saying, yeah, big

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Speaker 4: route right onto the real to.

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Speaker 1: The question.

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Speaker 2: Free Wow to open the album with that really could

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Speaker 2: have been an anthem at no point where you guys like,

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Speaker 2: let's make this a song, like a full fledged.

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Speaker 1: Song, and that ain't with the drums yet.

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Speaker 2: Free and You May Die, which is like my favorite

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Speaker 2: intro of any album.

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Speaker 4: I'm gonna have this about free first because because this

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Speaker 4: caught this, this thing been happening all day.

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Speaker 1: Philly in Atlanta got that soul. We got that soul.

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Speaker 4: You know why, because my my, when our big brothers

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Speaker 4: McKinley Horton, he came down here, just jumped on to

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Speaker 4: McKenley Horton from Philly, Philly, forget, he just jumped. He

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Speaker 4: just jumps on the worldlesser or whatever, just started singing.

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Speaker 1: It was church. I'm like, man, it was not put

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Speaker 1: together the type of thing like like.

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Speaker 4: You always just like it. It was a flex to

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Speaker 4: it was another tool. It was like ce Lo is

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Speaker 4: wrong and you see and you see where he is now.

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Speaker 4: We was that, you know, like we wasn't holding him back,

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Speaker 4: but we was making a street rap album. These cats

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Speaker 4: a lot of the peers that just had died, like

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Speaker 4: from school. It was very and we had the power

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Speaker 4: to not make them a goodie mind fun group, even

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Speaker 4: though that was obviously what you're supposed to do. After Outcast,

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Speaker 4: you got you got this, Yes, you got this Parliament

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Speaker 4: type of funky music. I know, you bring these guys

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Speaker 4: out funkier and and this and stuff, but we were like, naw,

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Speaker 4: we wanted to dig deeper into hip hop and and

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Speaker 4: make them see that we respect that. We know we

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Speaker 4: got the gloss on us or whatever, but but we're

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Speaker 4: serious about this. That's why the next Outcast album we

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Speaker 4: dumbed it down with with with singing hooks and try

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Speaker 4: to make it more wrap hooks or whatever.

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Speaker 1: At Ali.

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Speaker 3: Now for me, like the genius of Elevators was the

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Speaker 3: whole Greek course.

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Speaker 1: Yes, yes, that was George.

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Speaker 2: Yeah, that's what we want to, you know, say, makes

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Speaker 2: it sound like an old parliament where they're on stage.

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Speaker 1: We want them to beate it before.

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Speaker 3: In the so re Read reveals to us the process

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Speaker 3: of speaker Box and Level Below and the fact that

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Speaker 3: speaker Box was just his solo record, and then he says,

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Speaker 3: Drake called it was like, when is this shit coming out?

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Speaker 1: And Read was like, uh, you know, in five weeks.

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Speaker 3: He's like, if I if I finished my thing, Like

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Speaker 3: when I have to turn in he said, like three weeks.

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Speaker 1: Three weeks, that's what he said.

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Speaker 3: So for twenty one days he rushes, are you guys

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Speaker 3: even aware that Dre now creates that or has been

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Speaker 3: creating that record and has a twenty one day deadline

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Speaker 3: to finish everything.

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Speaker 4: Big Boy and Dre were going back and forth with

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Speaker 4: that for almost a year before It's like they said

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Speaker 4: they wasn't gonna work again. This is when they told

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Speaker 4: us that this is their last album and we might

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Speaker 4: not and they want to do it at that point,

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Speaker 4: and I mean, I know Antonio probably said it, but

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Speaker 4: the guys, And that's where he does get credit. He

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Speaker 4: gets a lot of credit because he saved outcast the

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Speaker 4: brand and that's something that he was invested into from

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Speaker 4: day one, Like he knew that this is big in

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Speaker 4: this as the world this is like, like what this

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Speaker 4: was huge? Like this is a Whitney Houston, this is

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Speaker 4: a Tony Braxton, this is a big group. Like that's right,

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Speaker 4: Like that's when he used his business skills and then

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Speaker 4: let them sabotage their own selves.

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Speaker 1: You know what I'm saying by like looking like.

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Speaker 4: So he was like, man, put them out together. But

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Speaker 4: so but the fact of whatever debtline you're talking about,

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Speaker 4: I know that I'm lucky. I'm happy that Big Boy

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Speaker 4: had the way you moved because I think they doubted

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Speaker 4: Andre's album. They thought he didn't want to put Andre

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Speaker 4: Albu outcause din't think that it was right.

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Speaker 2: I'm I wanted to make sure they're big because like

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Speaker 2: you know, we knew with Dre it was going to

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Speaker 2: be different what it was going to be.

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Speaker 1: And thank god that, you know, we came up with.

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Speaker 2: The way You moved because I ain't gonna lie, man,

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Speaker 2: I was nervous for Big you know what I mean,

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Speaker 2: just because you know, not saying that the popularity was

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Speaker 2: with Drake Moore, but people were actually waiting to hear.

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Speaker 2: It's funny how like you know, I'm sitting over at

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Speaker 2: the house at a cookout and Big has this CD

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Speaker 2: player has two hundred CD changing and I'm sitting in

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Speaker 2: the Boomoo room and all of a sudden, this beat

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Speaker 2: comes on there. He had this song for like three

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Speaker 2: years and it was the way you moved, but it

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Speaker 2: was broken all the way down. Then had the horns.

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Speaker 2: It just had a little d D the little keyboard

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Speaker 2: because I little buddy of Carmo did the beat. So

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Speaker 2: when I heard that beat, I started. It reminded me

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Speaker 2: of Marvin, so I started humming to No.

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Speaker 1: No No.

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Speaker 2: I was like, oh shit, So I ran out of

288
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Speaker 2: the busy. Big we gotta go to the studio to night.

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Speaker 2: I got a crazy hook for this one. And the

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Speaker 2: way you who was actually going to be my record.

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Speaker 2: You were going to do a whole new record for

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Speaker 2: Big and BIB like, yeah, we could do that. But

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Speaker 2: when La, when La reheard it, he was like, fuck no,

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Speaker 2: that's your rat.

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Speaker 1: Yeah yeah.

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Speaker 2: So I'm happy that it did because I didn't hear

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Speaker 2: hey y'all.

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Speaker 1: Bro. I did not hear hey y'all till I saw

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Speaker 1: the video.

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Speaker 7: But how perfect was it that y'all had? Like Big Boy?

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Speaker 8: It was great because he had the fucking radio hit

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Speaker 8: right because the black radio hit whereas.

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Speaker 3: The old timeout, So all right for me probably I'll

304
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Speaker 3: say the end of you know, no rap, work day whatever,

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Speaker 3: where every every major cosmopolitan city with the black radio

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Speaker 3: station still had their like, you know, more music, less rap,

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Speaker 3: you know whatever. That kind of died down in maybe

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Speaker 3: two thousand and five, two thousand and six. But for me,

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Speaker 3: all right, so WDS, which is the not the conservative

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Speaker 3: but the older it's.

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Speaker 1: Not the highest.

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Speaker 7: It's called the urban.

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Speaker 3: Yeah, the urban station. Do you realize that for least

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Speaker 3: half of the radio stations playing the Way You Move,

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Speaker 3: we're playing a big boiler's version of that song?

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Speaker 1: Yeah?

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Speaker 3: Yeah, literally, like where's the verse? And I was like, yo,

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Speaker 3: they actually made a whole ass song. They play your

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Speaker 3: Bridge twice as the verse.

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Speaker 2: And I heard that when I was in La after

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Speaker 2: it came out and I was playing pool.

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Speaker 1: So did the label do that or did you guys

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Speaker 1: do that?

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Speaker 8: Like?

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Speaker 1: No, nothing.

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Speaker 4: What happens is that in order to get your spins up,

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Speaker 4: you can't turn down, Like do you know they played

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Speaker 4: Waterfalls without Left Eye on those same stations they took

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Speaker 4: a verse out? Yeah what I'm saying so, but it

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Speaker 4: was those stations that we don't listen to We don't

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Speaker 4: listen to them, but those stations generate so much.

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Speaker 2: Still need the BDS is you need, you need the spins,

333
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Speaker 2: you need to spin, Like, if that's what y'all need,

334
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Speaker 2: you need to span.

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Speaker 1: It's disrespectful. So they don't even tell the artists because

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Speaker 1: it's rude. I kind of fly over you had you

337
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Speaker 1: sleep it brown version. I don't hate my brother big

338
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Speaker 1: I love but you know it kind of it worked,

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Speaker 1: It worked, it did, sposed to do work, sposed to do.

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Speaker 3: So any point between like the first momentum of organized noise,

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Speaker 3: Let's say when the Socks and Draws come out ninety two,

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Speaker 3: the original player Ball Christmas ninety two, right, yeah, so

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00:16:33,760 --> 00:16:37,040
Speaker 3: between hundree all right, so speak of boxes two thousand

344
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Speaker 3: and three, So that's in your period. At no point

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Speaker 3: were you guys just like, hey, let's do like, let's

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Speaker 3: really be a group now, or were you just like, no,

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Speaker 3: we'll well, we'll be the pilots of the ship and

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Speaker 3: just produce all their stuff.

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Speaker 1: They man, I used to beg these foods to be

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Speaker 1: a group. Man, they never want to do it.

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Speaker 2: So was so was the closest well of Raby back

352
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Speaker 2: is that the closest y'all came with like society, soul

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Speaker 2: and sleepy, and it was the closest.

354
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Speaker 1: We're not sleeping thing because want to be a part yeah, society, society.

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Speaker 4: So there was a part we didn't want to be

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Speaker 4: a part of the party. But la Reed said he

357
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Speaker 4: wasn't gonna do the group unless all all of us

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Speaker 4: in it. So it was like it would literally be

359
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Speaker 4: like they were going the road, big Rub and Esperanza,

360
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Speaker 4: Me and Ray would pop up whenever whatever. We just

361
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Speaker 4: looked at like Jim James Lewis was just gonna be.

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Speaker 2: The producer never as bad as I wanted to you

363
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Speaker 2: know what I'm saying, wanted to be a.

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Speaker 1: Group with them.

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Speaker 4: You know, you got to realize like we had took

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Speaker 4: on something very like it's like what we were doing

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Speaker 4: for our own little family as far as you know,

368
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Speaker 4: but but what we did for the South, how we

369
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Speaker 4: had inspired like we really we were like in the

370
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Speaker 4: way I was balancing Puff with these weekends and ship

371
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Speaker 4: like we was important.

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Speaker 1: Was the problem was talking about that? Talking about that?

