WEBVTT - QLS Classic: Salaam Remi Pt. 2 0:00:00.480 --> 0:00:04.240 Quest Love Supreme is a production of iHeartRadio. This classic 0:00:04.280 --> 0:00:10.520 episode was produced by the team at Pandora. 0:00:10.600 --> 0:00:13.440 All Right, y'all, it's Laia and it's time for another 0:00:13.560 --> 0:00:17.680 Questlove Supreme classic. This week we continue with part two 0:00:18.160 --> 0:00:21.840 of Salaam Remy. Yep and part two Salam talks about 0:00:21.880 --> 0:00:25.360 making it in the music business, helping Amy Winehouse shape 0:00:25.360 --> 0:00:31.040 her style, and he even shares tales from the Latin quada. Yeah, 0:00:31.120 --> 0:00:33.440 that and so much more. So, Let's get ready for 0:00:33.560 --> 0:00:39.200 Part two of Salaam Remy from May Sewod twenty eighteen. 0:00:45.680 --> 0:00:47.840 Last week, or part one of the Quest Love Supreme 0:00:47.880 --> 0:00:50.760 interview with Salam Remy. We talked about an early work 0:00:51.000 --> 0:00:54.200 with acts like Critis Blow, Nfcrail and the House Rockers, 0:00:54.520 --> 0:00:57.080 and touched upon his work with Fugies, including their breakout 0:00:57.120 --> 0:01:01.560 single the Remix of Napio. Salam also contributed Fujilo to 0:01:01.600 --> 0:01:05.240 the group's wildly successful second album, The Score. We in 0:01:05.319 --> 0:01:08.039 depart one with a question about how the success of 0:01:08.080 --> 0:01:10.360 that album affected the members of the Food US. 0:01:10.840 --> 0:01:11.920 Here's Samsung. 0:01:25.520 --> 0:01:30.240 In hindsight and you know, part family member and part 0:01:30.319 --> 0:01:37.240 outside of looking at whatever do you think that after 0:01:37.959 --> 0:01:44.759 eighteen million copies of that album sold. Did it serve 0:01:44.880 --> 0:01:45.800 them well or not? 0:01:48.360 --> 0:01:48.640 Hmm? 0:01:50.600 --> 0:01:52.440 Not like regrets if you could go back and redoing 0:01:52.440 --> 0:01:52.800 it again, it. 0:01:52.840 --> 0:01:55.760 Whatever, But in the aftermath of it, like I think 0:01:55.880 --> 0:01:58.320 ultimately asserved him really well. I mean, I have this 0:01:58.480 --> 0:02:02.000 thing with artists who who have done ten million albums. 0:02:02.960 --> 0:02:06.320 What happens after that? You know, whether it was Usher's Confessions, 0:02:07.120 --> 0:02:09.600 whether it was you know not many artists have been 0:02:09.600 --> 0:02:11.280 able to come back and having a dull moment where 0:02:11.280 --> 0:02:13.000 they did it twice. I think Black Eyed Peas might 0:02:13.040 --> 0:02:15.040 have done that a couple times in a row. 0:02:16.200 --> 0:02:16.359 You know. 0:02:16.720 --> 0:02:22.679 For Lauren Hill's career, it was the score into miseducation, 0:02:22.880 --> 0:02:27.560 because I still see the score is almost like a 0:02:27.680 --> 0:02:29.200 frank to back the black or like you know what 0:02:29.200 --> 0:02:31.000 I'm saying. It's like a movement. Even though blunting of 0:02:31.120 --> 0:02:33.760 reality was there, there was something to follow up on 0:02:33.919 --> 0:02:36.720 that now gave you credibility. It gave everyone the opportunity 0:02:36.760 --> 0:02:38.280 to know your name, so now you had to just 0:02:38.360 --> 0:02:41.440 deliver on your next piece of work, not necessarily just 0:02:41.560 --> 0:02:44.680 have all those pieces. I think it served them well 0:02:44.800 --> 0:02:47.200 to now get their art and their ability to still 0:02:47.320 --> 0:02:51.120 all eat to this day. You know, based upon something 0:02:51.200 --> 0:02:52.880 that came out twenty two years ago. 0:02:53.320 --> 0:02:55.560 Why didn't you guys ever do anything else? Because after 0:02:55.919 --> 0:03:00.080 yeah that, y'all never you were no mis education were The. 0:03:00.080 --> 0:03:03.359 Last thing I did was the Sweetest Thing remix with 0:03:03.560 --> 0:03:06.679 the Swat Saw. Yeah, so that was probably the last 0:03:06.680 --> 0:03:08.760 thing I did. But you know, just in general, my 0:03:08.960 --> 0:03:11.520 conversation and who I am is something that's kind of happy. 