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Speaker 1: What's up? This is Michael Rapport. You are now listening

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Speaker 1: to the I Am Rappaport Stereo podcast. Coming up next

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Speaker 1: the great DJ Premier. You are now listening to a podcast,

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Speaker 1: but it's going to feel like a documentary. DJ Premier

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Speaker 1: is rocking with me. We're talking about some of the biggest, best,

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Speaker 1: most exciting, most challenging songs he's ever made. We're talking

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Speaker 1: Game Star, We're talking manifest Step into the Arena. We're

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Speaker 1: talking about working with Jay Z on the Reasonable Doubt album.

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Speaker 1: We're talking about working with Nas on Ilmatic. Nas is

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Speaker 1: like New York state of Mind. Biggie Smalls. DJ Premiere

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Speaker 1: produced Unbelievable ten Crack Commandments, Kicking the Door. We're talking

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Speaker 1: about one of my favorite hip hop songs ever, Come

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Speaker 1: Clean by j RU, the Damnager, and so much more.

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Speaker 1: I'm telling you right now, people, I am telling you

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Speaker 1: eight now. It's the I Am wrapp Reports Stereo podcast,

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Speaker 1: but it should be called the I Am Wrappaport documentary

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Speaker 1: with the great one of a Kind DJ Premier. Coming

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Speaker 1: up next, Miles Jordan's let Me Get Something Funky. I

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Speaker 1: wanted it, the people wanted it. One more is there

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Speaker 1: to say Let's do It DJ Premiere on the Iron

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Speaker 1: Wrap Reports Stereo podcast All butter Soft. I am wrapp Reports.

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Speaker 1: Stereo Podcast T shirts are available at district Lines dot

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Speaker 1: com forward slash. I am Wrappaport. That is district Lines

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Speaker 1: dot Com forward slash. I am Rappaport. We got the

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Speaker 1: Sucker Shit T shirt coming out in white. We got

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Speaker 1: a beautiful design, okay me and g Moody the cartoon versions.

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Speaker 1: We have the waste Land T shirt. We have the

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Speaker 1: Stickman thirty three T shirt coming All butter soft. Iron

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Speaker 1: Wrapp Reports Stereo Podcast T shirts are available at district

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Speaker 1: Lines dot Com forward slash. I am Rappaport one two

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Speaker 1: two one two in the place to be DJ Premier.

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Speaker 1: It's in deep concentration on the motherfucking Iron Wrapp Reports

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Speaker 1: Stereo Podcast. I can't tell you how excited I am

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Speaker 1: to talk to you. I break and rule number one

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Speaker 1: of the Iron Rapports Stereo podcasts. I had to fact

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Speaker 1: check and get on my notes together because when I

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Speaker 1: was getting ready to start doing this, I started listening

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Speaker 1: to like so many different premiere songs and I had

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Speaker 1: to zero in because I can't do the you know

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Speaker 1: the life and times of DJ premier in just one podcast.

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Speaker 1: So I appreciate to rock with me. I always catch

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Speaker 1: you at next games, whenever I'm whenever I'm blessing and yeah,

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Speaker 1: and once you once you sit on the floor, it's

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Speaker 1: it's hard to go back. You know. It's crazy. The

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Speaker 1: first time I met you in person, come Clean had

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Speaker 1: just come out and I saw you at the tunnel

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Speaker 1: and I introduced myself to you and I said, you

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Speaker 1: know that come Clean shin You were like j Rus

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Speaker 1: right here and he had his ship wrapped and you

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Speaker 1: guys are smoking, and I was just like, what the fuck.

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Speaker 1: Needless to say, I'm a huge fan. I've been a

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Speaker 1: huge fan for a long time. So how does it work.

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Speaker 1: Let's say there's a new a new rapper. His name's

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Speaker 1: White Mike rapper. You know, like it's me and I'm like,

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Speaker 1: all right, premiere, you've heard me rock, You've heard me

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Speaker 1: do my thing. How do we make a song? Let's

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Speaker 1: say you think I'm talented, so we agree to rock.

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Speaker 1: We meet, we're talking on the phone. Year let's come

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Speaker 1: I come to the studio. I come to the compound here.

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Speaker 1: What do we do when I get to the studio,

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Speaker 1: at this point in your career, because you know, I'm

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Speaker 1: it's changing, evolved with different people, different artists, different people

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Speaker 1: you become comfortable with. So what do we do with

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Speaker 1: two eighteen? You're like, Yo, these kids got skills. I

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Speaker 1: wanna do a single with him? Um. For me, I

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Speaker 1: always approach it in two ways as a fan that

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Speaker 1: wishes that he could do do this as a producer,

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Speaker 1: and then I also also approach it as a DJ,

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Speaker 1: a real DJ and not not a robot DJ. Robot

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Speaker 1: DJs have to be told what to do and they

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Speaker 1: have to do what and do what they're told. But

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Speaker 1: both ways told what to do and do what they're told.

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Speaker 1: You know, yeah, put them both together. For me, I'm

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Speaker 1: one of It's like a sports fan. I'm like, man,

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Speaker 1: why would he run that play? Man? I would have

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Speaker 1: thrown a knop, done an option on that. Even options

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Speaker 1: are in college and not really in the pros. But

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Speaker 1: you know, but that's how I am with my approach.

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Speaker 1: It's the same way. It's like, man, if I could

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Speaker 1: learn how to work that, what is he using to

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Speaker 1: make it sound so dope like that? If I can

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Speaker 1: learn it, I guarantee I can interpret a OP style

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Speaker 1: from my perspective of what it should sound like if

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Speaker 1: given the opportunity, and which is how my demo got

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Speaker 1: heard by Guru. He liked my production and just my

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Speaker 1: overall uh style of how my demo was made. And

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Speaker 1: from there, once I got to after the first Gangster album,

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Speaker 1: the first one that I didn't understand how to produce,

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Speaker 1: so we used to do it all together. It was me,

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Speaker 1: Guru and our engineer, Slomo's son and Feld, and we

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Speaker 1: had such a sound studios in Brooklyn, and Uh. I

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Speaker 1: used to see King of Chill and they're mixing m

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Speaker 1: C lights stuff and I'd be like, Yo, where's MC

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Speaker 1: lighting everybody. He's like, they already did their recordings and

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Speaker 1: I'm like, so, why are you by yourself? He said, well,

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Speaker 1: once they record, then I produced and mix it. And

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Speaker 1: I'm like, so what does that? What does the producer do?

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Speaker 1: He's like, I thought the producer just made the beat.

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Speaker 1: I didn't know it. You're coaching vocals arrangement. Now, I

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Speaker 1: don't like that. I think you should say it over

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Speaker 1: you know, things like that, which is also I'm very

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Speaker 1: critical though, So all of that and once I knew

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Speaker 1: that that's where it produce is. I'm like, well I'm

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Speaker 1: not because I'm very vocal and telling you how I feel.

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Speaker 1: So I'm like, all right, let me start to practice.

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Speaker 1: More So, by the second Gangster album, Step in the Arena,

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Speaker 1: when just to get a rep and all that came out,

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Speaker 1: I started to really say, you know what, I could

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Speaker 1: do this and I'm ready for anybody more like ninety

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Speaker 1: two when when when care Arrests called, you know, then

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Speaker 1: I was really really ready. So that's when you first

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Speaker 1: started feeling like you you understood what you were doing.

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Speaker 1: But I mean, the first I get it because it's

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Speaker 1: your first record. You probably have criticism of it, but

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Speaker 1: let me jump right into it. And I was too

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Speaker 1: cocky too. I wanted to beat up the the engineer

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Speaker 1: because I was like, hey, I want to set up

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Speaker 1: my turn table. I brought the whole coffin with me

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Speaker 1: from Texas to New York. He's like, well, you're not

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Speaker 1: gonna be doing that then anything. He's from Israel. He's like,

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Speaker 1: you're not gonna be doing nuts us until later. And

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Speaker 1: I'm like, who the funk you talking to? And and

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Speaker 1: noun and groups like dude, like you know you don't understand. However,

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Speaker 1: you were doing your demos. We don't do at like

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Speaker 1: that in the studio. You can do scratches five days

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Speaker 1: from now. And I'm like, you can because we used

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Speaker 1: to do it everything on the spot, latest, gradual, later

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Speaker 1: Vogel lay everything and there's a done, done deal. He's like, na,

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Speaker 1: on the studio you can punch in. You can with

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Speaker 1: the first album. You were that unaware of the tech

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Speaker 1: totally alright, So so I believe. And it's such a

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Speaker 1: long time ago, you know, we're we're getting we we

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Speaker 1: ain't old, but we're getting old. It's crazy. So like

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Speaker 1: I'll just start, like, you know, the jump off song

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Speaker 1: that I think I remember first, and it could be wrong,

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Speaker 1: but the jump off song I thing. And and let

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Speaker 1: me just say this, there's no way that I'm gonna

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Speaker 1: be able to get to the life and times of

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Speaker 1: all the production of Premier. And there's no way I'm

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Speaker 1: gonna be able to get to the life and times

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Speaker 1: of all the production of Gang Star. So I'm gonna

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Speaker 1: I'm gonna pick and choose some joints and talk about you,

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Speaker 1: and then we're gonna talk about the prime record. We're

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Speaker 1: gonna talk about the which way is West record? And

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Speaker 1: all that, But like the jump off joint Manifest, when

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Speaker 1: you listen to that, now, do you hear flaws? Like

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Speaker 1: it worked? At the time? You know, Google was like,

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Speaker 1: I was like, is this where's this motherfucker from? Because

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Speaker 1: he sounds like New York. It's like you could kind

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Speaker 1: of here a spine of it? Is that a Boston excellent?

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Speaker 1: What the fund is going on? So when when you

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Speaker 1: listen to that song, now, what do you remember about

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Speaker 1: that time and about the making of specifically Manifest? Well,

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Speaker 1: Manifest the original demo is the album version, which is

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Speaker 1: words I Manifest. And if you look on you know,

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Speaker 1: obviously all of our remixes that came out of twelve

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Speaker 1: in singles, they readded those to the if you Buy

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Speaker 1: No Woman's Tonice Guy. Now, all of our remixes are

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Speaker 1: also on there, and it just says Manifest. Remixer doesn't

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Speaker 1: say words I'm Manifest. Honestly, the original version is what

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Speaker 1: I made when I met Guru and I said I'll

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Speaker 1: send him some visa that I was gonna make and

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Speaker 1: he liked that one, and I remember, you know, I

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Speaker 1: never met a rap artist in my life, so I

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Speaker 1: was so excited to meet him because when I was

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Speaker 1: staying in New York, uh at my grandfather's used to

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Speaker 1: listen to WBLS and nine eight point seven Kiss and

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Speaker 1: Awesome Too and tape all this shows. Go back to

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Speaker 1: Texas and be like, yeah, I got all the new

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Speaker 1: rap stuff from New York because there was a big

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Speaker 1: deal to say you got the latest himpopum. So when

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Speaker 1: we did the original Words I Manifest, Craig G was

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Speaker 1: at his apartment and now he was like, yo, Craig

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Speaker 1: G is and I was a juice crew not was

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Speaker 1: I am a Juice Crew junkie. So he was like

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Speaker 1: you want to say it was up to him. I'm

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Speaker 1: just like, man, I'm about to pass the funk out

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Speaker 1: Craig G. You know. And and Craig knows the story,

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Speaker 1: you know. So then uh, he talked to me and said, Yo,

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Speaker 1: these beats are dough. Man. I had to see from

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Speaker 1: him even saying it's dope. I'm like, yo, we're about

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Speaker 1: to get popping. So when we did the original album

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Speaker 1: version and we and Stu find who owned will Wild

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Speaker 1: Pitch Records, was like, Yo, Molly Mall is gonna start

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Speaker 1: the show Friday with with the song. We were just like, man,

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Speaker 1: that's my idol. You know it's Molly so um. When

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Speaker 1: that came out and he started the buzz, Stewart was like, yo,

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Speaker 1: I want to do a video to this, but he said,

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Speaker 1: I don't think this version has enough energy. He said

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Speaker 1: anyway that we could actually just redo it with more excitement,

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Speaker 1: more everything to it. I was like, cool, and what

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Speaker 1: did you do to the song to change it? Well,

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Speaker 1: for one added and you know, we sped it up.

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Speaker 1: We sped it up. We added like a whole intro,

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Speaker 1: like like now when they're going tone no, no done,

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Speaker 1: they go, oh it gathered around and then down it

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Speaker 1: plays for a minute, but when the vocals kicking in

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Speaker 1: and uh not only that, we didn't have automation back then.

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Speaker 1: So the part where he said stopped, think for a moment, okay,

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Speaker 1: we had the all line up side by side and

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Speaker 1: hit the buttons together. I think for a moment okay.

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Speaker 1: And that's what we did about twenty takes. Because every

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Speaker 1: time we say stop, think for a moment okay and swayed,

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Speaker 1: we would you know, we might hit one button too

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Speaker 1: quig or one too late. Started again, you know, started again,

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Speaker 1: started again. Guarantee was about twenty takes about the twentieth

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Speaker 1: when we were hop five and quietly because we still

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Speaker 1: haven't finished the mixing, still running and we're like got it,

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Speaker 1: you know, like little kids. That's dope, that's that's fucking dope.

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Speaker 1: I mean the technology has changed so much, which I

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Speaker 1: want to get to and like I said, I'm really

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Speaker 1: trying to keep my head together because I don't want

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Speaker 1: to there's no way to do the life and times um,

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Speaker 1: and it's crazy, um, Like I don't know if it's

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Speaker 1: today recently a couple of days ago, uh, twenty year

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Speaker 1: anniversary of Moment of Truth. And first of all, I

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Speaker 1: don't know who keeps tracking these fucking things, like now

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Speaker 1: you can have an anniversary like oh this is the

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Speaker 1: you know thirty thirty three years ago to this day.

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Speaker 1: I stopped my toe and got stitches and like we were,

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Speaker 1: you know, twenty years ago, like this record was put out.

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Speaker 1: I mean the Gang Star catalog is so you guys

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Speaker 1: would put out double records, like the fucking albums you

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Speaker 1: put out. The records they were thick, they were like

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Speaker 1: ten joints to be like fifteen joints, sixteen joints. So

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Speaker 1: the e t you know, it was like, I mean

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Speaker 1: joint you got thirty, you know, and all thirties songs

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Speaker 1: will be on the the CD, not even a double

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Speaker 1: CD because then it got to the point where it's

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Speaker 1: like we went back to ten but right, but you know,

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Speaker 1: going back to the first record game, because I said

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Speaker 1: DJ Premiere is in deep concentration. This was like your

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Speaker 1: your DJ song, which this is like a dinosaur. Now

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Speaker 1: they don't exist anymore. You know, back in the days

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Speaker 1: it was and I say days, I don't. Doesn't it

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Speaker 1: shouldn't be days. It's not back in the day. This

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Speaker 1: is an ongoing debate. People say back in the day,

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Speaker 1: and I'm like, it wasn't just one. So back in

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Speaker 1: the days, it would be like whether it was the

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Speaker 1: Trip song from Mr Mohammed, you know, Red Alert had

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Speaker 1: his joints on Jungle Brother, Sammy G Sammy B is

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Speaker 1: on the cut. You know, you would always acknowledge the

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Speaker 1: DJ your DJ Premier is in deep concentration, is like

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Speaker 1: these DJ songs, these d J holmanngs, DJ shout songs,

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Speaker 1: they don't. This is something that's I was. I was

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Speaker 1: following the blueprint, you know, terminated the actually had one,

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Speaker 1: uh UTFO with mixed Master Ice had one uh run

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Speaker 1: DMC always had a jam Master J record, so I

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Speaker 1: was like, well, you know Eric b is on the

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Speaker 1: cut and Chinese arithmetic. I was like, Yo, you know,

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Speaker 1: we gotta do everyone. I always talked about their DJ

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Speaker 1: in the RAM and always gave you know, Mo Love's

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Speaker 1: uh Mo Love's theme on Ultra Magnetics Critical b Down,

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Speaker 1: like everybody out a DJ record. So I was like,

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Speaker 1: I gotta do one. And that's one of like a

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Speaker 1: very good DJ song because when we look back on him,

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Speaker 1: and I'm not gonna name names some of them, I

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Speaker 1: am like, you know, you skip forward, but like the

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Speaker 1: kind of memories. All right, step to the arena, give

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Speaker 1: me the science of that song. When I asked you

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Speaker 1: about all your songs, are you able to recall the

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Speaker 1: samples of all of them? Totally? Okay? So step into

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Speaker 1: the arena, give me the magic of that song, give

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Speaker 1: me the like the samples of that song. What do

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Speaker 1: you remember about specifically that day when you were when

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Speaker 1: you were doing that song. For one, I wanted my

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Speaker 1: sound to the sound dirty because we worked at Calliope

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Speaker 1: and Lativa was working their Jungle brothers were working there

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Speaker 1: day I was working there, um you know, so when

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Speaker 1: i'd read to see where they were working forty five

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Speaker 1: King was doing a few things there, so ultra magnetics.

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Speaker 1: So I was like, yo, I gotta make my stuff

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Speaker 1: sound more dirty like that. And what do you mean

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Speaker 1: by dirty? I feel like me, me and grew. You's

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Speaker 1: always called no mom, Mr nice guy, our resume because

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Speaker 1: we we were still just getting ourselves together to be

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Speaker 1: able to be partners and making a sound that was

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Speaker 1: ours with Stephanie Arena. Is my first time actually saying

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Speaker 1: I'm doing everything, no no no help from anybody touching

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Speaker 1: the machine, just me, but establishing the sound where I

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Speaker 1: wanted to be, where you go, Yo, Premier did that

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Speaker 1: because when I hear Molly, I don't even have to

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Speaker 1: look at the record. I could just tell that sounds

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Speaker 1: like his bounce, that sounds like his echo, that sounds

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Speaker 1: like his delay, like it's you could just tell, and

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Speaker 1: then when you look it's like Marley or they'd say

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Speaker 1: Molly Mars or whatever. It's because saying the guy to

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Speaker 1: produce his name was a big deal, saying how E

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Speaker 1: t saying man Tronics, you know, saying saying Larry Smith

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Speaker 1: and Rick Rubin, you say that name, you know, and

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Speaker 1: and you know even Russell Russell's name was he was

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Speaker 1: part of involved. And so hearing all that again Davy DMX,

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Speaker 1: same thing, I just was like, I gotta may be

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Speaker 1: known for that, especially not being from New York and

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Speaker 1: being and out of town, you know. And at that time,

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Speaker 1: it was like if you weren't from there, you weren't

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Speaker 1: getting no love unless you were from Connecticut Philly. Even

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Speaker 1: then we had question marks. But when you say make

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Speaker 1: the sound dirty, is it the samples? Is it some

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Speaker 1: technical reverb? Like what do you how did you create

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Speaker 1: that signature premier specifically gangstar dirtiness? Hearing the bridge? When

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Speaker 1: I heard the bridge, I was like, how is it

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Speaker 1: sounding like that? It sounds like an old drum. It

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Speaker 1: doesn't sound like lynn drum. It doesn't sound like the

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Speaker 1: T T R A to way. It doesn't sound like

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Speaker 1: the No. None Order seven, you know. And I knew

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Speaker 1: all my equipment, you know, just from being a junkie

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Speaker 1: for ice build car stereos as a kid in my

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Speaker 1: neighborhood when I was in Texas. For everybody in my neighborhood,

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Speaker 1: I would I was really into you know, drilling the

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Speaker 1: holes and making sure it's a neat where where you

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Speaker 1: don't have to go to. You know, we didn't really

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Speaker 1: have cost stereo places yet. Remember when the booming system

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Speaker 1: era came out, it was really an I era and

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Speaker 1: and that became where cost stereo places became mega paid

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Speaker 1: making the dope systems because our our songs started being

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Speaker 1: designed four systems. Because my era is really the big

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Speaker 1: boom box and always had a radio everywhere I go.

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Speaker 1: If youven, if you look at a lot of the

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Speaker 1: old if you google image of us, that radio that

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Speaker 1: that it shows me and gurgle together is the radio

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Speaker 1: I made all my beats on, all the way to

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Speaker 1: the last uh, all the way up to full clip.

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Speaker 1: That's radio. So when we made the beats on the radio,

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Speaker 1: I would I would run run the outputs of the

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Speaker 1: drum machine into the headline in port so I would

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Speaker 1: run that into the act so that I could it

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Speaker 1: just had to sound like you. I wanted to sound

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Speaker 1: like you're walking down the street annoying everybody like radio raheem.

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Speaker 1: But this is before radio Ryan, you know this is

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Speaker 1: but I want that type of a sound to pump

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Speaker 1: with with my name attached to us and so specifically

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Speaker 1: the dirtiness. Is it a texture? Is that kind of samples?

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Speaker 1: Is it layering? Like what is it? Because I don't

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Speaker 1: I understand it from your thing, but I'm technically it's

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Speaker 1: a combination of things because the bridge is him taking

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Speaker 1: you know, the snare from from Impeach the kids programming

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Speaker 1: in his way. But then you hear make the music

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Speaker 1: with your mouth and just boom boom. It's just it

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Speaker 1: just sounds like it's not clean. And I was just like,

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Speaker 1: but it matched the city because me being in New

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Speaker 1: York way before I got into hip hop. When I

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Speaker 1: stay with my grandfather, the music matches the look. I

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Speaker 1: always say that I feel like certain artists don't match

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Speaker 1: the way they are with the record. Like when you

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Speaker 1: look at us and you hear us we Me and Grew,

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Speaker 1: our records matched us. E P M D. Their records

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Speaker 1: matched them when you saw them as like, you know,

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Speaker 1: their records sound like EBMD, Eric B and rock Kim

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Speaker 1: and they looked and their music sounds like them. Uh.

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Speaker 1: Same thing with Shan you know he then when you

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Speaker 1: saw him, his records always were good, cool gi rapping polo.

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Speaker 1: Same thing Kane same thing. All of that was tied

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Speaker 1: into my focus to be exactly like that without being

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Speaker 1: a bitter, because we were from the era where where

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Speaker 1: fights would break out literally from a minor bite. Somebody

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Speaker 1: would just roll them there you beat my ship. And

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Speaker 1: also the fight broke out over over sounding similar. You

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Speaker 1: know what I'm saying, Like, that's how ill it was,

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Speaker 1: you know, like over sounding similar. So for me, once

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Speaker 1: I was I was like, where are they getting the

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Speaker 1: sounds to do that? I didn't understand it was sampling yet,

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Speaker 1: I'm just like where they're getting it? But I was

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Speaker 1: up on my records, but I'm still not understanding how

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Speaker 1: are they getting I didn't know they were taking pieces

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Speaker 1: from old records and then just truncating the little edges

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Speaker 1: and then making that their drum and their keep their

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Speaker 1: their horn and man and and all that stuff. I'm

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Speaker 1: just like, this is how they do it. So then

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Speaker 1: once I figured it out, it was during the James

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Speaker 1: Brown era where everybody's really heavy on James, including myself.

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Speaker 1: But I was like, you know, a lot of people

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Speaker 1: don't use jazz samples. And my grandfather was a jazz

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Speaker 1: bass player and the trumpeter, So I was like, man,

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Speaker 1: there's not a lot of vocal in here. I could

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Speaker 1: start taking these and flipping them and putting hard drums

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Speaker 1: to it. We weren't, you know a lot of people like, oh, yeah,

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Speaker 1: jazz rapp. It's like, no jazz rap is rapping about jazz.

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Speaker 1: I was taking sounds and no one's touching and just

380
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Speaker 1: wanting to bring them out into the forefront and starting

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Speaker 1: another style that just seemed like no one really tapping.

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Speaker 1: Then that became popular jazz sample the baselines, and next

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Speaker 1: thing you knew, uh, we were getting labeled as that.

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Speaker 1: So that's why by the time we were on the

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Speaker 1: Hard to Earn album, I was like, you know what,

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Speaker 1: they keep labeling us wrong. Group was like, yo, I'll

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Speaker 1: do jazz batazz to protect Gangstar from being labeled. Is that?

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Speaker 1: And even though we did jazz, the jazz thing and

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Speaker 1: jazz music and the one for the you know, the

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Speaker 1: one for Spike Lee. So we were so when we

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Speaker 1: did that Harder Earn, I said, I'm taking all jazz

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Speaker 1: samples down. I'm gonna start just doing weird space sounds

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Speaker 1: and weird stabs and other stuff. And that's why I'm

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Speaker 1: proud of that album because it was very just raw,

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Speaker 1: stripped down but still a dope out and the only

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Speaker 1: one that was really melodic was Massive Bill. One of

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Speaker 1: the things you did, and I'm gonna lead this into

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Speaker 1: uh jay Z, but one of the things you did,

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Speaker 1: uh Speak your Cloud is one of my favorite songs,

400
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Speaker 1: one of my favorite gang star songs. It's obviously Guru

401
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Speaker 1: Dap and Jay Ru and I'm gonna refer to as

402
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Speaker 1: a medley song where each MC had their own beat.

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Speaker 1: What was the concept behind that? Um, did you know

404
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Speaker 1: like you were gonna? I believe, and I'm not I

405
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Speaker 1: don't claim to know everything. I believe that was the

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Speaker 1: first time that had been done. It might have been

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Speaker 1: you know, I don't get that. I get the times wrong.

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Speaker 1: I know, like on the r at the barbecue, I

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Speaker 1: mean where the beat literally was like Dep's gonna rhyme

410
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Speaker 1: to this beat, jus gonna ryme to this beat, Goole

411
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Speaker 1: is gonna rhyme to this beat and it's all one song.

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Speaker 1: What was the concept behind that? And were those beats

413
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Speaker 1: made beforehand? And who decides the order? You did so

414
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Speaker 1: many joints where it was like Guru m O P,

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Speaker 1: Guru m O P F Joe. Uh you know so so,

416
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Speaker 1: but like specifically and that's what how do you decide

417
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Speaker 1: to order what like the Medley concept, where did that

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00:21:27,720 --> 00:21:31,600
Speaker 1: come from from? Specifically speaking speaking well, actually speaking clouds.

