Speaker 1: The Quest Loft Show is a production of iHeart Radio.
Speaker 2: Good People, Good people. Welcome to the Quest Loft Show.
Speaker 1: Today.
Speaker 2: We have an absolute legend, an architectural mastermind of hip
Speaker 2: hop culture from the heart of the Big Easy New Orleans.
Speaker 2: Our guest today has brought a sound I will say,
Speaker 2: really brought the sound of the South to life and
Speaker 2: to prominence, anti dominance, literally defining an era with his
Speaker 2: unmatched production talent.
Speaker 1: We know all the icons that he's collaborated with.
Speaker 2: It's part of our daily fiber, our daily nutrients, if
Speaker 2: you will. From of course, his comrades Juvenile and Weezy
Speaker 2: and UGK and Trina and Ti I and two Chains,
Speaker 2: and the list goes on and on and on and on.
Speaker 1: A longtime fan.
Speaker 2: If you are a hip hop historian, of course you
Speaker 2: know of his entry into the game in the late eighties.
Speaker 1: Of course with M. C.
Speaker 2: Gregory, d our guest today is literally the Army and
Speaker 2: the Navy, the Space Force, and the Air Force and
Speaker 2: the Marines. He is the number one, two, three, four
Speaker 2: and five stunner. I'm glad I get to say these words.
Speaker 2: Manny Fresh, Welcome to the Quest Love Show.
Speaker 1: How are you?
Speaker 3: Thank you? Bro? That was an awesome intro. I'm gonna
Speaker 3: have to use that or something. You deserve it.
Speaker 1: You deserve it, man.
Speaker 3: Thank you, brother, I appreciate it. Thank you.
Speaker 1: This time we hold each other up in light.
Speaker 3: Yes, yes we should.
Speaker 1: You and I have done occasional gigs together.
Speaker 2: Yes, but aside from like the casual pleasantries and given
Speaker 2: pounds and whatnot, we really haven't officially kicked it.
Speaker 1: And I have so many questions. I have so many questions. Yeah,
Speaker 1: what is your very first musical memory?
Speaker 4: I just remember my dad always had in a gang
Speaker 4: of forty fives and just all of these soul songs
Speaker 4: that they made the house feel better, like you know,
Speaker 4: the songs that were like the cool, the Sam Cook
Speaker 4: songs like you know. When my dad would play those
Speaker 4: songs or whatever, it just made the whole structure of
Speaker 4: our house feel better, like you know. And we had
Speaker 4: no clue that we lived in public housing. We had
Speaker 4: no clue. And because those songs made it feel that good.
Speaker 4: So my introduction to music was through forty fives. That's
Speaker 4: what my dad was playing first, you know. And one
Speaker 4: of his favorite artists was Sam Cook and he played
Speaker 4: I mean, like the hell out of Sam cook songs
Speaker 4: and you know, and we knew the songs, you know,
Speaker 4: by my dad playing them, so we knew the lyrics
Speaker 4: to all of those songs. But to see my mom
Speaker 4: and my dad interact when those songs played, you know,
Speaker 4: it showed you that this is a part of.
Speaker 3: Music, is the glue to you know, to make things better.
Speaker 1: How many albums were in the household?
Speaker 3: Oh my god, God, bro, we lost.
Speaker 4: I wish my mom was here right now because you know,
Speaker 4: people would be like, nah, he exaggerating. I think we
Speaker 4: probably had over over the years, maybe thirty to forty thousand,
Speaker 4: forty fives that my dad acted. We had stacks and
Speaker 4: stacks of forty fives, like you know, because from his
Speaker 4: era of DJing, like you know, and that was the
Speaker 4: that was the first thing that DJ spent forty fives.
Speaker 4: And the crazy thing was a lot of them wasn't
Speaker 4: in the sleeve. They was just stacked up. And even
Speaker 4: some of my younger baby pictures, you know, people were like,
Speaker 4: well was that AI did you know? I'm like, that's
Speaker 4: really what I played with forty fives like that was
Speaker 4: that was my talk?
Speaker 2: I got you, no, this this is I'm glad to
Speaker 2: finally talk to someone that I had the same childhood.
Speaker 2: You know, growing up, we had about maybe four thousand,
Speaker 2: five thousand albums. I would judge records based on how
Speaker 2: they looked label wise, Yeah, hitting on the turntable. So
Speaker 2: can I assume that as a kid, were you a
Speaker 2: record obsessive or was it a thing where it's like.
Speaker 1: Your parents ramp it down your throat, so you just inherited.
Speaker 4: My parents kind of rammed it down my throat, like
Speaker 4: you know, my dad on played keys, he played drums,
Speaker 4: you know, and he didn't play professionally, but he knew
Speaker 4: how to play by ear. So it was always around
Speaker 4: me that you know, like this is something that you know,
Speaker 4: you're gonna have to tangle with it for a little bit,
Speaker 4: or you're gonna have to mess with it, you know.
Speaker 3: We had an old piano. Of course it wasn't on.
Speaker 4: Tune, but my dad would mimic the old songs, like
Speaker 4: the Duop songs, because all of those songs was probably
Speaker 4: two cards and just you know, like a little bass
Speaker 4: part and you know, and then I started on going, oh,
Speaker 4: it's kind of easy to play, you know, mimicking that
Speaker 4: or whatever.
Speaker 3: And then before you know, it.
Speaker 4: You know, you're doing things on your own and you
Speaker 4: don't even know like this is really you creating something
Speaker 4: because that genre of music, there was so many ripoffs
Speaker 4: of a song that you know, it was the same
Speaker 4: song where you were just like, well, you know, this
Speaker 4: is that song and it's also the Beach Boys song.
Speaker 1: You know the Blues and yeah, just yeah, I get it,
Speaker 1: I get it. You know. A lot of this is
Speaker 1: coming of course.
Speaker 4: You know.
Speaker 1: I was raised in Philadelphia, in the Northeast.
Speaker 2: I was basically just led under the impression that damn
Speaker 2: near one out of three people in New Orleans had
Speaker 2: some sort of musical talent. Was that just like a
Speaker 2: kind of like breathing air or eating bread, Like, oh,
Speaker 2: you have to eventually figure out some sort even if
Speaker 2: your desires not to do me.
Speaker 4: Yeah, and every neighborhood, every project that was a band
Speaker 4: being started somewhere like you know, and that was the norm. Like,
Speaker 4: you know, if you didn't pay attention to everything else
Speaker 4: around you, you played instruments, you know, And one of
Speaker 4: the cool things about New Orleans was if you did
Speaker 4: do that, you know, the street dudes would leave you
Speaker 4: alone because they knew how important it was to the culture.
Speaker 4: It was respected that you know, you did that. You know,
Speaker 4: it's tons of people that can tell you stories, like,
Speaker 4: you know, growing up in New Orleans, like they would
Speaker 4: just raise up my window and leave the window open
Speaker 4: because I was DJing, I was in, you know, playing something.
Speaker 4: They was like, hey, bro, can we just listen, you
Speaker 4: know while we're out here doing whatever we're doing. And
Speaker 4: I'm like, yeah, I just leave a window up, you know.
Speaker 4: And it was just you know, because I was in,
Speaker 4: I was trying to figure out whatever I was doing,
Speaker 4: whatever that mix was, whatever I was creating, but it
Speaker 4: was cool to them, and you know, and it would
Speaker 4: be like even if I tried something crazy growing up,
Speaker 4: they would send me on my way. They would be like, hey, bro,
Speaker 4: get back to music, dude, this is not for you.
Speaker 4: Go back to music.
Speaker 2: So in your childhood, what was what I would call
Speaker 2: hustle culture or get like how prominent.
Speaker 3: Again around all around me, dude.
Speaker 4: And luckily I grew up with guys that respected what
Speaker 4: I was doing and saw something in me, like you know,
Speaker 4: that was just like and I knew after trying something,
Speaker 4: you know, people always glorified that I was horrible at
Speaker 4: that that was not my thing, like I would have
Speaker 4: got everybody killed in myself tried it, but I was
Speaker 4: just like, nah, this is not for me, you know.
Speaker 4: And then when you're home, you know, somebody who you
Speaker 4: grew up with, one of your homies, he's just like, hey, bro,
Speaker 4: get off.
Speaker 3: The streets, get back to music, you.
Speaker 4: Know, and hustle. That just wasn't for me. And even
Speaker 4: I'm so glad my dad was just like, if you
Speaker 4: get in trouble for that, I'm not coming get you.
Speaker 4: Because I respected my dad like to the fullest, you know,
Speaker 4: and he was just like, there's so many opportunities out
Speaker 4: here for you, but if you if you're trying to
Speaker 4: hustle with your friends and you get in trouble for that,
Speaker 4: I'm not coming get you.
Speaker 3: And that's scared that he be g be was out
Speaker 3: of me.
Speaker 1: I know that film, bro, Yeah, I know that.
Speaker 2: I'm always curious about kind of the first generation of DJ's,
Speaker 2: those DJs that had to operate with one turntable or
Speaker 2: sock op DJs or whatever DJing was in the sixties
Speaker 2: and seventies, When did your father start dj.
Speaker 3: My father, he was a cook at the Roosevelt Hotel.
Speaker 4: He was a chef there and he actually heard a
Speaker 4: DJ like heard I forget who the popular DJ was.
Speaker 4: This was his story from what he was telling me.
Speaker 4: That was on a radio station, just on a radio station.
Speaker 4: But he said, when they had sock hops or whatever,
Speaker 4: you could not get those records. You couldn't get those
Speaker 4: songs or whatever, like the really really good songs like
Speaker 4: you know, because in those days you had you know,
Speaker 4: the way they operated, the way New Orleans operated or whatever.
Speaker 4: Everything was a paola. It was mafia influenced or whatever,
Speaker 4: and all of that even music. So he was just
Speaker 4: like they weren't invited to certain things, you know, like
Speaker 4: basically they would get the bottom of the bowl if
Speaker 4: it was a sock hop or whatever. And he was
Speaker 4: like a DJ didn't have the music of our culture
Speaker 4: or whatever. So he seen it as an opportunity to
Speaker 4: say like, hey, you know what this is missing. This
Speaker 4: is what's missing from our culture if we if we
Speaker 4: go somewhere, it was like we got to hear the
Speaker 4: same three songs over and over again. Where if it's
Speaker 4: on the other side of town, they get everything, you know,
Speaker 4: because there wasn't really no good DJs that could get
Speaker 4: good music. So what he did was he started hanging
Speaker 4: out at the radio station and figured out, like the
Speaker 4: way this worked, the way Paola worked in that time,
Speaker 4: was they would actually give the DJs. If you were
Speaker 4: a so called DJ, they would give you the records
Speaker 4: and give you a little money to break it, you
Speaker 4: know what I'm saying. So that's the way our whole
Speaker 4: collection of forty five's and all of that started. My
Speaker 4: dad would get records that, you know, some of them
Speaker 4: was good, some of them was horrible, but a lot
Speaker 4: of it was because he was he was going up
Speaker 4: in the ranks, and when he first started DJing, it
Speaker 4: appealed to black people. So you had all of these
Speaker 4: record companies going, this is the guy to go to.