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Speaker 4: Talk about No, I'm just saying that, like Puffy is

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Speaker 4: the king of marketing promotions and he was a part

375
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Speaker 4: of know, you know, you don't want you didn't want

376
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Speaker 4: this bad boys shit coming in your city just taking over,

377
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Speaker 4: but it was coming, it was it was coming. So

378
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Speaker 4: it was more like everybody just wanted me to kind

379
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Speaker 4: of like be against it. But I'm like, this nigga's coming.

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Speaker 1: Right right, I got.

381
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Speaker 4: So we're gonna play tough, but at the end of

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Speaker 4: the day, we're gonna, we're gonna, we're gonna work together.

383
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Speaker 4: We're gonna work together because of respect. And that's the

384
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Speaker 4: way that God bless Kim Porter you know I'm saying, has

385
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Speaker 4: passed away. But Kim would call me, Yeah, yeah, Kim

386
00:18:32,480 --> 00:18:34,360
Speaker 4: would call me and be like he got he wanted

387
00:18:34,359 --> 00:18:35,919
Speaker 4: to show respace. He don't wanna do that with your

388
00:18:35,960 --> 00:18:38,159
Speaker 4: main and that knows it, and and not do not

389
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Speaker 4: showing no respect to Dungeon families.

390
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Speaker 1: There was more of a puff.

391
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Speaker 4: Knew how to talk to people, he knew how to

392
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Speaker 4: trick you to get to do what you want to do.

393
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Speaker 4: So but that was important, but it was also like

394
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Speaker 4: a half so a little bit even though you forget

395
00:18:50,080 --> 00:18:52,199
Speaker 4: how important marketing it is or whatever, you forget how

396
00:18:52,200 --> 00:18:55,040
Speaker 4: important the promotion is, but really, you know, we really

397
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Speaker 4: just want to make music and really figure out other

398
00:18:58,160 --> 00:19:01,359
Speaker 4: ways of getting more like different stuff out because Atlanta

399
00:19:01,480 --> 00:19:04,560
Speaker 4: was but India I read with these it's it's such

400
00:19:04,560 --> 00:19:07,040
Speaker 4: a wild It's like we don't set this hip hop off,

401
00:19:07,320 --> 00:19:10,160
Speaker 4: but we know R and B and soul music is here,

402
00:19:10,840 --> 00:19:13,840
Speaker 4: so we're thinking about how to make soul and R

403
00:19:13,880 --> 00:19:16,320
Speaker 4: and B cooler and it's gotten that way now. So

404
00:19:16,359 --> 00:19:18,800
Speaker 4: we did Society, So it was us trying to find

405
00:19:18,800 --> 00:19:21,400
Speaker 4: that we was pushing the edge on what It opened

406
00:19:21,440 --> 00:19:23,360
Speaker 4: up the door for the neo so like.

407
00:19:23,359 --> 00:19:25,879
Speaker 2: No Man Embrace, like I ran the fun out of

408
00:19:25,880 --> 00:19:28,120
Speaker 2: that record Black Mermaid.

409
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Speaker 1: To Me and Earth.

410
00:19:31,560 --> 00:19:34,560
Speaker 2: Let me say this like Society Soul album was actually

411
00:19:34,640 --> 00:19:38,719
Speaker 2: some outcast ship. But Ray was like, they can't go

412
00:19:38,800 --> 00:19:40,640
Speaker 2: back and do their style. They gotta come a little

413
00:19:40,640 --> 00:19:43,080
Speaker 2: more hard and different. So me and Rude was like,

414
00:19:43,200 --> 00:19:46,639
Speaker 2: what ship, just do a group because the first record

415
00:19:46,680 --> 00:19:49,560
Speaker 2: was of her, that was the first record that we

416
00:19:49,600 --> 00:19:52,080
Speaker 2: did at kirk Tong That's the one that's the one

417
00:19:52,840 --> 00:19:55,240
Speaker 2: that they didn't really want to do it like that,

418
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Speaker 2: I was like, well we might always do a group.

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Speaker 1: Yeah, you know what I'm saying.

420
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Speaker 2: So that's kind of how the whole society saw came

421
00:20:00,280 --> 00:20:03,280
Speaker 2: up sleep the theme see the thing came up when

422
00:20:03,280 --> 00:20:06,199
Speaker 2: we were with in the Scope and we had Dopples's studios.

423
00:20:06,320 --> 00:20:08,120
Speaker 1: We had all three rooms right.

424
00:20:08,359 --> 00:20:11,919
Speaker 4: And it was also because Sleepy from day one, remember

425
00:20:11,920 --> 00:20:14,600
Speaker 4: to hear the story. He he this was his mission.

426
00:20:15,200 --> 00:20:17,240
Speaker 4: We kept putting it on the back burner because of

427
00:20:17,240 --> 00:20:21,479
Speaker 4: our success as producers. Even in Player's Ball video, Sleepy

428
00:20:21,560 --> 00:20:24,720
Speaker 4: killed that hook. But because of the Face Records marketing,

429
00:20:25,640 --> 00:20:28,440
Speaker 4: he badly was in the video Get Up, Get Out

430
00:20:29,040 --> 00:20:30,720
Speaker 4: the Prince Burson to Get Up, Get Out. It didn't

431
00:20:30,800 --> 00:20:33,080
Speaker 4: have selot rapping at the beginning and came right out

432
00:20:33,080 --> 00:20:35,720
Speaker 4: with Big and Drake. I was like, this music industry

433
00:20:35,760 --> 00:20:39,520
Speaker 4: bullshit could have can destroy an artist Like I gotta

434
00:20:39,560 --> 00:20:41,960
Speaker 4: go back and face these people and say like but

435
00:20:42,000 --> 00:20:44,880
Speaker 4: I'm telling him, like this ship is stupid, but but

436
00:20:44,880 --> 00:20:47,320
Speaker 4: but but it's but we gotta put Big and Drake.

437
00:20:47,400 --> 00:20:49,680
Speaker 4: We got And that's why I said, going back, going

438
00:20:49,720 --> 00:20:53,040
Speaker 4: now to the story speak about his love below. This

439
00:20:53,119 --> 00:20:56,080
Speaker 4: is his brand. This is his brand, Big and Dre

440
00:20:56,359 --> 00:20:58,840
Speaker 4: And that's one thing I could appreciate about it. Even

441
00:20:58,880 --> 00:21:01,960
Speaker 4: though you want to it should have been Dungeon Family Out,

442
00:21:02,040 --> 00:21:03,240
Speaker 4: should have been Dungeon Family out.

443
00:21:03,320 --> 00:21:04,879
Speaker 1: But he's like, we got big and Dre signed.

444
00:21:05,280 --> 00:21:07,840
Speaker 2: So when y'all did the Dungeon Family even in darkness,

445
00:21:08,080 --> 00:21:09,920
Speaker 2: how were y'all as a crew at that time? Because

446
00:21:09,920 --> 00:21:11,879
Speaker 2: my record off that album was followed the Light, like

447
00:21:11,920 --> 00:21:13,320
Speaker 2: I love that was the one and.

448
00:21:13,280 --> 00:21:15,560
Speaker 4: That came and that came out, that came together naturally,

449
00:21:15,640 --> 00:21:17,920
Speaker 4: like everybody in the studio just singing, and they all

450
00:21:18,000 --> 00:21:19,440
Speaker 4: there was some real Dungeon Family.

451
00:21:19,160 --> 00:21:20,479
Speaker 1: Type of thing. You can feel it.

452
00:21:20,520 --> 00:21:23,399
Speaker 4: I love, but that music industry bullshit that l A

453
00:21:23,480 --> 00:21:26,160
Speaker 4: Reads doing. Then I swept to the fourth. He put

454
00:21:26,240 --> 00:21:29,560
Speaker 4: Dungeon Family. When y'all bring it up, those memories come up.

455
00:21:30,800 --> 00:21:33,080
Speaker 4: He put out Outcasts Greatest his album that he never

456
00:21:33,160 --> 00:21:35,800
Speaker 4: knew that we never knew about. Two weeks after he

457
00:21:35,800 --> 00:21:38,080
Speaker 4: put out Dungeon Family out, he just gave he literally

458
00:21:39,359 --> 00:21:41,159
Speaker 4: no no, He gave us a million dollars just so

459
00:21:41,240 --> 00:21:43,240
Speaker 4: Outcasts will be cool with putting out cause they knew

460
00:21:43,240 --> 00:21:45,840
Speaker 4: that putting out their greatest hit thing was what we're

461
00:21:45,880 --> 00:21:48,080
Speaker 4: doing that for. He knew he was trying to work

462
00:21:48,119 --> 00:21:49,879
Speaker 4: the Outcast. Now, I keep telling it, I can put

463
00:21:49,920 --> 00:21:52,840
Speaker 4: a four Outcast records right now with with with them

464
00:21:52,840 --> 00:21:54,320
Speaker 4: on one song, I can just keep it going. I

465
00:21:54,320 --> 00:21:55,480
Speaker 4: need to meet a certain quota.

466
00:21:56,280 --> 00:21:58,440
Speaker 1: The whole world, the whole world should have been the

467
00:21:58,480 --> 00:22:01,480
Speaker 1: singer on Dungeons. Yeah, so it's like.

468
00:22:03,520 --> 00:22:05,040
Speaker 4: The fact that he was playing, but that's not an

469
00:22:05,040 --> 00:22:07,320
Speaker 4: outcast thing, that's not an organized Norse thing.

470
00:22:07,359 --> 00:22:09,800
Speaker 1: That was an l a read thing playing the game.

471
00:22:09,840 --> 00:22:12,040
Speaker 4: As far as like thinking he knew more about he

472
00:22:12,119 --> 00:22:15,200
Speaker 4: knew more now and he saw master p and everybody was.

473
00:22:15,119 --> 00:22:20,080
Speaker 2: Doing it side outcast on. Now, if you were fan,

474
00:22:20,200 --> 00:22:21,399
Speaker 2: which side you're gonna hang up?

475
00:22:22,400 --> 00:22:22,520
Speaker 1: Right?

476
00:22:22,800 --> 00:22:23,880
Speaker 7: Yes, that's on the back.

477
00:22:27,040 --> 00:22:28,840
Speaker 1: I was. I was living when I saw that. Man.

478
00:22:28,840 --> 00:22:31,159
Speaker 4: We were showing, we were sure we would show up at

479
00:22:31,160 --> 00:22:33,600
Speaker 4: certain places and and this was like I didn't have

480
00:22:33,640 --> 00:22:36,199
Speaker 4: any more control of the business part because we had

481
00:22:36,200 --> 00:22:38,760
Speaker 4: did the Ender Scope deal. So now we're still a crew.