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Speaker 1: The second time we did it. The first time we

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Speaker 1: did it was I'm the man on daily operation because

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Speaker 1: we wanted to introduce the rest of our team to

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Speaker 1: let them be heard. Because I think Molly Malls a

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00:21:43,280 --> 00:21:49,840
Speaker 1: Symphony started this whole posse cut record, uh phenomena because

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Speaker 1: once he started doing it with the Symphony also, and

425
00:21:53,080 --> 00:21:56,000
Speaker 1: everybody's getting their whole crew on songs and and then

426
00:21:56,000 --> 00:21:58,600
Speaker 1: all sudden this guest appearance things started. It wasn't really

427
00:21:58,600 --> 00:22:03,359
Speaker 1: no guest appearances during the nineties and the eighties. You know,

428
00:22:03,400 --> 00:22:05,399
Speaker 1: every Blue Blue Moon, you know, you know Spoony G

429
00:22:06,000 --> 00:22:08,560
Speaker 1: and the sequence, their Monster Jam. You know, you might

430
00:22:08,560 --> 00:22:11,919
Speaker 1: have sugar Hill meets the Furious Vibe for but they

431
00:22:11,960 --> 00:22:15,960
Speaker 1: were labelmates and but overall there was no there was

432
00:22:16,000 --> 00:22:18,280
Speaker 1: no features. And you know, like now when we were

433
00:22:18,320 --> 00:22:20,080
Speaker 1: promoting out, they're like, yeah, man, so he got your

434
00:22:20,080 --> 00:22:21,720
Speaker 1: new album coming out, so who he got on it?

435
00:22:22,280 --> 00:22:27,520
Speaker 1: And it's like, uh yeah, it's like you know, now

436
00:22:27,560 --> 00:22:29,840
Speaker 1: you say, I got Jay Kids, I got fabulous. I

437
00:22:29,840 --> 00:22:32,800
Speaker 1: got Jay, I got nas where back then it wasn't

438
00:22:32,960 --> 00:22:35,160
Speaker 1: it wasn't no thing. So by the time the Symphony,

439
00:22:35,400 --> 00:22:39,359
Speaker 1: I became like this new phenomenon and everything, and of

440
00:22:39,400 --> 00:22:42,239
Speaker 1: course Lava the barbecue blew us all away. You know,

441
00:22:42,320 --> 00:22:44,919
Speaker 1: scenario blew us away. We were just doing the same thing.

442
00:22:45,040 --> 00:22:47,560
Speaker 1: But I just I always wanted to be different, always

443
00:22:47,560 --> 00:22:50,120
Speaker 1: wanted to be different. Where you where I stand out,

444
00:22:50,320 --> 00:22:53,240
Speaker 1: it's a it's a standout competition thing with me. All that,

445
00:22:53,359 --> 00:22:55,600
Speaker 1: it's still a competition thing with me. So for that,

446
00:22:55,680 --> 00:22:58,240
Speaker 1: I was like, you know what, We're gonna introduce our guys,

447
00:22:58,280 --> 00:23:01,040
Speaker 1: but everybody's gonna get their own sound for them. I

448
00:23:01,080 --> 00:23:03,720
Speaker 1: think I'm very good at matching sounds to the artists.

449
00:23:04,359 --> 00:23:06,760
Speaker 1: That's one thing I specialized into this day. I think

450
00:23:06,760 --> 00:23:09,199
Speaker 1: that's why most of the records work. When I dropped him.

451
00:23:09,200 --> 00:23:11,000
Speaker 1: They ain't gotta be platinum anything like that, but I

452
00:23:11,040 --> 00:23:14,440
Speaker 1: think they still work when when we when we put

453
00:23:14,480 --> 00:23:16,880
Speaker 1: it together to to do what we set out to do.

454
00:23:17,680 --> 00:23:21,000
Speaker 1: So we're speaking cloud on back. You know, it was

455
00:23:21,040 --> 00:23:25,080
Speaker 1: really nine three, but the album came out the same thing.

456
00:23:25,119 --> 00:23:27,480
Speaker 1: We were just revisited again because by that time j

457
00:23:27,640 --> 00:23:29,959
Speaker 1: Ru and then we're popping on their own group home

458
00:23:30,040 --> 00:23:32,640
Speaker 1: at a hot single with Superstar. Jay Wud was big

459
00:23:32,640 --> 00:23:35,480
Speaker 1: with come Cleaning the original and can't start the profit.

460
00:23:35,520 --> 00:23:38,159
Speaker 1: So we were just bringing our family back. And Sugar

461
00:23:38,240 --> 00:23:40,879
Speaker 1: was home from prison, so we were like that Sugar,

462
00:23:41,280 --> 00:23:43,560
Speaker 1: you know, founded Gangstar with Gurgle, so we we were

463
00:23:43,640 --> 00:23:45,840
Speaker 1: so happy to put him back into the mix and

464
00:23:45,880 --> 00:23:48,040
Speaker 1: get him back to rhyme and and and plus Sugar

465
00:23:48,040 --> 00:23:51,800
Speaker 1: taught Google how to wrap. Gurgle used to sing. I

466
00:23:51,800 --> 00:23:54,320
Speaker 1: didn't know that. Yeah, he was a singer. He could sing.

467
00:23:55,160 --> 00:24:00,520
Speaker 1: That's that's crazy. I remember they have a routine when

468
00:24:00,600 --> 00:24:02,400
Speaker 1: one day of year when you see Sugar who's out

469
00:24:02,440 --> 00:24:04,560
Speaker 1: on tour right now without food and h j ru

470
00:24:04,640 --> 00:24:08,359
Speaker 1: out in Europe. But I got footage of them showing

471
00:24:08,480 --> 00:24:10,439
Speaker 1: this thing where they used to wear their sport coats

472
00:24:10,760 --> 00:24:12,920
Speaker 1: and they take them and flip them around and then

473
00:24:12,920 --> 00:24:15,439
Speaker 1: put them back on their on their body while they

474
00:24:15,440 --> 00:24:17,639
Speaker 1: did a little little step so it'd be like off,

475
00:24:17,840 --> 00:24:20,320
Speaker 1: twirl it back on it, and they did and they

476
00:24:20,359 --> 00:24:23,680
Speaker 1: did it like almost like remember in five beats when

477
00:24:23,680 --> 00:24:25,240
Speaker 1: when they when they all linked back up at the

478
00:24:25,320 --> 00:24:27,560
Speaker 1: end and let's see we can still do our moves.

479
00:24:28,000 --> 00:24:30,280
Speaker 1: It was like that, but they didn't exactly like if

480
00:24:30,280 --> 00:24:33,800
Speaker 1: they did it back in the eighties. And then Shug

481
00:24:34,000 --> 00:24:35,680
Speaker 1: was wrapping, but you know, she was in the street

482
00:24:35,680 --> 00:24:37,680
Speaker 1: getting in a lot of trouble. And it got to

483
00:24:37,720 --> 00:24:40,320
Speaker 1: a point where Groo just took to the reins and

484
00:24:40,400 --> 00:24:43,199
Speaker 1: just got better than Shug, you know. And so but

485
00:24:43,320 --> 00:24:45,119
Speaker 1: when he came home, we was just like, yo, we

486
00:24:45,160 --> 00:24:47,880
Speaker 1: gotta kind of re educate you into how to how

487
00:24:47,920 --> 00:24:49,800
Speaker 1: to you know, do it the way these guys are

488
00:24:49,800 --> 00:24:52,320
Speaker 1: doing it. Because now Groove finally got became a master

489
00:24:52,400 --> 00:24:54,320
Speaker 1: at Ryan Roman and he's always been a great writer.

490
00:24:54,920 --> 00:24:57,560
Speaker 1: And then the next thing you even know, they were popping. Uh,

491
00:24:57,920 --> 00:24:59,879
Speaker 1: we were all popping us the Gangster I found a

492
00:25:00,320 --> 00:25:03,200
Speaker 1: but specifically with with Speaking Cloud and I'm the motherfucking

493
00:25:03,280 --> 00:25:07,439
Speaker 1: man with each MC having a different song. Did you

494
00:25:07,520 --> 00:25:10,600
Speaker 1: craft the beats in the studio? Yeah, everything's on the spot,

495
00:25:10,760 --> 00:25:12,800
Speaker 1: everything's on this fight. So you're stalking around like and so,

496
00:25:12,920 --> 00:25:16,399
Speaker 1: what what's the tools you're using at the time. Um,

497
00:25:16,520 --> 00:25:18,840
Speaker 1: By that time, I was on the KAI and PC

498
00:25:19,000 --> 00:25:23,760
Speaker 1: sixty because my engineer Eddie Sancho, I had met thanks

499
00:25:23,760 --> 00:25:25,440
Speaker 1: to show biz from D I T C. And the

500
00:25:25,480 --> 00:25:29,000
Speaker 1: show bizin a g um Lord. Ferness was on his

501
00:25:29,040 --> 00:25:31,960
Speaker 1: second album and uh, he had a song called return

502
00:25:31,960 --> 00:25:35,159
Speaker 1: to the Funky Man. He was doing the remix to it.

503
00:25:35,640 --> 00:25:37,600
Speaker 1: Show Biz is like, yeo, I need you to come

504
00:25:37,680 --> 00:25:39,480
Speaker 1: lay scratches on this remix. I did a new beat

505
00:25:39,520 --> 00:25:40,919
Speaker 1: to it, and I was like, all right, cool. He said, well,

506
00:25:40,960 --> 00:25:43,159
Speaker 1: I'm gonna meet you. He said that was some studio

507
00:25:43,200 --> 00:25:45,120
Speaker 1: called d n D. I was like, all right, I'll

508
00:25:45,119 --> 00:25:47,000
Speaker 1: meet you down there with the d n D. Because

509
00:25:47,000 --> 00:25:48,919
Speaker 1: I was always working in Brooklyn. We had such a

510
00:25:48,960 --> 00:25:52,200
Speaker 1: sound in that firehouse, and uh, this is my first

511
00:25:52,400 --> 00:25:55,720
Speaker 1: you know, New York studio in the city. And uh,

512
00:25:56,119 --> 00:25:59,640
Speaker 1: when I get there, Eddie Sancho is It wasn't freelance.

513
00:25:59,720 --> 00:26:01,840
Speaker 1: Then he was one of the employees. And then they

514
00:26:01,880 --> 00:26:05,520
Speaker 1: just said Eddie, uh do this session. Once I got there,

515
00:26:06,640 --> 00:26:08,960
Speaker 1: show bids had to leave and he was like, Yo,

516
00:26:09,320 --> 00:26:11,000
Speaker 1: when y'all mix it, can you just make sure you

517
00:26:11,040 --> 00:26:13,960
Speaker 1: get me a cassette copy. Of course, a cassette you know,

518
00:26:14,119 --> 00:26:16,280
Speaker 1: mixing it was still a cassette, you know, and that

519
00:26:16,280 --> 00:26:19,320
Speaker 1: that it wasn't like we weren't burning CDs yet. And

520
00:26:19,359 --> 00:26:22,239
Speaker 1: then uh, I said, y'all bring it to you later on.

521
00:26:22,359 --> 00:26:24,280
Speaker 1: So I had a dope sound system and my mams

522
00:26:24,320 --> 00:26:28,680
Speaker 1: the MPV that I'm very known for flexing. We're just

523
00:26:28,720 --> 00:26:31,840
Speaker 1: talking about how everybody New York knew my mom and

524
00:26:31,920 --> 00:26:35,080
Speaker 1: my vehicles, and uh so I popped it in there

525
00:26:35,080 --> 00:26:38,600
Speaker 1: to hear the mix and it was so right and pumping.

526
00:26:38,720 --> 00:26:40,919
Speaker 1: I said, this is what I'm gonna do my next album.

527
00:26:41,440 --> 00:26:43,560
Speaker 1: So that's how I ended up going to d n D.

528
00:26:43,720 --> 00:26:45,359
Speaker 1: I was like, you know what I was gonna do

529
00:26:45,400 --> 00:26:49,160
Speaker 1: it to Calliope, I'm gonna do it here. So because

530
00:26:49,200 --> 00:26:53,240
Speaker 1: if it sounds like that, already can pre meditate how

531
00:26:53,280 --> 00:26:55,720
Speaker 1: it's gonna sound when I apply these new beats to this.

532
00:26:56,320 --> 00:26:59,920
Speaker 1: I was still on the spl which was the Gold

533
00:27:00,040 --> 00:27:02,119
Speaker 1: two back in the eighties all the way into the

534
00:27:02,119 --> 00:27:07,760
Speaker 1: early nineties. But my engineer Eddie was like, yo, well

535
00:27:07,840 --> 00:27:10,280
Speaker 1: he became my engineer and he let he quit n

536
00:27:10,359 --> 00:27:12,960
Speaker 1: D and became just a freelancer. We was hiring him

537
00:27:12,960 --> 00:27:15,280
Speaker 1: so much. But he was like, yo, man, I'm looking

538
00:27:15,320 --> 00:27:18,520
Speaker 1: at the way you lay your beats down and you

539
00:27:18,560 --> 00:27:20,600
Speaker 1: should use the NPC sixty. And I was like, no,

540
00:27:20,720 --> 00:27:23,199
Speaker 1: I'm good with the sp He's like yeah, but the

541
00:27:23,240 --> 00:27:26,640
Speaker 1: way you're doing it. You could use this because this

542
00:27:26,680 --> 00:27:29,639
Speaker 1: is almost like a tape machine without the tape. And

543
00:27:29,680 --> 00:27:30,879
Speaker 1: he's like, let me show you how you could to

544
00:27:30,880 --> 00:27:33,320
Speaker 1: buy the tracks. So once he showed me, I was like, damn,

545
00:27:33,320 --> 00:27:35,440
Speaker 1: that is cool, said there, I need to buy one.

546
00:27:35,440 --> 00:27:38,840
Speaker 1: He said, I'll sell you mine. Money was was popping

547
00:27:38,880 --> 00:27:40,720
Speaker 1: at the time, you know, and we weren't platting the

548
00:27:40,800 --> 00:27:43,480
Speaker 1: more goal, but we had good budgets. Later laid out

549
00:27:43,520 --> 00:27:46,200
Speaker 1: bought his right then and there on the spot started

550
00:27:46,240 --> 00:27:48,920
Speaker 1: mastering that and uh, I said with damn. And that

551
00:27:48,920 --> 00:27:51,440
Speaker 1: means I'm gonna leave the SP twelve loan. And that's

552
00:27:51,840 --> 00:27:54,240
Speaker 1: what all of us use, easy Mobi p rock, We

553
00:27:54,320 --> 00:27:57,200
Speaker 1: all use that. That was the most famous drummer machine

554
00:27:57,320 --> 00:28:00,080
Speaker 1: besides the eight or the Rollanado Wait and not on

555
00:28:00,280 --> 00:28:03,719
Speaker 1: in the lyndroom. Next thing, you know, I said, I'm

556
00:28:03,720 --> 00:28:06,480
Speaker 1: gonna do one more beat on this to say goodbye

557
00:28:06,520 --> 00:28:08,920
Speaker 1: to the SP twelve hundred, and it was taking personal

558
00:28:10,640 --> 00:28:25,240
Speaker 1: how dusty and dirty it is. That's the last beat

559
00:28:25,280 --> 00:28:29,080
Speaker 1: I made on the So when you're changing these machines,

560
00:28:29,080 --> 00:28:31,600
Speaker 1: because this is like I don't know what I've heard them,

561
00:28:31,640 --> 00:28:33,080
Speaker 1: I don't know what is it is? It would it

562
00:28:33,119 --> 00:28:35,320
Speaker 1: be like the equivalent of going from a Mac to

563
00:28:35,440 --> 00:28:39,240
Speaker 1: a Windows how competent from from a PC to a Mac. Yeah,

564
00:28:40,000 --> 00:28:43,200
Speaker 1: totally different because you have to relearn it. Yeah, and

565
00:28:43,320 --> 00:28:45,600
Speaker 1: that's the thing. I don't like learning new stuff. Same

566
00:28:45,600 --> 00:28:48,000
Speaker 1: thing with Serato, right, I mean, now my master at it.

567
00:28:48,520 --> 00:28:51,560
Speaker 1: But when I'm happy with the way I am, I'm

568
00:28:51,640 --> 00:28:55,840
Speaker 1: just keeping that way. It's like, you know, uh, it's

569
00:28:55,880 --> 00:28:57,840
Speaker 1: almost like how heavy metal is. I meant that I

570
00:28:57,880 --> 00:28:59,600
Speaker 1: love rock. A love new wave, you know, because I

571
00:28:59,600 --> 00:29:01,480
Speaker 1: grew up in that too. I was. I was here

572
00:29:01,520 --> 00:29:05,000
Speaker 1: before rap, so you know, I had my new wave phase.

573
00:29:05,040 --> 00:29:06,840
Speaker 1: I was into all the new wave clubs, going to

574
00:29:06,880 --> 00:29:10,959
Speaker 1: see Devo and the Smiths and Psychedelic Furs and Susie

575
00:29:11,000 --> 00:29:12,920
Speaker 1: and the band Sheets. I was going all those concerts,

576
00:29:13,000 --> 00:29:15,360
Speaker 1: you know, and just doing all the crazy stuff that

577
00:29:15,400 --> 00:29:16,960
Speaker 1: they do there, you know what I mean. I was

578
00:29:17,200 --> 00:29:21,800
Speaker 1: wild on the low, you know, so during that era, UM,

579
00:29:22,200 --> 00:29:24,760
Speaker 1: bring all that with you when when you when you create.

580
00:29:25,000 --> 00:29:26,880
Speaker 1: And then I used always like how new wave artist

581
00:29:26,880 --> 00:29:28,960
Speaker 1: always had B sides. They would always have a song

582
00:29:29,360 --> 00:29:32,120
Speaker 1: and it was an unavailable on LP, and I'd always

583
00:29:32,160 --> 00:29:33,800
Speaker 1: be like, well, damn, why isn't it on the album.

584
00:29:33,840 --> 00:29:35,880
Speaker 1: Like I'm one of those that will be like why

585
00:29:35,920 --> 00:29:38,200
Speaker 1: wy wy wy y you know what I'm saying, and

586
00:29:38,040 --> 00:29:41,240
Speaker 1: they want to understand why once I do, I'm like, well, ship,

587
00:29:41,320 --> 00:29:44,680
Speaker 1: I want to do B sides. Then Public Enemy would

588
00:29:44,680 --> 00:29:46,720
Speaker 1: have a B side rubble with out of pause and

589
00:29:46,760 --> 00:29:48,800
Speaker 1: I'm like, damn, this ain't on the album, and you know,

590
00:29:48,880 --> 00:29:50,920
Speaker 1: until they came out with Nation the Millions, but it

591
00:29:51,000 --> 00:29:53,760
Speaker 1: wasn't on your bummers to show. But but it was

592
00:29:53,760 --> 00:29:55,600
Speaker 1: on the B side, or You're Gonna get yours, which

593
00:29:55,640 --> 00:29:59,760
Speaker 1: was on your bummers to show. Prince always had B sides, uh,

594
00:30:00,200 --> 00:30:02,760
Speaker 1: you know, just stuff like that special at whatever be

595
00:30:02,840 --> 00:30:05,160
Speaker 1: side ready to Attack that wasn't on the album. So

596
00:30:05,240 --> 00:30:07,160
Speaker 1: I was like, we damn man, we gotta do the

597
00:30:07,200 --> 00:30:09,960
Speaker 1: same thing. That's why we did Dwick. There's a B side.

598
00:30:09,960 --> 00:30:12,280
Speaker 1: People used to be like why down the album? It

599
00:30:12,360 --> 00:30:15,040
Speaker 1: was a B side. It turned into a hit, so

600
00:30:15,320 --> 00:30:18,080
Speaker 1: we told the label to add it to Daily Operation,

601
00:30:18,160 --> 00:30:21,520
Speaker 1: which they didn't do. So people were like, well, damn,

602
00:30:21,520 --> 00:30:23,440
Speaker 1: why is it on hard d Earned when Dwick is

603
00:30:23,760 --> 00:30:25,760
Speaker 1: is a couple of years old? Because they we want

604
00:30:25,800 --> 00:30:28,800
Speaker 1: them to add it to uh did it to Daily Operation?

605
00:30:29,120 --> 00:30:32,120
Speaker 1: While I was still fresh. They didn't do it, So

606
00:30:32,280 --> 00:30:34,320
Speaker 1: I was like, well, people, if they ever buy a

607
00:30:34,360 --> 00:30:37,320
Speaker 1: Gangstar album, they gotta find on one of them. So

608
00:30:37,320 --> 00:30:39,400
Speaker 1: I'm not gonna do it five albums later. Let's put

609
00:30:39,440 --> 00:30:40,680
Speaker 1: it on in the next one. So that's why we

610
00:30:40,720 --> 00:30:43,680
Speaker 1: threw it on hard. It should have been on Daily Operations.

611
00:30:44,760 --> 00:30:50,280
Speaker 1: Another one of these medley songs that you did jay

612
00:30:50,400 --> 00:30:54,320
Speaker 1: Z in my Lifetime record, the intro medley is one

613
00:30:54,320 --> 00:30:56,720
Speaker 1: of my favorite jay Z joints because the way he's

614
00:30:56,800 --> 00:31:01,960
Speaker 1: rocking its raw, the beats keep changing. Yeah yeah, that

615
00:31:02,760 --> 00:31:05,760
Speaker 1: can't rhyme, no, and then it flips. The beats changed

616
00:31:06,320 --> 00:31:09,080
Speaker 1: when you were doing that with jay Z? Is he

617
00:31:09,160 --> 00:31:13,800
Speaker 1: actually not? Nothing's written down? Where did the beat come from?

618
00:31:14,080 --> 00:31:16,479
Speaker 1: Give me that process because it's like, you know, at

619
00:31:16,520 --> 00:31:18,400
Speaker 1: that point, jay Z was famous, but who would have

620
00:31:18,400 --> 00:31:20,760
Speaker 1: thought we'd be talking about jay Z like he's like

621
00:31:20,760 --> 00:31:24,400
Speaker 1: in a different planet now of fame and iconicness. Give

622
00:31:24,440 --> 00:31:27,000
Speaker 1: me everything you got about the making of that song

623
00:31:27,080 --> 00:31:29,200
Speaker 1: and the beat changing and like what it was like

624
00:31:29,240 --> 00:31:31,640
Speaker 1: to work with it like a jay Z in his

625
00:31:31,800 --> 00:31:35,080
Speaker 1: first sort of prime, you know, because he's went through

626
00:31:35,120 --> 00:31:37,520
Speaker 1: three different three or four different primes. So what you

627
00:31:37,560 --> 00:31:38,720
Speaker 1: know what I mean, Like, it's like when you thought

628
00:31:38,720 --> 00:31:40,680
Speaker 1: it was over with jay Z, he went to another level.

629
00:31:41,080 --> 00:31:44,000
Speaker 1: So what do you remember about that? And specifically that

630
00:31:44,040 --> 00:31:47,640
Speaker 1: song with the Motherfucker's No More? That one was totally

631
00:31:47,760 --> 00:31:53,000
Speaker 1: totally his idea. He called me and said, I want

632
00:31:53,000 --> 00:31:56,120
Speaker 1: to do this intro to the album. Even when we

633
00:31:56,120 --> 00:31:58,480
Speaker 1: were doing reasonable doubt, same thing, he would call me

634
00:31:58,560 --> 00:32:01,280
Speaker 1: and he would wrap the I'm on the phone a cappella.

635
00:32:01,840 --> 00:32:04,280
Speaker 1: So with this one, same thing. He did the whole

636
00:32:04,320 --> 00:32:07,920
Speaker 1: million one verse for me over the phone with the idea,

637
00:32:08,440 --> 00:32:11,160
Speaker 1: he said, and then I wanted to connect some type

638
00:32:11,200 --> 00:32:12,160
Speaker 1: of way. He said, you know how you do it

639
00:32:12,240 --> 00:32:15,360
Speaker 1: for breakdown things, you know, and he goes, but I

640
00:32:15,400 --> 00:32:17,440
Speaker 1: wanted to connect, and then I'm gonna go, and he said,

641
00:32:17,480 --> 00:32:20,240
Speaker 1: I'm gonna go. Motherfucker's can't ran. He said. When I

642
00:32:20,280 --> 00:32:23,400
Speaker 1: say Rome, I wanted to drop. He's very calculating on

643
00:32:23,480 --> 00:32:24,800
Speaker 1: how he wants to do his thing. That's why he

644
00:32:24,840 --> 00:32:27,920
Speaker 1: shows are tight and uh, he was like, that's how

645
00:32:27,920 --> 00:32:30,040
Speaker 1: I wanted to drop. So I said, all right, I'll

646
00:32:30,040 --> 00:32:31,680
Speaker 1: meet you at D n D. He said yeah. Because

647
00:32:31,680 --> 00:32:34,280
Speaker 1: two shorts coming into town to work on a week ago.