Speaker 4: And he decided to make a living off of it.
Speaker 4: He was just like, you know what, I think I
Speaker 4: could quit my job and do this. And you know,
Speaker 4: he raised me and my two sisters off DJing. That
Speaker 4: was the only job I know my dad ever had
Speaker 4: after quitting, you know, his job from being a chef.
Speaker 1: What types of parties did he do?
Speaker 4: What was big in A in A in the sixties.
Speaker 4: I remember even talking about this with him. They had
Speaker 4: this gong show that they used to do. And the
Speaker 4: Gong Show was kind of like kind of equivalent to
Speaker 4: you know, mimicking a song or whatever and somebody would
Speaker 4: dressed up like the act or whatever and sang the song.
Speaker 4: But that was big, like you know, like like karaoke basically,
Speaker 4: like but that was big that you you dressed the party.
Speaker 4: If you did Little Richard, you had to show up
Speaker 4: dressed up like Little Richard, like you know what I'm saying.
Speaker 4: And and my dad was the orchestrator of kind of
Speaker 4: the Gong Show and that was a big thing for
Speaker 4: people in New Orleans to go out and do. And
Speaker 4: then from there it went to you know, like the
Speaker 4: little sock hop or maybe the gym or whatever, and
Speaker 4: all of and evolved. I remember finding like some of
Speaker 4: my dad's first amps, like the tube amps with no
Speaker 4: back on him, with just a plug in them.
Speaker 2: How did the music project in? I mean in days
Speaker 2: now we have cabinets and yeah, yeah, and.
Speaker 4: My dad had a lot of old equipment, like you know,
Speaker 4: the first generation PV speakers. Well you know, like those
Speaker 4: those speakers were you know, just loud. You know, you
Speaker 4: couldn't tune them or whatever. In the first generation apps
Speaker 4: that you know, you just plugged in them and the
Speaker 4: back was open, so if you stuck your finger in
Speaker 4: there or whatever, you was dead. And I saw it
Speaker 4: evolved from that to better equipment, you know, and I'm like, oh, well,
Speaker 4: you actually are moving, you know. And then from there
Speaker 4: it became like every hole in the wall bar, every
Speaker 4: every place in New Orleans my dad played. And then
Speaker 4: around somewhere around fourteen fifteen, I started hooking up my
Speaker 4: dad's equipment wherever he was playing. You know. He was
Speaker 4: just like, hey, could you go hook this up and
Speaker 4: then before you go to school, come back and get it.
Speaker 4: You know. I was driving without a license, me and
Speaker 4: my friend Wap, you know, my dad was she was
Speaker 4: this DJ van because that's what you had at the time.
Speaker 1: Right, Okay, so you got tricked into the family.
Speaker 3: Yeah, I got tricked into it.
Speaker 4: I got tricked into it by literally bringing his equipment,
Speaker 4: hooking it up, and coming back to get it. And
Speaker 4: one late night it was like a smoky hole in
Speaker 4: the wall bar or whatever. I kind of got there early,
Speaker 4: and my dad was like, long as you stay in
Speaker 4: the background, you know what I'm saying, and just stay
Speaker 4: out of the way. You can stay here because you
Speaker 4: can't get you know, So I was just in the
Speaker 4: background and I saw, like that changed my life for forever.
Speaker 3: I saw what the DJ do and what music do
Speaker 3: for people.
Speaker 4: What year was this, This was probably somewhere on early eighties,
Speaker 4: early eighties, like very very early eighties.
Speaker 2: In your observation of being your air quote your dad's apprenticed,
Speaker 2: when are you taking note of what works and what
Speaker 2: doesn't work? Because what I noticed about the most successful
Speaker 2: producers in black music the common denominator that they have
Speaker 2: handful of them. Jimmy jam is one of them. Doctor
Speaker 2: Dre's a great example of them. Of course, you know
Speaker 2: most people before they produce, they were once DJs. Like
Speaker 2: Dre's example is the reason why he's so good is
Speaker 2: because he DJ'd in some of the most hostile environments ever.
Speaker 1: And if you played the wrong song, that was your ass.
Speaker 2: Like you're responsible for the lives of if you play
Speaker 2: something that doesn't work. Yeah, so the pressure is on
Speaker 2: you almost to build the perfect house of cards. You're
Speaker 2: the perfect person that asks this question, because I will say,
Speaker 2: now you.
Speaker 1: Hold the key.
Speaker 2: There's the one record that will last fifty years that
Speaker 2: no matter what environment it's in, it works. When people
Speaker 2: play the intro to Michael Jackson's Don't Stop to Get Enough.
Speaker 2: It was that feeling when I play Smells like Teen Spirits.
Speaker 2: Sometimes there's that feeling there's no in the world, Like
Speaker 2: when the first four bars of back that Ass Up
Speaker 2: comes on. Yeah, it's almost like Pandemonium's gonna start in
Speaker 2: fifteen seconds. In your opinion, what was that record when
Speaker 2: you first started as an apprentice with your dad observing
Speaker 2: him DJ.
Speaker 4: Believe it or not, Marvin Gase got to give it
Speaker 4: up when that came on.
Speaker 3: It worse to this day when that came on wherever.
Speaker 4: He was DJ, and they went nuts, like you know,
Speaker 4: and I used to go out in pond, you know.
Speaker 4: And the crazy thing was that was the era when
Speaker 4: you could play the song three or four times, and
Speaker 4: he would play that song three or four times and
Speaker 4: the set probably was four hours. But every time it
Speaker 4: came on, it was like it was brand new. It
Speaker 4: would be like it was brand new to the crowd
Speaker 4: where you're just like wow, like.
Speaker 3: This really, you know.
Speaker 4: And we had so many songs that did that in
Speaker 4: New Orleans. Like how some people say playing the wrong
Speaker 4: song you would get fucked up. I was grew up
Speaker 4: on playing the right song. Like you know, I know
Speaker 4: exactly what he mean by if you played the wrong song,
Speaker 4: you would be you know. But mine was always kind
Speaker 4: of like play the right song, like you know, there's
Speaker 4: a moment where you know, drop this right now, and
Speaker 4: you know you're going down in history for you.
Speaker 1: How hard is it to break a new song?
Speaker 4: It's very hard, because let me tell you what's one
Speaker 4: of the things. Even with me, I have nothing against
Speaker 4: a young crowd, but I don't want to play for
Speaker 4: a young crowd. And that's one of the way even now,
Speaker 4: I don't want to play for a young crowd.
Speaker 3: I really don't.
Speaker 4: I have all of the songs, I have all of
Speaker 4: the ammunition, but I don't want to play for a
Speaker 4: young crowd because I have not figured out how to
Speaker 4: break young songs yet. I'm figuring them out as I go,
Speaker 4: Like I'll say, like, oh, that one is worthy, that
Speaker 4: one is worth, and you know, and it's and I
Speaker 4: got kids, I call them kids, but they grown ups,
Speaker 4: like you know, my own youngest son, it's twenty one,
Speaker 4: you know. So this is his error. And sometimes you know,
Speaker 4: he'll put the fear of God in me because because
Speaker 4: I'm listening to him, you know, when I'm riding with
Speaker 4: my son, is something I think is a jam and
Speaker 4: he's like, nah, Dad, that ain't it. That ain't the one.
Speaker 4: So I'm being polluted by sometimes that. So I'm like,
Speaker 4: you know what, I need to stick with what I know.
Speaker 2: Wait, wait, time out, because this is the thing. Though
Speaker 2: there's no cap, there's not brown nosing. But literally where
Speaker 2: we are now is derivative of what you created. Yeah,
Speaker 2: texture wise, what's hidden today is derivative from what you created.
Speaker 2: That it's like a kid in a candy store for you.
Speaker 2: So even you have doubts of what works and what
Speaker 2: doesn't work.
Speaker 4: Yeah, yeah, I mean the younger me, I never thought
Speaker 4: that way.
Speaker 3: I never did.
Speaker 4: But but you know, there's a thing that I don't
Speaker 4: mind saying it, even if you know it rubs some
Speaker 4: people to the wrong ways.
Speaker 3: There's too much.
Speaker 4: Music being pushed on us, and some of it is
Speaker 4: not music, you know what I'm saying. So that's that's
Speaker 4: what's kind of making it hard to say, like, well,
Speaker 4: what do I work?
Speaker 3: What song do I break? What song do you know?
Speaker 4: Because if I get if I check you know, my
Speaker 4: pool and I see like I got forty records today,
Speaker 4: and I'm like, how is this possible? And when you
Speaker 4: listen to like, I don't know, thirty eight of them, you're.
Speaker 3: Like, who let these people do this?
Speaker 4: And I understand, like some songs are supposed to be
Speaker 4: just a parody and sometimes it's just a fun record,
Speaker 4: but we got too much of that going on right now.
Speaker 1: See to this day, you still trust and engage your
Speaker 1: record pool.
Speaker 2: Yeah, I'm shameless, brou I willzam the shit out of people.
Speaker 2: You're like, wow, man, I open for you back, and
Speaker 2: dah da da da da da dah. I'll be like, yeah,
Speaker 2: just here to listen. I will zam the shit out
Speaker 2: of it.
Speaker 4: Just so I definitely do that if I hear you play,
Speaker 4: if you play something that I like, I'm a savanna.
Speaker 4: You might catch me over your computer taking a picture.
Speaker 1: Okay.
Speaker 2: See if if the legendary man in Fresh feels that way,
Speaker 2: then I don't feel so Baday.
Speaker 4: You know I've done it to Jazzy Jeff like, what
Speaker 4: was that what you just played? Jeff Like He's like, what, Like,
Speaker 4: what was that that you just played? I need to
Speaker 4: get that record, like, you know.
Speaker 2: Back in two thousand and five, there was a moment
Speaker 2: where Lenny Kravitz had a spot in New Orleans. Yeah,
Speaker 2: and so did Solange and the Fellas and I were
Speaker 2: about to make a new record, and we decided, Okay,
Speaker 2: New Orleans is the probably one of the last real
Speaker 2: like three places in the United States that still as
Speaker 2: a musical identity that's sort of singular, you know, like
Speaker 2: the DMV has it with go go culture, you go
Speaker 2: to San Francisco, whatever, There's just a different type of
Speaker 2: hip hop culture there.
Speaker 1: And for us, it was like, Okay, we're.
Speaker 2: Gonna buy two houses, move to New Orleans. You know,
Speaker 2: mess with some jazz cats, mess with some brass cats.
Speaker 1: We wanted to hook up with you.
Speaker 2: So initially, from January to like August of two thousand
Speaker 2: and five, our plan was we're gonna tour for eight
Speaker 2: months and then when it's time to make this new record.
Speaker 1: We purchased the two houses.
Speaker 2: We were ready voptorship ourselves literally two nights before Katrina.
Speaker 2: We were going to move down there, And part of
Speaker 2: me wonders, in some sort of alternate timeline, what would
Speaker 2: have happened if had we moved down there?
Speaker 1: For you, does it still feel the same to you?
Speaker 1: As it once was.