0:03:11.600 --> 0:03:13.880 So I wasn't gonna fit into a sad song mode. 0:03:15.200 --> 0:03:17.919 It wasn't gonna work even you know, people talk to 0:03:18.040 --> 0:03:20.040 me about, you know, even my work with Amy Winehouse 0:03:20.040 --> 0:03:22.639 and they're like it sad songs. I'm like, nah, she's 0:03:22.680 --> 0:03:24.840 talking shit the whole time, like maybe in the morning 0:03:24.880 --> 0:03:27.960 when your dick works, or like the lyrics are all 0:03:28.040 --> 0:03:31.600 about their tongue in cheek. You know, Yeah, I cheated 0:03:31.680 --> 0:03:33.680 on you, but I heard love is blind, Like it's 0:03:33.720 --> 0:03:35.960 all smarter. It's not love is a losing game. It's 0:03:36.000 --> 0:03:39.400 not super sad mad records. It's like I'm gonna snap 0:03:39.480 --> 0:03:42.680 on you until you break. Basically, I was trying. 0:03:42.480 --> 0:03:44.400 To get me pumps in my roll call, but I 0:03:44.440 --> 0:03:45.520 couldn't get the rhyme. 0:03:45.720 --> 0:03:52.440 But Jesus, actually that's something I wrote that I actually 0:03:52.560 --> 0:03:54.600 had prior to the meeting. 0:03:55.560 --> 0:03:57.040 This is a story. 0:03:58.240 --> 0:04:04.160 Was trying to get me pumped. Story from right now, dog, 0:04:04.320 --> 0:04:05.960 I didn't even get that. I didn't even get the 0:04:06.080 --> 0:04:06.520 nods yet. 0:04:08.080 --> 0:04:11.600 Basically, this twisted pinky is the story. 0:04:11.880 --> 0:04:12.160 I have a. 0:04:14.040 --> 0:04:17.400 Yeah, I dislocated it. And basically, there's a friend of 0:04:17.440 --> 0:04:20.400 mine who I recently just told three weeks ago where 0:04:20.440 --> 0:04:22.400 the story came from. But they showed up at my 0:04:22.480 --> 0:04:25.479 house with the home girl. They were really drunk. They 0:04:25.560 --> 0:04:30.760 couldn't get anywhere. They got alcohol poisoning. Cool, all right, 0:04:30.839 --> 0:04:33.280 it's cool. I'm gonna go get y'all some water. Next morning, 0:04:33.440 --> 0:04:36.120 I tripped in my staircase. I hit my hand. I 0:04:36.240 --> 0:04:38.280 have my finger in two pieces. I'm like, oh, I 0:04:38.320 --> 0:04:42.479 can't play guitar. I can't play nothing. I'm my only 0:04:42.560 --> 0:04:45.120 broken bone in life. So I'm like, oh, word that. 0:04:45.320 --> 0:04:48.160 Later that day, I'm like, yo, where y'all at? I'm 0:04:48.200 --> 0:04:50.479 at the studio. My fingers twisted? Oh we in DC 0:04:50.640 --> 0:04:57.080 at the All Star game? Word all right? Cool? And 0:04:57.120 --> 0:05:00.799 then the lyrics for that song basically wrote itself. Ouch, 0:05:02.880 --> 0:05:05.720 well that was cute. All there you go? 0:05:08.120 --> 0:05:11.480 How did you I know? I'm quasi okay, See you 0:05:11.600 --> 0:05:16.200 didn't work on Miss Education obviously, What did you do 0:05:16.360 --> 0:05:21.200 between ninety nine and now? It just comes in the 0:05:21.240 --> 0:05:22.360 picture with two thousand. 