Speaker 1: Quest Love Supreme is a production of iHeartRadio. Yo. What's
Speaker 1: Up Everybody?
Speaker 2: This is fun Tigalo from Questlove Supreme and part one
Speaker 2: of our Atlanta interview with Organized Noise. We discussed how
Speaker 2: the gods Rico Waite, Sleeping Brown and Ray Murray got
Speaker 2: down together. We also heard how they changed the game
Speaker 2: in terms of sampling and really gave Atlanta a musical
Speaker 2: identity and rap. Please make sure you check out the
Speaker 2: first half of that interview, and that'll way back apart two.
Speaker 2: This discussion is gonna be just as rich and even better.
Speaker 2: I know y'all gonna enjoy this one. I enjoyed this one.
Speaker 2: These brothers are legends and gods to me only on
Speaker 2: q LS, Yes Her Peace.
Speaker 3: What happens when suddenly the student wants to become the teacher? Like,
Speaker 3: what's the division of labor in terms of you know,
Speaker 3: I'm sure that you guys are a tight three tight
Speaker 3: unit that.
Speaker 1: Handles the music Noise versus Earth Tone three.
Speaker 2: What was the Yeah, we wanted them, we wanted them
Speaker 2: to learn them if we wanted if we wanted them
Speaker 2: not to learn that, they wouldn't have been in the
Speaker 2: sitting there next to us.
Speaker 1: While we're doing it. So we wanted them to.
Speaker 3: But how how are you guys as friends and as
Speaker 3: business partners when it's time for bad news and production?
Speaker 3: Who's the person that has to like, can you talk
Speaker 3: about a song that almost didn't make it?
Speaker 4: Like well to be very honest with our dynamic because
Speaker 4: it was a Parliament type of family. So it's like
Speaker 4: you had a George Clinton, then you got Boosty. You
Speaker 4: got all these different people who came from this that
Speaker 4: was great. Everybody legends, but they all rock with somebody
Speaker 4: because that person had the thought process that they all
Speaker 4: agreed upon. Ray and Sleepy thought process musically hip hop, drums,
Speaker 4: rawness and music, vocals, harmonies being live organic, who's not
Speaker 4: using that now?
Speaker 1: Who's not who? It's like we got all.
Speaker 4: The not not thinking about the breaks as much. All
Speaker 4: the thinking about is the breaks. Like, so you got
Speaker 4: a marriage of like something like a sound that becomes
Speaker 4: a sound. Me the competitor. We're gonna compete with whoever
Speaker 4: else doing it, because we got it. I got the
Speaker 4: so we're gonna compete whatever I need to learn or
Speaker 4: to bring to it as far as musicians, as far as.
Speaker 1: The lame part, what kid Win, who cares what kew in?
Speaker 4: I need to know what keep in, so I can't
Speaker 4: say eybody know what I'm saying, Like but like they
Speaker 4: just they just doing it so big and Drake se
Speaker 4: Lo guilp anybody, p A Reese, anybody who's around these
Speaker 4: two people when they were making music, Oh, me and us,
Speaker 4: it was us, but just how hardcore they were about
Speaker 4: their things. Like wed if Ever, if he didn't care,
Speaker 4: none of his beats came out. We're gonna make them
Speaker 4: every day and just throw them to the side. You
Speaker 4: had so you you you around people who's acting like that,
Speaker 4: you might think.
Speaker 1: Like God, it's some dope.
Speaker 4: He just turns it off, went to something else. I
Speaker 4: want a chance to do it. You want to follow
Speaker 4: into it because you want to do it your way.
Speaker 4: Nobody ain't gonna do it the way these casts are
Speaker 4: doing it. But you're gonna learn so much Kanye West,
Speaker 4: any of these producers, like like what Organized Noise did
Speaker 4: wasn't one person, you know what I'm saying, And while
Speaker 4: they was working, I might have been at the store
Speaker 4: of buying sounds, you know what I'm saying, or whatever,
Speaker 4: like whatever it took budget like someone who can be
Speaker 4: like that's let's pay for it. Yes, we could pocket
Speaker 4: more money. Like we learned a big lesson from Parental
Speaker 4: Advisory with Pebbles. We use a lot of samples, and
Speaker 4: she told us, she was like, well, you got like
Speaker 4: ninety thousand dollars left in your budget and you guys
Speaker 4: get the remainder of the budget, but you got to
Speaker 4: give me all the samples first. Let me clear the
Speaker 4: samples first. Then we end up getting negative three thought
Speaker 4: old out right, you know what I'm saying. So from
Speaker 4: that point, from that day we started working on outcasts.
Speaker 4: Like that's when we had found outcasts, so we knew
Speaker 4: it's gonna be hip hop, but we we fin to
Speaker 4: get better. So I had started incorporating with Sleepy New
Speaker 4: with live musicians want to.
Speaker 2: Y'all too by some of y'all session musicians like Chance
Speaker 2: Parkman and like some of the guys like who what's
Speaker 2: y'all's relationship?
Speaker 4: Yeah, Preston from Preston Kenneth Right. Kenneth Wright was one
Speaker 4: of the first ones when we did outcasts. They end
Speaker 4: up kind of drifting to the church a little more
Speaker 4: but great.
Speaker 2: And who was playing piano on probably one of one
Speaker 2: of my favorite productions. Y'll ever growing old Nigga? That's chance,
Speaker 2: that's chance it is on that, dude, there's a chance. Okay,
Speaker 2: there's an at Alien sampler that came out and it
Speaker 2: has a version of growing on on it.
Speaker 1: I think it's an early version, right looking at that
Speaker 1: tenth rocks fat ass to turn the flap.
Speaker 2: Yeah, it's a verse. It's before I guess y'all played version.
Speaker 2: I like the at Ali's version, the one that came out.
Speaker 2: That's like, that's the one. But was that the reason
Speaker 2: why y'all took the sample out?
Speaker 1: What sample was it? I don't know the sample. It
Speaker 1: was just a different version.
Speaker 4: I don't remember a different version sample was I don't
Speaker 4: remember no sample. If it was a different version, I.
Speaker 1: Know, I know, I don't know. Maybe this is a
Speaker 1: piece negotiation. It is a piece of I don't know
Speaker 1: who did. It was just a different version. It was
Speaker 1: a different version.
Speaker 2: This is why I said, this is yeah, but no,
Speaker 2: that's like just a gorgeous FU song had spoken.
Speaker 4: I was just I was thinking it was about that
Speaker 4: that Markuez Marquis wrote that hook or whatever, like and
Speaker 4: Hades did waterfalls, so like we just wanted to sound.
Speaker 4: We felt like we owe outcasts of record that sounded
Speaker 4: more like something, even if it wasn't if it wasn't
Speaker 4: a third single or whatever. We felt like since we
Speaker 4: produced them, we got to present some of the kind
Speaker 4: of music that we've done on other artists. And that's
Speaker 4: something else I want to say two quest. It's like
Speaker 4: why we never had that problem with Big and Dre
Speaker 4: because we was going like we we had waterfalls out
Speaker 4: before they second out, they thought we would have these
Speaker 4: are the guys whoever they put out. They didn't know
Speaker 4: Outcast was gonna end up being twenty million sellers. And
Speaker 4: what I'm saying, it's like but they took they they
Speaker 4: had a like in vogue, like even the fact that
Speaker 4: we did sell Therapy Rock New York like this this
Speaker 4: this song and watch for the hook.
Speaker 1: I watch for the hook.
