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Speaker 1: Y know, what's up is Eric some of the Green

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Speaker 1: Knighted Bandit half of EPM D you throw the Death

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Speaker 1: Squad check me out on the Bootleg cat podcast.

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Speaker 2: Yeah, Bootleg Cab Podcast special guests. Didn't hear a legend.

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Speaker 2: Eric Sermon is in the building. Welcome, So what's up?

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Speaker 2: What's going on? Man?

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Speaker 1: H You know, just I was just telling my boy

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Speaker 1: that it feels strange because it's a long time to

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Speaker 1: be back on the to be back on the scene

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Speaker 1: and doing the promos and doing something that now is

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Speaker 1: podcast like you and different type of things. So this

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Speaker 1: is a little strings though, But I'm cool.

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Speaker 2: Yeah, man, I mean, look, you've been through it all,

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Speaker 2: you know what I'm saying. It's crazy because you somehow,

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Speaker 2: like not a lot of people can say that they

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Speaker 2: have the longevity to have been through every era of

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Speaker 2: music in terms of like you went from cassettes to

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Speaker 2: CDs to streaming napster.

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Speaker 1: I did all of it, yeah again, from nineteen eighty

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Speaker 1: eight to twenty twenty four. It's a long time.

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Speaker 2: That's a long time, man, And there was so many

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Speaker 2: different hats, whether it's being a record executive, whether it's

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Speaker 2: being behind the scenes producing right now it's just it's

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Speaker 2: a lot, man, this is a I flash back on

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Speaker 2: it again.

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Speaker 1: It's a it's a blessed career to be having and

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Speaker 1: to still be here and then being in front of

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Speaker 1: y'all doing you know, with all the young people and

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Speaker 1: letting them know what time it is, you know a

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Speaker 1: few things, what's going on, and so in the name

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Speaker 1: of music, you know.

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Speaker 2: Yeah, well, like let me give you my so I

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Speaker 2: as I'm thirty seven. I just turned thirty seven. So

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Speaker 2: when I was a kid, I first got hip to

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Speaker 2: Death Squad, right, yes, So that was how I was

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Speaker 2: introduced to you because I was a Red Man fan, right,

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Speaker 2: and Method Man and Red Man and and and that's

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Speaker 2: how I got hip to like Keith Murray. But I

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Speaker 2: was the kind of kid who I still have all

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Speaker 2: my source magazines on my double ex sales, so I

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Speaker 2: would go back and like do my research on the

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Speaker 2: five Mic albums and stuff like that. So the first

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Speaker 2: album of EPM D that I bought, I bought a

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Speaker 2: used at the warehouse and it was I think it

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Speaker 2: was your third album. It was the one that had

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Speaker 2: to with Redman and the record with LL.

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Speaker 1: Yes, that's business as usual. The RAM page, Yeah, with

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Speaker 1: the cops on the front.

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Speaker 2: Yeah. Yeah, and and so that was my first introduct

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Speaker 2: because I was like new E P, M D, E

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Speaker 2: P and D.

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Speaker 1: Right, so that was kind of like I have you

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Speaker 1: mentioned that because that would that ended up getting the

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Speaker 1: full mic on that record.

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Speaker 2: Right, yep. Yeah. But it's funny like just like like

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Speaker 2: like my era of like hip hop was like like

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Speaker 2: late nineties of course, yeah, I know, early two, but

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Speaker 2: I got to you know, I got to kinta go

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Speaker 2: back and like get the Brand Nubian album and get

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Speaker 2: all the Tribe ship and get the EP and D

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Speaker 2: ship and right. So but nah, man, it's been dope

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Speaker 2: to see just kind of like your like evolution. Talk

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Speaker 2: to me about like the new project, because it's you're

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Speaker 2: doing like collapse with everybody. I know, the new singles

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Speaker 2: got something pep on it.

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Speaker 1: Like yeah, well I had the idea of doing COVID time,

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Speaker 1: you know what I'm saying, So COVID stop things. But

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Speaker 1: before the Hip Hop fifty, I always had ideas of

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Speaker 1: just my colleagues not being here. I just figured that

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Speaker 1: you know, you never know, all of us are still

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Speaker 1: here just because you got young people, we still have

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Speaker 1: us that's living too. People want to hear music, but

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Speaker 1: they stop making music. So I wanted to facilitate that.

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Speaker 1: I wanted to be able to say, you know what,

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Speaker 1: let me make records on people that come from the

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Speaker 1: era that people would love to hear if they was

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Speaker 1: able to make music. So that's what the dynamic duels

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Speaker 1: came into play at. So so I wanted to get

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Speaker 1: of course, like it's like twenty five rap groups. Yeah,

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Speaker 1: that'll duels. So but I just picked it for the

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Speaker 1: volume one. What I can get off now.

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Speaker 2: So for you, it was the inspiration was like, let

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Speaker 2: me do this now because I have this idea now

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Speaker 2: because like you said, during COVID, we were losing people.

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Speaker 2: You never know when people are gonna be here, not

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Speaker 2: going to be here. Who all's on the project?

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Speaker 1: Yeah, the project is loaded. It's lowly, I got Biggie

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Speaker 1: Smolden Tupac. It's gonna blow everybody's away.

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Speaker 2: These are are these unheard verses.

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Speaker 1: It's not I don't to me, they are not unheard,

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Speaker 1: but the way I put it together, okay, it just

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Speaker 1: sounds new. Okay, low waiting game, Mob deep, m O

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Speaker 1: P whether meth.

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Speaker 2: Do you have mob deep and MP in the same home.

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Speaker 1: No, this is the dynamic duals. Let me get two people.

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Speaker 2: Okay, two people and you handing production, right, Okay.

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Speaker 1: Cyper's Hills, Dog Pound E P M D.

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Speaker 2: Of course this is impressive so far.

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Speaker 1: I think I caught anybody.

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Speaker 2: I think. I mean, that's a lot.

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Speaker 1: I said, Snoop and Nate though, right, no, you didn't.

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Speaker 2: Snoop and Ate. Jesus So for you, like I always

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Speaker 2: wonder as a producer, right like, if you know, like

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Speaker 2: let's say the Biggie and the Tupac song, do you

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Speaker 2: already have that beat made or do you get the verses?

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Speaker 2: And do you know.

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Speaker 1: I have it? As a producer, you got records.

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Speaker 2: You know what I'm saying.

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Speaker 1: You make certain stuff if you don't. If you don't

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Speaker 1: have it, then you make it.

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Speaker 2: I was gonna say, when you hear those two verses

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Speaker 2: from Biggie and POC, does that inspire you to make

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Speaker 2: the beat off of those verses or did you already

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Speaker 2: have it?

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Speaker 1: I already had something that I wanted. I wanted to

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Speaker 1: make sure that I didn't want to make a regular record.

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Speaker 1: I don't want to make just a hip hop record.

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Speaker 1: I want the rock because both of them is best

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Speaker 1: best on melody and more R and B's type situations.

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Speaker 1: So that's what I based my thing on when I

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Speaker 1: had when I was making it like Okay, I want

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Speaker 1: to make it a song song, something that Biggie will

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Speaker 1: rock on, something that pop will rock on too. It

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Speaker 1: feel comfortable, and most of them they records are melody. Yeah,

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Speaker 1: you know it's not really the hip hop you know.

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Speaker 2: You know we've had we have so many different attempts

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Speaker 2: at well known producers that we all love and know

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Speaker 2: that haven't done the best job. I would say with

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Speaker 2: certain Tupac or Biggie records after they passed.

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Speaker 1: I like, as the fun me, I just felt that

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Speaker 1: it wasn't something that I was trying to do to

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Speaker 1: make the biggest record. Just did what felt good to

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Speaker 1: me the day it was.

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Speaker 2: When something I feel like it's all about, Like if

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Speaker 2: I could hear them like actually being on that record

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Speaker 2: when they were alive, That's.

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Speaker 1: When it makes it crazy because I think that they

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Speaker 1: probably would have been friends later on. I think that

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Speaker 1: all that be for the stop eventually because of what

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Speaker 1: they had before that. But but but the way I

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Speaker 1: did it, you would think they were in there together.

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Speaker 2: Oh that's fire. I was gonna say, you had like

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Speaker 2: a really early opportunity to work with Biggie right before

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Speaker 2: before we really knew who he was. Is that yeah?

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Speaker 1: I mean yeah.

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Speaker 2: I mean.

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Speaker 1: My story is ill on artists.

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Speaker 2: Because you do have you do have because.

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Speaker 1: You know, because but my sus documented as far as

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Speaker 1: people talk, Rick Ross on my basement, fifty cent in

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Speaker 1: my basement, fucking Luke crist on my door, the game

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Speaker 1: Wu Tang Clan, Ray Kwon says, I almost signed with Eric,

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Speaker 1: like you know, I mean this this thing of Mine's

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Speaker 1: what I was able to see. And Biggie Small's on

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Speaker 1: my first video set to Well my man brought him

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Speaker 1: to the barbershop. Okay, let me to see. And then

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Speaker 1: when I shot Hit and Switches, my first single, he

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Speaker 1: was around the whole time. Why I do every scene?

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Speaker 1: You know? Then he told Tracy Waple was like, yo,

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Speaker 1: I want to go on that Everic Sermon album. But

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Speaker 1: already had artists already, and then I had, you know,

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Speaker 1: I had my own groups, so I wasn't trying to

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Speaker 1: do something new. But at that time I could have

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Speaker 1: you know, probably would have had.

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Speaker 2: That, did you because I know Biggie had like a

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Speaker 2: buzz going around New York. But at that time, did

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Speaker 2: you kind of see what eventually ended up coming to be?

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Speaker 2: You know, like I didn't.

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Speaker 1: Again, my concentration wasn't on that because I had my

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Speaker 1: You had your own, Yeah, you know, I have my own.

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Speaker 1: Because his squad was the biggest thing running, right you know,

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Speaker 1: Like so that's the effects of Redman and Eric So

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Speaker 1: I mean e pm D. Yeah, the biggest ship running.

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Speaker 1: So it was like so at the time, it wasn't

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Speaker 1: me looking at anything else.

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Speaker 2: You know, talk to me about Redman Man because I

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Speaker 2: think somehow he's turned out to be one of the

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Speaker 2: more slept on rappers ever, because he's one of the

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Speaker 2: greatest of all time. And I think, like, you know,

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Speaker 2: I just saw the the reaction online from some of

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Speaker 2: the young people when Killer Mike won his Grammy, which

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Speaker 2: he deserved and he deserved to win it because he

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Speaker 2: had the best rap album. But I feel like these days,

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Speaker 2: like a guy like Red Man, like you know, when

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Speaker 2: I'm growing up, like Redman's like the Goat, you know

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Speaker 2: what I mean, Like Muddy Waters, there's a dark side

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Speaker 2: and blackout and go on and on and on. Death squad.

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Speaker 2: What was it like kind of like being around Red

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Speaker 2: Man early, Like, what did you see in him that

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Speaker 2: you know kind of had you bring him into the fold.

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Speaker 1: Is this the metaphors, the way that he rhymed, you know,

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Speaker 1: the the wordplay. Everything about me was as far as

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Speaker 1: the rappers that I was able to get like that's

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Speaker 1: affecting them as everybody was Keith Murray, everybody has something different.

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Speaker 1: Keith Murray had these big words. Reggie had you know,

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Speaker 1: I got a's bitch, you know, the eminem like you know,

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Speaker 1: as far as crazy they that effects changed the game

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Speaker 1: because you had all these groups that either immolated them

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Speaker 1: or made records doing the igoity. And when you get

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Speaker 1: a call from Ice Cube saying you want you know

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Speaker 1: what dotics, this is Cube calling you know what I'm

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Speaker 1: saying to put them on the record. You know that

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Speaker 1: these guys are making an impact. So but again, but Reggie,

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Speaker 1: it was this that I think that I saw him

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Speaker 1: at a club and knew it called Sensations and he

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Speaker 1: was with do it All from Lords of the Underground.

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Speaker 1: Do It All rhymed and Reggie was his DJ. But

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Speaker 1: then again he became Lords and but he was like

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Speaker 1: my man rapped and Reggie had one line. He said,

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Speaker 1: I float like a butterflies, thing like the rock group.

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Speaker 1: I thought it was going to be like, you know,

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Speaker 1: like a thing like a bee, but he the metaphor

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Speaker 1: went float like a butterflies thing like a rock group.

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Speaker 1: So order to make him like, yo, nobody does this

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Speaker 1: at this time nineteen ninety one or two.