0:05:22.120 --> 0:05:24.960 And two, two thousand and one and one? 0:05:25.040 --> 0:05:25.640 Yeah, what'd you do? 0:05:27.040 --> 0:05:29.800 Ninety nine? What was I doing? Ninety nine? Ninety nine? 0:05:29.839 --> 0:05:32.680 I bought sound Works, which is underneath Studio fifty four, 0:05:34.279 --> 0:05:38.080 so that became my studio base. I was working on 0:05:38.200 --> 0:05:41.720 a lot of my own label stuff. I had all 0:05:41.760 --> 0:05:45.440 my artists went to jail, Major Stress. I had a 0:05:45.480 --> 0:05:48.920 group called Major Stress. One of those people went to jail. 0:05:49.080 --> 0:05:52.440 Ross t has had a nine to six million dollar record, 0:05:52.600 --> 0:05:55.880 so Ross had his whole album done. Ross went to jail. 0:05:58.120 --> 0:05:59.040 Is he still out up now? 0:05:59.720 --> 0:06:02.520 He's We've been out for a long time. But basically 0:06:02.640 --> 0:06:04.360 that happened. Then I bought my studio, and then I 0:06:04.440 --> 0:06:07.280 just started experiment that. I produced a group actually from 0:06:07.320 --> 0:06:12.680 Philly called Live and Direct, these four young brothers who 0:06:12.960 --> 0:06:15.039 sing and did some stuff. 0:06:15.440 --> 0:06:16.640 And what else? 0:06:16.720 --> 0:06:20.400 Ninety nine? Yeah, I worked on Richard Sally before that. 0:06:20.480 --> 0:06:22.080 I'm trying to think what else came out around now. 0:06:22.080 --> 0:06:24.120 I was helping Angie Martinez with an up close and 0:06:24.200 --> 0:06:24.919 personal album. 0:06:25.600 --> 0:06:27.880 When you work on it when you work with an artist, like, 0:06:28.040 --> 0:06:32.040 is there any sort of modus operandi that or what 0:06:32.200 --> 0:06:34.320 do you look for when you decide Okay, I'm gonna 0:06:34.320 --> 0:06:34.800 mess with them. 0:06:35.839 --> 0:06:38.440 Sometimes it's a relationship with somebody that brought them to me. 0:06:38.839 --> 0:06:41.520 But at this given point, I've kind of crystallized it. 0:06:42.200 --> 0:06:46.760 I'm into people with distinctive voices and what I really do. 0:06:47.040 --> 0:06:48.520 You know, some people are just like, well, I made 0:06:48.560 --> 0:06:50.280 the beat and then I'm now I'm fitting this person 0:06:50.360 --> 0:06:53.480 onto it. I really try to talk to someone to 0:06:53.600 --> 0:06:56.920 get figure out where's the resondents in their voice and 0:06:57.000 --> 0:06:59.760 then also on their lyrical voice. Then once I figure 0:06:59.760 --> 0:07:01.680 out where that is, I'm just trying to get them 0:07:01.920 --> 0:07:05.160 to illuminate and now build music around it. So by 0:07:05.240 --> 0:07:07.720 asking people what's their favorite songs? What are you like, 0:07:07.839 --> 0:07:09.440 what's the thing that you write to all the time, 0:07:09.520 --> 0:07:12.000 everything else, I start getting a picture for who they 0:07:12.080 --> 0:07:15.160 are and who I wanna. I'm pretty much taking myself 0:07:15.160 --> 0:07:16.720 as a fan, like I don't know who you are? 0:07:17.400 --> 0:07:21.280 And now does their voice number one make me inspired? 0:07:21.360 --> 0:07:23.840 Like you know, whenever I'm working with Oas, I wanna 0:07:23.840 --> 0:07:25.720 hear the smoke mouth, I don't wanna hear nah sitting 0:07:25.760 --> 0:07:28.040 on the chair. That's like book of Ram's voice. I 0:07:28.160 --> 0:07:30.840 wanna hear you know, the poison voice. That's where it came. 0:07:30.920 --> 0:07:32.520 I was like, Yo, that sound like you had your 0:07:32.560 --> 0:07:34.520 gold fronts in your mouth and a mouthful of smoke. 0:07:34.640 --> 0:07:37.680 So I wanna hear that little extra energy into it. 0:07:38.560 --> 0:07:40.520 I wanna hear something that really sounds like people at 0:07:40.560 --> 0:07:44.640 their best. And really it's just great voices and then 0:07:44.640 --> 0:07:47.240 the ability to tell a story. If lyrically a bust 0:07:47.280 --> 0:07:50.800 of windows can continue to tell a story. If you know, 0:07:51.200 --> 0:07:52.880 I heard love song when I first heard me, she 0:07:52.920 --> 0:07:57.440 started singing, Amy started singing girl from Epanema, and then 0:07:57.560 --> 0:07:58.880 you know, the first thing we wrote was I her 0:07:58.960 --> 0:08:01.000 love is Blind and Cherry's so they were all about 0:08:01.440 --> 0:08:04.360 like the voices and the story. And then that inspires 0:08:04.440 --> 0:08:06.280 me to now sit down and work on a sonic 0:08:06.360 --> 0:08:09.680 pilote that I feel like you no good companies. 