Speaker 2: When we did the Tunnels in New York City the
Speaker 2: night that I knew New York loved m famous my
Speaker 2: theory watched I thought that was like y'all's answer to Benjamins,
Speaker 2: Like it's you know what I mean, just the sixteenth
Speaker 2: pats that like it felt it felt like that like
Speaker 2: a y'all's answer to like what the East Coast Club
Speaker 2: record was.
Speaker 1: It's the foundation of hip hop. Yes, break I would
Speaker 1: do that.
Speaker 5: I'm gonna do, but you gotta understand, like just listen, listen.
Speaker 6: I just want to say this, this is this is
Speaker 6: hip hop from the South.
Speaker 1: Right.
Speaker 2: What song do we say, No Southern Man, come on,
Speaker 2: come on saying brother man.
Speaker 4: It's said brother man, you and everybody else. But if
Speaker 4: you dug in the crates, you'd be like, man, this
Speaker 4: song called Southern Man.
Speaker 1: Come on man? Oh yeah, killed that.
Speaker 2: No East Point is great listen, man, like that record
Speaker 2: I remember reading, but just all the stuff that happened
Speaker 2: with Intersco and everything, like y'all's production on that album.
Speaker 1: Man, like Witch Doctor.
Speaker 2: And Cool Breeze, Like man, y'all was in the zone
Speaker 2: and that ship.
Speaker 1: And really we were just giving back.
Speaker 4: We did Goodie Mob abut every time we was in
Speaker 4: a position to do what you said, keep it rough
Speaker 4: and raw, even if we sacrifice having a commercial, bigger success,
Speaker 4: we put some swat healing Rich, Witch Doctor, like I'm saying, like,
Speaker 4: and Cool Brees and it was like it's like it's
Speaker 4: like it's like is dirty South.
Speaker 1: For one.
Speaker 4: It was on the Goodie Mob album but he the
Speaker 4: one who said what you really know about the dirty side?
Speaker 4: It's his song, so it's almost like it was his
Speaker 4: song get Up, get out. That's see low that was
Speaker 4: his song. Wow, it was on Outcast album, but it
Speaker 4: was his song. See That's what they did as a family,
Speaker 4: like like like being around it was like it was
Speaker 4: our Wu Tang other people. They were setting their people up,
Speaker 4: you know what I'm saying, and not doing it too
Speaker 4: commercially like you know, like it's BBD Boys and Men
Speaker 4: and ABC like, but but doing it like that because
Speaker 4: we come from.
Speaker 1: R and B.
Speaker 2: You know what me and Re always talked about, if
Speaker 2: that first Outcast album would have been called Dudgeon Family,
Speaker 2: people would get it more, people would get it on,
Speaker 2: and we would be in the same thing as Wu Tang. Yeah,
Speaker 2: because y'all put everybody on. Everybody. That's what the album was.
Speaker 2: It was just our care. It was everything set up.
Speaker 4: Working on this song was everybody was around that every
Speaker 4: day like literally because these kids was kids fifteen, sixteen,
Speaker 4: seventeen during it and by time he worked on that album,
Speaker 4: there was seventeen you mean or whatever, So so at
Speaker 4: that point we put them first. But the same time.
Speaker 4: We all knew it was all our opportunity. So I
Speaker 4: need I need your best, I need your best. They
Speaker 4: gotta they gotta do their part. They gotta do their part.
Speaker 4: But everywhere where there's a little spot sleep, I'm gonna
Speaker 4: need you to do funky ride. I'm saying, yeah, big
Speaker 4: route right onto the real to.
Speaker 1: The question.
Speaker 2: Free Wow to open the album with that really could
Speaker 2: have been an anthem at no point where you guys like,
Speaker 2: let's make this a song, like a full fledged.
Speaker 1: Song, and that ain't with the drums yet.
Speaker 2: Free and You May Die, which is like my favorite
Speaker 2: intro of any album.
Speaker 4: I'm gonna have this about free first because because this
Speaker 4: caught this, this thing been happening all day.
Speaker 1: Philly in Atlanta got that soul. We got that soul.
Speaker 4: You know why, because my my, when our big brothers
Speaker 4: McKinley Horton, he came down here, just jumped on to
Speaker 4: McKenley Horton from Philly, Philly, forget, he just jumped. He
Speaker 4: just jumps on the worldlesser or whatever, just started singing.
Speaker 1: It was church. I'm like, man, it was not put
Speaker 1: together the type of thing like like.
Speaker 4: You always just like it. It was a flex to
Speaker 4: it was another tool. It was like ce Lo is
Speaker 4: wrong and you see and you see where he is now.
Speaker 4: We was that, you know, like we wasn't holding him back,
Speaker 4: but we was making a street rap album. These cats
Speaker 4: a lot of the peers that just had died, like
Speaker 4: from school. It was very and we had the power
Speaker 4: to not make them a goodie mind fun group, even
Speaker 4: though that was obviously what you're supposed to do. After Outcast,
Speaker 4: you got you got this, Yes, you got this Parliament
Speaker 4: type of funky music. I know, you bring these guys
Speaker 4: out funkier and and this and stuff, but we were like, naw,
Speaker 4: we wanted to dig deeper into hip hop and and
Speaker 4: make them see that we respect that. We know we
Speaker 4: got the gloss on us or whatever, but but we're
Speaker 4: serious about this. That's why the next Outcast album we
Speaker 4: dumbed it down with with with singing hooks and try
Speaker 4: to make it more wrap hooks or whatever.
Speaker 1: At Ali.
Speaker 3: Now for me, like the genius of Elevators was the
Speaker 3: whole Greek course.
Speaker 1: Yes, yes, that was George.
Speaker 2: Yeah, that's what we want to, you know, say, makes
Speaker 2: it sound like an old parliament where they're on stage.
Speaker 1: We want them to beate it before.
Speaker 3: In the so re Read reveals to us the process
Speaker 3: of speaker Box and Level Below and the fact that
Speaker 3: speaker Box was just his solo record, and then he says,
Speaker 3: Drake called it was like, when is this shit coming out?
Speaker 1: And Read was like, uh, you know, in five weeks.
Speaker 3: He's like, if I if I finished my thing, Like
Speaker 3: when I have to turn in he said, like three weeks.
Speaker 1: Three weeks, that's what he said.
Speaker 3: So for twenty one days he rushes, are you guys
Speaker 3: even aware that Dre now creates that or has been
Speaker 3: creating that record and has a twenty one day deadline
Speaker 3: to finish everything.
Speaker 4: Big Boy and Dre were going back and forth with
Speaker 4: that for almost a year before It's like they said
Speaker 4: they wasn't gonna work again. This is when they told
Speaker 4: us that this is their last album and we might
Speaker 4: not and they want to do it at that point,
Speaker 4: and I mean, I know Antonio probably said it, but
Speaker 4: the guys, And that's where he does get credit. He
Speaker 4: gets a lot of credit because he saved outcast the
Speaker 4: brand and that's something that he was invested into from
Speaker 4: day one, Like he knew that this is big in
Speaker 4: this as the world this is like, like what this
Speaker 4: was huge? Like this is a Whitney Houston, this is
Speaker 4: a Tony Braxton, this is a big group. Like that's right,
Speaker 4: Like that's when he used his business skills and then
Speaker 4: let them sabotage their own selves.
Speaker 1: You know what I'm saying by like looking like.
Speaker 4: So he was like, man, put them out together. But
Speaker 4: so but the fact of whatever debtline you're talking about,
Speaker 4: I know that I'm lucky. I'm happy that Big Boy
Speaker 4: had the way you moved because I think they doubted
Speaker 4: Andre's album. They thought he didn't want to put Andre
Speaker 4: Albu outcause din't think that it was right.
