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Speaker 1: Welcome back to all the smoke coming to you live

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Speaker 1: from Las Vegas. Jack, were running shit under our own.

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Speaker 1: We're working for ourselves these days.

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Speaker 2: Yeah, a lot of tags we used to normally hear

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Speaker 2: on our show when we here, he ain't gonna hear.

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Speaker 3: It's just us, just us.

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Speaker 1: Today we got Man, one of Billboard's fifty Greatest Producers

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Speaker 1: of the twenty first century. Grammy Award winning producer created

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Speaker 1: music with the likes of jay Z, Beyonce, Rihanna, Miley Cyres,

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Speaker 1: just the name a few. Welcome to the show Man,

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Speaker 1: motherfucking Mike will Mighty.

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Speaker 3: I appreciate that.

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Speaker 2: Man.

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Speaker 1: Alrighty man, So Mike, you got a lot of new

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Speaker 1: stuff going on right now. How's life day to day?

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Speaker 1: What's new?

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Speaker 3: Talk to us minus the boys, Life's great. You already

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Speaker 3: know you know what I'm saying, but I ain't gonna lie.

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Speaker 3: It's like, now I'm thirty four, Now you know what

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Speaker 3: I'm saying. So like boom, It's like it's a lot

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Speaker 3: that to happen. And then at the same time it's

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Speaker 3: like I'm still learning, but like like I took like

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Speaker 3: a little break off from like dropping music like just

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Speaker 3: so consistently. It was really like a minute, you know

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Speaker 3: what I'm saying like probably like my last album was

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Speaker 3: like seven years ago. Okay, yeah, so took a little

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Speaker 3: break off for that, and then I was just like learning,

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Speaker 3: like being able to articulate myself, man, because I have

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Speaker 3: like a whole company. I have producers, I have a

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Speaker 3: production company, I have a record label, you know what

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Speaker 3: I'm saying. And then it's like I lost my heart drives.

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Speaker 3: And then when I lost my heart Drives, that made

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Speaker 3: me feel like that made me take a step away

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Speaker 3: from music. You know what I'm saying. I started buying

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Speaker 3: like real estate, start trying other like different different like

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Speaker 3: business ventures and stuff like that, you know what I'm saying,

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Speaker 3: and just not all the way just zero straight in

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Speaker 3: on music. It's not like I took a step away

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Speaker 3: from music and when it got burnt out, you know

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Speaker 3: what I'm saying, Like I want to sharpened up.

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Speaker 1: Just recharge your batteries and diversified your portfolio.

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Speaker 3: You know what I'm saying.

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Speaker 1: Congratulations is in order ahead of the current season, you

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Speaker 1: parted with ESPN for Music Custom Strategies to be their

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Speaker 1: first ever lead producer in current music. What's the first

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Speaker 1: thing you did after getting that call? I mean partner

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Speaker 1: with the NBA. I mean, you worked with a lot

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Speaker 1: of greats, but you're partnering with the league.

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Speaker 3: That mean to you, man, it was dope. Bro. It's

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Speaker 3: just dope to be able to like combine music and sports,

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Speaker 3: you know what I'm saying. I just feel like, man,

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Speaker 3: that's everybody either watching the game, listening to somebody's new album,

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Speaker 3: new song, or like you know what I'm saying, Like

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Speaker 3: that's just it. That's just a culture. So it's like

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Speaker 3: it's dope to make that collaboration. And I always been,

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Speaker 3: always been a fan of the NBA. I was letting

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Speaker 3: them hear a bunch of different music that I was

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Speaker 3: working on, and then like that Sway Lee and Lotto

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Speaker 3: record really stood out to them. So they were like, man,

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Speaker 3: you think they could do another edit for like the

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Speaker 3: commercial art and we want you to like give us

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Speaker 3: like a sound really, you know what I'm saying, Like

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Speaker 3: we usually go to like record labels and collaborate with

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Speaker 3: like record labels and tap in with their different artists

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Speaker 3: like that, but like we never really locked in with

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Speaker 3: a producer. So it was dope to like for them

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Speaker 3: for them to see that, And it was like I

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Speaker 3: came with a couple of different ideas, like I gave

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Speaker 3: him like our beat, you know what I'm saying, Like, y'all,

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Speaker 3: I feel like he's have dope energy. We write down

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Speaker 3: a couple of names of artists that we hear on

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Speaker 3: like these beats. So after this way and a lot

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Speaker 3: of record boom, we came with the money bag yo

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Speaker 3: and watch TV fat Like, I just liked what they

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Speaker 3: got going on. So they had knocked out one of

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Speaker 3: the beats, and then we got a couple more songs

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Speaker 3: on the way and stuff, so it was dope. It's

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Speaker 3: a dope collaborator.

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Speaker 1: At the end of the season, you guys will pretty

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Speaker 1: much have a whole album then if I'm not mistaken

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Speaker 1: round so you have that. So you're doing all the

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Speaker 1: national games, the big games all season, that will be

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Speaker 1: something you produced.

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Speaker 3: It's not like a lockdamn project. It's something that we

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Speaker 3: talked about though for show, like man put all the

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Speaker 3: songs together.

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Speaker 1: Just so we talking it into existence.

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Speaker 3: Then yeah, it really really just manifested it, you know

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Speaker 3: what I'm saying, Because like they had they had liked

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Speaker 3: the idea because I was like, man, I just made

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Speaker 3: music that people can bow to you know what I'm saying.

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Speaker 3: So it's like boom. I was like, man, I can

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Speaker 3: mess around to be an album.

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Speaker 1: Man, So what exactly does like the job detail? Like

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Speaker 1: do you dictate? Do you have to check in with them?

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Speaker 1: You give them ideas, they give you feedback, Like how

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Speaker 1: exactly does the partnership work?

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Speaker 3: It's really just like a collaboration. Man, I don't really

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Speaker 3: like the one that I don't want to go in there.

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Speaker 3: And just like man, I'm like put my mind around

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Speaker 3: like making an artist because ESPN is not an artist,

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Speaker 3: you know what I'm saying. So it's like really like

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Speaker 3: they let me know the body that they're looking for

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Speaker 3: and then boom, like and now it never came about

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Speaker 3: because with the tournament, it was just like okay, man,

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Speaker 3: it's like a tournament within the league, within the regular season.

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Speaker 3: So it was like man, boom, Like they're like, man,

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Speaker 3: we need some high energy something like you know what

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Speaker 3: I'm saying, Like just imagine like a little side side

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Speaker 3: like tournament going on within the season and like this

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Speaker 3: is something mess up people fighting for like how Lebrown

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Speaker 3: went off last night, Like it's like, man, what the

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Speaker 3: hell out? You know what I'm saying, and it's like

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Speaker 3: he taking his eies. Like it's like the playoffs, Like

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Speaker 3: you know what I'm saying, so boom with now or Never.

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Speaker 3: It was like they needed some high energy. So that's

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Speaker 3: how I mean, that's how we really chose that beat.

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Speaker 3: Gave it the bag, bag nail, the nail, the concept. Yeah.

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Speaker 1: Yeah, So how do you get in your zone? Obviously

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Speaker 1: as athletes, we have our rituals and routines we do

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Speaker 1: to get focused for a game. When you feel like

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Speaker 1: you're at your best making beats, producing Like what does

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Speaker 1: that consist of? Smoke?

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Speaker 3: Yeah? I smoked. You know what I'm saying. I smoked

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Speaker 3: some gas. I'm really like at my studio in Atlanta,

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Speaker 3: you know what I'm saying. I got a studio in Atlanta,

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Speaker 3: like like West Midtown area. And then it's like it's

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Speaker 3: not really like your typical studios, just like open and

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Speaker 3: then it's like a bunch of different creatives coming through,

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Speaker 3: like you know what I'm saying, but it's like my team.

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Speaker 3: So it's like I can go to them and it's

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Speaker 3: like a challenging thing because like they might be making

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Speaker 3: beats and I'm like, bro, you hearing this? You know

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Speaker 3: what I'm saying, Like what room with this living? Like

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Speaker 3: how you feel like this is going to stand up?

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Speaker 3: Cause you know what I'm saying right now, you just

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Speaker 3: starting off like and I can like challenge them in

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Speaker 3: these rooms and I can start seeing like their sounds

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Speaker 3: like form into something, form into something different, and like

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Speaker 3: them start putting their DNA on there. So it's like

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Speaker 3: I like producing like that, and then I like for

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Speaker 3: show cooking up, like I go to the studio, made

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Speaker 3: about three three to five beats to day easy, Like

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Speaker 3: that's just like the regimen, like I try to make

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Speaker 3: five different bangers. But then it's like working with the

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Speaker 3: different team and coming with the different sounds and then

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Speaker 3: bringing in songwriters and then putting those different songs together,

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Speaker 3: and then different artists coming through my studio and then

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Speaker 3: it's like I can challenge them and try to get

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Speaker 3: them a different sound and they doing They're coming in

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Speaker 3: there already looking like Yo, this studio is different, right,

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Speaker 3: Like man, I got to do something different in here,

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Speaker 3: like you know what I'm saying.

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Speaker 1: And then so you're raising their game, You're challenging them competitive.

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Speaker 3: That's the importance of like any producer, like when we're

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Speaker 3: coming up. I know when I was coming up, and

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Speaker 3: I'm just saying, like for real, you know what I'm saying,

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Speaker 3: like Kanye or you know what I'm saying, any of

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Speaker 3: our any of our favorite producers, many fresh you know

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Speaker 3: what I'm saying, juicyj DJ, probably like they pushing it,

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Speaker 3: but they leaving their DNA, you know what I'm saying.

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Speaker 3: So you know we already know, like all those producers

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Speaker 3: are just name, you already know they sound or it's

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Speaker 3: a song that pops in your head with that. So

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Speaker 3: it's like I always try to get my team to

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Speaker 3: understand like that part. So then they coming through leaving

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Speaker 3: that same DNA like dope right up.

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Speaker 1: When you make a beat, is it with someone in

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Speaker 1: mind or once you create the beat, then you try

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Speaker 1: to put a name to it.

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Speaker 3: Or don't even to both.

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Speaker 1: I don't even think, Okay, you're just out there doing

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Speaker 1: what you do.

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Speaker 3: Yeah, I don't even think. Like I literally had the

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Speaker 3: beat machine right here, I'll be like, yo, say a

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Speaker 3: number between one hundred and two hundred, you know what

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Speaker 3: I'm saying, and then boom, you could just say anything

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Speaker 3: one thirty eight. Well, you know what I'm saying, one

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Speaker 3: forty nine, one seventy six. I make a beat right there,

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Speaker 3: you know what I'm saying, that's the tempo. So so

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Speaker 3: whatever number you say, boom, got damn boom, put the

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Speaker 3: tempo right there, put the click track on there, and

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Speaker 3: just make something. I even think, just try to do

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Speaker 3: something out of pocket, as long as it's out of

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Speaker 3: pocket and it feel new and fresh. And they got

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Speaker 3: the room like this, and they got the people in

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Speaker 3: the room that don't rap acting like they wrap. You

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Speaker 3: know what I'm saying, That's when you got some shit,

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Speaker 3: yeah for real, because that's that's the vibe for real,

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Speaker 3: you know what I'm saying. And then it's always good

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Speaker 3: to have like a musician around as somebody who's like

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Speaker 3: good on the keys or like I like to collab

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Speaker 3: like that, so had them plug up too, I might

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Speaker 3: just I might just do that boom. Somebody might be

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Speaker 3: playing the guitar, playing the piano or playing playing on

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Speaker 3: the keyboards or something like that, and it's just adding

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Speaker 3: to it and just adding the layers, because that's essentially

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Speaker 3: when you're making the song, that's all you doing, you

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Speaker 3: know what I'm saying, Just stacking rhythm and melody.

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Speaker 2: Your family has a deep musical background. Talk about your

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Speaker 2: upbringing and your musical background with your family.

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Speaker 3: I definitely had like cousins I was looking up to

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Speaker 3: for show that was like you know what I'm saying,

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Speaker 3: rapping and trying to start their record was in there.

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Speaker 3: My mom she she's sung with the Dotty People's Choir.

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Speaker 3: But my mom never made like any money after the

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Speaker 3: music industry or anything like that. It was just like

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Speaker 3: it was almost like her going to church, Like you

231
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Speaker 3: know what I'm saying, She singing with dotted People's choir,

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Speaker 3: and they moved around to different churches and different stuff

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Speaker 3: like that. In my pots, he always had like he

234
00:10:16,440 --> 00:10:18,920
Speaker 3: always he was like a DJ. So he always had

235
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Speaker 3: hell of rap records and stuff in in the crib.

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Speaker 3: So like all the earth wind the fires, all the classics.

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Speaker 3: You know what I'm saying, Bobbie won't make like all

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Speaker 3: the classes. Yeah, he had all the vinyls. Somebody used

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Speaker 3: to see him like just put a vinyl on, play,

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Speaker 3: play the record, and then when he leave, I want

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Speaker 3: to do the same thing, but I want to hear something,

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Speaker 3: so I'll put it on there and think I know

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Speaker 3: what I'm doing. Break his needle, like damn, you know

244
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Speaker 3: what I'm saying, ruar it up. I got two older sisters.

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Speaker 3: So my sister that's closest in age to me, like

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Speaker 3: she always listening to like R and B pop that

247
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Speaker 3: kind of stuff, like some rap stuff, but like she

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Speaker 3: was like more that leaning. Then my older sister would

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Speaker 3: be more rap, you know what I'm saying. Like, but

250
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Speaker 3: she'll be like she was like out cast, you know

251
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Speaker 3: what I'm saying. Like her husband put me on like

252
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Speaker 3: jay Z, Like you know what I'm saying, Because at

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Speaker 3: first I was really like just down South hip hop,

254
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Speaker 3: like all the way. But then her husband put me

255
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Speaker 3: on like Blueprint, and that's when I really started rocking

256
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Speaker 3: with jay Z. I fucked with him on that Juvenile album.

257
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Speaker 3: But like when I heard that Blueprint, I was like,

258
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Speaker 3: oh no, he hard. Then I went back to reasonable

259
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Speaker 3: doubt and then I just started, you know what I'm saying,

260
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Speaker 3: tapping all the way in the right way. I was

261
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Speaker 3: always like a down South hip hop artist or like

262
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Speaker 3: a West Coast or like I like New York artists too,

263
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Speaker 3: like Nas and DMX, Jadykiss like off the rail, you

264
00:11:38,200 --> 00:11:40,480
Speaker 3: know what I'm saying. But yeah, so it was like that.

265
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Speaker 3: So it was always like that mix, that mix up

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Speaker 3: in the crib. I remember my pops had took me

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Speaker 3: to my first hip hop concert with Bone Thust and

268
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Speaker 3: Harmony Bone Thus in Harmony whoopd somebody's ass in the

269
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Speaker 3: crowd and everything like the whole concert ended, we had

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Speaker 3: to leave and all that. But my pops was like

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Speaker 3: in the car, he was tripping because he was like, yo,

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Speaker 3: music's about the end. I'm like what you mean. It

273
00:12:01,440 --> 00:12:05,640
Speaker 3: was like yo, there was no instruments on stage, and

274
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Speaker 3: I was like so what man? That shit was hard,

275
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Speaker 3: Like you know what I'm saying, This is like ninety

276
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Speaker 3: four ninety five. But he used to go on the

277
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Speaker 3: Earth Wind the Fire concerts and all this, so this

278
00:12:14,320 --> 00:12:17,120
Speaker 3: is his first hip hop concert too. But that just

279
00:12:17,160 --> 00:12:19,800
Speaker 3: stuck with me, like because I always was like listening

280
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Speaker 3: to music, but when I started making music, that stuck

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Speaker 3: with me, you know what I'm saying, Like and that

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Speaker 3: that really like that stuck with me because I realized, like, Okay,

283
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Speaker 3: things are like changing and evolution, like you know what

284
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Speaker 3: I'm saying, and like that's what I even had to

285
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Speaker 3: look back on, like over these last seven years, it's

286
00:12:36,800 --> 00:12:40,640
Speaker 3: like looking back and being like, Yo, we actually pioneered

287
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Speaker 3: some shit, like we actually like ye, like we weren't

288
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Speaker 3: a part of that movement, you know what I'm saying,

289
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Speaker 3: but like I was like the early stages of that,

290
00:12:47,960 --> 00:12:50,240
Speaker 3: but like being a student of that, seeing it and

291
00:12:50,280 --> 00:12:53,280
Speaker 3: not even understanding like there was anything else out there,

292
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Speaker 3: you know what I'm saying, and then being able to

293
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Speaker 3: come in and make our own imprint in that shit.

294
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Speaker 2: Like what do you think when you have these lines?

295
00:13:02,320 --> 00:13:07,760
Speaker 2: Mike Will made it. Gucci Man slated start status, everybody upgraded.

296
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Speaker 3: I think about Patchwork. First day I met Gucci man,

297
00:13:12,480 --> 00:13:14,800
Speaker 3: Gucci at what Not? Another first that I met Gucci

298
00:13:14,840 --> 00:13:16,960
Speaker 3: first time. This is the first day me and Gucci

299
00:13:17,000 --> 00:13:21,400
Speaker 3: ever recorded. He was working on the mixtape called No Paying,

300
00:13:21,480 --> 00:13:23,719
Speaker 3: No Pencil, And I remember he had called me from

301
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Speaker 3: Walker's phone because me and Walker used to hang with

302
00:13:25,480 --> 00:13:28,120
Speaker 3: each other all the time, so like he called me

303
00:13:28,160 --> 00:13:31,120
Speaker 3: from walker phone early in the morning. He was like, man,

304
00:13:31,720 --> 00:13:34,079
Speaker 3: wake up, Like I'm like, who this is? He was like, man,

305
00:13:34,080 --> 00:13:36,760
Speaker 3: they gooch be at Patchwork at two o'clock, pull up

306
00:13:36,800 --> 00:13:39,480
Speaker 3: with with some hard beats. But at this time I

307
00:13:39,520 --> 00:13:42,000
Speaker 3: had already knew Goots for a couple of years. I

308
00:13:42,000 --> 00:13:44,080
Speaker 3: already knew Walker for a couple of years, but he

309
00:13:44,160 --> 00:13:46,240
Speaker 3: never had got on my beats or anything like that.