Speaker 2: Like now live with a bunch of disgruntled New Yorkers
Speaker 2: that are like gentrification, and this is not the New
Speaker 2: York I loved, And everywhere I go it sort of
Speaker 2: goes through that.
Speaker 4: What is Well, one of the things what's difficult with
Speaker 4: me too, is because I'm fighting for the identity of
Speaker 4: New Orleans to because we're not the same.
Speaker 3: We are not like, you know, culture wise.
Speaker 4: I think what happened was so many people after Hurricane
Speaker 4: Katrina moved away somewhere else and picked up they habits,
Speaker 4: you know, and some of them came back. You know what, Okay,
Speaker 4: you sound like you're from Atlanta. You sound like you're
Speaker 4: from just as small as Baton Rouge. You could have
Speaker 4: moved one hour out and you're just like, but you
Speaker 4: sound like you're from Baton Rouge. You don't sound like
Speaker 4: New Orleans no more. You don't move like and and
Speaker 4: I get it. That was a tragedy, so people had to,
Speaker 4: but it kind of it messed with our identity. It
Speaker 4: messed with our creativity and everything. So we are a
Speaker 4: city rebuilding our sound, you know, we and it's still
Speaker 4: you know, we're still waiting for some people. I don't
Speaker 4: know to come back or either to contribute, but we
Speaker 4: we we definitely we're a city that's rebuilding our sound.
Speaker 2: I was gonna say, twenty years after the fact, have
Speaker 2: you recovered twenty years after the fact?
Speaker 1: Or is this still something missing? Man?
Speaker 4: No, Yeah, that's something that does a disconnect with like
Speaker 4: even what I'm telling you with DJing, how that, how
Speaker 4: that has happened? There's a disconnect with younger New Orleans
Speaker 4: and older New Orleans as artists, Like, you know, you
Speaker 4: have younger artists that feel like, you know, if you're
Speaker 4: OJ status, then you know, you will waste the time,
Speaker 4: like you know, they just like, oh well, and when
Speaker 4: I grew.
Speaker 3: Up, we actually looked up to the.
Speaker 4: Meters, the Allen two Salts, you know, Erma tones, We
Speaker 4: looked up to everybody that was our you know, and
Speaker 4: we actually went to them for advice on how you
Speaker 4: got that sound or how you created this?
Speaker 3: How was that that warm? How is that? You know?
Speaker 4: And they didn't mind. But they're like, if you saying
Speaker 4: something to somebody young, because it's still that chip on
Speaker 4: their shoulder, you know, they're just like, well, dude, you
Speaker 4: just wasting time and the art of producing a song
Speaker 4: is gone. Like you know, when you produce a song,
Speaker 4: you sit with me, and we produced that song, not
Speaker 4: me sending you a beat, and like, hey, let's see
Speaker 4: what comes out, you know, And that just one of
Speaker 4: those that was so great about New Orleans that you
Speaker 4: could get a bunch of musicians together from from a
Speaker 4: jazz band, from a brass band, from a you know,
Speaker 4: and we can sit in the room and see what
Speaker 4: we come out with. You know, on the earlier Cash
Speaker 4: Money songs, Trombone Shady played on those songs when he
Speaker 4: was a kid, like you know, and that foundation some
Speaker 4: of that turned into Trombone Shady and then you're just like, wow,
Speaker 4: look at this played you know on some of these
Speaker 4: songs for wrestling tickets. That's all he wanted to do
Speaker 4: is go to the wrestling match, and then he turns
Speaker 4: into this icon like you know. And but but it
Speaker 4: was because we wanted to keep that guy off of
Speaker 4: the streets, because we saw how talented he was, and
Speaker 4: we also wanted to tell him whenever we got a
Speaker 4: chance to celebrate him, hey, bro, keep practicing, You're going
Speaker 4: to be something great. Now. There's a disconnect, like you know,
Speaker 4: when you when you're saying that to a younger artist,
Speaker 4: or you can't even call a younger artist. I'm going
Speaker 4: to show you. Notice, like I see kids all the
Speaker 4: time on the internet like spasing out, going crazy, and
Speaker 4: I just the inner me wants to reach out to
Speaker 4: them and say, hey, bro, what are you doing.
Speaker 3: It's not that serious.
Speaker 4: This is music, right, But if you do that, then
Speaker 4: you get called the clown or you ought to you know,
Speaker 4: you the week And I'm just like, well, I don't
Speaker 4: know how we fix that or how we you know,
Speaker 4: make that work. But there's something going on in the
Speaker 4: water or whatever happened that were not gelling the way
Speaker 4: we used to.
Speaker 2: There's a question I always wanted to ask a knowledge
Speaker 2: resident that's closer to my age that I never got
Speaker 2: to ask. Okay, I know that, you know, oftentimes music
Speaker 2: lovers will reminisce about yesteryear and how it was back
Speaker 2: in the day and music was way better back then.
Speaker 2: Da da da da da, And sometimes you know, I
Speaker 2: in doing research or just listening, I'm just under the
Speaker 2: impression that it's always been the same, meaning that there's
Speaker 2: a commercial artist, there's a moderately loved artist, there's an
Speaker 2: underground artist. There's a niche artist. Now here's the deal.
Speaker 2: I grew up in my crib with. In my actual childhood,
Speaker 2: I had one meters record. Yeah, it was reprise era meters.
Speaker 2: We know, there's two levels of the meters, the breakbeat, yeah,
Speaker 2: and then the more poly sophisticated I mean, you know,
Speaker 2: just kiss my baby, some shit works, you know what
Speaker 2: I mean. However, you know, I didn't discover air quote
Speaker 2: that meters until nineteen ninety when those first like five
Speaker 2: records were reissued. Were they a niche New Orleans group
Speaker 2: in terms of like if you know you know, because
Speaker 2: I'm just under the impression that even in nineteen seventy two,
Speaker 2: I can't imagine Sissy Struck getting airplay on the radio
Speaker 2: or that sort of thing. It's like, how popular were
Speaker 2: they in their time period?
Speaker 4: I think in New Orleans it was, you know, the
Speaker 4: Meters were gods. But outside of that, they were still
Speaker 4: trying to figure it out, you know, and nobody didn't
Speaker 4: Nobody thought this music was great because it still sounded
Speaker 4: New Orleans, you know. And then, like you said, the
Speaker 4: breakbeat era came and everybody was like, whoa the drummer
Speaker 4: and what he's doing? And these sounds are you know,
Speaker 4: they something crazy. But that showed you how much these
Speaker 4: dudes actually loved music, because I don't think they sold
Speaker 4: a lot of records. I don't think you know what
Speaker 4: I'm saying, they sold a whole butt to go back
Speaker 4: in right now, that's considered a failure, you.
Speaker 3: Know what I'm said. And there was a band who
Speaker 3: like we going back in there.
Speaker 4: We're gonna do another album, right you know, and we're
Speaker 4: gonna do another one. We're gonna change our name to
Speaker 4: Chocolate Milk and we're gonna do this, like you know
Speaker 4: what I'm saying, and then we're gonna go back to
Speaker 4: the meters. So and you got a lot of songs
Speaker 4: which which is so cool about an older era. And
Speaker 4: I'm not I'm not comparing like nothing new, but what
Speaker 4: was older Like a lot of those songs were the
Speaker 4: band members from other.
Speaker 3: Groups that were cool groups like.
Speaker 4: That that that sound was linked to other people, you know,
Speaker 4: like you take mister Big Stuff Gene Knight. You can
Speaker 4: hear the influence of Alan Tucson in that song, like
Speaker 4: you know, you can hear like some of the medias
Speaker 4: you know, like so that that that right there, that that.
Speaker 4: That's the energy that I think.
Speaker 3: Yes, music is.
Speaker 4: Still great, but we're killing that energy of the experience
Speaker 4: of knowing other people like you know, I think it's
Speaker 4: a big deal. Leo from the Meters called me like
Speaker 4: two days ago, but he's been calling me all my life.
Speaker 3: I think that's a big deal.
Speaker 4: When that guy calls me like you know what I'm
Speaker 4: saying and he'll just call it me like, hey man,
Speaker 4: I'm just checking on you. What you're doing, bro, Like
Speaker 4: you know what I'm saying, And I'm in my car
Speaker 4: going that's that's the meat.
Speaker 3: That's Leo the bass player.
Speaker 2: Leo is the king of the cold call boy, Yeah,
Speaker 2: it hit you like seven exactly exactly.
Speaker 1: Yes, you can you tell me how did you discover
Speaker 1: hip hop?
Speaker 3: Run BMC? Believe it or not, I thought.
Speaker 1: So even not even sugar Hill I was.
Speaker 3: I was okay with that.
Speaker 4: That was alright with me. It wasn't life changing until
Speaker 4: it's like really yeah, because I can tell you everything.
Speaker 4: Treacherous three, you know what I'm saying, Fearless four, all
Speaker 4: of that Grand Master Flag.
Speaker 2: How did sugar Hill era hip hop trickle down in
Speaker 2: New Orleans?
Speaker 3: Oh? That was incredible. That was phenomenal.
Speaker 4: My sister used to drag me to all of these
Speaker 4: school parties and I hadn't found myself as a DJ yet.
Speaker 4: I was just somebody who loved the music, like you
Speaker 4: know what I'm saying. And but that was the sugar
Speaker 4: Hill era. Flash to the Beat was one of my
Speaker 4: favorite all time songs. I heard that one time, and
Speaker 4: of course I was under age at my sister's high
Speaker 4: school dance and that came on, and that was one
Speaker 4: of the songs that changed me for forever. Like I
Speaker 4: was just like, oh my god. And there's a break
Speaker 4: at the end of Flash to the Beat where the
Speaker 4: beat changes and it's like boom boom boom. When you're hot,
Speaker 4: you're hot, and I was like, what is that when
Speaker 4: you're not?
Speaker 3: But that was you can't get to the machine, you
Speaker 3: know what I'm saying.
Speaker 1: I was going to say.
Speaker 2: Most people don't know that there are two versions of
Speaker 2: Flash to the Beat because there's the professional sugar Hill version, yeah,
Speaker 2: and then the version that they captured live at the Yeah,
Speaker 2: I believe right exactly. So wait, did you guys get
Speaker 2: both versions or were you Yeah, we had both versions.
Speaker 4: We had cat versions because you know, some kind of ways.
Speaker 4: Somehow my dad used to get these songs, you know,
Speaker 4: but he wasn't big on hip hop unless it was
Speaker 4: a song that everybody and they just stayed in a pile.
Speaker 4: So when when, So when I actually fell in love
Speaker 4: with hip hop, I went back to the piling and
Speaker 4: found all of these incredible songs that was like, oh
Speaker 4: my god, like you know, because my dad didn't play that.
Speaker 4: He played mostly disco. He played mostly soul records. And
Speaker 4: I was like, this is an incredible stack of records
Speaker 4: that you know, I want, like I want to hear this.
Speaker 2: But when I remember, so the reject pile is how
Speaker 2: you started building your.