482
00:22:38,880 --> 00:22:41,840
Speaker 4: How you're talking about, how how did things go between

483
00:22:41,920 --> 00:22:44,359
Speaker 4: us and them? We all stayed the family. The problem

484
00:22:44,440 --> 00:22:46,880
Speaker 4: was when we wasn't in control of the business. Yeah,

485
00:22:47,000 --> 00:22:49,760
Speaker 4: things broke up. Everybody broke up. I mean everybody because

486
00:22:49,760 --> 00:22:52,960
Speaker 4: we wasn't in control of That's what's the word translating

487
00:22:53,000 --> 00:22:56,320
Speaker 4: some of those conversations, like when it's ABOUTY say Big

488
00:22:56,320 --> 00:22:58,760
Speaker 4: and Dre. They're not stars. I didn't go back and

489
00:22:58,800 --> 00:23:02,280
Speaker 4: tell them that. I know, you know what you're up there. Yeah,

490
00:23:02,400 --> 00:23:03,920
Speaker 4: you know what you're talking about. You know what I'm saying.

491
00:23:03,920 --> 00:23:06,080
Speaker 4: You're telling me I'm the star. I should be in

492
00:23:06,119 --> 00:23:08,080
Speaker 4: the group. And I'm like an R and B. I'm like,

493
00:23:08,080 --> 00:23:13,320
Speaker 4: big Daddy came up the whole bye right, it's like

494
00:23:13,880 --> 00:23:19,960
Speaker 4: you want to put big Daddy came having this trying

495
00:23:20,000 --> 00:23:21,280
Speaker 4: to get that ain't gonna work.

496
00:23:21,920 --> 00:23:25,240
Speaker 2: Nah, if by record on that one, it was, of course,

497
00:23:25,240 --> 00:23:27,680
Speaker 2: it's the single six minute and white Guts.

498
00:23:27,400 --> 00:23:28,359
Speaker 1: White Guts was crazy.

499
00:23:30,440 --> 00:23:33,680
Speaker 4: They be giving up Big Boy General pat man On God,

500
00:23:33,800 --> 00:23:36,240
Speaker 4: y'all world here this this man hold us down better

501
00:23:36,280 --> 00:23:38,000
Speaker 4: than anybody, better than anybody.

502
00:23:38,040 --> 00:23:40,120
Speaker 1: He is a true leader. He's a true leader.

503
00:23:40,160 --> 00:23:41,719
Speaker 4: I wanted Dre to be the leader, and Dre tell

504
00:23:41,800 --> 00:23:44,360
Speaker 4: me you're the leader, like I'm the leader, and that's right.

505
00:23:44,400 --> 00:23:45,240
Speaker 1: But he's right.

506
00:23:46,119 --> 00:23:51,040
Speaker 4: But but but big boy, big Boy is the General

507
00:23:51,080 --> 00:23:53,719
Speaker 4: Patton Man. I love him to death. That man like

508
00:23:53,960 --> 00:23:57,200
Speaker 4: the elevators that me and you ain't. No, it's like

509
00:23:57,280 --> 00:24:00,639
Speaker 4: big boy his that is That is what our cast is.

510
00:24:00,880 --> 00:24:03,600
Speaker 4: Andre is what outcasts became. As far as like the

511
00:24:03,600 --> 00:24:08,200
Speaker 4: fact that his creativity was it's a it's prince then

512
00:24:08,200 --> 00:24:10,919
Speaker 4: he yes, the fact that he learned good charge. He

513
00:24:11,040 --> 00:24:13,359
Speaker 4: showed you start off as a rapper, just rapping and

514
00:24:13,400 --> 00:24:15,800
Speaker 4: not making beats and becoming a person that's writing your

515
00:24:15,800 --> 00:24:18,280
Speaker 4: own songs and records. Like like you're playing every play,

516
00:24:18,320 --> 00:24:20,679
Speaker 4: every play instruments. You play whatever you want to do

517
00:24:21,000 --> 00:24:24,040
Speaker 4: if you love it, and that's all music asked.

518
00:24:24,160 --> 00:24:25,439
Speaker 1: You got to put back into it.

519
00:24:25,440 --> 00:24:29,040
Speaker 4: You got now, right, man, Man, he on the flue,

520
00:24:29,040 --> 00:24:30,440
Speaker 4: he popping up, he popping up in people.

521
00:24:30,520 --> 00:24:34,720
Speaker 1: Man, I want to see him. Man, he's just walking

522
00:24:34,720 --> 00:24:36,720
Speaker 1: around playing flute in Philadelphia.

523
00:24:37,000 --> 00:24:39,280
Speaker 2: Alright, let me know what Drake dre playing is more

524
00:24:39,359 --> 00:24:46,280
Speaker 2: like a cold movie.

525
00:24:40,640 --> 00:24:47,040
Speaker 1: Yes, I had a question.

526
00:24:47,840 --> 00:24:50,040
Speaker 2: I had a question about so Curtis Mayfield the New

527
00:24:50,080 --> 00:24:52,640
Speaker 2: War Order album. Oh man, was it true that y'all

528
00:24:52,680 --> 00:24:55,680
Speaker 2: recorded his vocals on his back? Yes, we did talk

529
00:24:55,680 --> 00:24:58,840
Speaker 2: about those sessions. The first well, the song that was

530
00:24:58,920 --> 00:25:02,760
Speaker 2: ms Mark and uh. We were sitting there and they

531
00:25:02,760 --> 00:25:05,360
Speaker 2: brought him in and he had to sing the whole

532
00:25:05,400 --> 00:25:08,200
Speaker 2: thing on his back. So when he was singing, sometimes

533
00:25:08,240 --> 00:25:10,159
Speaker 2: with spast and it's no to go up or whatever,

534
00:25:10,240 --> 00:25:13,720
Speaker 2: But basically he really sung the song and like maybe

535
00:25:13,760 --> 00:25:16,720
Speaker 2: two takes, bro like he really killed it. It was

536
00:25:16,840 --> 00:25:19,840
Speaker 2: really amazing to actually work with him before he passed.

537
00:25:20,160 --> 00:25:22,639
Speaker 2: And because I'm sitting there, you know, player ball is

538
00:25:22,680 --> 00:25:23,920
Speaker 2: out and I don't know how you.

539
00:25:23,840 --> 00:25:24,560
Speaker 1: Feel about it.

540
00:25:24,720 --> 00:25:26,800
Speaker 2: So I'm nervous as hell because I'm sitting there, I'm like,

541
00:25:26,800 --> 00:25:29,040
Speaker 2: oh im about doing Curtis Mayfield vocals.

542
00:25:29,280 --> 00:25:29,920
Speaker 1: Damn.

543
00:25:30,119 --> 00:25:32,320
Speaker 2: So he's in there. In the first day he said

544
00:25:32,359 --> 00:25:34,760
Speaker 2: to me, was sleep it. I really liked what you

545
00:25:34,800 --> 00:25:36,399
Speaker 2: did on that on that out. Can that player his

546
00:25:36,480 --> 00:25:37,560
Speaker 2: ball keep it up?

547
00:25:37,600 --> 00:25:38,040
Speaker 1: I was like.

548
00:25:39,640 --> 00:25:44,320
Speaker 4: What, because at that time, everybody was comparing his vocal

549
00:25:44,359 --> 00:25:47,439
Speaker 4: to Curtis Mayfield, Curtis's Mayfield vocal on That's what the

550
00:25:47,440 --> 00:25:49,640
Speaker 4: writers were saying. And at that point I was cool

551
00:25:49,680 --> 00:25:51,199
Speaker 4: with it because we kind of had a relationship with

552
00:25:51,200 --> 00:25:53,159
Speaker 4: Curtis Mayfield's son. It was kind of like a family

553
00:25:53,240 --> 00:25:54,639
Speaker 4: thing or whatever to where we knew them and we

554
00:25:55,520 --> 00:25:58,520
Speaker 4: actually we was gonna buy his father's studio, but we

555
00:25:58,560 --> 00:26:00,240
Speaker 4: didn't want to take it from so we.

556
00:26:01,760 --> 00:26:04,639
Speaker 1: Made to a museum. Damn.

557
00:26:05,160 --> 00:26:07,080
Speaker 8: Wait, So can I ask you, Sleepy, how do you

558
00:26:07,119 --> 00:26:09,439
Speaker 8: feel do you feel you got your just At this

559
00:26:09,480 --> 00:26:12,680
Speaker 8: point as a solo artist with all these stories.

560
00:26:13,440 --> 00:26:16,920
Speaker 2: Hell, no, man, I can say this. I've been very

561
00:26:16,960 --> 00:26:20,280
Speaker 2: fortunate to meet all my heroes. I'm talking about everybody

562
00:26:20,400 --> 00:26:21,919
Speaker 2: used to sit down and look at their album for

563
00:26:22,000 --> 00:26:24,560
Speaker 2: hours and just earth Winding Fire. I had a chance

564
00:26:24,600 --> 00:26:27,560
Speaker 2: to walk in. But when I tell me that earth

565
00:26:27,560 --> 00:26:30,440
Speaker 2: Winding Fire, because I had met George, and George became

566
00:26:30,480 --> 00:26:33,199
Speaker 2: like a father to me. So but I met all

567
00:26:33,200 --> 00:26:34,920
Speaker 2: the original members of Earth Wind the Fire. We walk

568
00:26:35,000 --> 00:26:38,280
Speaker 2: in for the Grammy rehearsal and I'm like, that's right.

569
00:26:38,480 --> 00:26:43,080
Speaker 2: I said, bro that that niggle Maurice hold on. He

570
00:26:43,160 --> 00:26:44,720
Speaker 2: was like, yeah, they perform and I was like, man,

571
00:26:44,760 --> 00:26:46,240
Speaker 2: get what you.

572
00:26:46,119 --> 00:26:48,280
Speaker 1: Didn't find out you're performing them until that out.

573
00:26:48,320 --> 00:26:51,240
Speaker 2: As soon as I said what, there was in the

574
00:26:51,280 --> 00:26:54,440
Speaker 2: circle that said Steven come in and sing the birth. Wow.

575
00:26:54,960 --> 00:26:57,560
Speaker 1: So earth Wind and Fire is doing the singing. Man,

576
00:26:57,680 --> 00:26:57,960
Speaker 1: come on.

577
00:26:59,640 --> 00:27:07,720
Speaker 2: I was always great, naive, So I had a chance

578
00:27:07,760 --> 00:27:10,760
Speaker 2: to meet all my heroes, man, everybody in the music

579
00:27:10,800 --> 00:27:13,120
Speaker 2: business that I always looked up to, and they all

580
00:27:13,160 --> 00:27:16,399
Speaker 2: adopted me. And I'm more happy about that than my career,

581
00:27:17,040 --> 00:27:19,119
Speaker 2: to tell you the truth, Because as a solo artist,

582
00:27:19,840 --> 00:27:21,919
Speaker 2: it's been all right. You know what, I mean, the

583
00:27:21,960 --> 00:27:23,679
Speaker 2: way you move still does great for me.