Speaker 2: I'm I wanted to make sure they're big because like
Speaker 2: you know, we knew with Dre it was going to
Speaker 2: be different what it was going to be.
Speaker 1: And thank god that, you know, we came up with.
Speaker 2: The way You moved because I ain't gonna lie, man,
Speaker 2: I was nervous for Big you know what I mean,
Speaker 2: just because you know, not saying that the popularity was
Speaker 2: with Drake Moore, but people were actually waiting to hear.
Speaker 2: It's funny how like you know, I'm sitting over at
Speaker 2: the house at a cookout and Big has this CD
Speaker 2: player has two hundred CD changing and I'm sitting in
Speaker 2: the Boomoo room and all of a sudden, this beat
Speaker 2: comes on there. He had this song for like three
Speaker 2: years and it was the way you moved, but it
Speaker 2: was broken all the way down. Then had the horns.
Speaker 2: It just had a little d D the little keyboard
Speaker 2: because I little buddy of Carmo did the beat. So
Speaker 2: when I heard that beat, I started. It reminded me
Speaker 2: of Marvin, so I started humming to No.
Speaker 1: No No.
Speaker 2: I was like, oh shit, So I ran out of
Speaker 2: the busy. Big we gotta go to the studio to night.
Speaker 2: I got a crazy hook for this one. And the
Speaker 2: way you who was actually going to be my record.
Speaker 2: You were going to do a whole new record for
Speaker 2: Big and BIB like, yeah, we could do that. But
Speaker 2: when La, when La reheard it, he was like, fuck no,
Speaker 2: that's your rat.
Speaker 1: Yeah yeah.
Speaker 2: So I'm happy that it did because I didn't hear
Speaker 2: hey y'all.
Speaker 1: Bro. I did not hear hey y'all till I saw
Speaker 1: the video.
Speaker 7: But how perfect was it that y'all had? Like Big Boy?
Speaker 8: It was great because he had the fucking radio hit
Speaker 8: right because the black radio hit whereas.
Speaker 3: The old timeout, So all right for me probably I'll
Speaker 3: say the end of you know, no rap, work day whatever,
Speaker 3: where every every major cosmopolitan city with the black radio
Speaker 3: station still had their like, you know, more music, less rap,
Speaker 3: you know whatever. That kind of died down in maybe
Speaker 3: two thousand and five, two thousand and six. But for me,
Speaker 3: all right, so WDS, which is the not the conservative
Speaker 3: but the older it's.
Speaker 1: Not the highest.
Speaker 7: It's called the urban.
Speaker 3: Yeah, the urban station. Do you realize that for least
Speaker 3: half of the radio stations playing the Way You Move,
Speaker 3: we're playing a big boiler's version of that song?
Speaker 1: Yeah?
Speaker 3: Yeah, literally, like where's the verse? And I was like, yo,
Speaker 3: they actually made a whole ass song. They play your
Speaker 3: Bridge twice as the verse.
Speaker 2: And I heard that when I was in La after
Speaker 2: it came out and I was playing pool.
Speaker 1: So did the label do that or did you guys
Speaker 1: do that?
Speaker 8: Like?
Speaker 1: No, nothing.
Speaker 4: What happens is that in order to get your spins up,
Speaker 4: you can't turn down, Like do you know they played
Speaker 4: Waterfalls without Left Eye on those same stations they took
Speaker 4: a verse out? Yeah what I'm saying so, but it
Speaker 4: was those stations that we don't listen to We don't
Speaker 4: listen to them, but those stations generate so much.
Speaker 2: Still need the BDS is you need, you need the spins,
Speaker 2: you need to spin, Like, if that's what y'all need,
Speaker 2: you need to span.
Speaker 1: It's disrespectful. So they don't even tell the artists because
Speaker 1: it's rude. I kind of fly over you had you
Speaker 1: sleep it brown version. I don't hate my brother big
Speaker 1: I love but you know it kind of it worked,
Speaker 1: It worked, it did, sposed to do work, sposed to do.
Speaker 3: So any point between like the first momentum of organized noise,
Speaker 3: Let's say when the Socks and Draws come out ninety two,
Speaker 3: the original player Ball Christmas ninety two, right, yeah, so
Speaker 3: between hundree all right, so speak of boxes two thousand
Speaker 3: and three, So that's in your period. At no point
Speaker 3: were you guys just like, hey, let's do like, let's
Speaker 3: really be a group now, or were you just like, no,
Speaker 3: we'll well, we'll be the pilots of the ship and
Speaker 3: just produce all their stuff.
Speaker 1: They man, I used to beg these foods to be
Speaker 1: a group. Man, they never want to do it.
Speaker 2: So was so was the closest well of Raby back
Speaker 2: is that the closest y'all came with like society, soul
Speaker 2: and sleepy, and it was the closest.
Speaker 1: We're not sleeping thing because want to be a part yeah, society, society.
Speaker 4: So there was a part we didn't want to be
Speaker 4: a part of the party. But la Reed said he
Speaker 4: wasn't gonna do the group unless all all of us
Speaker 4: in it. So it was like it would literally be
Speaker 4: like they were going the road, big Rub and Esperanza,
Speaker 4: Me and Ray would pop up whenever whatever. We just
Speaker 4: looked at like Jim James Lewis was just gonna be.
Speaker 2: The producer never as bad as I wanted to you
Speaker 2: know what I'm saying, wanted to be a.
Speaker 1: Group with them.
Speaker 4: You know, you got to realize like we had took
Speaker 4: on something very like it's like what we were doing
Speaker 4: for our own little family as far as you know,
Speaker 4: but but what we did for the South, how we
Speaker 4: had inspired like we really we were like in the
Speaker 4: way I was balancing Puff with these weekends and ship
Speaker 4: like we was important.
Speaker 1: Was the problem was talking about that? Talking about that?
Speaker 4: Talk about No, I'm just saying that, like Puffy is
Speaker 4: the king of marketing promotions and he was a part
Speaker 4: of know, you know, you don't want you didn't want
Speaker 4: this bad boys shit coming in your city just taking over,
Speaker 4: but it was coming, it was it was coming. So
Speaker 4: it was more like everybody just wanted me to kind
Speaker 4: of like be against it. But I'm like, this nigga's coming.
Speaker 1: Right right, I got.
Speaker 4: So we're gonna play tough, but at the end of
Speaker 4: the day, we're gonna, we're gonna, we're gonna work together.
Speaker 4: We're gonna work together because of respect. And that's the
Speaker 4: way that God bless Kim Porter you know I'm saying, has
Speaker 4: passed away. But Kim would call me, Yeah, yeah, Kim
Speaker 4: would call me and be like he got he wanted
Speaker 4: to show respace. He don't wanna do that with your
Speaker 4: main and that knows it, and and not do not
Speaker 4: showing no respect to Dungeon families.
Speaker 1: There was more of a puff.
Speaker 4: Knew how to talk to people, he knew how to
Speaker 4: trick you to get to do what you want to do.
Speaker 4: So but that was important, but it was also like
Speaker 4: a half so a little bit even though you forget
Speaker 4: how important marketing it is or whatever, you forget how
Speaker 4: important the promotion is, but really, you know, we really
Speaker 4: just want to make music and really figure out other
Speaker 4: ways of getting more like different stuff out because Atlanta
Speaker 4: was but India I read with these it's it's such
Speaker 4: a wild It's like we don't set this hip hop off,
Speaker 4: but we know R and B and soul music is here,
Speaker 4: so we're thinking about how to make soul and R
Speaker 4: and B cooler and it's gotten that way now. So
Speaker 4: we did Society, So it was us trying to find
Speaker 4: that we was pushing the edge on what It opened
Speaker 4: up the door for the neo so like.