648
00:32:34,880 --> 00:32:36,960
Speaker 1: They were working on that which was on that album,

649
00:32:37,320 --> 00:32:39,440
Speaker 1: so you know, and I knew too shot from way back,

650
00:32:39,480 --> 00:32:41,880
Speaker 1: but to see him in New York with J was like,

651
00:32:41,920 --> 00:32:44,520
Speaker 1: you know, in New York at dn D, you know

652
00:32:44,520 --> 00:32:47,040
Speaker 1: what I'm saying, So so too Short and him went

653
00:32:47,360 --> 00:32:49,400
Speaker 1: and the dn D had just built a brand new

654
00:32:49,440 --> 00:32:51,600
Speaker 1: room in the A room, the B room which I

655
00:32:51,640 --> 00:32:54,920
Speaker 1: had and the delud. The new room is called the

656
00:32:55,040 --> 00:32:58,520
Speaker 1: D room for d n D. So J went in

657
00:32:58,560 --> 00:33:01,160
Speaker 1: there to work with two shorts and uh, he said,

658
00:33:01,280 --> 00:33:03,320
Speaker 1: let me know when you got the first part done,

659
00:33:03,320 --> 00:33:04,800
Speaker 1: and I'll come later, and then I'll go back in

660
00:33:04,840 --> 00:33:06,640
Speaker 1: there with too Short and and got the second part,

661
00:33:06,640 --> 00:33:09,280
Speaker 1: I'll come later. That so being he gave me the idea,

662
00:33:09,960 --> 00:33:12,000
Speaker 1: I already knew how I wanted to approach. And he

663
00:33:12,000 --> 00:33:14,239
Speaker 1: said it's gonna be called a million one questions, you know,

664
00:33:14,560 --> 00:33:16,880
Speaker 1: And so right there, as soon he said that, I said,

665
00:33:16,920 --> 00:33:19,400
Speaker 1: a leah, you know like that. I'm like that where

666
00:33:19,440 --> 00:33:21,600
Speaker 1: certain things, either a line or a title will make

667
00:33:21,640 --> 00:33:24,280
Speaker 1: me think of a line or a scratch, just just

668
00:33:24,320 --> 00:33:28,120
Speaker 1: on some DJ ship. And I was like at one

669
00:33:28,200 --> 00:33:29,959
Speaker 1: and a million, and I said, I wonder if I

670
00:33:30,000 --> 00:33:33,920
Speaker 1: took just a million and kind of flew that in

671
00:33:34,480 --> 00:33:36,680
Speaker 1: as a part of the song in Mike, I don't

672
00:33:36,720 --> 00:33:38,920
Speaker 1: kind of fly if I tuned it right, and then

673
00:33:39,040 --> 00:33:43,400
Speaker 1: before all the tune before Ableton, this is just sonically

674
00:33:43,520 --> 00:33:45,840
Speaker 1: knowing as ever as a guy with a I have

675
00:33:45,920 --> 00:33:48,120
Speaker 1: a good ear. And then I pitched it and I

676
00:33:48,160 --> 00:33:50,920
Speaker 1: was like, damn, this works. Sampled it kept hitting at

677
00:33:50,920 --> 00:33:53,240
Speaker 1: a million? Did it say? You know I got the

678
00:33:53,280 --> 00:33:56,000
Speaker 1: first part? He came in and goes, don't let's cut it.

679
00:33:56,840 --> 00:33:58,960
Speaker 1: You know the money, So I made the money, So

680
00:33:59,000 --> 00:34:01,800
Speaker 1: I've played with me for real? Is that naked really

681
00:34:01,840 --> 00:34:04,920
Speaker 1: paid monsters I've met? Or there with the wreck? Is

682
00:34:04,960 --> 00:34:07,040
Speaker 1: the truly state of bef been slept with the tip

683
00:34:07,160 --> 00:34:09,520
Speaker 1: with the position you who can you really match a

684
00:34:09,560 --> 00:34:12,279
Speaker 1: triple platinum on this? But only your single gonna go

685
00:34:12,560 --> 00:34:15,160
Speaker 1: Rackefellership fold and you left out in the cool? Is

686
00:34:15,160 --> 00:34:17,560
Speaker 1: it back at your your motherfucker's the left before Rome

687
00:34:18,400 --> 00:34:20,480
Speaker 1: goes then cuts it. You know what you know, I've

688
00:34:20,480 --> 00:34:22,759
Speaker 1: never seen him write anything on paper, They said, yeah,

689
00:34:22,800 --> 00:34:24,560
Speaker 1: I think he did back in the day on he

690
00:34:24,640 --> 00:34:27,320
Speaker 1: said on paper bags and he lose the paper bags.

691
00:34:27,360 --> 00:34:28,960
Speaker 1: I think that's what when he said that's how he

692
00:34:29,000 --> 00:34:31,600
Speaker 1: had to start remembering stuff, but I've been a mini

693
00:34:31,640 --> 00:34:33,319
Speaker 1: session with him and never seen him right as him

694
00:34:33,320 --> 00:34:35,800
Speaker 1: and big and then and then boom, you know you

695
00:34:35,960 --> 00:34:37,799
Speaker 1: you funked my head up. You suck my head up

696
00:34:37,800 --> 00:34:40,680
Speaker 1: with that. You suked my head up with that, because obvi, listen,

697
00:34:41,200 --> 00:34:43,680
Speaker 1: I didn't even know that was from an earlist sample. Yeah,

698
00:34:43,760 --> 00:34:45,879
Speaker 1: one of the millions. I think that's my favorite song

699
00:34:45,960 --> 00:34:47,920
Speaker 1: she's ever made. When I heard that, I was like,

700
00:34:47,960 --> 00:34:51,799
Speaker 1: this Timberland guy is sick. Like That's when I was like,

701
00:34:52,239 --> 00:34:54,399
Speaker 1: I already liked him with super Duper Fly and all

702
00:34:54,400 --> 00:34:56,560
Speaker 1: of that, but when I were wanted a million and

703
00:34:56,600 --> 00:34:58,919
Speaker 1: they well on Timberland. I was sitting in the car

704
00:34:59,000 --> 00:35:01,279
Speaker 1: LOWD with Missy and just the way she moved in

705
00:35:01,360 --> 00:35:03,120
Speaker 1: the video, I was like, yo, it's tembling, guys about

706
00:35:03,160 --> 00:35:05,160
Speaker 1: to be huge and he blew up and then what

707
00:35:05,239 --> 00:35:08,040
Speaker 1: about the beat change in that? You know, he went

708
00:35:08,080 --> 00:35:10,160
Speaker 1: back in the room with too short because he had

709
00:35:10,160 --> 00:35:11,880
Speaker 1: already lady. You know, once he liked the beat and

710
00:35:11,880 --> 00:35:13,719
Speaker 1: cut it, he said let me know when you got

711
00:35:13,760 --> 00:35:17,200
Speaker 1: the other part. So I'm just looking for samples and uh.

712
00:35:17,360 --> 00:35:20,799
Speaker 1: In the studio, you're doing this everything around which like

713
00:35:20,840 --> 00:35:23,719
Speaker 1: you're playing records like what will match up? I still

714
00:35:23,760 --> 00:35:25,680
Speaker 1: do that to the very day. That's why some people like,

715
00:35:25,719 --> 00:35:28,520
Speaker 1: to my brain up, you're really sucking my head out. Well,

716
00:35:28,520 --> 00:35:30,200
Speaker 1: I never knew no other way to do it. I

717
00:35:30,239 --> 00:35:32,000
Speaker 1: thought that's how everybody did Yeah, but you're funk in

718
00:35:32,040 --> 00:35:33,799
Speaker 1: my head up though. That's how I thought, that's how

719
00:35:33,840 --> 00:35:36,520
Speaker 1: every producer did it. So when some people like, you know,

720
00:35:36,560 --> 00:35:40,040
Speaker 1: like now, if a producer gets a gig or whatever,

721
00:35:40,080 --> 00:35:42,040
Speaker 1: they're like, and I'm gonna sending you thirty beats to

722
00:35:42,080 --> 00:35:44,120
Speaker 1: pick from, and you'll be like, I'll take the third one,

723
00:35:44,160 --> 00:35:46,759
Speaker 1: and I'll take number seven. And then you don't do that.

724
00:35:47,600 --> 00:35:52,760
Speaker 1: You come in there. We're making a painting, blank canvas,

725
00:35:52,800 --> 00:35:55,880
Speaker 1: all right. So the second beat in that is he like,

726
00:35:55,920 --> 00:35:58,120
Speaker 1: so he's not writing, is he he knows what he

727
00:35:58,160 --> 00:36:00,719
Speaker 1: wants to say, because, like I said, he did over

728
00:36:00,719 --> 00:36:02,960
Speaker 1: the phone before I even got We've never been a

729
00:36:03,000 --> 00:36:06,359
Speaker 1: great Instagram moment that of broke Instagram if you had

730
00:36:06,400 --> 00:36:10,319
Speaker 1: that ship now, like like on this ship. And you know,

731
00:36:10,360 --> 00:36:13,319
Speaker 1: obviously back then, because Jay's a little younger than me,

732
00:36:13,400 --> 00:36:15,800
Speaker 1: so I looked at him as an up and comer

733
00:36:16,400 --> 00:36:19,520
Speaker 1: that deserves to get a shot, you know, because I

734
00:36:19,560 --> 00:36:22,880
Speaker 1: was already already knew him from jazz. Oh because we

735
00:36:22,880 --> 00:36:24,839
Speaker 1: were label made, so jazz or every time I saw

736
00:36:24,960 --> 00:36:27,040
Speaker 1: jazz or at the label, or any stuff that we

737
00:36:27,080 --> 00:36:31,359
Speaker 1: had to all do together. Sometimes me hammer vanilla ice, uh,

738
00:36:31,960 --> 00:36:36,600
Speaker 1: technotronic with a pump up the jam k K Jazz Gangstar,

739
00:36:37,320 --> 00:36:40,160
Speaker 1: Arrest of Development, D'Angelo. We always had to do like

740
00:36:40,239 --> 00:36:42,560
Speaker 1: different promo stuff. So it was all label made stuff,

741
00:36:42,560 --> 00:36:45,560
Speaker 1: and Jay would be around with jazz, so it was

742
00:36:45,560 --> 00:36:49,160
Speaker 1: always I was up. It wasn't like, uh, you know,

743
00:36:49,239 --> 00:36:52,319
Speaker 1: I don't know anything about you, you know. So and

744
00:36:52,360 --> 00:36:53,799
Speaker 1: then I used to live on one of the three

745
00:36:53,800 --> 00:36:56,640
Speaker 1: and the Bronx, so when I lived up there before

746
00:36:56,680 --> 00:36:59,480
Speaker 1: we got signed to a major. Nice always he named

747
00:36:59,560 --> 00:37:03,680
Speaker 1: Dash because he was he was dealing with original, original flavor.

748
00:37:04,080 --> 00:37:06,480
Speaker 1: So jay Z would be up in the Bronx, so

749
00:37:06,600 --> 00:37:09,480
Speaker 1: I'd always see him up there with Damn. And then

750
00:37:09,480 --> 00:37:13,000
Speaker 1: this before they started Rockefeller, So you know, Dame Wore,

751
00:37:13,080 --> 00:37:14,880
Speaker 1: I think did he have rock Waller is a pit bull.

752
00:37:14,920 --> 00:37:18,360
Speaker 1: I think he have rock wall Yeah, we're walking his dogs.

753
00:37:18,600 --> 00:37:21,040
Speaker 1: So he came in and he just laid down the

754
00:37:21,080 --> 00:37:23,880
Speaker 1: rest of the song. Yeah. So so with Rond nor

755
00:37:23,880 --> 00:37:25,440
Speaker 1: More once he went back in the room was short

756
00:37:25,800 --> 00:37:29,520
Speaker 1: to work. I'm you know, I would just saying to myself,

757
00:37:29,600 --> 00:37:32,160
Speaker 1: motherfucker's can't just hit the play button to see if

758
00:37:32,160 --> 00:37:34,200
Speaker 1: it would hit the way because he had already said

759
00:37:34,239 --> 00:37:37,000
Speaker 1: I wanted to go motherfucker's can and then come on

760
00:37:37,360 --> 00:37:40,000
Speaker 1: right on rhyme, So I already knew that's his concept.

761
00:37:40,400 --> 00:37:43,200
Speaker 1: So I'm guru always called me a beat Taylor. He said,

762
00:37:43,640 --> 00:37:46,640
Speaker 1: it's like a tailor, like a guy can look at Jim.

763
00:37:47,080 --> 00:37:50,080
Speaker 1: You're tall and you know, a six foot and change. Okay, yeah,

764
00:37:50,239 --> 00:37:51,480
Speaker 1: you know what. I know. It's kind of suit you

765
00:37:51,520 --> 00:37:53,960
Speaker 1: need where that super may not look fly on me.

766
00:37:54,000 --> 00:37:55,879
Speaker 1: I'm a little wide and heavier. It's like, all right,

767
00:37:56,000 --> 00:37:57,880
Speaker 1: let's get fat boy a nice little suit too, and

768
00:37:57,960 --> 00:37:59,759
Speaker 1: they don't look fly. So it's the same thing with

769
00:37:59,800 --> 00:38:01,759
Speaker 1: me with my approach to a beat. So if you

770
00:38:01,800 --> 00:38:04,399
Speaker 1: give me a concept ahead of time, I'm just giving

771
00:38:04,400 --> 00:38:07,280
Speaker 1: you the theme music to match your vision. Be honest

772
00:38:07,320 --> 00:38:10,880
Speaker 1: with me, did you ever imagine? I mean, I think

773
00:38:10,920 --> 00:38:13,160
Speaker 1: that one of the beautiful things about jay Z is

774
00:38:13,200 --> 00:38:17,239
Speaker 1: that he took the dream and squashed the dream and

775
00:38:17,280 --> 00:38:21,040
Speaker 1: took it to another level of euphoria, like the imagination

776
00:38:21,480 --> 00:38:24,359
Speaker 1: of his idea of success couldn't have been this, because

777
00:38:24,400 --> 00:38:27,080
Speaker 1: I don't think it was even unimaginable for even a

778
00:38:27,160 --> 00:38:30,600
Speaker 1: musician like he's beyond a rap star. Did you ever

779
00:38:30,640 --> 00:38:33,880
Speaker 1: imagine jay Z would be where he is now? Like

780
00:38:33,920 --> 00:38:36,360
Speaker 1: I mean, when did you see like this guy's fucking

781
00:38:37,000 --> 00:38:41,640
Speaker 1: really on another thing of specialness? I mean, for me,

782
00:38:42,600 --> 00:38:45,200
Speaker 1: it was really when he did reasonable doubt because I watched.

783
00:38:45,320 --> 00:38:47,560
Speaker 1: I was there for the making of almost all of it.

784
00:38:47,640 --> 00:38:49,480
Speaker 1: Like you know, IRV Gott. He would come by and

785
00:38:49,560 --> 00:38:53,479
Speaker 1: lay his b Uh, Nobody and Sean and LV would

786
00:38:53,480 --> 00:38:56,040
Speaker 1: come by and and then do that session. Ski would

787
00:38:56,040 --> 00:38:58,839
Speaker 1: come do a session and uh A lot of us

788
00:38:58,840 --> 00:39:01,680
Speaker 1: done at D and D. So to see him put

789
00:39:01,719 --> 00:39:04,360
Speaker 1: together and the way and he always knows how he

790
00:39:04,440 --> 00:39:07,400
Speaker 1: wants it, you know. So even a good friend of

791
00:39:07,400 --> 00:39:09,680
Speaker 1: mine that lived in the Bronx, a younger kid who

792
00:39:09,680 --> 00:39:11,480
Speaker 1: actually is the one who gave me the justice get

793
00:39:11,480 --> 00:39:13,520
Speaker 1: a rep sound because his dad had in this collection

794
00:39:13,560 --> 00:39:15,920
Speaker 1: because the Puerto Rican and his father had that in

795
00:39:15,920 --> 00:39:17,600
Speaker 1: his collection and saying, yo, I think you can flip

796
00:39:17,640 --> 00:39:20,480
Speaker 1: this shout to DJ red Handed, who was jay Z

797
00:39:20,680 --> 00:39:24,600
Speaker 1: DJ first, I've watched him rehearse and Jay is the

798
00:39:24,760 --> 00:39:29,160
Speaker 1: specific don't fuck up like he's been like that since

799
00:39:29,840 --> 00:39:33,360
Speaker 1: literally ninety don't funk up, don't sunk up, Diana, I

800
00:39:33,560 --> 00:39:35,200
Speaker 1: just go to the shows. This is when he was

801
00:39:35,239 --> 00:39:37,200
Speaker 1: just standing in the middle and just rhyme and have

802
00:39:37,320 --> 00:39:41,000
Speaker 1: all of his punchline freestyle joints to due to the crowd,

803
00:39:41,080 --> 00:39:42,960
Speaker 1: to have him laughing. Twenty two twos he would do

804
00:39:43,000 --> 00:39:47,200
Speaker 1: that and but you gotta drop on Q with him.

805
00:39:47,320 --> 00:39:50,319
Speaker 1: And then and even when he did Summer Jam when

806
00:39:50,520 --> 00:39:53,920
Speaker 1: he brought Michael Jackson, I remember, uh, bleak mr Q

807
00:39:54,160 --> 00:39:57,680
Speaker 1: and he said bleak and not focused? Go and then

808
00:39:58,239 --> 00:40:00,120
Speaker 1: John Rules coming out, do can I get a And

809
00:40:00,160 --> 00:40:02,680
Speaker 1: he didn't come out on this cue because somebody had

810
00:40:02,719 --> 00:40:05,239
Speaker 1: distracted him backstage. I remember he came out and he

811
00:40:05,360 --> 00:40:08,719
Speaker 1: was what happened and he goes, yo, I was distracted

812
00:40:08,760 --> 00:40:10,400
Speaker 1: backstage and he said, you wanna start it over? He

813
00:40:10,400 --> 00:40:13,359
Speaker 1: goes give it up with John Rule y'all and like

814
00:40:14,000 --> 00:40:18,040
Speaker 1: see you like you know this roules h. So he's

815
00:40:18,040 --> 00:40:22,880
Speaker 1: like giving up. So you saw that student he and

816
00:40:22,920 --> 00:40:26,359
Speaker 1: he said again, yo, you're not focused. So that a loan.

817
00:40:26,719 --> 00:40:28,719
Speaker 1: I was like, damn he is. He's he's still on

818
00:40:28,760 --> 00:40:31,520
Speaker 1: it the same way as he was back then with

819
00:40:31,640 --> 00:40:34,960
Speaker 1: Red Handed as a DJ before and the album was completed,

820
00:40:35,440 --> 00:40:38,160
Speaker 1: did all the way to being a platinum guy with

821
00:40:38,480 --> 00:40:40,680
Speaker 1: the Hard Knocked Life. This on the hard know this

822
00:40:40,840 --> 00:40:44,640
Speaker 1: after Hard Knock Life. Uh, when he brought Michael Jackson

823
00:40:44,640 --> 00:40:46,040
Speaker 1: out this when he was this, when he was doing

824
00:40:46,040 --> 00:40:50,320
Speaker 1: the Blueprint, Yeah, because Takeover was was was on the blueprint.

825
00:40:50,360 --> 00:40:52,120
Speaker 1: So he was about to drop that album and we

826
00:40:52,160 --> 00:40:55,360
Speaker 1: had nerd the whole Takeover. Yes, so yeah, he I

827
00:40:55,440 --> 00:40:58,319
Speaker 1: was at that summer jam, you know, and I mean

828
00:40:58,480 --> 00:41:02,040
Speaker 1: I was with Freddie Fox and and uh the rest

829
00:41:02,080 --> 00:41:04,279
Speaker 1: of my crew, and I remember when Michael came out.

830
00:41:04,320 --> 00:41:08,200
Speaker 1: We were even like Michael, it's really Michael's crazy. You

831
00:41:08,200 --> 00:41:10,280
Speaker 1: know what I'm saying. Michael could do then that effect

832
00:41:10,280 --> 00:41:14,120
Speaker 1: on you fuck, especially summer to bully. You can beat

833
00:41:14,160 --> 00:41:16,960
Speaker 1: up everybody you want and beat hard. And we've been

834
00:41:17,000 --> 00:41:20,239
Speaker 1: a mini of brawls in my career and survived him.

835
00:41:20,239 --> 00:41:23,120
Speaker 1: And Michael came out. Fox was like, oh, Ship, Yeah,

836
00:41:23,280 --> 00:41:27,560
Speaker 1: he'll tell you anything like Michael. That was Michael Ship.

837
00:41:27,640 --> 00:41:29,080
Speaker 1: After that, I was like, I'm not going to no

838
00:41:29,160 --> 00:41:32,719
Speaker 1: more Summer jat care who comes. I'm not going no more.

839
00:41:32,840 --> 00:41:37,000
Speaker 1: I'm good, all right. Speaking of great records, this is

840
00:41:37,040 --> 00:41:39,799
Speaker 1: I mean, documentaries have been made about this, uh the

841
00:41:39,800 --> 00:41:44,600
Speaker 1: Illmatic record. Yeah again, I can't go over everything, you know,

842
00:41:44,880 --> 00:41:48,920
Speaker 1: New York state of Mind. Um, this is an iconic record,

843
00:41:49,400 --> 00:41:54,879
Speaker 1: the iconic production you Pete Pete Rock, uh large pro

844
00:41:55,520 --> 00:42:00,360
Speaker 1: q Tip who's overseeing that record? Who is? All right?

845
00:42:00,400 --> 00:42:01,719
Speaker 1: I want to get cute Tip. I want to get

846
00:42:01,800 --> 00:42:03,560
Speaker 1: large problem, want to get Pete Rock. I want to

847
00:42:03,560 --> 00:42:06,800
Speaker 1: get premier who was sort of distributing it out, because

848
00:42:07,120 --> 00:42:09,440
Speaker 1: that was like a great team effort, because you guys

849
00:42:09,480 --> 00:42:13,040
Speaker 1: seem the old no this guy special talking about so

850
00:42:13,040 --> 00:42:15,839
Speaker 1: so how is it sort of being distributed and how

851
00:42:15,960 --> 00:42:18,000
Speaker 1: did what do you remember about the song and the

852
00:42:18,080 --> 00:42:20,920
Speaker 1: songs that you did well? For one, I gotta give

853
00:42:21,000 --> 00:42:23,960
Speaker 1: large Professor to credit. Always look at large Professor as

854
00:42:23,960 --> 00:42:26,239
Speaker 1: what I am to Guru with Gangster. I feel like

855
00:42:26,640 --> 00:42:29,200
Speaker 1: he's the premier to NAS, you know, like it's like, no,

856
00:42:29,320 --> 00:42:32,680
Speaker 1: I don't care if NAS does a hundred albums. Always

857
00:42:32,719 --> 00:42:35,440
Speaker 1: make sure large Professors on it as your as your

858
00:42:35,480 --> 00:42:38,480
Speaker 1: go to automatic, like he can do one here doing

859
00:42:38,800 --> 00:42:42,040
Speaker 1: an interlude. Make sure he's on it because that's your

860
00:42:42,080 --> 00:42:46,080
Speaker 1: whole base of us believing that you're that next dude

861
00:42:46,160 --> 00:42:48,600
Speaker 1: because he gave you the sound. And I don't like

862
00:42:48,600 --> 00:42:51,440
Speaker 1: when people are abandoning sounds that built them, you know

863
00:42:51,440 --> 00:42:53,560
Speaker 1: what I'm saying. That's why I sticked you today. That's

864
00:42:53,560 --> 00:42:56,360
Speaker 1: some people, all premiers just on that ninetiesh Uh he

865
00:42:56,480 --> 00:42:58,480
Speaker 1: still does the same old thing, all right, you ain't

866
00:42:58,480 --> 00:43:00,520
Speaker 1: gonna listen to it. I like with ain't cost Young

867
00:43:00,560 --> 00:43:04,160
Speaker 1: from a C d C said, he said, man, somebody said, uh,

868
00:43:04,560 --> 00:43:06,239
Speaker 1: he said, I saw an article the other day where

869
00:43:06,280 --> 00:43:08,640
Speaker 1: they said a C d C does the same thing

870
00:43:09,239 --> 00:43:12,040
Speaker 1: over and over ten times. And he goes, that is

871
00:43:12,080 --> 00:43:15,360
Speaker 1: not true. He said, we do the same thing eleven times.

872
00:43:15,840 --> 00:43:19,040
Speaker 1: I was like, that's me just to hip hop version

873
00:43:19,880 --> 00:43:21,960
Speaker 1: and angers Young is one of my favorite guitarists, and

874
00:43:21,960 --> 00:43:23,440
Speaker 1: I'm a big a C d C fan and he's

875
00:43:23,440 --> 00:43:26,279
Speaker 1: an are he so like me? So yeah, we're on

876
00:43:26,320 --> 00:43:29,960
Speaker 1: the same page. But yeah, Large we used to hang

877
00:43:30,000 --> 00:43:31,840
Speaker 1: over each other's house before I even got signed to

878
00:43:31,840 --> 00:43:34,800
Speaker 1: a major. We were still on the manifest uh single,

879
00:43:34,880 --> 00:43:38,279
Speaker 1: living off of that, and I remember, uh, you know,

880
00:43:38,400 --> 00:43:41,680
Speaker 1: Queen's artists always get named rapper in front of their name.

881
00:43:42,360 --> 00:43:45,520
Speaker 1: Remember Large, Confessors like Yo, your your your prem man.

882
00:43:45,600 --> 00:43:47,680
Speaker 1: You know, you know Large always talks. He's the most

883
00:43:47,760 --> 00:43:52,480
Speaker 1: New York toss sounding dude by far, like he's and

884
00:43:52,520 --> 00:43:54,800
Speaker 1: he goes your prem your world, Yo. I got the

885
00:43:54,880 --> 00:43:57,640
Speaker 1: dude name the rapper Nas. He called him the rapper Nas.

886
00:43:57,840 --> 00:43:59,560
Speaker 1: You know, it's like there's a rapper noid. You know,

887
00:43:59,600 --> 00:44:02,120
Speaker 1: it's a there's a lot of rapper and uh mcs

888
00:44:02,120 --> 00:44:04,400
Speaker 1: from back then. You just do the rapper knowledge. You

889
00:44:04,400 --> 00:44:06,799
Speaker 1: gotta him. Were about to do the joint called the Barbecue,

890
00:44:06,920 --> 00:44:08,759
Speaker 1: and you got you got this guy Acnelly And I

891
00:44:08,800 --> 00:44:12,120
Speaker 1: was like, all right, and uh I had met fatal once,

892
00:44:12,239 --> 00:44:14,600
Speaker 1: you know, but even though you know he was on it,

893
00:44:15,000 --> 00:44:19,160
Speaker 1: he stressed the Acnelly and Nas uh the direction of

894
00:44:19,200 --> 00:44:21,520
Speaker 1: paying attention to them. Went over there and he played

895
00:44:21,560 --> 00:44:24,680
Speaker 1: me the record when I heard it blown away off

896
00:44:24,840 --> 00:44:27,600
Speaker 1: first listen and then by the time it blew up

897
00:44:27,600 --> 00:44:29,200
Speaker 1: and everybody was on it. Then he did back to

898
00:44:29,239 --> 00:44:31,960
Speaker 1: the grill. Was searching and searching them, helping get the

899
00:44:31,960 --> 00:44:35,239
Speaker 1: deal with faith him and over at Sony through rough

900
00:44:35,280 --> 00:44:37,600
Speaker 1: House and everything, and then plus they did halftime with

901
00:44:37,640 --> 00:44:39,680
Speaker 1: the Zebras. The first time I ever saw you in

902
00:44:39,680 --> 00:44:42,160
Speaker 1: the movie, the first time I ever saw me in

903
00:44:42,200 --> 00:44:46,279
Speaker 1: the movie was the first time NAS record played half time.