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Speaker 2: Crazy.

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Speaker 1: He was already ahead, you know, so I'll talk to him,

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Speaker 1: and it was fast. I'm like yo. He Reggie was

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Speaker 1: so ill that I gave him my number, but not

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Speaker 1: I didn't write it down, he remembered. He remembered it.

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Speaker 2: That's how it used to be back at the day though.

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Speaker 2: You might meet a girl in the mall and like

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Speaker 2: she'll tell you her number, but she will write it down,

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Speaker 2: and it's.

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Speaker 1: Like and he said it a couple of days for

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Speaker 1: him to realize what the number was, and a few

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Speaker 1: days later he called the phone but he had to

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Speaker 1: remember the number.

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Speaker 2: That's crazy. What was that conversation like like I'm trying to.

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Speaker 1: No, It's just like it wasn't no coping me. I'm

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Speaker 1: just I'm a nonch a lot person. So at the

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Speaker 1: end of the day, like, yo, you want to do this,

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Speaker 1: and plus he's he's a fan. He don't believe this

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Speaker 1: is happening. Like, oh shit, I'm on the phone with Eric.

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Speaker 1: He's viting me over So that was it.

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Speaker 2: That's crazy, man. How do you feel about like, because

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Speaker 2: I feel like hip hop these days is like I

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Speaker 2: always tell people, if you want to find good shit,

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Speaker 2: you got to like it's there, you just have to.

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Speaker 2: It's just not being pushed, like like we just talked

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Speaker 2: about the Killer Marke thing. But in terms of like,

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Speaker 2: you know, you've been wrapped up in certain like hip

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Speaker 2: hop beef situations, and nowadays it's I feel like it's

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Speaker 2: it almost might be more amplified these days than it

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Speaker 2: was back then because back then you had to go

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Speaker 2: spend money to pick up the Source and or the

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Speaker 2: Vibe magazine and read the interview in which a rapper

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Speaker 2: was calling out another rapper, or go buy a DVD

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Speaker 2: or whatever. These days, you just open your phone and

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Speaker 2: there's thirty blogs talking about whatever contexts going on. Like, like,

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Speaker 2: how do you feel about like the current state of

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Speaker 2: like hip hop in terms of the media, Well, I mean.

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Speaker 1: Listen to me. It made it accessible to everybody, which

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Speaker 1: is a cool thing. But I just think that the

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Speaker 1: oversaturation of music took the excitement away from it.

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Speaker 2: Definitely, you know, if it's something coming out and something.

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Speaker 1: Like waiting for Tuesdays for two Yeah, waiting for that

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Speaker 1: though too. But to make a long story short, I

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Speaker 1: feel like, to me, music is making a comeback and

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Speaker 1: if people aren't seeing that, then they're going to be

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Speaker 1: in trouble because I'm here with you at this time

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Speaker 1: in my career, yeah, making music, and I'm gonna make

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Speaker 1: sure that the music is what we know music to be. Like,

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Speaker 1: I'm not trying to play the game of what everybody

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Speaker 1: else is doing. Everybody already doing that and people are

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Speaker 1: getting tired and it's being proven. The sampling that hit

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Speaker 1: maker is doing meanwhile, like taking old records, it's changing

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Speaker 1: the tempo back. Who caresus Foxy Brown? The Temple's back?

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Speaker 1: Who cares if it's branded, it makes the temples back.

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Speaker 1: So that's what's changing the game. Even if they are sampling,

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Speaker 1: it's still changing.

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Speaker 2: People don't realize that tempo. Like, yeah, it's like like

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Speaker 2: the eighty five to like one hundred bpm records are

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Speaker 2: like faring few between these days.

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Speaker 1: It's like, but it's changing. So that means that music

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Speaker 1: is going to be put back in the forefront of

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Speaker 1: what music feels like to feel good inside, just soul,

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Speaker 1: to make you who if they're still dancing because I

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Speaker 1: went to a party whatever, they are sitting there with

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Speaker 1: their phones and bottle and we're standing at the intersections

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Speaker 1: anymore girls and talking to guys. God, ain't talking to girls,

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Speaker 1: Like what type of is this? This is what we're living in.

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Speaker 1: But I just feel that at this time, music is

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Speaker 1: making a change. That's why everybody's coming. We ain't gonna

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Speaker 1: name no artists though, but a lot of artists came

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Speaker 1: out and fucked up and they had to go back

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Speaker 1: in the studio and make rap records.

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Speaker 2: A lot of people, well, I want to shout out.

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Speaker 2: Twenty one Savage just put out an album that was

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Speaker 2: heavy on substance, heavy on raps, and a lot of

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Speaker 2: people wouldn't have exp I mean, I I've kind of

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Speaker 2: paid attention to his evolution over the years, but his

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Speaker 2: new album is crazy.

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Speaker 1: keV. What we're talking about is not foreign. The game

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Speaker 1: is done shifted, I agree. And if people don't wake up,

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Speaker 1: they're going to be in trouble.

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Speaker 2: They're gonna get left at the bus stop, man, exactly.

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Speaker 1: And then I'm not sitting here to be be hating

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Speaker 1: in the hole. And this and this and that. This

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Speaker 1: is just the way it's at and we and there's

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Speaker 1: there's moves being made that people don't know about yet

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Speaker 1: that that that some of the people that we know,

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Speaker 1: the powers that be, aren't gonna be in there. Yeah,

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Speaker 1: and they're about to move this thing forward. So now

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Speaker 1: talent gon with no no algorithms, no how many likes

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Speaker 1: you got, none of that stuff. It's all about are

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Speaker 1: you ill and are you dope? That's where we're headed to.

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Speaker 2: That's how it used to be. You know, when I

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Speaker 2: was growing up, it was like yo, of course it

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Speaker 2: was it was about the bars. It was about who

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Speaker 2: had the crazy you know, Neil Armstrong freestyle. You know,

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Speaker 2: like but all the big.

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Speaker 1: Writers like my man got a group coming out to

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Speaker 1: this Sun with Usher's the girl what's the Girl's name?

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Speaker 1: But not You're the Simions. But they didn't go to

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Speaker 1: the new people. They went to the Brian Michael Cox's,

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Speaker 1: the Dreams, the you know, these people who write music

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Speaker 1: like the Money Love song. This is where this is

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Speaker 1: where we're going. Even Victoria money. But what she did,

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Speaker 1: she wrote an incredible crazy for sure. So this is

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Speaker 1: where we at somebody who took her fifteen years he said.

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Speaker 1: So again, the talent is going to outweigh the popularity.

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Speaker 1: This is where we're at, and people can this is

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Speaker 1: where we're going. So and so me being out to

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Speaker 1: I give my assessment on what I feel for young

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Speaker 1: people to know, because this is important. I don't come

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Speaker 1: because I'm I'm a person who's who's the so called

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Speaker 1: old head, right, you know, I've never been broke in

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Speaker 1: my life, never gonna be. So I don't come from

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Speaker 1: a point where somebody who's mad because I'm not in

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Speaker 1: the game.

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Speaker 2: No, you ain't never went nowhere.

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Speaker 1: I'm in it. To also let you know that for

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Speaker 1: thirty five years, when you get called, you can go,

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00:16:32,720 --> 00:16:35,560
Speaker 1: you can go perform, you come and watch you. Yeah,

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00:16:35,720 --> 00:16:38,120
Speaker 1: this new era, nobody coming to see them. So if

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Speaker 1: they didn't save or have somebody do something for them,

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Speaker 1: that person who turns our age is not going to

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Speaker 1: be trying to go see fuck pussy as shit whatever.

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Speaker 1: It won't match.

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Speaker 2: Now I say this and like I don't you know,

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00:16:52,040 --> 00:16:57,040
Speaker 2: fifties obviously generation after you, but I just went to

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Speaker 2: the fifty concert right the tour, and I was just like, God,

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Speaker 2: I miss this, like people not wrapping over their fucking tracks,

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Speaker 2: like you know.

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Speaker 1: What I mean, that's the that's the crazy too. And

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Speaker 1: some of our veterans are doing that. I'm like, where

348
00:17:09,400 --> 00:17:11,160
Speaker 1: you learning at that? How are you riving over to bea.

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Speaker 2: Yes like people did that.

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Speaker 1: It's crazy, so so so so this Shulman Ship, Yeah,

351
00:17:18,040 --> 00:17:20,840
Speaker 1: all this comes into play again with all the toys

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Speaker 1: that's going the new people is struggling, all the vetermans sold.

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Speaker 2: Out now sold out, fifty roll out, every beyond everybody

354
00:17:31,200 --> 00:17:37,480
Speaker 2: that's the veteran had no problem touring. Yeah, I know

355
00:17:37,560 --> 00:17:39,720
Speaker 2: you and DJ Quick have worked together. I always kind

356
00:17:39,720 --> 00:17:42,360
Speaker 2: of equate you, and first of all, Quick is one

357
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Speaker 2: of the greatest of all time, as are you. But

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Speaker 2: I always kind of equate both of you guys as

359
00:17:47,200 --> 00:17:52,520
Speaker 2: being like somehow underrated producers because I don't think people

360
00:17:52,560 --> 00:17:54,639
Speaker 2: understand like Quick as like one of the greatest producers

361
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Speaker 2: of all time, and you're not too shabby yourself. What

362
00:17:57,440 --> 00:18:01,720
Speaker 2: are some of your like bigger production place. But for

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Speaker 2: people who.

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Speaker 1: Don't know, I love David, but nobody did what I did.

365
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Speaker 1: When it comes down to records produced R and B

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Speaker 1: and hip hop music, I'm my track records too big.

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Speaker 2: I just mean, like explain, like tell us because I

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00:18:19,320 --> 00:18:20,280
Speaker 2: feel like a lot of people who are.

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Speaker 1: Watching this don't know you're Yeah, because again I've been

370
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Speaker 1: starting off R and B and since Jodis sis Mary,

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Speaker 1: since Chico the Bar, since de Angelo says, s w

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Speaker 1: V sus in Vogue, since Black Street. These records were

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Speaker 1: done by me. These are all R and B records,

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Speaker 1: from the Keith Sweats all the way down. This is

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Speaker 1: me at R and B level, right with the biggest

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Speaker 1: of the biggest at the time, and so so so

377
00:18:42,800 --> 00:18:45,359
Speaker 1: now you're talking about when you're talking about rap music,

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00:18:46,040 --> 00:18:49,560
Speaker 1: I did everybody and and so whatever you want to name,

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Speaker 1: you want to name, name.

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Speaker 2: Like what do you think is like like, because there's

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Speaker 2: people who are watching this who might not know who

382
00:18:55,240 --> 00:18:56,840
Speaker 2: you are. So give me like your if you had

383
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Speaker 2: to say top five biggest songs, people would just know,

384
00:19:01,160 --> 00:19:03,160
Speaker 2: it's off the top of your head, off the top

385
00:19:03,160 --> 00:19:06,240
Speaker 2: of your hand. You got so many. Yeah, just that

386
00:19:06,320 --> 00:19:08,080
Speaker 2: you made that that we don't know because you're not

387
00:19:08,160 --> 00:19:09,320
Speaker 2: rapping on him or not, you know what I mean?

388
00:19:09,359 --> 00:19:12,280
Speaker 2: Like people, nobody's looking at the credits anymore. Back in

389
00:19:12,280 --> 00:19:13,960
Speaker 2: the day, used to get the booklet, used to go through.

390
00:19:14,040 --> 00:19:16,680
Speaker 1: Yeah yeah, but but but the kids, the kids won't

391
00:19:16,760 --> 00:19:20,760
Speaker 1: know that because again how how how because the way

392
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Speaker 1: I'm again myself was mostly was mostly nineties, right, you

393
00:19:24,359 --> 00:19:27,280
Speaker 1: know what I'm saying. So again, if I said if

394
00:19:27,320 --> 00:19:29,239
Speaker 1: I did four three two to one, you know by

395
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Speaker 1: l with llokuj with with dm X, and then at

396
00:19:33,040 --> 00:19:35,159
Speaker 1: one time if I did both, how high is on

397
00:19:35,200 --> 00:19:37,520
Speaker 1: reather meth? People don't know that. Oh reather MEPhI is

398
00:19:37,520 --> 00:19:39,840
Speaker 1: your Yeah, that's my those are my boys. Yeah, I

399
00:19:39,880 --> 00:19:42,520
Speaker 1: did all of them, the Blackouts, Blackout one too, so

400
00:19:43,600 --> 00:19:47,760
Speaker 1: all them too, and then again me with fifty cent

401
00:19:47,840 --> 00:19:50,399
Speaker 1: in the beginning. My way He Wait was one of

402
00:19:50,480 --> 00:19:53,080
Speaker 1: the first singles before he got shot. You know what

403
00:19:53,119 --> 00:19:57,679
Speaker 1: I'm saying, Reservoir Dogs on Jay z on On on

404
00:19:57,720 --> 00:19:59,000
Speaker 1: the album Crazactly.