Speaker 2: No Man Embrace, like I ran the fun out of
Speaker 2: that record Black Mermaid.
Speaker 1: To Me and Earth.
Speaker 2: Let me say this like Society Soul album was actually
Speaker 2: some outcast ship. But Ray was like, they can't go
Speaker 2: back and do their style. They gotta come a little
Speaker 2: more hard and different. So me and Rude was like,
Speaker 2: what ship, just do a group because the first record
Speaker 2: was of her, that was the first record that we
Speaker 2: did at kirk Tong That's the one that's the one
Speaker 2: that they didn't really want to do it like that,
Speaker 2: I was like, well we might always do a group.
Speaker 1: Yeah, you know what I'm saying.
Speaker 2: So that's kind of how the whole society saw came
Speaker 2: up sleep the theme see the thing came up when
Speaker 2: we were with in the Scope and we had Dopples's studios.
Speaker 1: We had all three rooms right.
Speaker 4: And it was also because Sleepy from day one, remember
Speaker 4: to hear the story. He he this was his mission.
Speaker 4: We kept putting it on the back burner because of
Speaker 4: our success as producers. Even in Player's Ball video, Sleepy
Speaker 4: killed that hook. But because of the Face Records marketing,
Speaker 4: he badly was in the video Get Up, Get Out
Speaker 4: the Prince Burson to Get Up, Get Out. It didn't
Speaker 4: have selot rapping at the beginning and came right out
Speaker 4: with Big and Drake. I was like, this music industry
Speaker 4: bullshit could have can destroy an artist Like I gotta
Speaker 4: go back and face these people and say like but
Speaker 4: I'm telling him, like this ship is stupid, but but
Speaker 4: but but it's but we gotta put Big and Drake.
Speaker 4: We got And that's why I said, going back, going
Speaker 4: now to the story speak about his love below. This
Speaker 4: is his brand. This is his brand, Big and Dre
Speaker 4: And that's one thing I could appreciate about it. Even
Speaker 4: though you want to it should have been Dungeon Family Out,
Speaker 4: should have been Dungeon Family out.
Speaker 1: But he's like, we got big and Dre signed.
Speaker 2: So when y'all did the Dungeon Family even in darkness,
Speaker 2: how were y'all as a crew at that time? Because
Speaker 2: my record off that album was followed the Light, like
Speaker 2: I love that was the one and.
Speaker 4: That came and that came out, that came together naturally,
Speaker 4: like everybody in the studio just singing, and they all
Speaker 4: there was some real Dungeon Family.
Speaker 1: Type of thing. You can feel it.
Speaker 4: I love, but that music industry bullshit that l A
Speaker 4: Reads doing. Then I swept to the fourth. He put
Speaker 4: Dungeon Family. When y'all bring it up, those memories come up.
Speaker 4: He put out Outcasts Greatest his album that he never
Speaker 4: knew that we never knew about. Two weeks after he
Speaker 4: put out Dungeon Family out, he just gave he literally
Speaker 4: no no, He gave us a million dollars just so
Speaker 4: Outcasts will be cool with putting out cause they knew
Speaker 4: that putting out their greatest hit thing was what we're
Speaker 4: doing that for. He knew he was trying to work
Speaker 4: the Outcast. Now, I keep telling it, I can put
Speaker 4: a four Outcast records right now with with with them
Speaker 4: on one song, I can just keep it going. I
Speaker 4: need to meet a certain quota.
Speaker 1: The whole world, the whole world should have been the
Speaker 1: singer on Dungeons. Yeah, so it's like.
Speaker 4: The fact that he was playing, but that's not an
Speaker 4: outcast thing, that's not an organized Norse thing.
Speaker 1: That was an l a read thing playing the game.
Speaker 4: As far as like thinking he knew more about he
Speaker 4: knew more now and he saw master p and everybody was.
Speaker 2: Doing it side outcast on. Now, if you were fan,
Speaker 2: which side you're gonna hang up?
Speaker 1: Right?
Speaker 7: Yes, that's on the back.
Speaker 1: I was. I was living when I saw that. Man.
Speaker 4: We were showing, we were sure we would show up at
Speaker 4: certain places and and this was like I didn't have
Speaker 4: any more control of the business part because we had
Speaker 4: did the Ender Scope deal. So now we're still a crew.
Speaker 4: How you're talking about, how how did things go between
Speaker 4: us and them? We all stayed the family. The problem
Speaker 4: was when we wasn't in control of the business. Yeah,
Speaker 4: things broke up. Everybody broke up. I mean everybody because
Speaker 4: we wasn't in control of That's what's the word translating
Speaker 4: some of those conversations, like when it's ABOUTY say Big
Speaker 4: and Dre. They're not stars. I didn't go back and
Speaker 4: tell them that. I know, you know what you're up there. Yeah,
Speaker 4: you know what you're talking about. You know what I'm saying.
Speaker 4: You're telling me I'm the star. I should be in
Speaker 4: the group. And I'm like an R and B. I'm like,
Speaker 4: big Daddy came up the whole bye right, it's like
Speaker 4: you want to put big Daddy came having this trying
Speaker 4: to get that ain't gonna work.
Speaker 2: Nah, if by record on that one, it was, of course,
Speaker 2: it's the single six minute and white Guts.
Speaker 1: White Guts was crazy.
Speaker 4: They be giving up Big Boy General pat man On God,
Speaker 4: y'all world here this this man hold us down better
Speaker 4: than anybody, better than anybody.
Speaker 1: He is a true leader. He's a true leader.
Speaker 4: I wanted Dre to be the leader, and Dre tell
Speaker 4: me you're the leader, like I'm the leader, and that's right.
Speaker 1: But he's right.
Speaker 4: But but but big boy, big Boy is the General
Speaker 4: Patton Man. I love him to death. That man like
Speaker 4: the elevators that me and you ain't. No, it's like
Speaker 4: big boy his that is That is what our cast is.
Speaker 4: Andre is what outcasts became. As far as like the
Speaker 4: fact that his creativity was it's a it's prince then
Speaker 4: he yes, the fact that he learned good charge. He
Speaker 4: showed you start off as a rapper, just rapping and
Speaker 4: not making beats and becoming a person that's writing your
Speaker 4: own songs and records. Like like you're playing every play,
Speaker 4: every play instruments. You play whatever you want to do
Speaker 4: if you love it, and that's all music asked.
Speaker 1: You got to put back into it.
Speaker 4: You got now, right, man, Man, he on the flue,
Speaker 4: he popping up, he popping up in people.
Speaker 1: Man, I want to see him. Man, he's just walking
Speaker 1: around playing flute in Philadelphia.
Speaker 2: Alright, let me know what Drake dre playing is more
Speaker 2: like a cold movie.
Speaker 1: Yes, I had a question.
Speaker 2: I had a question about so Curtis Mayfield the New
Speaker 2: War Order album. Oh man, was it true that y'all
Speaker 2: recorded his vocals on his back? Yes, we did talk
Speaker 2: about those sessions. The first well, the song that was
Speaker 2: ms Mark and uh. We were sitting there and they
Speaker 2: brought him in and he had to sing the whole
Speaker 2: thing on his back. So when he was singing, sometimes
Speaker 2: with spast and it's no to go up or whatever,
Speaker 2: But basically he really sung the song and like maybe
Speaker 2: two takes, bro like he really killed it. It was
Speaker 2: really amazing to actually work with him before he passed.