904
00:44:46,840 --> 00:44:49,680
Speaker 1: I was like proud of that ship. So I wouldn't

905
00:44:49,680 --> 00:44:51,640
Speaker 1: see Zebra. Well, I wouldn't see it for two reasons.

906
00:44:51,800 --> 00:44:54,319
Speaker 1: You go to see it, Seel did not. Well, I

907
00:44:54,320 --> 00:44:57,600
Speaker 1: didn't want to see the the interracial thing to see

908
00:44:57,600 --> 00:45:00,360
Speaker 1: how that went, because sounds she was hot anyway bullshe

909
00:45:00,400 --> 00:45:07,800
Speaker 1: but yeah, the bullet right right. Uh. And so from there, Um,

910
00:45:07,920 --> 00:45:11,640
Speaker 1: I think Lars Professor and NAS himself were choosing all

911
00:45:11,680 --> 00:45:14,040
Speaker 1: of that, you know, like the only thing I um

912
00:45:14,320 --> 00:45:17,680
Speaker 1: was involved in was mastering the album, and uh, NAS

913
00:45:17,760 --> 00:45:20,920
Speaker 1: put it in sequence, he sequenced and that order, and

914
00:45:20,960 --> 00:45:22,520
Speaker 1: then I took it. I remember when I had to

915
00:45:22,520 --> 00:45:24,800
Speaker 1: go pick up the last master because I had already

916
00:45:24,800 --> 00:45:27,200
Speaker 1: we had are Me, Pete and Q Tip had already

917
00:45:27,200 --> 00:45:29,319
Speaker 1: done our songs, and then I went to go pick

918
00:45:29,400 --> 00:45:31,919
Speaker 1: up the last song and it happened to be Life's

919
00:45:31,960 --> 00:45:33,640
Speaker 1: a Bit. I had to go meet him at Chunk

920
00:45:33,719 --> 00:45:35,680
Speaker 1: King because I used to go to the sessions with

921
00:45:35,880 --> 00:45:38,880
Speaker 1: NAS and Large Festing just watch them work, just like, Wow,

922
00:45:38,920 --> 00:45:41,600
Speaker 1: this is so dope, and and just watching how Large

923
00:45:41,640 --> 00:45:44,160
Speaker 1: Festivals making ain't how to tell? Then he makes one

924
00:45:44,200 --> 00:45:46,759
Speaker 1: time for your mind and just making him like this,

925
00:45:46,840 --> 00:45:48,600
Speaker 1: and I was just like, damn man, it's still on

926
00:45:48,640 --> 00:45:53,719
Speaker 1: the sp It's like, Damn Lodge is ill, you know. So, uh,

927
00:45:53,760 --> 00:45:55,680
Speaker 1: he did not wanted me to come get the final

928
00:45:55,719 --> 00:45:58,440
Speaker 1: master so I could go to master uh and mastered

929
00:45:58,480 --> 00:46:01,040
Speaker 1: this where we do all of our stuff. And uh,

930
00:46:01,640 --> 00:46:03,400
Speaker 1: next thing, you know, he's like, he's like, yeah, I

931
00:46:03,400 --> 00:46:05,359
Speaker 1: want you to to be my man. A Zy he said,

932
00:46:05,360 --> 00:46:07,080
Speaker 1: he just spit a verse you're playing for him, and

933
00:46:07,120 --> 00:46:08,799
Speaker 1: they played it and he goes on, this is my

934
00:46:08,880 --> 00:46:11,120
Speaker 1: father right here, Oh Lou, this is my father right here.

935
00:46:11,160 --> 00:46:12,600
Speaker 1: You know. He's like he's about to play on the

936
00:46:12,640 --> 00:46:15,080
Speaker 1: song and I'm just like, wow, nice to meet you,

937
00:46:15,080 --> 00:46:18,160
Speaker 1: you know. And uh he plays the song and I'm

938
00:46:18,200 --> 00:46:20,600
Speaker 1: just like hearing that verse that a Zy did. We

939
00:46:20,640 --> 00:46:23,080
Speaker 1: were just like this, dude's about to be the next

940
00:46:23,080 --> 00:46:26,600
Speaker 1: thing too, you know because Lison Bits just who doesn't

941
00:46:26,640 --> 00:46:29,600
Speaker 1: know that verse. Then his father goes in does the

942
00:46:29,719 --> 00:46:33,800
Speaker 1: horn parts. They bounced it to a DAT digital audio tape,

943
00:46:33,840 --> 00:46:35,920
Speaker 1: which is what it was called thanks to Iced Tea.

944
00:46:35,960 --> 00:46:38,160
Speaker 1: He's the first one ever had one that I saw

945
00:46:38,200 --> 00:46:40,840
Speaker 1: in New York and uh at the New Music Seminar

946
00:46:40,880 --> 00:46:42,719
Speaker 1: and he was like, you know, Premier, this is the

947
00:46:42,760 --> 00:46:45,239
Speaker 1: new thing called a DAT. It's called a digital audio tape.

948
00:46:45,320 --> 00:46:47,840
Speaker 1: That ship was about the size of my turntable. I'm like,

949
00:46:47,880 --> 00:46:49,200
Speaker 1: what does that do? He said, you know how you

950
00:46:49,280 --> 00:46:51,319
Speaker 1: jumped on stage and the record skip. He said, this

951
00:46:51,320 --> 00:46:54,640
Speaker 1: will play the beat and now evil can can scratching

952
00:46:54,760 --> 00:46:57,400
Speaker 1: and now the the beat won't jump. And I was like,

953
00:46:57,440 --> 00:47:00,399
Speaker 1: how much does that cost? And he was like bitch.

954
00:47:00,440 --> 00:47:02,360
Speaker 1: Back then it was like, wow, that's too much. I

955
00:47:02,400 --> 00:47:05,359
Speaker 1: can't afford that, you know. But yeah, my first show

956
00:47:05,360 --> 00:47:08,400
Speaker 1: I ever did with gang Stars with Trial call quests

957
00:47:09,080 --> 00:47:12,160
Speaker 1: Queen Latifa. She brought Money Love on stage because we

958
00:47:12,160 --> 00:47:15,400
Speaker 1: didn't know we met money I read knew knew lativacause

959
00:47:15,440 --> 00:47:18,960
Speaker 1: the Flavor Unit because King was doing the production for

960
00:47:19,000 --> 00:47:22,520
Speaker 1: Gangster before I joined, so we knew Latifa and her

961
00:47:22,600 --> 00:47:27,319
Speaker 1: dances Kika now and recipes to LA's mom to uh

962
00:47:27,600 --> 00:47:29,960
Speaker 1: actually sent her a texted the day she passed, and

963
00:47:30,000 --> 00:47:33,120
Speaker 1: she literally just texted me yesterday just saying thank you

964
00:47:33,160 --> 00:47:36,799
Speaker 1: and all that stuff. So shout the live but uh, yeah, man,

965
00:47:37,160 --> 00:47:38,680
Speaker 1: that that was our first show and nice Teave was

966
00:47:38,719 --> 00:47:41,400
Speaker 1: a headliner and and you know, so I got to

967
00:47:41,440 --> 00:47:43,920
Speaker 1: see Trial for the first time because I was hearing

968
00:47:43,960 --> 00:47:46,640
Speaker 1: them beyond the Jungle Brothers promo and all that, but

969
00:47:46,880 --> 00:47:49,840
Speaker 1: we had never seen a and then we heard uh

970
00:47:49,960 --> 00:47:53,319
Speaker 1: description of a fool but then pub beginning me on

971
00:47:53,360 --> 00:47:55,200
Speaker 1: that which was a beast side but on the album,

972
00:47:55,239 --> 00:47:57,839
Speaker 1: and uh, then we got to watch him perform, all

973
00:47:57,920 --> 00:47:59,960
Speaker 1: of them, Jerobe and everybody, and they wore that outfit

974
00:48:00,040 --> 00:48:01,680
Speaker 1: is that they wore in the video. They had that

975
00:48:01,800 --> 00:48:05,399
Speaker 1: on and uh we opened up with us then then

976
00:48:05,600 --> 00:48:09,040
Speaker 1: Tropical Quest and Latifa and I remember Special Led was

977
00:48:09,120 --> 00:48:14,560
Speaker 1: in the bathroom getting money to motivated to do it

978
00:48:14,600 --> 00:48:17,200
Speaker 1: because she was nervous to go on stage. And then

979
00:48:17,200 --> 00:48:19,640
Speaker 1: when she came out and did that verse to Ladies first,

980
00:48:19,760 --> 00:48:25,320
Speaker 1: the whole crowd went. But Nannas like, oh, you know,

981
00:48:25,440 --> 00:48:30,239
Speaker 1: different flow she had, you know, and her voice she

982
00:48:30,320 --> 00:48:32,720
Speaker 1: had the British accent. But when she rapped she signed

983
00:48:32,760 --> 00:48:35,520
Speaker 1: a marriage. Yeah. I was there to watch all that.

984
00:48:36,000 --> 00:48:39,799
Speaker 1: You that's a lot of memories, man, I got the tape.

985
00:48:39,840 --> 00:48:42,000
Speaker 1: I'm still looking for the tape. I have the video

986
00:48:42,040 --> 00:48:44,520
Speaker 1: tape up all of that. You need to pull that

987
00:48:44,680 --> 00:48:47,279
Speaker 1: where we're we're looking for that because I'm doing working

988
00:48:47,320 --> 00:48:50,120
Speaker 1: on a documentary for Gangstars. So we're going through all

989
00:48:50,120 --> 00:48:52,040
Speaker 1: my old tables. They're they're they're in a safe place.

990
00:48:52,080 --> 00:48:55,200
Speaker 1: We're going through them toil. We digitized them all right,

991
00:48:55,360 --> 00:48:58,160
Speaker 1: so specifically New York state of Mind. That's a lot

992
00:48:58,200 --> 00:49:01,160
Speaker 1: of pressure. Like that's a lot of pressure, like New

993
00:49:01,239 --> 00:49:05,080
Speaker 1: York State and like the beat, this sound like New

994
00:49:05,160 --> 00:49:08,200
Speaker 1: York state of Mind. Billy Joel like like, Yo, New

995
00:49:08,280 --> 00:49:11,160
Speaker 1: York state of Mind. Give me the science, give me

996
00:49:11,200 --> 00:49:15,600
Speaker 1: the ingredients of the song clink uh blank canvas Um.

997
00:49:15,719 --> 00:49:17,640
Speaker 1: That was the second record I did. Represent was the

998
00:49:17,680 --> 00:49:19,759
Speaker 1: first one, but not the one on the album. It

999
00:49:19,880 --> 00:49:25,319
Speaker 1: was a jazz baseline but dooble doo doo doo, And

1000
00:49:25,360 --> 00:49:27,600
Speaker 1: that was the first one we did. But then when

1001
00:49:27,680 --> 00:49:30,320
Speaker 1: Q Tip and Pete came in and we were always

1002
00:49:30,320 --> 00:49:33,520
Speaker 1: in communication with each other, and I was like, yo,

1003
00:49:33,600 --> 00:49:36,759
Speaker 1: check out the beat Pete Rockers gave me and are

1004
00:49:36,840 --> 00:49:38,640
Speaker 1: and he already had a format it with the whose

1005
00:49:38,680 --> 00:49:41,160
Speaker 1: world is this? Because Nas asked him to sing it,

1006
00:49:41,880 --> 00:49:44,280
Speaker 1: and I was just like, yo, man, this is better

1007
00:49:44,320 --> 00:49:49,280
Speaker 1: than mine. I gotta change my ship. So I changed

1008
00:49:49,360 --> 00:49:52,360
Speaker 1: mind to the one that's on the album, which is

1009
00:49:52,400 --> 00:49:56,080
Speaker 1: really a remix because Nas like the Baseline one. I

1010
00:49:56,120 --> 00:49:58,560
Speaker 1: had to convince him like, yo, this is definitely the one.

1011
00:49:58,640 --> 00:49:59,960
Speaker 1: He was like, I don't like this, this is my

1012
00:50:00,040 --> 00:50:02,319
Speaker 1: to the baseline. When I'm like, nah, this is the one.

1013
00:50:02,800 --> 00:50:06,200
Speaker 1: Then we just kept tugging until we got its way.

1014
00:50:06,200 --> 00:50:08,879
Speaker 1: He went ahead accepted that one. So once I heard

1015
00:50:08,920 --> 00:50:11,640
Speaker 1: the World of Yours then, because he had already tagged

1016
00:50:11,640 --> 00:50:13,839
Speaker 1: me to do three, So so you knew you were

1017
00:50:13,840 --> 00:50:17,520
Speaker 1: gonna do three songs on the record. Okay, So the

1018
00:50:17,600 --> 00:50:20,440
Speaker 1: second one was New New York State of Mind. And

1019
00:50:20,480 --> 00:50:23,880
Speaker 1: that's when he came in and uh, um, we were

1020
00:50:23,920 --> 00:50:26,000
Speaker 1: just fishing through records and me and him just he's

1021
00:50:26,000 --> 00:50:29,439
Speaker 1: just sitting there dropping. I'm just dropping the needle. And

1022
00:50:29,840 --> 00:50:32,520
Speaker 1: I pulled up the Joe Chambers record and I cleared

1023
00:50:32,520 --> 00:50:33,680
Speaker 1: it so I could say the name, you know, I

1024
00:50:33,680 --> 00:50:39,760
Speaker 1: don't like the girl, Sad Chambers. Everybody and uh thumbing around,

1025
00:50:40,040 --> 00:50:43,920
Speaker 1: what's the first part, what's the jokes Chamber? Simple? Um,

1026
00:50:44,200 --> 00:50:47,799
Speaker 1: like yeah, So when we just heard that, because first

1027
00:50:47,800 --> 00:50:56,760
Speaker 1: it goes wound round and then round, it just breaks

1028
00:50:56,800 --> 00:50:59,480
Speaker 1: down all of a sudden. You know, if you if

1029
00:50:59,520 --> 00:51:02,360
Speaker 1: you were just listening more am he's really noisy more around,

1030
00:51:02,840 --> 00:51:05,000
Speaker 1: it would have been like I skipping the next record whatever.

1031
00:51:05,160 --> 00:51:06,839
Speaker 1: That played for just a couple more seconds and it

1032
00:51:06,840 --> 00:51:10,880
Speaker 1: just goes around more around, and it calms down. We

1033
00:51:11,000 --> 00:51:14,359
Speaker 1: both look at each other like, yo, on that back.

1034
00:51:15,360 --> 00:51:17,759
Speaker 1: No no no, no, no, so you can flip that said,

1035
00:51:17,760 --> 00:51:23,879
Speaker 1: hold on, put on my sample, my mom with pads,

1036
00:51:23,920 --> 00:51:26,600
Speaker 1: he says, he said, watching me do it, he said,

1037
00:51:26,600 --> 00:51:35,040
Speaker 1: I'm going open into bays. So he's always dripping off

1038
00:51:35,040 --> 00:51:38,319
Speaker 1: at it's just a little funny, you know, just and

1039
00:51:38,320 --> 00:51:40,040
Speaker 1: then then all of a sudden you're playing now it's

1040
00:51:40,080 --> 00:51:42,400
Speaker 1: going that and you know so and when you're doing that,

1041
00:51:42,440 --> 00:51:45,200
Speaker 1: when you're making specifically like New York City and you're

1042
00:51:45,239 --> 00:51:47,920
Speaker 1: hearing the man, it's sounding like fucking ship. Well has

1043
00:51:48,000 --> 00:51:50,680
Speaker 1: to me just put it into the machine. But you're

1044
00:51:50,760 --> 00:51:53,920
Speaker 1: you're clear, you have a clear set goal. You're not like,

1045
00:51:54,000 --> 00:51:56,000
Speaker 1: you know, like but it has to sort of go

1046
00:51:56,040 --> 00:51:59,080
Speaker 1: get out to get to something. I mean, I call

1047
00:51:59,160 --> 00:52:03,080
Speaker 1: it experiment mode. That's what I call it, experiment because

1048
00:52:03,080 --> 00:52:06,040
Speaker 1: it might not work. The only part already had rolling

1049
00:52:06,200 --> 00:52:13,799
Speaker 1: was to do you know the part that beginning when

1050
00:52:13,800 --> 00:52:15,960
Speaker 1: he's like, you know, it's time straight up the fucking

1051
00:52:16,000 --> 00:52:19,040
Speaker 1: dungeons a rep That part already had, but that's all

1052
00:52:19,080 --> 00:52:20,920
Speaker 1: I had, you know, she just had that as a

1053
00:52:20,960 --> 00:52:23,879
Speaker 1: potential something. I was like, I want I definitely, I'm

1054
00:52:23,960 --> 00:52:26,200
Speaker 1: very good at knowing what temple I wanted to be,

1055
00:52:26,560 --> 00:52:29,359
Speaker 1: and I was like, I already did representing that's more

1056
00:52:29,400 --> 00:52:33,919
Speaker 1: up temple. But but but but it's like I want

1057
00:52:33,920 --> 00:52:36,120
Speaker 1: to get one of just I like slow beats, you know,

1058
00:52:36,280 --> 00:52:39,320
Speaker 1: just because I drive a lot. I love driving and

1059
00:52:39,400 --> 00:52:41,440
Speaker 1: just blasting music because it's it's just a thing so

1060
00:52:41,480 --> 00:52:43,120
Speaker 1: that I'll just like drive for hours and just be

1061
00:52:43,200 --> 00:52:45,560
Speaker 1: by myself because you're right with somebody talking the middle

1062
00:52:45,560 --> 00:52:49,160
Speaker 1: of It's like, oh, man, enjoyed this. So I just

1063
00:52:49,280 --> 00:52:52,320
Speaker 1: rised by myself a lot and just blast my music

1064
00:52:52,760 --> 00:52:54,840
Speaker 1: so and not my music that I make. I like

1065
00:52:54,960 --> 00:52:59,240
Speaker 1: listen to other people. But um, so was that rhyme written?

1066
00:52:59,400 --> 00:53:01,160
Speaker 1: Was his verse is? Not? So? Then go ahead? And

1067
00:53:01,320 --> 00:53:04,600
Speaker 1: that what happened. So then, uh, once I got the

1068
00:53:04,600 --> 00:53:08,960
Speaker 1: where I'm gonna catch it, he's like and he starts writing.

1069
00:53:09,000 --> 00:53:11,480
Speaker 1: He always sits at the desk, and I don't I

1070
00:53:11,520 --> 00:53:13,360
Speaker 1: don't know. I still haven't asked why is he do this?

1071
00:53:13,480 --> 00:53:17,279
Speaker 1: He starts doing this and maybe because while the music

1072
00:53:17,320 --> 00:53:19,520
Speaker 1: is kind of loud, in the room. I guess doing this,

1073
00:53:19,760 --> 00:53:22,440
Speaker 1: you can hear yourself. Maybe I never even said, yo,

1074
00:53:22,480 --> 00:53:24,520
Speaker 1: why do you do that? All the years I've known,

1075
00:53:25,360 --> 00:53:27,839
Speaker 1: at least from the those albums, at least the first

1076
00:53:27,880 --> 00:53:30,400
Speaker 1: three year three albums we worked on, he's always at

1077
00:53:30,440 --> 00:53:33,920
Speaker 1: the front of the death river and just like like

1078
00:53:33,960 --> 00:53:36,880
Speaker 1: he's wrapping into his hand. The next thing you know,

1079
00:53:37,280 --> 00:53:40,239
Speaker 1: he's ready to cut the first verse. And once he

1080
00:53:40,280 --> 00:53:42,600
Speaker 1: cut the first verse, he did in one take and

1081
00:53:42,719 --> 00:53:44,799
Speaker 1: one on one. Thing I love about it, which I've

1082
00:53:44,800 --> 00:53:49,040
Speaker 1: said another interviews, is I love how he's looking at

1083
00:53:49,040 --> 00:53:51,360
Speaker 1: the paper and uh when he said straight out the

1084
00:53:51,360 --> 00:53:53,359
Speaker 1: fucking done is the rapper fake nigs, don't don't make

1085
00:53:53,360 --> 00:53:55,360
Speaker 1: it back. I'm getting ready to count him in, but

1086
00:53:55,440 --> 00:53:57,279
Speaker 1: he's not looking. He goes, I don't know how to

1087
00:53:57,320 --> 00:53:59,160
Speaker 1: start this, and you hear him say that, I don't know.

1088
00:53:59,160 --> 00:54:04,160
Speaker 1: I just started rappers. I'm you flipping with your poky

1089
00:54:04,560 --> 00:54:08,360
Speaker 1: mpy kicking musician and flicking composition of pain. I'm like

1090
00:54:08,800 --> 00:54:11,960
Speaker 1: face sniffing poka holding the M sixteen see with the

1091
00:54:12,000 --> 00:54:15,560
Speaker 1: panemics treame now bullet holes left in my pipes. I'm

1092
00:54:15,560 --> 00:54:17,879
Speaker 1: shooting it up with street clothes. Had me and non

1093
00:54:17,960 --> 00:54:20,560
Speaker 1: it out to be frost y'all know my selo what's

1094
00:54:20,600 --> 00:54:23,200
Speaker 1: on without the hand plate? I keep something Jake said

1095
00:54:23,239 --> 00:54:25,080
Speaker 1: that being up in the stand. Wait, I eat the

1096
00:54:25,120 --> 00:54:28,120
Speaker 1: corner corner beat and brands with the sel chaps laughing

1097
00:54:28,200 --> 00:54:30,719
Speaker 1: the base sets trying to sell some poking napps ge

1098
00:54:30,840 --> 00:54:34,919
Speaker 1: Basket on Quick Forever Nigas reminiscing about the last time

1099
00:54:34,960 --> 00:54:38,480
Speaker 1: the task forms flipped. Yo, you know he looked, because

1100
00:54:38,560 --> 00:54:41,600
Speaker 1: my my boot is right here and the borders literally

1101
00:54:41,800 --> 00:54:44,400
Speaker 1: at an angle sideway, so I'm not close to just

1102
00:54:45,120 --> 00:54:47,360
Speaker 1: ye if I'm sitting there at the board, he's literally

1103
00:54:47,600 --> 00:54:49,879
Speaker 1: right here in the glass. So I'm sitting there going

1104
00:54:50,440 --> 00:54:53,960
Speaker 1: to three, you know, like let's go because I have

1105
00:54:54,040 --> 00:54:57,239
Speaker 1: a recording already. That's fucking dope, because sometimes you get

1106
00:54:57,239 --> 00:54:59,879
Speaker 1: the best take from practicing it, because if you pray

1107
00:55:00,040 --> 00:55:02,919
Speaker 1: to say, sometimes you nail it. And then when you're

1108
00:55:03,000 --> 00:55:06,000
Speaker 1: ready to do it now you're doing too much to

1109
00:55:06,280 --> 00:55:09,200
Speaker 1: make it exactly. You don't get the same if you

1110
00:55:09,239 --> 00:55:11,400
Speaker 1: don't get the same feel. And I'm more of a

1111
00:55:11,560 --> 00:55:13,560
Speaker 1: field person if they don't feel right, and I'm like, yo,

1112
00:55:13,680 --> 00:55:16,279
Speaker 1: let's cut it again, and huh, I could do it again. Like, yo,

1113
00:55:17,280 --> 00:55:20,800
Speaker 1: I'm the coach. I hear you. I'm listening to you.

1114
00:55:21,280 --> 00:55:23,920
Speaker 1: It's not better than that take. You know. I love

1115
00:55:24,000 --> 00:55:26,200
Speaker 1: this ship so fucking much. I can't tell you how

1116
00:55:26,280 --> 00:55:29,120
Speaker 1: much I love. Like you're making my heart race hearing

1117
00:55:29,160 --> 00:55:33,160
Speaker 1: these stories. I love this ship, all right. And I'll say, well,

1118
00:55:33,239 --> 00:55:37,879
Speaker 1: what things? When I did uh memory Lane, I didn't

1119
00:55:37,920 --> 00:55:40,440
Speaker 1: like that one. He he was like, yo, I have

1120
00:55:40,719 --> 00:55:44,120
Speaker 1: enough hard stuff already, have enough stuff that's in those vibes.

1121
00:55:44,160 --> 00:55:45,759
Speaker 1: I need something that just feels like we're sitting in

1122
00:55:45,840 --> 00:55:47,600
Speaker 1: the park. And that's what it was called. It wouldn't

1123
00:55:47,600 --> 00:55:49,800
Speaker 1: call memory lane. Was called sitting in the park. And

1124
00:55:49,960 --> 00:55:52,680
Speaker 1: then I started scratching none let me take a trip

1125
00:55:52,719 --> 00:55:56,279
Speaker 1: down memory Lane and and the coming out of Queensbridge,

1126
00:55:56,280 --> 00:55:57,839
Speaker 1: and I was like, man, we should call the memory lane.