0:08:09.760 --> 0:08:12.679 So obvious follow up question and who's the twenty eighteen 0:08:13.200 --> 0:08:16.560 distinctive voice that you're in that's motivating you that you 0:08:16.680 --> 0:08:17.960 haven't the roots? 0:08:21.120 --> 0:08:23.120 The roots has been the new thing. 0:08:25.360 --> 0:08:28.840 Yeah, it's just we're I want to I want to 0:08:28.880 --> 0:08:32.480 come to him with with definite song ideas first, and 0:08:32.520 --> 0:08:37.360 then he can play rich can we get the rap sing? 0:08:38.720 --> 0:08:41.120 I mean, we'll do all that, but we're gonna have 0:08:41.160 --> 0:08:43.600 to have material first, So we're just we've been fishing 0:08:44.160 --> 0:08:46.959 the last two years creating songs, and now okay, so 0:08:47.200 --> 0:08:48.520 we'll bring to him the roots. 0:08:48.920 --> 0:08:53.280 Give me somebody, Wait, can I just ask? Yes? We 0:08:53.760 --> 0:08:55.199 rap a hole land we all over. 0:08:55.720 --> 0:08:58.400 Honestly, I'm still looking for the voices, so I'm still 0:08:59.160 --> 0:09:01.520 open and looking for I heard some voices here and there, 0:09:01.920 --> 0:09:04.679 but I'm just definitely looking for new voices to kind 0:09:04.720 --> 0:09:07.559 of inspire me. I'm at that point though, I'll be 0:09:07.640 --> 0:09:09.240 forty six in a few weeks, and I'm kind of like, 0:09:09.320 --> 0:09:14.319 at fifty I need thriller. So I'm looking for the 0:09:14.400 --> 0:09:18.160 opportunity to be able to take someone who's either around 0:09:18.200 --> 0:09:20.600 already and helped them make that record that now pushes 0:09:20.640 --> 0:09:22.640 it past it. I look at it like how someone 0:09:22.679 --> 0:09:25.080 would have looked at Pharrell prior to Happy and said, 0:09:25.120 --> 0:09:27.640 oh man, you did it all already. Your day was there, 0:09:27.679 --> 0:09:29.880 and he still made the biggest record of his career 0:09:29.960 --> 0:09:32.959 at a point where when somebody wasn't necessarily looking for 0:09:33.120 --> 0:09:36.079 So I still feel like you know now I have 0:09:36.120 --> 0:09:38.000 a blister on my finger. I've been sitting there playing 0:09:38.040 --> 0:09:41.040 my upright base for last few weeks, trying to find 0:09:41.120 --> 0:09:44.160 something that resonates with me first and then resonates with 0:09:44.320 --> 0:09:46.960 my peers, and then resonates with the world. 0:09:47.480 --> 0:09:51.040 Yeah, as I said before the brutes, there we go. 0:09:51.559 --> 0:09:55.120 How did you meet nas now? 0:09:55.200 --> 0:09:57.560 As I met like during that early period of men 0:09:57.640 --> 0:10:00.679 Ncannelly went to junior high together. So when Ock and 0:10:00.800 --> 0:10:03.040 Knives were running around trying to look for deals, I 0:10:03.080 --> 0:10:06.760 would always see Knaves with him. But during two thousand 0:10:06.800 --> 0:10:08.520 and one I ran into him when he was working 0:10:08.600 --> 0:10:10.520 on the album. He had a verse on the Fatty 0:10:10.559 --> 0:10:13.599 Girl song that I don't think ever came out, and 0:10:13.760 --> 0:10:19.280 I was doing a record for the album. Actually had 0:10:19.840 --> 0:10:22.360 the only record that I actually never got paid for, 0:10:23.160 --> 0:10:27.880 Thank you Shark. It was a Beanie Man song called 0:10:27.920 --> 0:10:30.800 Batman Business. So that's the only song I never got 0:10:31.160 --> 0:10:33.600 well yeah, somehow, I don't know how they got away 0:10:33.640 --> 0:10:34.800 with that, But anyhow. 