Speaker 2: And because I'm sitting there, you know, player ball is
Speaker 2: out and I don't know how you.
Speaker 1: Feel about it.
Speaker 2: So I'm nervous as hell because I'm sitting there, I'm like,
Speaker 2: oh im about doing Curtis Mayfield vocals.
Speaker 1: Damn.
Speaker 2: So he's in there. In the first day he said
Speaker 2: to me, was sleep it. I really liked what you
Speaker 2: did on that on that out. Can that player his
Speaker 2: ball keep it up?
Speaker 1: I was like.
Speaker 4: What, because at that time, everybody was comparing his vocal
Speaker 4: to Curtis Mayfield, Curtis's Mayfield vocal on That's what the
Speaker 4: writers were saying. And at that point I was cool
Speaker 4: with it because we kind of had a relationship with
Speaker 4: Curtis Mayfield's son. It was kind of like a family
Speaker 4: thing or whatever to where we knew them and we
Speaker 4: actually we was gonna buy his father's studio, but we
Speaker 4: didn't want to take it from so we.
Speaker 1: Made to a museum. Damn.
Speaker 8: Wait, So can I ask you, Sleepy, how do you
Speaker 8: feel do you feel you got your just At this
Speaker 8: point as a solo artist with all these stories.
Speaker 2: Hell, no, man, I can say this. I've been very
Speaker 2: fortunate to meet all my heroes. I'm talking about everybody
Speaker 2: used to sit down and look at their album for
Speaker 2: hours and just earth Winding Fire. I had a chance
Speaker 2: to walk in. But when I tell me that earth
Speaker 2: Winding Fire, because I had met George, and George became
Speaker 2: like a father to me. So but I met all
Speaker 2: the original members of Earth Wind the Fire. We walk
Speaker 2: in for the Grammy rehearsal and I'm like, that's right.
Speaker 2: I said, bro that that niggle Maurice hold on. He
Speaker 2: was like, yeah, they perform and I was like, man,
Speaker 2: get what you.
Speaker 1: Didn't find out you're performing them until that out.
Speaker 2: As soon as I said what, there was in the
Speaker 2: circle that said Steven come in and sing the birth. Wow.
Speaker 1: So earth Wind and Fire is doing the singing. Man,
Speaker 1: come on.
Speaker 2: I was always great, naive, So I had a chance
Speaker 2: to meet all my heroes, man, everybody in the music
Speaker 2: business that I always looked up to, and they all
Speaker 2: adopted me. And I'm more happy about that than my career,
Speaker 2: to tell you the truth, Because as a solo artist,
Speaker 2: it's been all right. You know what, I mean, the
Speaker 2: way you move still does great for me.
Speaker 1: I love it. We could perform that anytime.
Speaker 2: My dad always told me, said, Patri you're gonna have
Speaker 2: one song that you can perform to.
Speaker 1: You die dances for him, he said, the way it
Speaker 1: moves for you. Wow. You know listen, you know my
Speaker 1: career has been I love it.
Speaker 2: It's some stuff that I wish could have happened better,
Speaker 2: but that's definitely happened. But but you know what, my
Speaker 2: thing on that album, my record was I like Margarita.
Speaker 1: One of the nights was the one for me.
Speaker 7: One of the Knights.
Speaker 2: Yeah, I did that with them. He did that with
Speaker 2: Black Eyed peas Man. Oh well, will yeah Prince and
Speaker 2: yeah yeah Prince.
Speaker 1: Yeah.
Speaker 3: Can I ask give me a close call story? Who
Speaker 3: did you guys almost work on and didn't work on?
Speaker 3: He talked about producing their record and then.
Speaker 4: Right, well, Kendrick, it was because you just didn't pick
Speaker 4: the right It was just it was just timing they
Speaker 4: was at the time they was moving, but he just came.
Speaker 1: That's was like out.
Speaker 3: It's like what you wait free or new Kendrick, Oh well,
Speaker 3: or he he wanted the classic organized noise or.
Speaker 4: Yes when right before he put out all this stuff
Speaker 4: that he like, right right, but okay, but let me
Speaker 4: think a good let me think.
Speaker 1: Let me think maybe around twenty thirteen fourteen something that.
Speaker 4: I know for I know one story which is I mean,
Speaker 4: I'm thinking of another one, but Jagged Edge, like Jagged
Speaker 4: Jagged Edge was supposed to be signed us. I kind
Speaker 4: of like during that time because cause I loved them twins,
Speaker 4: them twins that really sing and they's coming around and
Speaker 4: they was playing the song. But I just felt like
Speaker 4: we had it was the in a scope deal. We
Speaker 4: had just kind of messed up. So instead of like
Speaker 4: looking at God looking at the gift, and I'm saying like, okay,
Speaker 4: this is another group, it was more like we just
Speaker 4: want that kind of build up in house or whatever,
Speaker 4: and that stuff was kind of already done. They had
Speaker 4: everything written. It was just like one of those you
Speaker 4: just need to go in and touch it or whatever
Speaker 4: like putting or whatever, get it right. And and I
Speaker 4: remember saying, I'm gonna let your man out. I should
Speaker 4: have did that.
Speaker 3: I know, I know there's no way to ask this
Speaker 3: question and not be whatever, But like as far as
Speaker 3: the different family members, because you know, we just got
Speaker 3: done talking to Keisha Jackson, and she's speaking of, like,
Speaker 3: you know, there's the Social Death Crew, and there's Organized
Speaker 3: Noise Crew, and there's like so many crews around, and
Speaker 3: she was speaking speaking of basically like being a freelance
Speaker 3: background singer, and she in the beginning didn't know if
Speaker 3: motherfuckers would feel a certain way of like she's singing
Speaker 3: when y'all one moment and then over here singing with
Speaker 3: them is another like kind of like an appoloonya Prince
Speaker 3: Wayre's thing.
Speaker 1: But is there friendly rivalry at least between.
Speaker 4: He tell you something, I'll tell you something Off the
Speaker 4: Rip Atlanta, Jermaine Dupree, Dallas Austin Organized Noise, all right,
Speaker 4: So we because they were already kind of getting it.
Speaker 4: Dallas is the king, you know what I'm saying. Dallas
Speaker 4: was the king. Dallas had, you know what I'm saying.
Speaker 4: Not only did he have a b C. He was
Speaker 4: produced Boys to Man, He produced Boys to Men first
Speaker 4: album or whatever, like he he did Madonna.
Speaker 1: He was he was somebody that.
Speaker 4: We was just like, remember Dallas, Dallas, that guy like Dallas,
Speaker 4: the guy on the show.
Speaker 1: So Jermaine, what's that guy?
Speaker 4: Independently coast, closer to what we can touch like he
Speaker 4: was working with Itchy Bun.
Speaker 1: He had a couple of hip and the straight Jackers.
Speaker 1: He had.
Speaker 9: Me.
Speaker 1: Yeah, his version of his version of the Southern Paper,
Speaker 1: his version of that what he was doing.
Speaker 4: I'm just I'm just telling you how I saw how
Speaker 4: I saw it. But I still admired him because his
Speaker 4: father and what he did that was I was close
Speaker 4: to connected. Jermaine was our he was tangible. Jermaine was
Speaker 4: friends with KP them like that. We could so so
Speaker 4: it was more about we did when Chris Cross came, he.
Speaker 1: Figured it out. He did his version of a kid.