310
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Speaker 3: Like you know what I'm saying. It was like feel

311
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Speaker 3: like getting that call?

312
00:13:49,120 --> 00:13:50,360
Speaker 1: Is it goosebu?

313
00:13:50,960 --> 00:13:51,200
Speaker 3: Damn?

314
00:13:51,280 --> 00:13:51,760
Speaker 1: I got what?

315
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Speaker 3: Man?

316
00:13:53,360 --> 00:13:53,480
Speaker 2: Man?

317
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Speaker 3: You want to know? You wont know how I met Gucci.

318
00:13:55,200 --> 00:13:58,400
Speaker 3: I was getting my CDs printed up at patchwork, so

319
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Speaker 3: I used to always go down there, pay a couple

320
00:14:00,880 --> 00:14:04,760
Speaker 3: hundred dollars for some blank CDs. Boom, give me a

321
00:14:04,760 --> 00:14:06,719
Speaker 3: beat CD, I'll passed him out. So one day I'm

322
00:14:06,720 --> 00:14:09,679
Speaker 3: getting pressed up. Gucci was upstairs and they were like, man,

323
00:14:09,720 --> 00:14:12,199
Speaker 3: you know, Gucci man upstairs. I'm like, for real, brother,

324
00:14:12,280 --> 00:14:14,319
Speaker 3: let me get one of them CDs. So I go upstairs.

325
00:14:14,400 --> 00:14:16,400
Speaker 3: He going from the studio to the lounge. So I'm like, hey, brother,

326
00:14:16,440 --> 00:14:19,560
Speaker 3: fuck with me. I got the beats. And I'm like fifteen.

327
00:14:19,680 --> 00:14:21,720
Speaker 3: You know what I'm saying. I'm like, fuck with me, man,

328
00:14:21,720 --> 00:14:24,560
Speaker 3: I got the beats. He's like, oh yeah, to the beats.

329
00:14:24,800 --> 00:14:27,520
Speaker 3: Went in the lounge, put a man, him and Fabo

330
00:14:27,640 --> 00:14:30,280
Speaker 3: in the lounge is freestyling on the beats, you know

331
00:14:30,320 --> 00:14:32,520
Speaker 3: what I'm saying. So then I'm outside the room and

332
00:14:32,560 --> 00:14:34,560
Speaker 3: I'm just listening to it. I'm like, that's hard, Like

333
00:14:34,600 --> 00:14:36,920
Speaker 3: I hope they record something. So next thing, you know,

334
00:14:37,800 --> 00:14:39,440
Speaker 3: Gucci come out there. He like, hey, man, you shot

335
00:14:39,440 --> 00:14:41,480
Speaker 3: it with the beats. Boy. He bring me up there.

336
00:14:41,680 --> 00:14:43,840
Speaker 3: He get my number. He tell me he needs the

337
00:14:43,880 --> 00:14:45,880
Speaker 3: session for the beats. He like, man, let me get

338
00:14:45,880 --> 00:14:48,840
Speaker 3: your number. Nah, I got his line. I got somebody

339
00:14:48,880 --> 00:14:50,600
Speaker 3: trying to buy some beats. Like he just noticed this

340
00:14:50,680 --> 00:14:52,800
Speaker 3: young dude calling his phone. But he fucked with me.

341
00:14:52,840 --> 00:14:56,680
Speaker 3: This one. He was doing features for like like twenty

342
00:14:56,720 --> 00:14:59,800
Speaker 3: five hundred, like five thousand, like you know what I'm saying.

343
00:14:59,800 --> 00:15:02,080
Speaker 3: This trapped out Gucci like this way back in the day,

344
00:15:02,360 --> 00:15:05,680
Speaker 3: so Boom, he had got locked up. When he got

345
00:15:05,720 --> 00:15:08,240
Speaker 3: locked up, me and Walker randomly meet each other. We

346
00:15:08,280 --> 00:15:09,760
Speaker 3: don't even know who each other is, you know what

347
00:15:09,760 --> 00:15:12,320
Speaker 3: I'm saying. So we're in the same club. He got

348
00:15:12,360 --> 00:15:14,480
Speaker 3: a cruel people. I got a cruel people. One of

349
00:15:14,520 --> 00:15:17,960
Speaker 3: his guys came in my face throwing up something. My

350
00:15:18,040 --> 00:15:20,280
Speaker 3: guy pushed him back. Boom, and I was about to

351
00:15:20,280 --> 00:15:22,840
Speaker 3: be on. Next thing, you know, my boy Obs and

352
00:15:22,840 --> 00:15:25,000
Speaker 3: Walker come out of nowhere. Walker jump in front of

353
00:15:25,000 --> 00:15:27,760
Speaker 3: his guys and now my boy Obs. He come, he

354
00:15:27,840 --> 00:15:30,320
Speaker 3: come up, he and he like dat Walker. They're standing

355
00:15:30,360 --> 00:15:32,680
Speaker 3: in front of us. They wap up. So I'm looking

356
00:15:32,680 --> 00:15:34,800
Speaker 3: at ours because my boy Obs had just moved down

357
00:15:34,800 --> 00:15:37,640
Speaker 3: from New York. So in this in this time of

358
00:15:37,640 --> 00:15:39,920
Speaker 3: of like Atlanta clubs, like we're fighting in the club,

359
00:15:40,000 --> 00:15:42,120
Speaker 3: like you know what I'm saying. So like when when

360
00:15:42,240 --> 00:15:44,600
Speaker 3: Oz like tapped up, I was like, hold on what

361
00:15:44,840 --> 00:15:46,520
Speaker 3: you know what I'm saying? And Walker was like, man,

362
00:15:46,560 --> 00:15:48,640
Speaker 3: aren't you from New York. I'm like, nah, he from

363
00:15:48,640 --> 00:15:50,240
Speaker 3: New York. You know what I'm saying. And he was like, man,

364
00:15:50,560 --> 00:15:52,840
Speaker 3: bro cool man. He had New York had them, and

365
00:15:52,880 --> 00:15:55,080
Speaker 3: he told his guys like, hey, man, y'all back up,

366
00:15:55,120 --> 00:15:57,400
Speaker 3: brou you know what I'm saying. Then they then they

367
00:15:57,440 --> 00:15:59,160
Speaker 3: all went the other way. Then me and Walker ended

368
00:15:59,240 --> 00:16:03,560
Speaker 3: up running into each other in the bathroom. He leaving out.

369
00:16:03,920 --> 00:16:05,760
Speaker 3: Then when I leave out, I see him right there

370
00:16:05,800 --> 00:16:07,640
Speaker 3: in the hallway and I'm like, all right, boy, was

371
00:16:07,680 --> 00:16:09,240
Speaker 3: just me and him in the club, you know what

372
00:16:09,280 --> 00:16:10,960
Speaker 3: I'm saying at this part of the club. So I'm like, man,

373
00:16:10,960 --> 00:16:12,880
Speaker 3: I might have to hit with this dude whatever. He

374
00:16:12,880 --> 00:16:15,800
Speaker 3: won't even know there. He just put his arm around me, like, hey, bro,

375
00:16:15,920 --> 00:16:18,520
Speaker 3: I'm just young and just defensive. I'm really too young

376
00:16:18,560 --> 00:16:20,400
Speaker 3: to even be in the club for real. He put

377
00:16:20,400 --> 00:16:22,400
Speaker 3: his arm around, like, hey, bro, some holes in here.

378
00:16:22,440 --> 00:16:25,920
Speaker 3: Bro like, man, bro, this y'all try to y'all stay

379
00:16:25,920 --> 00:16:27,880
Speaker 3: out here. I'm like, hey, yeah, I'm like, yeah, we

380
00:16:27,920 --> 00:16:29,600
Speaker 3: stay out here. He was like, man, I'm not really

381
00:16:29,600 --> 00:16:31,240
Speaker 3: off from He was like, man, we're from the South Side,

382
00:16:31,360 --> 00:16:33,880
Speaker 3: my word. And then I tell him, I'm like, man,

383
00:16:33,920 --> 00:16:35,840
Speaker 3: my bad about earlier. Bro. Man, we just been trying

384
00:16:35,840 --> 00:16:37,160
Speaker 3: to get to the money. He was like, yeah, my

385
00:16:37,200 --> 00:16:38,000
Speaker 3: boys was tripping.

386
00:16:38,040 --> 00:16:38,160
Speaker 2: Bro.

387
00:16:38,360 --> 00:16:40,080
Speaker 3: He's like what you do? He was like, you be hustling.

388
00:16:40,280 --> 00:16:42,080
Speaker 3: I'm like nah, I'm like I'm trying to fuck with

389
00:16:42,080 --> 00:16:44,520
Speaker 3: the music. And so walking I was like a word.

390
00:16:44,600 --> 00:16:46,480
Speaker 3: He was like, man, you know Gucci, that's my cousin.

391
00:16:46,560 --> 00:16:48,360
Speaker 3: I was like, man, shit, Gucci, my boy. So I

392
00:16:48,440 --> 00:16:51,000
Speaker 3: pulled my phone out showing the numbers I got on

393
00:16:51,040 --> 00:16:54,160
Speaker 3: Gucci and then he's like, man, damn, you know Gucci

394
00:16:54,240 --> 00:16:57,080
Speaker 3: for real. I'm like hey yeah. So he was like, man,

395
00:16:57,080 --> 00:16:58,840
Speaker 3: g you about to come home. Man, I'm gonna put

396
00:16:58,840 --> 00:17:00,920
Speaker 3: you with him. And then and so I gave him

397
00:17:00,920 --> 00:17:04,240
Speaker 3: my number. Then we connected. Then he ended up connecting

398
00:17:04,280 --> 00:17:06,639
Speaker 3: me and Gucci. You know what I'm saying. When me

399
00:17:06,680 --> 00:17:09,480
Speaker 3: and Gucci ended up connecting, like I used to come

400
00:17:09,520 --> 00:17:12,600
Speaker 3: to the studio, shot a red fat boy, all them

401
00:17:12,760 --> 00:17:14,560
Speaker 3: they might be in the studio. These all the producers

402
00:17:14,600 --> 00:17:17,119
Speaker 3: I'm looking up to. So next thing, you know, like

403
00:17:17,320 --> 00:17:19,400
Speaker 3: Gucci just put me on blast like it might put

404
00:17:19,440 --> 00:17:21,720
Speaker 3: the beats on. I'll be like, man, hey, no, you

405
00:17:21,760 --> 00:17:24,520
Speaker 3: know what I'm saying. So and he was like, man, yo,

406
00:17:24,560 --> 00:17:26,480
Speaker 3: don't do all the nervous stuff. Man, put the beats on.

407
00:17:26,520 --> 00:17:28,240
Speaker 3: You know what I'm saying. So I'm like, I put

408
00:17:28,280 --> 00:17:31,000
Speaker 3: the beats on. They started freestyling to the beats, but

409
00:17:31,080 --> 00:17:34,040
Speaker 3: he never got on them. So that day right there,

410
00:17:34,080 --> 00:17:36,159
Speaker 3: the Mike Will made it Gucci man slated part. It

411
00:17:36,240 --> 00:17:38,680
Speaker 3: was like that was the first day he called me

412
00:17:38,760 --> 00:17:41,919
Speaker 3: up to the studio boom and we did star Status.

413
00:17:42,080 --> 00:17:44,040
Speaker 3: I played the beat and he walked in. He was like,

414
00:17:44,680 --> 00:17:46,440
Speaker 3: he was like, man, yo, might will on that beat

415
00:17:46,520 --> 00:17:50,119
Speaker 3: right there, buddy, start status sayings Nigga straight celebrity baby.

416
00:17:50,160 --> 00:17:51,879
Speaker 3: I'm like, oh shit, And Nigga turned me up. You

417
00:17:51,920 --> 00:17:53,760
Speaker 3: know what I'm saying. Then in his verse, he said

418
00:17:53,760 --> 00:17:56,520
Speaker 3: that Mike Will made it, Gucci Man slated start sat

419
00:17:56,520 --> 00:17:59,720
Speaker 3: this nigga. Everybody upgraded from there right from that point

420
00:17:59,760 --> 00:18:03,240
Speaker 3: right right there, Like when that song came out, everybody

421
00:18:03,320 --> 00:18:05,080
Speaker 3: was like, Mike Will made it, that's your name, because

422
00:18:05,080 --> 00:18:07,199
Speaker 3: at first I was going by Mike Will. When they

423
00:18:07,240 --> 00:18:08,880
Speaker 3: heard that, I was just like, all right, Mike Will

424
00:18:08,960 --> 00:18:11,159
Speaker 3: made it. That's really where the name came from. We

425
00:18:11,280 --> 00:18:13,760
Speaker 3: ended up doing like twenty songs, Gucci not even listening

426
00:18:13,840 --> 00:18:16,200
Speaker 3: to the beats, Like he just pulled up the next

427
00:18:16,240 --> 00:18:18,040
Speaker 3: Mike Will go in the lounge to listen to the

428
00:18:18,119 --> 00:18:21,320
Speaker 3: last song he did, walked straight into booth, turning to

429
00:18:21,359 --> 00:18:23,280
Speaker 3: Mic on he don't even listen to the beat. Mike

430
00:18:23,320 --> 00:18:25,920
Speaker 3: Will just picked the beat, just going in a freestyle.

431
00:18:25,960 --> 00:18:27,680
Speaker 3: That's how we were doing No Pay, No Pencil. That's

432
00:18:27,680 --> 00:18:31,320
Speaker 3: how we did Guappaholics, And yeah, that's where it all started.

433
00:18:31,320 --> 00:18:32,600
Speaker 1: At How old were you at that time?

434
00:18:32,800 --> 00:18:36,000
Speaker 3: I was like sixteen seventeen. Yeah, I was sixteen seventeen

435
00:18:36,200 --> 00:18:37,960
Speaker 3: because I was still in high school, so that was

436
00:18:38,000 --> 00:18:41,960
Speaker 3: like senior year type stuff. So like, yeah, that came

437
00:18:41,960 --> 00:18:44,240
Speaker 3: out O seven, so I was like seventeen eighteen.

438
00:18:44,520 --> 00:18:47,760
Speaker 2: Yeah, when he came home this last time. Were you

439
00:18:47,800 --> 00:18:48,919
Speaker 2: at his first video? Shoot?

440
00:18:49,119 --> 00:18:51,639
Speaker 3: Man, we dropped the first as soon as he came on.

441
00:18:51,720 --> 00:18:54,879
Speaker 2: We did a video, a basketball video in a basketball

442
00:18:54,920 --> 00:18:56,520
Speaker 2: court at some house.

443
00:18:56,720 --> 00:18:59,399
Speaker 3: When Gucci first came home, we did first Day out

444
00:18:59,400 --> 00:19:02,520
Speaker 3: the Fairs him on the radio in Les's twenty four Hours, Man, Like,

445
00:19:02,600 --> 00:19:04,840
Speaker 3: he called me, Mike, send me that first day out

446
00:19:04,840 --> 00:19:06,760
Speaker 3: of fan send him to beat here, like, man, go

447
00:19:07,359 --> 00:19:08,960
Speaker 3: mix it. He couldn't even leave the crib, you know

448
00:19:09,000 --> 00:19:11,480
Speaker 3: what I'm saying, So boom, I wanted to mix it.

449
00:19:12,000 --> 00:19:13,320
Speaker 3: And the next thing I know, I was like, bro,

450
00:19:13,480 --> 00:19:15,680
Speaker 3: I'm gonna send to Charlemagne, and you know what I'm saying,

451
00:19:15,720 --> 00:19:17,879
Speaker 3: Like Charlamagne heard it. He fucked with it. He was

452
00:19:17,880 --> 00:19:19,920
Speaker 3: like he was like bet and they played on Breakfast Club.

453
00:19:20,280 --> 00:19:22,600
Speaker 3: It went up. Then they shot the video, So that

454
00:19:22,680 --> 00:19:24,320
Speaker 3: might be what you're talking about. First day out the

455
00:19:24,320 --> 00:19:27,200
Speaker 3: Fans when he was in the house, he couldn't even leave, yeah,

456
00:19:27,880 --> 00:19:30,000
Speaker 3: for real. And then we did Black Beatles. Now you

457
00:19:30,080 --> 00:19:33,640
Speaker 3: know me and Coots, man, we always rocking like for real, man,

458
00:19:34,320 --> 00:19:36,119
Speaker 3: we got to that's like one of them you know

459
00:19:36,240 --> 00:19:40,280
Speaker 3: y'all know them dynamic duos. Man, for real, that that

460
00:19:40,320 --> 00:19:42,639
Speaker 3: team work where he just ain't even really got to

461
00:19:42,640 --> 00:19:45,080
Speaker 3: say too much to a person. You know what I'm saying, y'all,

462
00:19:45,119 --> 00:19:47,800
Speaker 3: just give and go. He past.

463
00:19:48,040 --> 00:19:50,119
Speaker 2: When he came home, he reached out to me. He

464
00:19:50,200 --> 00:19:51,919
Speaker 2: reached out to when he was shooting his first videos

465
00:19:51,960 --> 00:19:54,080
Speaker 2: like pull Up Jack when he first got home.

466
00:19:54,359 --> 00:19:54,840
Speaker 3: That's hard.

467
00:19:55,119 --> 00:19:57,280
Speaker 2: We knew each other, but we ain't really just rock

468
00:19:57,359 --> 00:19:59,159
Speaker 2: like that before he went to jail. Okay, and he

469
00:19:59,200 --> 00:20:01,159
Speaker 2: came home, I guess I saw somebody opposed to a

470
00:20:01,240 --> 00:20:03,800
Speaker 2: supporting them or something. When he came home, he reached out.

471
00:20:03,840 --> 00:20:05,320
Speaker 3: So that was dope, and he was in a totally

472
00:20:05,359 --> 00:20:07,720
Speaker 3: different mind state. You know what I'm saying. Came home,

473
00:20:08,280 --> 00:20:09,840
Speaker 3: he was all the way focused, So you know what

474
00:20:09,880 --> 00:20:13,880
Speaker 3: I'm saying, worried up. That's hard that you were supporting video.