Speaker 4: The reject polish listen, I had say, well, my dad
Speaker 4: didn't want I got, and then that's that's what built me. Okay, yeah,
Speaker 4: that's dope. And let me tell you one of the
Speaker 4: songs my dad slept on. He didn't not think it
Speaker 4: was a good song. She good times what and yeah,
Speaker 4: And that song was in that pile. And I remember
Speaker 4: playing the song and I was and I'm telling my dad,
Speaker 4: I'm like, dude, this song is bad ass. I don't
Speaker 4: know why you put that over here, but you might
Speaker 4: want to put this back put this in rotation in
Speaker 4: your you know, and because New Orleans was a weird
Speaker 4: place at the time, New Orleans, you rejected a lot
Speaker 4: of stuff like we had.
Speaker 3: A moment in New Orleans where we only played New Orleans.
Speaker 4: And we've had those moments a lot of times over
Speaker 4: you know, over time, where we're just like now, we
Speaker 4: don't want to hear nothing else but what we playing.
Speaker 4: And there was a few songs that you know that
Speaker 4: came through, but most of all it would be songs
Speaker 4: that kind of they sounded right to New Orleans.
Speaker 2: I was gonna say, what is the ratio between local
Speaker 2: support and local talent versus FuMO, Like, oh, we need
Speaker 2: to catch up with the rest of America. This is
Speaker 2: what the rest of America's playing. We need to get
Speaker 2: with it. But is just depending on you knowing what
Speaker 2: they want.
Speaker 4: I think New Orleans real real talk my era of
Speaker 4: when I started actually djam and started doing house parties
Speaker 4: or whatever, it kind of changed the scope of what
Speaker 4: New Orleans hip hop was because we were open to
Speaker 4: playing West Coast songs. We was open to playing East
Speaker 4: Coast songs. Before that, DJ's didn't do that.
Speaker 3: But this is a shift.
Speaker 4: Here comes hip hop, you know, and now everybody loves it.
Speaker 4: Everybody likes it, you know what I'm saying, and we're like, oh,
Speaker 4: we got easy Ease, we got you know what I'm saying.
Speaker 4: We got the West Coast is popping off and those
Speaker 4: songs are big. And at the time, I remember every
Speaker 4: time somebody came to New Orleans, I opened up, Like,
Speaker 4: you know.
Speaker 3: If it was a tour, but the tour was East
Speaker 3: and West Coast, you would.
Speaker 1: Be the opening DJ for whoever was in jail.
Speaker 4: Yeah, yo, what was your first l coolj easy, anybody
Speaker 4: that can run DMC, anybody that came to New Orleans,
Speaker 4: Like if it was a major concert, I would always
Speaker 4: be the opening DJ. I would always be you know,
Speaker 4: the guy who used to MC with me way back, Denny,
Speaker 4: Him and cut Creator grew up together. He was from
Speaker 4: New York, so I was in the group New York Incorporated,
Speaker 4: but it was my friends Denny.
Speaker 3: He started this group.
Speaker 4: Denny was one of.
Speaker 3: The first people who I saw transformed.
Speaker 4: We had no idea what that was, but he came
Speaker 4: from New York with it, and then he showed me
Speaker 4: so many different things that you know, because I thought
Speaker 4: I was God on the turntables, you know, because I'm like,
Speaker 4: I know how to back spin, I know how I
Speaker 4: got a little good but right right, And he just
Speaker 4: came and just read. And the crazy thing was he
Speaker 4: had a Newmark mixer with the turnnob. He didn't have
Speaker 4: a face, oh no, and you know, but he was
Speaker 4: doing all of this crazy transform stuff with the turnnob,
Speaker 4: like you know, and I was just like, wait, hold on.
Speaker 4: But that was my first time ever seeing the Newmark
Speaker 4: mixer and seeing twelve hundred turntables. My dad had a
Speaker 4: big Meter mixer. I think that was the company that
Speaker 4: made it. It was called Meter or whatever, but it was
Speaker 4: a huge, huge mixer and he had Technique turntables, but
Speaker 4: there was belt driven with the belt driven had some
Speaker 4: sheeper turntables without pitching. Nothing on it, belt driven, no pitch,
Speaker 4: no pitch, radio shack mixer, the.
Speaker 3: Realistic mix you had to be good. Yeah, no pitch.
Speaker 1: Wait, there's one particular record.
Speaker 2: I want to shout out my comrade Nordwar for bringing
Speaker 2: this to light because when he interviewed Lil Wayne, I
Speaker 2: was really unaware of just your origins. How did New
Speaker 2: Orleans discover and adopt trigger Man's Showboys? Like for people
Speaker 2: listening right now, the trigger Man break is what I
Speaker 2: typically called the New Orleans break, the Bounce break, which is.
Speaker 1: With the break. I did not know that was a
Speaker 1: New York record, and I never heard it.
Speaker 2: I mean I was pretty much aware of you know,
Speaker 2: hip hop radio as far as like cousins given me
Speaker 2: tapes from WB, like from Mister Magic Show, and of
Speaker 2: course we had Lady B in Philadelphia. But how did
Speaker 2: that record wind up defining a city?
Speaker 3: DJs? Honestly DJs. So this is what happened.
Speaker 4: For for maybe five years, we played the vocal side
Speaker 4: of the record, like, you know, just the regular vocal
Speaker 4: side of the record, and everybody in New Orleans knew
Speaker 4: this record, everybody in New York because that's that's an
Speaker 4: example of DJ's breaking the record. But it was broken
Speaker 4: New Orleans because like it just the storyline of it.
Speaker 4: The storyline of the song is like it's a criminal storyline,
Speaker 4: you know what I'm saying.
Speaker 3: It's two gangsters fighting over whatever.
Speaker 4: So that that fit in that era of you know,
Speaker 4: and plus it had that eight oh eight beat. For
Speaker 4: some reason, we have always been a city that's drawn
Speaker 4: to the eight oh eight, you know, I don't know.
Speaker 4: Maybe my earliest stuff was Miami bas and that was
Speaker 4: New Orleans introduction to you know, a hip hop producer.
Speaker 3: So all my earliest stuff was eight oh eight bass.
Speaker 4: So everybody thought like, okay, that's what this is kind
Speaker 4: of like what you gotta follow, like, you know, this
Speaker 4: is this is how you produce a song like and
Speaker 4: this is what we used to hearing. So the eight
Speaker 4: of eight always resonated with us. And then we start
Speaker 4: like the essence of hip We started doing calling response
Speaker 4: and what's nuts is this kind of started with my dad.
Speaker 4: My dad would let juven them rock the mic off
Speaker 4: of the trigger Man beat. And this was before a
Speaker 4: bounce was even called bounced. This was just in the
Speaker 4: projects where you would give an MC a mic and
Speaker 4: be like, hey, let's see who you know. But when
Speaker 4: the eight oh eight part dropped, that's when the crowd
Speaker 4: went crazy. It had like heart Linde drum sounds or whatever,
Speaker 4: and then it went and then it went then it
Speaker 4: went to that eight o weight drop. But when the
Speaker 4: eight o eight drop happened, that's when the crowd went.
Speaker 4: You know, you're just like, oh that part right there,
Speaker 4: and so you had MC's going well, can you make
Speaker 4: that part go back and forth? So that part became
Speaker 4: a part of the show, going like, hey, so just
Speaker 4: back spend just that part like on some grand Master
Speaker 4: flash it where you find a break in the song
Speaker 4: and you just like just this these four bars right here,
Speaker 4: this guy repeat and it became just calling response and
Speaker 4: mostly projects and block parties, and it would be like
Speaker 4: back and forth, Uptown did this Downtown, y'all gotta come harder,
Speaker 4: But it was always over that beat, like you know
Speaker 4: what I'm saying. And then if it was something where
Speaker 4: say like if it was a school dance and I
Speaker 4: was DJing or something, everybody met up at that school
Speaker 4: dance and then the best people would be like, hey,
Speaker 4: let's see who rocked this song the best. And before
Speaker 4: you know it, it evolved into Bounce and even the
Speaker 4: reason why we even call it bounced because everybody used
Speaker 4: to just kind of like do this off of every
Speaker 4: time it came on, you know, and we always shortened
Speaker 4: everything up. In New Orleans, the original song is called
Speaker 4: drag Rap. We called it trigger Man because there's a
Speaker 4: delay part in the song that go trigger man, trigger
Speaker 4: and everybody was like, so of course.
Speaker 1: It's called drag rap.
Speaker 3: It's called drag rap. But there's a.
Speaker 4: Part, the the lay part that says trigger man. Everybody
Speaker 4: always liked that little part, so this the calling the
Speaker 4: song trigger Man.
Speaker 3: It was like, hey, play trigger Man. I'll give you
Speaker 3: some history.
Speaker 4: So even that beat, like when we say that beat
Speaker 4: is more of like a bounce beat, It started with
Speaker 4: people beating on the DJ, like beating on the plexa glass.
Speaker 3: Go and play that beat.
Speaker 4: Play that beat, you know, play that beat, and then
Speaker 4: you know, people start calling it that beat. They're like,
Speaker 4: you know, you know what that beat is, and that
Speaker 4: beat is always a bounce like.
Speaker 1: I never knew that.
Speaker 4: Yeah, the earlier days, the essence of it, like the
Speaker 4: hand claps and all of that. I created that in
Speaker 4: the club that I was DJing at me and KLC,
Speaker 4: I used to bring my SP twelve because I was
Speaker 4: up against some dope DJs. It was KLC and it
Speaker 4: was this dude DJ Duck, and I was like, to
Speaker 4: make it a little bit better, I'm gonna start bringing
Speaker 4: my drum machines just on. So when the SB twelve
Speaker 4: came out, of course it ain't have nothing but probably
Speaker 4: four or five seconds, but it was genius because I
Speaker 4: could take this trigger Man loop, sample it and put
Speaker 4: some hand collaps on it. And whenever I did that
Speaker 4: in the club, and you know, it went crazy because
Speaker 4: everybody would be like, who has this song?
Speaker 3: What is this song?
Speaker 4: And I'm like, no, this is a sequence. This is
Speaker 4: something that and that became a big deal. And and
Speaker 4: every time you hear that that was something that I
Speaker 4: created in the club, and you know, and more and
Speaker 4: more people was asking for it.
Speaker 3: You know, Jubilee is getting ready, getting ready.
Speaker 4: That's people are like, wait, you did that song.
Speaker 3: I was like, you did that song? Yes, I did
Speaker 3: that song.
Speaker 4: Yeah, yeah, And folks is like, I didn't know y'all
Speaker 4: was like, yeah, that's one of my beats.
Speaker 3: Like you know what I'm saying. And that's kind of
Speaker 3: like the essence of hip hop.
Speaker 4: Hip hop, you know how it starts with a beat
Speaker 4: of breaking just some just a crazy idea. But Bounce
Speaker 4: is really Cameron Paul that the Brown Beat song and
Speaker 4: trigger Man. Now before Brown Beat, there was this dude,
Speaker 4: Derek Beat, who made rock the Beat a profile. Rock
Speaker 4: the Beat is actually the same song. We used to
Speaker 4: play Rocked the Beat all the time in New Orleans,
Speaker 4: just the instrumental woman.
Speaker 3: Is that boom boom ke boom boom?