405
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Speaker 2: You know, Hey, what's it for you like being the

406
00:20:01,880 --> 00:20:03,800
Speaker 2: guy who made the beat? Because I always hear Ron

407
00:20:03,840 --> 00:20:06,000
Speaker 2: Browse talk about being the guy who made the Ether beat?

408
00:20:06,400 --> 00:20:07,840
Speaker 2: What was it like being the guy who made the

409
00:20:07,840 --> 00:20:10,320
Speaker 2: four three two one beat? Like with everything that kind

410
00:20:10,320 --> 00:20:10,879
Speaker 2: of came with that.

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00:20:11,520 --> 00:20:15,920
Speaker 1: Yeah. Again it was track messages the original record, okay,

412
00:20:16,720 --> 00:20:20,960
Speaker 1: and then it was like it didn't fit. So I

413
00:20:21,000 --> 00:20:22,120
Speaker 1: told Kevin Lee.

414
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Speaker 2: There was the remix, and you didn't get it. The remix.

415
00:20:24,080 --> 00:20:27,520
Speaker 1: Yeah, but my my song was the remix but ended

416
00:20:27,600 --> 00:20:30,520
Speaker 1: up being the main the main record exactly because nobody

417
00:20:30,520 --> 00:20:34,480
Speaker 1: never heard that. Ye yeah, but again I just wanted

418
00:20:34,480 --> 00:20:37,639
Speaker 1: to make my own what I thought it should sound like.

419
00:20:38,200 --> 00:20:41,119
Speaker 1: And then I wanted to put the rappers in the

420
00:20:41,280 --> 00:20:43,160
Speaker 1: order that I wanted to put the rappers, and because

421
00:20:43,160 --> 00:20:44,520
Speaker 1: I wanted to put by the meth, but the Meth

422
00:20:44,640 --> 00:20:47,080
Speaker 1: wasn't together on the stuff the one I heard, so

423
00:20:47,119 --> 00:20:48,840
Speaker 1: of course I'm putt them two together back to back.

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Speaker 1: And then I had the piece Lookhoj's vocals together because

425
00:20:56,480 --> 00:20:59,520
Speaker 1: it wasn't it wasn't it wasn't flowing right on the beat,

426
00:20:59,680 --> 00:21:03,200
Speaker 1: so to chop it. Oh ship, yeah, and that's why

427
00:21:03,200 --> 00:21:05,000
Speaker 1: you hear me add living on top of him, so

428
00:21:05,040 --> 00:21:09,640
Speaker 1: I could fill the holes in the l in the holes.

429
00:21:10,320 --> 00:21:15,600
Speaker 2: That's crazy. What about uh being there? Like like do

430
00:21:15,640 --> 00:21:17,399
Speaker 2: you do you remember like when the idea came to

431
00:21:17,440 --> 00:21:21,240
Speaker 2: be to put like methan reds, like their chemistry was

432
00:21:21,280 --> 00:21:23,800
Speaker 2: so crazy. But to make him a group, you know

433
00:21:23,800 --> 00:21:24,600
Speaker 2: what I mean the.

434
00:21:24,640 --> 00:21:29,920
Speaker 1: Label they was doing that, you know, the documentary.

435
00:21:29,280 --> 00:21:33,160
Speaker 2: First, the show show. Yeah, I had it on VHS.

436
00:21:33,400 --> 00:21:36,760
Speaker 1: They wanted a single, let the Meth so that record

437
00:21:36,960 --> 00:21:40,600
Speaker 1: I did, the original one, that one to the hardcore version.

438
00:21:40,640 --> 00:21:42,320
Speaker 2: Great movie by the way, it needs to get on

439
00:21:42,359 --> 00:21:45,119
Speaker 2: Netflix because there's you'll see whutang arguing and ship. I

440
00:21:45,160 --> 00:21:46,040
Speaker 2: think it's like you got it.

441
00:21:47,880 --> 00:21:50,400
Speaker 1: So how high it was with something that was made

442
00:21:50,400 --> 00:21:53,400
Speaker 1: and it was like again it was I remember being

443
00:21:53,400 --> 00:21:56,639
Speaker 1: a real smoky session, you know, as far as like

444
00:21:56,680 --> 00:21:59,399
Speaker 1: you know, well you can't see contact. People probably think

445
00:21:59,440 --> 00:22:02,000
Speaker 1: I'm just like just saying that, but it was really

446
00:22:02,040 --> 00:22:05,320
Speaker 1: and I'm not a smoker, so you know that was whatever,

447
00:22:05,720 --> 00:22:08,280
Speaker 1: and I don't I think that's probably where that came from,

448
00:22:08,480 --> 00:22:08,720
Speaker 1: you know.

449
00:22:09,240 --> 00:22:10,480
Speaker 2: So once.

450
00:22:12,200 --> 00:22:16,920
Speaker 1: That was gonna happen, I was like, like, we're gonna

451
00:22:16,920 --> 00:22:19,560
Speaker 1: shoot the video. I'm like, wait a minute, you know

452
00:22:19,600 --> 00:22:23,239
Speaker 1: what I'm saying, Like the first those two together, We're

453
00:22:23,280 --> 00:22:26,919
Speaker 1: gonna shoot this this record, nah, because again there wasn't no,

454
00:22:27,359 --> 00:22:32,119
Speaker 1: it wasn't. It was a hardcore record, just rhyming everywhere.

455
00:22:32,119 --> 00:22:34,520
Speaker 1: I don't forget. I had to piece that together to

456
00:22:34,640 --> 00:22:39,440
Speaker 1: make the song work when I did the the radio version,

457
00:22:41,280 --> 00:22:43,320
Speaker 1: so long story saw it. Once they get to the

458
00:22:43,400 --> 00:22:45,000
Speaker 1: video shoot, don't forget they never heard the song.

459
00:22:45,720 --> 00:22:47,720
Speaker 2: Oh so they haven't heard that and heard your final

460
00:22:47,720 --> 00:22:48,359
Speaker 2: product yet.

461
00:22:48,400 --> 00:22:52,360
Speaker 1: So they had the video shoot and Fly Robin Fly

462
00:22:52,560 --> 00:22:57,359
Speaker 1: comes on and they cursing everybody out me Diale Motel,

463
00:22:57,640 --> 00:23:01,040
Speaker 1: Leo Russell, what the fuck is this? Because these are

464
00:23:01,160 --> 00:23:04,920
Speaker 1: hall core people. I got this shit fucking commercial as

465
00:23:04,920 --> 00:23:10,880
Speaker 1: a motherfucker singing fucking melody Old nine and they ended

466
00:23:10,960 --> 00:23:13,880
Speaker 1: up shooting it and the rest is history.

467
00:23:13,760 --> 00:23:15,800
Speaker 3: And then the rest of it and we got movies

468
00:23:15,840 --> 00:23:19,439
Speaker 3: and TV show out of the record exactly right, no

469
00:23:19,520 --> 00:23:23,080
Speaker 3: doubt because because there is even say you're Eric, great job,

470
00:23:23,200 --> 00:23:26,240
Speaker 3: you know again, because everybody was kind of not knowing

471
00:23:26,240 --> 00:23:27,040
Speaker 3: where it was going.

472
00:23:27,280 --> 00:23:30,199
Speaker 1: But Leo and them liked it, so they was like,

473
00:23:30,720 --> 00:23:33,240
Speaker 1: but you can imagine not showing up. I know they

474
00:23:33,240 --> 00:23:35,320
Speaker 1: didn't hit the record, so you're going to be mad too.

475
00:23:35,359 --> 00:23:37,000
Speaker 1: Show put the video on you here and you hear

476
00:23:37,040 --> 00:23:40,199
Speaker 1: some ship that you never even heard before, exactly, and

477
00:23:40,320 --> 00:23:44,680
Speaker 1: your vocals are cut. So where's the intro to this verse?

478
00:23:44,720 --> 00:23:47,360
Speaker 1: So where's the my other eight bars to this one?

479
00:23:47,800 --> 00:23:48,760
Speaker 1: So all that's going.

480
00:23:48,680 --> 00:23:53,040
Speaker 2: To talk to me about your production process these days

481
00:23:53,040 --> 00:23:58,120
Speaker 2: because technology has uh obviously evolved so much from when

482
00:23:58,160 --> 00:24:00,680
Speaker 2: you first started producing. So what is your production set

483
00:24:00,720 --> 00:24:02,679
Speaker 2: up these days? Because what was your OG setup?

484
00:24:03,200 --> 00:24:06,960
Speaker 1: A rolling w threety, a workstation like people that used

485
00:24:06,960 --> 00:24:10,080
Speaker 1: the ASR ten Yeah whatever, I had it, but I

486
00:24:10,119 --> 00:24:12,080
Speaker 1: didn't like the way it was what was moving for me.

487
00:24:12,520 --> 00:24:15,440
Speaker 1: So it worked for Timulin, for Kanye West and people

488
00:24:15,480 --> 00:24:17,920
Speaker 1: like that, but to me it didn't. But this station

489
00:24:17,960 --> 00:24:21,359
Speaker 1: only have fifteen seconds for yeah, fifteen seconds compared to

490
00:24:21,400 --> 00:24:23,879
Speaker 1: a whole bunch of temple time. So it was treated

491
00:24:23,880 --> 00:24:26,440
Speaker 1: like an SP twelve hundred the way I had it going.

492
00:24:26,720 --> 00:24:29,240
Speaker 1: But I was able to play with it. So because

493
00:24:29,280 --> 00:24:32,680
Speaker 1: me being able to play, I wanted to not have

494
00:24:33,440 --> 00:24:36,520
Speaker 1: just a drum machine. I wanted this too, So the

495
00:24:36,560 --> 00:24:40,000
Speaker 1: workstation is what I what I like, what I worked

496
00:24:40,040 --> 00:24:42,840
Speaker 1: on better, even though I got every machine possible and

497
00:24:43,000 --> 00:24:44,840
Speaker 1: just stayed with that, you know, it was better.

498
00:24:45,040 --> 00:24:46,320
Speaker 2: Fast forward to twenty twenty four.

499
00:24:47,880 --> 00:24:52,800
Speaker 1: Did I move to a motif because the motif had

500
00:24:52,880 --> 00:24:56,280
Speaker 1: mad samping time and it had eighty eight keys too,

501
00:24:56,840 --> 00:25:00,040
Speaker 1: that was heavy like a real piano. Because again and

502
00:25:00,119 --> 00:25:01,560
Speaker 1: I got I want to play. I don't want to

503
00:25:01,880 --> 00:25:04,320
Speaker 1: minty nothing, you know, I want to do this right.

504
00:25:04,440 --> 00:25:07,760
Speaker 1: So and I could also program too. So I'm used

505
00:25:07,800 --> 00:25:10,520
Speaker 1: to a workstation like when I was doing Kanye West

506
00:25:10,680 --> 00:25:14,520
Speaker 1: for the last since May, as soon as I came

507
00:25:14,560 --> 00:25:18,360
Speaker 1: into the session with me and him workstation asr TI

508
00:25:20,040 --> 00:25:23,280
Speaker 1: no matter what, all those years in nineties, one machine.

509
00:25:23,680 --> 00:25:25,720
Speaker 1: So if it's not broken, you know what I'm saying.

510
00:25:26,560 --> 00:25:29,280
Speaker 1: So again, and I watched I watched Jamaine Depri on

511
00:25:29,359 --> 00:25:33,200
Speaker 1: his thing when he's sitting down to MP and Rodney Jokers.

512
00:25:33,440 --> 00:25:35,480
Speaker 1: Everybody's back on that one machine.

513
00:25:35,720 --> 00:25:38,040
Speaker 2: Yeah, because it's like nowadays, like I'll see these younger

514
00:25:38,080 --> 00:25:40,680
Speaker 2: producers and they don't even it's just the computer.

515
00:25:40,440 --> 00:25:42,920
Speaker 1: Technology can't give you that. It can't give you that

516
00:25:43,240 --> 00:25:46,320
Speaker 1: analog you're looking for or that field or whatever like that.