475
00:20:13,960 --> 00:20:14,560
Speaker 3: I'm in there.

476
00:20:15,920 --> 00:20:17,399
Speaker 1: Is that before you got your nice teeth.

477
00:20:18,160 --> 00:20:20,240
Speaker 2: I had nice teeth then, Okay? That just this this

478
00:20:20,280 --> 00:20:23,720
Speaker 2: is a new set. Yeah, you just steal pearly every

479
00:20:23,720 --> 00:20:25,240
Speaker 2: time I get my money, I'm gonna get some news.

480
00:20:25,280 --> 00:20:26,440
Speaker 3: I ain't mad at you.

481
00:20:26,440 --> 00:20:28,160
Speaker 1: You're about to get some new, newer, newer ones.

482
00:20:28,359 --> 00:20:30,520
Speaker 3: Yep, about too much before I got my nice, my

483
00:20:31,160 --> 00:20:34,240
Speaker 3: nice teeth and ship. Yeah, we all my nice.

484
00:20:35,720 --> 00:20:47,879
Speaker 1: Yeah influences. You spoke on Pharrell, You've also mentioned timbaland Drake.

485
00:20:49,480 --> 00:20:52,600
Speaker 1: You obviously took many fresh man Yeah, you took different

486
00:20:52,680 --> 00:20:55,160
Speaker 1: parts and difference and kind of made it your own.

487
00:20:55,680 --> 00:20:59,320
Speaker 1: Speak to that and how those legends influenced your sound.

488
00:20:59,160 --> 00:21:02,600
Speaker 3: Yeah, because like early hip hop nineties, it was like

489
00:21:02,680 --> 00:21:05,440
Speaker 3: West Coast sound, West Coast and so East coast, you

490
00:21:05,440 --> 00:21:07,960
Speaker 3: know what I'm saying. Where Hypnotized Mind came through with

491
00:21:08,119 --> 00:21:12,720
Speaker 3: like that sound like you still had UGK, but it

492
00:21:12,760 --> 00:21:15,280
Speaker 3: was still kind of like West Coast sound like vibes,

493
00:21:15,280 --> 00:21:15,880
Speaker 3: you know what I'm saying.

494
00:21:16,960 --> 00:21:19,440
Speaker 2: UGK was We had definitely a West Coast.

495
00:21:19,320 --> 00:21:23,879
Speaker 3: Yeah, West coast yeah, abobam j G. Still it was

496
00:21:24,000 --> 00:21:26,119
Speaker 3: down south, but it was still kind of West Coast

497
00:21:26,160 --> 00:21:29,320
Speaker 3: by early on, but it was like man like for me,

498
00:21:29,680 --> 00:21:32,040
Speaker 3: it was like man, when Hypnotized Mind came through, that's

499
00:21:32,080 --> 00:21:34,600
Speaker 3: what really like started give them like the South like

500
00:21:34,680 --> 00:21:37,000
Speaker 3: that sound, and then it's like from there, you know

501
00:21:37,040 --> 00:21:38,679
Speaker 3: what I'm saying, You got a Little John take from

502
00:21:38,720 --> 00:21:40,720
Speaker 3: that sound and then he come with his own sound

503
00:21:40,960 --> 00:21:42,639
Speaker 3: with crump, you know what I'm saying, And then like

504
00:21:42,720 --> 00:21:45,000
Speaker 3: Little John was a heavy influence where It's like I

505
00:21:45,080 --> 00:21:47,320
Speaker 3: respect that how he had the city and the chokehold

506
00:21:47,600 --> 00:21:50,520
Speaker 3: on all spectrums. He had to turned up club records,

507
00:21:50,880 --> 00:21:53,840
Speaker 3: the Crump records for passing try and then he had

508
00:21:53,880 --> 00:21:56,480
Speaker 3: the bankers with us. Then he had the joints with Loutter.

509
00:21:56,520 --> 00:21:57,920
Speaker 3: Then he had the joints for you know what I'm saying.

510
00:21:57,920 --> 00:21:58,760
Speaker 1: So versatility.

511
00:21:59,040 --> 00:22:01,600
Speaker 3: Yeah, it was like the versatility and the wide range.

512
00:22:01,640 --> 00:22:04,760
Speaker 3: That's what I respected about like him and like phar

513
00:22:04,800 --> 00:22:07,560
Speaker 3: Real and like how they can spread they sound out,

514
00:22:07,600 --> 00:22:08,840
Speaker 3: you know what I'm saying. So that's something that I

515
00:22:08,880 --> 00:22:11,960
Speaker 3: always wanted to do. So like from like Lord John

516
00:22:12,000 --> 00:22:15,720
Speaker 3: and then shot it. Red brought like that sound. He

517
00:22:15,800 --> 00:22:18,240
Speaker 3: had his own sound, like that trap sound. He he

518
00:22:18,280 --> 00:22:20,720
Speaker 3: brought that bass sound to the A and he had

519
00:22:20,720 --> 00:22:22,880
Speaker 3: his own sound. And then Drummer Boy like he brought

520
00:22:22,880 --> 00:22:25,800
Speaker 3: that Memphis sound to the A and like I was

521
00:22:25,880 --> 00:22:28,320
Speaker 3: just seeing it and it was like all right, cool,

522
00:22:28,600 --> 00:22:31,520
Speaker 3: like now this is like the South sound like the

523
00:22:31,680 --> 00:22:33,960
Speaker 3: eight Awaits and you know what I'm saying, different stuff

524
00:22:33,960 --> 00:22:35,840
Speaker 3: like that. So then I started building my team the

525
00:22:35,920 --> 00:22:41,320
Speaker 3: ear Drummers, And when that happened, Yeah, Ear Drummers came

526
00:22:41,359 --> 00:22:44,199
Speaker 3: about in two thousand and seven, and it was just me,

527
00:22:44,400 --> 00:22:46,400
Speaker 3: you know what I'm saying. And then I was going

528
00:22:46,440 --> 00:22:49,680
Speaker 3: to high school my brother plus and then boom, he

529
00:22:49,840 --> 00:22:52,080
Speaker 3: was the first one with ear drummers. And then I

530
00:22:52,119 --> 00:22:55,040
Speaker 3: saw it like I always was trying to, like in

531
00:22:55,080 --> 00:22:56,880
Speaker 3: my mind, I always wanted to build this team where

532
00:22:56,880 --> 00:22:59,520
Speaker 3: it's like there's a bunch of producers that's thinking outside

533
00:22:59,520 --> 00:23:01,879
Speaker 3: of the box. It's like thinking on my level, you

534
00:23:01,880 --> 00:23:04,600
Speaker 3: know what I'm saying, where I look at them like, man, ship, Man,

535
00:23:04,640 --> 00:23:06,240
Speaker 3: you could do this on your own. But the way

536
00:23:06,240 --> 00:23:08,600
Speaker 3: I'm thinking, like, man, we do this shit like this,

537
00:23:08,800 --> 00:23:11,200
Speaker 3: like we could change your game. So it's like, man,

538
00:23:11,320 --> 00:23:14,600
Speaker 3: I felt like a team like that. Everybody on there

539
00:23:14,760 --> 00:23:16,840
Speaker 3: was like it was like the Gladiators, you know what

540
00:23:16,840 --> 00:23:21,440
Speaker 3: I'm saying, Like plus P Nasty Mars J Bow. So

541
00:23:21,720 --> 00:23:24,160
Speaker 3: we started coming with this sound where it's like, man, Okay,

542
00:23:24,160 --> 00:23:26,359
Speaker 3: we're gonna put the you know what I'm saying, like

543
00:23:26,760 --> 00:23:28,760
Speaker 3: the beats und there filter, you know what I'm saying,

544
00:23:28,760 --> 00:23:30,639
Speaker 3: We're gonna have to eight away its hitting in a

545
00:23:30,720 --> 00:23:32,840
Speaker 3: distorted way, and we're gonna take this the future and

546
00:23:32,880 --> 00:23:34,520
Speaker 3: we're gonna take this Gucci, We're gonna take this to

547
00:23:34,600 --> 00:23:36,640
Speaker 3: two chains like you know what I'm saying, We're gonna

548
00:23:36,680 --> 00:23:39,440
Speaker 3: take this to trouble. We're gonna take this to dump

549
00:23:39,640 --> 00:23:42,000
Speaker 3: like everybody who we were rocking with, like you know

550
00:23:42,040 --> 00:23:45,959
Speaker 3: what I'm saying, and and like boom, I was just

551
00:23:45,960 --> 00:23:48,680
Speaker 3: like the underground Atlanta sound. But it was like our

552
00:23:48,760 --> 00:23:50,760
Speaker 3: sound was known for, like Okay, the beat gonna sound

553
00:23:50,800 --> 00:23:53,200
Speaker 3: like it's going under the water. The base gonna sound

554
00:23:53,240 --> 00:23:55,359
Speaker 3: like it's distorting. It's gonna have this different kind of

555
00:23:55,359 --> 00:23:57,520
Speaker 3: sound that it's gonna break like this, and it's like, man,

556
00:23:57,560 --> 00:24:00,119
Speaker 3: we just kept coming consistently that on every track and

557
00:24:00,160 --> 00:24:03,640
Speaker 3: all our beats was always just different. Always a lot

558
00:24:03,640 --> 00:24:05,160
Speaker 3: of times the artists would be like, man, I don't

559
00:24:05,160 --> 00:24:06,840
Speaker 3: know how to get on this one, and I might

560
00:24:06,840 --> 00:24:08,720
Speaker 3: have to tell him like man, just do you like

561
00:24:08,800 --> 00:24:10,760
Speaker 3: the same flow, Like even when we did itching like

562
00:24:10,840 --> 00:24:12,360
Speaker 3: rock and with Pluto, Like you know what I'm saying,

563
00:24:12,359 --> 00:24:14,840
Speaker 3: I'm like when you heard the beat, he like to

564
00:24:14,840 --> 00:24:18,879
Speaker 3: beat hard. B If you get on this and just

565
00:24:18,920 --> 00:24:21,640
Speaker 3: do that, we win and flow bro, it's out of here,

566
00:24:21,720 --> 00:24:23,720
Speaker 3: like you know what I'm saying, because we win. In

567
00:24:23,720 --> 00:24:26,600
Speaker 3: one of my favorite Pluto songs, like my Nigga June

568
00:24:27,760 --> 00:24:30,879
Speaker 3: got life forlow ninety nine years, were popping about us

569
00:24:30,920 --> 00:24:33,280
Speaker 3: every day, you know what I'm saying, Like like just

570
00:24:33,359 --> 00:24:35,720
Speaker 3: that voice, that tone, like how he was just cutting

571
00:24:35,760 --> 00:24:37,359
Speaker 3: through on that song.

572
00:24:37,440 --> 00:24:39,760
Speaker 1: It was just like so your beasts were almost intimidating

573
00:24:39,760 --> 00:24:40,879
Speaker 1: to something. Some of these people.

574
00:24:40,960 --> 00:24:43,920
Speaker 3: I want to call it intimidating because the people I'm

575
00:24:44,000 --> 00:24:47,200
Speaker 3: naming it they are beat.

576
00:24:47,359 --> 00:24:49,159
Speaker 1: But just to me, I think it speaks to like

577
00:24:49,200 --> 00:24:51,679
Speaker 1: your creativity. I mean like you guys are creating that

578
00:24:51,840 --> 00:24:53,520
Speaker 1: sound and like, shit, I feel it, But how do

579
00:24:53,560 --> 00:24:54,199
Speaker 1: I jump on it?

580
00:24:54,240 --> 00:24:55,960
Speaker 3: How do I jump on this? You know what I'm saying,

581
00:24:55,960 --> 00:24:58,399
Speaker 3: Because it's like at that time the sound was a

582
00:24:58,400 --> 00:25:01,800
Speaker 3: little bit too different to me, that's innovation, you feel

583
00:25:01,800 --> 00:25:05,000
Speaker 3: me When somebody don't understand something, it's like, okay, man,

584
00:25:05,359 --> 00:25:07,120
Speaker 3: you're cooking with grease. Like you know what I'm saying,

585
00:25:07,119 --> 00:25:11,280
Speaker 3: Like didn't really rock, but like ain't nowhere around it.

586
00:25:11,320 --> 00:25:13,840
Speaker 3: For like the first five times, ten times I brought

587
00:25:13,880 --> 00:25:16,040
Speaker 3: it to the studio, but I only would bring that

588
00:25:16,080 --> 00:25:17,760
Speaker 3: beat to the studio. And I caught him on a

589
00:25:17,800 --> 00:25:22,640
Speaker 3: good night he had just did Tony Montana and then

590
00:25:22,880 --> 00:25:24,800
Speaker 3: he did Anyway Around It the same night. You know what,

591
00:25:24,800 --> 00:25:26,880
Speaker 3: I'm saying, but it was like he turned that beat

592
00:25:26,920 --> 00:25:28,840
Speaker 3: down so many times, but I could just hear him

593
00:25:28,840 --> 00:25:30,880
Speaker 3: on the beat. I knew he was on that beat,

594
00:25:31,400 --> 00:25:33,480
Speaker 3: and it just ended up being like a classic, you

595
00:25:33,520 --> 00:25:35,800
Speaker 3: know what I'm saying. At that time, it was like, man,

596
00:25:35,840 --> 00:25:38,320
Speaker 3: we were trying to make a name for ourselves. So

597
00:25:38,320 --> 00:25:40,600
Speaker 3: it's like just knowing, like now this beat is for

598
00:25:40,640 --> 00:25:43,800
Speaker 3: this person. No, lie, this is for two chains. We

599
00:25:43,840 --> 00:25:46,880
Speaker 3: ain't gonna get this nobody right now, Like I gave

600
00:25:46,880 --> 00:25:48,480
Speaker 3: it to a couple of people, you know what I'm saying.

601
00:25:48,800 --> 00:25:49,879
Speaker 3: But I knew that.

602
00:25:49,720 --> 00:25:52,520
Speaker 1: That beat, that's what That's what I was asking earlier.

603
00:25:52,520 --> 00:25:54,560
Speaker 1: It's just like once you hear it, like you know

604
00:25:55,440 --> 00:25:59,240
Speaker 1: who's flow and and and it's gonna fit on it

605
00:25:59,359 --> 00:26:04,000
Speaker 1: in fact so fact, So you're known as someone who

606
00:26:04,480 --> 00:26:07,160
Speaker 1: is a monster with the drums. You're known as kind

607
00:26:07,160 --> 00:26:09,600
Speaker 1: of the drum king. And where did that kind of

608
00:26:09,640 --> 00:26:11,080
Speaker 1: come into your repertoire.

609
00:26:11,160 --> 00:26:13,160
Speaker 3: I always wanted to break the rules, like whether it's

610
00:26:13,240 --> 00:26:16,320
Speaker 3: like this like the sound of the drum, like the Sonnets,

611
00:26:16,320 --> 00:26:20,560
Speaker 3: where it's like man, making that shit distort, or making

612
00:26:20,600 --> 00:26:24,399
Speaker 3: that shit like being a weird podcat, any sound that

613
00:26:24,400 --> 00:26:27,040
Speaker 3: we do like we all pushing each other like na, nah,

614
00:26:27,040 --> 00:26:29,720
Speaker 3: I sound too regularly, Like you know what I'm saying, like, nah,

615
00:26:30,000 --> 00:26:31,240
Speaker 3: we need to move to the left, we need to

616
00:26:31,240 --> 00:26:32,520
Speaker 3: move to the right. We need to slow it down,

617
00:26:32,560 --> 00:26:34,480
Speaker 3: we need to bring the volume up on the eight away.

618
00:26:34,840 --> 00:26:37,320
Speaker 3: I'm arguing with the mixing engineers like they're showing me

619
00:26:37,400 --> 00:26:39,560
Speaker 3: on the board where it's like, now we can't crank

620
00:26:39,560 --> 00:26:42,480
Speaker 3: that it away up anymore because of this, that and

621
00:26:42,480 --> 00:26:44,479
Speaker 3: the third, and it's like, but that don't matter. I'm

622
00:26:44,480 --> 00:26:46,520
Speaker 3: talking about how I feel like you know what I'm saying,

623
00:26:46,600 --> 00:26:48,720
Speaker 3: Like I'm trying to create the new rock and roll,

624
00:26:49,040 --> 00:26:50,760
Speaker 3: Like you know what I'm saying, hip hop to me,

625
00:26:50,800 --> 00:26:52,440
Speaker 3: it is the same thing as rock and roll. It's

626
00:26:52,480 --> 00:26:54,480
Speaker 3: just this is our rock and roll, like you feel me.

627
00:26:54,520 --> 00:26:56,960
Speaker 3: So it's like, now let's break the rules a little bit,

628
00:26:57,119 --> 00:26:59,520
Speaker 3: like let's make it distort, like you know what I'm saying.

629
00:26:59,520 --> 00:27:02,439
Speaker 3: Distortion always been art, you know what I'm saying, Like

630
00:27:02,480 --> 00:27:05,240
Speaker 3: people love distortion when they listen to rock and roll.

631
00:27:05,760 --> 00:27:08,320
Speaker 3: So it's like, man, like just always breaking those rules

632
00:27:08,359 --> 00:27:09,920
Speaker 3: and just being out of pocket. I feel like, you

633
00:27:09,960 --> 00:27:11,399
Speaker 3: know what I'm saying, and not just coming with that

634
00:27:11,480 --> 00:27:14,640
Speaker 3: same boom boom boom, like you know what I'm saying,

635
00:27:14,640 --> 00:27:16,760
Speaker 3: that the same you know what I'm saying, Like you

636
00:27:16,800 --> 00:27:18,560
Speaker 3: know how it's gonna drop, you know how the high

637
00:27:18,600 --> 00:27:21,800
Speaker 3: hat's gonna go, Like not not trying to do that.