Speaker 4: Yes, yeah, So we would always play rock to Beat,
Speaker 4: but nobody in New Orleans knew the name of it,
Speaker 4: so they just start calling it that beat.
Speaker 1: Wow. Okay, Okay, that's what's up.
Speaker 2: This is everything I ever wanted to know about New
Speaker 2: Orleans culture that I never got to ask.
Speaker 4: Yeah, because you got to think both of these songs
Speaker 4: by label status, I mean, by labels it was failures.
Speaker 3: Derrek Beat, Rock the Beat.
Speaker 4: You just like, nobody ever jammed that song or whatever,
Speaker 4: but New Orleans, yeah, trigger Man, nobody jammed that song
Speaker 4: New Orleans, like and Ali, both of them. Still they
Speaker 4: are legends in New Orleans. They could pretty much do
Speaker 4: whatever they want. And I remember the first time the
Speaker 4: group came to New Orleans, right and they performed, and
Speaker 4: this drug dealer dude got them, you know, and got
Speaker 4: them to come to New Orleans and they were singing
Speaker 4: like I think they had a song called Cartoon something
Speaker 4: or whatever at the time, and they did that and
Speaker 4: we was like, bro, y'all got to sing, just do
Speaker 4: the song, yeah, just do the song. And it was
Speaker 4: just like it was like, just do the song. And
Speaker 4: when the song came on, the crowd went crazy and
Speaker 4: it was just like dude, and we were just like, yeah,
Speaker 4: that's the anthem die.
Speaker 1: So they had no clue.
Speaker 4: Yeah, they had no clue none whatsoever. And they had
Speaker 4: to do that song three times back to back.
Speaker 2: All right, So you said run DMC was kind of
Speaker 2: your calling the hip hop Yeah?
Speaker 3: Yeah.
Speaker 1: What was the first live show that you saw with
Speaker 1: hip hop in it?
Speaker 2: Or releast, what was the moment where you decided, Okay,
Speaker 2: this is my calling, I'm in this culture.
Speaker 4: The first live show I think I saw was a
Speaker 4: young ll COOLJ when he was on Death Jam. And
Speaker 4: I want to say he's he was on that show, okay,
Speaker 4: and who else was on there? Nikki B what daddy?
Speaker 4: Don't no one heard him?
Speaker 3: You know what I'm saying.
Speaker 4: But to see when ll cool J came out in
Speaker 4: the crowd response and you know, this is your backgroard,
Speaker 4: this is your backyard, you in New Orleans. But to
Speaker 4: see everybody just damn like this is phenomenal, Like he
Speaker 4: got their attention for everything he does, everything he do,
Speaker 4: that was life changing. That was you know, and I
Speaker 4: was like, this is definitely what I need to do.
Speaker 2: When do you feel is though New Orleans really got
Speaker 2: its identity because I know that for first generational hip hop,
Speaker 2: it was like, all right, let's do what New York
Speaker 2: is sort of doing and try to sort of acclimate
Speaker 2: ourselves to what New York is doing or what you know,
Speaker 2: what's popular. But when's the period that you feel is like, yo,
Speaker 2: this is our shit and this is our culture and
Speaker 2: this is what we're gonna do.
Speaker 3: Believe it or not.
Speaker 4: It still has a lot to do with outcasts, like
Speaker 4: you know, the whole South's identity. Like, you know, I
Speaker 4: don't think production wise, we was there yet, you know,
Speaker 4: because the first generation of cash money a lot of
Speaker 4: people don't notice. They think like you know, from Juvie,
Speaker 4: and that wasn't the first generation. The first generation of
Speaker 4: cash money was bounce artists, you know, and we was
Speaker 4: trying to figure out what we was gonna do, if
Speaker 4: we was gonna stay there or whatever. And then you know,
Speaker 4: you got outcasts and they come out with songs that
Speaker 4: we can do this, but we were scared to do
Speaker 4: it where we actually you were scared. Yeah, we heard
Speaker 4: musicianship or whatever and all of that. We just didn't
Speaker 4: think that it was gonna be received well, you know,
Speaker 4: to say, like, you know what, this is not what
Speaker 4: hip hop sounds like to us, because a lot of
Speaker 4: stuff we was masked from, like you know, even though
Speaker 4: we was getting songs, but the favorite was the West Coast,
Speaker 4: over the East Coast and down South, I mean down south,
Speaker 4: but West Coast sounds songs sounded like kind of like
Speaker 4: Miami bass sounds just slowed down.
Speaker 3: They were all eight to eight driven.
Speaker 4: Like you know what I'm saying, So it kind of
Speaker 4: resonated easy to us. But then you had Dre that
Speaker 4: picked incredible songs the sample that we kind of knew
Speaker 4: them because my dad knew all of these songs, you know,
Speaker 4: he would call them.
Speaker 3: Out whenever dah da da dah.
Speaker 4: But it was just so genius, and I was just like, well,
Speaker 4: I want to do that, but I don't think they
Speaker 4: ready to let me do that, you know, because I've
Speaker 4: been known I'm still a DJ. I'm starting to get producer,
Speaker 4: you know, these credits and accolades or whatever, but I'm
Speaker 4: still a street DJ, and my job is to keep
Speaker 4: the party going. And what I was good at was
Speaker 4: finding these incredible eight to eight breaks from songs that
Speaker 4: you know and making that something my own. I was
Speaker 4: fearful of musicianship for a certain you know, and then I.
Speaker 2: Hear the way the way that I would dig for
Speaker 2: break beats from the seventies record you're digging hip hop
Speaker 2: to dig for eight oweight breaks?
Speaker 3: Yeah? Yeah.
Speaker 1: Do you like Original Concept?
Speaker 3: Yeah? Yeah. Pumped that bass and all of that. All
Speaker 3: of that was big in New Orleans. All of that.
Speaker 4: Yeah, that acknowledged me. All of that was big. What
Speaker 4: all of that was big in New Orleans?
Speaker 2: That's so crazy because like Original Concept, I'm not saying
Speaker 2: couldn't get arrested. But again, it's one of those if
Speaker 2: you knew, you knew, and because they have the deaf
Speaker 2: jam shield behind them, I always wanted them to be
Speaker 2: bigger than what they were, but only certain few knew
Speaker 2: about Original Concept.
Speaker 1: But you're taking this all in and.
Speaker 4: You ask any DJ from my era, anybody that grew up,
Speaker 4: not just DJs that grew up in my era of
Speaker 4: the House of Blues.
Speaker 3: When Pump that base came on, it got crazy. There
Speaker 3: them that.
Speaker 4: Get a little stupid, get a little stupid and pumped
Speaker 4: that and that's all it was, was an instrumental eight
Speaker 4: to eight instrumental.
Speaker 3: And you just rocked that the whole time and rocked
Speaker 3: that the whole time.
Speaker 2: Once I dug into your history and I'm talking about
Speaker 2: like like buck Jump Time, Yeah, the fact that you
Speaker 2: and Gregory and yeah mc gregory did a Freddy Krueger rap.
Speaker 1: Yeah before Jazzy Jeff in the.
Speaker 4: Fresh Jeff the Fresh Prince did it and the Fat Boys.
Speaker 2: So the musical underline was it was almost like it
Speaker 2: was at oh but with I assume that was a
Speaker 2: live brass bend inside the at least on buck Jump Time?
Speaker 4: Was that a buck Jump time? That was? So what
Speaker 4: happened even with that, it's a crazy story. I was
Speaker 4: doing a song for somebody else and they didn't show up,
Speaker 4: and it was an Alan Tucson studio and he was like, hey,
Speaker 4: you can have the studio since they didn't show up.
Speaker 4: Whatever you come up with, you can have it. So
Speaker 4: I called a couple of people. Greg was the only
Speaker 4: one that came. I was like, hey, I got a
Speaker 4: studio for a day, let's make a record. Like we
Speaker 4: could literally make a record. And that's what came out
Speaker 4: of it. Buck Jump, Who's on the phone? That was
Speaker 4: a sample that I got from actually his son, Reggie.
Speaker 4: He played me some stuff and I was like, and
Speaker 4: at the time, I had an SP twelve, so I
Speaker 4: only had a few seconds, and I was just like, hey,
Speaker 4: let me jack that that little sound right there or whatever,
Speaker 4: you know, And you knew on SP twelve you had
Speaker 4: the slide to make the baseline to make the notes
Speaker 4: or whatever. So I just made the notes on the
Speaker 4: slide or whatever out of just like a little bass
Speaker 4: clip or something that I fought, and you know, and
Speaker 4: me and Greg made that song and that was like
Speaker 4: that ran New Orleans for like ten eleven years.
Speaker 1: Okay. So in my mind again when I told you
Speaker 1: the story of like us.
Speaker 2: Wanting to move down there, yeah, there was a brass
Speaker 2: band that we took a liking to that we were
Speaker 2: going to adopt and have them on the album like
Speaker 2: incorporated with us.
Speaker 1: They were called the two b Continued Brass Band, Okay.
Speaker 2: And the thing was, I'd never heard buck jump time,
Speaker 2: So in my head, I'm like, yo, like, okay, I
Speaker 2: know with bounce music they're using eight o eight's and keyboards,
Speaker 2: but then we have like brass bands over here, like
Speaker 2: how come they never murge?
Speaker 1: Both magamated it.
Speaker 2: And then when I heard that, like, to me, that's
Speaker 2: what I wanted to achieve, to see if that could happen.
Speaker 1: How can that hasn't happened more?
Speaker 4: I think the thing was after me and him did it,
Speaker 4: because that song ran so long. By then hip hop
Speaker 4: had them changed, Like you had people that were scared to,
Speaker 4: you know, do brass music that you know, because hip hop,
Speaker 4: you know, everybody start to be, oh, I'm cool now
Speaker 4: I can't be associated with what this sounds like, you know,
Speaker 4: like with second line music sounds like or whatever I
Speaker 4: wanted to be. Yeah, because they felt it was old,
Speaker 4: like they felt like, you know, it's a lot of
Speaker 4: people that felt like, you know, it was old, you know,
Speaker 4: and it was just like and that was that was
Speaker 4: part of okay, something changing because this still this is
Speaker 4: still jamming music, you know. And even I was having
Speaker 4: a conversation with Kanye one day and he was telling
Speaker 4: me about huh and he was like, I don't understand,
Speaker 4: like how you did the drums like the snare rows
Speaker 4: and the dah da da da, And I was like,
Speaker 4: it comes from second line. I'm like a lot of
Speaker 4: it is second line because that's what I heard drummers
Speaker 4: do the little you know what I'm saying, And he
Speaker 4: was like, well, I was like I kind of just
Speaker 4: that was self examing, like before we had Sazam. You know,
Speaker 4: you heard somebody do something. He was just like, oh, yeah,
Speaker 4: I'm gonna keep that. What you said about on teen Spirit,
Speaker 4: the guy said, you know he got it from the
Speaker 4: Gap bandit the way it starts, right.
Speaker 2: Were you at all shocked at the way that How
Speaker 2: was embraced Because I tend to notice when big moments
Speaker 2: happened in hip hop history and how it affects people.