1127
00:55:57,880 --> 00:55:59,520
Speaker 1: He said, well, how about we call the memory lane

1128
00:55:59,560 --> 00:56:01,440
Speaker 1: sitting in part. I was like, I'm cool with that,

1129
00:56:02,120 --> 00:56:04,080
Speaker 1: you know. So that was that was his idea on that,

1130
00:56:04,160 --> 00:56:06,520
Speaker 1: and you know not now it's very knowledgeable what he

1131
00:56:06,600 --> 00:56:10,160
Speaker 1: wants to do as well. So I remember they're laughing

1132
00:56:10,200 --> 00:56:11,960
Speaker 1: at the cover of the Ruben Wheelson cover, gonna look

1133
00:56:11,960 --> 00:56:14,000
Speaker 1: at this dude, and they all his whole crews and

1134
00:56:14,040 --> 00:56:16,520
Speaker 1: they're laughing, and we're like, you ain't gonna find someone

1135
00:56:16,640 --> 00:56:23,280
Speaker 1: that all you thumbing around all somewhere to dudu because

1136
00:56:23,320 --> 00:56:25,120
Speaker 1: I wanted to make sure my stuff was on the

1137
00:56:25,239 --> 00:56:28,040
Speaker 1: level of what Tip Large and Pete was doing. I

1138
00:56:28,120 --> 00:56:31,520
Speaker 1: went to the World of Yours session and Red Battery.

1139
00:56:32,080 --> 00:56:34,680
Speaker 1: I remember when Q Tip dropped off the cassette of

1140
00:56:34,880 --> 00:56:39,120
Speaker 1: him pause mixing the One Love with the Heath Brothers,

1141
00:56:39,400 --> 00:56:41,160
Speaker 1: which was cleared so I could say it it's not

1142
00:56:41,239 --> 00:56:45,800
Speaker 1: anitching uh. I remember when he when he had it looping.

1143
00:56:46,360 --> 00:56:53,239
Speaker 1: You know when you pause mixing sometimes it's looping. You know,

1144
00:56:53,280 --> 00:56:57,120
Speaker 1: it's like a stop start. But we were like, what

1145
00:56:57,600 --> 00:57:00,279
Speaker 1: what where did he get that? What the hell? Because

1146
00:57:00,280 --> 00:57:01,680
Speaker 1: I remember we had to go for some reep. We

1147
00:57:01,719 --> 00:57:05,200
Speaker 1: had to go to Puffet p Diddy studio for some reason,

1148
00:57:05,280 --> 00:57:07,120
Speaker 1: and I told now I'll give him a ride and

1149
00:57:07,200 --> 00:57:08,560
Speaker 1: he was like, y'all want to hear it in your

1150
00:57:08,600 --> 00:57:10,759
Speaker 1: car and we were just like, what the hell is

1151
00:57:10,840 --> 00:57:13,520
Speaker 1: q Tip on? I was like, I gotta top this

1152
00:57:13,640 --> 00:57:16,600
Speaker 1: one too. That's when I changed to represent to the

1153
00:57:16,640 --> 00:57:18,439
Speaker 1: one that's on the aisle. I was like, man, these

1154
00:57:18,480 --> 00:57:21,040
Speaker 1: guys are killing everybody. Was bringing that a game because

1155
00:57:21,320 --> 00:57:23,960
Speaker 1: we all knew if we're on it together, everybody's coming

1156
00:57:24,000 --> 00:57:26,800
Speaker 1: with the ellis that's fucking dope. So I wasn't competitive

1157
00:57:26,960 --> 00:57:29,120
Speaker 1: or like, man, I don't want to have the weakest song.

1158
00:57:29,320 --> 00:57:32,200
Speaker 1: So then that's why I kept fighting. I felt like

1159
00:57:32,240 --> 00:57:34,080
Speaker 1: New York State Mine was the tightest one out of

1160
00:57:34,120 --> 00:57:37,960
Speaker 1: the three that I did. That that's fucking good ships

1161
00:57:38,040 --> 00:57:40,240
Speaker 1: to you know, for doing the Life of Bitch. I mean,

1162
00:57:41,120 --> 00:57:42,600
Speaker 1: one of the most incredible records, even though I was

1163
00:57:42,640 --> 00:57:44,960
Speaker 1: a known sample that we already knew coming up, and

1164
00:57:45,080 --> 00:57:47,600
Speaker 1: it was still so neat and it fit right into

1165
00:57:47,640 --> 00:57:53,360
Speaker 1: all of our UH songs. And he's qb um the

1166
00:57:53,480 --> 00:57:56,920
Speaker 1: song I met you with. It doesn't age. It's so

1167
00:57:57,160 --> 00:58:03,080
Speaker 1: goddamn good. Come Clean j ru um. I almost feel

1168
00:58:03,120 --> 00:58:05,240
Speaker 1: like this was like a blessing and a curse because

1169
00:58:05,520 --> 00:58:07,960
Speaker 1: the bar was set so high on j ru with

1170
00:58:08,120 --> 00:58:11,720
Speaker 1: the come Clean song. The video was Dusty Dirty shot

1171
00:58:11,720 --> 00:58:18,600
Speaker 1: in East New York, Brownsville. Do Do, Dude, I'm not

1172
00:58:18,640 --> 00:58:21,400
Speaker 1: a musician, How quick do you know? Like this is

1173
00:58:21,600 --> 00:58:23,920
Speaker 1: this is a song, like this is a fucking banger,

1174
00:58:24,280 --> 00:58:26,000
Speaker 1: Like when you guys are in the studio and come

1175
00:58:26,080 --> 00:58:29,040
Speaker 1: clean and he's you want to what he's come back

1176
00:58:29,800 --> 00:58:32,400
Speaker 1: and the like, are you guys, this is a this

1177
00:58:32,520 --> 00:58:34,520
Speaker 1: is a fucking hit, like this is this is This

1178
00:58:34,680 --> 00:58:37,800
Speaker 1: was this demo. So we didn't really make it for

1179
00:58:38,440 --> 00:58:40,120
Speaker 1: putting out to the street yet. We were just making

1180
00:58:40,120 --> 00:58:42,640
Speaker 1: a demo and that was the demo. Guru used to

1181
00:58:42,680 --> 00:58:45,720
Speaker 1: put out these things called Ill Kids Samples UM and

1182
00:58:45,840 --> 00:58:48,200
Speaker 1: he put three three artists on it. So this was

1183
00:58:48,320 --> 00:58:51,640
Speaker 1: this was the the Ill Kids Sambly but Sugar group

1184
00:58:51,680 --> 00:58:54,800
Speaker 1: home UH and Jay Ru and UH and Guru came

1185
00:58:54,880 --> 00:58:57,600
Speaker 1: up with the idea that we should start. Uh sign

1186
00:58:57,640 --> 00:58:59,920
Speaker 1: an artist and he said, this is a homies list.

1187
00:59:00,040 --> 00:59:03,960
Speaker 1: Put put them on. So he said, uh, let's signed

1188
00:59:04,040 --> 00:59:06,440
Speaker 1: three artists each. I didn't have anybody in mind yet,

1189
00:59:06,560 --> 00:59:08,720
Speaker 1: so I said, who you want to sign? He said, definitely,

1190
00:59:08,720 --> 00:59:10,919
Speaker 1: got put Sugar on since he found the gang star

1191
00:59:11,440 --> 00:59:13,640
Speaker 1: he said j Ru and he said, and now DAP

1192
00:59:13,920 --> 00:59:16,600
Speaker 1: wasn't rapping yet. One day they did a demo when

1193
00:59:16,640 --> 00:59:18,760
Speaker 1: they were with Guru called so called friends. Him and

1194
00:59:18,840 --> 00:59:21,800
Speaker 1: Melancho the Nutcracker. I was hanging with me. I was

1195
00:59:21,960 --> 00:59:23,920
Speaker 1: like a mentor to Melancho because that's when I met

1196
00:59:24,000 --> 00:59:27,040
Speaker 1: him in the Bronx and uh when I lived there,

1197
00:59:27,240 --> 00:59:29,520
Speaker 1: and uh he wanted the box, which is why he

1198
00:59:29,560 --> 00:59:31,600
Speaker 1: had that physique, you know, always that shirt off, big

1199
00:59:31,960 --> 00:59:35,480
Speaker 1: barrel chessis. He was boxing for real. So shot the

1200
00:59:35,520 --> 00:59:38,920
Speaker 1: Buddy mcgirr's team. They were actually training them to box.

1201
00:59:39,000 --> 00:59:41,600
Speaker 1: But he uh me, he got two gun charges and

1202
00:59:41,680 --> 00:59:45,959
Speaker 1: he got shot. So uh he just was taking soul.

1203
00:59:46,080 --> 00:59:49,560
Speaker 1: So out of the uh context of being able to box. Um,

1204
00:59:49,760 --> 00:59:52,200
Speaker 1: he was facing he was facing jail time. So the judge,

1205
00:59:52,760 --> 00:59:56,120
Speaker 1: Judge Bamburger, big up. If it wasn't for her, she

1206
00:59:56,560 --> 00:59:58,920
Speaker 1: who knows what Melancho would be. But she said, I

1207
00:59:58,920 --> 01:00:01,080
Speaker 1: don't want him doing anything violent. And I'm like, yeah,

1208
01:00:01,120 --> 01:00:03,120
Speaker 1: but y'ah honor. For two years I went to court

1209
01:00:03,480 --> 01:00:05,960
Speaker 1: with with my without criminal lawyers. She was like, I

1210
01:00:06,080 --> 01:00:09,560
Speaker 1: was like, Yeahanna, why won't you let him box win? Uh,

1211
01:00:09,760 --> 01:00:11,480
Speaker 1: he can get paid for it and it's something he loves.

1212
01:00:11,520 --> 01:00:13,720
Speaker 1: She goes, because it's a violent sport and I don't

1213
01:00:13,720 --> 01:00:15,720
Speaker 1: want him do anything violent because he's already got gun

1214
01:00:15,840 --> 01:00:19,560
Speaker 1: charges underage under he's under seventeen. She goes, do you

1215
01:00:19,600 --> 01:00:21,760
Speaker 1: know what the word remaned means? I was like, yes,

1216
01:00:21,880 --> 01:00:24,440
Speaker 1: I do. She goes, well you do music, make him

1217
01:00:24,440 --> 01:00:26,520
Speaker 1: make an album. She goes, next time you come back

1218
01:00:26,560 --> 01:00:30,640
Speaker 1: to court, he better be making an album. I was like, man,

1219
01:00:30,760 --> 01:00:33,240
Speaker 1: he was like I don't want to make no record,

1220
01:00:33,800 --> 01:00:36,720
Speaker 1: you know. So I did pretty much force it to

1221
01:00:36,880 --> 01:00:38,800
Speaker 1: just like we gotta do it. Let's do this and

1222
01:00:39,080 --> 01:00:43,120
Speaker 1: you know. So that's how it became pushing them to

1223
01:00:43,240 --> 01:00:47,000
Speaker 1: just just spit, man, just say say say some rhymes, man.

1224
01:00:47,160 --> 01:00:49,440
Speaker 1: And then that's how it ended up being the two

1225
01:00:49,480 --> 01:00:51,400
Speaker 1: of them together. You know. When we hear Dad rad

1226
01:00:51,480 --> 01:00:53,800
Speaker 1: we was like, wow, Dad actually got a couple of

1227
01:00:53,920 --> 01:00:56,920
Speaker 1: lines and his voice. Yeah. And I was like, yeah,

1228
01:00:57,000 --> 01:00:59,120
Speaker 1: let's put you in the in the studio and nothing,

1229
01:00:59,200 --> 01:01:01,680
Speaker 1: let me do a beat. You know. So after so

1230
01:01:01,840 --> 01:01:04,560
Speaker 1: called Friends, the first one was Superstar and it you

1231
01:01:04,640 --> 01:01:06,520
Speaker 1: know where we were. We we knew it was right,

1232
01:01:06,640 --> 01:01:09,200
Speaker 1: but when it came to who we should start with first,

1233
01:01:09,800 --> 01:01:12,040
Speaker 1: I said, Jay Roots is the most ready out of

1234
01:01:12,160 --> 01:01:14,000
Speaker 1: all the demos that he did. I just think I

1235
01:01:14,040 --> 01:01:15,560
Speaker 1: can make a better demo than the ones he was

1236
01:01:15,600 --> 01:01:18,200
Speaker 1: doing because Guru was producing all the demos. So from

1237
01:01:18,240 --> 01:01:21,200
Speaker 1: there I did come clean, give me everything one come

1238
01:01:21,240 --> 01:01:24,240
Speaker 1: clean or all the samples cleared. Yeah, what we got sued.

1239
01:01:24,280 --> 01:01:27,120
Speaker 1: I got sued, but now it's cleared. Okay, what's the dude,

1240
01:01:27,280 --> 01:01:32,160
Speaker 1: Dude that's from Shelley Man. Uh, it's called uh, it's

1241
01:01:32,200 --> 01:01:34,360
Speaker 1: a it's a very end of the album. Like it's

1242
01:01:34,400 --> 01:01:37,640
Speaker 1: a little itty bitty like how like a second two seconds,

1243
01:01:37,720 --> 01:01:42,919
Speaker 1: three seconds maybe maybe almost a minute long. It's called

1244
01:01:42,960 --> 01:01:47,000
Speaker 1: space that part. Yeah, it's called spaces a cappella because

1245
01:01:47,080 --> 01:01:49,400
Speaker 1: Shelley Man is a dolt drummer. I'm into drummers. I'm

1246
01:01:49,440 --> 01:01:51,640
Speaker 1: into drumming and bass, and so you're you listen to

1247
01:01:51,720 --> 01:01:54,400
Speaker 1: the end, you hear this little piece. Yeah. What happened

1248
01:01:54,520 --> 01:01:56,880
Speaker 1: was when we were on the Gangstar Too Hard to

1249
01:01:56,960 --> 01:02:00,280
Speaker 1: Earn All and Onyx was really popping head be I

1250
01:02:00,400 --> 01:02:03,160
Speaker 1: used always cut oh hands up because there dropping some

1251
01:02:03,240 --> 01:02:06,320
Speaker 1: ship on two turntable that sound check, and j Rue

1252
01:02:06,400 --> 01:02:08,000
Speaker 1: was like, yo, man, we need to do a record

1253
01:02:08,040 --> 01:02:10,200
Speaker 1: with that as a hook. And I was like cool.

1254
01:02:10,320 --> 01:02:13,200
Speaker 1: So we always kept that in mind that whenever we

1255
01:02:13,360 --> 01:02:16,360
Speaker 1: make a record together. You know, even though we've done

1256
01:02:16,360 --> 01:02:19,400
Speaker 1: I'm the Man, but now his own first debut, I said,

1257
01:02:19,400 --> 01:02:21,160
Speaker 1: I'm gonna use that as a hook. So I already

1258
01:02:21,200 --> 01:02:23,440
Speaker 1: went in knowing that's gonna be the hook. But now

1259
01:02:23,480 --> 01:02:25,240
Speaker 1: I didn't really know the tempo yet. I didn't know

1260
01:02:25,280 --> 01:02:26,760
Speaker 1: what I was gonna use as a sound. But when

1261
01:02:27,200 --> 01:02:28,960
Speaker 1: Jay we heard up that sound, he was like, Yo,

1262
01:02:29,600 --> 01:02:31,560
Speaker 1: that's it, that's it, and I was like, all right,

1263
01:02:31,600 --> 01:02:33,640
Speaker 1: let me finish it. And then he went in there

1264
01:02:33,720 --> 01:02:36,440
Speaker 1: you want a front ward jump up and get bucked.

1265
01:02:36,560 --> 01:02:39,600
Speaker 1: If you're feeling lucky duck, then fresh your luck and

1266
01:02:40,000 --> 01:02:43,560
Speaker 1: there it is. You're want to jump up and get

1267
01:02:44,040 --> 01:02:46,880
Speaker 1: If you're feeling jump then press your luck. That's not

1268
01:02:47,040 --> 01:02:49,400
Speaker 1: fake gangster MPs and make them fact your playing big.

1269
01:02:49,680 --> 01:02:53,840
Speaker 1: You're nine spread Mama's great momick Nick missed that only

1270
01:02:54,000 --> 01:02:57,000
Speaker 1: caught the fun the rest Joe Romaine stuff. And I'll

1271
01:02:57,080 --> 01:02:59,600
Speaker 1: call you and come to the jumps up there eat

1272
01:02:59,640 --> 01:03:02,120
Speaker 1: my man that you will sub get live, catch your

1273
01:03:02,160 --> 01:03:05,040
Speaker 1: freakings out than I don't bang bang, what's your out

1274
01:03:05,120 --> 01:03:09,560
Speaker 1: bang bang? But let's live gonna be. I'm a true

1275
01:03:09,680 --> 01:03:12,080
Speaker 1: mask that you can check my potential. Because I choose

1276
01:03:12,120 --> 01:03:16,120
Speaker 1: to use my I wouldn't potent. You got up freaky freaky, freaky,

1277
01:03:16,200 --> 01:03:19,880
Speaker 1: freaky flow good rolled on my life retail capture and

1278
01:03:20,000 --> 01:03:23,040
Speaker 1: you guys knew you had to know because because that

1279
01:03:23,320 --> 01:03:28,320
Speaker 1: song is so of the time. It's so grimy, it's

1280
01:03:28,360 --> 01:03:32,720
Speaker 1: such a banger, it's so New York, it's so Brooklyn,

1281
01:03:33,240 --> 01:03:35,200
Speaker 1: and the rhyming and the beat like it's it's like,

1282
01:03:35,840 --> 01:03:39,000
Speaker 1: what is this ship? You know? And it doesn't age.

1283
01:03:40,200 --> 01:03:45,680
Speaker 1: It's a fucking classic. It's like Smithsonian level music, hip hop, rap,

1284
01:03:45,760 --> 01:03:48,000
Speaker 1: whatever the funk you want to call it. That's museum

1285
01:03:48,120 --> 01:03:51,280
Speaker 1: quality ship, no question. No, there's a certain record. I

1286
01:03:51,400 --> 01:03:53,560
Speaker 1: know they're they're gonna work, not all of them, but

1287
01:03:53,760 --> 01:03:56,080
Speaker 1: like in the Life master Field, we knew that's gonna work.

1288
01:03:56,520 --> 01:03:58,920
Speaker 1: Uh Dwick, we know it's gonna work. We had it's

1289
01:03:58,920 --> 01:04:00,520
Speaker 1: gonna take off like that, Like we knew it was

1290
01:04:00,520 --> 01:04:03,479
Speaker 1: gonna be popping because it sounds like our first party record.

1291
01:04:03,680 --> 01:04:06,680
Speaker 1: We never really made party record nice and smooth always

1292
01:04:06,720 --> 01:04:09,200
Speaker 1: gets two girls popping and everything. And even though girls

1293
01:04:09,240 --> 01:04:11,720
Speaker 1: went to Guru too, we still never really had records

1294
01:04:11,800 --> 01:04:14,360
Speaker 1: like that. And you know, but the nicest move ran

1295
01:04:14,440 --> 01:04:17,440
Speaker 1: that that territory and uh man, it was just a

1296
01:04:17,520 --> 01:04:21,360
Speaker 1: fun record. And uh also Dwick just became like just

1297
01:04:21,560 --> 01:04:24,360
Speaker 1: like the national anthem of the summer, you know what

1298
01:04:24,440 --> 01:04:27,600
Speaker 1: I'm saying, Like you know so, but but like that

1299
01:04:28,000 --> 01:04:32,680
Speaker 1: even that, like Don Barron from the Masses of Ceremony

1300
01:04:32,760 --> 01:04:34,760
Speaker 1: was there when we were making and Dubb C was

1301
01:04:34,880 --> 01:04:37,280
Speaker 1: there from the West Coast. He was there and we

1302
01:04:37,360 --> 01:04:43,120
Speaker 1: were making that record, like you know, yeah, yeah, I

1303
01:04:43,280 --> 01:04:46,160
Speaker 1: at the turn table on a big old, raggedy television

1304
01:04:46,240 --> 01:04:48,920
Speaker 1: that didn't work. I scratched on top of the television,

1305
01:04:50,120 --> 01:04:52,320
Speaker 1: those old ones that your mama have with the with

1306
01:04:52,440 --> 01:04:55,720
Speaker 1: the old wood. Yeah that you put a big old

1307
01:04:56,480 --> 01:04:59,200
Speaker 1: vase on there, and it's like, yo, don't touch that. Yeah.

1308
01:04:59,680 --> 01:05:02,440
Speaker 1: Do you think like it was almost like a curse

1309
01:05:02,560 --> 01:05:06,120
Speaker 1: that Come Clean was so good Jay Will mean the

1310
01:05:06,160 --> 01:05:09,200
Speaker 1: other dope songs, but I mean the fucking bar was

1311
01:05:09,280 --> 01:05:13,080
Speaker 1: set so high, you know. I mean not to say,

1312
01:05:13,160 --> 01:05:14,600
Speaker 1: I don't say it's a curse, but it's like the

1313
01:05:14,720 --> 01:05:18,840
Speaker 1: the expectations, it's like almost they're hard to follow up.

1314
01:05:19,320 --> 01:05:21,240
Speaker 1: How do you follow up Come Clean? Like even with

1315
01:05:21,520 --> 01:05:23,320
Speaker 1: you know, he had the Bitches, you know, and and

1316
01:05:23,440 --> 01:05:26,720
Speaker 1: the Original and cast Out the profitt they're all dope songs,

1317
01:05:26,800 --> 01:05:29,280
Speaker 1: but like the fucking bars, Like I don't know how

1318
01:05:29,360 --> 01:05:32,360
Speaker 1: you talk, you know what I'm saying. I mean, we

1319
01:05:32,480 --> 01:05:34,960
Speaker 1: were more an album or you know, we're from an

1320
01:05:35,000 --> 01:05:38,920
Speaker 1: album perspective, So I remember Biggie when when you know

1321
01:05:38,960 --> 01:05:41,720
Speaker 1: I lived, I had moved from East New York to

1322
01:05:41,960 --> 01:05:44,840
Speaker 1: the Bronx and one eight then moved into brand from

1323
01:05:44,840 --> 01:05:47,760
Speaker 1: oursellers As house because he was about to be the

1324
01:05:48,080 --> 01:05:50,320
Speaker 1: music director for the Tonight Show with Jay Leno. Jay

1325
01:05:50,360 --> 01:05:53,640
Speaker 1: Leno was just taking over for Johnny Carson, so he

1326
01:05:53,800 --> 01:05:55,760
Speaker 1: was moving. But at the time we were all living together,

1327
01:05:56,000 --> 01:05:59,280
Speaker 1: me Guru Branford and his wife and his son Reese

1328
01:05:59,440 --> 01:06:02,520
Speaker 1: and uh uh so we we had a nice couple

1329
01:06:02,560 --> 01:06:05,960
Speaker 1: of months living together with them, and during before we

1330
01:06:06,040 --> 01:06:08,479
Speaker 1: tore the house up and turned into the Animal House.

1331
01:06:08,640 --> 01:06:11,800
Speaker 1: But during that time, I mean it was just a

1332
01:06:13,280 --> 01:06:15,360
Speaker 1: dope time where we would go down down the block

1333
01:06:15,680 --> 01:06:18,400
Speaker 1: and I remember Mr C lived close to us. Lady

1334
01:06:18,480 --> 01:06:21,080
Speaker 1: of Rage, we lived with Nikki d because you know,

1335
01:06:21,240 --> 01:06:25,200
Speaker 1: they were roommates. Um Chuff Rock was lived right by us.

1336
01:06:25,640 --> 01:06:29,120
Speaker 1: Um so we see them, and we see Big because

1337
01:06:29,480 --> 01:06:31,120
Speaker 1: he would see us always go over. That's when we

1338
01:06:31,200 --> 01:06:34,360
Speaker 1: strength forties, so we'd always go there, Goodbye forties. The

1339
01:06:34,440 --> 01:06:36,120
Speaker 1: weed spopt would be on the corner. We go the

1340
01:06:36,160 --> 01:06:38,840
Speaker 1: weed spot, the one that's just the one chlorox bottle

1341
01:06:38,880 --> 01:06:41,760
Speaker 1: in the window, and and we want one Brillo pad

1342
01:06:41,880 --> 01:06:45,160
Speaker 1: box and everything, and then uh, we'd always see Big

1343
01:06:45,280 --> 01:06:46,720
Speaker 1: and he was just like, yo, man, I want to

1344
01:06:46,720 --> 01:06:49,960
Speaker 1: work with you one day. But it was like just

1345
01:06:50,120 --> 01:06:52,520
Speaker 1: just a good time. But by the time we got

1346
01:06:52,560 --> 01:06:54,840
Speaker 1: to the point of j Rue popping, I remember Big,

1347
01:06:54,920 --> 01:06:59,000
Speaker 1: he said, Yo, man, if you ever do a video

1348
01:06:59,160 --> 01:07:01,760
Speaker 1: the Brooklyn to O, I just want to stand next

1349
01:07:01,800 --> 01:07:05,040
Speaker 1: to you and just look hard and not say anything.

1350
01:07:05,680 --> 01:07:07,680
Speaker 1: And and he was like, all right, if I ever

1351
01:07:07,760 --> 01:07:10,240
Speaker 1: do that song, I'll make sure that happens. Even if

1352
01:07:10,280 --> 01:07:12,960
Speaker 1: we because I love Brooklyn Tuck it. It's just it's

1353
01:07:13,040 --> 01:07:18,720
Speaker 1: so dirty. He his rom flow, the drums a big

1354
01:07:18,800 --> 01:07:21,560
Speaker 1: hel Let's check get out Joe, you know, just I

1355
01:07:21,680 --> 01:07:23,960
Speaker 1: love that song to this very day. But yeah, we

1356
01:07:24,160 --> 01:07:28,280
Speaker 1: we were were from an album love standpoint of making records.