638
00:27:22,000 --> 00:27:24,600
Speaker 2: Rest in peace to my brother's school, but y'all had

639
00:27:24,640 --> 00:27:26,320
Speaker 2: created a sound that was crazy.

640
00:27:26,520 --> 00:27:30,480
Speaker 3: Facts are you talking about school man? School legend? You

641
00:27:30,520 --> 00:27:32,840
Speaker 3: know what I'm saying, Like I ain't gonna lie school

642
00:27:32,840 --> 00:27:36,720
Speaker 3: like I've been doing school from like coming up in

643
00:27:36,760 --> 00:27:39,600
Speaker 3: Atlanta too, on the whole underground scene, like he was

644
00:27:39,640 --> 00:27:41,720
Speaker 3: always working, you know what I'm saying, coming out of

645
00:27:41,760 --> 00:27:44,240
Speaker 3: the East Side like duct tape like Alli, Like you

646
00:27:44,280 --> 00:27:45,840
Speaker 3: know what I'm saying. They had like a whole wave

647
00:27:46,040 --> 00:27:47,639
Speaker 3: like you know what I'm saying, And it was like

648
00:27:47,720 --> 00:27:49,680
Speaker 3: all of us were coming up, you know what I'm saying.

649
00:27:49,720 --> 00:27:52,000
Speaker 3: And in school, like we was always around the same ape.

650
00:27:52,000 --> 00:27:53,879
Speaker 3: But I always knew school corrap, like you know what

651
00:27:53,880 --> 00:27:55,760
Speaker 3: I'm saying, Like he was always hard. So then it

652
00:27:55,880 --> 00:27:59,920
Speaker 3: was like boom, we're moving around resting piece of bank

653
00:28:01,160 --> 00:28:03,760
Speaker 3: like I was moving around at this time. I would

654
00:28:03,760 --> 00:28:06,320
Speaker 3: be in La and then I'll come back to Atlanta

655
00:28:06,520 --> 00:28:08,720
Speaker 3: and then I'll be like, man, all right, boom, like

656
00:28:09,000 --> 00:28:10,960
Speaker 3: because I'm always thinking about like what I'm gonna do

657
00:28:11,000 --> 00:28:12,800
Speaker 3: for it, like we gotta do it for the city,

658
00:28:12,880 --> 00:28:15,639
Speaker 3: Like what's gonna be like another like city win. So

659
00:28:15,680 --> 00:28:17,520
Speaker 3: it was like bank Roll. I was like, man, I'm

660
00:28:17,640 --> 00:28:20,439
Speaker 3: locking with bank Roll, like and then we did a

661
00:28:20,440 --> 00:28:22,720
Speaker 3: couple of songs on my Ransom project and then like

662
00:28:22,800 --> 00:28:25,800
Speaker 3: we're we're working on some stuff and then boom, he

663
00:28:25,880 --> 00:28:29,560
Speaker 3: had passed. And then it was like School. I would

664
00:28:29,600 --> 00:28:31,159
Speaker 3: like keep in touch with School and he would like

665
00:28:31,200 --> 00:28:33,040
Speaker 3: send me songs here and there. School would either be

666
00:28:33,080 --> 00:28:35,560
Speaker 3: focused on music or he's not focused on music. So

667
00:28:35,880 --> 00:28:38,120
Speaker 3: I'm telling School like, bro, I'm here, Like you ain't

668
00:28:38,120 --> 00:28:39,960
Speaker 3: got to keep telling me send you beats. I'm here

669
00:28:40,240 --> 00:28:42,280
Speaker 3: like whenever you want to focus, Like you know what

670
00:28:42,280 --> 00:28:44,600
Speaker 3: I'm saying, Like I'm here. So then next thing you know,

671
00:28:44,640 --> 00:28:47,760
Speaker 3: School started dropping different mixtapes and I was hearing on it.

672
00:28:47,880 --> 00:28:49,920
Speaker 3: I'll be tapping in on his mixtapes and I call

673
00:28:50,000 --> 00:28:52,000
Speaker 3: him like, brouh, you went crazy on this on the

674
00:28:52,040 --> 00:28:54,280
Speaker 3: mixtape with you and told me you went crazy on

675
00:28:54,280 --> 00:28:57,720
Speaker 3: this mixtape that I had. Bro Boom, Man, my boy

676
00:28:57,800 --> 00:29:00,840
Speaker 3: Ducko gonna come to the studio. Man, y'all, y'all boys,

677
00:29:00,840 --> 00:29:03,280
Speaker 3: cook up something. I'm'na be back in town this week.

678
00:29:03,640 --> 00:29:06,520
Speaker 3: They did big God. I ended up using that on

679
00:29:06,680 --> 00:29:09,360
Speaker 3: Ransom too, and I was like my favorite song, Like,

680
00:29:09,360 --> 00:29:11,239
Speaker 3: like how he kept that motherfucker. So I was like, Man,

681
00:29:11,280 --> 00:29:13,160
Speaker 3: I told school. I was like, Bro, when I get

682
00:29:13,200 --> 00:29:14,800
Speaker 3: back to you, hey, bro, we just got to like

683
00:29:15,440 --> 00:29:18,040
Speaker 3: lock in, make a sound. You just put it out

684
00:29:18,400 --> 00:29:21,160
Speaker 3: and then Bro like, man, people gonna come to you,

685
00:29:21,160 --> 00:29:23,600
Speaker 3: people gonna gravitate to you. Bro, like cause you hard. Bro.

686
00:29:23,680 --> 00:29:25,360
Speaker 3: I don't know what you know what I'm saying. I

687
00:29:25,360 --> 00:29:26,960
Speaker 3: don't know what it's gonna take or what Like, you

688
00:29:27,000 --> 00:29:29,360
Speaker 3: know what I'm saying, Like, let's just whenever I get back, like,

689
00:29:29,440 --> 00:29:31,160
Speaker 3: let's just lock in. So he was like, all right,

690
00:29:31,200 --> 00:29:33,760
Speaker 3: Beck so boom. I was at Tree siund one night,

691
00:29:33,920 --> 00:29:35,400
Speaker 3: was like twelve or one in the morning. I thought

692
00:29:35,400 --> 00:29:37,080
Speaker 3: about it. I was like, damn wants to hit school.

693
00:29:37,800 --> 00:29:40,400
Speaker 3: I hit him. I'm like, Yo, School, what here you at.

694
00:29:40,640 --> 00:29:42,080
Speaker 3: I'm in the city. I'm I'm about to drop you

695
00:29:42,120 --> 00:29:44,520
Speaker 3: the address. Pull up to the studio, send him the address.

696
00:29:44,800 --> 00:29:46,680
Speaker 3: He came out to the Tree sound. We did bring

697
00:29:46,720 --> 00:29:48,240
Speaker 3: it back as soon as he walked in the room,

698
00:29:48,520 --> 00:29:50,880
Speaker 3: I was making to bring it back beat. As soon

699
00:29:50,880 --> 00:29:52,200
Speaker 3: as he walked in the room, he was like, I

700
00:29:52,240 --> 00:29:56,560
Speaker 3: said something, my Motherfuckingry Diamond's on a young nigga dancing.

701
00:29:56,560 --> 00:29:57,880
Speaker 3: You know what I'm saying, Like, hey, man, load to

702
00:29:57,920 --> 00:29:59,320
Speaker 3: beat up, hold to beat up. I'm like, bro, I

703
00:29:59,320 --> 00:30:01,440
Speaker 3: ain't even down to beat you know what I'm saying, Like, man,

704
00:30:01,520 --> 00:30:04,120
Speaker 3: load that ship up. Bro, that shit hard. I'm like, man,

705
00:30:04,400 --> 00:30:06,480
Speaker 3: record the beat man, let him get on it. So

706
00:30:06,520 --> 00:30:09,120
Speaker 3: he got on it. Did you do those thing which

707
00:30:09,160 --> 00:30:13,080
Speaker 3: one No, we ain't do, Dophin, Yeah, that's what that album,

708
00:30:13,120 --> 00:30:15,600
Speaker 3: the last album did. Yeah, they didn't do no thing,

709
00:30:15,640 --> 00:30:17,840
Speaker 3: but man, those were hard. No thing was hard.

710
00:30:19,280 --> 00:30:19,440
Speaker 2: Man.

711
00:30:19,480 --> 00:30:22,240
Speaker 3: He got man recipes. Cool man, he got so much music.

712
00:30:22,440 --> 00:30:24,280
Speaker 3: Like you know what I'm saying, word it up, like

713
00:30:25,360 --> 00:30:27,600
Speaker 3: for real. But that Edge Roll project, it was just

714
00:30:27,600 --> 00:30:30,400
Speaker 3: something special. That shit was major for the song, Like, yeah,

715
00:30:30,400 --> 00:30:32,080
Speaker 3: I ain't hurt that Edge well, man, you gotta go

716
00:30:32,120 --> 00:30:34,640
Speaker 3: tap in. I definitely heard it. That shit definitely classic.

717
00:30:34,640 --> 00:30:36,160
Speaker 3: You know what I'm saying. I got a classic for sure.

718
00:30:36,280 --> 00:30:36,800
Speaker 3: Word it up.

719
00:30:36,920 --> 00:30:40,600
Speaker 2: Twenty thirteen, Miley c Ide was Beyonce Future to Chains

720
00:30:40,800 --> 00:30:45,280
Speaker 2: Kendrick all the who's who in music? How did that happen?

721
00:30:45,280 --> 00:30:46,360
Speaker 2: And you signed with in the school? But at the

722
00:30:46,400 --> 00:30:48,680
Speaker 2: same time, talk about all that happened at the one

723
00:30:48,680 --> 00:30:49,600
Speaker 2: time I dropped.

724
00:30:49,360 --> 00:30:50,600
Speaker 3: Songs with all of them on it. You know what

725
00:30:50,640 --> 00:30:52,920
Speaker 3: I'm saying. Yeah, I started off in the underground in

726
00:30:52,960 --> 00:30:56,040
Speaker 3: Atlanta and then just staying down with like Pluto, two Chains,

727
00:30:56,120 --> 00:30:58,840
Speaker 3: Gucci and just looking at them like, man, these guys

728
00:30:58,920 --> 00:31:01,000
Speaker 3: gonna be the biggest. We're not think about no Grammys

729
00:31:01,040 --> 00:31:03,400
Speaker 3: when I think about but I'm not thinking about nothing else.

730
00:31:03,400 --> 00:31:05,640
Speaker 3: I'm just looking at like, man, these guys are gonna

731
00:31:05,640 --> 00:31:08,360
Speaker 3: be the biggest. And then like just locking in with them.

732
00:31:08,520 --> 00:31:10,560
Speaker 3: And then we're coming through the game and you know

733
00:31:10,600 --> 00:31:12,800
Speaker 3: what I'm saying, Like like we're saying anywhere around it

734
00:31:13,520 --> 00:31:18,600
Speaker 3: and and Dirty Sprite and itching. I was all twenty eleven,

735
00:31:18,920 --> 00:31:22,800
Speaker 3: so twenty twelve it was that's for a future, you

736
00:31:22,840 --> 00:31:25,640
Speaker 3: know what I'm saying. And then with two changes, it

737
00:31:25,680 --> 00:31:31,320
Speaker 3: was Got one and Lila twenty eleven, twenty twelve, it

738
00:31:31,520 --> 00:31:34,000
Speaker 3: was music as you made. I don't know how you

739
00:31:34,040 --> 00:31:37,040
Speaker 3: remember this, because this was a significant part in my career.

740
00:31:37,040 --> 00:31:40,600
Speaker 3: I was hungry. I was like starving like literally like

741
00:31:40,640 --> 00:31:43,040
Speaker 3: I ain't have no management at this time. I ain't

742
00:31:43,040 --> 00:31:45,200
Speaker 3: know nothing about the music business. I won't getting no music,

743
00:31:45,200 --> 00:31:47,320
Speaker 3: I won't getting no money out of music or nothing

744
00:31:47,400 --> 00:31:49,240
Speaker 3: like that, you know what I'm saying. So like Booing

745
00:31:49,440 --> 00:31:54,480
Speaker 3: twenty twelve, it was like no, lie U turn on

746
00:31:54,520 --> 00:31:56,360
Speaker 3: the lights and bands make a dance. I was like

747
00:31:56,400 --> 00:31:59,440
Speaker 3: the breakout year. I still didn't have no management. That's

748
00:31:59,480 --> 00:32:01,560
Speaker 3: when I met my management, you know what I'm saying.

749
00:32:01,880 --> 00:32:06,000
Speaker 3: And then Boom. After that it was like uh Rihanna

750
00:32:06,040 --> 00:32:08,880
Speaker 3: poured up, you know what I'm saying. That I met

751
00:32:08,920 --> 00:32:12,600
Speaker 3: with Miley's label Boom. Then we did We Can't Stop

752
00:32:12,640 --> 00:32:16,440
Speaker 3: twenty three. That was twenty thirteen, and you know what

753
00:32:16,480 --> 00:32:18,160
Speaker 3: I'm saying, Now we're cooking with now we now we're

754
00:32:18,200 --> 00:32:21,280
Speaker 3: cooking like our executive produced Miley album. I'm right here

755
00:32:21,320 --> 00:32:23,400
Speaker 3: moving while with Pluto we dropped Move that dope. I

756
00:32:23,480 --> 00:32:26,239
Speaker 3: ended up meeting with Jimmy Ivian like every day, like

757
00:32:26,440 --> 00:32:30,240
Speaker 3: from twenty twelve to twenty fourteen. When I signed my deal,

758
00:32:30,840 --> 00:32:32,880
Speaker 3: like I was, really I was. It really took me

759
00:32:32,960 --> 00:32:34,520
Speaker 3: like a year and a half, two years to even

760
00:32:34,520 --> 00:32:37,000
Speaker 3: sign my deal because I was just nervous about that shit.

761
00:32:37,040 --> 00:32:40,360
Speaker 3: I'm like, I'm winning. I'm winning when it comes to production.

762
00:32:40,680 --> 00:32:43,120
Speaker 3: I got thirteen songs on the radio. Do I want

763
00:32:43,120 --> 00:32:45,600
Speaker 3: to turn into an executive? You know what I'm saying.

764
00:32:45,640 --> 00:32:47,840
Speaker 3: I ain't want to do anything where I was gonna

765
00:32:47,880 --> 00:32:50,560
Speaker 3: lose that. So I was nervous at that shit. And

766
00:32:50,600 --> 00:32:55,480
Speaker 3: then that's when that's when Jimmy was just telling me, like, man, yo, man,

767
00:32:55,480 --> 00:32:57,120
Speaker 3: you can't lose. You're not a loser. You know what

768
00:32:57,120 --> 00:32:59,760
Speaker 3: I'm saying. You can either learn to earn. And that

769
00:33:00,120 --> 00:33:03,160
Speaker 3: shit stuck with me. You can either learn to earn.

770
00:33:03,240 --> 00:33:06,320
Speaker 3: And I just signed my deal. First artist, first artist

771
00:33:06,360 --> 00:33:08,040
Speaker 3: we signed was Ray Shrimmer. You know what I'm saying.

772
00:33:08,040 --> 00:33:10,360
Speaker 3: That's Ear Drummers backwards. Like you know what I'm saying,

773
00:33:10,400 --> 00:33:13,720
Speaker 3: Jimmy and Swae Lee, they were already stars. So I'm like, man, bro,

774
00:33:13,880 --> 00:33:16,520
Speaker 3: I never knew that it's still going on from Pepperhead

775
00:33:16,600 --> 00:33:19,480
Speaker 3: I was. I was ten years ago. So my record label,

776
00:33:19,480 --> 00:33:21,960
Speaker 3: Ear Drummers I started two thousand and seven, you know

777
00:33:22,000 --> 00:33:24,000
Speaker 3: what I'm saying. When I came with the record label,

778
00:33:24,040 --> 00:33:25,320
Speaker 3: I was like, man, I'm gonna have a rock and

779
00:33:25,400 --> 00:33:27,920
Speaker 3: roll side. You know what I'm saying, and I wrote down,

780
00:33:28,080 --> 00:33:30,360
Speaker 3: what's ear drummers backwards? So I wrote it down and

781
00:33:30,400 --> 00:33:32,040
Speaker 3: it was Ray Shrimmer. I was like, I'm gonna start

782
00:33:32,040 --> 00:33:36,040
Speaker 3: a rock band. You know what I'm saying. That's crazy.

783
00:33:36,560 --> 00:33:38,960
Speaker 3: And then when I met when I met Jimmy and Sway,

784
00:33:38,640 --> 00:33:41,320
Speaker 3: they were rock and roll artists to me when I

785
00:33:41,320 --> 00:33:44,280
Speaker 3: saw them, they straight from Tupelo, Misissippi. My boy P

786
00:33:44,440 --> 00:33:48,280
Speaker 3: Nasty had them at their cribs. Yeah, I already seen

787
00:33:48,320 --> 00:33:49,800
Speaker 3: him a couple of times. They came to the club

788
00:33:49,840 --> 00:33:52,040
Speaker 3: with us a couple of times. They were young, you

789
00:33:52,120 --> 00:33:54,719
Speaker 3: know what I'm saying. And I know they were songwriting.

790
00:33:54,920 --> 00:33:57,880
Speaker 3: But when I saw them, like in they artists mode

791
00:33:58,120 --> 00:34:01,200
Speaker 3: and like Sway Lee rapping and Jimmy but the streaming

792
00:34:01,360 --> 00:34:04,040
Speaker 3: ad libs or like rapping with him and then Jimmy

793
00:34:04,040 --> 00:34:06,400
Speaker 3: are jumping start rapping and Sway he got the same energy.

794
00:34:06,600 --> 00:34:09,040
Speaker 3: I'm like, bro, I don't know what I lean I

795
00:34:09,040 --> 00:34:12,040
Speaker 3: remember I leaned on the wall. I'm like, bro, he dudes,

796
00:34:12,480 --> 00:34:15,600
Speaker 3: they some real rock stars, like and I told him

797
00:34:15,640 --> 00:34:18,000
Speaker 3: this ship. I'm like, bro, y'all some real rock stars.