517
00:25:46,320 --> 00:25:50,040
Speaker 1: That old machine is so weird that everybody went back.

518
00:25:50,200 --> 00:25:52,280
Speaker 1: And now the NPCs has came up with the STEM thing.

519
00:25:52,560 --> 00:25:54,520
Speaker 1: So now they got the STEM. So that's what the

520
00:25:54,520 --> 00:25:56,639
Speaker 1: best part of technology right now is that STEM thing.

521
00:25:56,720 --> 00:25:59,320
Speaker 1: So now the ship that we dreamed about, like did

522
00:25:59,320 --> 00:26:01,679
Speaker 1: they talking of you know, no, but you can just

523
00:26:01,720 --> 00:26:04,480
Speaker 1: take beat out based on whatever.

524
00:26:04,600 --> 00:26:05,800
Speaker 2: You can sample anything now.

525
00:26:06,160 --> 00:26:09,080
Speaker 1: But even if you do have the technology, do you

526
00:26:09,119 --> 00:26:10,880
Speaker 1: know what to do with it? They're still gonna be whack.

527
00:26:10,920 --> 00:26:13,160
Speaker 1: You can be whacked with with this machine.

528
00:26:14,160 --> 00:26:15,760
Speaker 2: You're a whack DJ. It don't matter if it got

529
00:26:15,800 --> 00:26:16,640
Speaker 2: easier to be a DJ.

530
00:26:17,920 --> 00:26:20,440
Speaker 1: People that that know how to get busy. Oh, it's

531
00:26:20,440 --> 00:26:23,480
Speaker 1: a fucking it was a miracle worker.

532
00:26:23,640 --> 00:26:25,720
Speaker 2: So you've been named with Kanye in the last few months,

533
00:26:25,760 --> 00:26:26,920
Speaker 2: six months in.

534
00:26:26,920 --> 00:26:32,960
Speaker 1: May doing the first album. Then after I went to Italy,

535
00:26:33,320 --> 00:26:37,199
Speaker 1: ty dollad Sound was there. So they have put something

536
00:26:37,280 --> 00:26:40,680
Speaker 1: called Voltures together. Yeah, even though I still made that project.

537
00:26:40,720 --> 00:26:41,480
Speaker 2: I've heard a lot of it.

538
00:26:41,560 --> 00:26:44,760
Speaker 1: Yeah, even though I still made the project, that wasn't

539
00:26:44,760 --> 00:26:46,280
Speaker 1: what I was working on with him.

540
00:26:46,359 --> 00:26:50,080
Speaker 2: So you were working on a YA album three Yes, okay,

541
00:26:50,680 --> 00:26:52,919
Speaker 2: and then you ended up making the Vultures project though.

542
00:26:52,920 --> 00:26:55,440
Speaker 1: No, I ended up going to Italy in the e

543
00:26:55,520 --> 00:26:59,520
Speaker 1: fact that when I got there, Tie already had sung

544
00:26:59,560 --> 00:27:02,040
Speaker 1: on one of my songs already. Then I ended up

545
00:27:02,040 --> 00:27:04,200
Speaker 1: doing another record too when when I when I got

546
00:27:04,200 --> 00:27:07,639
Speaker 1: to Italy so too. So I was in between. So

547
00:27:07,640 --> 00:27:10,920
Speaker 1: hopefully when this is done, we can get back.

548
00:27:10,760 --> 00:27:15,320
Speaker 2: To Yes what because I know, like Yay has this

549
00:27:15,359 --> 00:27:17,960
Speaker 2: thing where he likes to go like certain cities and

550
00:27:18,080 --> 00:27:20,480
Speaker 2: like you know, my beautiful dark twist of fantasy was Hawaii.

551
00:27:22,200 --> 00:27:24,320
Speaker 2: The click stuff was like I think it was like

552
00:27:24,440 --> 00:27:26,480
Speaker 2: in Paris. I mean he moves around, but what was

553
00:27:26,520 --> 00:27:28,119
Speaker 2: like the Italy sessions? Like what was that?

554
00:27:28,320 --> 00:27:32,399
Speaker 1: Like? It's crazy, yeah, because we was in things place

555
00:27:33,480 --> 00:27:40,200
Speaker 1: sing yeah fire so his his villains was fantastic. Yeah.

556
00:27:40,320 --> 00:27:44,400
Speaker 1: And and the vibe in the room, it's crazy, how

557
00:27:44,520 --> 00:27:48,359
Speaker 1: yay like PA speakers.

558
00:27:48,080 --> 00:27:50,840
Speaker 2: Yeah, not like not like what you would think, right,

559
00:27:51,480 --> 00:27:52,399
Speaker 2: it's literally like you.

560
00:27:52,440 --> 00:27:55,320
Speaker 1: Don't care about the bleeding, don't care about how loud

561
00:27:55,440 --> 00:27:57,600
Speaker 1: is He's one of the loud. Yeah, it doesn't matter.

562
00:27:57,920 --> 00:28:00,400
Speaker 1: The two pas and and and and in the two

563
00:28:00,400 --> 00:28:02,080
Speaker 1: subs on both of them, and that's it.

564
00:28:02,480 --> 00:28:02,960
Speaker 2: I was in this.

565
00:28:03,440 --> 00:28:06,760
Speaker 1: I was in every room at the hotel we had it,

566
00:28:07,440 --> 00:28:09,960
Speaker 1: at the warehouse we had it, and where was at

567
00:28:10,920 --> 00:28:12,160
Speaker 1: South Centee.

568
00:28:12,760 --> 00:28:15,520
Speaker 2: I was in Vegas, Tie inviting me out to Vegas

569
00:28:15,640 --> 00:28:17,480
Speaker 2: when the album was supposed to come out, and we

570
00:28:17,560 --> 00:28:21,760
Speaker 2: ended up in Yeay's suite and same thing. It's just

571
00:28:21,840 --> 00:28:25,720
Speaker 2: two speakers and he's Tiger was in there, YG was

572
00:28:25,760 --> 00:28:28,840
Speaker 2: in there. Uh, Little Dirk was in there all recording

573
00:28:29,240 --> 00:28:32,040
Speaker 2: while just the room is still rooming like it was

574
00:28:32,080 --> 00:28:33,960
Speaker 2: never like everybody shut up, it.

575
00:28:33,840 --> 00:28:39,120
Speaker 1: Was we was in the addition hotel crazy. That's crazy

576
00:28:39,160 --> 00:28:42,440
Speaker 1: on the eighth floor. Just that's wild, and no guests.

577
00:28:42,520 --> 00:28:45,960
Speaker 1: Nobody says ship, did you entie? Were you guys able

578
00:28:45,960 --> 00:28:48,000
Speaker 1: to bond a bit? I mean obviously guys. Yeah, yeah,

579
00:28:48,040 --> 00:28:51,040
Speaker 1: because because his brother when I got when I first

580
00:28:51,120 --> 00:28:53,360
Speaker 1: saw a tie, he stopped playing, or Eric Swimmon, shit,

581
00:28:53,680 --> 00:28:58,120
Speaker 1: he's because he was saying that my ninety five album

582
00:28:58,240 --> 00:29:00,440
Speaker 1: is what his brother put them on. Or I told

583
00:29:00,480 --> 00:29:03,200
Speaker 1: you he played six records and knew them all. Shut

584
00:29:03,240 --> 00:29:03,880
Speaker 1: the shit out of me.

585
00:29:04,040 --> 00:29:06,920
Speaker 2: You guys got to do the Green Eyes things, the

586
00:29:06,920 --> 00:29:09,920
Speaker 2: Green Eyes duo. But he's one of the greatest guys

587
00:29:09,920 --> 00:29:12,960
Speaker 2: in all the world. He's a great songwriter and he's

588
00:29:12,960 --> 00:29:14,640
Speaker 2: a great guy though, like a great human.

589
00:29:14,840 --> 00:29:21,200
Speaker 1: Yeah, I he was mad, Nonchalot stayed smoking, you know

590
00:29:21,240 --> 00:29:24,920
Speaker 1: what I'm saying. But again I'm the old head inside

591
00:29:24,960 --> 00:29:28,040
Speaker 1: the place because again I'm nine years old than Yay

592
00:29:28,080 --> 00:29:31,680
Speaker 1: though too so even though it's me and him and

593
00:29:31,680 --> 00:29:34,520
Speaker 1: and the writers, you know whatever, such and such, you know,

594
00:29:34,960 --> 00:29:37,800
Speaker 1: give by too much. But Yay is a person that

595
00:29:39,160 --> 00:29:43,760
Speaker 1: whatever people say is not what I experienced. He music

596
00:29:43,840 --> 00:29:46,560
Speaker 1: is music, and that passion that you have as a

597
00:29:46,600 --> 00:29:50,600
Speaker 1: producer when you hear something dope, it's like, y'all same ship. Yeah,

598
00:29:50,640 --> 00:29:54,000
Speaker 1: And that's all it was about about yo being whatever.

599
00:29:54,080 --> 00:29:58,760
Speaker 1: The You can't take nothing from his ear, the vibe,

600
00:29:59,240 --> 00:30:03,880
Speaker 1: the rhyme, the contexts, all of it. That's all I saw.

601
00:30:03,920 --> 00:30:06,240
Speaker 1: I don't know none other shit. I just know what

602
00:30:06,600 --> 00:30:09,160
Speaker 1: we was doing and how he felt about me.

603
00:30:09,680 --> 00:30:09,880
Speaker 2: Right.

604
00:30:09,960 --> 00:30:13,080
Speaker 1: You know, He's like, he said, everybody in here, that

605
00:30:13,120 --> 00:30:17,000
Speaker 1: person who's doing my wardrobe, the person who's building my building,

606
00:30:17,160 --> 00:30:20,200
Speaker 1: the one who's doing my president campaign. He said, these

607
00:30:20,200 --> 00:30:23,200
Speaker 1: people over here, everybody here geniuses. That's why you here.

608
00:30:24,200 --> 00:30:27,720
Speaker 2: Hey, man, you know that's some real shit. Hey, take

609
00:30:27,760 --> 00:30:32,000
Speaker 2: me back to you guys taking on Rappers Delight, because

610
00:30:32,560 --> 00:30:36,640
Speaker 2: another terrible uh. I have to admit that I'm I

611
00:30:36,960 --> 00:30:40,760
Speaker 2: only knew the Death Squad rappers Delight. So even when

612
00:30:40,800 --> 00:30:42,760
Speaker 2: I even to this day, like I know the og

613
00:30:42,880 --> 00:30:44,560
Speaker 2: Rappers Alight, but even to this day, like when I

614
00:30:44,560 --> 00:30:46,400
Speaker 2: see like when the O g Rappers a light comes on,

615
00:30:46,520 --> 00:30:50,160
Speaker 2: I see the Death Squad version. But what was that like,

616
00:30:50,240 --> 00:30:52,720
Speaker 2: did you guys initially get any sort of like blowback

617
00:30:52,760 --> 00:30:55,160
Speaker 2: for like remaking Harold Records.

618
00:30:55,960 --> 00:30:59,000
Speaker 1: Listen, it wasn't something to do, it was it was

619
00:30:59,040 --> 00:31:04,960
Speaker 1: a project that went on TV. Yeah, and they had

620
00:31:05,080 --> 00:31:07,040
Speaker 1: all the groups picked old records.

621
00:31:07,040 --> 00:31:08,880
Speaker 2: Oh so you guys picked that, Like it was kind.

622
00:31:08,720 --> 00:31:11,440
Speaker 1: Of like so Master P did six in the Morning

623
00:31:11,720 --> 00:31:15,479
Speaker 1: whatever that it's called. In the beginning, Oh, I remember

624
00:31:15,520 --> 00:31:18,920
Speaker 1: that there was like the Knuckles with the yeah the

625
00:31:19,520 --> 00:31:23,040
Speaker 1: album right in the beginning, everybody did something on there.

626
00:31:23,480 --> 00:31:26,120
Speaker 1: So when they came and got us, this is what

627
00:31:26,200 --> 00:31:28,240
Speaker 1: we chose because it was three of us three not

628
00:31:28,440 --> 00:31:31,200
Speaker 1: knowing that it was going to see the video m

629
00:31:31,320 --> 00:31:33,320
Speaker 1: TV the number one video.

630
00:31:33,280 --> 00:31:35,600
Speaker 2: Like yeah, we had the record back, like.