584
00:27:23,760 --> 00:27:25,560
Speaker 1: I love it. We could perform that anytime.

585
00:27:25,600 --> 00:27:27,720
Speaker 2: My dad always told me, said, Patri you're gonna have

586
00:27:27,760 --> 00:27:29,080
Speaker 2: one song that you can perform to.

587
00:27:29,119 --> 00:27:32,520
Speaker 1: You die dances for him, he said, the way it

588
00:27:32,600 --> 00:27:37,479
Speaker 1: moves for you. Wow. You know listen, you know my

589
00:27:37,520 --> 00:27:39,239
Speaker 1: career has been I love it.

590
00:27:39,240 --> 00:27:41,120
Speaker 2: It's some stuff that I wish could have happened better,

591
00:27:41,160 --> 00:27:46,080
Speaker 2: but that's definitely happened. But but you know what, my

592
00:27:46,119 --> 00:27:49,040
Speaker 2: thing on that album, my record was I like Margarita.

593
00:27:49,320 --> 00:27:50,600
Speaker 1: One of the nights was the one for me.

594
00:27:50,680 --> 00:27:51,399
Speaker 7: One of the Knights.

595
00:27:52,640 --> 00:28:00,679
Speaker 2: Yeah, I did that with them. He did that with

596
00:28:00,720 --> 00:28:03,480
Speaker 2: Black Eyed peas Man. Oh well, will yeah Prince and

597
00:28:04,119 --> 00:28:04,800
Speaker 2: yeah yeah Prince.

598
00:28:05,359 --> 00:28:06,639
Speaker 1: Yeah.

599
00:28:06,960 --> 00:28:10,520
Speaker 3: Can I ask give me a close call story? Who

600
00:28:10,520 --> 00:28:12,880
Speaker 3: did you guys almost work on and didn't work on?

601
00:28:13,640 --> 00:28:15,639
Speaker 3: He talked about producing their record and then.

602
00:28:16,280 --> 00:28:18,480
Speaker 4: Right, well, Kendrick, it was because you just didn't pick

603
00:28:18,520 --> 00:28:20,040
Speaker 4: the right It was just it was just timing they

604
00:28:20,119 --> 00:28:22,560
Speaker 4: was at the time they was moving, but he just came.

605
00:28:22,640 --> 00:28:23,680
Speaker 1: That's was like out.

606
00:28:23,920 --> 00:28:27,720
Speaker 3: It's like what you wait free or new Kendrick, Oh well,

607
00:28:28,080 --> 00:28:31,000
Speaker 3: or he he wanted the classic organized noise or.

608
00:28:31,400 --> 00:28:34,480
Speaker 4: Yes when right before he put out all this stuff

609
00:28:34,480 --> 00:28:37,960
Speaker 4: that he like, right right, but okay, but let me

610
00:28:37,960 --> 00:28:38,840
Speaker 4: think a good let me think.

611
00:28:38,920 --> 00:28:41,600
Speaker 1: Let me think maybe around twenty thirteen fourteen something that.

612
00:28:42,360 --> 00:28:44,560
Speaker 4: I know for I know one story which is I mean,

613
00:28:44,960 --> 00:28:48,880
Speaker 4: I'm thinking of another one, but Jagged Edge, like Jagged

614
00:28:49,000 --> 00:28:51,400
Speaker 4: Jagged Edge was supposed to be signed us. I kind

615
00:28:51,400 --> 00:28:54,520
Speaker 4: of like during that time because cause I loved them twins,

616
00:28:54,520 --> 00:28:56,160
Speaker 4: them twins that really sing and they's coming around and

617
00:28:56,160 --> 00:28:58,160
Speaker 4: they was playing the song. But I just felt like

618
00:28:59,320 --> 00:29:00,760
Speaker 4: we had it was the in a scope deal. We

619
00:29:00,800 --> 00:29:03,840
Speaker 4: had just kind of messed up. So instead of like

620
00:29:03,880 --> 00:29:06,000
Speaker 4: looking at God looking at the gift, and I'm saying like, okay,

621
00:29:06,000 --> 00:29:07,800
Speaker 4: this is another group, it was more like we just

622
00:29:07,840 --> 00:29:11,040
Speaker 4: want that kind of build up in house or whatever,

623
00:29:11,040 --> 00:29:12,880
Speaker 4: and that stuff was kind of already done. They had

624
00:29:12,920 --> 00:29:14,840
Speaker 4: everything written. It was just like one of those you

625
00:29:14,920 --> 00:29:16,760
Speaker 4: just need to go in and touch it or whatever

626
00:29:16,800 --> 00:29:19,440
Speaker 4: like putting or whatever, get it right. And and I

627
00:29:19,480 --> 00:29:23,600
Speaker 4: remember saying, I'm gonna let your man out. I should

628
00:29:23,600 --> 00:29:24,200
Speaker 4: have did that.

629
00:29:25,600 --> 00:29:27,000
Speaker 3: I know, I know there's no way to ask this

630
00:29:27,080 --> 00:29:31,480
Speaker 3: question and not be whatever, But like as far as

631
00:29:31,600 --> 00:29:35,200
Speaker 3: the different family members, because you know, we just got

632
00:29:35,200 --> 00:29:40,480
Speaker 3: done talking to Keisha Jackson, and she's speaking of, like,

633
00:29:41,080 --> 00:29:44,560
Speaker 3: you know, there's the Social Death Crew, and there's Organized

634
00:29:44,600 --> 00:29:48,000
Speaker 3: Noise Crew, and there's like so many crews around, and

635
00:29:48,600 --> 00:29:52,480
Speaker 3: she was speaking speaking of basically like being a freelance

636
00:29:52,520 --> 00:29:57,560
Speaker 3: background singer, and she in the beginning didn't know if

637
00:29:57,680 --> 00:29:59,600
Speaker 3: motherfuckers would feel a certain way of like she's singing

638
00:29:59,600 --> 00:30:01,800
Speaker 3: when y'all one moment and then over here singing with

639
00:30:01,800 --> 00:30:04,560
Speaker 3: them is another like kind of like an appoloonya Prince

640
00:30:04,600 --> 00:30:05,120
Speaker 3: Wayre's thing.

641
00:30:06,080 --> 00:30:10,720
Speaker 1: But is there friendly rivalry at least between.

642
00:30:10,440 --> 00:30:12,160
Speaker 4: He tell you something, I'll tell you something Off the

643
00:30:12,240 --> 00:30:16,440
Speaker 4: Rip Atlanta, Jermaine Dupree, Dallas Austin Organized Noise, all right,

644
00:30:17,080 --> 00:30:20,280
Speaker 4: So we because they were already kind of getting it.

645
00:30:20,320 --> 00:30:22,080
Speaker 4: Dallas is the king, you know what I'm saying. Dallas

646
00:30:22,120 --> 00:30:23,440
Speaker 4: was the king. Dallas had, you know what I'm saying.

647
00:30:23,720 --> 00:30:25,440
Speaker 4: Not only did he have a b C. He was

648
00:30:25,560 --> 00:30:27,880
Speaker 4: produced Boys to Man, He produced Boys to Men first

649
00:30:27,880 --> 00:30:30,560
Speaker 4: album or whatever, like he he did Madonna.

650
00:30:30,600 --> 00:30:32,440
Speaker 1: He was he was somebody that.

651
00:30:32,320 --> 00:30:37,040
Speaker 4: We was just like, remember Dallas, Dallas, that guy like Dallas,

652
00:30:37,040 --> 00:30:38,040
Speaker 4: the guy on the show.

653
00:30:38,200 --> 00:30:41,640
Speaker 1: So Jermaine, what's that guy?

654
00:30:41,840 --> 00:30:45,400
Speaker 4: Independently coast, closer to what we can touch like he

655
00:30:45,480 --> 00:30:46,480
Speaker 4: was working with Itchy Bun.

656
00:30:46,560 --> 00:30:48,800
Speaker 1: He had a couple of hip and the straight Jackers.

657
00:30:49,000 --> 00:30:49,360
Speaker 1: He had.

658
00:30:51,360 --> 00:30:51,440
Speaker 9: Me.

659
00:30:51,560 --> 00:30:54,040
Speaker 1: Yeah, his version of his version of the Southern Paper,

660
00:30:54,440 --> 00:30:57,560
Speaker 1: his version of that what he was doing.

661
00:31:02,280 --> 00:31:03,959
Speaker 4: I'm just I'm just telling you how I saw how

662
00:31:03,960 --> 00:31:06,360
Speaker 4: I saw it. But I still admired him because his

663
00:31:06,440 --> 00:31:08,800
Speaker 4: father and what he did that was I was close

664
00:31:08,800 --> 00:31:11,280
Speaker 4: to connected. Jermaine was our he was tangible. Jermaine was

665
00:31:11,320 --> 00:31:13,440
Speaker 4: friends with KP them like that. We could so so

666
00:31:13,480 --> 00:31:17,280
Speaker 4: it was more about we did when Chris Cross came, he.

667
00:31:17,240 --> 00:31:20,480
Speaker 1: Figured it out. He did his version of a kid.

668
00:31:20,680 --> 00:31:22,920
Speaker 2: Actually, me and Jermaine kind of grew up backstage together

669
00:31:22,920 --> 00:31:24,760
Speaker 2: because his dad was the road manager for Brick.

670
00:31:26,440 --> 00:31:28,240
Speaker 4: So so so with that being said, when we go

671
00:31:28,280 --> 00:31:30,520
Speaker 4: in the studio, were in the studio, I remember the

672
00:31:30,560 --> 00:31:32,440
Speaker 4: first time we was like working on outre working on

673
00:31:32,520 --> 00:31:37,000
Speaker 4: some I heard him starting to do like he started

674
00:31:37,000 --> 00:31:41,280
Speaker 4: trying to use that person on Bratt, Mark Marcus Jefferson.

675
00:31:41,040 --> 00:31:43,400
Speaker 1: Marcus, we ain't work. We ain't Mark, We ain't work

676
00:31:43,400 --> 00:31:48,040
Speaker 1: with Mark. About ten years after that, Mark, No.

677
00:31:48,120 --> 00:31:50,160
Speaker 4: I mean I love him to death, but he know

678
00:31:50,240 --> 00:31:52,400
Speaker 4: I got mad about that I got mad, even though.