798
00:34:18,000 --> 00:34:20,880
Speaker 3: So boom. Next thing you know, their name was Sway,

799
00:34:21,480 --> 00:34:24,279
Speaker 3: so it was Jimmy Swaying and sway Lee. I was

800
00:34:24,320 --> 00:34:26,239
Speaker 3: just telling them like, man, my man is sway in

801
00:34:26,239 --> 00:34:29,520
Speaker 3: the morning. So if I go to stat like you

802
00:34:29,600 --> 00:34:32,279
Speaker 3: heard that new ship I got with Sway, You're gonna

803
00:34:32,320 --> 00:34:35,080
Speaker 3: think like you got something sway in the morning. Like damn,

804
00:34:35,080 --> 00:34:36,839
Speaker 3: that's crazy. I ain't no Swaying to morning to be rapping.

805
00:34:36,960 --> 00:34:40,640
Speaker 3: You know what I'm saying exactly. You know what I'm saying.

806
00:34:40,640 --> 00:34:42,920
Speaker 3: Like it might not register, but I'm like, man, what

807
00:34:43,000 --> 00:34:45,680
Speaker 3: y'all think about the name race Shremmer? So they were like,

808
00:34:45,680 --> 00:34:48,959
Speaker 3: what's that? I'm like, man, that's drummers backwards. They're like, oh, ship,

809
00:34:49,040 --> 00:34:52,399
Speaker 3: that's hard. And then they're like, man, yo, we'll fuck

810
00:34:52,440 --> 00:34:54,719
Speaker 3: with that. Hell yeah, man shrim Life. I'm like, that

811
00:34:54,760 --> 00:34:56,480
Speaker 3: could be the name of the album. See with them,

812
00:34:56,480 --> 00:34:59,600
Speaker 3: I already knew they gonna make anything cool. So it's like, man,

813
00:34:59,640 --> 00:35:02,440
Speaker 3: they could they could be that rock band. And it's like, man, Yo,

814
00:35:02,920 --> 00:35:05,080
Speaker 3: it's gonna take people a long time to even catch

815
00:35:05,160 --> 00:35:07,440
Speaker 3: up with it, and they ain't gonna know how to

816
00:35:07,440 --> 00:35:09,080
Speaker 3: say it. But it's like, man, we don't go to

817
00:35:09,120 --> 00:35:11,040
Speaker 3: these other countries and tell people like man, yo, we

818
00:35:11,080 --> 00:35:14,080
Speaker 3: only know how to speak English. You know what I'm saying, Like,

819
00:35:14,239 --> 00:35:16,839
Speaker 3: speak English, Like nah, you learn their language. You move

820
00:35:16,880 --> 00:35:18,560
Speaker 3: how they move, you eat how they eat. You know

821
00:35:18,600 --> 00:35:20,359
Speaker 3: what I'm saying. So it's like, man, boom, if they

822
00:35:20,440 --> 00:35:22,879
Speaker 3: like y'all records, y'all got all these hits, they gonna

823
00:35:22,920 --> 00:35:25,359
Speaker 3: learn how to say ray Shimmers. They'll learn that there's

824
00:35:25,840 --> 00:35:28,120
Speaker 3: Beckwards ten years later. You know what I'm saying.

825
00:35:29,360 --> 00:35:31,319
Speaker 1: I want to mention a few names to you, Jared,

826
00:35:31,480 --> 00:35:34,399
Speaker 1: what it was like the working process with them in

827
00:35:34,440 --> 00:35:37,480
Speaker 1: what that track meant to you? Rihanna and poured.

828
00:35:37,320 --> 00:35:39,680
Speaker 3: Up shout out to Taran and shout out to my

829
00:35:39,760 --> 00:35:41,880
Speaker 3: brother Jabo. You know what I'm saying, shout out to

830
00:35:41,920 --> 00:35:44,719
Speaker 3: old man man. He kept bugging me like cause that's

831
00:35:44,719 --> 00:35:46,960
Speaker 3: when bands that make a dance was hot. So he

832
00:35:47,120 --> 00:35:50,800
Speaker 3: kept saying like, Yo, Mike, if Rihanna just had the

833
00:35:50,840 --> 00:35:53,160
Speaker 3: female version of bands and make a dance, you know

834
00:35:53,200 --> 00:35:55,000
Speaker 3: what I'm saying, Like, should be out of here. And

835
00:35:55,040 --> 00:35:58,359
Speaker 3: I'm like bro Chris saying like I hate when people say, like, man,

836
00:35:58,719 --> 00:36:01,800
Speaker 3: you know, if I had Black Beatles, just give me

837
00:36:01,840 --> 00:36:05,480
Speaker 3: black Beatles, man, I hate Yeah, I just hate that.

838
00:36:05,560 --> 00:36:07,239
Speaker 3: So that but it was like it was like this

839
00:36:07,320 --> 00:36:10,000
Speaker 3: beat that my boy Jabo had made that was exactly

840
00:36:10,160 --> 00:36:12,080
Speaker 3: like bands make a dance. Like you know what I'm saying.

841
00:36:12,080 --> 00:36:14,440
Speaker 3: It was like another version. I was like, man, y'all

842
00:36:14,520 --> 00:36:17,960
Speaker 3: really want that? I bet bo when I played the beat, tryan.

843
00:36:18,760 --> 00:36:20,239
Speaker 3: He a hell of a rider, you know what I'm saying.

844
00:36:20,280 --> 00:36:23,160
Speaker 3: So he just goes straight in, start catching the vibe,

845
00:36:23,600 --> 00:36:26,080
Speaker 3: you know what I'm saying, and then boom, Chris Brown

846
00:36:26,120 --> 00:36:28,879
Speaker 3: come to the studio and you know what I'm saying.

847
00:36:28,920 --> 00:36:31,160
Speaker 3: Chris Brown come to the studio and he here. He like,

848
00:36:31,800 --> 00:36:34,839
Speaker 3: You're like, man, yo, shit reheard this. I was like, man,

849
00:36:35,080 --> 00:36:36,279
Speaker 3: she ain't heard it yet. He was like, man, I'm

850
00:36:36,280 --> 00:36:38,200
Speaker 3: gonna tell her about this one. And I was like

851
00:36:38,280 --> 00:36:40,279
Speaker 3: I'm like, man, that's hard. Man say let's you know

852
00:36:40,280 --> 00:36:42,640
Speaker 3: what I'm saying. Next thing, you know, Rihanna called the

853
00:36:42,680 --> 00:36:45,879
Speaker 3: next day called Obam, was like, Yo, what's the song

854
00:36:45,960 --> 00:36:47,680
Speaker 3: Chris talking about that? Mike Will got you know what

855
00:36:47,719 --> 00:36:51,439
Speaker 3: I'm saying. Next thing, you know, boom, she hears pour

856
00:36:51,480 --> 00:36:54,160
Speaker 3: it up. She cuts that shit last minute for the album.

857
00:36:54,320 --> 00:36:55,960
Speaker 3: I didn't even know if I was gonna make the album.

858
00:36:56,000 --> 00:36:57,560
Speaker 3: You know what I'm saying. Shout out to Karen Kuak

859
00:36:58,120 --> 00:37:00,359
Speaker 3: for flying us out there having us work on that,

860
00:37:00,440 --> 00:37:01,759
Speaker 3: and you know what I'm saying, that was like a

861
00:37:01,760 --> 00:37:04,920
Speaker 3: beautiful thing, like and it was crazy because Rihanna she

862
00:37:04,960 --> 00:37:07,520
Speaker 3: never had a record like that at the time, you

863
00:37:07,560 --> 00:37:11,040
Speaker 3: know what I'm saying, Like, she never had like a

864
00:37:11,080 --> 00:37:15,759
Speaker 3: strip club record, like a club record, So it was

865
00:37:15,760 --> 00:37:18,080
Speaker 3: like that was an all the way new sound. And

866
00:37:18,120 --> 00:37:19,840
Speaker 3: that's what I try to do, like when I'm producing

867
00:37:19,880 --> 00:37:21,880
Speaker 3: these records, like I always want to make that record

868
00:37:21,920 --> 00:37:25,160
Speaker 3: world person remembers where they were at when they heard

869
00:37:25,200 --> 00:37:27,840
Speaker 3: they ship or what they were like what year was.

870
00:37:27,880 --> 00:37:31,160
Speaker 3: That's why I can read off these years like that,

871
00:37:31,200 --> 00:37:32,520
Speaker 3: you know what I'm saying, because I want to you

872
00:37:32,560 --> 00:37:34,560
Speaker 3: want a person to feel like that, Like yeah, Like

873
00:37:35,120 --> 00:37:36,960
Speaker 3: I remember, Bro, I was.

874
00:37:36,440 --> 00:37:39,200
Speaker 1: Like, there's a music you hear something like Man ninety seven,

875
00:37:39,360 --> 00:37:41,000
Speaker 1: I was in high school. This is when I heard

876
00:37:41,040 --> 00:37:42,200
Speaker 1: when you said j.

877
00:37:42,360 --> 00:37:44,640
Speaker 3: Z exactly, I was in college. U c l a

878
00:37:45,000 --> 00:37:45,600
Speaker 3: fact with.

879
00:37:45,920 --> 00:37:47,920
Speaker 1: The mother fucking Tower Records about that ship put in

880
00:37:47,920 --> 00:37:50,120
Speaker 1: my New Tahoe that someone paid for and got for me.

881
00:37:50,560 --> 00:37:51,719
Speaker 1: And that ship was you know what I mean? So

882
00:37:51,800 --> 00:37:54,640
Speaker 1: you always time and place with music.

883
00:37:54,560 --> 00:37:58,080
Speaker 3: Right, And that's crazy, Bro, And that that's the good

884
00:37:58,080 --> 00:38:01,880
Speaker 3: ship or whither that shit can be like some potato chips,

885
00:38:02,120 --> 00:38:04,200
Speaker 3: you know what I'm saying, to eat the whole bag

886
00:38:04,239 --> 00:38:05,880
Speaker 3: and never get fulled, Like you know what I'm saying,

887
00:38:05,920 --> 00:38:08,520
Speaker 3: Like you could hear this shit a thousand times and

888
00:38:08,800 --> 00:38:11,080
Speaker 3: never real even remember that shit. You know what I'm saying.

889
00:38:11,080 --> 00:38:13,480
Speaker 3: But it's like those songs that really stick with you

890
00:38:13,520 --> 00:38:16,440
Speaker 3: are like those ones for real, Like that's what I

891
00:38:16,440 --> 00:38:19,480
Speaker 3: always try to aim for when I'm producing these records.

892
00:38:19,600 --> 00:38:22,319
Speaker 1: Black Beatles, you spoke to it. It went viral with

893
00:38:22,480 --> 00:38:24,280
Speaker 1: Obama and the mannequin challenge.

894
00:38:24,480 --> 00:38:29,239
Speaker 3: Black Beatles, right, Black Beatles. That was a crazy one

895
00:38:29,320 --> 00:38:32,000
Speaker 3: because it was like the dude who gave me my

896
00:38:32,000 --> 00:38:35,040
Speaker 3: first shot, Gucci, and then the artists that I'm my

897
00:38:35,120 --> 00:38:37,880
Speaker 3: first artist, and I'm giving them they real shot, you

898
00:38:37,880 --> 00:38:41,000
Speaker 3: know what I'm saying, and their first song together, and

899
00:38:41,040 --> 00:38:44,319
Speaker 3: then it's all of our first number ones at this point.

900
00:38:44,360 --> 00:38:47,520
Speaker 3: I didn't work with Rihanna, Beyonce, Miley, everybody. You know

901
00:38:47,560 --> 00:38:49,960
Speaker 3: what I'm saying, But like I got that number one,

902
00:38:50,040 --> 00:38:52,560
Speaker 3: but the person who gave me my first shot and

903
00:38:52,600 --> 00:38:55,439
Speaker 3: the artists my first artist, Yeah, you know what I'm saying.

904
00:38:55,480 --> 00:38:58,480
Speaker 3: First number one hot, one hundred. That was crazy in

905
00:38:58,520 --> 00:39:00,239
Speaker 3: the whole world. Bro, it was only that and the

906
00:39:00,280 --> 00:39:03,200
Speaker 3: pandemic made the old world freeze, you know what I'm saying.

907
00:39:04,800 --> 00:39:06,759
Speaker 3: And I was crazy and it was like that beat.

908
00:39:06,800 --> 00:39:08,920
Speaker 3: I felt like that beat wasn't ever. It wasn't even done,

909
00:39:09,040 --> 00:39:10,960
Speaker 3: and that just showed. That just speaks to like Sway

910
00:39:11,040 --> 00:39:13,920
Speaker 3: Lee how much he's like how much he's an instrument,

911
00:39:14,480 --> 00:39:15,960
Speaker 3: you know what I'm saying. I thought that beat one done,

912
00:39:16,000 --> 00:39:17,239
Speaker 3: but I ain't know what I needed, so I just

913
00:39:17,280 --> 00:39:19,760
Speaker 3: sent it to him like, man, man, this beat hard.

914
00:39:20,360 --> 00:39:22,319
Speaker 3: I'm gonna ask something else, but just get on there.

915
00:39:23,320 --> 00:39:25,600
Speaker 3: He was like, man, this shit hard. He did the

916
00:39:25,600 --> 00:39:27,719
Speaker 3: Black Beat, the hook, send it back. Gucci just came

917
00:39:27,760 --> 00:39:30,000
Speaker 3: home from jail. I'm like, bro, listen at this song.

918
00:39:30,040 --> 00:39:32,440
Speaker 3: Sway just sent me, like, bro, get on this joint.

919
00:39:32,760 --> 00:39:36,040
Speaker 3: Gucci got on that joint. Boom, Jimmy got on that joint.

920
00:39:36,480 --> 00:39:38,120
Speaker 3: You know what I'm saying. We had already turned in

921
00:39:38,200 --> 00:39:41,839
Speaker 3: the album. I was like a last minute joint right up.

922
00:39:42,080 --> 00:39:43,040
Speaker 1: Kanye Mercy.

923
00:39:43,280 --> 00:39:45,399
Speaker 3: He was the first artist of Flyers out of Town

924
00:39:45,520 --> 00:39:48,279
Speaker 3: to work like before then, I had never worked out

925
00:39:48,280 --> 00:39:51,359
Speaker 3: of time, so he flew me to New York and

926
00:39:51,400 --> 00:39:53,040
Speaker 3: my boy pen Ask and we were just up there

927
00:39:53,040 --> 00:39:56,319
Speaker 3: cooking up and like I wanted like one of my man,

928
00:39:56,480 --> 00:39:57,160
Speaker 3: my man j P.

929
00:39:57,400 --> 00:39:57,480
Speaker 2: Man.

930
00:39:57,520 --> 00:39:59,480
Speaker 3: He had told me, like, you know what I'm saying,

931
00:39:59,480 --> 00:40:00,880
Speaker 3: I don't know that people want me to say the

932
00:40:01,000 --> 00:40:03,839
Speaker 3: name or not. Man, that's my man. We're here. Tell me, like, bro,

933
00:40:04,200 --> 00:40:06,640
Speaker 3: do not just go up there to put your drums

934
00:40:06,640 --> 00:40:09,120
Speaker 3: on shit. You know what I'm saying. Make sure y'all

935
00:40:09,120 --> 00:40:11,759
Speaker 3: do a song together. I was like, man, ir Bet

936
00:40:12,200 --> 00:40:15,080
Speaker 3: so yay. First thing, first day I meet him, he

937
00:40:15,120 --> 00:40:17,239
Speaker 3: was like, man, I got this song, just needs you

938
00:40:17,280 --> 00:40:19,000
Speaker 3: to put your drums on that shit cause you know

939
00:40:19,000 --> 00:40:21,560
Speaker 3: what I'm saying, Like yeah, like I need to put

940
00:40:21,600 --> 00:40:23,120
Speaker 3: your drums on this ship here, like man, because I

941
00:40:23,160 --> 00:40:25,360
Speaker 3: fuck with your drums here. Like there's a time in music.

942
00:40:25,400 --> 00:40:27,719
Speaker 3: So I respected it because he came to me and said, like, Yo,

943
00:40:27,760 --> 00:40:30,560
Speaker 3: there's a time of music where, like you know what

944
00:40:30,560 --> 00:40:33,120
Speaker 3: I'm saying, a producer comes through with a certain sound

945
00:40:33,560 --> 00:40:35,960
Speaker 3: and a certain frequency and they just need the right

946
00:40:36,080 --> 00:40:38,960
Speaker 3: artists with the right tone to just cut through on

947
00:40:39,080 --> 00:40:42,920
Speaker 3: that ship. And right now, you that guy. And this

948
00:40:43,000 --> 00:40:44,920
Speaker 3: was my first day meeting him, So I'm thinking like

949
00:40:44,920 --> 00:40:47,759
Speaker 3: there's so many different producers around. I'm thinking, like, man,

950
00:40:47,760 --> 00:40:49,279
Speaker 3: one of his a and I probably just flew me

951
00:40:49,360 --> 00:40:50,839
Speaker 3: up here. He ain't gonna know who I am for real,

952
00:40:50,920 --> 00:40:52,680
Speaker 3: like you know what I'm saying. But when he said that,

953
00:40:52,760 --> 00:40:55,120
Speaker 3: I was like, damn, that's hard. So I'm like, all right, Bet,

954
00:40:55,200 --> 00:40:57,200
Speaker 3: you know what I'm saying. So I was really more

955
00:40:57,280 --> 00:40:59,640
Speaker 3: focused on, like I really wanted him to get on

956
00:40:59,680 --> 00:41:02,080
Speaker 3: like some these beats that we had. But then like

957
00:41:02,120 --> 00:41:04,120
Speaker 3: he played Mercy and he played it with no drums,

958
00:41:04,120 --> 00:41:06,239
Speaker 3: and I was like, Damn, this shit is hard. You

959
00:41:06,239 --> 00:41:07,920
Speaker 3: know what I'm saying, This shit is a hit. Bro, Like,

960
00:41:08,160 --> 00:41:10,480
Speaker 3: all right, Bet, he let me hear the one with drums.