631
00:31:37,040 --> 00:31:39,560
Speaker 1: We beat Maxwell by ten thousand records to be number

632
00:31:39,560 --> 00:31:42,000
Speaker 1: one album in the country. Crazy the Squad went number

633
00:31:42,200 --> 00:31:45,120
Speaker 1: you know, you know because of what that was. But

634
00:31:45,160 --> 00:31:47,200
Speaker 1: we didn't do it on purpose, but we did it

635
00:31:47,720 --> 00:31:50,720
Speaker 1: blowback from the original people because I don't forget they're

636
00:31:50,720 --> 00:31:53,719
Speaker 1: still torn with it. So now the Death Squad then

637
00:31:53,800 --> 00:31:56,640
Speaker 1: came and now it took away from them. It took

638
00:31:56,760 --> 00:31:58,600
Speaker 1: a long time for them to be like yo, because

639
00:31:58,600 --> 00:32:01,040
Speaker 1: now we're not see like yo, what's everything is love?

640
00:32:01,360 --> 00:32:03,600
Speaker 2: But I was sure the Hell Gang went vicoated at first.

641
00:32:03,480 --> 00:32:06,680
Speaker 1: Right, because you're going to stop them from from from

642
00:32:06,720 --> 00:32:08,840
Speaker 1: moving around. You know, we don't know that.

643
00:32:09,360 --> 00:32:10,920
Speaker 2: I feel like the other way to look at it

644
00:32:10,960 --> 00:32:13,040
Speaker 2: is like thanks for putting some more life into this song.

645
00:32:13,480 --> 00:32:15,600
Speaker 1: And but that's what eventually happened.

646
00:32:15,800 --> 00:32:18,160
Speaker 2: Yeah, because like there, did you see the Grammys Tracy

647
00:32:18,240 --> 00:32:21,040
Speaker 2: Chapman performed with this country singer who she has a

648
00:32:21,040 --> 00:32:24,400
Speaker 2: song called fast Card from like nineteen eighty jac Yeah,

649
00:32:24,440 --> 00:32:28,320
Speaker 2: and uh, this country singer covered it, wow, and like

650
00:32:28,560 --> 00:32:30,760
Speaker 2: it was a huge country song. But they did it

651
00:32:30,800 --> 00:32:34,120
Speaker 2: at the Grammys. And so now Tracy Chapman's song it's

652
00:32:34,200 --> 00:32:37,720
Speaker 2: number one, number one. Now it's number one, so it's craziest.

653
00:32:37,880 --> 00:32:40,400
Speaker 1: But believe me, I was telling my man the other day, like,

654
00:32:41,520 --> 00:32:43,760
Speaker 1: and this is this is not no no bos or nothing.

655
00:32:43,840 --> 00:32:44,560
Speaker 2: Yeah, but.

656
00:32:47,240 --> 00:32:50,800
Speaker 1: Me onwed my own publishing. Anybody calls me. So if

657
00:32:50,840 --> 00:32:54,280
Speaker 1: it was for all the fifty cent shows, you know whatever,

658
00:32:54,360 --> 00:32:57,120
Speaker 1: my placements, they got to call me direct. I was

659
00:32:57,120 --> 00:33:01,520
Speaker 1: telling my man that music, I mean, the Weekend is

660
00:33:01,560 --> 00:33:04,360
Speaker 1: one of the most streaming artists in the world. Right,

661
00:33:04,760 --> 00:33:07,920
Speaker 1: so him and metro Booming did I don't want to

662
00:33:07,960 --> 00:33:12,600
Speaker 1: know op? Yeah, which is your customer right, only four

663
00:33:12,640 --> 00:33:16,960
Speaker 1: percent of that four percent of that of that record, right,

664
00:33:17,160 --> 00:33:21,920
Speaker 1: four percent of the original of no of that record

665
00:33:21,960 --> 00:33:25,840
Speaker 1: of metro booming of your customer on that song.

666
00:33:26,800 --> 00:33:30,680
Speaker 2: So you owned four percent of creeping of the publishing.

667
00:33:30,800 --> 00:33:36,920
Speaker 1: Right. Listen every four months get so much it brings.

668
00:33:36,640 --> 00:33:39,280
Speaker 2: In two hundred dollars.

669
00:33:42,680 --> 00:33:45,920
Speaker 1: That's crazy, yo yea yo yo, but that's two forty.

670
00:33:45,960 --> 00:33:51,640
Speaker 1: But that's crazy. How he was on the money. Yeah,

671
00:33:51,720 --> 00:33:52,480
Speaker 1: four percent?

672
00:33:54,520 --> 00:33:57,520
Speaker 2: Talk about tracks and track Wait, hold on, so let

673
00:33:57,520 --> 00:33:59,960
Speaker 2: me get this straight. So when you because you have

674
00:34:00,080 --> 00:34:01,800
Speaker 2: to hear the song first before you clear it.

675
00:34:01,880 --> 00:34:04,080
Speaker 1: Yes, even when they did the mad singer and the

676
00:34:04,120 --> 00:34:07,680
Speaker 1: mad somebody on the madd singer sung did the record, Yeah,

677
00:34:07,840 --> 00:34:11,160
Speaker 1: mass singer called me. Everybody has to call because again,

678
00:34:11,400 --> 00:34:15,520
Speaker 1: anybody's not fortunate. Because luckily Leo calling his brother made me,

679
00:34:16,440 --> 00:34:20,200
Speaker 1: made me and made me me so I didn't have

680
00:34:20,280 --> 00:34:24,200
Speaker 1: to sell the publishing because people sell publishing when they

681
00:34:24,280 --> 00:34:26,560
Speaker 1: need to get the money. So luckily I was able

682
00:34:26,719 --> 00:34:28,560
Speaker 1: to survive without doing.

683
00:34:28,360 --> 00:34:32,920
Speaker 2: That for you. Like, I think most people don't understand

684
00:34:33,000 --> 00:34:36,640
Speaker 2: that how important the pub game is because we always

685
00:34:36,640 --> 00:34:38,759
Speaker 2: are pushed like, well, the streaming only pays this if

686
00:34:38,760 --> 00:34:40,880
Speaker 2: you get a million streams, it's like thirty eight hundred bucks.

687
00:34:40,880 --> 00:34:43,120
Speaker 2: But like the real money is really in the pub right,

688
00:34:43,440 --> 00:34:45,680
Speaker 2: Like if you can like own your publishing.

689
00:34:45,760 --> 00:34:48,840
Speaker 1: It's back this up. Yeah, even though streaming might be

690
00:34:48,920 --> 00:34:51,640
Speaker 1: less than one cent, there's still more money being made

691
00:34:51,719 --> 00:34:52,880
Speaker 1: than you signed to a label.

692
00:34:54,440 --> 00:34:57,279
Speaker 2: It's still more money being made if you don't sign

693
00:34:57,360 --> 00:34:57,880
Speaker 2: to a label.

694
00:34:58,440 --> 00:35:00,920
Speaker 1: You was signed to a label, Okay, and you and

695
00:35:01,080 --> 00:35:06,279
Speaker 1: and you are independent streaming, you it's a chance that

696
00:35:06,320 --> 00:35:09,399
Speaker 1: you can make more money than being on a major exactly. Yeah,

697
00:35:09,440 --> 00:35:12,480
Speaker 1: for sure, even with the less than one penny. Yeah,

698
00:35:12,480 --> 00:35:14,920
Speaker 1: it's rough because you I mean, but but but but

699
00:35:15,000 --> 00:35:16,719
Speaker 1: people don't know. If you're not in the game, you

700
00:35:16,719 --> 00:35:18,880
Speaker 1: wouldn't know that. But I have a streaming company, so

701
00:35:18,920 --> 00:35:21,040
Speaker 1: I'm witness to what.

702
00:35:21,000 --> 00:35:23,640
Speaker 2: It makes right on the pub side though, because I

703
00:35:23,640 --> 00:35:26,439
Speaker 2: feel like the publishing side of music is not talked

704
00:35:26,440 --> 00:35:27,799
Speaker 2: about enough. And I also feel like.

705
00:35:27,680 --> 00:35:29,920
Speaker 1: Oh, no, people know nobody just what you've seen all

706
00:35:29,960 --> 00:35:32,719
Speaker 1: the arguments with the locks and puff and anybody would

707
00:35:32,760 --> 00:35:34,879
Speaker 1: publishing that's always been a big deal.

708
00:35:35,120 --> 00:35:37,040
Speaker 2: No, I mean I'm talking about this new these new kids.

709
00:35:37,040 --> 00:35:38,440
Speaker 1: Man, Oh, they don't have a clue, They have no

710
00:35:38,480 --> 00:35:39,799
Speaker 1: idea because the three sixty as.

711
00:35:40,120 --> 00:35:42,240
Speaker 2: They're just coming to be like how much is my advance?

712
00:35:42,480 --> 00:35:42,879
Speaker 1: That's it?

713
00:35:44,239 --> 00:35:45,600
Speaker 2: And then they're be like, oh shit, I don't know

714
00:35:45,680 --> 00:35:48,880
Speaker 2: my master's and my publishing or they'll rush into a

715
00:35:48,880 --> 00:35:53,520
Speaker 2: pub deal. They'll they'll get one placement and then everybody.

716
00:35:53,239 --> 00:35:55,560
Speaker 1: Here with Kevin is talking about because Kevi don't got

717
00:35:55,560 --> 00:35:57,080
Speaker 1: to do this, but he is doing this. He's just

718
00:35:57,080 --> 00:36:00,400
Speaker 1: trying to not to to to downplay y'all, but to

719
00:36:00,520 --> 00:36:03,560
Speaker 1: let y'all know what y'all have to do, because this

720
00:36:03,600 --> 00:36:06,719
Speaker 1: thing is not gonna it's not a lasting thing at

721
00:36:06,719 --> 00:36:10,720
Speaker 1: this time. We live in in moments times of popularity

722
00:36:11,000 --> 00:36:14,840
Speaker 1: where things are fast food, every new every hour. Something

723
00:36:14,880 --> 00:36:15,320
Speaker 1: is coming.

724
00:36:15,960 --> 00:36:18,120
Speaker 2: Yeah, And if you catch one placement as a producer,

725
00:36:18,360 --> 00:36:20,040
Speaker 2: someone's going to offer you a co pub deal, not

726
00:36:20,080 --> 00:36:23,120
Speaker 2: an ADMIN deal. And that co pub deal it could

727
00:36:23,120 --> 00:36:26,279
Speaker 2: be I mean that means your full partners with a

728
00:36:26,280 --> 00:36:29,239
Speaker 2: publishing company, and it could be ten years, it could

729
00:36:29,280 --> 00:36:31,920
Speaker 2: be in perpetuity, it could be a lot of differents.

730
00:36:31,520 --> 00:36:34,399
Speaker 1: Whatever people somebody a full one K or your timement plan.

731
00:36:34,920 --> 00:36:37,839
Speaker 1: This is what publishing is, is your life. If you're

732
00:36:37,920 --> 00:36:40,960
Speaker 1: able to have some of it, please have as much

733
00:36:40,960 --> 00:36:41,399
Speaker 1: as you can.

734
00:36:41,320 --> 00:36:44,000
Speaker 2: Because you're gonna get that mailbox money every all the time.

735
00:36:44,600 --> 00:36:46,799
Speaker 1: It never stops. And then all of a sudden you

736
00:36:46,880 --> 00:36:49,120
Speaker 1: might catch a placement like I just told.

737
00:36:49,000 --> 00:36:51,520
Speaker 2: You, yeah, which is crazy how many years.

738
00:36:51,400 --> 00:36:53,839
Speaker 1: Later I know, but it happens. But I'm just giving

739
00:36:53,840 --> 00:36:56,520
Speaker 1: you one. Yeah, this happens all the time. I'm just

740
00:36:56,560 --> 00:36:59,800
Speaker 1: giving me one thing about having publishing and what it

741
00:36:59,840 --> 00:37:00,440
Speaker 1: can do for.

742
00:37:00,440 --> 00:37:04,960
Speaker 2: You for sure, man for you on this on this

743
00:37:05,000 --> 00:37:08,360
Speaker 2: new album? How cool was it to give the fans?

744
00:37:08,400 --> 00:37:10,440
Speaker 2: I mean, I know we're gonna when's the.

745
00:37:10,440 --> 00:37:13,719
Speaker 1: Album drop April? I think first week in April.

746
00:37:13,520 --> 00:37:15,319
Speaker 2: First week of April, But how cool is it going

747
00:37:15,360 --> 00:37:17,239
Speaker 2: to be to give the fans some new apm D.