0:10:36.080 --> 0:10:37.880 Wait had an album, was. 0:10:42.840 --> 0:10:43.000 Right? 0:10:43.120 --> 0:10:45.240 I had a copy? Yeah, that was the That was 0:10:45.320 --> 0:10:47.800 the Chicken Grease drum and Spanish guitar era. 0:10:49.960 --> 0:10:58.680 I ain't like that exactly A song on that album 0:10:59.040 --> 0:11:04.720 something like that from I think right basically, but during 0:11:04.760 --> 0:11:06.400 that time, so I ran into the nods in La. 0:11:07.440 --> 0:11:08.920 He's like, yo, you got any beasts on you? He 0:11:09.040 --> 0:11:11.480 was kind of out there just laying low, and then 0:11:11.520 --> 0:11:14.640 I sent him he came to you. Well, I saw 0:11:14.760 --> 0:11:17.200 him at that session, so I'd already met him before 0:11:17.280 --> 0:11:19.240 and passing the New York. But I saw him at 0:11:19.280 --> 0:11:21.400 the session because I was there to record Beanie Man 0:11:21.559 --> 0:11:23.559 and our recording. It was like during Grammy week or 0:11:23.600 --> 0:11:25.400 something like that, and then he was at the studio, 0:11:25.480 --> 0:11:27.800 so he was like, Yo, what's up? Oh dad, Yo, 0:11:28.080 --> 0:11:29.719 you know another calf from New York? What's going on? 0:11:29.840 --> 0:11:31.360 You got anything on you? So I gave him whatever 0:11:31.440 --> 0:11:35.880 beat CD I had with me. Then he exchanged beam 0:11:36.000 --> 0:11:39.679 two way numbers and then he he was like he 0:11:39.800 --> 0:11:42.080 texted me like, yo, I need some murder music, something 0:11:42.080 --> 0:11:44.840 that sound like whatever it was. So then I created 0:11:45.000 --> 0:11:47.959 what became what Goes Around. I sat in the studio 0:11:48.040 --> 0:11:51.199 and messed with my organs and roads and pretty much 0:11:51.240 --> 0:11:53.880 composed that track, and then I sent him that maybe 0:11:53.920 --> 0:11:55.640 a couple other joints, and then when he heard it, 0:11:56.000 --> 0:11:58.360 he was like, yo, I don't have anything that even 0:11:58.400 --> 0:12:00.280 feels like this because once again I was on his 0:12:00.920 --> 0:12:03.199 jazz musician even like when he talks about omatic, he's 0:12:03.240 --> 0:12:05.839 like he wanted stuff that musically put you in a 0:12:05.920 --> 0:12:08.120 mood and then put the drums to it, not just 0:12:08.200 --> 0:12:10.480 something that was like running quick like g rat So 0:12:10.920 --> 0:12:13.439 the what goes around was that, And then he came 0:12:13.480 --> 0:12:15.480 back to New York and we started recording. 0:12:16.040 --> 0:12:18.600 What do you think about his I mean much has 0:12:18.640 --> 0:12:22.559 been said about from every hip hop stand on the 0:12:22.640 --> 0:12:27.559 internet and many a chat board about his choice of 0:12:27.679 --> 0:12:32.559 music right not matching the greatness of his words or 0:12:32.559 --> 0:12:36.200 whatever like them not meeting. So I mean, at the time, 0:12:36.320 --> 0:12:39.200 were you figuring out, Okay, this is finally a chance 0:12:39.360 --> 0:12:43.120 for me to give him what he needs or. 0:12:44.679 --> 0:12:46.240 I don't know if I was there. I mean this 0:12:46.440 --> 0:12:48.439 was like the Nosal Domas album was just out, So 0:12:49.000 --> 0:12:52.760 the Notional Domins album wasn't anyone's favorite NAS album at 0:12:52.800 --> 0:12:55.480 that time. I think that, you know, it was the 0:12:55.600 --> 0:12:58.679 leftover whatever happened, you know, still for me, I was 0:12:58.720 --> 0:13:01.000 still and hate Me Now mode, which I always look 0:13:01.040 --> 0:13:02.800 at it and go who and hip hop actually got 0:13:02.840 --> 0:13:05.880 away outside of part time Sucker by carres One, but 0:13:06.040 --> 0:13:09.120 actually rhyming on something that sounded like that. But you know, 0:13:09.320 --> 0:13:12.000 as hip hop purists heads, by the time we got 0:13:12.040 --> 0:13:14.040 to it was written, and I was like, there's no large, 0:13:14.040 --> 0:13:17.080 there's no primos, no tip like nothing of Dad. Okay, 0:13:17.120 --> 0:13:19.320 there's one primo. Like I didn't get enough I liked. 