961
00:41:10,480 --> 00:41:12,880
Speaker 3: He was like, I like this version, but I feel

962
00:41:12,880 --> 00:41:14,920
Speaker 3: like this version is kind of like doing the drums

963
00:41:14,920 --> 00:41:17,000
Speaker 3: that you do. Like, so I just want you to

964
00:41:17,040 --> 00:41:18,719
Speaker 3: go in and do you know what I'm saying, put

965
00:41:18,719 --> 00:41:20,279
Speaker 3: your touch on it. So I'm like, all right, Bet

966
00:41:20,400 --> 00:41:22,759
Speaker 3: did some drums on that. And the next thing, you know,

967
00:41:22,840 --> 00:41:25,640
Speaker 3: like he took it to the radio with another song

968
00:41:25,880 --> 00:41:28,319
Speaker 3: Boom went on the radio. That shit just went up.

969
00:41:29,000 --> 00:41:30,839
Speaker 3: I was like, damn. I was like, At the same time,

970
00:41:30,920 --> 00:41:33,359
Speaker 3: no life came out same time, turning on the lights,

971
00:41:33,400 --> 00:41:35,920
Speaker 3: got on the radio, same time. Juicy J just put

972
00:41:35,920 --> 00:41:37,560
Speaker 3: out bands make a dance. So it was like all

973
00:41:37,560 --> 00:41:40,479
Speaker 3: this shit just happening like quick. You know what I'm saying.

974
00:41:40,520 --> 00:41:43,440
Speaker 3: I'm like, man, you did this. It's twenty twelve. I

975
00:41:43,480 --> 00:41:46,440
Speaker 3: did the bare minimum with these drums. But it's like

976
00:41:46,760 --> 00:41:48,759
Speaker 3: that yeah effect, Like you know what I'm saying, like that,

977
00:41:49,440 --> 00:41:51,400
Speaker 3: Yeah heavy shook that ship.

978
00:41:51,280 --> 00:41:56,960
Speaker 1: Up bands to make her dance. Juice and Jay Wayne Chains.

979
00:41:57,200 --> 00:41:59,799
Speaker 3: Yeah, that shit was crazy. I had sent Juice. I

980
00:41:59,800 --> 00:42:02,600
Speaker 3: had just linked up with Juicy J, and I send

981
00:42:02,680 --> 00:42:05,359
Speaker 3: him a pack of beats and then it was just one.

982
00:42:05,520 --> 00:42:07,200
Speaker 3: It was that beat. I was like, Bro, this one

983
00:42:07,320 --> 00:42:09,520
Speaker 3: right here is a smash. You know what I'm saying, Like, Bro,

984
00:42:09,680 --> 00:42:12,440
Speaker 3: please get on this wool. So he had hit me

985
00:42:12,440 --> 00:42:14,399
Speaker 3: back here like yo. I was at my homegirl house

986
00:42:14,480 --> 00:42:17,320
Speaker 3: last night and man I did a set up in

987
00:42:17,360 --> 00:42:20,040
Speaker 3: her kitchen and man, bro went in on that beat.

988
00:42:20,360 --> 00:42:22,960
Speaker 3: I was like, you know what I'm saying. At this time,

989
00:42:23,000 --> 00:42:24,520
Speaker 3: I'm like, what the hell he talking about? He did

990
00:42:24,560 --> 00:42:26,520
Speaker 3: a set up in the kitchen, Like I'm like, send

991
00:42:26,520 --> 00:42:29,319
Speaker 3: it to me, un so boom he sent me. He

992
00:42:29,360 --> 00:42:31,680
Speaker 3: sent me the song man. I heard that ship, I

993
00:42:31,719 --> 00:42:34,600
Speaker 3: was like, all I saw was Magic City d o

994
00:42:34,760 --> 00:42:37,680
Speaker 3: A Onnest. I'm like, bro, I already know what to

995
00:42:37,719 --> 00:42:39,600
Speaker 3: do with I was out of town. I was in LA.

996
00:42:39,760 --> 00:42:40,840
Speaker 3: I was like, I know what to do with this.

997
00:42:41,000 --> 00:42:42,880
Speaker 3: I called him. I'm like, hey, we got hit. I'm like,

998
00:42:42,880 --> 00:42:44,799
Speaker 3: as soon as I get back to Atlanta, it's gonna

999
00:42:44,800 --> 00:42:46,520
Speaker 3: be the biggest song in the strip club. Like, bro,

1000
00:42:46,560 --> 00:42:49,120
Speaker 3: I promise, you know what I'm saying, Boom, next thing,

1001
00:42:49,160 --> 00:42:52,440
Speaker 3: you know, go back to Atlanta playing the joint strip clubs,

1002
00:42:52,719 --> 00:42:55,040
Speaker 3: shit go up and it was just juicy on there.

1003
00:42:55,160 --> 00:42:56,920
Speaker 3: You know what I'm saying. And then I played it

1004
00:42:56,960 --> 00:42:58,399
Speaker 3: for a couple more people. We were trying to figure

1005
00:42:58,440 --> 00:42:59,680
Speaker 3: out who we wanted to get on there. He had

1006
00:42:59,719 --> 00:43:02,399
Speaker 3: set Wayne. Wayne got on there, Two changs got on there.

1007
00:43:02,480 --> 00:43:05,279
Speaker 3: The rest was history. RE released it on my mixtape

1008
00:43:05,760 --> 00:43:18,239
Speaker 3: and then boom.

1009
00:43:14,360 --> 00:43:15,760
Speaker 1: Jay Z Beach is Better?

1010
00:43:15,840 --> 00:43:18,239
Speaker 3: All right? So Beach Is Better started off like Big

1011
00:43:18,280 --> 00:43:20,399
Speaker 3: Sean had ten to ten. He had that so on

1012
00:43:20,440 --> 00:43:22,839
Speaker 3: ten and teen, so he wanted to beat around ten

1013
00:43:22,880 --> 00:43:25,919
Speaker 3: to ten. So like we had did a couple beats

1014
00:43:25,960 --> 00:43:29,040
Speaker 3: around like the a cappella voice. Note that he had

1015
00:43:29,360 --> 00:43:31,080
Speaker 3: and Beach is Better was one of them, you know

1016
00:43:31,120 --> 00:43:33,880
Speaker 3: what I'm saying. So my boy Mars had sent me

1017
00:43:33,920 --> 00:43:36,319
Speaker 3: a couple of options, and I was like, yo, man,

1018
00:43:36,520 --> 00:43:38,680
Speaker 3: this beat hard, like hey, do this and that on

1019
00:43:38,719 --> 00:43:41,400
Speaker 3: the I'm on the phone with him telling them different

1020
00:43:41,480 --> 00:43:43,719
Speaker 3: edits to make d and then next thing you know,

1021
00:43:43,760 --> 00:43:45,440
Speaker 3: Mars sent me over to beat. I'm in the studio

1022
00:43:45,480 --> 00:43:48,040
Speaker 3: with Miley. There's two people from Coldplay right here. They

1023
00:43:48,040 --> 00:43:51,080
Speaker 3: had pulled up just to like hear different beats, you

1024
00:43:51,120 --> 00:43:52,839
Speaker 3: know what I'm saying. And then I heard Miley said

1025
00:43:52,840 --> 00:43:57,000
Speaker 3: ad lib so that and that Beach is Better as

1026
00:43:57,040 --> 00:43:59,800
Speaker 3: an ad lib that I took from like Miley session

1027
00:43:59,840 --> 00:44:01,799
Speaker 3: and put like an effect on it and put it

1028
00:44:01,840 --> 00:44:04,600
Speaker 3: on this beat that Mars has sent. Then I sent

1029
00:44:04,600 --> 00:44:07,279
Speaker 3: it the Big Sean like, bro, this this gotta be

1030
00:44:07,320 --> 00:44:09,160
Speaker 3: the one, Like you know what I'm saying. We put

1031
00:44:09,160 --> 00:44:11,000
Speaker 3: the extra juice on this one, like this gotta be

1032
00:44:11,040 --> 00:44:13,399
Speaker 3: the one. So I never heard from Big Sean. Then

1033
00:44:13,800 --> 00:44:16,360
Speaker 3: the next week I had the session with Hole, so

1034
00:44:16,400 --> 00:44:19,080
Speaker 3: I was locked in with whole the whole week and

1035
00:44:19,120 --> 00:44:22,160
Speaker 3: then boom, so I'm playing on different beats and my

1036
00:44:22,200 --> 00:44:25,000
Speaker 3: man Ryan Press was like he bro playing that Big Sean.

1037
00:44:26,040 --> 00:44:27,920
Speaker 3: I'm like, man, I can't do that the Big Seane

1038
00:44:27,920 --> 00:44:30,480
Speaker 3: bro like, yeah, he's gonna fuck with that. He was like, Bro,

1039
00:44:31,320 --> 00:44:33,040
Speaker 3: he was like, man, just playing for him, like you

1040
00:44:33,080 --> 00:44:34,759
Speaker 3: know what I'm saying, Like at the end of the day,

1041
00:44:34,760 --> 00:44:37,879
Speaker 3: you don't ever know, like playing for him. I was like, man, y'all,

1042
00:44:37,880 --> 00:44:39,560
Speaker 3: I got this beat, that idea for Big Sean, but

1043
00:44:39,560 --> 00:44:41,239
Speaker 3: I'm waiting to hear back from him, you know what

1044
00:44:41,280 --> 00:44:43,120
Speaker 3: I'm saying. He was like, oh, yeah, let me hear.

1045
00:44:43,600 --> 00:44:45,840
Speaker 3: So I played the beat. He heard that shit. He

1046
00:44:45,880 --> 00:44:48,120
Speaker 3: was like, yo, yo, so what Big Sean say. I

1047
00:44:48,200 --> 00:44:50,200
Speaker 3: was like, man, I ain't heard nothing, you know what

1048
00:44:50,239 --> 00:44:52,239
Speaker 3: I'm saying. He was like, Yo, We're gonna get Big

1049
00:44:52,280 --> 00:44:55,840
Speaker 3: Sean seven business days, you know what I'm saying. I

1050
00:44:55,880 --> 00:44:57,320
Speaker 3: was like, I'm like, all right, say last you know

1051
00:44:57,360 --> 00:44:59,399
Speaker 3: what I'm saying. And so I have reached out to Sean.

1052
00:44:59,520 --> 00:45:01,240
Speaker 3: I was like, man, bro, what we're gonna do with

1053
00:45:01,239 --> 00:45:02,839
Speaker 3: with the tender team? He was like, no, I had

1054
00:45:02,880 --> 00:45:05,879
Speaker 3: I had this other version that I like. I was like, oh,

1055
00:45:05,920 --> 00:45:09,680
Speaker 3: for Rel was all right, bet. I was like, that's

1056
00:45:09,680 --> 00:45:12,960
Speaker 3: all my brother, that's my areas brother. You know what

1057
00:45:12,960 --> 00:45:18,120
Speaker 3: I'm saying. Too. Yeah sure, so yeah, for sure, you

1058
00:45:18,160 --> 00:45:19,759
Speaker 3: know what I'm saying. So next thing, you know, like

1059
00:45:20,160 --> 00:45:22,000
Speaker 3: hope I got on that beach is better. I remember

1060
00:45:22,120 --> 00:45:24,920
Speaker 3: Cala had called me like yo yo, Hove did a

1061
00:45:25,000 --> 00:45:28,839
Speaker 3: record on that one beat you left him. He was like, man,

1062
00:45:28,880 --> 00:45:30,399
Speaker 3: I'm trying to get him to put a second verse

1063
00:45:30,440 --> 00:45:32,520
Speaker 3: on him, like this ship is going to be a problem.

1064
00:45:32,880 --> 00:45:35,080
Speaker 3: And then everybody kept I will hear about it. It

1065
00:45:35,120 --> 00:45:36,839
Speaker 3: was like, you know what I'm saying, I would hear

1066
00:45:36,840 --> 00:45:39,680
Speaker 3: about this record. They finally said it's going on the album.

1067
00:45:39,680 --> 00:45:44,000
Speaker 3: So then boom whole It's crazy because Whole rock with

1068
00:45:44,080 --> 00:45:47,920
Speaker 3: his engineer like the long way, like Guru, you know

1069
00:45:47,920 --> 00:45:50,399
Speaker 3: what I'm saying, Guru a goat. But at this time

1070
00:45:50,440 --> 00:45:53,960
Speaker 3: I'm trying to like really stamp that sound. Like so

1071
00:45:54,000 --> 00:45:57,960
Speaker 3: I don't want anybody to like mix any any records

1072
00:45:57,960 --> 00:45:59,600
Speaker 3: of mine because you know what I'm saying, I had

1073
00:45:59,600 --> 00:46:02,440
Speaker 3: this injury there that I worked with Jason Joshua, and

1074
00:46:02,760 --> 00:46:04,680
Speaker 3: you know what I'm saying, Like with him, it was

1075
00:46:04,760 --> 00:46:07,960
Speaker 3: like we already went through a thousand songs already and

1076
00:46:07,960 --> 00:46:10,879
Speaker 3: we didn't already he like we got this sound, now,

1077
00:46:10,880 --> 00:46:14,399
Speaker 3: we got our product supply chain going. So now it's like, yo,

1078
00:46:14,520 --> 00:46:17,080
Speaker 3: Big John, man, I need I need my man to

1079
00:46:17,080 --> 00:46:20,080
Speaker 3: mix the record. Big John like, look, Mike, this ain't

1080
00:46:20,120 --> 00:46:22,600
Speaker 3: the time to be difficult. Man, like this whole man

1081
00:46:22,840 --> 00:46:25,560
Speaker 3: like just send the files, like, don't don't try to

1082
00:46:25,600 --> 00:46:28,319
Speaker 3: be difficult. I was like, broh, listen, I'm not trying

1083
00:46:28,320 --> 00:46:30,080
Speaker 3: to be difficult, you know what I'm saying at all,

1084
00:46:30,200 --> 00:46:33,040
Speaker 3: Like if hole fuck with guru like Google mixed the

1085
00:46:33,160 --> 00:46:35,640
Speaker 3: vocals that my man mixed the beat. I just need

1086
00:46:35,640 --> 00:46:38,200
Speaker 3: to beat the sound how it's supposed to sound like,

1087
00:46:38,239 --> 00:46:40,520
Speaker 3: you know what I'm saying. So he like, man, I'll

1088
00:46:40,600 --> 00:46:43,960
Speaker 3: high light him. I see what's up. So boom. Finally

1089
00:46:44,320 --> 00:46:48,120
Speaker 3: they say like okay, cool, go ahead and do it. Boom.

1090
00:46:48,160 --> 00:46:50,040
Speaker 3: We mixed the beat, you know what I'm saying. They

1091
00:46:50,080 --> 00:46:52,239
Speaker 3: send the vocals over that's mixed, We put it with it,

1092
00:46:52,320 --> 00:46:55,960
Speaker 3: they send it back. They're like, yo, man, this shit

1093
00:46:56,080 --> 00:46:58,640
Speaker 3: is crazy. You know what I'm saying. So next thing,

1094
00:46:58,680 --> 00:47:01,160
Speaker 3: you know, they ended up reaching out to my man, Jason.

1095
00:47:01,800 --> 00:47:04,160
Speaker 3: Jason ended up mixing a couple more songs on the album.

1096
00:47:04,200 --> 00:47:05,960
Speaker 3: That shit ended up playing out. You know what I'm

1097
00:47:06,000 --> 00:47:08,400
Speaker 3: saying right up, which is better.

1098
00:47:08,719 --> 00:47:11,320
Speaker 2: Do a lot of do. A lot of rappers send

1099
00:47:11,360 --> 00:47:14,040
Speaker 2: you their vocals without the beat and you bill beats around.

1100
00:47:14,040 --> 00:47:16,440
Speaker 3: They do that a lot. It's different every time, you

1101
00:47:16,480 --> 00:47:18,520
Speaker 3: know what I'm saying. But I like doing that.

1102
00:47:18,360 --> 00:47:22,040
Speaker 2: Though that's that's a hard process or it's easier for you.