748
00:37:18,800 --> 00:37:21,680
Speaker 1: Yeah, I mean it's so crazy how the label be like, Yo,

749
00:37:22,120 --> 00:37:24,080
Speaker 1: I like the e p m D record And I'm like,

750
00:37:24,360 --> 00:37:26,319
Speaker 1: are you saying because of me? You know what I'm saying.

751
00:37:26,320 --> 00:37:29,960
Speaker 1: But I think that I just think that the fans

752
00:37:30,320 --> 00:37:31,879
Speaker 1: are going to be happy if I was on there

753
00:37:31,920 --> 00:37:36,319
Speaker 1: Burpen right, because it's it's just a because it's a

754
00:37:36,360 --> 00:37:40,080
Speaker 1: new EPMD song or new Ciprus Hills red right, you know,

755
00:37:40,320 --> 00:37:42,239
Speaker 1: the new mob D so people, oh yeah, the mob

756
00:37:42,280 --> 00:37:46,520
Speaker 1: deep shit is crazy because because of Prodigy. So but

757
00:37:46,640 --> 00:37:51,000
Speaker 1: again when people hear it, they like, oh okay, And

758
00:37:51,040 --> 00:37:54,600
Speaker 1: then hopefully I did my job for it to feel

759
00:37:54,680 --> 00:37:57,640
Speaker 1: like it's supposed to feel like, because don't forget our

760
00:37:57,880 --> 00:38:03,080
Speaker 1: colleagues don't go because they either scared or like you said,

761
00:38:03,360 --> 00:38:07,880
Speaker 1: the records don't come out correctly, you know, So hopefully

762
00:38:07,880 --> 00:38:11,120
Speaker 1: I was able to correct it to too, like when

763
00:38:11,160 --> 00:38:14,640
Speaker 1: I was when I was here with Dre. I you

764
00:38:14,640 --> 00:38:16,480
Speaker 1: see on my Instagram, when I was me and Dre

765
00:38:16,920 --> 00:38:21,920
Speaker 1: stuyo everybody with viral, Me and Dre made five records,

766
00:38:22,360 --> 00:38:26,320
Speaker 1: you know, and he made three in one night, crazy,

767
00:38:26,400 --> 00:38:31,400
Speaker 1: you know, off of my production though, and then I

768
00:38:31,440 --> 00:38:35,279
Speaker 1: did we did another one with Snoop that post on

769
00:38:35,360 --> 00:38:38,680
Speaker 1: the new Snoop record, and I also did one with

770
00:38:39,000 --> 00:38:43,080
Speaker 1: him that me and him rhyme doing, which is crazy wow,

771
00:38:43,239 --> 00:38:48,520
Speaker 1: you know. But again, Kevin, it's just a blessing because

772
00:38:48,640 --> 00:38:52,000
Speaker 1: I don't want to. I never talked, so I hate

773
00:38:52,000 --> 00:38:54,319
Speaker 1: to be bigger, bigg enough myself because I'm not used

774
00:38:54,320 --> 00:38:57,000
Speaker 1: to doing that. I would always been introverted, always been quiet.

775
00:38:57,320 --> 00:38:59,359
Speaker 1: But again, at the end of the day, a lot

776
00:38:59,400 --> 00:39:01,480
Speaker 1: of dopes that has happened in the last couple of

777
00:39:01,560 --> 00:39:04,000
Speaker 1: years for this to be what this is because it's

778
00:39:04,000 --> 00:39:05,839
Speaker 1: only volume one, So.

779
00:39:05,960 --> 00:39:07,920
Speaker 2: Is is it going to be a duo's thing after?

780
00:39:08,160 --> 00:39:12,279
Speaker 1: Of course that is my my brand, I mean of course,

781
00:39:12,280 --> 00:39:15,360
Speaker 1: so so now it's a brand of me maker. So

782
00:39:15,400 --> 00:39:19,239
Speaker 1: I'm over there and like saying, you know, you know

783
00:39:19,360 --> 00:39:23,920
Speaker 1: what with saying about the Larry Junes and the and

784
00:39:23,960 --> 00:39:26,760
Speaker 1: the Source Walkers and all these people that I'm looking

785
00:39:26,800 --> 00:39:30,600
Speaker 1: at to do music with. You know, the Core days

786
00:39:30,600 --> 00:39:33,319
Speaker 1: that Freddie Gibson all these other you work with Freddy. Yeah,

787
00:39:34,160 --> 00:39:36,000
Speaker 1: I worked with Freddy back in twenty fourteen.

788
00:39:37,120 --> 00:39:39,399
Speaker 2: He was on Interscope or no no twenty fourteen, No, no, no,

789
00:39:39,440 --> 00:39:41,279
Speaker 2: that was that was That was around the time he

790
00:39:41,320 --> 00:39:44,600
Speaker 2: put out Bandana or Pinata.

791
00:39:44,680 --> 00:39:46,640
Speaker 1: Yeah, but that was I was there before that time.

792
00:39:46,680 --> 00:39:48,520
Speaker 2: I've been. He's been one of my best friends in

793
00:39:48,600 --> 00:39:49,520
Speaker 2: about twenty.

794
00:39:49,640 --> 00:39:52,719
Speaker 1: Of the DJ that was what's the DJ name? The

795
00:39:52,719 --> 00:39:55,520
Speaker 1: one that that he was signed to first in two

796
00:39:55,560 --> 00:39:58,919
Speaker 1: thousand and eight, two thousand and nine did the Ski. Yeah,

797
00:39:59,120 --> 00:40:02,520
Speaker 1: I'm back then working the Ski from that time. So

798
00:40:03,200 --> 00:40:10,279
Speaker 1: I told listen, keV, no rappers that rapped didn't come

799
00:40:10,320 --> 00:40:11,720
Speaker 1: to me nothing.

800
00:40:12,600 --> 00:40:14,840
Speaker 2: He was rapping if he was a rapping ass motherfucker.

801
00:40:14,880 --> 00:40:15,279
Speaker 2: You know what I mean?

802
00:40:16,280 --> 00:40:18,480
Speaker 1: Because the only a few of us did production. You

803
00:40:18,600 --> 00:40:20,520
Speaker 1: only can go for a few people.

804
00:40:20,760 --> 00:40:28,360
Speaker 2: Right, that's crazy? Tell me about Uh there was the

805
00:40:29,239 --> 00:40:32,360
Speaker 2: Martin Lawrence Danny DeVito soundtrack. I forget the name of

806
00:40:32,400 --> 00:40:33,160
Speaker 2: the movie.

807
00:40:33,920 --> 00:40:34,879
Speaker 1: What's the worst it could happen?

808
00:40:34,880 --> 00:40:37,040
Speaker 2: What's the worst it could happen? But it sparks your

809
00:40:37,040 --> 00:40:39,719
Speaker 2: biggest solo hit because I remember it being a kid,

810
00:40:39,760 --> 00:40:42,480
Speaker 2: and like, I could not turn on the fucking radio

811
00:40:42,840 --> 00:40:46,640
Speaker 2: without hearing music. It was every believe it.

812
00:40:47,120 --> 00:40:51,000
Speaker 1: I couldn't to me again. Music was not supposed to

813
00:40:51,160 --> 00:40:55,040
Speaker 1: leave my downstairs. The guy's my friend, but no, he

814
00:40:55,120 --> 00:40:58,520
Speaker 1: stole my CD. I played it for him and he

815
00:40:58,640 --> 00:41:01,960
Speaker 1: stole out my CD play. Then he went to California

816
00:41:01,960 --> 00:41:07,160
Speaker 1: and went to a clear channel the Direcord convention. And

817
00:41:07,200 --> 00:41:09,400
Speaker 1: then I'm sitting on the steps of the w A

818
00:41:09,520 --> 00:41:11,560
Speaker 1: lady comes down and says, Yo, your song with Marvin

819
00:41:11,600 --> 00:41:14,279
Speaker 1: Gaye is great. So now you can imagine me Kevin.

820
00:41:14,280 --> 00:41:16,720
Speaker 1: I'm losing my mind, Like what is she talking about?

821
00:41:16,719 --> 00:41:17,960
Speaker 1: And who told her about this?

822
00:41:18,600 --> 00:41:19,160
Speaker 2: Crazy?

823
00:41:19,280 --> 00:41:22,480
Speaker 1: The whole convention had heard the record. Next thing you know,

824
00:41:23,320 --> 00:41:26,360
Speaker 1: I go to Miami. I'm number one and next you know,

825
00:41:26,760 --> 00:41:29,359
Speaker 1: just whatever. Because the head of Clear Channel I've got

826
00:41:29,360 --> 00:41:33,000
Speaker 1: his name was at the time, he loved it and

827
00:41:33,040 --> 00:41:37,200
Speaker 1: I was it. And then Jimmy Iveen, of course I

828
00:41:37,200 --> 00:41:44,120
Speaker 1: worked with him before ninety five. He was like for

829
00:41:44,200 --> 00:41:48,200
Speaker 1: the soundtrack. Yeah, so the soundtrack was moving. But Clive

830
00:41:48,320 --> 00:41:53,399
Speaker 1: Davis and Tommy Mottola was like, listen, what do what

831
00:41:53,400 --> 00:41:55,440
Speaker 1: do you want? So I went to Tommy Mottola and said, yo,

832
00:41:56,280 --> 00:41:59,200
Speaker 1: two million dollars you know whatever like that. But now

833
00:41:59,360 --> 00:42:01,680
Speaker 1: went to Clive class said I give him four million

834
00:42:01,719 --> 00:42:04,239
Speaker 1: dollars and I give him half as far as fifty

835
00:42:04,280 --> 00:42:04,600
Speaker 1: to fifty.

836
00:42:04,600 --> 00:42:04,960
Speaker 2: Me and him.

837
00:42:05,000 --> 00:42:06,120
Speaker 1: He make money. I make money.

838
00:42:06,560 --> 00:42:07,080
Speaker 2: Wow.

839
00:42:07,360 --> 00:42:09,879
Speaker 1: That's how huge the song was.

840
00:42:09,880 --> 00:42:12,719
Speaker 2: Was that because it was there already a buzz for

841
00:42:12,760 --> 00:42:14,600
Speaker 2: it before it like officially was like.

842
00:42:14,600 --> 00:42:16,680
Speaker 1: The buzz yeah, because it happened in La.

843
00:42:16,840 --> 00:42:19,120
Speaker 2: Okay, so everybody had already heard the record and knew it.

844
00:42:19,280 --> 00:42:23,120
Speaker 1: It was already that was at everybody that was at

845
00:42:23,120 --> 00:42:23,520
Speaker 1: the convention.

846
00:42:23,640 --> 00:42:25,680
Speaker 2: It's Clear Channel. So it was so then you have

847
00:42:25,719 --> 00:42:27,200
Speaker 2: to worry about it, like okay, as long as y'all

848
00:42:27,239 --> 00:42:29,239
Speaker 2: go get this cleared, because then you got to clear it.

849
00:42:29,280 --> 00:42:32,480
Speaker 1: But that's what happened. Yeah, we got stuck up because

850
00:42:32,480 --> 00:42:35,200
Speaker 1: it was one hundred fifty thousand dollars to the state

851
00:42:35,239 --> 00:42:37,160
Speaker 1: and then faded down to the lawyer. So it cost

852
00:42:37,200 --> 00:42:40,480
Speaker 1: two hundred to clear the record yep, for the whole process.

853
00:42:40,480 --> 00:42:42,640
Speaker 1: Such a great record though, man, But it was worth

854
00:42:42,680 --> 00:42:44,880
Speaker 1: it two hundred because it gave me. It gave me,

855
00:42:45,000 --> 00:42:46,839
Speaker 1: It gave me a career, it gave me another half

856
00:42:46,840 --> 00:42:47,279
Speaker 1: of my life.

857
00:42:47,360 --> 00:42:49,440
Speaker 2: Yeah, because then after that you have React and.

858
00:42:49,239 --> 00:42:52,239
Speaker 1: All of it. Yeah, nobody, nobody knew that I was

859
00:42:52,280 --> 00:42:55,040
Speaker 1: going to come back with something like that afterwards, because again,

860
00:42:55,040 --> 00:42:57,719
Speaker 1: when something that big happens, they're like, oh no, that's

861
00:42:57,760 --> 00:43:00,560
Speaker 1: it for him. And I came right back mm hmm

862
00:43:01,160 --> 00:43:01,719
Speaker 1: with with that.

863
00:43:01,960 --> 00:43:06,160
Speaker 2: Yeah, for sure. Man, talk to me, keV Kevin.