679
00:31:52,320 --> 00:31:53,720
Speaker 7: Did he stepped away from what he was doing for

680
00:31:53,760 --> 00:31:54,440
Speaker 7: y'all to do that?

681
00:31:54,560 --> 00:31:55,400
Speaker 1: No, he didn't step away.

682
00:31:55,400 --> 00:31:57,040
Speaker 4: It was just me being like that nigga biting us

683
00:31:57,120 --> 00:32:01,160
Speaker 4: territory spin territorial because Mark was fresh Mark.

684
00:32:01,360 --> 00:32:03,280
Speaker 1: Mark had a new sound. He he he.

685
00:32:03,560 --> 00:32:05,239
Speaker 4: Had he had the big bass slide, but he had

686
00:32:05,280 --> 00:32:08,080
Speaker 4: put the witness on it and we had waterfalls with

687
00:32:08,200 --> 00:32:09,400
Speaker 4: him and we did.

688
00:32:09,280 --> 00:32:14,560
Speaker 1: Something this way come like the sound was gonna be big.

689
00:32:14,600 --> 00:32:16,400
Speaker 4: So it was like, man, he's just trying to like

690
00:32:16,480 --> 00:32:17,920
Speaker 4: rip that that sound.

691
00:32:18,040 --> 00:32:21,080
Speaker 1: But we was wrong. You know what I'm saying. It's

692
00:32:21,120 --> 00:32:23,120
Speaker 1: like like we was right about what he did or whatever.

693
00:32:23,240 --> 00:32:26,160
Speaker 4: But it wasn't about shunning him as it was just

694
00:32:26,200 --> 00:32:27,400
Speaker 4: more like it's other bass players.

695
00:32:27,440 --> 00:32:29,400
Speaker 1: We can use other people. You won't be in our

696
00:32:29,480 --> 00:32:38,320
Speaker 1: sessions or whatever. Like That's how I didn't really know,

697
00:32:39,360 --> 00:32:41,680
Speaker 1: you know, this is what we're saying.

698
00:32:42,080 --> 00:32:42,360
Speaker 8: What we.

699
00:32:45,400 --> 00:32:47,760
Speaker 4: Know what I'm talking about because he was one of

700
00:32:47,760 --> 00:32:49,800
Speaker 4: our he would have been he was somebody that we

701
00:32:49,800 --> 00:32:52,200
Speaker 4: would have covered it even more. But guess what though

702
00:32:52,360 --> 00:32:54,720
Speaker 4: we had Guess what that ain't just we had Preston.

703
00:32:54,720 --> 00:32:56,320
Speaker 4: Preston went and got that littlefect and put it on

704
00:32:56,400 --> 00:33:01,400
Speaker 4: his base would have got put it out Preston, but

705
00:33:01,760 --> 00:33:02,440
Speaker 4: go pressed on.

706
00:33:04,320 --> 00:33:10,520
Speaker 1: A yes to say that sound is our sound.

707
00:33:11,640 --> 00:33:17,160
Speaker 6: So this is why Preston incorporated that thing into his thing, because.

708
00:33:16,880 --> 00:33:20,480
Speaker 1: We still do that. That's why when you hear that

709
00:33:20,600 --> 00:33:22,240
Speaker 1: water based any kind of.

710
00:33:25,040 --> 00:33:27,040
Speaker 4: Talk about out there sound, you hear certain stuff that

711
00:33:27,040 --> 00:33:28,000
Speaker 4: you said that's out there.

712
00:33:28,080 --> 00:33:34,360
Speaker 1: There's no disrespect to nobody. I just blew him up.

713
00:33:34,360 --> 00:33:35,280
Speaker 1: Marcus Jefferson.

714
00:33:35,560 --> 00:33:39,520
Speaker 7: Can you tell the story behind Liberation man? Please?

715
00:33:40,160 --> 00:33:42,320
Speaker 1: And again? But kung Fu is strong.

716
00:33:43,840 --> 00:33:46,400
Speaker 4: But once again, I can give you this this part

717
00:33:46,440 --> 00:33:50,640
Speaker 4: of how I felt about it, and then I got

718
00:33:50,640 --> 00:33:53,560
Speaker 4: to see and how I felt about it at that time,

719
00:33:54,400 --> 00:33:57,320
Speaker 4: the musicianship, the fact that we saying we.

720
00:33:57,280 --> 00:34:01,000
Speaker 6: Did all of them at Doppler, the song together, and

721
00:34:01,080 --> 00:34:02,720
Speaker 6: we were doing all of this thing. All of this

722
00:34:02,840 --> 00:34:05,400
Speaker 6: was at the same time, right, It's all the same.

723
00:34:05,920 --> 00:34:09,040
Speaker 6: It's like the musicians going room the room, you know,

724
00:34:09,200 --> 00:34:10,280
Speaker 6: but the same energy.

725
00:34:10,600 --> 00:34:13,000
Speaker 4: At that point I felt like Big and Dre like

726
00:34:13,040 --> 00:34:16,160
Speaker 4: so that album and the Liberation was on stink on

727
00:34:16,200 --> 00:34:23,120
Speaker 4: you right. That album is Big and Dre's complete coming

728
00:34:23,160 --> 00:34:25,719
Speaker 4: out party like almost could have could have been their

729
00:34:25,760 --> 00:34:26,200
Speaker 4: last album.

730
00:34:26,239 --> 00:34:28,319
Speaker 1: Everything else was forced that I mean not for for

731
00:34:28,360 --> 00:34:29,280
Speaker 1: the record.

732
00:34:30,440 --> 00:34:34,480
Speaker 4: Yes, by that time, parties were free because I think

733
00:34:34,480 --> 00:34:36,799
Speaker 4: he did Gasoline Dreams on that album, so like they was.

734
00:34:37,760 --> 00:34:39,760
Speaker 1: Once you work with musicians a lot.

735
00:34:39,600 --> 00:34:41,680
Speaker 4: On the album, you figured out that the sonics of

736
00:34:41,760 --> 00:34:43,680
Speaker 4: being able to have these sounds with these sounds in

737
00:34:43,680 --> 00:34:45,560
Speaker 4: that sound. So by the time they got the Liberation,

738
00:34:45,920 --> 00:34:47,920
Speaker 4: I feel like that's where the poetry.

739
00:34:47,960 --> 00:34:50,200
Speaker 1: That's when he was n Spodio the double dishes.

740
00:34:50,200 --> 00:34:53,240
Speaker 4: That's why those songs are so special because they produced

741
00:34:53,239 --> 00:34:55,880
Speaker 4: the hell out the songs. Then they didn't have to

742
00:34:55,920 --> 00:34:59,080
Speaker 4: perform as rappers. They went and did like like the

743
00:35:00,320 --> 00:35:05,000
Speaker 4: it was actually wow and then and then the horn

744
00:35:05,080 --> 00:35:06,400
Speaker 4: section those.

745
00:35:06,239 --> 00:35:08,319
Speaker 7: Brothers, So who is the hook, who's the who came

746
00:35:08,400 --> 00:35:10,280
Speaker 7: up with the lyrics for? It's a fine line between.

747
00:35:10,360 --> 00:35:15,800
Speaker 4: That's and we flew to Dallas to record her vocals.

748
00:35:15,840 --> 00:35:16,640
Speaker 1: Fore you got me.

749
00:35:17,880 --> 00:35:21,440
Speaker 3: She was just listening to a rough, so I guess

750
00:35:21,600 --> 00:35:26,839
Speaker 3: Dre left a rough of like five songs there and

751
00:35:27,040 --> 00:35:33,200
Speaker 3: Ross was with us Common and Liberation came on and

752
00:35:34,560 --> 00:35:38,239
Speaker 3: literally I could say, now probably no group or a

753
00:35:38,239 --> 00:35:41,920
Speaker 3: collective of producers has ever made us like you know

754
00:35:42,000 --> 00:35:50,759
Speaker 3: that that kill Bill Ironside.

755
00:35:49,200 --> 00:35:51,960
Speaker 1: When that ship came on. I remember Rosh came on.

756
00:35:52,040 --> 00:35:55,480
Speaker 10: He's like, yo, man, how do you feel about that

757
00:35:55,480 --> 00:36:00,200
Speaker 10: that last song? And I was like said, yo man,

758
00:36:00,400 --> 00:36:02,640
Speaker 10: we got to come with some ship man like cause.

759
00:36:03,400 --> 00:36:06,640
Speaker 10: And I remember to that day when the idea of

760
00:36:06,680 --> 00:36:16,200
Speaker 10: heaving somewhere guys, I don't know if you know.

761
00:36:19,120 --> 00:36:23,760
Speaker 2: Good In my soul Ford album, Mixo mix So What's

762
00:36:24,120 --> 00:36:27,560
Speaker 2: What's Happen with him? Was my joint mix so man,

763
00:36:27,600 --> 00:36:31,880
Speaker 2: Mixo really was a bomb producer that he did bomb producer.

764
00:36:32,120 --> 00:36:37,280
Speaker 1: He was really he was not not bomb. He was dope.

765
00:36:37,400 --> 00:36:40,080
Speaker 4: He was dope, not he was super dope and and that,

766
00:36:40,239 --> 00:36:43,399
Speaker 4: and at that point we weren't really giving those sides up.

767
00:36:43,719 --> 00:36:45,960
Speaker 4: So it was like when he did the original, we

768
00:36:46,120 --> 00:36:48,480
Speaker 4: flipped it like like like so he got like like

769
00:36:48,520 --> 00:36:50,160
Speaker 4: we might have flipped like whatever he did.

770
00:36:50,400 --> 00:36:52,680
Speaker 1: But how did they know? Mix So how does Mixo involved?

771
00:36:52,960 --> 00:36:58,719
Speaker 1: Mixo had did Lumberjacks? He was, yeah, he had did that.

772
00:36:59,320 --> 00:37:03,000
Speaker 11: This is how I, this is how I.

773
00:37:03,040 --> 00:37:06,720
Speaker 4: But these songs hadn't come out, but Kujo and Timo

774
00:37:07,000 --> 00:37:11,279
Speaker 4: the Lumberjacks was on outcast Heels as far as the

775
00:37:11,320 --> 00:37:13,239
Speaker 4: next up and coming two man group in a Land

776
00:37:13,239 --> 00:37:13,640
Speaker 4: of rapping.

777
00:37:13,760 --> 00:37:16,759
Speaker 1: So it's so it was like, fuck, we gotta let's

778
00:37:16,800 --> 00:37:20,000
Speaker 1: make him a group. So y'all. So they were group first, the.