1357
01:07:28,360 --> 01:07:31,000
Speaker 1: We Got You. We weren't really a single. Yeah, it

1358
01:07:31,080 --> 01:07:33,880
Speaker 1: was an album because I come from seeing singles as

1359
01:07:34,120 --> 01:07:37,520
Speaker 1: twelve inches only, and then then later on albums came

1360
01:07:37,720 --> 01:07:40,280
Speaker 1: I Got You Run DMC's first album. The majority of

1361
01:07:40,360 --> 01:07:42,760
Speaker 1: songs on there for twelve inches first. So it's like

1362
01:07:42,800 --> 01:07:44,920
Speaker 1: when we got the albums, like there's only three new songs,

1363
01:07:45,200 --> 01:07:48,200
Speaker 1: you know, unless you get the instrumentals on the twelve

1364
01:07:48,280 --> 01:07:49,880
Speaker 1: inches like that. It's not a lot of new ship

1365
01:07:49,960 --> 01:07:52,800
Speaker 1: on here. So it's the Grammars Flash Furious file, same

1366
01:07:52,880 --> 01:07:55,320
Speaker 1: thing to the message like most of these already out

1367
01:07:56,280 --> 01:07:59,920
Speaker 1: minus one of two. Then the album concept started to

1368
01:08:00,040 --> 01:08:02,800
Speaker 1: calm later, you know, and then that became, well, let's

1369
01:08:02,840 --> 01:08:06,000
Speaker 1: make dope albums. Yeah, Prince was a guy of us

1370
01:08:06,120 --> 01:08:09,880
Speaker 1: to make dope albums. The Prince recipes told me that

1371
01:08:09,960 --> 01:08:12,960
Speaker 1: Stepane Arena was one of his favorite albums. Sucked me up.

1372
01:08:13,520 --> 01:08:17,360
Speaker 1: I was. I was with de Angelo and he said, yo,

1373
01:08:17,439 --> 01:08:19,759
Speaker 1: go in that room where they were playing tramps. Remember

1374
01:08:19,800 --> 01:08:24,160
Speaker 1: tramps and they're playing tramps. Yeah, and Prince was gonna

1375
01:08:24,160 --> 01:08:27,000
Speaker 1: do a prize appearance. Do you knew how much of

1376
01:08:27,040 --> 01:08:29,720
Speaker 1: a Prince fanatic I was, So he surprised me and said, yo, man,

1377
01:08:29,720 --> 01:08:31,200
Speaker 1: I gotta go do a couple of interviews before the

1378
01:08:31,200 --> 01:08:33,240
Speaker 1: show starts. He said, just go in that room right there,

1379
01:08:33,280 --> 01:08:34,640
Speaker 1: and I'll meet you in there. When I walk in,

1380
01:08:34,680 --> 01:08:37,240
Speaker 1: there Princes standing there with treats from Naughty by Nature.

1381
01:08:37,920 --> 01:08:39,519
Speaker 1: And I walked. You know, the Prince gives you that

1382
01:08:39,680 --> 01:08:42,479
Speaker 1: looking over that, and you could be the hardest dude.

1383
01:08:43,240 --> 01:08:48,799
Speaker 1: You'd be the killer. You see Princes like, Yo, that's Prince,

1384
01:08:48,880 --> 01:08:51,400
Speaker 1: and you know he and I and Prince already knew

1385
01:08:51,439 --> 01:08:54,400
Speaker 1: because I guess Dad told him, Yo, this guy is

1386
01:08:54,439 --> 01:08:56,120
Speaker 1: a big fan of Orus. So when he walked in,

1387
01:08:56,200 --> 01:08:59,760
Speaker 1: he goes Joe. He's like, yo, man, Daly, I mean

1388
01:09:00,120 --> 01:09:02,439
Speaker 1: Step in the Arena is one of my favorite albums.

1389
01:09:02,479 --> 01:09:05,080
Speaker 1: And remember punched me in the chest and go sicking

1390
01:09:05,120 --> 01:09:11,439
Speaker 1: the you know what I'm saying like, and I was like, yeah,

1391
01:09:11,479 --> 01:09:14,280
Speaker 1: I'm solidified, man, you know me and Guru I solidle

1392
01:09:14,280 --> 01:09:19,040
Speaker 1: about Prince said he like Stepping the Arena. And then

1393
01:09:19,720 --> 01:09:24,120
Speaker 1: my mother has a subscription to Essence magazine and I

1394
01:09:24,160 --> 01:09:26,040
Speaker 1: remember that. You know that it was the slogan the

1395
01:09:26,120 --> 01:09:28,560
Speaker 1: magazine for today's black woman, you know from all the

1396
01:09:28,640 --> 01:09:31,760
Speaker 1: soul trained commercials when I was young in the seventies,

1397
01:09:32,400 --> 01:09:35,080
Speaker 1: and I said, uh, it said, Shandy is embarking on

1398
01:09:35,160 --> 01:09:38,479
Speaker 1: her new tour. What is your survival kid on tour?

1399
01:09:38,520 --> 01:09:40,799
Speaker 1: And she's like, oh, I need such such hair care products.

1400
01:09:40,840 --> 01:09:43,040
Speaker 1: I need this, And they said, what the albums are

1401
01:09:43,120 --> 01:09:48,360
Speaker 1: you taking? She goes a gang Star Daily operation. You

1402
01:09:48,400 --> 01:09:52,880
Speaker 1: can't tell me nothing. My head. Kanye did that record,

1403
01:09:53,680 --> 01:09:56,720
Speaker 1: they got already had done that in my I was

1404
01:09:56,800 --> 01:10:00,559
Speaker 1: like that't wait till I get my money right, because

1405
01:10:00,640 --> 01:10:07,240
Speaker 1: I was like Sandy's Bumping Eye Album present our second album. Man,

1406
01:10:08,120 --> 01:10:10,320
Speaker 1: all I need is George Clinton and Boots after that

1407
01:10:10,520 --> 01:10:14,200
Speaker 1: and Michael right, I'm good, and to read the Franklin

1408
01:10:14,560 --> 01:10:21,080
Speaker 1: Minnie Rippington too. All right, Biggie big Well, I mean

1409
01:10:21,320 --> 01:10:25,880
Speaker 1: just everything's been said about Biggie as as it should be. Unbelievable.

1410
01:10:26,280 --> 01:10:28,559
Speaker 1: Ten let me just let me just because I can't

1411
01:10:28,600 --> 01:10:30,640
Speaker 1: do everything with you. I can't do the whole fucking thing.

1412
01:10:30,720 --> 01:10:32,599
Speaker 1: I got a whole list here, I got two pages

1413
01:10:32,680 --> 01:10:34,760
Speaker 1: a list, I got a highlight. I can't do it all.

1414
01:10:35,880 --> 01:10:38,440
Speaker 1: I'm just gonna throw this at you, ten Crack Commandments.

1415
01:10:38,760 --> 01:10:42,040
Speaker 1: This is a concept song. It's a very specific song.

1416
01:10:42,400 --> 01:10:45,240
Speaker 1: He's fucking one, two, three, all the ten Crack Commandments.

1417
01:10:45,920 --> 01:10:48,200
Speaker 1: What do you remember about the recording of that song?

1418
01:10:48,320 --> 01:10:52,599
Speaker 1: By the way, premier Unbelievable, kicking the Door. I want

1419
01:10:52,640 --> 01:10:54,120
Speaker 1: to talk about that sample. We're gonna have to do

1420
01:10:54,200 --> 01:10:58,280
Speaker 1: it another time. Ten Crack Commandments. He doesn't write the

1421
01:10:58,320 --> 01:11:02,200
Speaker 1: ship down. It's a very intricate song. It's not just rhyming.

1422
01:11:02,280 --> 01:11:05,680
Speaker 1: It's boom boom boom. It's the ten Crack Commandments. What

1423
01:11:05,800 --> 01:11:09,120
Speaker 1: do you remember about working with Biggie on ten Crack Commandments. Well,

1424
01:11:09,240 --> 01:11:12,320
Speaker 1: for one, the original was really a promo that me

1425
01:11:12,400 --> 01:11:14,920
Speaker 1: and Jay were the damage to deal for Angie Martinez.

1426
01:11:15,000 --> 01:11:19,200
Speaker 1: I actually just posted it during his anniversary of his passing.

1427
01:11:20,000 --> 01:11:28,519
Speaker 1: Angie Martinez just posted on Instagram with her explaining the story. Uh, Angie,

1428
01:11:29,280 --> 01:11:31,320
Speaker 1: when she was on High ninety seven, she had a

1429
01:11:31,479 --> 01:11:35,760
Speaker 1: segment called the Hot five at nine. It's Hot five

1430
01:11:35,880 --> 01:11:39,560
Speaker 1: songs at nine o'clock. Everybody would tune into that. And

1431
01:11:39,680 --> 01:11:42,920
Speaker 1: then Andie was so popular that everybody you could think

1432
01:11:42,960 --> 01:11:46,240
Speaker 1: of was making promos for Doe, promos almost like records.

1433
01:11:47,240 --> 01:11:49,160
Speaker 1: We met at Jay Rules a big deal back then

1434
01:11:50,200 --> 01:11:53,320
Speaker 1: we did one too. So again, if you listen to

1435
01:11:53,560 --> 01:11:57,280
Speaker 1: the scratches on ten Crack Ammendments, it only goes to five.

1436
01:11:58,000 --> 01:12:01,639
Speaker 1: You know when the bet drops, you know, he goes one, two, three, four, five, six, seven,

1437
01:12:01,720 --> 01:12:05,840
Speaker 1: eight nine boot then the beat driver goes one one

1438
01:12:05,920 --> 01:12:10,040
Speaker 1: to to to to three, four or five, and I

1439
01:12:10,120 --> 01:12:12,519
Speaker 1: do it again one, two, two, three four five can

1440
01:12:12,560 --> 01:12:15,840
Speaker 1: we're doing the Hot five at nine. I'm not going

1441
01:12:15,920 --> 01:12:18,360
Speaker 1: past that. And then right before the verse, I go

1442
01:12:18,479 --> 01:12:20,840
Speaker 1: back to one, two three five seven, eight nine. It

1443
01:12:20,920 --> 01:12:23,840
Speaker 1: wasn't No. Ten because it was it was. It was

1444
01:12:23,920 --> 01:12:27,519
Speaker 1: a promo for the Hot five and nine Boom. I'll

1445
01:12:27,520 --> 01:12:30,320
Speaker 1: play it for you after we're done, Uh, the original

1446
01:12:30,800 --> 01:12:34,040
Speaker 1: with the and he's like, it's the Caliente Sinko all

1447
01:12:34,080 --> 01:12:37,120
Speaker 1: on the weather on Hot ninety seven within j Martinez.

1448
01:12:37,200 --> 01:12:39,080
Speaker 1: You know. So it was a whole tribute to her.

1449
01:12:40,360 --> 01:12:42,960
Speaker 1: Dig heard that one day when she was playing, you know,

1450
01:12:43,000 --> 01:12:45,240
Speaker 1: show of promos right here in three weeks from now

1451
01:12:45,360 --> 01:12:48,000
Speaker 1: she played again because beat Nuts with popping they played

1452
01:12:48,240 --> 01:12:51,720
Speaker 1: have one, everybody had one, Wou Tang King just who

1453
01:12:51,800 --> 01:12:55,519
Speaker 1: warriors drum he had one, and uh, they happened to

1454
01:12:55,640 --> 01:12:58,479
Speaker 1: hear it. I remember, my homie was because the way

1455
01:12:58,560 --> 01:13:01,840
Speaker 1: Angie told it was pretty much accurate. The only thing

1456
01:13:01,880 --> 01:13:03,800
Speaker 1: that was missing from the way she told it was

1457
01:13:04,960 --> 01:13:07,960
Speaker 1: Puff heard it too, and he was the guest up

1458
01:13:08,000 --> 01:13:11,880
Speaker 1: there that day. And my homie Danny was like, that's

1459
01:13:11,880 --> 01:13:14,599
Speaker 1: when we had pages. My people just keep going off

1460
01:13:14,640 --> 01:13:16,280
Speaker 1: going on, you know back then. If you need us

1461
01:13:16,400 --> 01:13:18,080
Speaker 1: right now, what are you're putting in? And I want one?

1462
01:13:19,320 --> 01:13:21,800
Speaker 1: He's like, yo, Puffy's on the radio telling you to

1463
01:13:21,920 --> 01:13:24,400
Speaker 1: call him, and I'm like words, I turned how night sound.

1464
01:13:24,479 --> 01:13:27,080
Speaker 1: And I'm driving in the street and I'm listening, and

1465
01:13:27,200 --> 01:13:29,320
Speaker 1: you know, he's doing regular chat and kicking it and

1466
01:13:29,439 --> 01:13:33,080
Speaker 1: everything him and Angie. I'm like, he's saying nothing about me,

1467
01:13:33,200 --> 01:13:35,920
Speaker 1: and and then maybe like we're gonna get into a song,

1468
01:13:36,479 --> 01:13:39,000
Speaker 1: you know whatever, whatever, we'll come back with more Puffy

1469
01:13:39,080 --> 01:13:41,439
Speaker 1: And when he goes, yoe from here, call me if

1470
01:13:41,479 --> 01:13:45,360
Speaker 1: you get this. Everybody has a warm line called the

1471
01:13:45,400 --> 01:13:48,439
Speaker 1: warm line, and he's like, yo, big, he wants to

1472
01:13:48,600 --> 01:13:50,560
Speaker 1: do it. He has an idea for this that he

1473
01:13:50,800 --> 01:13:53,120
Speaker 1: wants to create over that beat. And I was like, well,

1474
01:13:53,160 --> 01:13:55,240
Speaker 1: you and Ja Rue got a little tenson over the

1475
01:13:55,360 --> 01:13:59,080
Speaker 1: whole one Day record we did, you know so, And

1476
01:13:59,680 --> 01:14:01,840
Speaker 1: you know, I don't know that that's gonna work because

1477
01:14:02,200 --> 01:14:04,280
Speaker 1: I'm riding with Rue, but I was also riding the

1478
01:14:04,320 --> 01:14:06,920
Speaker 1: route during that time because I thought the way he

1479
01:14:07,000 --> 01:14:09,479
Speaker 1: expressed that record, and then I knew the some of

1480
01:14:09,560 --> 01:14:11,960
Speaker 1: the people that he mentioned that he had a problem with.

1481
01:14:12,120 --> 01:14:14,840
Speaker 1: I knew the reason why because we were homies, so

1482
01:14:15,080 --> 01:14:18,599
Speaker 1: I knew the insides of that. So um, being that's

1483
01:14:18,640 --> 01:14:21,400
Speaker 1: the case, he said, we'll just asking because even him

1484
01:14:21,439 --> 01:14:23,280
Speaker 1: and Puff had had a little tention at the time

1485
01:14:23,400 --> 01:14:26,160
Speaker 1: so I said, you know what, let me, uh, let

1486
01:14:26,240 --> 01:14:28,200
Speaker 1: me call Ruin, tell him what it's up. You know

1487
01:14:28,280 --> 01:14:30,160
Speaker 1: him and Big with mad cool with each other. Yeah,

1488
01:14:30,200 --> 01:14:33,760
Speaker 1: all of us are cool. Big uh uh called j

1489
01:14:34,040 --> 01:14:36,240
Speaker 1: j ruined. He he said, I told him what was up.

1490
01:14:36,280 --> 01:14:38,880
Speaker 1: And the first thing j Rue said it was like, yeah,

1491
01:14:38,920 --> 01:14:41,200
Speaker 1: that's hip hop. Let him have it. Just like that.

1492
01:14:41,360 --> 01:14:43,720
Speaker 1: He wasn't like, let me think about it or let

1493
01:14:43,760 --> 01:14:45,680
Speaker 1: me talk to him. Is none of that. He was

1494
01:14:45,720 --> 01:14:47,360
Speaker 1: just like, yeah, that's hip hop, let him have it.

1495
01:14:48,280 --> 01:14:51,280
Speaker 1: Cool puff, We're good. I said, I'll bring the real

1496
01:14:51,320 --> 01:14:53,599
Speaker 1: because it's the real. It's already laid, the beats already

1497
01:14:53,680 --> 01:14:56,040
Speaker 1: lay so I'll just bring that same reel to the

1498
01:14:56,200 --> 01:14:59,640
Speaker 1: to the session. Brought it to the session and uh,

1499
01:15:01,000 --> 01:15:03,519
Speaker 1: he constructed it and said he's gonna lay it to

1500
01:15:03,560 --> 01:15:05,400
Speaker 1: the next They're gonna lay in the next couple of days.

1501
01:15:06,640 --> 01:15:09,360
Speaker 1: And when I see the Notorious movie, always go, man,

1502
01:15:09,479 --> 01:15:12,719
Speaker 1: that's a little off because when they played Scots a limit,

1503
01:15:12,800 --> 01:15:15,600
Speaker 1: He's sitting there going, yeah, I'm the greatest. That was

1504
01:15:15,760 --> 01:15:18,599
Speaker 1: my session. That was ten cracking mamments. I'm not mad

1505
01:15:18,680 --> 01:15:21,840
Speaker 1: at it. It's all good, but that my song was

1506
01:15:21,920 --> 01:15:24,800
Speaker 1: really the last song he did. It wasn't Scot's a limit.

1507
01:15:24,960 --> 01:15:26,800
Speaker 1: Scott's limit was already done because they played me the

1508
01:15:26,880 --> 01:15:29,519
Speaker 1: album when we were doing Kicking the Door. They'll play

1509
01:15:29,560 --> 01:15:31,360
Speaker 1: me stuff, just let me hear the album sound. And

1510
01:15:31,400 --> 01:15:33,080
Speaker 1: they played me the R. Kelly record. They played me

1511
01:15:33,600 --> 01:15:35,760
Speaker 1: wild record, a story to tell, the original story to

1512
01:15:35,840 --> 01:15:38,320
Speaker 1: tell before they had the offic sample. I was there

1513
01:15:38,360 --> 01:15:41,120
Speaker 1: for all of that. So this is the last record

1514
01:15:41,160 --> 01:15:44,280
Speaker 1: where I remember the lights were really dim. Uh. He

1515
01:15:44,760 --> 01:15:46,760
Speaker 1: was recovering from the hip surgery, so he was on

1516
01:15:46,840 --> 01:15:48,600
Speaker 1: a walker. He had to sit in the wheelchair to

1517
01:15:48,640 --> 01:15:52,439
Speaker 1: cut his vocals, and I remember sees were everybody was

1518
01:15:52,520 --> 01:15:54,320
Speaker 1: hungry and seems like, yo, I'm gonna go to McDonald's

1519
01:15:54,320 --> 01:15:56,160
Speaker 1: and get some food. And I remember bigg he goes,

1520
01:15:56,240 --> 01:15:58,439
Speaker 1: ope you get robbed on the way to McDonald's. And

1521
01:15:58,560 --> 01:16:00,880
Speaker 1: I was like, baby say that said, cuse man, look

1522
01:16:00,920 --> 01:16:03,640
Speaker 1: at me. I'm up and this you know, like you know,

1523
01:16:03,800 --> 01:16:06,280
Speaker 1: like you said, uh in the rounds a little scrip

1524
01:16:06,400 --> 01:16:08,679
Speaker 1: with me. So you know, even though he was being

1525
01:16:08,720 --> 01:16:12,760
Speaker 1: funny about it, it was just still funny because accident. Yeah,

1526
01:16:12,920 --> 01:16:15,439
Speaker 1: so you know, but it was all last met him.

1527
01:16:15,520 --> 01:16:18,920
Speaker 1: Gussie gotta you all just lamping and he cut the

1528
01:16:19,000 --> 01:16:20,559
Speaker 1: vocals in there, and I remember when it was over,

1529
01:16:20,640 --> 01:16:23,679
Speaker 1: he goes, my album is Thinness Breath. It's over, he said,

1530
01:16:23,680 --> 01:16:26,840
Speaker 1: I'm the greatest. So that's why when that when I

1531
01:16:26,840 --> 01:16:30,320
Speaker 1: saw in the movie, I'm like, that was my session. Okay,

1532
01:16:32,400 --> 01:16:36,280
Speaker 1: you're giving me so much ship bream that I'm like,

1533
01:16:37,479 --> 01:16:40,320
Speaker 1: you're sucking my mouth up, like my face up. So

1534
01:16:41,120 --> 01:16:46,120
Speaker 1: specifically with the rhymes to that song when you were

1535
01:16:46,160 --> 01:16:48,680
Speaker 1: watching him do it, and it's so intricate, like I said,

1536
01:16:48,720 --> 01:16:50,800
Speaker 1: it's not even like not that the other ones weren't,

1537
01:16:50,840 --> 01:16:52,920
Speaker 1: but it's a concept and that you know, you know,

1538
01:16:52,960 --> 01:16:56,160
Speaker 1: and he's breaking the shift down like and the concept

1539
01:16:56,240 --> 01:16:59,799
Speaker 1: at the time, the ten crack commandments and it's Biggie,

1540
01:17:00,080 --> 01:17:03,200
Speaker 1: It's Biggie at this time. What was he like in

1541
01:17:03,280 --> 01:17:06,000
Speaker 1: the booth? Like watching him Ron, You've you've seen everybody,

1542
01:17:06,120 --> 01:17:10,760
Speaker 1: You've seen so many fucking people. I can't but watching specifically,

1543
01:17:10,800 --> 01:17:13,800
Speaker 1: what is your memory of watching the Notorious b I G.

1544
01:17:14,040 --> 01:17:17,840
Speaker 1: Biggie Small rocking the booth? What is the lasting thing

1545
01:17:17,960 --> 01:17:21,720
Speaker 1: in your head specifically with with tank Crack command That

1546
01:17:22,320 --> 01:17:24,519
Speaker 1: for t Crackerman was a little different because he had

1547
01:17:24,520 --> 01:17:26,280
Speaker 1: to get in the wheelchair and sit down and wrap

1548
01:17:26,640 --> 01:17:29,200
Speaker 1: where when we did unbelievable, he was standing up because

1549
01:17:29,240 --> 01:17:31,680
Speaker 1: he wouldn't you know, he hadn't broken and he's never

1550
01:17:31,800 --> 01:17:33,879
Speaker 1: hip button broken in he was literally in a wheelchair

1551
01:17:33,880 --> 01:17:36,439
Speaker 1: when he did, he'll he'll go to the booth and

1552
01:17:36,560 --> 01:17:39,080
Speaker 1: on a walker and then to help him walk, because

1553
01:17:39,080 --> 01:17:42,280
Speaker 1: he even said praying my first single hypnotize when he

1554
01:17:42,360 --> 01:17:45,120
Speaker 1: played me, he said, by the time we shoot this video,

1555
01:17:45,280 --> 01:17:47,680
Speaker 1: I'm gonna dance in it. I'm gonna get mom going

1556
01:17:47,720 --> 01:17:49,880
Speaker 1: to physical therapy and I'm gonna dance in that video,

1557
01:17:49,920 --> 01:17:52,639
Speaker 1: which he does, you know, so because he was like, yeah,

1558
01:17:52,640 --> 01:17:54,960
Speaker 1: I'm because he couldn't really stand on his own yet,

1559
01:17:55,320 --> 01:17:57,759
Speaker 1: so you know, they would help walk him to the booth,

1560
01:17:58,120 --> 01:17:59,920
Speaker 1: send him in the wheelchairs so he could spend it verse.

1561
01:18:00,200 --> 01:18:02,720
Speaker 1: So for him to say, man, I'm gonna dance in

1562
01:18:02,760 --> 01:18:04,840
Speaker 1: that video and he had already passed before we saw it.

1563
01:18:05,200 --> 01:18:08,280
Speaker 1: When I saw him walking and dancing, I was like, yeah, man,

1564
01:18:08,560 --> 01:18:10,040
Speaker 1: you did what you said you set out to do,

1565
01:18:10,680 --> 01:18:13,519
Speaker 1: and you did it. And then uh, once he cut

1566
01:18:13,560 --> 01:18:15,240
Speaker 1: the verse and said it was over, the only thing

1567
01:18:15,280 --> 01:18:17,120
Speaker 1: I did was I was like, well, I gotta add

1568
01:18:17,160 --> 01:18:20,799
Speaker 1: a ten because it wasn't intended to have a ten anyway.

1569
01:18:21,439 --> 01:18:23,760
Speaker 1: And I just took the you know, the thing with

1570
01:18:23,920 --> 01:18:28,080
Speaker 1: the launching path for the NASA team on his TAN nine.

1571
01:18:28,520 --> 01:18:31,360
Speaker 1: And it's something about that ten just worked, you know

1572
01:18:31,400 --> 01:18:33,639
Speaker 1: what I'm saying. That's why the ten sounds different. Plus

1573
01:18:33,760 --> 01:18:36,519
Speaker 1: Chuck never went to ten on shut him down anyway.

1574
01:18:37,520 --> 01:18:39,320
Speaker 1: This is good, all right, I'm gonna skip ahead. I

1575
01:18:39,400 --> 01:18:42,360
Speaker 1: was gonna ask you about MCS act like they don't know.

1576
01:18:42,840 --> 01:18:44,880
Speaker 1: I was gonna ask you about the show biz and

1577
01:18:44,960 --> 01:18:46,840
Speaker 1: a g next level. I was gonna ask you about

1578
01:18:46,920 --> 01:18:49,880
Speaker 1: one of my favorite songs, the O C joint My

1579
01:18:50,040 --> 01:18:53,920
Speaker 1: World off of Jewels, which is a quintessential New York song. Yeah,

1580
01:18:55,760 --> 01:18:58,639
Speaker 1: and just he's just New York period. I mean when

1581
01:18:58,720 --> 01:19:00,800
Speaker 1: he comes on, when he starts rhyming on that ship,

1582
01:19:00,920 --> 01:19:03,760
Speaker 1: you're like, this is another one, like you know, And

1583
01:19:03,880 --> 01:19:05,760
Speaker 1: and then that's a guy who you know. It's sort

1584
01:19:05,760 --> 01:19:10,400
Speaker 1: of like you know that that record, um uh it

1585
01:19:10,479 --> 01:19:12,120
Speaker 1: didn't pop, like you know, it was like, Yo, this

1586
01:19:12,200 --> 01:19:13,439
Speaker 1: dude is gonna be the next time. I don't know

1587
01:19:13,520 --> 01:19:15,120
Speaker 1: why it's so fucking long ago. I don't know, like

1588
01:19:15,200 --> 01:19:17,000
Speaker 1: it didn't sell it, like, but we thought like this

1589
01:19:17,040 --> 01:19:18,600
Speaker 1: is gonna be the next NOAs type of like, this

1590
01:19:18,720 --> 01:19:21,559
Speaker 1: is gonna be the next dude, but I can't keep

1591
01:19:21,600 --> 01:19:24,040
Speaker 1: it here all fucking day. I talk about the Joey

1592
01:19:24,120 --> 01:19:27,760
Speaker 1: Badass ship, the fucking most deaf shit. That's one of

1593
01:19:27,840 --> 01:19:30,200
Speaker 1: my favorites. The Mathematics. I don't have a lot of

1594
01:19:30,240 --> 01:19:32,360
Speaker 1: favorites because I don't like to sweat my own music

1595
01:19:32,479 --> 01:19:35,439
Speaker 1: like that. But Mathematics, I was like, this is creative.