864
00:43:06,400 --> 00:43:12,120
Speaker 1: You know you're part of one of the greatest duos

865
00:43:12,160 --> 00:43:12,600
Speaker 1: of all time.

866
00:43:12,680 --> 00:43:14,960
Speaker 2: Who's Who's the Mount Rushmore of rap duos? For you?

867
00:43:14,960 --> 00:43:18,000
Speaker 2: Give me the top four rap duos of all time?

868
00:43:22,120 --> 00:43:22,719
Speaker 1: Outcasts?

869
00:43:23,320 --> 00:43:26,840
Speaker 2: Yeah, you can't say yourself.

870
00:43:26,560 --> 00:43:33,520
Speaker 1: But then you can't let me see wow duos, I'm

871
00:43:33,600 --> 00:43:34,480
Speaker 1: stuck right now.

872
00:43:35,280 --> 00:43:38,879
Speaker 2: Give me the top four man mount Rushmore so far.

873
00:43:38,960 --> 00:43:39,719
Speaker 2: You're two for two though.

874
00:43:39,920 --> 00:43:42,880
Speaker 1: Yeah, but but but why am I going blank?

875
00:43:44,080 --> 00:43:46,960
Speaker 2: There's so many. There's there's there's Mob Deep, the.

876
00:43:48,480 --> 00:43:51,360
Speaker 1: Bye okay, you got okay, Well I'm gonna go.

877
00:43:53,120 --> 00:43:56,200
Speaker 2: And then that's the other thing that considered the producer.

878
00:43:58,680 --> 00:44:06,359
Speaker 1: The Mob Deep start definitely, and then you have see

879
00:44:06,520 --> 00:44:09,399
Speaker 1: I don't look at the dun never do it because

880
00:44:10,800 --> 00:44:13,399
Speaker 1: because they put both names. But that's my favorite apping. Well,

881
00:44:13,440 --> 00:44:18,920
Speaker 1: but again you have M O P, which is an

882
00:44:18,960 --> 00:44:26,840
Speaker 1: underrating group, and like that's when it comes to underrated lyrically.

883
00:44:27,560 --> 00:44:30,080
Speaker 1: I mean this fantastic.

884
00:44:29,440 --> 00:44:31,880
Speaker 2: Fucking m He was one of my favorite rock groups

885
00:44:31,880 --> 00:44:34,480
Speaker 2: of all time. I saw them perform live and they

886
00:44:34,560 --> 00:44:37,080
Speaker 2: used to roll with that chick Fox, the girl who's

887
00:44:37,080 --> 00:44:39,960
Speaker 2: on four alarm blaze and uh, the sound guy kept

888
00:44:40,040 --> 00:44:42,319
Speaker 2: he was fucking with their sound at the show. And

889
00:44:42,360 --> 00:44:45,480
Speaker 2: I'm like in the front row and Fox beats the

890
00:44:45,520 --> 00:44:48,759
Speaker 2: funk out of the sound guy. Sound sound turns off.

891
00:44:48,800 --> 00:44:50,520
Speaker 2: There's no more. The concerts over it. I haven't even

892
00:44:50,520 --> 00:44:53,240
Speaker 2: done any up yet. These fuckers got into the crowd

893
00:44:53,239 --> 00:44:55,280
Speaker 2: and did anie up a cappella with the crowd.

894
00:44:55,280 --> 00:44:59,160
Speaker 1: It was sick is snoop and no.

895
00:44:59,280 --> 00:45:01,440
Speaker 2: I think they gotta be. I mean they are, but

896
00:45:01,480 --> 00:45:02,279
Speaker 2: I think they got to be.

897
00:45:02,360 --> 00:45:03,520
Speaker 1: Like it'd be like.

898
00:45:03,480 --> 00:45:06,680
Speaker 2: Saying Ray Kuana Ghost. It's like, well, like they were,

899
00:45:06,800 --> 00:45:10,719
Speaker 2: I know nothing outcast, I think E P and D.

900
00:45:10,760 --> 00:45:13,399
Speaker 2: When I think Duo's I think, I think Gang Star.

901
00:45:13,480 --> 00:45:17,480
Speaker 2: I think, uh, but but not but again.

902
00:45:17,280 --> 00:45:20,280
Speaker 1: You you you like you said when you think about

903
00:45:21,200 --> 00:45:24,320
Speaker 1: the Pepper Pepa, you think about again.

904
00:45:24,520 --> 00:45:26,320
Speaker 2: But run DMC, of course.

905
00:45:26,280 --> 00:45:26,920
Speaker 1: Eric in Paris.

906
00:45:27,080 --> 00:45:29,640
Speaker 2: What I'm saying is run DMC at Duo. There's three

907
00:45:29,680 --> 00:45:31,600
Speaker 2: of them, right.

908
00:45:31,520 --> 00:45:34,920
Speaker 1: But run DMC is run DMC even though they say

909
00:45:35,000 --> 00:45:35,800
Speaker 1: damn ja message.

910
00:45:36,400 --> 00:45:38,120
Speaker 2: But I'm saying, but that's why I said, do we

911
00:45:38,200 --> 00:45:41,640
Speaker 2: qualify Gang Star because Primo is just the producer?

912
00:45:42,520 --> 00:45:42,719
Speaker 1: Right?

913
00:45:42,800 --> 00:45:45,600
Speaker 2: Do we qualify Eric B and Rock here because Eric

914
00:45:45,640 --> 00:45:49,919
Speaker 2: B was making beats? That's what I'm saying. So it's

915
00:45:49,920 --> 00:45:52,239
Speaker 2: like it is if we're if we're saying just the

916
00:45:52,280 --> 00:45:54,640
Speaker 2: two are like you have to also rap, then it's

917
00:45:54,880 --> 00:45:57,759
Speaker 2: you guys, it's outcast. It's probably mob deep.

918
00:45:58,600 --> 00:46:02,440
Speaker 1: But you gotta think about the impact of a ball and.

919
00:46:05,000 --> 00:46:09,359
Speaker 2: K. I would put GK is my fourth spot because

920
00:46:09,400 --> 00:46:12,560
Speaker 2: you think of you GK and like how they influenced.

921
00:46:12,040 --> 00:46:16,480
Speaker 1: Every I like UGK on the record, Wow you got

922
00:46:16,480 --> 00:46:21,040
Speaker 1: pimpcy worse? Oh Man, Kevin, I think you'll know me

923
00:46:21,120 --> 00:46:23,279
Speaker 1: man like that. Man, I don't, I know.

924
00:46:23,320 --> 00:46:24,799
Speaker 2: I know. We always like like there's you know, the

925
00:46:24,840 --> 00:46:26,920
Speaker 2: most influential list, and I think you know it's Jay,

926
00:46:27,040 --> 00:46:31,280
Speaker 2: It's Pocket's you Go Rock Camp. But Pimpsy's in that discussion.

927
00:46:31,360 --> 00:46:36,440
Speaker 2: It's crazy how much Pimpsy.

928
00:46:34,880 --> 00:46:37,359
Speaker 1: Even though it was only one album though, but I'm

929
00:46:37,360 --> 00:46:38,520
Speaker 1: looking at that Clips still.

930
00:46:38,400 --> 00:46:39,880
Speaker 2: Too, Clips no, no.

931
00:46:40,000 --> 00:46:42,360
Speaker 1: They have three albums, three yeah, but I'm saying with

932
00:46:42,400 --> 00:46:43,719
Speaker 1: the impact of.

933
00:46:43,880 --> 00:46:46,600
Speaker 2: Their first two albums obviously Lord Willing. Now you know

934
00:46:46,640 --> 00:46:48,920
Speaker 2: what if you're talking about my personal favorite, that's a

935
00:46:48,920 --> 00:46:52,400
Speaker 2: different list because to me, the Clips, as you dangerous,

936
00:46:52,520 --> 00:46:55,680
Speaker 2: they're highly dangerous in my life. Dangerous, yeah for sure.

937
00:46:55,719 --> 00:46:55,839
Speaker 1: Man.

938
00:46:56,480 --> 00:46:59,640
Speaker 2: So first week in April, the Dynamic Duos is coming.

939
00:47:00,200 --> 00:47:02,400
Speaker 1: Yeah, and again at the end of the day, like

940
00:47:02,800 --> 00:47:08,000
Speaker 1: it's a it's a a situation. Oh too, I got

941
00:47:08,040 --> 00:47:08,759
Speaker 1: to help the sculor too.

942
00:47:10,080 --> 00:47:11,760
Speaker 2: Hey man, rest in peace to Sean Price.

943
00:47:12,680 --> 00:47:16,839
Speaker 1: Again. I don't know if if I'm dropping everything at

944
00:47:16,880 --> 00:47:19,239
Speaker 1: once because there's so many and I want to be

945
00:47:19,280 --> 00:47:23,480
Speaker 1: able to to to keep the excitement. But I can

946
00:47:23,560 --> 00:47:26,319
Speaker 1: go on and tell you that nobody said no to me.

947
00:47:26,640 --> 00:47:29,719
Speaker 1: People love the idea, love the concept and everybody was like, yo,

948
00:47:29,840 --> 00:47:32,319
Speaker 1: I got you, I got you, I got you, I

949
00:47:32,360 --> 00:47:32,640
Speaker 1: got you.

950
00:47:33,640 --> 00:47:37,640
Speaker 2: Is it like working with because you've already and Jason?

951
00:47:38,280 --> 00:47:41,120
Speaker 2: I mean, but I was gonna say the fact they

952
00:47:41,239 --> 00:47:44,560
Speaker 2: never did that album together, just the two. You know,

953
00:47:44,680 --> 00:47:47,160
Speaker 2: they need to do just that. They need to do

954
00:47:47,200 --> 00:47:50,600
Speaker 2: their version of Iron Man or you know, only Built

955
00:47:50,600 --> 00:47:51,160
Speaker 2: for Cuban.

956
00:47:50,960 --> 00:47:56,160
Speaker 1: Links right, Well, well they did two two purple tapes.

957
00:47:56,920 --> 00:47:59,560
Speaker 2: No I'm talking about Ghost Fate or I'm talking about

958
00:47:59,600 --> 00:48:00,480
Speaker 2: Jada and Styles.

959
00:48:00,840 --> 00:48:05,200
Speaker 1: There's version of that, but I don't know, but they

960
00:48:05,200 --> 00:48:06,920
Speaker 1: don't want to leave exactly.

961
00:48:08,719 --> 00:48:11,560
Speaker 2: With that being said, though, is it is it like

962
00:48:12,000 --> 00:48:14,840
Speaker 2: because you you have a lot of people on that,

963
00:48:15,120 --> 00:48:17,880
Speaker 2: on this project or on these projects that aren't with

964
00:48:17,960 --> 00:48:23,880
Speaker 2: us anymore. Yes, uh Prodigy Sean Price. But I was

965
00:48:23,880 --> 00:48:26,400
Speaker 2: gonna ask you, like, is it is? How is it like?

966
00:48:27,680 --> 00:48:31,080
Speaker 2: How much is it like when you hear Sean Price's

967
00:48:31,160 --> 00:48:32,680
Speaker 2: vocals for the first time, Like I feel like I

968
00:48:32,680 --> 00:48:36,560
Speaker 2: would get goosebumps and just be like damn, Like is

969
00:48:36,560 --> 00:48:38,799
Speaker 2: the pressure higher knowing you got to have to kind

970
00:48:38,800 --> 00:48:40,879
Speaker 2: of like deliver because.

971
00:48:41,000 --> 00:48:44,480
Speaker 1: Because again it doesn't you know, it's like you dope,

972
00:48:44,520 --> 00:48:49,560
Speaker 1: but what you do. I ain't whack, So when that

973
00:48:49,600 --> 00:48:52,839
Speaker 1: beat come on, it's going to be like, oh why

974
00:48:52,880 --> 00:48:56,880
Speaker 1: not back? You know, because I don't have it. It

975
00:48:57,000 --> 00:48:59,920
Speaker 1: sounds deaf pose that come from his brother Leo Cohen.

976
00:49:00,480 --> 00:49:03,360
Speaker 1: You know, like if sounds deaf posse means somebody said, yo, ho,

977
00:49:03,360 --> 00:49:05,440
Speaker 1: do you like that? Or that's dope. I don't have

978
00:49:05,520 --> 00:49:08,240
Speaker 1: the people that's agreeing. You know, they don't don't agree

979
00:49:08,280 --> 00:49:09,960
Speaker 1: with me. You don't fuck with it, don't fuck with it.