Speaker 2: Usually the first time when something stops you and you
Speaker 2: look at the speaker and you're like, is that allowed
Speaker 2: to happen? And the thing is is that I'm hearing
Speaker 2: it on Hot ninety seven.
Speaker 3: Yeah.
Speaker 1: I wish I could describe to you.
Speaker 2: The week that this came out, like it was almost
Speaker 2: like giving a baby a t bone steak. Yeah, I mean,
Speaker 2: something good but just absolutely foreign to you.
Speaker 1: It's like we looked at it and just didn't know
Speaker 1: what to make of it.
Speaker 2: But it was catchy as hell, and I feel like
Speaker 2: How was one of the songs that I wish I
Speaker 2: knew a better term than to make new York vulnerable
Speaker 2: because you know, like how stubborn New York was, like
Speaker 2: we're the Kings were and we're ruling shit and none
Speaker 2: of y'all saying we're number one, We're number one, like
Speaker 2: whatever New York's hip hop's version is of America first,
Speaker 2: you know what I mean?
Speaker 1: And in one.
Speaker 2: Fell swoop, people thought it was going to be Notorious
Speaker 2: Thugs with Biggie and I'm certain had had he survived
Speaker 2: and it probably would have had a video and would
Speaker 2: have probably did it. But how I managed to do
Speaker 2: something that I thought was impenetrable, like absolutely impossible, which
Speaker 2: was it broke New York down?
Speaker 1: And then jay Z turns around?
Speaker 2: Can you tell me even how jay Z wound up
Speaker 2: on the remix to it?
Speaker 4: Honestly, just knowing Jay you know, he's a fan of music,
Speaker 4: like you know, to just say, hey, this is my
Speaker 4: introduction to y'all culture, and this is y'all introduction to
Speaker 4: our culture, and it's all so crazy. At the time,
Speaker 4: baby them had no clue of what jay Z was
Speaker 4: and hip hop you know where you know what his
Speaker 4: stamp was. Then they knew nothing. Me and Julie was
Speaker 4: just like, hey, bro, this got a state like you know,
Speaker 4: and it was just like, well he wont he won.
Speaker 3: Our sound, he just won our dah da da dad.
Speaker 4: And we was like, hey, bro, we're trying to break
Speaker 4: this market like this is we need this to happen.
Speaker 3: And it was like, well, we don't even know who
Speaker 3: this dude is. Who is dadda?
Speaker 4: You know, because one of the things in cash Money
Speaker 4: that was big to Baby and Slim was cash money.
Speaker 4: That's it. We ain't doing nothing else. We ain't doing
Speaker 4: nothing outside of it. Outside of that, we ain't listening
Speaker 4: to nothing outside of that. You know. What made me
Speaker 4: a little different was I was a DJ, you know,
Speaker 4: I had to listen to everything, and they had no
Speaker 4: clue like some of these songs were influenced by other things,
Speaker 4: you know, huh. To me, it's kind of like a
Speaker 4: modern Man Tronics you know what I'm saying, Like it
Speaker 4: has you know, like it's it's more it's kind of
Speaker 4: like a Man Tronics song, you know, And I'm a
Speaker 4: big fan of Man Tronics. Like I'm a huge fan
Speaker 4: of Man Yeah, like you know, so to me, like
Speaker 4: there's elements of that in that song, like you know,
Speaker 4: from the drum switch to yes yeah, yeah, you know,
Speaker 4: you're right, it's a lot of that, you know, but
Speaker 4: talking to a slimming baby, you know, they kind of
Speaker 4: was like, no, this is and I'm like no, we
Speaker 4: all kind of influenced from different things. And then when
Speaker 4: Jay did it, me and Juvie of course, we was like,
Speaker 4: oh my god, this is it. Jay Z jumped on it.
Speaker 3: They you know.
Speaker 4: Baby then was like, na, bro, we don't. We don't,
Speaker 4: and I'm like, we do need this. I'm like, we
Speaker 4: need this co sign, you know, as well as what
Speaker 4: he's doing too. He wants the South, we want that,
Speaker 4: you know. And we did the Tunnel and it was
Speaker 4: terrifying because people told us just like you know, like
Speaker 4: like you you got folks whispering to you and your
Speaker 4: ear going, Bro, they're gonna kill y'all in there, They're
Speaker 4: gonna you know, and we just like damn, like even
Speaker 4: you know what I'm saying, We doubting each other before
Speaker 4: the performance, like you know what I'm saying, because we
Speaker 4: don't know the song has really took an off, you know. Okay,
Speaker 4: we get booked to do the Tunnel, but we don't
Speaker 4: know that New York is jamming this song.
Speaker 3: Y Yeah, hell. Yeah. We were scared. Forget nervous.
Speaker 4: We were scared, scared shitless, like you know, because it
Speaker 4: was so many, like you said, that New York attitude
Speaker 4: where they was like, bro, y'all gonna bomb y'all, you know,
Speaker 4: just right off through. Nobody telling you it's gonna be
Speaker 4: all right. It was just constantly y'all ain't gonna make it.
Speaker 4: This is it right here at the tunnel about the
Speaker 4: tell y'all up, they gonna tell y'all. And if you notice,
Speaker 4: when we did it, the crowd, you know, went crazy.
Speaker 4: But the after, the after it was like Julie winning
Speaker 4: the Olympics or whatever.
Speaker 3: He was talking so much shit.
Speaker 4: After after we performed, Like you know what I'm saying,
Speaker 4: he stuck his chest out and was.
Speaker 3: Like, yeah, we did it, and da da da dah,
Speaker 3: New York.
Speaker 4: You can't tell me nothing.
Speaker 3: It was just because it was so much pressure.
Speaker 4: It was so much pressure put on us where people
Speaker 4: was like, this is New York. You're not coming here
Speaker 4: with this shit. Y'all not gonna do this. And when
Speaker 4: the song dropped and the crowd went crazy, Bro, it
Speaker 4: was it was such a relief for us because I'm
Speaker 4: telling you to the time the song came on. We
Speaker 4: were scared as shit because it was that many people
Speaker 4: told us that this was not going to work.
Speaker 2: Dude, Like I would have thought the complete opposite, if anything.
Speaker 2: I thought the annihilation was y'all coming to New York
Speaker 2: and annihilating us, like not knowing that you guys were
Speaker 2: nervous about that at all, Like.
Speaker 4: Yeah, because it was told to us like, you know,
Speaker 4: like this this is no social media because we had
Speaker 4: no we had no idea what was going on on
Speaker 4: Hot ninety seven or what was going on in New York.
Speaker 4: We just heard that the song had momentum, you know
Speaker 4: what I'm saying. So we going, okay, did they did
Speaker 4: they book us here to you know, make fun of
Speaker 4: us and poke at us, or did they book us,
Speaker 4: you know, to have a good time. So it was
Speaker 4: it was, you know, and everything that we were getting
Speaker 4: from people that we really didn't know, but just that
Speaker 4: New York attitude was we was just getting y'all not
Speaker 4: coming in the tunnel with this ship, y'all not going
Speaker 4: you know what I'm saying, And every every artist in
Speaker 4: that era knew the tunnel was. It was brutal, dude.
Speaker 2: This is also the Penn and Pixel era of hip
Speaker 2: hop album covers. Yeah, so I was under the impression
Speaker 2: that every Penn and Pixel album cover was just under
Speaker 2: the same umbrella. So at one point I did think
Speaker 2: that No Limit and Cash Money were part of the
Speaker 2: same family until someone that's explained to me otherwise, No,
Speaker 2: these are two different camps.
Speaker 4: We all grew up together. Everybody just picked the side.
Speaker 4: That's the weird thing. But but but you know, that's
Speaker 4: that's kind of like how the East Coast and West
Speaker 4: Coast battle even started, like with people kind of putting
Speaker 4: their own spin on it.
Speaker 3: We never really had beef.
Speaker 4: The world assumed that we had beef because we was
Speaker 4: from different projects, different areas. But me and KLC, the
Speaker 4: dude from Beach by the Pound who did most of
Speaker 4: their stuff, we dj together as kids. You know, we
Speaker 4: grew up toget. We're still good friends. Mia X was
Speaker 4: in a group with me, you know, in New York
Speaker 4: Incorporated and she you know, and Mac who was on
Speaker 4: their Max's first song. I think he was nine years old.
Speaker 4: I did his song like you know what I'm saying.
Speaker 4: Wait what, Yeah, he was nine years old. He had
Speaker 4: a song called I Need Wills. It was a parody
Speaker 4: of I Need Love, Like you know what I'm.
Speaker 1: Saying, Well, was he won a bicycle.
Speaker 3: He was on a.
Speaker 4: Street car like saying the song to you know, to
Speaker 4: some girl, and it's.
Speaker 3: A video for it.
Speaker 4: It's literally a but but we all knew each.
Speaker 1: Other at the height of the madness.
Speaker 2: Not once was there a summit meeting that said, like, hey,
Speaker 2: let's do an all star record.
Speaker 4: It was friendly competition and people kind of made you
Speaker 4: know when you got those outside influences, like you know,
Speaker 4: when you start letting street dudes in and you know,
Speaker 4: and in that era that was big and hip hop,
Speaker 4: like you got your street friends with you and you
Speaker 4: got all but you didn't know like your street friends
Speaker 4: were the ones who was the authors of destruction, you know,
Speaker 4: like you like, this dude is the problem. He's telling
Speaker 4: you that these dudes is saying this, and they got
Speaker 4: some dudes over there saying, well, these dudes are saying that.
Speaker 4: So it kind of created a riff. But whenever we
Speaker 4: saw each other, like let's just say, we went to
Speaker 4: a club on a Friday night, the House of Blues,
Speaker 4: and we saw folks from No Limit. We saw we
Speaker 4: all got together and we kicked it and we hung
Speaker 4: but when we went our separate ways, it seemed like, oh,
Speaker 4: they hate each other, you know what I'm saying.
Speaker 3: But that never really occurred.
Speaker 2: As far as D Jay's concern and support, is there
Speaker 2: local mainstream radio support of the culture or did you
Speaker 2: have to figure out other ways to get the word out.
Speaker 3: We definitely had to figure out other ways.
Speaker 4: You know. It was a little different from us because
Speaker 4: we was kissing baby, shaking hands, making deals out the trunk,
Speaker 4: you know, doing things the old school way of making
Speaker 4: it work, you know, going from city to city, sharing
Speaker 4: the car, whatever we had to do, like, you know,
Speaker 4: and we would we would stay in the city till
Speaker 4: they got tired of seeing us, till they start playing records,
Speaker 4: you know what. We just like, well, we're gonna be
Speaker 4: here and we gonna find all of the good DJs,
Speaker 4: you know, and service them with these records and bother
Speaker 4: them or either pay them whatever it took, like, hey man,
Speaker 4: give that guy a little money and let him play
Speaker 4: this song, you know. And a lot of times the
Speaker 4: greatness was the song played two or three times and
Speaker 4: then it was instant, you know, people liked it, and
Speaker 4: then that that right there showed you if you do
Speaker 4: a good record, you make it easy for DJ like
Speaker 4: but it was if it's a hard record where you're like, ah,
Speaker 4: and we've all been in that position where somebody like
Speaker 4: break this record and you're just like, I don't know
Speaker 4: about one. But when you give them something to work with,
Speaker 4: they like, okay that this could possibly work. So and
Speaker 4: a shift what happens in Cash Money was Beiji chop
Speaker 4: of City.