Speaker 2: Actually, me and Jermaine kind of grew up backstage together
Speaker 2: because his dad was the road manager for Brick.
Speaker 4: So so so with that being said, when we go
Speaker 4: in the studio, were in the studio, I remember the
Speaker 4: first time we was like working on outre working on
Speaker 4: some I heard him starting to do like he started
Speaker 4: trying to use that person on Bratt, Mark Marcus Jefferson.
Speaker 1: Marcus, we ain't work. We ain't Mark, We ain't work
Speaker 1: with Mark. About ten years after that, Mark, No.
Speaker 4: I mean I love him to death, but he know
Speaker 4: I got mad about that I got mad, even though.
Speaker 7: Did he stepped away from what he was doing for
Speaker 7: y'all to do that?
Speaker 1: No, he didn't step away.
Speaker 4: It was just me being like that nigga biting us
Speaker 4: territory spin territorial because Mark was fresh Mark.
Speaker 1: Mark had a new sound. He he he.
Speaker 4: Had he had the big bass slide, but he had
Speaker 4: put the witness on it and we had waterfalls with
Speaker 4: him and we did.
Speaker 1: Something this way come like the sound was gonna be big.
Speaker 4: So it was like, man, he's just trying to like
Speaker 4: rip that that sound.
Speaker 1: But we was wrong. You know what I'm saying. It's
Speaker 1: like like we was right about what he did or whatever.
Speaker 4: But it wasn't about shunning him as it was just
Speaker 4: more like it's other bass players.
Speaker 1: We can use other people. You won't be in our
Speaker 1: sessions or whatever. Like That's how I didn't really know,
Speaker 1: you know, this is what we're saying.
Speaker 8: What we.
Speaker 4: Know what I'm talking about because he was one of
Speaker 4: our he would have been he was somebody that we
Speaker 4: would have covered it even more. But guess what though
Speaker 4: we had Guess what that ain't just we had Preston.
Speaker 4: Preston went and got that littlefect and put it on
Speaker 4: his base would have got put it out Preston, but
Speaker 4: go pressed on.
Speaker 1: A yes to say that sound is our sound.
Speaker 6: So this is why Preston incorporated that thing into his thing, because.
Speaker 1: We still do that. That's why when you hear that
Speaker 1: water based any kind of.
Speaker 4: Talk about out there sound, you hear certain stuff that
Speaker 4: you said that's out there.
Speaker 1: There's no disrespect to nobody. I just blew him up.
Speaker 1: Marcus Jefferson.
Speaker 7: Can you tell the story behind Liberation man? Please?
Speaker 1: And again? But kung Fu is strong.
Speaker 4: But once again, I can give you this this part
Speaker 4: of how I felt about it, and then I got
Speaker 4: to see and how I felt about it at that time,
Speaker 4: the musicianship, the fact that we saying we.
Speaker 6: Did all of them at Doppler, the song together, and
Speaker 6: we were doing all of this thing. All of this
Speaker 6: was at the same time, right, It's all the same.
Speaker 6: It's like the musicians going room the room, you know,
Speaker 6: but the same energy.
Speaker 4: At that point I felt like Big and Dre like
Speaker 4: so that album and the Liberation was on stink on
Speaker 4: you right. That album is Big and Dre's complete coming
Speaker 4: out party like almost could have could have been their
Speaker 4: last album.
Speaker 1: Everything else was forced that I mean not for for
Speaker 1: the record.
Speaker 4: Yes, by that time, parties were free because I think
Speaker 4: he did Gasoline Dreams on that album, so like they was.
Speaker 1: Once you work with musicians a lot.
Speaker 4: On the album, you figured out that the sonics of
Speaker 4: being able to have these sounds with these sounds in
Speaker 4: that sound. So by the time they got the Liberation,
Speaker 4: I feel like that's where the poetry.
Speaker 1: That's when he was n Spodio the double dishes.
Speaker 4: That's why those songs are so special because they produced
Speaker 4: the hell out the songs. Then they didn't have to
Speaker 4: perform as rappers. They went and did like like the
Speaker 4: it was actually wow and then and then the horn
Speaker 4: section those.
Speaker 7: Brothers, So who is the hook, who's the who came
Speaker 7: up with the lyrics for? It's a fine line between.
Speaker 4: That's and we flew to Dallas to record her vocals.
Speaker 1: Fore you got me.
Speaker 3: She was just listening to a rough, so I guess
Speaker 3: Dre left a rough of like five songs there and
Speaker 3: Ross was with us Common and Liberation came on and
Speaker 3: literally I could say, now probably no group or a
Speaker 3: collective of producers has ever made us like you know
Speaker 3: that that kill Bill Ironside.
Speaker 1: When that ship came on. I remember Rosh came on.
Speaker 10: He's like, yo, man, how do you feel about that
Speaker 10: that last song? And I was like said, yo man,
Speaker 10: we got to come with some ship man like cause.
Speaker 10: And I remember to that day when the idea of
Speaker 10: heaving somewhere guys, I don't know if you know.
Speaker 2: Good In my soul Ford album, Mixo mix So What's
Speaker 2: What's Happen with him? Was my joint mix so man,
Speaker 2: Mixo really was a bomb producer that he did bomb producer.
Speaker 1: He was really he was not not bomb. He was dope.
Speaker 4: He was dope, not he was super dope and and that,
Speaker 4: and at that point we weren't really giving those sides up.
Speaker 4: So it was like when he did the original, we
Speaker 4: flipped it like like like so he got like like
Speaker 4: we might have flipped like whatever he did.
Speaker 1: But how did they know? Mix So how does Mixo involved?
Speaker 1: Mixo had did Lumberjacks? He was, yeah, he had did that.
Speaker 11: This is how I, this is how I.
Speaker 4: But these songs hadn't come out, but Kujo and Timo
Speaker 4: the Lumberjacks was on outcast Heels as far as the
Speaker 4: next up and coming two man group in a Land
Speaker 4: of rapping.
Speaker 1: So it's so it was like, fuck, we gotta let's
Speaker 1: make him a group. So y'all. So they were group first, the.
Speaker 4: Wood Group, but instead of having another two man group
Speaker 4: coming after after Howard two man group, it was better
Speaker 4: to be like, instead of having Gift solo and Silo solo,
Speaker 4: want we do a four man group or whatever, like,
Speaker 4: because these guys were with the Nucleus that's where the
Speaker 4: Goodie Mob came from. Kujo and album to Goodie Bag
Speaker 4: was absolutely man listen.
Speaker 3: So since you kind of brought it up or at
Speaker 3: least pointed to the word to the white elf in
Speaker 3: the room.
Speaker 1: Here, you are, just walk back in. I have a question.
Speaker 1: No no, no, no, no no.
Speaker 3: I'm trying to phrase it in a way where it's
Speaker 3: just not I'm asking a dumb question. What Obviously you
Speaker 3: guys are now legacy producers because you've been doing this
Speaker 3: for like three decades and there's always been talking there
Speaker 3: and that it's been happening for the last two or
Speaker 3: three years, where you know, there's obviously Earth Earth Gang
Speaker 3: is heavily influenced, and it's hard not to be you know,
Speaker 3: not spoke to them. They were like, yo, we were
Speaker 3: like nine, ten, eleven years old when this shit's coming
Speaker 3: out and now so obviously you're now seeing the results
Speaker 3: and whatnot. Has there ever been a conversation about like
Speaker 3: you guys working with them, like just from the current
Speaker 3: crop of today's producers, like who Gang Yeah, oh.