980
00:49:10,239 --> 00:49:11,919
Speaker 1: Just tell me the truth, you know what I'm saying.

981
00:49:11,920 --> 00:49:15,080
Speaker 1: So that's what I like about people who I'm around,

982
00:49:15,320 --> 00:49:17,160
Speaker 1: you know, and I know if it's not good because

983
00:49:17,160 --> 00:49:18,600
Speaker 1: I sit there and sit there myself and be like,

984
00:49:18,600 --> 00:49:20,880
Speaker 1: oh nah, just I could add some better dums.

985
00:49:20,920 --> 00:49:23,160
Speaker 2: You know what I'm saying? What uh? What did you like?

986
00:49:23,200 --> 00:49:26,000
Speaker 2: Because coming up like eighties deaf jam is kind of

987
00:49:26,040 --> 00:49:29,560
Speaker 2: like hip hop fucking a loure. Like when we think

988
00:49:29,600 --> 00:49:32,600
Speaker 2: about what def jam meant it was, we think about

989
00:49:32,600 --> 00:49:34,840
Speaker 2: the eighties, right, I think your guy's logo, you know

990
00:49:34,880 --> 00:49:35,120
Speaker 2: what I mean?

991
00:49:35,120 --> 00:49:35,720
Speaker 1: The nineties.

992
00:49:36,160 --> 00:49:39,440
Speaker 2: Yeah, So for me it's like, uh, I want to know,

993
00:49:39,680 --> 00:49:43,080
Speaker 2: what is something that you were able to learn from

994
00:49:43,080 --> 00:49:47,640
Speaker 2: being around Leo and Russ. Yeah, that's and also the

995
00:49:47,680 --> 00:49:49,719
Speaker 2: fact that you were able to kind of like just

996
00:49:49,800 --> 00:49:51,480
Speaker 2: thrive under them in like a way that I don't

997
00:49:51,480 --> 00:49:53,080
Speaker 2: think a lot of people would expect.

998
00:49:52,719 --> 00:49:54,880
Speaker 1: Like yeah, because I was, I was one of the

999
00:49:54,960 --> 00:49:58,480
Speaker 1: producers and along with the group, you know what I'm saying.

1000
00:49:58,560 --> 00:50:02,920
Speaker 1: Like Leo tells story sometimes when when when when death

1001
00:50:03,000 --> 00:50:06,719
Speaker 1: Jam was was in trouble, Redman came the bail out.

1002
00:50:07,040 --> 00:50:09,480
Speaker 2: Yeah, that was like that that weird era where it

1003
00:50:09,520 --> 00:50:11,600
Speaker 2: was like jail felony, the R.

1004
00:50:11,920 --> 00:50:14,080
Speaker 1: The R E L things with that that was moving

1005
00:50:14,120 --> 00:50:16,960
Speaker 1: in transition between polygramm and whatever.

1006
00:50:17,239 --> 00:50:20,280
Speaker 2: I would say, warrant g's regulate help saved the label.

1007
00:50:20,680 --> 00:50:22,799
Speaker 1: I mean, Leo the whole no punches about what he

1008
00:50:22,840 --> 00:50:25,960
Speaker 1: speaks about how things were, the money, the whole thing

1009
00:50:26,120 --> 00:50:29,239
Speaker 1: up too. But again e PMD was the fifth group

1010
00:50:29,320 --> 00:50:32,439
Speaker 1: sounded Death Jam. So at the early time when we

1011
00:50:32,360 --> 00:50:34,800
Speaker 1: were at when Russell came and got us from seeing

1012
00:50:34,840 --> 00:50:37,640
Speaker 1: Baker Records because they had to audit and we came,

1013
00:50:38,320 --> 00:50:44,600
Speaker 1: that was the first time that we saw that that

1014
00:50:44,800 --> 00:50:48,280
Speaker 1: we was in that it things could be better because

1015
00:50:48,320 --> 00:50:51,080
Speaker 1: we had number one albums in the country back to

1016
00:50:51,160 --> 00:50:55,319
Speaker 1: back and we didn't have any money because at first

1017
00:50:55,320 --> 00:50:57,200
Speaker 1: you don't look at the money in the beginning, but

1018
00:50:57,239 --> 00:51:00,680
Speaker 1: then when you when time goes by and and were

1019
00:51:00,680 --> 00:51:04,120
Speaker 1: on fire like that, it didn't match. Yeah, and Russell

1020
00:51:04,200 --> 00:51:06,279
Speaker 1: was like, we got to get them off of there

1021
00:51:06,640 --> 00:51:08,200
Speaker 1: and then and they got us off for there and

1022
00:51:08,480 --> 00:51:10,439
Speaker 1: we signed for one point six million dollars at death Sham.

1023
00:51:10,480 --> 00:51:17,520
Speaker 2: At that time, what was your first nationwide tour like run.

1024
00:51:17,400 --> 00:51:23,000
Speaker 1: DMC was eighty eight. It was e pm D, Public Uennemy,

1025
00:51:23,040 --> 00:51:27,839
Speaker 1: Jay Jeffin, First Prince Jesus, you know, and the Running

1026
00:51:27,920 --> 00:51:32,240
Speaker 1: House Tour was the tour, and Russell was run told Russell,

1027
00:51:33,000 --> 00:51:35,640
Speaker 1: go get them boards from Long Island, you know, because

1028
00:51:35,680 --> 00:51:39,880
Speaker 1: don't forget we're the up and comings. This is run DMC.

1029
00:51:40,239 --> 00:51:43,680
Speaker 1: So they so at this time the projectory of trying

1030
00:51:43,760 --> 00:51:47,319
Speaker 1: to make the tour run, make sure we got the

1031
00:51:47,360 --> 00:51:49,920
Speaker 1: highest people on it because j Jeffin first person is

1032
00:51:49,920 --> 00:51:53,440
Speaker 1: on fire fire, so public enemy is on fire. And

1033
00:51:53,440 --> 00:51:55,000
Speaker 1: then all of a sudden, these two guys from Long

1034
00:51:55,040 --> 00:51:58,200
Speaker 1: Ol epm D is on fire. To the point where

1035
00:51:58,200 --> 00:52:02,160
Speaker 1: when we was on the on tour and Fresh Prince

1036
00:52:02,200 --> 00:52:03,799
Speaker 1: had stopped it show and said, hold, look, when to

1037
00:52:03,800 --> 00:52:06,080
Speaker 1: congratulate EPMD for number one alum in the country. Me

1038
00:52:06,120 --> 00:52:09,600
Speaker 1: and Powers know what that means on Billboard? What do

1039
00:52:09,600 --> 00:52:14,080
Speaker 1: you mean? But EPMD was that phenomen We was number

1040
00:52:14,080 --> 00:52:17,560
Speaker 1: one in the country back to back on both albums.

1041
00:52:17,680 --> 00:52:21,480
Speaker 2: What was it like backstage though, like at the hotels

1042
00:52:21,560 --> 00:52:23,760
Speaker 2: during those days, because it was crazy.

1043
00:52:23,520 --> 00:52:25,920
Speaker 1: Because it was Arenas so so again to be and

1044
00:52:26,000 --> 00:52:29,200
Speaker 1: Arenas and have like the colzone cases full of clothes

1045
00:52:29,320 --> 00:52:32,160
Speaker 1: or Adidas or like basketball rims in the back. Like

1046
00:52:32,200 --> 00:52:34,359
Speaker 1: the stuff that you hear about is what it was.

1047
00:52:34,400 --> 00:52:37,240
Speaker 1: But I'm a kid, so all the stuff is still

1048
00:52:37,239 --> 00:52:40,000
Speaker 1: brand spanking new. And don't forget me and Powis Rode

1049
00:52:40,080 --> 00:52:42,080
Speaker 1: or run them seas bus. We didn't have the money

1050
00:52:42,080 --> 00:52:44,839
Speaker 1: for a bus and run invite us to ride with them.

1051
00:52:45,480 --> 00:52:49,000
Speaker 2: Now automatically, you guys got your own bunk on their bus.

1052
00:52:49,080 --> 00:52:51,560
Speaker 1: I'm on the bottom though, but I'm watching the Adidas

1053
00:52:51,560 --> 00:52:54,279
Speaker 1: walk by every morning to get off the bus, you know.

1054
00:52:54,680 --> 00:52:56,680
Speaker 1: But it was something special because they didn't have to

1055
00:52:56,760 --> 00:52:57,600
Speaker 1: do that, but they did.

1056
00:52:57,920 --> 00:53:01,640
Speaker 2: That's so crazy to think that that tour happened. Public Enemy,

1057
00:53:01,719 --> 00:53:05,680
Speaker 2: run DMC p m D and Fresh Princes and Jazzy Jeff. Wow,

1058
00:53:06,080 --> 00:53:06,640
Speaker 2: that's crazy.

1059
00:53:06,680 --> 00:53:09,080
Speaker 1: Runts House and I don't know where the footage is.

1060
00:53:09,160 --> 00:53:11,920
Speaker 1: I always ask Charlie Mack says, oh, no, I haven't.

1061
00:53:11,960 --> 00:53:14,920
Speaker 1: I'm like, this is the only thing on on YouTube

1062
00:53:14,920 --> 00:53:16,160
Speaker 1: that we can't see.

1063
00:53:16,800 --> 00:53:19,200
Speaker 2: Yeah, there's footage for everything else. It feels like this, but.

1064
00:53:19,239 --> 00:53:22,399
Speaker 1: One of the biggest tours, like after you know, Fresh

1065
00:53:22,440 --> 00:53:23,920
Speaker 1: Frest and all that stuff, somebody's.

1066
00:53:23,520 --> 00:53:25,319
Speaker 2: Got on VHS or something somewhere in a.

1067
00:53:25,360 --> 00:53:26,879
Speaker 1: Closet haven't came out yet.

1068
00:53:27,120 --> 00:53:29,839
Speaker 2: Yeah, that's gotta be Yeah, that's crazy, man. Well, look,

1069
00:53:29,880 --> 00:53:31,520
Speaker 2: I appreciate you pulling up too.

1070
00:53:32,080 --> 00:53:33,480
Speaker 1: A great interview. I appreciate that.

1071
00:53:33,480 --> 00:53:36,439
Speaker 2: Thank you man. The new albums coming first week in April. Yeah,

1072
00:53:36,800 --> 00:53:37,879
Speaker 2: fully produced.

1073
00:53:37,560 --> 00:53:39,560
Speaker 1: By It's gonna be crazy because you're gonna be like,

1074
00:53:39,560 --> 00:53:41,440
Speaker 1: you know, Eric was here talking about this ship. Now

1075
00:53:41,560 --> 00:53:43,400
Speaker 1: I heard this ship. You can't wait to hear hopefully

1076
00:53:43,440 --> 00:53:44,759
Speaker 1: Monty lets you.

1077
00:53:44,520 --> 00:53:46,319
Speaker 2: How many how many volumes do you think you're gonna

1078
00:53:46,440 --> 00:53:46,680
Speaker 2: be doing?

1079
00:53:47,600 --> 00:53:50,480
Speaker 1: Well? I'm gonna do another dynamic duo with with with

1080
00:53:50,520 --> 00:53:53,640
Speaker 1: the young people, with all young rappers though they're the

1081
00:53:53,640 --> 00:53:57,920
Speaker 1: ones that know right so, and then I'm gonna do

1082
00:53:57,960 --> 00:54:01,960
Speaker 1: with soloists okay, still under the names I never do.

1083
00:54:02,440 --> 00:54:04,640
Speaker 1: They did them do a R and B thing where

1084
00:54:04,800 --> 00:54:06,520
Speaker 1: all the R and B acts that people are not

1085
00:54:06,560 --> 00:54:08,279
Speaker 1: talking about. I'm putting them together too.

1086
00:54:08,440 --> 00:54:10,960
Speaker 2: M hmm. That's gonna be hard there.

1087
00:54:10,960 --> 00:54:12,759
Speaker 1: It is, no, because it's an easy process. This is

1088
00:54:13,000 --> 00:54:15,239
Speaker 1: like doing your sleep. As much as it might be

1089
00:54:15,800 --> 00:54:16,600
Speaker 1: like a lot, it's nothing.

1090
00:54:16,719 --> 00:54:18,200
Speaker 2: Well, I appreciate you pulling up. I look forward to

1091
00:54:18,200 --> 00:54:20,359
Speaker 2: hearing Eric hermy boom keV.

1092
00:54:20,440 --> 00:54:20,880
Speaker 1: There you go.

1093
00:54:21,000 --> 00:54:21,360
Speaker 2: Fire