Speaker 3: The format changed from bounce.
Speaker 4: To rap and and I was like, if we're gonna
Speaker 4: do this, it's gotta be something that's so incredible that
Speaker 4: you know it can't be you know, like denied. And
Speaker 4: when we did the Chopper City album and it was
Speaker 4: rapping and it had musicianship and it had you know,
Speaker 4: different like you know, and everybody was like, this is
Speaker 4: many fresh. We not used to hear them, you know,
Speaker 4: we know the bounce mann afresh. We don't know him
Speaker 4: to do like full production on you know, a whole album.
Speaker 4: And these songs got guitars and they got you know, keyboards.
Speaker 4: And when we did that, the radio and everybody jumped
Speaker 4: behind it because the streets were so hot on it.
Speaker 4: It was one of them albums where every car was
Speaker 4: planned so radio had to start playing it just by
Speaker 4: it was being forced on them by what the streets
Speaker 4: was doing. And when that happened, you know, we saw
Speaker 4: a shift.
Speaker 2: I've never seen an M depth interview with you. So
Speaker 2: the reason why I'm kind of nerd out on you,
Speaker 2: you know, peer to peers, because like I'm asking questions,
Speaker 2: I never got.
Speaker 1: To hear you answer because yeah.
Speaker 2: As far as so, I mean now that decades of
Speaker 2: going by and you've seen the effect of it, like
Speaker 2: is this the way that you imagine that it would
Speaker 2: happen when you first started out, or.
Speaker 3: Yeah, let me tell you.
Speaker 4: One of the things that even you know Juvie will
Speaker 4: say right now interviews, he says, I got on their
Speaker 4: nerves with my talks of how I knew this was
Speaker 4: going to play out because I always was like, dude,
Speaker 4: that's going to yeah. I was like, this is going
Speaker 4: to be big. I don't know about y'all, and if
Speaker 4: y'all don't like it, go home, like you know, I
Speaker 4: would literally you know, and it was just like, well,
Speaker 4: how did you I'm like, bro, I know, I know,
Speaker 4: I know, I know, Like you know, even when we
Speaker 4: was doing back that ass up. I changed the song
Speaker 4: three times and he was like, why are you doing
Speaker 4: this and what are you and I'm like, because this
Speaker 4: song is huge, you know, and at the time when yeah,
Speaker 4: I knew it at the time when we did it.
Speaker 4: The whole reason why I put the intro on it.
Speaker 4: It was kind of like like from old songs, from
Speaker 4: seeing my dad do things. When it came back to me,
Speaker 4: they was like, well, why do the intro when it
Speaker 4: was already done.
Speaker 3: I was like, well, the intro is the setup.
Speaker 4: I'm like, it's giving you a second to get ready.
Speaker 4: I'm like, this is going to give you a second
Speaker 4: to get ready when it drops down. It's on from there.
Speaker 3: You know.
Speaker 4: We had already done the song and I went back
Speaker 4: and did the intro to it, and it was like, well, why.
Speaker 1: Were you wanted the intro in mastering or.
Speaker 4: Yeah, yeah, And I was like, I want the intro
Speaker 4: on it and they was like, well why, I'm like,
Speaker 4: because this is the setup. I'm like, this song is
Speaker 4: going to play for forever and you know, and it
Speaker 4: was just like see when you start talking like that
Speaker 4: that shit you and I'm like I know this. I'm like,
Speaker 4: I know this song is the one this is going
Speaker 4: to play. You know, Julie will say, I didn't see it.
Speaker 4: He was like many saw it. Man.
Speaker 3: He was like, this is, you know, one of them.
Speaker 4: If you're gonna give yourself credit, and you know, you like,
Speaker 4: you know, I'm not braggadocious, but I will say I've
Speaker 4: foreseen that song being here that long.
Speaker 2: Of your creations, like what are your top three Manny
Speaker 2: Fresh creations?
Speaker 3: Still Fly?
Speaker 4: Because still Fly it's not really it's not a super
Speaker 4: produced song. What I'm saying like, it wasn't hard to create,
Speaker 4: but it was hard to do because I wrote.
Speaker 3: It from a real place.
Speaker 4: And when you would have a labeled at the whole
Speaker 4: premise of what the label thinks is we get money,
Speaker 4: you know. That's all we do is we get money.
Speaker 4: And they like and you talking about being broken, you
Speaker 4: talking about a quarter tank of gas and you eat,
Speaker 4: you know, and it was just like bro. And I
Speaker 4: was like, honestly, I'm like, this is on real life.
Speaker 4: I'm like, yeah, it's relatable. I'm like, this is everybody's
Speaker 4: real life, you know. And that was one of the
Speaker 4: songs it was hated on by everybody. Then it was
Speaker 4: just like, I don't know what he doing in there
Speaker 4: right now, but he about to destroy this with this song.
Speaker 4: And I'm like, this song is everybody's life in the world, like,
Speaker 4: and I'm like, you've been here one of these lyrics,
Speaker 4: you've been here, one of them, or all of them
Speaker 4: in the hook, you've been there. So when I was
Speaker 4: doing it, you know, it was it came from a
Speaker 4: real life place. I need to say this, and they
Speaker 4: was just like no, you know, like our whole thing
Speaker 4: is our asana is get money, get money, get money,
Speaker 4: and you know, and I remember saying this is the
Speaker 4: gift and the curse. And I had an argument with
Speaker 4: Baby about this cause I was like, I don't want
Speaker 4: to turn hip hop into get money, get money. I'm like,
Speaker 4: this is our thing. But I'm like I'm seeing all
Speaker 4: of these labels and all of these kids under a
Speaker 4: switch to.
Speaker 3: That's all hip hop is now.
Speaker 4: And I'm like I had to explain it to him
Speaker 4: and break it down like just a little bit, like
Speaker 4: you know what I have to and he was like, well,
Speaker 4: I don't understand what you're saying.
Speaker 3: I was like, there's genres in hip hop. We figured
Speaker 3: out that.
Speaker 4: We would be, I mean, the boldest, the biggest, and
Speaker 4: whatever that was that was cash money thing. I'm like,
Speaker 4: that's not everybody's thing, but it's turning into everybody's thing.
Speaker 4: That's this is what hip hop is turning into. So
Speaker 4: I'm like, you gotta be careful on how you doing
Speaker 4: this because what we're doing is we're making people believe
Speaker 4: that hip hop is money, girls and bitches.
Speaker 3: You know.
Speaker 4: What I'm saying instead is a culture is a love
Speaker 4: for this. And you saw a shift where it just
Speaker 4: turned to the bling and we're still in the bling
Speaker 4: era of hip hop where everything is get money, get money,
Speaker 4: get money. So when I did that, it was all
Speaker 4: kind of feelings of you know, like I said, what's
Speaker 4: big about that song to me is not how you know,
Speaker 4: like the production or none of that. It was the
Speaker 4: backstory of it. The backstory was I had to fight
Speaker 4: for all of that. Like what I'm telling you where
Speaker 4: I'm going, Like, hey, bro, I don't want to just
Speaker 4: do songs that are just that's all we do is,
Speaker 4: you know, we glamorize this. Like I'm like every album
Speaker 4: that we do that should be at least one two
Speaker 4: songs that got a message that comes from.
Speaker 3: How you really feel.
Speaker 4: Yeah, that's relatable and that was one of even some
Speaker 4: of the parts of you know, people are like, well,
Speaker 4: when you stepped off, what happened? Was it financially? Some
Speaker 4: of it was financially, but some of it was it
Speaker 4: was growth, you know, as a musician, as a producer,
Speaker 4: it was growth when I'm like, hey, I want to
Speaker 4: do this, I want to try this, and you're like, nah,
Speaker 4: but this works, and I'm like, it don't work for me,
Speaker 4: no more?
Speaker 1: Gotcha?
Speaker 2: All right, I'm looking behind you and over your right shoulder.
Speaker 1: Uh huh do you still use and that's be twelve hundred?
Speaker 4: Yes, sir, I got the SB right here, and I
Speaker 4: got the eight aweight right here at old MPC.
Speaker 3: Yes, this is my baby, bro, my sp twelve hundred to.
Speaker 1: This day, Like that's your weapon of choice.
Speaker 3: Yes, yes, yes, all right, let's go.
Speaker 2: To the opposite of still fly, which I would say
Speaker 2: is probably blink bling.
Speaker 3: Yeah.
Speaker 2: Now, it's so weird how a perception of a song
Speaker 2: can alter your perception of even patches, because everything that
Speaker 2: you used and bling bling, it's such a shiny sound,
Speaker 2: like the did the idea come first? Like, Yo, I'm
Speaker 2: gonna make a song about diamonds and you made it
Speaker 2: or was it just I know just how it came.
Speaker 4: I know how it. I was listening to Johnson Crew
Speaker 4: Space is the Place boom boom bum bum bum bum
Speaker 4: blah blah blah bum boom boom bum and I was like, God, damn,
Speaker 4: that's jamming.
Speaker 1: Like shit, look Arthur Baker right now here in this
Speaker 1: all right.
Speaker 4: You know what I'm saying. So I was playing like
Speaker 4: the Johnson Crew album the whole day, like Space Cowboy
Speaker 4: all of that, and went to sleep and the hook
Speaker 4: of bling bling came to me, like you know what
Speaker 4: I'm saying, Like I just and I was like, I
Speaker 4: better get up and recard this before.
Speaker 3: I forget it.
Speaker 4: I recorded it over what you call I recorded because
Speaker 4: I was listening to the Johnson Crew all day. I
Speaker 4: just recorded the hook over Space is the Place, you
Speaker 4: know what I'm saying, because I was like, you know what,
Speaker 4: just because I had my little recorder, you know what
Speaker 4: I'm saying, I'm like, the only thing I got was this,
Speaker 4: So I played it and I just did the hook over.
Speaker 4: So I was like I kind of wanted to have
Speaker 4: that feel, like you know what I'm saying. I was like,
Speaker 4: I wanted to have that, and I recalled and the
Speaker 4: next day I went in the studio and put it down,
Speaker 4: but I recorded it late at night because it kept
Speaker 4: coming to me.
Speaker 2: This is so crazy to me that like records that
Speaker 2: I think don't have an impact. You know, it's you
Speaker 2: mentioned the Johnson Crew. I just had Arthur Baker on
Speaker 2: the show, yeah, a little while back. And of course,
Speaker 2: you know after the deluge, the after effect of Planet Rock,
Speaker 2: you know, coming with play at your Own Risk and
Speaker 2: all this stuff, and then you know, pack Jam comes
Speaker 2: from the Johnson Crew. And I remember that summer of
Speaker 2: eighty three buying. I brought Nuclears and I brought the
Speaker 2: Johnson Crew, Space Cowboy, all that stuff. And I was
Speaker 2: just under impression that because no one, none of my
Speaker 2: friends knew that song except me, and so my mind,
Speaker 2: I'm just like, oh, this is probably like a flop
Speaker 2: record that's.