779
00:37:21,840 --> 00:37:24,319
Speaker 4: Wood Group, but instead of having another two man group

780
00:37:24,400 --> 00:37:27,320
Speaker 4: coming after after Howard two man group, it was better

781
00:37:27,560 --> 00:37:30,920
Speaker 4: to be like, instead of having Gift solo and Silo solo,

782
00:37:31,120 --> 00:37:33,239
Speaker 4: want we do a four man group or whatever, like,

783
00:37:33,400 --> 00:37:36,160
Speaker 4: because these guys were with the Nucleus that's where the

784
00:37:36,200 --> 00:37:41,080
Speaker 4: Goodie Mob came from. Kujo and album to Goodie Bag

785
00:37:41,200 --> 00:37:42,479
Speaker 4: was absolutely man listen.

786
00:37:42,680 --> 00:37:44,719
Speaker 3: So since you kind of brought it up or at

787
00:37:44,800 --> 00:37:47,560
Speaker 3: least pointed to the word to the white elf in

788
00:37:47,560 --> 00:37:51,719
Speaker 3: the room.

789
00:37:51,239 --> 00:37:54,320
Speaker 1: Here, you are, just walk back in. I have a question.

790
00:37:54,440 --> 00:37:55,239
Speaker 1: No no, no, no, no no.

791
00:37:55,280 --> 00:37:56,879
Speaker 3: I'm trying to phrase it in a way where it's

792
00:37:56,920 --> 00:38:03,920
Speaker 3: just not I'm asking a dumb question. What Obviously you

793
00:38:04,000 --> 00:38:06,279
Speaker 3: guys are now legacy producers because you've been doing this

794
00:38:06,280 --> 00:38:10,040
Speaker 3: for like three decades and there's always been talking there

795
00:38:10,120 --> 00:38:12,080
Speaker 3: and that it's been happening for the last two or

796
00:38:12,080 --> 00:38:18,000
Speaker 3: three years, where you know, there's obviously Earth Earth Gang

797
00:38:18,640 --> 00:38:22,560
Speaker 3: is heavily influenced, and it's hard not to be you know,

798
00:38:22,680 --> 00:38:24,359
Speaker 3: not spoke to them. They were like, yo, we were

799
00:38:25,160 --> 00:38:27,560
Speaker 3: like nine, ten, eleven years old when this shit's coming

800
00:38:27,560 --> 00:38:32,000
Speaker 3: out and now so obviously you're now seeing the results

801
00:38:32,000 --> 00:38:38,960
Speaker 3: and whatnot. Has there ever been a conversation about like

802
00:38:39,400 --> 00:38:41,760
Speaker 3: you guys working with them, like just from the current

803
00:38:41,800 --> 00:38:45,640
Speaker 3: crop of today's producers, like who Gang Yeah, oh.

804
00:38:45,520 --> 00:38:48,360
Speaker 4: Man, I got a great story. Orlando McGee, that was

805
00:38:48,400 --> 00:38:49,279
Speaker 4: our intern.

806
00:38:50,000 --> 00:38:50,680
Speaker 1: It was his group.

807
00:38:50,719 --> 00:38:52,759
Speaker 4: He was somebody that he wanted to work with, but

808
00:38:52,840 --> 00:38:54,200
Speaker 4: he wanted him to be around us. So we can

809
00:38:54,239 --> 00:38:56,120
Speaker 4: tell them how not to act like us so much

810
00:38:56,360 --> 00:38:58,000
Speaker 4: so we can make push them to being a little

811
00:38:58,000 --> 00:38:58,319
Speaker 4: more rik.

812
00:38:58,440 --> 00:39:00,520
Speaker 1: I love them guys, but I was a think that

813
00:39:00,560 --> 00:39:03,960
Speaker 1: it takes you three albums didn't get you together to

814
00:39:03,960 --> 00:39:04,600
Speaker 1: take that off.

815
00:39:04,680 --> 00:39:06,560
Speaker 4: Yeah, you see what happened to rariy my cousin DJ

816
00:39:06,680 --> 00:39:09,840
Speaker 4: working with Rari right now. Rari was a he was

817
00:39:09,880 --> 00:39:12,279
Speaker 4: a part of the twenty year anniversary. But when they

818
00:39:12,280 --> 00:39:14,840
Speaker 4: put that stick, that that that that challenge on you

819
00:39:15,000 --> 00:39:16,000
Speaker 4: you the next Outcast.

820
00:39:16,600 --> 00:39:20,080
Speaker 1: It's just like people people expect a ten year, ten

821
00:39:20,120 --> 00:39:20,839
Speaker 1: year line of work.

822
00:39:20,920 --> 00:39:23,279
Speaker 4: Outcast started with Southern playlists, the calact music where they

823
00:39:23,280 --> 00:39:24,920
Speaker 4: were just proving to New York that they can rhyme.

824
00:39:25,239 --> 00:39:27,919
Speaker 4: Then that had to double down on that with at

825
00:39:28,040 --> 00:39:31,879
Speaker 4: Yelling's equiminal. They went crazy creatively because the balls were

826
00:39:31,920 --> 00:39:33,040
Speaker 4: hanging too.

827
00:39:33,160 --> 00:39:33,560
Speaker 1: What I'm saying.

828
00:39:33,560 --> 00:39:35,480
Speaker 4: We had plaques on the wall. It was like there

829
00:39:35,520 --> 00:39:37,120
Speaker 4: was work. It was right, we was. We was dropping

830
00:39:37,120 --> 00:39:40,120
Speaker 4: when Tupac was dropping. We was dropping. When when whoever

831
00:39:40,239 --> 00:39:43,200
Speaker 4: the Wu Tang, whoever was It's gonna be big numbers

832
00:39:43,239 --> 00:39:46,440
Speaker 4: this week. Fuck outcasts just dropped. It didn't happen like

833
00:39:46,480 --> 00:39:50,680
Speaker 4: you wanted.

834
00:39:50,400 --> 00:39:50,760
Speaker 1: Words.

835
00:39:50,800 --> 00:39:54,560
Speaker 2: I always said, Yo outcasts. I don't know if y'all

836
00:39:54,600 --> 00:39:56,040
Speaker 2: did roaches and rats?

837
00:39:56,120 --> 00:39:56,520
Speaker 1: Was that y'all?

838
00:39:56,520 --> 00:39:59,919
Speaker 4: Oh man, that was a banger and that was broke?

839
00:40:00,440 --> 00:40:04,239
Speaker 1: Oh god, that was a jewel. That's a good one.

840
00:40:04,320 --> 00:40:06,600
Speaker 1: That's a good only on like YouTube, that's a good one.

841
00:40:07,200 --> 00:40:09,160
Speaker 1: It was probably ten years old when it came out.

842
00:40:09,560 --> 00:40:10,200
Speaker 1: Whenever dropped.

843
00:40:10,200 --> 00:40:12,040
Speaker 4: But that was one of those good like Bens of Beamer,

844
00:40:12,560 --> 00:40:14,360
Speaker 4: Benz of Bmber that we ended up using on the

845
00:40:14,360 --> 00:40:18,000
Speaker 4: New Jersey Drive. But that wasn't original version of it.

846
00:40:18,040 --> 00:40:20,000
Speaker 4: I'm telling you, that wasn't even the original version. That

847
00:40:20,080 --> 00:40:22,960
Speaker 4: was like the original that was original vibe, but it was,

848
00:40:24,200 --> 00:40:25,759
Speaker 4: but it was, Yeah, it was a Parliament sampling. You

849
00:40:25,920 --> 00:40:28,560
Speaker 4: just learn more about sampling and like like fuck, we can't.

850
00:40:29,000 --> 00:40:29,879
Speaker 1: Y'all can't use them.

851
00:40:29,840 --> 00:40:34,319
Speaker 2: Y'all Outcast the Outcast soundtrack game because like the higher

852
00:40:34,400 --> 00:40:35,439
Speaker 2: learning Joba.

853
00:40:35,400 --> 00:40:38,480
Speaker 4: Pobe and that was our That's how we learned because

854
00:40:38,640 --> 00:40:41,319
Speaker 4: like like we went in on a that's sp but

855
00:40:41,360 --> 00:40:42,839
Speaker 4: it was stiff though, and it was Grid and we

856
00:40:42,880 --> 00:40:44,719
Speaker 4: was like it was like, fuck man, we didn't take

857
00:40:44,760 --> 00:40:46,840
Speaker 4: advantage of that opportunity, you know what I'm saying, Like

858
00:40:46,880 --> 00:40:48,440
Speaker 4: even though we did, if we put out something with

859
00:40:48,440 --> 00:40:50,680
Speaker 4: Big Rube on it, it was we gotta but it

860
00:40:50,760 --> 00:40:52,959
Speaker 4: was like and we got paid good.

861
00:40:53,120 --> 00:40:54,879
Speaker 1: John Singleton loved us from that day.

862
00:40:55,000 --> 00:40:58,640
Speaker 4: Fourth every movie he had he called us to be

863
00:40:58,719 --> 00:41:01,600
Speaker 4: like Yo, he wanted Sleepy to be the whole soundtrack

864
00:41:01,640 --> 00:41:02,320
Speaker 4: for Chef.

865
00:41:03,440 --> 00:41:05,839
Speaker 2: Because he loved he loved the Sleepy the album so

866
00:41:05,920 --> 00:41:08,160
Speaker 2: much he flew me to New York to talk about it.

867
00:41:10,400 --> 00:41:12,440
Speaker 2: I had to me, Hey, we're gonna do the whole

868
00:41:12,480 --> 00:41:15,680
Speaker 2: thing like the Chafts soundtrack, gonna be Sleeping Brown doing

869
00:41:15,719 --> 00:41:18,279
Speaker 2: the whole Cheft things, just straight score, like the whole

870
00:41:19,080 --> 00:41:21,839
Speaker 2: you know, just and I had crazy ideas.

871
00:41:21,400 --> 00:41:23,760
Speaker 1: But yeah, I'm gonna say l a read.

872
00:41:28,600 --> 00:41:32,560
Speaker 11: When the Face got the soundtrack, When the Face got

873
00:41:32,560 --> 00:41:35,719
Speaker 11: the soundtrack. I swear to God that we got the

874
00:41:35,760 --> 00:41:38,080
Speaker 11: director of the movie we got is Gay's blessing. But

875
00:41:38,160 --> 00:41:41,080
Speaker 11: I do understand the politics of Sleepy is not this

876
00:41:41,160 --> 00:41:41,479
Speaker 11: is before.

877
00:41:41,480 --> 00:41:41,960
Speaker 1: I can't wait.

878
00:41:42,000 --> 00:41:45,120
Speaker 4: I believe I can't wait. So they was like concerned

879
00:41:45,120 --> 00:41:49,080
Speaker 4: with Sleepy big enough to care. But we knew seventies

880
00:41:49,160 --> 00:41:50,759
Speaker 4: movies and back then that.