1103
00:47:22,360 --> 00:47:24,120
Speaker 3: I love that it's easier for me, you know what

1104
00:47:24,160 --> 00:47:26,960
Speaker 3: I'm saying, because we could just I got the tempo,

1105
00:47:27,040 --> 00:47:29,000
Speaker 3: I got the temple that rap too, you know what

1106
00:47:29,000 --> 00:47:30,840
Speaker 3: I'm saying. We got you know what I'm saying, we

1107
00:47:30,920 --> 00:47:33,160
Speaker 3: got the click track. We could just make a beat,

1108
00:47:33,280 --> 00:47:34,839
Speaker 3: like you know what I'm saying. I feel like every

1109
00:47:34,880 --> 00:47:38,000
Speaker 3: song is always different because sometimes like like with a

1110
00:47:38,000 --> 00:47:40,560
Speaker 3: super producer, right to me, like a super producer is

1111
00:47:40,600 --> 00:47:43,360
Speaker 3: like somebody who could be like hands on or hands

1112
00:47:43,360 --> 00:47:45,719
Speaker 3: off with the record, you know what I'm saying, and

1113
00:47:45,880 --> 00:47:48,640
Speaker 3: go through the whole process. Like you can make the beat,

1114
00:47:49,040 --> 00:47:51,480
Speaker 3: you can write the lyrics, you can engineer, you know

1115
00:47:51,520 --> 00:47:53,480
Speaker 3: what I'm saying. You can mix the song, or you

1116
00:47:53,520 --> 00:47:56,839
Speaker 3: can be hands off and get the right engineer to

1117
00:47:56,840 --> 00:47:59,000
Speaker 3: mix it, or get the right person to make the beat,

1118
00:47:59,080 --> 00:48:00,800
Speaker 3: or get the right person to do the melodies, and

1119
00:48:00,880 --> 00:48:03,040
Speaker 3: get the right person to do the drums. Or get

1120
00:48:03,280 --> 00:48:05,640
Speaker 3: and be able to communicate with the engineer and see

1121
00:48:05,640 --> 00:48:07,759
Speaker 3: it all the way through. You can't even communicate with

1122
00:48:07,800 --> 00:48:11,000
Speaker 3: the engineer if you don't understand what revert delay. You

1123
00:48:11,040 --> 00:48:12,520
Speaker 3: know what I'm saying. All that kind of stuff is,

1124
00:48:12,600 --> 00:48:15,000
Speaker 3: you know what I'm saying, like verify or you know

1125
00:48:15,040 --> 00:48:17,080
Speaker 3: what I'm saying, the tempo or speeding it up a

1126
00:48:17,080 --> 00:48:19,400
Speaker 3: couple of bpms. All that kind of language is like

1127
00:48:19,600 --> 00:48:21,960
Speaker 3: you can't even communicate or even know what you're looking

1128
00:48:21,960 --> 00:48:24,239
Speaker 3: for right there if you don't even if you're not

1129
00:48:24,640 --> 00:48:26,680
Speaker 3: if you're not that you know what I'm saying. But

1130
00:48:26,760 --> 00:48:29,160
Speaker 3: like I feel like with a super producer is automatic,

1131
00:48:29,200 --> 00:48:31,640
Speaker 3: you know what I'm saying. You can communicate with anybody

1132
00:48:31,680 --> 00:48:35,200
Speaker 3: from like I said, the musician in the room to

1133
00:48:35,280 --> 00:48:37,480
Speaker 3: the drummer, to the person that's on the beat machine,

1134
00:48:37,560 --> 00:48:41,560
Speaker 3: to the songwriters to the artists and knowing like put

1135
00:48:41,560 --> 00:48:44,200
Speaker 3: this artist with this artist because this is rare, and

1136
00:48:44,239 --> 00:48:45,680
Speaker 3: like you know what I'm saying, this is going like

1137
00:48:45,719 --> 00:48:48,480
Speaker 3: Midas Cyrus whiskyly from Juicy Jay is like they don't

1138
00:48:48,480 --> 00:48:50,680
Speaker 3: see Midy Syris rapping, you know what I'm saying, Like

1139
00:48:51,120 --> 00:48:53,200
Speaker 3: they don't even know who to go to get to

1140
00:48:53,239 --> 00:48:55,440
Speaker 3: write a rap for Miley Cyrus's song or you know

1141
00:48:55,480 --> 00:48:58,480
Speaker 3: what I'm saying, who to get to get that beat

1142
00:48:58,560 --> 00:49:00,680
Speaker 3: and make it super futurist, you know what I'm saying.

1143
00:49:01,440 --> 00:49:04,000
Speaker 3: So it's like being hands on her, hands off of

1144
00:49:04,120 --> 00:49:06,239
Speaker 3: that shit, like cause like black Beaters, Like I made

1145
00:49:06,239 --> 00:49:08,200
Speaker 3: that beat quick, you know what I'm saying, Send it

1146
00:49:08,280 --> 00:49:10,520
Speaker 3: right this way, booms, you know what I'm saying. So

1147
00:49:10,560 --> 00:49:15,400
Speaker 3: it's like it's different processes on producing every song, like

1148
00:49:16,360 --> 00:49:18,840
Speaker 3: and you got different ways, Like the new joint I

1149
00:49:18,880 --> 00:49:21,680
Speaker 3: just did with Sexy Red, perfect match. That was a

1150
00:49:21,719 --> 00:49:24,279
Speaker 3: song that she already had in her head, so she

1151
00:49:24,440 --> 00:49:28,400
Speaker 3: just went in. She she wrapped it a cappella and

1152
00:49:28,440 --> 00:49:30,000
Speaker 3: now I made a beat around it right there. You

1153
00:49:30,040 --> 00:49:31,880
Speaker 3: know what I'm saying. At the studio, just doing your

1154
00:49:31,920 --> 00:49:34,920
Speaker 3: process and just knowing, like I'm big on a product

1155
00:49:34,920 --> 00:49:37,160
Speaker 3: supply chain. Now that's what I picked up over these years.

1156
00:49:37,280 --> 00:49:40,319
Speaker 3: It's like just looking at everything like the product supply chain,

1157
00:49:40,440 --> 00:49:47,120
Speaker 3: raw material supplier, manufacturer, distributor, retail consumer. You know what

1158
00:49:47,160 --> 00:49:51,239
Speaker 3: I'm saying, and knowing that I need to live I

1159
00:49:51,320 --> 00:49:53,040
Speaker 3: like perfect it and I live over here in the

1160
00:49:53,120 --> 00:49:58,279
Speaker 3: left space, like in the raw material supplier manufacturer. So

1161
00:49:58,360 --> 00:50:00,920
Speaker 3: sometimes I'm the raw material where I might make the

1162
00:50:00,960 --> 00:50:03,719
Speaker 3: beat and then it might go to the studio and

1163
00:50:03,760 --> 00:50:06,560
Speaker 3: be the supplier and bring that beat, or sometime the

1164
00:50:06,640 --> 00:50:09,759
Speaker 3: artist might be the raw material and like Sexy Red,

1165
00:50:09,880 --> 00:50:12,640
Speaker 3: like have this song that she wraps a capella and

1166
00:50:12,680 --> 00:50:14,640
Speaker 3: then she supplies that and then I make the beat

1167
00:50:14,680 --> 00:50:16,759
Speaker 3: around it and then add different features on it. She

1168
00:50:16,840 --> 00:50:19,279
Speaker 3: added two more features on there, and you know what

1169
00:50:19,320 --> 00:50:23,640
Speaker 3: I'm saying. So, and then you have certain processes where

1170
00:50:23,640 --> 00:50:25,800
Speaker 3: it's like I got a whole production team, you know

1171
00:50:25,840 --> 00:50:27,880
Speaker 3: what I'm saying, where it's like I pull up on

1172
00:50:28,360 --> 00:50:30,680
Speaker 3: P Nasty or I pull up on Mars. I'm like, bro,

1173
00:50:30,920 --> 00:50:33,920
Speaker 3: I hear this person on this beat, and then I'm

1174
00:50:34,000 --> 00:50:36,880
Speaker 3: the supplier. I'm taking this raw material. I'm the supplier

1175
00:50:36,920 --> 00:50:39,439
Speaker 3: and I'm bringing it to this and we're manufacturing something

1176
00:50:39,520 --> 00:50:43,000
Speaker 3: right here. And like like move that dope was like

1177
00:50:43,080 --> 00:50:47,240
Speaker 3: a sound like that. It was just like like different pieces,

1178
00:50:47,280 --> 00:50:48,400
Speaker 3: like you know what I'm saying, Like it was like

1179
00:50:48,480 --> 00:50:50,680
Speaker 3: Future laid the hook and then I had an old

1180
00:50:50,719 --> 00:50:52,880
Speaker 3: Future verse, you know what I'm saying, And it was

1181
00:50:52,920 --> 00:50:55,000
Speaker 3: like we were trying to wrap up, honest, so I

1182
00:50:55,000 --> 00:50:57,680
Speaker 3: had this Future hook on this one beat, and then

1183
00:50:57,760 --> 00:51:00,120
Speaker 3: p Nasty had a hook on the same beat that

1184
00:51:00,160 --> 00:51:02,320
Speaker 3: he was that he was writing for Shrimp. That's not

1185
00:51:02,480 --> 00:51:05,680
Speaker 3: popping bottles? Don't it make you feel good? Like him?

1186
00:51:05,719 --> 00:51:08,759
Speaker 3: And Shrim wrote that. So like Boom I was like, man,

1187
00:51:08,800 --> 00:51:10,960
Speaker 3: this is sound hard under this one hook that Future

1188
00:51:10,960 --> 00:51:13,279
Speaker 3: did on the same beat. Pee, you know what I'm saying.

1189
00:51:13,320 --> 00:51:16,640
Speaker 3: So Boom took that made that the ad libs took

1190
00:51:16,640 --> 00:51:20,200
Speaker 3: this old Future verse, put it right here. Let Pharrell here.

1191
00:51:20,320 --> 00:51:22,600
Speaker 3: Pharrell like, oh shit, bro, I gotta get on this.

1192
00:51:22,719 --> 00:51:25,839
Speaker 3: I'm like, all right, bet Boom ad Forrell on here.

1193
00:51:26,080 --> 00:51:28,080
Speaker 3: I'm not even telling Future the whole time, Like you

1194
00:51:28,080 --> 00:51:30,480
Speaker 3: know what I'm saying, Like add Forrel on this joint

1195
00:51:30,520 --> 00:51:33,120
Speaker 3: the next thing. I'm not next thing I know. I'm like, yo, bro,

1196
00:51:34,000 --> 00:51:35,800
Speaker 3: man see it. Push your ad verse on here. You

1197
00:51:35,840 --> 00:51:38,720
Speaker 3: know what I'm saying. Push your get on their body Forrell,

1198
00:51:38,800 --> 00:51:42,080
Speaker 3: send another verse back, like y'all man, how to go harder?

1199
00:51:42,080 --> 00:51:43,600
Speaker 3: You know what I'm saying, Push you on two phrases.

1200
00:51:43,600 --> 00:51:47,440
Speaker 3: But I like parts of Pharrell's first verse. So Boom

1201
00:51:47,480 --> 00:51:49,720
Speaker 3: I took parts of pharrell first verse in the second

1202
00:51:49,760 --> 00:51:52,480
Speaker 3: verse and piece that shit together and send it and

1203
00:51:52,760 --> 00:51:56,120
Speaker 3: I sent it to Forrell and I'm thinking he heard it.

1204
00:51:56,160 --> 00:51:58,120
Speaker 3: I'm thinking like, cause he gave me the thumbs up,

1205
00:51:58,200 --> 00:52:00,279
Speaker 3: so I thought he heard it. Man, he ain't even

1206
00:52:00,320 --> 00:52:02,960
Speaker 3: hear it. So when the song came out, he was

1207
00:52:03,000 --> 00:52:06,680
Speaker 3: like like, what the hell? Like what is this?

1208
00:52:06,800 --> 00:52:06,920
Speaker 2: Bro?

1209
00:52:07,200 --> 00:52:09,400
Speaker 3: Like, this is not what I sent you? Like, I'm like, Bro,

1210
00:52:09,440 --> 00:52:11,160
Speaker 3: I sent it to you. I got the green light like.

1211
00:52:11,600 --> 00:52:13,239
Speaker 3: He was like, man, I thought you just mixed what

1212
00:52:13,320 --> 00:52:14,839
Speaker 3: I sent you, bro, Like you know what I'm saying.

1213
00:52:14,880 --> 00:52:17,000
Speaker 3: So he was thrown off at first, but everybody loved

1214
00:52:17,000 --> 00:52:19,080
Speaker 3: it and the Future loved it, and we was at

1215
00:52:19,080 --> 00:52:21,040
Speaker 3: the video the Future told him we loved it, so

1216
00:52:21,239 --> 00:52:23,560
Speaker 3: he felt cool when it was shot the video and

1217
00:52:23,640 --> 00:52:25,520
Speaker 3: the world ended up like loving that joint.

1218
00:52:25,760 --> 00:52:29,120
Speaker 1: So it's like, yeah, Humble, I want to Grammy in

1219
00:52:29,120 --> 00:52:32,680
Speaker 1: twenty eighteen with Kendrick speak to that process.

1220
00:52:33,040 --> 00:52:35,320
Speaker 3: Man, it was crazy, men, Kendrick, we were rocking, you

1221
00:52:35,360 --> 00:52:36,839
Speaker 3: know what I'm saying. Before we even did a song,

1222
00:52:36,880 --> 00:52:39,320
Speaker 3: we was already rocking for seven years. So I started

1223
00:52:39,320 --> 00:52:42,320
Speaker 3: out rocking with Schoolboy q Q linked me and Dot.

1224
00:52:42,520 --> 00:52:44,600
Speaker 3: I turned to Hello Beach for Good Kid, Mad City,

1225
00:52:44,680 --> 00:52:47,480
Speaker 3: Hello Beach for to Pimple Butterfly, and then like he

1226
00:52:47,600 --> 00:52:49,960
Speaker 3: dropped those projects and then like right after that, he

1227
00:52:50,080 --> 00:52:52,080
Speaker 3: was just like, man, bro, I'm gonna pull up on you.

1228
00:52:52,080 --> 00:52:53,600
Speaker 3: I about to start this home. I want to just

1229
00:52:53,800 --> 00:52:55,959
Speaker 3: pull up on you early and start the album early.

1230
00:52:56,280 --> 00:52:59,279
Speaker 3: So boy, we pulled up at the crib. Man listen

1231
00:52:59,280 --> 00:53:01,040
Speaker 3: to a bunch of beats, grabbed a bunch of beats.

1232
00:53:01,400 --> 00:53:03,399
Speaker 3: I'm like, man, damn, I hope I miss his next

1233
00:53:03,400 --> 00:53:05,400
Speaker 3: album with whatever he talking about. And then he just

1234
00:53:05,440 --> 00:53:08,160
Speaker 3: had this one week where he just locked in and

1235
00:53:08,200 --> 00:53:14,319
Speaker 3: then he did Humble, he did DNA, and he did XXX,

1236
00:53:15,000 --> 00:53:17,160
Speaker 3: and he sent me the He sent me like videos

1237
00:53:17,200 --> 00:53:19,840
Speaker 3: on his phone. I'm like, damn, man, it ain't going crazy.

1238
00:53:19,840 --> 00:53:22,480
Speaker 3: I can't wait to get to LA. Went to LA.

1239
00:53:22,520 --> 00:53:25,720
Speaker 3: I couldn't even wrap my mind around like XXX. Humble

1240
00:53:25,840 --> 00:53:28,680
Speaker 3: was like an automatic banger like XXX. I couldn't wrap

1241
00:53:28,680 --> 00:53:30,719
Speaker 3: my mind around in a good way. I was fucked up.

1242
00:53:30,760 --> 00:53:34,600
Speaker 3: It was like that innovational process or stage, like you

1243
00:53:34,640 --> 00:53:37,120
Speaker 3: know what I'm saying. DNA. I was like, Yo, this

1244
00:53:37,160 --> 00:53:38,920
Speaker 3: is a single right here, like this, how you come

1245
00:53:38,960 --> 00:53:41,120
Speaker 3: back and just go crazy? Like and me and him

1246
00:53:41,120 --> 00:53:42,879
Speaker 3: were like Dad sat on that and he was telling

1247
00:53:42,920 --> 00:53:45,359
Speaker 3: me like Humble. He was like, man, Bro, I'm I'm

1248
00:53:45,400 --> 00:53:48,120
Speaker 3: gonna let you get Humble for Ransom too. I'm like,

1249
00:53:48,239 --> 00:53:51,160
Speaker 3: hell no, like Humble like him, Humble was a banger too.

1250
00:53:51,200 --> 00:53:53,200
Speaker 3: He was like, yeah, but it just don't fit my album.

1251
00:53:53,239 --> 00:53:56,520
Speaker 3: I'm like, Bro, you tripping, bro, like but I take it,

1252
00:53:56,560 --> 00:53:58,720
Speaker 3: but like you tripping, like you know what I'm saying.

1253
00:53:58,800 --> 00:54:01,520
Speaker 3: And then he was like, man, I think that's the one.

1254
00:54:01,520 --> 00:54:02,840
Speaker 3: I'm gonna let you know, but I think that's the

1255
00:54:02,840 --> 00:54:04,360
Speaker 3: one gonna let you get for your album. I was like,

1256
00:54:04,400 --> 00:54:07,279
Speaker 3: all right, bet so. Then I left the city. I

1257
00:54:07,320 --> 00:54:09,560
Speaker 3: was like, bron, I was telling my boys. I was like, man,

1258
00:54:09,640 --> 00:54:11,160
Speaker 3: Kendrick got this hard ass song.

1259
00:54:11,200 --> 00:54:11,319
Speaker 2: Bro.

1260
00:54:11,360 --> 00:54:13,200
Speaker 3: He talking about let me use it for the album.

1261
00:54:13,360 --> 00:54:15,000
Speaker 3: It'll be big for the album, but it's gonna be

1262
00:54:15,000 --> 00:54:17,000
Speaker 3: bigger if he put it out, like you know what

1263
00:54:17,040 --> 00:54:19,520
Speaker 3: I'm saying. So he hit me. He was like, man, yo,

1264
00:54:19,640 --> 00:54:22,160
Speaker 3: top saying the same ship, Bro, He's saying Humble the one.

1265
00:54:22,440 --> 00:54:24,319
Speaker 3: I was like, Bro, I'm telling you, bro, that's the one.

1266
00:54:24,360 --> 00:54:26,359
Speaker 3: He was like, Man, all right, which one you think

1267
00:54:26,360 --> 00:54:28,880
Speaker 3: I should go with first? I was like, Man, if

1268
00:54:28,920 --> 00:54:32,160
Speaker 3: you go on radio, man just going Humble. That ship

1269
00:54:32,239 --> 00:54:35,120
Speaker 3: already hit. DNA just shows like, man, you you the

1270
00:54:35,239 --> 00:54:37,880
Speaker 3: hell of a rapper. They already know that, but they

1271
00:54:37,960 --> 00:54:42,440
Speaker 3: gonna get that regardless. Yeah yeah, and like he dropped

1272
00:54:42,440 --> 00:54:44,919
Speaker 3: that Humble, That shit just exploded. He dropped. He shot

1273
00:54:44,960 --> 00:54:47,920
Speaker 3: that crazy video. She just went crazy.

1274
00:54:47,960 --> 00:54:53,279
Speaker 1: Man shout out Last but not least Queen Bee Lemonade.

1275
00:54:53,000 --> 00:54:56,879
Speaker 3: Formation was crazy. Swaylee and Jimmy they hell of the songwriters, right,

1276
00:54:57,360 --> 00:54:59,560
Speaker 3: but like if you tell them like yo, I need

1277
00:54:59,600 --> 00:55:01,839
Speaker 3: you to write this song for Beyonce might throw them off.