1596
01:19:35,600 --> 01:19:37,920
Speaker 1: Why do you say it's one of your favorites. It's not.

1597
01:19:38,320 --> 01:19:44,479
Speaker 1: It's like off but on just that brun now it's

1598
01:19:44,520 --> 01:19:46,880
Speaker 1: like that makes me just be like, yeah, I gotta

1599
01:19:46,920 --> 01:19:49,120
Speaker 1: get a car and drive. I want to annoy people,

1600
01:19:49,920 --> 01:19:51,240
Speaker 1: turn it all the way up and just be like

1601
01:19:51,360 --> 01:19:55,280
Speaker 1: boom boom boom band damp the bandam Like that's how

1602
01:19:55,360 --> 01:19:58,479
Speaker 1: it gets me. If I and always judge my records

1603
01:19:58,680 --> 01:20:00,600
Speaker 1: as a listener, I don't judge my records that oh

1604
01:20:00,680 --> 01:20:02,920
Speaker 1: yeah for me, I made it. I judge it like, yo,

1605
01:20:03,000 --> 01:20:05,519
Speaker 1: what I bumped this? If I heard this, would I'd

1606
01:20:05,560 --> 01:20:07,880
Speaker 1: be like oh, or would I'd be like it's okay?

1607
01:20:08,280 --> 01:20:10,800
Speaker 1: If it got me where, I'm like, I don't care

1608
01:20:10,800 --> 01:20:14,720
Speaker 1: if everybody hates it. It's dope period. If I like

1609
01:20:14,840 --> 01:20:17,400
Speaker 1: it like that, it's dope, you know, And that's not

1610
01:20:17,520 --> 01:20:20,320
Speaker 1: a cocky thing. I just I just feel what I feel.

1611
01:20:20,400 --> 01:20:22,600
Speaker 1: And again, you know, I'm seeing people sit there like

1612
01:20:24,000 --> 01:20:27,760
Speaker 1: I'm saying that, like that's not I got you. But

1613
01:20:28,560 --> 01:20:31,040
Speaker 1: they but if they're they're feeling that, they're feeling it.

1614
01:20:31,240 --> 01:20:34,920
Speaker 1: Even the fucking the limb Biscuit song with Method Red, Yeah,

1615
01:20:35,439 --> 01:20:38,320
Speaker 1: this is a big, fucking huge song. I could ask

1616
01:20:38,360 --> 01:20:41,000
Speaker 1: you so many questions about m O P. Another one

1617
01:20:41,000 --> 01:20:44,120
Speaker 1: of my favorite times with them. Man, always good times.

1618
01:20:44,200 --> 01:20:46,519
Speaker 1: I mean they're like fucking heavy metal, hard rock. They

1619
01:20:46,560 --> 01:20:48,960
Speaker 1: will they make you ready to like that's like that's

1620
01:20:49,000 --> 01:20:51,600
Speaker 1: like fight music. I look so forward when we go

1621
01:20:51,680 --> 01:20:58,000
Speaker 1: into lab. It's always fun, cracking jokes, the energy, I'm

1622
01:20:58,000 --> 01:21:00,640
Speaker 1: gonna rattle. I got my fighting skills really up to

1623
01:21:00,720 --> 01:21:05,080
Speaker 1: pau MP's like fuck fighting Like they're no, I'm talking

1624
01:21:05,080 --> 01:21:08,920
Speaker 1: about this because they are actually like if something drama

1625
01:21:09,040 --> 01:21:11,479
Speaker 1: was starting, they were like, yes, they're uh, you know me,

1626
01:21:11,520 --> 01:21:13,559
Speaker 1: I don't want no drama. I'm not like, oh man,

1627
01:21:13,600 --> 01:21:17,519
Speaker 1: I gotta fight somebody. They're like, yeah, fighting you know.

1628
01:21:18,000 --> 01:21:21,479
Speaker 1: So they really are their records they are, they are

1629
01:21:21,600 --> 01:21:25,760
Speaker 1: what they are the mash out policy. All right, I'm

1630
01:21:25,760 --> 01:21:28,760
Speaker 1: gonna rattle lift it. I'm gonna rattle these questions off

1631
01:21:28,800 --> 01:21:30,960
Speaker 1: to you. I'm not gonna ask you your top five

1632
01:21:31,080 --> 01:21:33,519
Speaker 1: mcs because you've worked with everybody's top five m C.

1633
01:21:33,720 --> 01:21:39,120
Speaker 1: I'm gonna ask you this Premier's top five mcs that

1634
01:21:39,520 --> 01:21:43,519
Speaker 1: you never worked with. I'm proud of that question. That's

1635
01:21:43,560 --> 01:21:47,760
Speaker 1: a good fucking question. Premiers. Top five mcs that you

1636
01:21:47,920 --> 01:21:51,439
Speaker 1: never work can put them in order? Just yeah, the

1637
01:21:51,520 --> 01:21:56,080
Speaker 1: top five that they never worked with. Ice Cube He's

1638
01:21:56,120 --> 01:22:03,479
Speaker 1: incredible Cube Uh ghost face Killer. That's crazy that I

1639
01:22:03,560 --> 01:22:07,679
Speaker 1: can't believe you never worked with him Love ghosts Uh Drake,

1640
01:22:09,720 --> 01:22:13,679
Speaker 1: that would be sick, dirty him up, messing him up. Yeah,

1641
01:22:14,280 --> 01:22:20,360
Speaker 1: he's around the dirty ships before you know that would

1642
01:22:20,400 --> 01:22:23,599
Speaker 1: yo you and Drake would be fucking stupid. I've always

1643
01:22:23,640 --> 01:22:25,599
Speaker 1: been a fan. I don't know understand why people hate

1644
01:22:25,600 --> 01:22:28,840
Speaker 1: on him. He makes banging as records. He insistent as fuck,

1645
01:22:29,720 --> 01:22:34,600
Speaker 1: like oh everything he's been doing, Just d do the

1646
01:22:34,640 --> 01:22:39,920
Speaker 1: whole record. So it's up Drizzy Drake Premier record. I'll

1647
01:22:39,960 --> 01:22:42,160
Speaker 1: be on the front line because I've talked about I

1648
01:22:42,200 --> 01:22:44,400
Speaker 1: always say, you know, people like jay Z and all

1649
01:22:44,479 --> 01:22:47,960
Speaker 1: of them, nas everybody. It's it's this again from the

1650
01:22:48,040 --> 01:22:51,840
Speaker 1: perspective of a fan. It's not Premier talking a fan.

1651
01:22:52,640 --> 01:22:57,280
Speaker 1: They've accomplished everything from radio to club to getting the

1652
01:22:57,360 --> 01:23:00,240
Speaker 1: girls to the money. They can do whatever they one

1653
01:23:00,360 --> 01:23:03,720
Speaker 1: now and it's all it's all good. So I like

1654
01:23:03,840 --> 01:23:06,040
Speaker 1: when when they all come back to just raw, I

1655
01:23:06,200 --> 01:23:09,200
Speaker 1: agree and just do a raw album to show that

1656
01:23:09,800 --> 01:23:12,240
Speaker 1: man with my eyes clothes, this is what I'm still good.

1657
01:23:12,600 --> 01:23:14,680
Speaker 1: It's almost sawing that, like you may have been a

1658
01:23:14,760 --> 01:23:18,320
Speaker 1: super Bowl champ and or or an iconic basket and

1659
01:23:18,520 --> 01:23:22,920
Speaker 1: the NBA champ, and you can still I totally a

1660
01:23:23,040 --> 01:23:25,840
Speaker 1: nice lefty and a nice pass and then because you know,

1661
01:23:25,960 --> 01:23:28,639
Speaker 1: have like and also it balances it out. It balances

1662
01:23:28,720 --> 01:23:30,920
Speaker 1: it out because we're we're always gonna be older. But

1663
01:23:30,960 --> 01:23:36,800
Speaker 1: like I'm like Drake, Eminem, Jay z uh, the guys

1664
01:23:36,840 --> 01:23:39,720
Speaker 1: that are still a nice all of them you're doing

1665
01:23:39,800 --> 01:23:41,880
Speaker 1: with daylight, which I'm gonna get to. Like, I'm like

1666
01:23:42,160 --> 01:23:44,800
Speaker 1: balance it, Like jay z can do whatever you want,

1667
01:23:44,960 --> 01:23:46,760
Speaker 1: Eminem could do what you ever. What they're not doing

1668
01:23:46,800 --> 01:23:48,720
Speaker 1: it for money, like Jay said he could drop a

1669
01:23:48,760 --> 01:23:51,040
Speaker 1: state due it's still still you know, he's still gonna

1670
01:23:51,040 --> 01:23:54,800
Speaker 1: blow up. Okay, you know, but though, but okay, so

1671
01:23:54,960 --> 01:23:57,000
Speaker 1: that's three. So that's three. Give me two more that

1672
01:23:57,120 --> 01:23:58,960
Speaker 1: you never worked with Did you ever work with Bus

1673
01:23:59,040 --> 01:24:02,320
Speaker 1: of Rhymes? Yeah, I'm on his new album okay it's

1674
01:24:02,360 --> 01:24:05,120
Speaker 1: coming out. Yeah. Uh. Two more that you never worked

1675
01:24:05,240 --> 01:24:08,360
Speaker 1: you worked with cares when I can't mcs act like

1676
01:24:08,400 --> 01:24:14,000
Speaker 1: they don't know a fucking ridiculous song. Melliemail, melliemail, the

1677
01:24:14,040 --> 01:24:17,360
Speaker 1: Furious five, And we've talked about doing something. I've just

1678
01:24:17,640 --> 01:24:21,519
Speaker 1: just never gotten to make it happen yet, but we will. Okay,

1679
01:24:22,120 --> 01:24:28,639
Speaker 1: one more. Oh ll, he's another one. He doesn't even

1680
01:24:28,680 --> 01:24:31,880
Speaker 1: need to rhyme. That goddamn show that he's on. He's

1681
01:24:31,920 --> 01:24:34,280
Speaker 1: making so much money off that, the lip sync thing,

1682
01:24:35,000 --> 01:24:36,760
Speaker 1: the lip sync that wasn't even thinking about that, the

1683
01:24:36,800 --> 01:24:39,960
Speaker 1: fucking CBS, n C I whatever. The money's coming in

1684
01:24:40,320 --> 01:24:44,960
Speaker 1: on top of the money the ladies. Hellll, I'm just

1685
01:24:45,000 --> 01:24:49,840
Speaker 1: gonna make a public please hello cool J Premier Channel too. Man.

1686
01:24:50,040 --> 01:24:55,559
Speaker 1: Uh you know he took over back radio. Okay, Okay,

1687
01:24:56,479 --> 01:24:59,400
Speaker 1: that's a great list. Now we talked about the jazz

1688
01:24:59,800 --> 01:25:01,960
Speaker 1: and how you win anti jazz and and this could

1689
01:25:02,000 --> 01:25:05,479
Speaker 1: just be this doesn't even have to be so I know,

1690
01:25:05,920 --> 01:25:09,439
Speaker 1: but she went away from you. I get it. Give

1691
01:25:09,520 --> 01:25:13,439
Speaker 1: me even. This is for people that like jazz but

1692
01:25:13,520 --> 01:25:15,479
Speaker 1: want to learn more about jazz, so it doesn't have

1693
01:25:15,560 --> 01:25:19,600
Speaker 1: to be so intricate. Premier's Top five Jazz artists that

1694
01:25:19,720 --> 01:25:21,960
Speaker 1: if you never listen to jazz, you should listen to

1695
01:25:22,160 --> 01:25:24,080
Speaker 1: like school to young people like you should listen to

1696
01:25:24,160 --> 01:25:27,840
Speaker 1: these five. I'm a huge Stanley Clark fan because I

1697
01:25:27,880 --> 01:25:31,519
Speaker 1: played bass, so you gotta get Stanley Clark, you know,

1698
01:25:31,680 --> 01:25:34,960
Speaker 1: like you know like rock Pebbles and sand or even

1699
01:25:35,000 --> 01:25:37,000
Speaker 1: I want to play for you with the double album

1700
01:25:37,000 --> 01:25:38,880
Speaker 1: because you could hear him live, but it also has

1701
01:25:38,920 --> 01:25:43,760
Speaker 1: studio recordings on it. Stanley Clark, Stanley Clark. Uh, I

1702
01:25:43,800 --> 01:25:48,640
Speaker 1: would say definitely Cold Trane, John Coltrane, the must Uh

1703
01:25:50,479 --> 01:25:55,360
Speaker 1: who else do I like? Um? I like uh like

1704
01:25:55,680 --> 01:25:59,439
Speaker 1: like Charlie Maingus, Big tim just that's a the house

1705
01:25:59,479 --> 01:26:02,960
Speaker 1: and my parents his house mangas Um. I would say,

1706
01:26:04,360 --> 01:26:09,880
Speaker 1: all right, Blakey and um that was that for And

1707
01:26:10,000 --> 01:26:14,599
Speaker 1: I would say, um, it's not deep jazz as far

1708
01:26:14,680 --> 01:26:21,040
Speaker 1: as like the traditional, but uh man ship anything from

1709
01:26:21,240 --> 01:26:25,439
Speaker 1: brand from ourselves or whin Yeah we did what's their traditional?

1710
01:26:25,479 --> 01:26:28,000
Speaker 1: I was gonna say the Crusaders, which is what I

1711
01:26:28,120 --> 01:26:31,000
Speaker 1: was getting at. But but you know, Branford schooled me

1712
01:26:31,080 --> 01:26:34,639
Speaker 1: on a lot, so you know, I've been I watched

1713
01:26:34,680 --> 01:26:39,360
Speaker 1: his shows. Then I saw him leave jazz, uh just

1714
01:26:39,479 --> 01:26:41,680
Speaker 1: for a hot second and play with Sting when he

1715
01:26:41,760 --> 01:26:43,280
Speaker 1: came out with the Dream of the Blue Turtles, and

1716
01:26:43,360 --> 01:26:45,160
Speaker 1: I was like wow, And then he was getting flat

1717
01:26:45,200 --> 01:26:47,679
Speaker 1: for everybody. I can't believe you're abandoned jazz to play

1718
01:26:47,680 --> 01:26:50,640
Speaker 1: with Sting And It's like, yo, it's nothing wrong with that.

1719
01:26:50,760 --> 01:26:52,600
Speaker 1: I mean, it's a it's an extra extension of what

1720
01:26:53,040 --> 01:26:55,120
Speaker 1: makes him great already. What then is the problem? You know?

1721
01:26:55,280 --> 01:26:57,960
Speaker 1: So you know I've had people say I can't believe that.

1722
01:26:58,280 --> 01:27:00,880
Speaker 1: I've said I've been a fan of Drake and people

1723
01:27:01,000 --> 01:27:03,080
Speaker 1: hit me on Twitter like how could you like him?

1724
01:27:03,160 --> 01:27:06,120
Speaker 1: And it's like, how could I not records a dough

1725
01:27:06,640 --> 01:27:09,040
Speaker 1: like you mac At? Your girl likes it. You know,

1726
01:27:10,000 --> 01:27:18,040
Speaker 1: ship make it happy, man, make it happy. Um, how

1727
01:27:18,160 --> 01:27:21,320
Speaker 1: do you listen to music at this time? You've made

1728
01:27:21,400 --> 01:27:24,120
Speaker 1: so much you're such a fan. How does Premier listen

1729
01:27:24,160 --> 01:27:26,080
Speaker 1: to music at this time? And are you able to

1730
01:27:26,160 --> 01:27:30,880
Speaker 1: listen to music without sort of busy being busy? And

1731
01:27:31,479 --> 01:27:35,320
Speaker 1: he listening for a loop or something. So what's what's

1732
01:27:35,360 --> 01:27:37,560
Speaker 1: your favorite way to listen to music and are you

1733
01:27:37,640 --> 01:27:40,519
Speaker 1: able to just listen? Yeah, just switches all the time.

1734
01:27:40,600 --> 01:27:43,200
Speaker 1: Like driving up here, I was listening to YouTube, the

1735
01:27:43,240 --> 01:27:46,479
Speaker 1: whole YouTube like you know that. You know, during I

1736
01:27:46,600 --> 01:27:48,720
Speaker 1: was very very in a rebel molde back in the

1737
01:27:48,880 --> 01:27:51,800
Speaker 1: in the eighties. So I was really into October and

1738
01:27:52,080 --> 01:27:55,800
Speaker 1: the Boy album and the War album and then I'm

1739
01:27:55,800 --> 01:27:57,720
Speaker 1: going to go see them before him during that era

1740
01:27:57,840 --> 01:28:01,160
Speaker 1: that a late late eighties, So I really became like

1741
01:28:01,240 --> 01:28:03,040
Speaker 1: the biggest you too fan. You know. I think some

1742
01:28:03,120 --> 01:28:06,360
Speaker 1: of the newest stuff is a little not YouTube, which

1743
01:28:06,400 --> 01:28:09,559
Speaker 1: is not a distance just doesn't sound. It's like it's like, man,

1744
01:28:10,040 --> 01:28:12,600
Speaker 1: let me in there, a kind of because that's so

1745
01:28:12,720 --> 01:28:14,680
Speaker 1: ill and had great perform Would you be able to

1746
01:28:14,760 --> 01:28:17,640
Speaker 1: produce the YouTube album that's anybody? Yeah, anybody I'm a

1747
01:28:17,680 --> 01:28:19,679
Speaker 1: fan of. I could do it because you you understand

1748
01:28:19,720 --> 01:28:22,880
Speaker 1: the chamber that it's totally totally because I'm again I go,

1749
01:28:23,000 --> 01:28:26,040
Speaker 1: I ranged, my my range is there from as I said,

1750
01:28:26,120 --> 01:28:28,559
Speaker 1: from the Smiths. You know, I'm a big fan of Morrissey.

1751
01:28:28,760 --> 01:28:31,400
Speaker 1: I went to this concert year before last and he

1752
01:28:31,479 --> 01:28:33,559
Speaker 1: tore it down in Blondie opened up. I didn't even

1753
01:28:33,560 --> 01:28:34,960
Speaker 1: know she was opening up, and they were like ladies

1754
01:28:35,000 --> 01:28:38,240
Speaker 1: and gentlemen giving up the garden. It was packed, you know.

1755
01:28:38,439 --> 01:28:41,759
Speaker 1: And this is Morrissey and Blondie like giving up for Blondie.

1756
01:28:41,800 --> 01:28:45,479
Speaker 1: I'm like, oh ship, and she tore it down towards

1757
01:28:45,760 --> 01:28:47,320
Speaker 1: Is that something you would love to do? Just like

1758
01:28:47,439 --> 01:28:49,439
Speaker 1: if one of these groups or a new sort of

1759
01:28:49,960 --> 01:28:53,080
Speaker 1: you know, new wave group and you're not doing hip

1760
01:28:53,120 --> 01:28:56,479
Speaker 1: hop with it, like would you? You're totally thats fucking

1761
01:28:56,600 --> 01:28:59,760
Speaker 1: don't because I get it and I know again I'm

1762
01:29:00,000 --> 01:29:01,800
Speaker 1: of those It's just like when they bring a new

1763
01:29:01,840 --> 01:29:03,599
Speaker 1: coach and you know we're gonna revamp this team, We're

1764
01:29:03,600 --> 01:29:05,920
Speaker 1: gonna get that ring. I'm saying way like, I don't

1765
01:29:05,920 --> 01:29:08,160
Speaker 1: sit there going what can I do to make this right?

1766
01:29:08,479 --> 01:29:10,600
Speaker 1: I'm already like I know what y'all need, right, Like

1767
01:29:10,720 --> 01:29:12,360
Speaker 1: that's how I come in with that. You're not going

1768
01:29:12,400 --> 01:29:14,559
Speaker 1: to be like a YouTube with like a break beat. Nah,

1769
01:29:15,040 --> 01:29:18,360
Speaker 1: tell even if I incorporated some hip hop elements, I

1770
01:29:18,360 --> 01:29:20,519
Speaker 1: wouldn't do it too where I'm I'm looking to change.

1771
01:29:20,720 --> 01:29:23,120
Speaker 1: I got you. I wanted to sound like you. You

1772
01:29:23,400 --> 01:29:26,519
Speaker 1: that's had me open on them. That's cool that that

1773
01:29:26,680 --> 01:29:29,360
Speaker 1: you're like it. Just I would love to hear some

1774
01:29:29,479 --> 01:29:32,720
Speaker 1: ship like fanatic man van Halen. I went to van

1775
01:29:32,760 --> 01:29:35,760
Speaker 1: Halen concerts when Daily Roth before he left the group,

1776
01:29:35,840 --> 01:29:37,560
Speaker 1: you know, before Sammy had got to go, but I

1777
01:29:37,680 --> 01:29:39,439
Speaker 1: was there and then we don't like this, you know.

1778
01:29:39,960 --> 01:29:44,799
Speaker 1: I've been going to concert nineteen seventy seventy five, seventy

1779
01:29:44,880 --> 01:29:47,479
Speaker 1: four cause my mom and I would concert buddies like

1780
01:29:47,560 --> 01:29:50,080
Speaker 1: ain't concert. Me and my mom were going Rufus and

1781
01:29:50,120 --> 01:29:53,960
Speaker 1: Shaka Khan I Contina Turner, Tina Turner. I actually had

1782
01:29:54,000 --> 01:29:56,720
Speaker 1: to make an announcement that I got lost because I'm

1783
01:29:56,800 --> 01:29:58,720
Speaker 1: I'm there with my family and I wandered out and

1784
01:29:59,400 --> 01:30:02,320
Speaker 1: I'll and started moving around, you know, being sneaky. I

1785
01:30:02,400 --> 01:30:05,280
Speaker 1: couldn't remember what all I was in. Started crying. Usher

1786
01:30:05,760 --> 01:30:07,160
Speaker 1: took me to the front of the stage and they

1787
01:30:07,200 --> 01:30:09,479
Speaker 1: were like, there's a little boy loss and Tina Town

1788
01:30:09,760 --> 01:30:11,439
Speaker 1: you know, makes the announcement and I'm up there on

1789
01:30:11,479 --> 01:30:14,200
Speaker 1: the stage like it's me and and my parents. They said,

1790
01:30:14,240 --> 01:30:16,120
Speaker 1: whatever the parents, I come get him and come get

1791
01:30:16,160 --> 01:30:24,400
Speaker 1: this guy. That's crazy, all right. Prime with Royce, you

1792
01:30:24,520 --> 01:30:27,639
Speaker 1: did the which way as West with MC eight Jil,

1793
01:30:29,240 --> 01:30:32,479
Speaker 1: Why are you making these records with just one artist? Um?

1794
01:30:32,800 --> 01:30:36,000
Speaker 1: What do you like about doing a full record one artist?

1795
01:30:36,600 --> 01:30:38,640
Speaker 1: And who else would you like to do that with?

1796
01:30:39,200 --> 01:30:41,360
Speaker 1: You know, because I love it when it's you and

1797
01:30:41,479 --> 01:30:44,439
Speaker 1: a person and you guys just zero, you know, on

1798
01:30:44,560 --> 01:30:47,320
Speaker 1: a goal and it sounds and a full record. Yeah.

1799
01:30:47,960 --> 01:30:51,040
Speaker 1: Eight and I were friends back in eighty nine. Uh,

1800
01:30:51,240 --> 01:30:53,880
Speaker 1: my first trip to l A to Long Beach and

1801
01:30:53,960 --> 01:30:57,360
Speaker 1: we did a show that turned kind of violent, you know,

1802
01:30:57,400 --> 01:31:00,559
Speaker 1: so that's my first experience with the West Coach getting

1803
01:31:00,600 --> 01:31:03,400
Speaker 1: wild and gangs and all that stuff. And you know,

1804
01:31:03,520 --> 01:31:05,280
Speaker 1: I when I met eight, you know, I was already

1805
01:31:05,320 --> 01:31:08,160
Speaker 1: cool with Dub, and I was cool with Cube already

1806
01:31:08,800 --> 01:31:11,799
Speaker 1: and recipes of crazy tunes or Dub's brother who passed

1807
01:31:11,840 --> 01:31:14,880
Speaker 1: and he was Ice Cubes DJ. Um he still is

1808
01:31:14,960 --> 01:31:17,160
Speaker 1: Ice Cube DJ. They don't put any d D on

1809
01:31:17,240 --> 01:31:19,080
Speaker 1: the on the stage and what what They just leave

1810
01:31:19,120 --> 01:31:24,280
Speaker 1: the turnertables empty. But you know which is dope. But uh, yeah,

1811
01:31:24,280 --> 01:31:26,599
Speaker 1: I met eight. We've been friends for a long time.