Speaker 4: Man, I got a great story. Orlando McGee, that was
Speaker 4: our intern.
Speaker 1: It was his group.
Speaker 4: He was somebody that he wanted to work with, but
Speaker 4: he wanted him to be around us. So we can
Speaker 4: tell them how not to act like us so much
Speaker 4: so we can make push them to being a little
Speaker 4: more rik.
Speaker 1: I love them guys, but I was a think that
Speaker 1: it takes you three albums didn't get you together to
Speaker 1: take that off.
Speaker 4: Yeah, you see what happened to rariy my cousin DJ
Speaker 4: working with Rari right now. Rari was a he was
Speaker 4: a part of the twenty year anniversary. But when they
Speaker 4: put that stick, that that that that challenge on you
Speaker 4: you the next Outcast.
Speaker 1: It's just like people people expect a ten year, ten
Speaker 1: year line of work.
Speaker 4: Outcast started with Southern playlists, the calact music where they
Speaker 4: were just proving to New York that they can rhyme.
Speaker 4: Then that had to double down on that with at
Speaker 4: Yelling's equiminal. They went crazy creatively because the balls were
Speaker 4: hanging too.
Speaker 1: What I'm saying.
Speaker 4: We had plaques on the wall. It was like there
Speaker 4: was work. It was right, we was. We was dropping
Speaker 4: when Tupac was dropping. We was dropping. When when whoever
Speaker 4: the Wu Tang, whoever was It's gonna be big numbers
Speaker 4: this week. Fuck outcasts just dropped. It didn't happen like
Speaker 4: you wanted.
Speaker 1: Words.
Speaker 2: I always said, Yo outcasts. I don't know if y'all
Speaker 2: did roaches and rats?
Speaker 1: Was that y'all?
Speaker 4: Oh man, that was a banger and that was broke?
Speaker 1: Oh god, that was a jewel. That's a good one.
Speaker 1: That's a good only on like YouTube, that's a good one.
Speaker 1: It was probably ten years old when it came out.
Speaker 1: Whenever dropped.
Speaker 4: But that was one of those good like Bens of Beamer,
Speaker 4: Benz of Bmber that we ended up using on the
Speaker 4: New Jersey Drive. But that wasn't original version of it.
Speaker 4: I'm telling you, that wasn't even the original version. That
Speaker 4: was like the original that was original vibe, but it was,
Speaker 4: but it was, Yeah, it was a Parliament sampling. You
Speaker 4: just learn more about sampling and like like fuck, we can't.
Speaker 1: Y'all can't use them.
Speaker 2: Y'all Outcast the Outcast soundtrack game because like the higher
Speaker 2: learning Joba.
Speaker 4: Pobe and that was our That's how we learned because
Speaker 4: like like we went in on a that's sp but
Speaker 4: it was stiff though, and it was Grid and we
Speaker 4: was like it was like, fuck man, we didn't take
Speaker 4: advantage of that opportunity, you know what I'm saying, Like
Speaker 4: even though we did, if we put out something with
Speaker 4: Big Rube on it, it was we gotta but it
Speaker 4: was like and we got paid good.
Speaker 1: John Singleton loved us from that day.
Speaker 4: Fourth every movie he had he called us to be
Speaker 4: like Yo, he wanted Sleepy to be the whole soundtrack
Speaker 4: for Chef.
Speaker 2: Because he loved he loved the Sleepy the album so
Speaker 2: much he flew me to New York to talk about it.
Speaker 2: I had to me, Hey, we're gonna do the whole
Speaker 2: thing like the Chafts soundtrack, gonna be Sleeping Brown doing
Speaker 2: the whole Cheft things, just straight score, like the whole
Speaker 2: you know, just and I had crazy ideas.
Speaker 1: But yeah, I'm gonna say l a read.
Speaker 11: When the Face got the soundtrack, When the Face got
Speaker 11: the soundtrack. I swear to God that we got the
Speaker 11: director of the movie we got is Gay's blessing. But
Speaker 11: I do understand the politics of Sleepy is not this
Speaker 11: is before.
Speaker 1: I can't wait.
Speaker 4: I believe I can't wait. So they was like concerned
Speaker 4: with Sleepy big enough to care. But we knew seventies
Speaker 4: movies and back then that.
Speaker 1: Was my ship.
Speaker 2: That was I was so excited to do it, Like
Speaker 2: I wish I could play you some.
Speaker 1: Of the songs that we worked on. Work. It was insane.
Speaker 1: You got the shaft, I got a problem. But that
Speaker 1: was clever. That was good. It's good. That's what it
Speaker 1: was with a camera.
Speaker 3: So all right, is there truth to the rumor? My
Speaker 3: manager told me the story, and I didn't believe it.
Speaker 3: That the way that you guys handled the twentieth anniversary concert,
Speaker 3: because I know the white elephant in the era was
Speaker 3: whether or not Dre would join you. And the whole
Speaker 3: thing was like give him and then he'll show up.
Speaker 3: So the whole plan was like, don't say nothing to him,
Speaker 3: and then three hours before he's like on the FLA,
Speaker 3: I'm coming, I'm coming. Is it truth to the rumor?
Speaker 3: That's how y'all handle it, like basically.
Speaker 1: To be real simple with it. We told the promoters.
Speaker 4: We was like, if Andre has to be here, we
Speaker 4: don't want to do it, you know what I'm saying,
Speaker 4: Like like we want y'all to want us as the
Speaker 4: Dungeon family without him first, because because it was just
Speaker 4: the fact that we were respecting his wishes, like like
Speaker 4: I said, I don't want I'm saying, huh, she's about
Speaker 4: to show for one music fest, do that. It's because
Speaker 4: and those guys they was like, man, got big Boy,
Speaker 4: gotel all right, and then we started rehearsing. We took
Speaker 4: it serious or whatever. Then we got a phone call.
Speaker 4: It was like y'all, y'all trying to do this ship
Speaker 4: what I I mean, y'all could.
Speaker 9: Have asked plan worked, but the plan worked in the
Speaker 9: sense of just get it all in place, like like
Speaker 9: get make sure that we can do this because Big
Speaker 9: Boy and Clo was killing it already with touring.
Speaker 1: Like the way they work, it was working.
Speaker 4: So it was like really trying to get cool Breeze
Speaker 4: a shot, wish doctor shot. So it was like the
Speaker 4: best part was that those cats took you know what
Speaker 4: I'm saying, those cats was getting more money to perform
Speaker 4: by themself than to take to take what they took
Speaker 4: perform with us. Then Andre said, man, you know, I
Speaker 4: was like, can y'all get some more money? Like I say,
Speaker 4: he'll do it. So it's like it worked out for him.
Speaker 4: It's like we had already got what they said they had,
Speaker 4: but we said, what we.
Speaker 1: Have to do too many songs? Yeah, and you know
Speaker 1: he could be cool. He was good. Man. He killed it.
Speaker 4: Man, he came in and like and and honestly that
Speaker 4: brought us a sense of family and the sense of
Speaker 4: like we were seriously.
Speaker 1: Like, we got to do it without him.
Speaker 4: I hate it, but a lot of the ship is jamming
Speaker 4: without him, but some of the ship is jamming harder
Speaker 4: with him.
Speaker 1: Yeah.
Speaker 4: Yeah, yeah. We actually did a tour without him and
Speaker 4: it actually did great. But that showed that one music
Speaker 4: fast show. Wow, that's like, that's something more than that.