1278
00:55:02,239 --> 00:55:04,440
Speaker 3: So it's like I snuck it in. We're riding in

1279
00:55:04,480 --> 00:55:07,759
Speaker 3: the car and we're going to Coachella, and then I

1280
00:55:07,800 --> 00:55:11,760
Speaker 3: had this beat like Beyonce was already hitting for like records,

1281
00:55:12,000 --> 00:55:14,440
Speaker 3: but I was like, man, we doing something with Beyones. Bro,

1282
00:55:14,640 --> 00:55:17,120
Speaker 3: Like this gotta be like a woman empowerment. This gotta

1283
00:55:17,160 --> 00:55:20,840
Speaker 3: be like single ladies level. This gotta be like you

1284
00:55:20,840 --> 00:55:22,600
Speaker 3: know what I'm saying, It's gotta be like up there.

1285
00:55:22,680 --> 00:55:25,040
Speaker 3: So I was in the car with them and I

1286
00:55:25,080 --> 00:55:27,600
Speaker 3: was like, man, bro, I was just playing beats. I'm like, man,

1287
00:55:27,600 --> 00:55:31,560
Speaker 3: we need to make the next man female anthem. Bro, Like, man,

1288
00:55:31,600 --> 00:55:36,560
Speaker 3: we gotta make we gotta go single ladies level. Yeah,

1289
00:55:36,680 --> 00:55:39,600
Speaker 3: I was like, man, we gotta just turn like we

1290
00:55:39,640 --> 00:55:42,360
Speaker 3: gotta turn the females up, like bro Like, Man, we

1291
00:55:42,400 --> 00:55:45,040
Speaker 3: gotta do. I was just throwing that out there, and

1292
00:55:45,080 --> 00:55:47,480
Speaker 3: then swe was just like nahn for real, y'all can

1293
00:55:47,520 --> 00:55:49,440
Speaker 3: write a female joint. Y'all ain't even got to think

1294
00:55:49,440 --> 00:55:51,920
Speaker 3: about who is Forger's, but like what'll be like a

1295
00:55:52,000 --> 00:55:55,320
Speaker 3: chant like they just looking for, like that that sweat

1296
00:55:55,360 --> 00:55:57,560
Speaker 3: that y'all coming with, cause it's like y'all different, like

1297
00:55:57,600 --> 00:55:59,400
Speaker 3: you know what I'm saying, y'all coming in a different pockets.

1298
00:55:59,480 --> 00:56:03,640
Speaker 3: So Man Sway started freestyling to the beat and then

1299
00:56:03,680 --> 00:56:06,040
Speaker 3: next thing you know, I heard him say, okay, lady,

1300
00:56:06,080 --> 00:56:08,560
Speaker 3: and now let me get the information. I'm like what

1301
00:56:08,640 --> 00:56:11,280
Speaker 3: you just said. And he was like he was like okay, lady,

1302
00:56:11,320 --> 00:56:13,520
Speaker 3: you know, let's get it in for I'm like bruh.

1303
00:56:13,680 --> 00:56:16,560
Speaker 3: I turned out, pulled out the voice notes. He rapping

1304
00:56:16,600 --> 00:56:19,800
Speaker 3: that shit. And then next thing you know, and Jimmy

1305
00:56:19,840 --> 00:56:22,440
Speaker 3: came to the studio. He heard him. Jimmy went in

1306
00:56:22,480 --> 00:56:24,719
Speaker 3: the booth, laid some shit down, and I was like,

1307
00:56:24,719 --> 00:56:26,479
Speaker 3: that's all y'all got to do. Don't even worry about

1308
00:56:26,480 --> 00:56:30,200
Speaker 3: making it the song or nothing like boom, So I

1309
00:56:30,239 --> 00:56:32,880
Speaker 3: took that that reference vocal. We started working on some

1310
00:56:32,960 --> 00:56:35,680
Speaker 3: other shit, and I sent like four records of Beyonce

1311
00:56:36,080 --> 00:56:39,600
Speaker 3: and then I had went to I had went to

1312
00:56:40,080 --> 00:56:42,400
Speaker 3: a Laker game and like Brian was playing. You know

1313
00:56:42,440 --> 00:56:44,160
Speaker 3: what I'm saying. This before he was on the Lakers.

1314
00:56:44,480 --> 00:56:47,080
Speaker 3: You know what I'm saying, he was playing with Cleveland.

1315
00:56:47,840 --> 00:56:50,600
Speaker 3: But I saw Brian playing out running the Rich and

1316
00:56:50,719 --> 00:56:53,480
Speaker 3: Rich had already put together the commercial that I did

1317
00:56:53,480 --> 00:56:56,480
Speaker 3: for Brian in twenty thirteen with the Nike commercial, so

1318
00:56:56,600 --> 00:56:58,840
Speaker 3: boring saw Rich. We staying at the same hotel. He

1319
00:56:58,880 --> 00:57:01,480
Speaker 3: was like, man, come get some dinner. You know what

1320
00:57:01,480 --> 00:57:04,000
Speaker 3: I'm saying. After the game, I'm all right, bet So

1321
00:57:04,040 --> 00:57:06,040
Speaker 3: he had called me later and then I was down

1322
00:57:06,080 --> 00:57:09,960
Speaker 3: there eating with them, him, Brian, everybody, the team, and

1323
00:57:10,000 --> 00:57:12,359
Speaker 3: then next thing you know, hoven Be just pulled up,

1324
00:57:12,360 --> 00:57:14,960
Speaker 3: you know what I'm saying out of nowhere. Then everybody

1325
00:57:14,960 --> 00:57:17,880
Speaker 3: down there were just passing the os, just listening to Ship.

1326
00:57:18,560 --> 00:57:20,080
Speaker 3: And then next thing you know, b was like, yo,

1327
00:57:20,160 --> 00:57:22,320
Speaker 3: I like one of those ideas you sent me. I

1328
00:57:22,400 --> 00:57:24,840
Speaker 3: was like, for real, And then I was like which one.

1329
00:57:25,000 --> 00:57:26,920
Speaker 3: She was like, man, that formation. I was like, man,

1330
00:57:26,960 --> 00:57:29,040
Speaker 3: I was hoping that, you know what I'm saying. She

1331
00:57:29,160 --> 00:57:31,480
Speaker 3: was like yeah, yeah, Like I fuck with that, Like

1332
00:57:32,000 --> 00:57:33,720
Speaker 3: I'm gonna write some stuff too. I'm gonna go in

1333
00:57:33,880 --> 00:57:35,880
Speaker 3: do some verses and this and that this, And now

1334
00:57:35,880 --> 00:57:38,080
Speaker 3: I was like, oh yeah, like that's hard. So next thing,

1335
00:57:38,120 --> 00:57:40,520
Speaker 3: you know, I go to New York licking with her

1336
00:57:40,560 --> 00:57:43,360
Speaker 3: for like a week, and then we just putting the

1337
00:57:43,360 --> 00:57:45,960
Speaker 3: final touches on that. But now she has like a

1338
00:57:46,000 --> 00:57:48,720
Speaker 3: real record, like she just took the okay, ladies, now

1339
00:57:48,760 --> 00:57:53,200
Speaker 3: let's get information. She took like certain like like a

1340
00:57:53,200 --> 00:57:55,840
Speaker 3: little line or two that she that she got inspired

1341
00:57:55,880 --> 00:57:58,200
Speaker 3: by and then wrote her verses and now it was

1342
00:57:58,240 --> 00:58:01,400
Speaker 3: like a whole record about like not only female ampowerment,

1343
00:58:01,440 --> 00:58:05,200
Speaker 3: but like black empowerment, her people empowerment, her family empowerment.

1344
00:58:05,360 --> 00:58:07,040
Speaker 3: Like you know what I'm saying. She just yeah, it's

1345
00:58:07,040 --> 00:58:10,880
Speaker 3: just like some boss up female viobes. And then so

1346
00:58:10,960 --> 00:58:12,440
Speaker 3: we just stayed up there in New York and meet

1347
00:58:12,480 --> 00:58:15,520
Speaker 3: her plus her engineer, you know what I'm saying, and

1348
00:58:15,600 --> 00:58:17,880
Speaker 3: we just put like the final touches on the record

1349
00:58:17,960 --> 00:58:20,880
Speaker 3: or whatnot. And next thing, you know, like bro, we

1350
00:58:20,960 --> 00:58:22,800
Speaker 3: get formation. That's crazy.

1351
00:58:23,320 --> 00:58:27,400
Speaker 1: Came together all right, man, last part quick hitters. First

1352
00:58:27,440 --> 00:58:30,160
Speaker 1: thing to come to mind. Let us know top five

1353
00:58:30,320 --> 00:58:33,760
Speaker 1: music producers of all time in your opinion.

1354
00:58:33,560 --> 00:58:37,320
Speaker 3: We gotta say Quincy Man, Quincy, Many Fresh, Juicy J,

1355
00:58:37,560 --> 00:58:40,320
Speaker 3: Kanye West. You know what I'm saying. You know what

1356
00:58:40,360 --> 00:58:43,760
Speaker 3: I'm saying, Like yeah, wor like all of them right there?

1357
00:58:43,800 --> 00:58:47,280
Speaker 3: Any any producer that came through and disrupted the game

1358
00:58:47,360 --> 00:58:49,400
Speaker 3: like my bad for real, you know what I'm saying,

1359
00:58:49,440 --> 00:58:51,760
Speaker 3: for real for show Timbo. You know what I'm saying.

1360
00:58:52,040 --> 00:58:54,560
Speaker 3: But like any any any producer that just came through

1361
00:58:54,560 --> 00:58:57,800
Speaker 3: and like disrupted that game, like I feel like and

1362
00:58:57,800 --> 00:59:02,120
Speaker 3: and showed that range. Quincy like this man, he had

1363
00:59:02,160 --> 00:59:05,120
Speaker 3: such a vision I feel like as a producer, as

1364
00:59:05,160 --> 00:59:07,480
Speaker 3: a as a as like a dope producer, like you

1365
00:59:07,480 --> 00:59:09,480
Speaker 3: you got the vision, You're able to see the unseen.

1366
00:59:10,160 --> 00:59:14,240
Speaker 3: So like Quincy was like real dope at that from

1367
00:59:14,240 --> 00:59:16,960
Speaker 3: from my understanding, I don't really know him like that,

1368
00:59:17,080 --> 00:59:19,400
Speaker 3: but I ain't never really worked with him or met him,

1369
00:59:19,440 --> 00:59:22,920
Speaker 3: but just like like studying his projects, like and he

1370
00:59:23,000 --> 00:59:25,600
Speaker 3: knew how to be real strict and he knew how

1371
00:59:25,600 --> 00:59:27,640
Speaker 3: to make that ship cut through, like you know what

1372
00:59:27,640 --> 00:59:30,480
Speaker 3: I'm saying any producer that does that, like for real,

1373
00:59:30,840 --> 00:59:33,920
Speaker 3: Like you know what I'm saying, Timbo, Kanye, you know

1374
00:59:33,920 --> 00:59:38,680
Speaker 3: what I'm saying, Like like then you got other producers too,

1375
00:59:38,720 --> 00:59:42,760
Speaker 3: like like Mark Ronson and yeah, you are all kind

1376
00:59:42,760 --> 00:59:45,840
Speaker 3: of different people, quick man. It's yeah, I don't even

1377
00:59:45,880 --> 00:59:48,360
Speaker 3: know why you ask that. Shout out to all of them.

1378
00:59:48,360 --> 00:59:50,320
Speaker 3: Shout out to all the producers that's changing the game.

1379
00:59:50,400 --> 00:59:53,320
Speaker 3: That's original, and that's you know what I'm saying, doing

1380
00:59:53,320 --> 00:59:57,000
Speaker 3: their own thing, that's out of pocket. Childhood crush, childhood crush.

1381
00:59:57,080 --> 01:00:00,920
Speaker 3: I had a lot of them, you know what I'm saying.

1382
01:00:00,120 --> 01:00:01,240
Speaker 1: Me a top two or three.

1383
01:00:01,880 --> 01:00:05,960
Speaker 3: Who was you crushing on Leah for shows? Yeah? Hopefully

1384
01:00:06,000 --> 01:00:08,560
Speaker 3: I was crying when she died and I had plans

1385
01:00:08,680 --> 01:00:10,920
Speaker 3: like she was a queen.

1386
01:00:12,000 --> 01:00:15,200
Speaker 2: Actually touched the childhood crush though she was the one

1387
01:00:15,240 --> 01:00:19,760
Speaker 2: man to say that they touched the child one repeat,

1388
01:00:19,800 --> 01:00:20,320
Speaker 2: no skips.

1389
01:00:20,840 --> 01:00:26,200
Speaker 3: Michael Jackson, Thriller, Oh nobody said that. Michael Michael Jackson, Thriller,

1390
01:00:26,360 --> 01:00:30,200
Speaker 3: and Prince Purple Rain for show All Lives on Me

1391
01:00:30,720 --> 01:00:32,960
Speaker 3: fifty Get Richard. I trying them for it right there.

1392
01:00:33,040 --> 01:00:36,240
Speaker 3: I'm my holy grail when I if I'm producing any album.

1393
01:00:36,360 --> 01:00:38,959
Speaker 3: I'm I'm gonna tap in. I'm gonna tap into the

1394
01:00:39,120 --> 01:00:42,000
Speaker 3: nine songs on on on Thriller, nine songs on on

1395
01:00:42,080 --> 01:00:45,240
Speaker 3: Purple Rain. It's very focused for all eves on me.

1396
01:00:45,280 --> 01:00:48,720
Speaker 3: It's like Longest Hell. But there's so many bangers. Get

1397
01:00:48,840 --> 01:00:50,880
Speaker 3: rich of I trying. It's like bangers after.

1398
01:00:50,760 --> 01:00:53,040
Speaker 1: Bangers classically still sleep on it.

1399
01:00:53,120 --> 01:00:53,600
Speaker 2: Don't give.

1400
01:00:55,360 --> 01:00:56,680
Speaker 1: Five dinners that are alive.

1401
01:00:56,920 --> 01:00:59,720
Speaker 3: You can't ask for these, you know what I'm saying?

1402
01:01:00,960 --> 01:01:05,439
Speaker 3: Name five people, bro, Yes, you have dinner with you?

1403
01:01:05,440 --> 01:01:08,120
Speaker 2: You tell me, Bro, I asked this question every damn

1404
01:01:08,160 --> 01:01:08,920
Speaker 2: there on my show.

1405
01:01:09,400 --> 01:01:13,080
Speaker 3: Get your answer. No, No, we never answered it exactly.

1406
01:01:13,760 --> 01:01:16,200
Speaker 3: You want to ask me against that alive?

1407
01:01:16,280 --> 01:01:21,080
Speaker 2: I would do uh dead alive, Michael Jordan's, Malcolm x

1408
01:01:21,320 --> 01:01:27,840
Speaker 2: hueyt P Newton, Uh Mega Evers and probably Gina Hall

1409
01:01:28,600 --> 01:01:29,080
Speaker 2: your crush.

1410
01:01:30,160 --> 01:01:30,760
Speaker 3: Don't ask me.

1411
01:01:31,000 --> 01:01:32,480
Speaker 2: I can name another five right now.

1412
01:01:32,520 --> 01:01:34,520
Speaker 1: That's your first.

1413
01:01:35,440 --> 01:01:38,280
Speaker 2: I want sabilitate some funny something, you know, I want

1414
01:01:38,320 --> 01:01:40,400
Speaker 2: to learn something. I want to look at something too,

1415
01:01:41,720 --> 01:01:46,640
Speaker 2: maybe touch something that's gonna happen. You see any guests

1416
01:01:46,640 --> 01:01:49,200
Speaker 2: on All the Smoke, who would it be? But you

1417
01:01:49,280 --> 01:01:51,200
Speaker 2: have to help us get your answer on our show

1418
01:01:51,800 --> 01:01:55,760
Speaker 2: sightly that that's a good Yeah.

1419
01:01:55,880 --> 01:01:57,160
Speaker 1: Easy, he's in l A too.

1420
01:01:57,040 --> 01:02:00,640
Speaker 3: Any Yeah yeah Miami, Miam. We need to make that

1421
01:02:00,680 --> 01:02:03,240
Speaker 3: happen while man, you know you're swizzy.

1422
01:02:03,480 --> 01:02:08,080
Speaker 1: Yeah, Mike Man, We appreciate your time, continued success. Congratulations

1423
01:02:08,080 --> 01:02:09,520
Speaker 1: on all the new projects with the n b A

1424
01:02:09,680 --> 01:02:11,840
Speaker 1: and and the new stuff you have coming. And keep

1425
01:02:11,880 --> 01:02:14,240
Speaker 1: us in mind for our new all smoke jingle.

1426
01:02:14,400 --> 01:02:17,160
Speaker 3: We would love a jingle, man, for sure. I got

1427
01:02:17,200 --> 01:02:18,040
Speaker 3: a couple of bars for it.

1428
01:02:18,160 --> 01:02:20,360
Speaker 1: Jack is out in Atlanta. You might use those bars,

1429
01:02:20,360 --> 01:02:21,320
Speaker 1: you might throw them away, but.

1430
01:02:21,320 --> 01:02:27,120
Speaker 3: We still write a distract about this.

1431
01:02:29,160 --> 01:02:29,360
Speaker 2: Yeah.

1432
01:02:29,800 --> 01:02:30,720
Speaker 1: Man, we appreciate you.

1433
01:02:30,800 --> 01:02:31,000
Speaker 2: Man.

1434
01:02:31,080 --> 01:02:34,240
Speaker 1: You can catch this on YouTube. You know where we're

1435
01:02:34,280 --> 01:02:40,720
Speaker 1: at a ship now. Smoke production, big Boy, we just started.

1436
01:02:41,040 --> 01:02:43,520
Speaker 1: You're the second show under the new umbrella. Baby, appreciate you.

1437
01:02:43,640 --> 01:02:46,120
Speaker 3: Inspired by Big Big On Productions. You would be like

1438
01:02:46,400 --> 01:02:48,760
Speaker 3: all the Smoke productions. That could be your little tag.

1439
01:02:49,640 --> 01:02:51,720
Speaker 3: You know what I'm saying, little kid.

1440
01:02:52,640 --> 01:02:54,400
Speaker 1: We'll see y'all next week. Man, appreciate