881
00:41:50,800 --> 00:41:51,359
Speaker 1: Was my ship.

882
00:41:51,560 --> 00:41:54,600
Speaker 2: That was I was so excited to do it, Like

883
00:41:54,680 --> 00:41:55,799
Speaker 2: I wish I could play you some.

884
00:41:55,800 --> 00:41:58,840
Speaker 1: Of the songs that we worked on. Work. It was insane.

885
00:41:59,000 --> 00:42:04,560
Speaker 1: You got the shaft, I got a problem. But that

886
00:42:04,640 --> 00:42:06,759
Speaker 1: was clever. That was good. It's good. That's what it

887
00:42:06,880 --> 00:42:10,240
Speaker 1: was with a camera.

888
00:42:11,280 --> 00:42:14,480
Speaker 3: So all right, is there truth to the rumor? My

889
00:42:14,560 --> 00:42:16,560
Speaker 3: manager told me the story, and I didn't believe it.

890
00:42:17,200 --> 00:42:21,360
Speaker 3: That the way that you guys handled the twentieth anniversary concert,

891
00:42:21,600 --> 00:42:23,480
Speaker 3: because I know the white elephant in the era was

892
00:42:23,480 --> 00:42:28,280
Speaker 3: whether or not Dre would join you. And the whole

893
00:42:28,320 --> 00:42:33,239
Speaker 3: thing was like give him and then he'll show up.

894
00:42:33,280 --> 00:42:36,319
Speaker 3: So the whole plan was like, don't say nothing to him,

895
00:42:36,560 --> 00:42:40,279
Speaker 3: and then three hours before he's like on the FLA,

896
00:42:40,520 --> 00:42:42,520
Speaker 3: I'm coming, I'm coming. Is it truth to the rumor?

897
00:42:42,560 --> 00:42:44,880
Speaker 3: That's how y'all handle it, like basically.

898
00:42:44,760 --> 00:42:48,920
Speaker 1: To be real simple with it. We told the promoters.

899
00:42:48,960 --> 00:42:52,040
Speaker 4: We was like, if Andre has to be here, we

900
00:42:52,080 --> 00:42:54,040
Speaker 4: don't want to do it, you know what I'm saying,

901
00:42:54,120 --> 00:42:56,440
Speaker 4: Like like we want y'all to want us as the

902
00:42:56,520 --> 00:43:00,440
Speaker 4: Dungeon family without him first, because because it was just

903
00:43:00,480 --> 00:43:02,560
Speaker 4: the fact that we were respecting his wishes, like like

904
00:43:02,560 --> 00:43:05,319
Speaker 4: I said, I don't want I'm saying, huh, she's about

905
00:43:05,360 --> 00:43:10,480
Speaker 4: to show for one music fest, do that. It's because

906
00:43:10,960 --> 00:43:14,040
Speaker 4: and those guys they was like, man, got big Boy,

907
00:43:14,480 --> 00:43:18,279
Speaker 4: gotel all right, and then we started rehearsing. We took

908
00:43:18,280 --> 00:43:20,839
Speaker 4: it serious or whatever. Then we got a phone call.

909
00:43:21,160 --> 00:43:23,640
Speaker 4: It was like y'all, y'all trying to do this ship

910
00:43:23,640 --> 00:43:29,120
Speaker 4: what I I mean, y'all could.

911
00:43:28,920 --> 00:43:38,080
Speaker 9: Have asked plan worked, but the plan worked in the

912
00:43:38,160 --> 00:43:40,799
Speaker 9: sense of just get it all in place, like like

913
00:43:40,840 --> 00:43:42,879
Speaker 9: get make sure that we can do this because Big

914
00:43:42,920 --> 00:43:46,120
Speaker 9: Boy and Clo was killing it already with touring.

915
00:43:46,040 --> 00:43:47,720
Speaker 1: Like the way they work, it was working.

916
00:43:47,840 --> 00:43:50,080
Speaker 4: So it was like really trying to get cool Breeze

917
00:43:50,080 --> 00:43:52,239
Speaker 4: a shot, wish doctor shot. So it was like the

918
00:43:52,239 --> 00:43:55,080
Speaker 4: best part was that those cats took you know what

919
00:43:55,080 --> 00:43:57,280
Speaker 4: I'm saying, those cats was getting more money to perform

920
00:43:57,320 --> 00:44:00,480
Speaker 4: by themself than to take to take what they took

921
00:44:00,560 --> 00:44:04,040
Speaker 4: perform with us. Then Andre said, man, you know, I

922
00:44:04,080 --> 00:44:06,440
Speaker 4: was like, can y'all get some more money? Like I say,

923
00:44:06,600 --> 00:44:08,480
Speaker 4: he'll do it. So it's like it worked out for him.

924
00:44:08,600 --> 00:44:10,400
Speaker 4: It's like we had already got what they said they had,

925
00:44:10,719 --> 00:44:12,319
Speaker 4: but we said, what we.

926
00:44:12,400 --> 00:44:14,680
Speaker 1: Have to do too many songs? Yeah, and you know

927
00:44:14,760 --> 00:44:17,000
Speaker 1: he could be cool. He was good. Man. He killed it.

928
00:44:17,040 --> 00:44:19,000
Speaker 4: Man, he came in and like and and honestly that

929
00:44:19,040 --> 00:44:21,080
Speaker 4: brought us a sense of family and the sense of

930
00:44:21,160 --> 00:44:22,440
Speaker 4: like we were seriously.

931
00:44:22,080 --> 00:44:24,200
Speaker 1: Like, we got to do it without him.

932
00:44:24,480 --> 00:44:26,240
Speaker 4: I hate it, but a lot of the ship is jamming

933
00:44:26,320 --> 00:44:28,640
Speaker 4: without him, but some of the ship is jamming harder

934
00:44:28,680 --> 00:44:29,040
Speaker 4: with him.

935
00:44:30,200 --> 00:44:30,439
Speaker 1: Yeah.

936
00:44:30,520 --> 00:44:32,400
Speaker 4: Yeah, yeah. We actually did a tour without him and

937
00:44:32,440 --> 00:44:34,760
Speaker 4: it actually did great. But that showed that one music

938
00:44:34,760 --> 00:44:39,440
Speaker 4: fast show. Wow, that's like, that's something more than that.

939
00:44:39,600 --> 00:44:41,279
Speaker 4: That's memorable. That that's something Right now. I think we

940
00:44:41,320 --> 00:44:42,719
Speaker 4: still holding the vid. I think we still got the

941
00:44:42,760 --> 00:44:44,480
Speaker 4: video footage today. I think we're speaking. I think we

942
00:44:44,560 --> 00:44:46,799
Speaker 4: got to put we're working with we're about to try

943
00:44:46,840 --> 00:44:47,399
Speaker 4: to put that out.

944
00:44:47,560 --> 00:44:49,880
Speaker 3: So is there a scratch that you have not itched

945
00:44:50,000 --> 00:44:54,359
Speaker 3: yet or are you satisfied we haven't scratched yet. Yeah,

946
00:44:54,440 --> 00:45:01,440
Speaker 3: thank you, correct, I don't I don't know it.

947
00:45:02,120 --> 00:45:04,400
Speaker 2: You know, I'm struggling right now because you know, the

948
00:45:04,440 --> 00:45:07,880
Speaker 2: guys want me to do a new album. But at

949
00:45:07,920 --> 00:45:13,680
Speaker 2: the same time, yeah, no, no, no, I'm with that.

950
00:45:13,719 --> 00:45:15,919
Speaker 2: But at the same time, I've been through so much

951
00:45:16,800 --> 00:45:20,000
Speaker 2: with labels, even though this time is us and that's great,

952
00:45:20,040 --> 00:45:22,879
Speaker 2: but my heart been broken with so much, so many

953
00:45:22,960 --> 00:45:25,360
Speaker 2: damn labels, that it's kind of hard to get the

954
00:45:25,520 --> 00:45:28,440
Speaker 2: energy to really truly want to do that. Like I

955
00:45:28,480 --> 00:45:30,440
Speaker 2: want to produce people now. I want to produce more

956
00:45:30,560 --> 00:45:33,120
Speaker 2: now than be an artist. Truthfully, what I'm gonna do,

957
00:45:33,120 --> 00:45:33,640
Speaker 2: I'm gonna do it.

958
00:45:34,360 --> 00:45:34,719
Speaker 1: Yeah, man.

959
00:45:34,960 --> 00:45:37,040
Speaker 2: I did the session with Joy. I wrote a song

960
00:45:37,120 --> 00:45:38,839
Speaker 2: with her. This has been a couple of years ago.

961
00:45:38,920 --> 00:45:41,000
Speaker 2: She came to my crib. She played me some stuff

962
00:45:41,040 --> 00:45:42,359
Speaker 2: for yours.

963
00:45:42,400 --> 00:45:46,080
Speaker 1: Bro Let that be.

964
00:45:46,440 --> 00:45:48,360
Speaker 2: I mean, it was jamming then, it's still jamming. This

965
00:45:48,400 --> 00:45:50,560
Speaker 2: was a couple of years back. But nah, it's not

966
00:45:50,840 --> 00:45:54,920
Speaker 2: really fucking great man. But I love I mean, if

967
00:45:54,960 --> 00:45:56,799
Speaker 2: I do, I would love to do some. I mean,

968
00:45:56,840 --> 00:46:00,160
Speaker 2: me and Ray we've been funking with We're doing some

969
00:46:00,200 --> 00:46:01,760
Speaker 2: stuff and it sounds great.

970
00:46:02,160 --> 00:46:04,239
Speaker 1: I just need to be twelve shot to make me

971
00:46:04,320 --> 00:46:06,960
Speaker 1: want to go do it. I feel you you know

972
00:46:06,960 --> 00:46:07,279
Speaker 1: what I mean.

973
00:46:07,280 --> 00:46:10,440
Speaker 3: Look, I'll say this much and I gotta close it.

974
00:46:10,680 --> 00:46:13,760
Speaker 3: But you know, we we've been doing this for six years.

975
00:46:14,200 --> 00:46:17,880
Speaker 3: This is this is our first episode in the Flesh

976
00:46:18,600 --> 00:46:22,880
Speaker 3: in almost three three years. Like you know, the pandemic

977
00:46:22,920 --> 00:46:26,120
Speaker 3: basically had us on zoom. So you know, for the

978
00:46:26,160 --> 00:46:28,799
Speaker 3: most part, when we do legacy artists, they're closer to

979
00:46:28,880 --> 00:46:32,799
Speaker 3: their sixties and seventies and their memories are shoddy and

980
00:46:32,960 --> 00:46:36,680
Speaker 3: they don't recall that song or the stories are not exciting.