Speaker 4: That's memorable. That that's something Right now. I think we
Speaker 4: still holding the vid. I think we still got the
Speaker 4: video footage today. I think we're speaking. I think we
Speaker 4: got to put we're working with we're about to try
Speaker 4: to put that out.
Speaker 3: So is there a scratch that you have not itched
Speaker 3: yet or are you satisfied we haven't scratched yet. Yeah,
Speaker 3: thank you, correct, I don't I don't know it.
Speaker 2: You know, I'm struggling right now because you know, the
Speaker 2: guys want me to do a new album. But at
Speaker 2: the same time, yeah, no, no, no, I'm with that.
Speaker 2: But at the same time, I've been through so much
Speaker 2: with labels, even though this time is us and that's great,
Speaker 2: but my heart been broken with so much, so many
Speaker 2: damn labels, that it's kind of hard to get the
Speaker 2: energy to really truly want to do that. Like I
Speaker 2: want to produce people now. I want to produce more
Speaker 2: now than be an artist. Truthfully, what I'm gonna do,
Speaker 2: I'm gonna do it.
Speaker 1: Yeah, man.
Speaker 2: I did the session with Joy. I wrote a song
Speaker 2: with her. This has been a couple of years ago.
Speaker 2: She came to my crib. She played me some stuff
Speaker 2: for yours.
Speaker 1: Bro Let that be.
Speaker 2: I mean, it was jamming then, it's still jamming. This
Speaker 2: was a couple of years back. But nah, it's not
Speaker 2: really fucking great man. But I love I mean, if
Speaker 2: I do, I would love to do some. I mean,
Speaker 2: me and Ray we've been funking with We're doing some
Speaker 2: stuff and it sounds great.
Speaker 1: I just need to be twelve shot to make me
Speaker 1: want to go do it. I feel you you know
Speaker 1: what I mean.
Speaker 3: Look, I'll say this much and I gotta close it.
Speaker 3: But you know, we we've been doing this for six years.
Speaker 3: This is this is our first episode in the Flesh
Speaker 3: in almost three three years. Like you know, the pandemic
Speaker 3: basically had us on zoom. So you know, for the
Speaker 3: most part, when we do legacy artists, they're closer to
Speaker 3: their sixties and seventies and their memories are shoddy and
Speaker 3: they don't recall that song or the stories are not exciting.
Speaker 3: I will say that I will not take for granted
Speaker 3: how awesome this episode was, man, and that you guys really.
Speaker 1: Straight up no man, like for real. You know.
Speaker 3: I'm also a little salty that it took me like
Speaker 3: thirty years to have like a real conversation.
Speaker 7: With you through I'm about to say, well, y'all ever
Speaker 7: work together?
Speaker 1: You know, we see each other and pass it. We
Speaker 1: were tour with each other to them. But you know
Speaker 1: what I'm saying, what's up? Basic?
Speaker 3: But I no, no, no, And people always think like, oh,
Speaker 3: he's so staying office.
Speaker 1: But I think in my mind.
Speaker 3: I want my first This is always my dream inter
Speaker 3: action where I get to because I look, the first
Speaker 3: time I messed Q Tip, it was like this episode
Speaker 3: and he avoided me for seven years because he's just like,
Speaker 3: here's like a journalist, like like just be regular dude,
Speaker 3: Like stop asking me about like my drum patches.
Speaker 7: So you had to get this out so y'all could
Speaker 7: be cool.
Speaker 3: Yeah, because I think if you need people out like
Speaker 3: in the in the outside.
Speaker 4: World person, there's a place. There's a place for the nerd, right,
Speaker 4: those kinds of conversations. Because I'm very, very very impressed
Speaker 4: with the with the wealth of knowledge, with the whole to.
Speaker 7: Happen like this for you to be impressed.
Speaker 1: No bro like you. No, we are fort.
Speaker 4: We are student, and you are like the face of
Speaker 4: one of the faces of hip hop. How Snoopy is
Speaker 4: like your faces out there that we're proud of.
Speaker 1: I am proud of it.
Speaker 2: Once again, congratulations on the award. Thank you. You killed
Speaker 2: it with the movie.
Speaker 1: I love it. I watched. I told ray Man, we
Speaker 1: gotta watch. This is insane.
Speaker 2: I appreciate its beautiful and think and I just want
Speaker 2: to say, man, y'all y'all brother's music got me through
Speaker 2: like so many tough times, man, like I'm a Day
Speaker 2: one fan to the end, like every you called it, every.
Speaker 1: Love y'all brothers, man like straight up, well that said,
Speaker 1: ladies and gentlemen, or and be half of the great
Speaker 1: you may die talked about you the intro. The intro
Speaker 1: just talk about recording that song. We just have to
Speaker 1: be like two minutes. And why do y'all give these
Speaker 1: brilliant ass interludes Like.
Speaker 2: But that's what makes it dope because it's like it
Speaker 2: gives you just because you want more.
Speaker 4: The night y'all, we just ran it backwards. I think
Speaker 4: Dre was that's when he was playing with this sklimba
Speaker 4: or whatever. But we took that hold on, we took
Speaker 4: we took I think we took at Yellien's forward and
Speaker 4: ran it backwards to make them.
Speaker 1: Then we wrote.
Speaker 4: Thing Happened, something that was on the album that was
Speaker 4: going for it, and ran it backwards whatever you know,
Speaker 4: and it's so beautiful, put the piano on and and
Speaker 4: then we got peached.
Speaker 1: Just say, because her voice was such so monumental to
Speaker 1: us at that time. Shout out, yeah, shout out to
Speaker 1: all of them.
Speaker 3: Do you think they were having like a seance with
Speaker 3: a whole bunch of candles in the night time?
Speaker 2: That joint and the the hold on be Strong intro
Speaker 2: with four point oh singing on it. Yeah, like y'all all,
Speaker 2: y'all intros, man, that was like textbook I was.
Speaker 6: It's really a community affair with everybody you with, That's
Speaker 6: what happens. Put them in use however you can use,
Speaker 6: you know what I mean?
Speaker 4: And Big Boy and that's what I feel like Big
Speaker 4: Boy did the most because with money, but he kept
Speaker 4: and kept he kept that spirit alive even when the
Speaker 4: little will he would take him on tour. I was, yeah,
Speaker 4: what not not even just purple ribbons his his touring
Speaker 4: when it was Outcans touring. They would keep these guys alive,
Speaker 4: even if was just on the road or whatever. So
Speaker 4: by doing that, you keep your skills struve. You're right
Speaker 4: when you as long as you stay doing music, you're
Speaker 4: gonna you're gonna write some music. You're gonna come up
Speaker 4: with something refresh. Did y'all never cut any breakers on
Speaker 4: Scar on Bubba Sparks album. I mean, Scar wrote the
Speaker 4: hook for Ain't Life Grand was like my twin at
Speaker 4: one time, like he was totally we.
Speaker 1: Got songs that we haven't released, that we're going to
Speaker 1: release all we want to hear.
Speaker 12: I love going to well Ladies and Gentlemen on Behalf Yes, Yeah,
Speaker 12: definitely on behalf of Sleepy Brown and Our New Sense.
Speaker 1: My favorite dude ever.
Speaker 3: Ye, thank you, brother on behalf of Unpaid Bill, Still
Speaker 3: on Sesame Street, Flo and Sugar Steve.
Speaker 1: My name is quest Love.
Speaker 3: Very grateful for this episode, very classic episode, and we
Speaker 3: will see y'all on the What Steve the next go round.
Speaker 1: What's Love Supreme is a production of iHeartRadio.
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Speaker 3: or wherever you listen to your favorite shows.