0:13:19.520 --> 0:13:21.079 Did you asking why he didn't? 0:13:23.800 --> 0:13:25.760 Well, the reason why I think that during it was 0:13:25.800 --> 0:13:28.559 written time he wanted to start. It was written with Mally, 0:13:28.720 --> 0:13:31.600 so that's where on the Rail and True dialect came from. 0:13:32.120 --> 0:13:35.160 And then Malli played it on the radio, and then 0:13:35.440 --> 0:13:38.439 he was upset because Mally played True or on the 0:13:38.559 --> 0:13:41.160 Rail with you know, put Screwball or whoever on it. 0:13:41.559 --> 0:13:42.959 So then that's when he was like, y'all need to 0:13:43.000 --> 0:13:46.080 find producers. So then he went to got with track 0:13:46.160 --> 0:13:47.959 Masters and they built what they built, which you know, 0:13:48.120 --> 0:13:50.719 to be honest, if he didn't ever go and make 0:13:50.800 --> 0:13:53.000 himself into a platinum artist one way or another, he 0:13:53.120 --> 0:13:55.599 might not still be around. So he did, you know, 0:13:55.760 --> 0:13:59.120 follow the series. He followed his instinct and did whatever 0:13:59.240 --> 0:14:01.120 it was he wanted to do with that. But I 0:14:01.120 --> 0:14:03.439 also also he felt like everybody else was roming in 0:14:03.480 --> 0:14:05.120 his flow, so he had to find a way to 0:14:05.240 --> 0:14:07.760 do something different, because if he just kept vombing in 0:14:07.800 --> 0:14:10.360 the same flow and everybody else was, it was wearing 0:14:10.400 --> 0:14:13.480 it down. So I mean, from my perspective, it was 0:14:13.559 --> 0:14:15.920 just like, all right, yo, we never linked. We both 0:14:16.000 --> 0:14:18.679 had similar tastes. We both will go rebel without a pause. 0:14:18.720 --> 0:14:21.000 We would still listening to an album and go oh 0:14:21.120 --> 0:14:22.920 not story to tell us my joint Like we still 0:14:23.000 --> 0:14:25.240 picked the same We both know what you want to eat, 0:14:25.280 --> 0:14:27.840 all right, cool fried chicken, macari and cheese canny yams. 0:14:27.880 --> 0:14:31.160 Like we the same. We have like mirrored kind of 0:14:31.320 --> 0:14:33.720 lives and even a lot of the musicians that were 0:14:33.760 --> 0:14:35.600 in his dad's band or the same cast that I 0:14:35.640 --> 0:14:38.760 work with all the time. So I don't know. If 0:14:38.760 --> 0:14:40.560 I had a perspective like I'm gonna do this, I 0:14:40.720 --> 0:14:42.360 was just like, it'd be dope if we did some stuff. 0:14:42.400 --> 0:14:47.240 And at one point, like the night when the night 0:14:47.360 --> 0:14:51.840 before the uh Lauren Hill Unplug was recorded, she came 0:14:51.920 --> 0:14:54.880 down to the studio while we were there and played 0:14:54.960 --> 0:14:57.320 us all the songs. So that's the reason why she 0:14:57.600 --> 0:14:58.000 was hoarse. 0:14:58.640 --> 0:14:59.960 She was pretty mu. 0:15:02.280 --> 0:15:03.920 She plays us a lot of songs and no point 0:15:04.000 --> 0:15:07.640 did you go wait, wait, wait, save you she wanted 0:15:07.640 --> 0:15:09.120 to let me hear the song. So it was dad, 0:15:09.160 --> 0:15:12.280 it was getting late, and he left and then that 0:15:12.480 --> 0:15:14.680 was that. But you know the bottom line is that 0:15:14.920 --> 0:15:17.280 was part of the recording being out. 0:15:17.280 --> 0:15:17.440 It was. 0:15:17.480 --> 0:15:19.320 But then she was also like, you know what if 0:15:19.360 --> 0:15:21.280 my voice cracks, it cracks, you don't like it. 