1812
01:31:26,640 --> 01:31:29,000
Speaker 1: He was on the Hard Earned album. You know, I

1813
01:31:29,080 --> 01:31:32,040
Speaker 1: did remixes for the Compertence Most Wanted with Deaf Wish

1814
01:31:32,160 --> 01:31:34,400
Speaker 1: and then next thing you know, I was doing an

1815
01:31:34,439 --> 01:31:36,400
Speaker 1: album for Black Poet who was signed to me for

1816
01:31:36,479 --> 01:31:38,840
Speaker 1: an album in two thousand nine, and we did a

1817
01:31:38,920 --> 01:31:41,960
Speaker 1: remix to his single and we ran into eight um

1818
01:31:42,400 --> 01:31:44,760
Speaker 1: when I did the remix, and also all the name

1819
01:31:44,920 --> 01:31:49,120
Speaker 1: Young Melee who's signed to Ice to Dove Seed through

1820
01:31:49,720 --> 01:31:52,840
Speaker 1: Ice Cubes Lynch Mob being prints. So you know this

1821
01:31:52,920 --> 01:31:54,680
Speaker 1: guy young Man waiting, he's had to take the young

1822
01:31:54,720 --> 01:31:57,720
Speaker 1: off now. But there's a couple of Melee's out there,

1823
01:31:58,120 --> 01:32:00,360
Speaker 1: one from the East Coast and there's a Melee box.

1824
01:32:00,439 --> 01:32:02,800
Speaker 1: You know, there's the other Melee's, but this one, this

1825
01:32:02,960 --> 01:32:06,400
Speaker 1: dude's a beast on the mic like man like he

1826
01:32:07,000 --> 01:32:09,360
Speaker 1: he he's got it. He's he's totally a little look

1827
01:32:09,400 --> 01:32:10,960
Speaker 1: at it. Look for young young Man. I don't even

1828
01:32:10,960 --> 01:32:14,439
Speaker 1: get you a folder. He spits, ok, he's he's he's

1829
01:32:14,960 --> 01:32:16,720
Speaker 1: every time Doub does the show. Now the guy us

1830
01:32:16,880 --> 01:32:19,960
Speaker 1: hight Man with him, that's that's Melee. He was actually

1831
01:32:20,160 --> 01:32:23,519
Speaker 1: one of the characters in uh uh st Andrews for

1832
01:32:23,640 --> 01:32:28,759
Speaker 1: the video game years back. But he's a problem. But anyway,

1833
01:32:30,040 --> 01:32:31,680
Speaker 1: uh So, when I ran to eight and I was like,

1834
01:32:31,720 --> 01:32:33,280
Speaker 1: you don't drop on the remix, and I said, what

1835
01:32:33,320 --> 01:32:35,519
Speaker 1: are you doing now? And he said, oh, man, um,

1836
01:32:35,920 --> 01:32:37,600
Speaker 1: I got a whole bunch of demos, but they're just

1837
01:32:37,640 --> 01:32:40,240
Speaker 1: scattered everywhere. I said, can I hear him? He let

1838
01:32:40,280 --> 01:32:42,360
Speaker 1: me hear him, and I was like, yo, man, some

1839
01:32:42,520 --> 01:32:44,800
Speaker 1: of the mixes are bad, but if you want me

1840
01:32:44,880 --> 01:32:46,920
Speaker 1: to kind of help, send me everything and let me

1841
01:32:47,000 --> 01:32:48,960
Speaker 1: pick the best ones that I think are tight, and

1842
01:32:49,040 --> 01:32:51,680
Speaker 1: I'll mix him down for you and uh, just as

1843
01:32:51,720 --> 01:32:54,120
Speaker 1: a fan and a longtime friend. And that's what we

1844
01:32:54,200 --> 01:32:57,760
Speaker 1: did for Which Ways West and because I only produced three,

1845
01:32:58,160 --> 01:33:00,479
Speaker 1: but I you know, I scratched on every one, and

1846
01:33:01,120 --> 01:33:03,160
Speaker 1: he would get all the artists on and be like, yo,

1847
01:33:03,240 --> 01:33:05,000
Speaker 1: it's gotta be real on one, yo, just corrupt. Just

1848
01:33:05,080 --> 01:33:07,240
Speaker 1: did one? He sent it to me or we see

1849
01:33:07,280 --> 01:33:10,080
Speaker 1: each other in Callie. Next thing, you know, we shaped

1850
01:33:10,120 --> 01:33:12,280
Speaker 1: it and it sounded like an album, and then it

1851
01:33:12,439 --> 01:33:15,519
Speaker 1: wasn't hard to break his fan uh the sales of it,

1852
01:33:15,600 --> 01:33:18,400
Speaker 1: which it actually did very well because his fan base

1853
01:33:18,479 --> 01:33:21,720
Speaker 1: was already built, right, so we didn't have to reintroduce him.

1854
01:33:21,760 --> 01:33:24,160
Speaker 1: Everybody was reaching out to us all the pr I

1855
01:33:24,240 --> 01:33:25,960
Speaker 1: was like, yo, we want to do an interview with eight.

1856
01:33:26,000 --> 01:33:27,920
Speaker 1: We went an n W eight and he started popping

1857
01:33:28,000 --> 01:33:30,320
Speaker 1: up again, bing bing bing, So it was just a

1858
01:33:30,360 --> 01:33:33,400
Speaker 1: no brainer with him, He's already solidified. And the Prime

1859
01:33:33,479 --> 01:33:36,280
Speaker 1: Records problem was an idea that was brought to us

1860
01:33:36,360 --> 01:33:39,840
Speaker 1: by Mike Harrod who works at Shady Um. I known

1861
01:33:39,920 --> 01:33:41,639
Speaker 1: him from way back when he had a label out

1862
01:33:42,200 --> 01:33:46,280
Speaker 1: and uh in the early nineties, and Uh, it was

1863
01:33:46,280 --> 01:33:49,080
Speaker 1: really supposed to be a slaughter House album, the start

1864
01:33:49,120 --> 01:33:51,960
Speaker 1: House EP, and you were going to produce the whole

1865
01:33:52,000 --> 01:33:55,680
Speaker 1: thing well with the sound of Adrian Young. That was

1866
01:33:55,760 --> 01:33:57,720
Speaker 1: the That was the whole pitch. You don't get to

1867
01:33:57,760 --> 01:34:01,439
Speaker 1: sample no records from anybody. You're only gonna use Adrian

1868
01:34:01,520 --> 01:34:05,240
Speaker 1: Young sound and make your own beats from just his sound.

1869
01:34:05,320 --> 01:34:06,639
Speaker 1: I was like, I don't want to do that because

1870
01:34:06,960 --> 01:34:09,479
Speaker 1: I'm known for digging for them dirty records or whatever.

1871
01:34:10,160 --> 01:34:14,120
Speaker 1: So I passed on it. As time passed with them

1872
01:34:14,240 --> 01:34:17,439
Speaker 1: still Royce kept nudging me come on Premium like this

1873
01:34:17,479 --> 01:34:18,960
Speaker 1: would be a goo good thing, and it was just

1874
01:34:19,080 --> 01:34:20,880
Speaker 1: to do an EP to stall while they finished the

1875
01:34:20,880 --> 01:34:24,920
Speaker 1: Sloughtouse album. So as time passed, everything just kind of

1876
01:34:25,000 --> 01:34:27,920
Speaker 1: started getting disconnected to the degree where Royce was like, Yo,

1877
01:34:28,800 --> 01:34:30,479
Speaker 1: if would you be down to do it? If I

1878
01:34:30,640 --> 01:34:32,600
Speaker 1: just did it and I was like, yeah, because me

1879
01:34:32,680 --> 01:34:35,439
Speaker 1: and Royce have been just making bangers every time, so

1880
01:34:35,600 --> 01:34:38,040
Speaker 1: it already knew comfort Zone wise, it would work just

1881
01:34:38,160 --> 01:34:40,760
Speaker 1: like that. I said, but I still want to do

1882
01:34:40,840 --> 01:34:42,720
Speaker 1: it with me sample. He said, yeah, but that's not

1883
01:34:42,840 --> 01:34:45,200
Speaker 1: the idea, and we weren't called Prime yea, it was

1884
01:34:45,240 --> 01:34:48,600
Speaker 1: just Royce and Premiere, but he said, but that's the concept.

1885
01:34:49,120 --> 01:34:53,000
Speaker 1: I was like, all right, Matt Adrian and then I

1886
01:34:53,000 --> 01:34:55,679
Speaker 1: already like Black Dynamite, which he did the soundtrack and scored,

1887
01:34:55,760 --> 01:34:58,400
Speaker 1: so I already liked that movie. So he's I'm gonna

1888
01:34:58,439 --> 01:35:00,960
Speaker 1: just send you all my instrumentals of all my albums

1889
01:35:01,000 --> 01:35:03,240
Speaker 1: I've released, and you do what you wanna do. Man,

1890
01:35:03,439 --> 01:35:05,759
Speaker 1: I'll stay away. I'm not I'm not gonna get involved.

1891
01:35:06,720 --> 01:35:09,080
Speaker 1: I started listening to sounds and I was like that

1892
01:35:09,160 --> 01:35:11,760
Speaker 1: I can actually freak. That first beat I did was

1893
01:35:11,920 --> 01:35:14,840
Speaker 1: the song Prime. We're never title for it. I'm in

1894
01:35:15,080 --> 01:35:19,840
Speaker 1: l a uh. Royce was was recovering from being sober

1895
01:35:20,120 --> 01:35:22,479
Speaker 1: from his alcoholism, so he was still fighting that and

1896
01:35:22,560 --> 01:35:24,920
Speaker 1: he hadn't wrapped in a while. So I was like, man,

1897
01:35:24,960 --> 01:35:27,840
Speaker 1: I'm I've known him all his his his years of

1898
01:35:27,920 --> 01:35:29,720
Speaker 1: being drunk. So I was like Damn. I wonder if

1899
01:35:29,720 --> 01:35:32,160
Speaker 1: he could still wrap nice sober, because you never know,

1900
01:35:32,320 --> 01:35:36,120
Speaker 1: sometimes you lose your swag. So, uh, this is the

1901
01:35:36,160 --> 01:35:37,840
Speaker 1: first record I gave him the beat. I said, tell

1902
01:35:37,880 --> 01:35:39,120
Speaker 1: him what you think? He said, Yah, let me see

1903
01:35:39,120 --> 01:35:41,320
Speaker 1: if I can write something to it. I'm in l A.

1904
01:35:41,640 --> 01:35:44,320
Speaker 1: I'm on my way to uh pack my bags. We're

1905
01:35:44,320 --> 01:35:46,200
Speaker 1: going back to New York. Me and my my manager

1906
01:35:46,240 --> 01:35:50,400
Speaker 1: and my tour manager. I was hanging out with Joaquin Phoenix, uh,

1907
01:35:50,439 --> 01:35:53,120
Speaker 1: the actor, and my man John Abrams, who was an

1908
01:35:53,160 --> 01:35:57,840
Speaker 1: actor and uh they they had introduced me to Uh.

1909
01:35:58,560 --> 01:36:00,639
Speaker 1: He asked me that if I if I could meet

1910
01:36:00,720 --> 01:36:03,000
Speaker 1: Joaquin beings he wanted to meet me. I was like cool.

1911
01:36:03,120 --> 01:36:06,080
Speaker 1: So when I met him, we we met and this

1912
01:36:06,280 --> 01:36:10,720
Speaker 1: during Golden Globes in l A. He goes, Joe, I

1913
01:36:10,840 --> 01:36:13,559
Speaker 1: have a friend that says she knows you really, really well.

1914
01:36:13,880 --> 01:36:17,320
Speaker 1: She's hired by the Curtain. Oh fucking I'm like, that's never.

1915
01:36:17,560 --> 01:36:21,519
Speaker 1: I don't like questions, Yeah, I don't like that. I

1916
01:36:21,560 --> 01:36:24,240
Speaker 1: don't like surprises, Yeah, especially from a friend. And she

1917
01:36:24,400 --> 01:36:26,519
Speaker 1: said she knows you very well. Where is this going? Well?

1918
01:36:26,600 --> 01:36:30,439
Speaker 1: It turned out to be dope, though, and so could

1919
01:36:30,479 --> 01:36:32,320
Speaker 1: we met at an hotel really dark right now, I

1920
01:36:32,360 --> 01:36:35,000
Speaker 1: don't know what no. So when I turned around, it's

1921
01:36:35,000 --> 01:36:38,080
Speaker 1: a man the Demi who's Ted Demi's wife who started

1922
01:36:38,479 --> 01:36:41,000
Speaker 1: with your on TV reps. I'm like, I've seen her

1923
01:36:41,000 --> 01:36:44,080
Speaker 1: in years and we're like, what's up. She was like, Yo,

1924
01:36:44,200 --> 01:36:46,200
Speaker 1: you know I do photography. Now, I do this and that.

1925
01:36:46,320 --> 01:36:48,040
Speaker 1: I do some really wicked ship and she said you

1926
01:36:48,040 --> 01:36:51,120
Speaker 1: should check it out. Once we checked it out, um,

1927
01:36:52,160 --> 01:36:53,639
Speaker 1: I was like, you know, I'll keep you in mind

1928
01:36:53,840 --> 01:36:57,479
Speaker 1: for some work now. The next day, the Golden Glove

1929
01:36:57,600 --> 01:36:59,960
Speaker 1: was just happened. Of course, after that it's after party,

1930
01:37:00,280 --> 01:37:02,960
Speaker 1: right We're leaving the next morning early, like six in

1931
01:37:03,000 --> 01:37:06,599
Speaker 1: the morning. Johnny and Joakin text me and go, yo,

1932
01:37:07,000 --> 01:37:09,760
Speaker 1: did He's doing a crazy after party right now? You

1933
01:37:09,800 --> 01:37:13,479
Speaker 1: should come. I'm like, you know, who's not gonna go

1934
01:37:13,479 --> 01:37:16,120
Speaker 1: to a puff party. I'm like yeah, so I tell

1935
01:37:16,160 --> 01:37:18,280
Speaker 1: my managing them, ye, let's go to the party. Like

1936
01:37:18,479 --> 01:37:20,200
Speaker 1: you know, we gotta leave it six to morrow. I'll

1937
01:37:20,240 --> 01:37:23,080
Speaker 1: sleep it off on the plane. Right when I'm about

1938
01:37:23,120 --> 01:37:27,240
Speaker 1: to walk out of the room, Royce texted me and says, yo,

1939
01:37:27,320 --> 01:37:29,360
Speaker 1: I just sent the lyrics of the first song. I

1940
01:37:29,479 --> 01:37:31,920
Speaker 1: was like, okay, I'll listen to it later. Then I

1941
01:37:32,000 --> 01:37:33,400
Speaker 1: was like, you know what, let me listen to announ

1942
01:37:33,439 --> 01:37:38,360
Speaker 1: see if he's still dope. Download of the the MP

1943
01:37:38,560 --> 01:37:42,120
Speaker 1: three as soon as he came on gather around, gather around,

1944
01:37:42,520 --> 01:37:47,679
Speaker 1: and I was like, yo, he sounds the same. Gather round,

1945
01:37:47,760 --> 01:37:51,519
Speaker 1: gather round round. Witness the memoirs of five nine being

1946
01:37:51,600 --> 01:37:54,760
Speaker 1: read as he sees it. Fitting police sirens behind him

1947
01:37:54,800 --> 01:37:58,280
Speaker 1: while he's driving instantly causes butterflies of his stomach, even

1948
01:37:58,320 --> 01:38:05,400
Speaker 1: no beast legit. I was like, and he kept saying,

1949
01:38:05,439 --> 01:38:08,200
Speaker 1: prim prim I'm in my permanent prim in the hook

1950
01:38:08,200 --> 01:38:10,000
Speaker 1: and I was like, let me right, just pray prim down.

1951
01:38:10,600 --> 01:38:13,599
Speaker 1: That's just as a tentative title. I went to the party,

1952
01:38:13,680 --> 01:38:18,400
Speaker 1: had a ball come back. Royce is like, yo, would

1953
01:38:18,439 --> 01:38:21,120
Speaker 1: you be down to call ourselves instead of Roy's five

1954
01:38:21,200 --> 01:38:23,519
Speaker 1: nine and DJ premiere like a group name. And I

1955
01:38:23,680 --> 01:38:25,160
Speaker 1: was like, what do you want to call it? He said,

1956
01:38:25,160 --> 01:38:28,200
Speaker 1: won't we call ourselves primed? And I was like, he said,

1957
01:38:28,320 --> 01:38:31,479
Speaker 1: but we're gonna spell it p R. But the P

1958
01:38:31,680 --> 01:38:34,120
Speaker 1: and the R a capital h y and me a

1959
01:38:34,240 --> 01:38:37,840
Speaker 1: slower case P is for premiere RS for Royce, and

1960
01:38:37,880 --> 01:38:40,360
Speaker 1: then H y and me is just everything hip hop

1961
01:38:40,479 --> 01:38:42,560
Speaker 1: and everything, and I was like, I like that. So

1962
01:38:42,720 --> 01:38:44,960
Speaker 1: that's how we ended up. That's why I'm the prompt too.

1963
01:38:45,600 --> 01:38:47,600
Speaker 1: Just for the people that may not know. I was like,

1964
01:38:47,760 --> 01:38:50,439
Speaker 1: let me just reiterate what this means, because some people

1965
01:38:50,439 --> 01:38:52,240
Speaker 1: like YO, just don't sound like you just don't sound

1966
01:38:52,280 --> 01:38:53,640
Speaker 1: like the way you do your Beach and digging in

1967
01:38:53,680 --> 01:38:56,519
Speaker 1: the craze. No, it's a concept album. I'm stepping outside

1968
01:38:56,520 --> 01:38:58,639
Speaker 1: of my regular box. And now when I do other people,

1969
01:38:59,000 --> 01:39:00,640
Speaker 1: if it's not a prom for Jack, I go back

1970
01:39:00,680 --> 01:39:03,400
Speaker 1: to digging and beats the regular way. But this is

1971
01:39:03,439 --> 01:39:06,760
Speaker 1: a Prime project. So the creative part is we take

1972
01:39:06,840 --> 01:39:09,560
Speaker 1: one guy's sound and I make a flip of it

1973
01:39:10,000 --> 01:39:13,120
Speaker 1: with the premier way. First of all was Adrian Young,

1974
01:39:13,720 --> 01:39:16,559
Speaker 1: Next one was was at Man Wonder. Next one might

1975
01:39:16,600 --> 01:39:20,400
Speaker 1: be Judy Woody. Right, it was Judy Woody. I'm gonna

1976
01:39:20,400 --> 01:39:23,240
Speaker 1: take all those sounds and flip those I love that

1977
01:39:23,600 --> 01:39:27,200
Speaker 1: only for Prime. I got you, Um, what can we

1978
01:39:27,800 --> 01:39:33,040
Speaker 1: what can I expect? I got fucking And because of

1979
01:39:33,320 --> 01:39:37,040
Speaker 1: that then Amanda was like, yo, let me do the cover.

1980
01:39:37,640 --> 01:39:40,240
Speaker 1: She ended up doing the Problem cover with the crack Faces.

1981
01:39:40,760 --> 01:39:42,680
Speaker 1: So she we with the second time and We're like, yo,

1982
01:39:42,720 --> 01:39:45,880
Speaker 1: let's get Amanda. So just for running, thank you a king,

1983
01:39:46,040 --> 01:39:49,920
Speaker 1: thank you John Abrams. Because of them, Amanda has done

1984
01:39:49,960 --> 01:39:51,720
Speaker 1: both of our covers. And you see she does really

1985
01:39:51,760 --> 01:39:56,320
Speaker 1: creative ship. Stupid ship she did Torri wolfles are attitude,

1986
01:39:56,400 --> 01:40:00,040
Speaker 1: So shout the Tory. Yeah, day Lost Soul. I so

1987
01:40:00,160 --> 01:40:02,920
Speaker 1: a text or something on fucking line. Yeah, and I

1988
01:40:02,960 --> 01:40:05,920
Speaker 1: didn't have your number. I hit Pete it said day

1989
01:40:06,000 --> 01:40:11,160
Speaker 1: Law Soul record produced by Premier Pete Rock. Is this true?

1990
01:40:11,880 --> 01:40:14,000
Speaker 1: How far along are you guys into it? Is it

1991
01:40:14,120 --> 01:40:17,960
Speaker 1: just you guys? Day La Pete Rock, Premiere. That's what

1992
01:40:18,080 --> 01:40:21,720
Speaker 1: I want? What is that? We haven't done anything yet,

1993
01:40:21,800 --> 01:40:26,679
Speaker 1: We've done the I'm gonna get you, motherfucker the Pete

1994
01:40:26,800 --> 01:40:29,560
Speaker 1: send me some stuff. When we're off, I'll show you

1995
01:40:29,640 --> 01:40:31,760
Speaker 1: some stuff he sent me. And I'm like, you asshole,

1996
01:40:31,800 --> 01:40:35,639
Speaker 1: because we gotta out do each other. Good. We gotta

1997
01:40:35,640 --> 01:40:37,760
Speaker 1: out do each other's back to the amatic again. Good

1998
01:40:38,720 --> 01:40:41,120
Speaker 1: back to say and you guys could saying all that

1999
01:40:41,240 --> 01:40:45,400
Speaker 1: ship Yeah yeah, okay, So so my final question, I'm

2000
01:40:45,400 --> 01:40:47,240
Speaker 1: gonna let you go. Yeah. We were just structuring some

2001
01:40:47,360 --> 01:40:49,800
Speaker 1: of the b I and everything and stuff like that.

2002
01:40:49,960 --> 01:40:51,960
Speaker 1: So and I have had other albums I needed to

2003
01:40:52,040 --> 01:40:54,320
Speaker 1: finish my n y G's album, Uh that I need

2004
01:40:54,439 --> 01:40:58,360
Speaker 1: to finish, had a have a couple of surprises that

2005
01:40:58,520 --> 01:41:01,040
Speaker 1: that that I needed to finish that are gonna be

2006
01:41:01,920 --> 01:41:04,760
Speaker 1: coming out soon. So uh and then with Daylight, It'll

2007
01:41:04,800 --> 01:41:08,200
Speaker 1: be easy anyway, because again I know what to do

2008
01:41:08,360 --> 01:41:11,920
Speaker 1: with them. Like, but Pete already said, well, I'm already starting,

2009
01:41:11,960 --> 01:41:16,080
Speaker 1: and he's sending me little videood and I'm like, good,

2010
01:41:16,479 --> 01:41:21,639
Speaker 1: I want you guys to get we're sampling today because

2011
01:41:21,800 --> 01:41:23,519
Speaker 1: you know I still do it the same. We still

2012
01:41:24,520 --> 01:41:27,439
Speaker 1: but but in terms of production, like I talked a

2013
01:41:27,479 --> 01:41:29,960
Speaker 1: lot of ship about rappers, and we could blame the rappers,

2014
01:41:30,000 --> 01:41:32,800
Speaker 1: but it starts with the production. I feel like, more

2015
01:41:32,880 --> 01:41:35,559
Speaker 1: so than the art of m seeing is gone, even

2016
01:41:35,640 --> 01:41:39,000
Speaker 1: more because there's talented MC's, the production is is suffering.

2017
01:41:39,120 --> 01:41:41,599
Speaker 1: Always the beat man. I don't care what anybody says,

2018
01:41:42,000 --> 01:41:45,120
Speaker 1: I don't care how nice you are. It's because a

2019
01:41:45,160 --> 01:41:49,360
Speaker 1: lot of dope mcs they don't have beats. Yeah, and

2020
01:41:49,439 --> 01:41:51,760
Speaker 1: I'm not naming names some of them. There's there's a

2021
01:41:51,880 --> 01:41:55,040
Speaker 1: lot a lot of dope rappers. They didn't make a

2022
01:41:55,120 --> 01:41:58,880
Speaker 1: lot of I don't know if there're people around them

2023
01:41:58,920 --> 01:42:00,760
Speaker 1: telling them this is a dope him like, this ain't

2024
01:42:00,800 --> 01:42:03,880
Speaker 1: a dope song, dude, I don't give you absolutely I agree.

2025
01:42:04,760 --> 01:42:08,599
Speaker 1: I agree, alright, I totally agree. And I'm not afraid

2026
01:42:08,600 --> 01:42:11,639
Speaker 1: to tell them. If they want my opinion, I'll say

2027
01:42:12,000 --> 01:42:15,320
Speaker 1: I'm not. We're not. I'm not excited in the studio.

2028
01:42:15,360 --> 01:42:17,040
Speaker 1: If you're not excited in the studio, no one else

2029
01:42:17,120 --> 01:42:18,960
Speaker 1: is going to get excited. All right, this is not

2030
01:42:19,080 --> 01:42:22,639
Speaker 1: the furg man. When he came here, just on the spot,

2031
01:42:22,680 --> 01:42:24,240
Speaker 1: we made it right down the spot. He watched me

2032
01:42:24,360 --> 01:42:27,800
Speaker 1: make it, and then that's what we made and I

2033
01:42:27,920 --> 01:42:31,799
Speaker 1: was just seeing if we could click and drum blank canvas.

2034
01:42:32,400 --> 01:42:35,320
Speaker 1: He was watching me bring bring it back. And next thing,

2035
01:42:35,360 --> 01:42:37,439
Speaker 1: you know, we put that on the man and made

2036
01:42:37,439 --> 01:42:39,800
Speaker 1: a nice little dent, you know, And he said, make

2037
01:42:39,840 --> 01:42:42,679
Speaker 1: a prem beat. Don't make don't don't make plane Jane,

2038
01:42:42,760 --> 01:42:47,240
Speaker 1: don't you know, don't make shopper ranks. Make pre And

2039
01:42:47,320 --> 01:42:49,200
Speaker 1: that's why I like too. He came in and and

2040
01:42:49,479 --> 01:42:51,800
Speaker 1: wrote it to my beat, and it sounds like we

2041
01:42:51,880 --> 01:42:54,559
Speaker 1: made a good job. I love that record, man, all right.

2042
01:42:54,840 --> 01:43:01,720
Speaker 1: I am wrap ports stereo podcasted with pre premiere. What

2043
01:43:01,880 --> 01:43:04,160
Speaker 1: can I say I broke the rude Rule Number one

2044
01:43:04,200 --> 01:43:06,720
Speaker 1: of the Iron Rap or Stereo podcast, which is fact Check.

2045
01:43:06,800 --> 01:43:08,640
Speaker 1: I had to do it. I appreciate you rock with

2046
01:43:08,760 --> 01:43:11,559
Speaker 1: me any time. Motherfuckering premiere