981
00:46:37,280 --> 00:46:40,320
Speaker 3: I will say that I will not take for granted

982
00:46:40,680 --> 00:46:44,480
Speaker 3: how awesome this episode was, man, and that you guys really.

983
00:46:44,400 --> 00:46:46,880
Speaker 1: Straight up no man, like for real. You know.

984
00:46:47,360 --> 00:46:49,400
Speaker 3: I'm also a little salty that it took me like

985
00:46:49,520 --> 00:46:52,279
Speaker 3: thirty years to have like a real conversation.

986
00:46:51,840 --> 00:46:53,399
Speaker 7: With you through I'm about to say, well, y'all ever

987
00:46:53,680 --> 00:46:54,440
Speaker 7: work together?

988
00:46:54,640 --> 00:46:56,719
Speaker 1: You know, we see each other and pass it. We

989
00:46:56,719 --> 00:46:58,800
Speaker 1: were tour with each other to them. But you know

990
00:46:58,840 --> 00:46:59,879
Speaker 1: what I'm saying, what's up? Basic?

991
00:47:00,880 --> 00:47:03,319
Speaker 3: But I no, no, no, And people always think like, oh,

992
00:47:03,320 --> 00:47:04,280
Speaker 3: he's so staying office.

993
00:47:04,280 --> 00:47:05,320
Speaker 1: But I think in my mind.

994
00:47:05,600 --> 00:47:08,319
Speaker 3: I want my first This is always my dream inter

995
00:47:08,440 --> 00:47:11,439
Speaker 3: action where I get to because I look, the first

996
00:47:11,440 --> 00:47:13,800
Speaker 3: time I messed Q Tip, it was like this episode

997
00:47:13,920 --> 00:47:15,920
Speaker 3: and he avoided me for seven years because he's just like,

998
00:47:16,080 --> 00:47:20,319
Speaker 3: here's like a journalist, like like just be regular dude,

999
00:47:20,320 --> 00:47:22,640
Speaker 3: Like stop asking me about like my drum patches.

1000
00:47:24,880 --> 00:47:26,239
Speaker 7: So you had to get this out so y'all could

1001
00:47:26,239 --> 00:47:26,560
Speaker 7: be cool.

1002
00:47:27,040 --> 00:47:29,120
Speaker 3: Yeah, because I think if you need people out like

1003
00:47:29,560 --> 00:47:31,520
Speaker 3: in the in the outside.

1004
00:47:31,160 --> 00:47:34,200
Speaker 4: World person, there's a place. There's a place for the nerd, right,

1005
00:47:35,280 --> 00:47:38,759
Speaker 4: those kinds of conversations. Because I'm very, very very impressed

1006
00:47:39,560 --> 00:47:42,239
Speaker 4: with the with the wealth of knowledge, with the whole to.

1007
00:47:42,200 --> 00:47:44,360
Speaker 7: Happen like this for you to be impressed.

1008
00:47:43,960 --> 00:47:46,359
Speaker 1: No bro like you. No, we are fort.

1009
00:47:47,680 --> 00:47:52,120
Speaker 4: We are student, and you are like the face of

1010
00:47:52,160 --> 00:47:53,880
Speaker 4: one of the faces of hip hop. How Snoopy is

1011
00:47:53,880 --> 00:47:55,680
Speaker 4: like your faces out there that we're proud of.

1012
00:47:55,920 --> 00:47:57,360
Speaker 1: I am proud of it.

1013
00:47:57,400 --> 00:48:01,360
Speaker 2: Once again, congratulations on the award. Thank you. You killed

1014
00:48:01,400 --> 00:48:02,120
Speaker 2: it with the movie.

1015
00:48:02,239 --> 00:48:04,719
Speaker 1: I love it. I watched. I told ray Man, we

1016
00:48:04,719 --> 00:48:06,160
Speaker 1: gotta watch. This is insane.

1017
00:48:06,480 --> 00:48:09,120
Speaker 2: I appreciate its beautiful and think and I just want

1018
00:48:09,120 --> 00:48:11,560
Speaker 2: to say, man, y'all y'all brother's music got me through

1019
00:48:11,600 --> 00:48:14,439
Speaker 2: like so many tough times, man, like I'm a Day

1020
00:48:14,520 --> 00:48:17,960
Speaker 2: one fan to the end, like every you called it, every.

1021
00:48:21,480 --> 00:48:23,879
Speaker 1: Love y'all brothers, man like straight up, well that said,

1022
00:48:23,960 --> 00:48:26,839
Speaker 1: ladies and gentlemen, or and be half of the great

1023
00:48:26,960 --> 00:48:31,719
Speaker 1: you may die talked about you the intro. The intro

1024
00:48:32,000 --> 00:48:33,920
Speaker 1: just talk about recording that song. We just have to

1025
00:48:33,920 --> 00:48:36,520
Speaker 1: be like two minutes. And why do y'all give these

1026
00:48:36,520 --> 00:48:38,160
Speaker 1: brilliant ass interludes Like.

1027
00:48:40,239 --> 00:48:42,120
Speaker 2: But that's what makes it dope because it's like it

1028
00:48:42,200 --> 00:48:43,520
Speaker 2: gives you just because you want more.

1029
00:48:44,760 --> 00:48:47,120
Speaker 4: The night y'all, we just ran it backwards. I think

1030
00:48:47,160 --> 00:48:48,920
Speaker 4: Dre was that's when he was playing with this sklimba

1031
00:48:49,080 --> 00:48:52,319
Speaker 4: or whatever. But we took that hold on, we took

1032
00:48:52,680 --> 00:48:55,759
Speaker 4: we took I think we took at Yellien's forward and

1033
00:48:55,880 --> 00:48:57,680
Speaker 4: ran it backwards to make them.

1034
00:48:58,400 --> 00:48:59,600
Speaker 1: Then we wrote.

1035
00:48:59,400 --> 00:49:05,920
Speaker 4: Thing Happened, something that was on the album that was

1036
00:49:05,960 --> 00:49:08,320
Speaker 4: going for it, and ran it backwards whatever you know,

1037
00:49:08,760 --> 00:49:11,400
Speaker 4: and it's so beautiful, put the piano on and and

1038
00:49:11,440 --> 00:49:12,280
Speaker 4: then we got peached.

1039
00:49:12,480 --> 00:49:15,320
Speaker 1: Just say, because her voice was such so monumental to

1040
00:49:15,400 --> 00:49:17,920
Speaker 1: us at that time. Shout out, yeah, shout out to

1041
00:49:18,800 --> 00:49:19,239
Speaker 1: all of them.

1042
00:49:21,040 --> 00:49:22,520
Speaker 3: Do you think they were having like a seance with

1043
00:49:22,560 --> 00:49:24,120
Speaker 3: a whole bunch of candles in the night time?

1044
00:49:25,120 --> 00:49:28,640
Speaker 2: That joint and the the hold on be Strong intro

1045
00:49:28,840 --> 00:49:31,920
Speaker 2: with four point oh singing on it. Yeah, like y'all all,

1046
00:49:32,080 --> 00:49:34,400
Speaker 2: y'all intros, man, that was like textbook I was.

1047
00:49:34,640 --> 00:49:37,759
Speaker 6: It's really a community affair with everybody you with, That's

1048
00:49:37,760 --> 00:49:40,040
Speaker 6: what happens. Put them in use however you can use,

1049
00:49:40,080 --> 00:49:40,520
Speaker 6: you know what I mean?

1050
00:49:41,080 --> 00:49:44,040
Speaker 4: And Big Boy and that's what I feel like Big

1051
00:49:44,080 --> 00:49:47,160
Speaker 4: Boy did the most because with money, but he kept

1052
00:49:47,239 --> 00:49:49,239
Speaker 4: and kept he kept that spirit alive even when the

1053
00:49:49,239 --> 00:49:53,160
Speaker 4: little will he would take him on tour. I was, yeah,

1054
00:49:53,239 --> 00:49:56,480
Speaker 4: what not not even just purple ribbons his his touring

1055
00:49:56,719 --> 00:49:59,520
Speaker 4: when it was Outcans touring. They would keep these guys alive,

1056
00:49:59,600 --> 00:50:02,160
Speaker 4: even if was just on the road or whatever. So

1057
00:50:02,280 --> 00:50:04,480
Speaker 4: by doing that, you keep your skills struve. You're right

1058
00:50:04,520 --> 00:50:06,680
Speaker 4: when you as long as you stay doing music, you're

1059
00:50:06,680 --> 00:50:08,279
Speaker 4: gonna you're gonna write some music. You're gonna come up

1060
00:50:08,320 --> 00:50:10,600
Speaker 4: with something refresh. Did y'all never cut any breakers on

1061
00:50:10,680 --> 00:50:14,000
Speaker 4: Scar on Bubba Sparks album. I mean, Scar wrote the

1062
00:50:14,719 --> 00:50:20,160
Speaker 4: hook for Ain't Life Grand was like my twin at

1063
00:50:20,200 --> 00:50:21,360
Speaker 4: one time, like he was totally we.

1064
00:50:21,400 --> 00:50:23,239
Speaker 1: Got songs that we haven't released, that we're going to

1065
00:50:23,320 --> 00:50:26,160
Speaker 1: release all we want to hear.

1066
00:50:26,239 --> 00:50:34,480
Speaker 12: I love going to well Ladies and Gentlemen on Behalf Yes, Yeah,

1067
00:50:34,719 --> 00:50:39,239
Speaker 12: definitely on behalf of Sleepy Brown and Our New Sense.

1068
00:50:43,160 --> 00:50:44,160
Speaker 1: My favorite dude ever.

1069
00:50:44,520 --> 00:50:49,120
Speaker 3: Ye, thank you, brother on behalf of Unpaid Bill, Still

1070
00:50:49,160 --> 00:50:54,080
Speaker 3: on Sesame Street, Flo and Sugar Steve.

1071
00:50:54,200 --> 00:50:55,319
Speaker 1: My name is quest Love.

1072
00:50:55,960 --> 00:51:00,200
Speaker 3: Very grateful for this episode, very classic episode, and we

1073
00:51:00,239 --> 00:51:03,879
Speaker 3: will see y'all on the What Steve the next go round.

1074
00:51:06,480 --> 00:51:09,320
Speaker 1: What's Love Supreme is a production of iHeartRadio.

1075
00:51:13,280 --> 00:51:17,680
Speaker 3: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1076
00:51:18,120 --> 00:51:19,800
Speaker 3: or wherever you listen to your favorite shows.