0:15:21.800 --> 0:15:22.160 Be out of it. 0:15:22.280 --> 0:15:24.040 Yoh, you don't like me unless I pay this makeup 0:15:24.120 --> 0:15:26.480 artist and that headdresser, then you don't like me. You 0:15:26.720 --> 0:15:29.040 like what I just paid for. That was that. But 0:15:29.480 --> 0:15:31.560 my point is with nas, I just think it was 0:15:32.760 --> 0:15:36.520 us also finding the chemistry to where we he's able 0:15:36.640 --> 0:15:39.560 to come to me with idad. Yo, let's I was 0:15:39.600 --> 0:15:41.840 listening to Bitches Brew yesterday, were all right cool, and 0:15:41.920 --> 0:15:43.960 I called my dud Yo got the bass clarinet, and 0:15:44.000 --> 0:15:46.040 then we just go all over there, y'all was listening 0:15:46.040 --> 0:15:48.000 to some Bessie Smith or something like that, and then 0:15:48.040 --> 0:15:49.640 I would just go in that direction. So we have 0:15:50.320 --> 0:15:54.680 loads of records that were just musically matched in that way. 0:15:55.360 --> 0:15:58.480 And so are you able you're able to make beat 0:15:58.480 --> 0:15:59.800 to a real time in front of your client? 0:16:00.400 --> 0:16:03.560 Yeah, oh man, I'll do that most of the time. Actually, 0:16:03.720 --> 0:16:06.440 that's most of my records are either while they're on 0:16:06.560 --> 0:16:09.280 the way or coming down the hall, or because I'm 0:16:09.360 --> 0:16:12.080 taking off of what they're saying. I'm actually vibbing off 0:16:12.080 --> 0:16:14.400 of their energy and what they're talking about, and I'm 0:16:14.440 --> 0:16:15.920 asking him what do you like because I'm trying to 0:16:15.920 --> 0:16:18.840 figure out what notes actually resonate with them that's going 0:16:18.920 --> 0:16:21.840 to get them writing. And sometimes you know, with nas 0:16:21.920 --> 0:16:25.160 if he likes a particular beat, he'll write twelve verses 0:16:25.240 --> 0:16:27.800 to the same track and then I'll move him around 0:16:27.840 --> 0:16:29.240 and start building new tracks to him. 0:16:29.320 --> 0:16:33.920 Answer something for me, and this is nerdsure what drums 0:16:33.960 --> 0:16:37.880 did you use for for Zonatte? I can tell that 0:16:38.200 --> 0:16:44.400 is that a James break? This of course it is 0:16:45.280 --> 0:16:49.480 because the bongos sound so familiar. I was never once 0:16:49.520 --> 0:16:51.120 had occur to me. Just spin it backwards to you 0:16:51.160 --> 0:16:52.160 can hear what it is man. 0:16:52.600 --> 0:16:56.040 But basically I mean that that's been funny because the 0:16:56.200 --> 0:17:01.280 standard world loves or hates that record. There are stands 0:17:01.320 --> 0:17:03.280 who hate that record like that was part of the 0:17:03.800 --> 0:17:09.400 I hate what Salaam does with a conversation. I'm telling 0:17:09.440 --> 0:17:11.359 you there's a lot of people that that that was 0:17:11.440 --> 0:17:13.880 like basically that that eraror But for me, the two 0:17:13.960 --> 0:17:16.760 things one. I never put my name on records, so 0:17:16.960 --> 0:17:18.680 when you hear him yell my name on it, I 0:17:18.840 --> 0:17:21.800 wasn't there. They mixed it without me, So I never 0:17:21.840 --> 0:17:24.720 would do that. I wouldn't let him do that because 0:17:24.760 --> 0:17:26.840 I feel like, if the record's gonna be dope, then 0:17:27.040 --> 0:17:28.960 like it because you like it, not because you said 0:17:29.000 --> 0:17:30.760 my name. So I don't tag records. I don't go 0:17:30.840 --> 0:17:33.160 I'm gonna make you dance like I want the record 0:17:33.200 --> 0:17:36.720 to make you dance, not actually tell you that. And 0:17:37.480 --> 0:17:39.200 it wasn't mixed that. And then Kate Slave was in 0:17:39.280 --> 0:17:42.119 the room when I was actually making that track, and 0:17:42.240 --> 0:17:43.760 it was the same day like when I may probably 0:17:43.800 --> 0:17:45.480 get down, So I was just sitting there messing with 0:17:45.640 --> 0:17:49.560 different James vibes. And if you listen to how Noad 0:17:49.680 --> 0:17:52.280 sounds on the record differently from how Jungle and Wiz 0:17:52.359 --> 0:17:54.119 sound on the records. Some people have different films of 0:17:54.160 --> 0:17:56.200 Brave Hearts, so they sound, you know, jungles versus this 0:17:56.320 --> 0:17:58.480 wizard that. But if you actually hear him cutting straight 0:17:58.520 --> 0:18:02.040 across it with his k solo type flow, you kind 0:18:02.040 --> 0:18:04.840 of hear more like what the record's rough really felt like. 0:18:05.119 --> 0:18:07.320 So the drums were crispy, and popping. The bass was 0:18:07.359 --> 0:18:09.880 on it, but it was me just being backwards, poor 0:18:10.000 --> 0:18:11.879 Reverd meets pe That's what it was. 0:18:12.680 --> 0:18:16.400 I've never been in a chat room where they said that, you're. 0:18:16.720 --> 0:18:20.040 Yeah, I've seen it on Okay, play it before seriously Yeah, 0:18:22.160 --> 0:18:23.520 probably yeah. 0:18:23.520 --> 0:18:25.879 Damn that's the world. But I mean, just in general, 0:18:26.400 --> 0:18:30.600 our work isn't really about beats all the time. Sometimes 0:18:30.640 --> 0:18:33.920 it's about different levels of song. And the reality is 0:18:34.040 --> 0:18:36.280 Nas picks his albums based upon what he said, not 0:18:36.520 --> 0:18:41.119 based upon who had the snare of the week, And 0:18:41.200 --> 0:18:42.920 if the beat is too loud, he won't even actually 0:18:43.000 --> 0:18:45.800 rhyme on it, like it sounds like it's yelling at 0:18:45.840 --> 0:18:46.680 me turn it down. 0:18:46.880 --> 0:18:53.159 Yo. It's something some like successful platinum rappers hate loud 0:18:53.440 --> 0:18:56.720 music or loud drums. I think Jay once told me 0:18:56.840 --> 0:18:58.920 once like, you know, like he doesn't want anything to 0:18:59.040 --> 0:19:02.600 upstage his voice outdo him. Okay, So they go more 0:19:02.680 --> 0:19:05.800 for base than for big ass yeah, and. 0:19:05.880 --> 0:19:08.600 For NAS's moves and chord changes and other stuff. Because 0:19:08.680 --> 0:19:11.879 once again, a lot of you know, outside of Tupac, 0:19:11.920 --> 0:19:14.320 who would stack his vocals with six tracks or fifty, 0:19:14.359 --> 0:19:17.240 who might do a few Jay or Nas, they most 0:19:17.240 --> 0:19:20.280 of the time, have one vocal track, one vocal track 0:19:20.359 --> 0:19:22.440 that's telling you everything you got to hear at whatever 0:19:22.560 --> 0:19:23.440 tone he wants to tell it. 0:19:23.520 --> 0:19:26.000 Them that's stacking your voice, rhyming on. I hate when 0:19:26.400 --> 0:19:26.680 that's that. 0:19:27.480 --> 0:19:31.680 It's it's a sound for that. That's the t I 0:19:31.960 --> 0:19:33.520 that's the certain people will do that. 0:19:34.160 --> 0:19:37.280 Okay, I'm saving the best for less. All right, Well 0:19:37.440 --> 0:19:41.840 damn let me get because Jasmine too. I want to 0:19:41.840 --> 0:19:44.919 get to I gotta get to that. I gotta get 0:19:44.960 --> 0:19:46.240 to Amy. Got it? 0:19:46.680 --> 0:19:46.720 So? 0:19:47.080 --> 0:19:47.960 How did you just? 0:19:48.920 --> 0:19:51.320 How did you even like Amy? 0:19:51.600 --> 0:19:51.639 So? 0:19:51.800 --> 0:19:54.560 I did a record for Left Eye during that two 0:19:54.560 --> 0:19:57.800 thousand and one period, that solo record. Yeah, it was 0:19:57.800 --> 0:19:59.119 a record called Black Party. 0:19:59.520 --> 0:20:01.080 Yeah you. 0:20:02.560 --> 0:20:06.480 Probably did Block Party. It was. 0:20:08.080 --> 0:20:09.800 The Super and Over. 0:20:09.920 --> 0:20:12.760