Speaker 1: Going to make sense to nobody but me.
Speaker 2: I Wow, Okay, that's amazing to hear that. One question
Speaker 2: I always wanted to know actually has to do with
Speaker 2: probably the most surprising cash money signee, How did Tina
Speaker 2: Marie wind up in you guys's stratosphere?
Speaker 3: All of us are fans, all of us. Okay.
Speaker 4: So, so Tina Marie was huge in New Orleans. I
Speaker 4: mean like like you know, she she would be equivalent
Speaker 4: to like Supernova in New Orleans.
Speaker 3: You know.
Speaker 4: So I think somebody told Slim that I think it
Speaker 4: was one of her attorneys that Tina was looking for
Speaker 4: a deal, and he was like, we'll sign her.
Speaker 3: We you know, we we we'll sign her. We'll do
Speaker 3: whatever it takes, you know.
Speaker 4: And he said, I know many loves Tina Marie, like,
Speaker 4: you know, because I had these times where I'm gonna
Speaker 4: educate you.
Speaker 3: We about to play some R and.
Speaker 4: B music if this is the last ten minutes of
Speaker 4: my set, and it was always square Biars, like I
Speaker 4: would you know I start off with Slim was like
Speaker 4: that he go with that every time. You know what
Speaker 4: I'm saying, right, I'm like, but Square Bars was always
Speaker 4: in the set, and I think it was it was
Speaker 4: just pure coincidence that this guy reached out to her
Speaker 4: and she was like, okay, I'm willing to do it.
Speaker 4: And when I met her, I told her like, I'm like,
Speaker 4: I'm a huge fan. You know, I love everything that
Speaker 4: you've ever done, you know, And we could have went
Speaker 4: on and on it because I definitely do know all
Speaker 4: Tina Marie songs, like just like anybody else in New Orleans.
Speaker 4: And I called my dad and I said, hey, you'll
Speaker 4: never believe who. And my dad was like, now you're
Speaker 4: doing something. All that other shit is all right, yeah,
Speaker 4: but that like you got Teina Marie.
Speaker 3: Don't you fail team to Marie?
Speaker 1: That is crazy. That's why I asked you the Meeters question.
Speaker 2: There's some artists that are so big in your life
Speaker 2: that you just assume, yeah, the world knows about it.
Speaker 2: Like when I was in ninth grade, love a girl
Speaker 2: just went top ten. Yeah, she had one pop hit
Speaker 2: that like the rest of America got introduced to her,
Speaker 2: you know, like they thought that was her first song,
Speaker 2: you know what I'm saying. But that's what I learned, like, oh,
Speaker 2: the world doesn't know about Tina Marie, Like she only
Speaker 2: means something.
Speaker 4: To us that is up in my own When you say,
Speaker 4: like your top accomplishments, that is one of them that
Speaker 4: means the world.
Speaker 2: To me, Well congratulations man. Yeah for me, it's I'm
Speaker 2: sad that that was her swan song. Yeah, but I
Speaker 2: too also got to meet her, like in the late
Speaker 2: nineties and whatnot. And you know, I knew of her
Speaker 2: struggles to try to get back in the game and
Speaker 2: get the lawsuits with her previous labels and whatnot. Yeah,
Speaker 2: I'm just so happy that not only like does she
Speaker 2: land the plane, but she got reintroduced to like a
Speaker 2: whole nother generation because oftentimes, like our greats, can easily
Speaker 2: get it just discarded and got about like yesterday's news.
Speaker 4: One of the things she asked when we was doing
Speaker 4: the song she wanted to she wanted something like still fly,
Speaker 4: she was like, and I was like, no, miss Marie,
Speaker 4: we're not you know. And she was like, you stopped
Speaker 4: calling me. And I was like, miss Marie.
Speaker 1: I was like, she want that bounce?
Speaker 3: Yeah, And I was like, I.
Speaker 4: Love your music and we gonna make music for you.
Speaker 4: So when we wrote the I'm Still in Love song,
Speaker 4: you know, she was open to it. She let me
Speaker 4: write some of it, she let me you know, and
Speaker 4: and I was like, we could do like this al greenflip,
Speaker 4: tell me what you like, and she like the dome
Speaker 4: throw to the do throw, and I was like, yeah,
Speaker 4: I'm like that's easy. I'm like, We'll come up with
Speaker 4: something real simple. And I'm like and we'll keep it
Speaker 4: with your crowd. I'm like, I think if we do
Speaker 4: something outside of that, you're going to lose your core audience.
Speaker 4: And you know, and she trusted me and and that
Speaker 4: right there, and that's like sometimes that's the difference between
Speaker 4: beat making and producing. You know, we got a lot
Speaker 4: of beat makers. We got a ton of that. We
Speaker 4: don't have a lot of people who in invest in
Speaker 4: who you're working with and and vice versa and who
Speaker 4: they working with.
Speaker 2: There is a period where I forget what year it was,
Speaker 2: but most told us like, yeah, like dog, I'm gonna
Speaker 2: mess with Manny Fresh and do some joints together. What's
Speaker 2: the personal work that you got to put in to
Speaker 2: know what fits an artists or not? Because I'm certain
Speaker 2: everyone's coming to you expected, yeah.
Speaker 3: Talk to you. I personally want to talk to you.
Speaker 4: And and one of the things I'm going to start
Speaker 4: off with and I've always been this way, I don't
Speaker 4: make hits, like you know, I'm like, songs can evolve
Speaker 4: into hits.
Speaker 3: I don't know how to make a hit record.
Speaker 4: There's you know, because a lot of people are like
Speaker 4: I need a hit, and I'm like, I don't know
Speaker 4: how to do that I know how we can be
Speaker 4: in hear and do some good songs and because and
Speaker 4: God's on is truth. If the song get handed off
Speaker 4: to the wrong people and they don't work it, then
Speaker 4: it's not a hit record. You know, it takes a
Speaker 4: village to make a song a hit.
Speaker 2: Okay, let's say this is five hours after you finalize
Speaker 2: the final mix of what we know as back that
Speaker 2: ass up. Where's the first place you're taking it to
Speaker 2: to know if it works or not?
Speaker 4: Oh, I'm definitely gonna The way I worked it was
Speaker 4: always a party. It was always the way I recorded,
Speaker 4: it was always a party. So our studio sessions, a
Speaker 4: lot of times I would gel off with people like
Speaker 4: you know what I'm saying. So if we had people
Speaker 4: around and and I and I saw that reaction of
Speaker 4: this is the one you know that that was it.
Speaker 3: That was the homework for you mean, the actual studio
Speaker 3: and the actual studio.
Speaker 1: Ah, but it aren't you afraid of a yes man?
Speaker 3: Yeah?
Speaker 4: But this would always be outsiders like where I'm just like, hey,
Speaker 4: what are y'all doing? Like, like, let's let's say, for instance,
Speaker 4: somebody else is in the other room. Well, we'll even
Speaker 4: say something completely different from me. They like, hey, you
Speaker 4: know John Legend is creating blah blah blah. And I'm like, okay,
Speaker 4: how many people that there's ten people? Come over here, man,
Speaker 4: y'all just check this out. Might not even say it
Speaker 4: was something that I produced or whatever. Just played three
Speaker 4: songs then let that one come on, just to see
Speaker 4: what the temperature was like. As a DJ like, I'm like,
Speaker 4: you know what, I'm gonna play like three songs and
Speaker 4: then I'm gonna sneak this one in somewhere and let's
Speaker 4: see what happens. You know.
Speaker 2: Okay, So for me, if the person stands completely still,
Speaker 2: I trust it.
Speaker 1: Yeah.
Speaker 2: If they bounce their head in the first six seconds,
Speaker 2: that to me is the death.
Speaker 1: Now.
Speaker 2: I don't know why, but I feel like if someone
Speaker 2: is afraid to be honest with me and tell me
Speaker 2: they don't feel it, yeah, they forced themselves to look
Speaker 2: at the ground and then they bounced their heads. How
Speaker 2: do you know if the response is genuine or not.
Speaker 4: But with us, a lot of times my DJ radar,
Speaker 4: you know, because I always picked the singles like for
Speaker 4: everybody on every album. You know what I'm saying. But
Speaker 4: it was always my DJ radar that was like this
Speaker 4: is the song, this is the one, so you know,
Speaker 4: and there was a weird period where, you know, where
Speaker 4: my Jedi powers were incredible and what I mean like,
Speaker 4: I would you literally say we're doing the single today,
Speaker 4: you and everybody would be like, oh shit, how you
Speaker 4: know that. I'm like, today is the single day? Like
Speaker 4: you know what I'm saying. And we might have did
Speaker 4: twelve songs and I'm like, but today we're doing the single.
Speaker 4: And that always worked, like you know, so my process
Speaker 4: was always like, Okay, this is cool, but none of
Speaker 4: these aren't the single, and today is going to be
Speaker 4: you know, what.
Speaker 1: Other talent do you have that we don't know about?
Speaker 4: Oh? Cars, definitely, you know. I rebuild motors, I restore
Speaker 4: my cars, all of that.
Speaker 1: I want to ask you so bad about car culture.
Speaker 2: But I'm not a car person, but I know that
Speaker 2: you are infamous for your car.
Speaker 1: How many cars do you own?
Speaker 4: Oh?
Speaker 3: Right now? Shit, bro, probably like about thirty.
Speaker 4: What is it about car culture that attracted you? It
Speaker 4: was always something with me and my dad. We always
Speaker 4: worked on and you know, and even if you was
Speaker 4: young and you had horrible cars, you learned how to
Speaker 4: work on them to make them, and that was the connection,
Speaker 4: my connection growing up. My dad had horrible cars. Then
Speaker 4: I had a.
Speaker 3: Horrible car, you know, and we always worked on them together.
Speaker 4: My first car was a Cavalier like a you know,
Speaker 4: a Chevy Cavil that was horrible, like you know what
Speaker 4: I'm saying.
Speaker 3: Everything was wrong with.
Speaker 4: It, you know. And then I got a mighty Colo
Speaker 4: later on. But you know, back then, you worked on
Speaker 4: your car. You couldn't send it to the shop. You
Speaker 4: figured it out.
Speaker 3: So you know, my.
Speaker 1: Actually work on it.
Speaker 3: Yeah, I had to work on my car.
Speaker 4: You know. My dad would you know, give me tips
Speaker 4: and pointers on how to do it because I worked
Speaker 4: on his van or his car with him. So that
Speaker 4: was that was the connection to doing it. And I
Speaker 4: think having crappy cars and just playing that's my car
Speaker 4: when you were young, when a nice car passed, it
Speaker 4: was like one day, I'm gonna be able to get
Speaker 4: some of these things, and I didn't believe it or not.
Speaker 4: That's my cool off period to me, that's my reset.
Speaker 4: If I'm working on my car or whatever, I'm calm,
Speaker 4: I'm good and the world passes slow, you know, because
Speaker 4: sometimes music gets crazy to me, like you know, and
Speaker 4: sometimes what people expect from you on what you just said.
Speaker 4: Folks always say, make me a back that ass up,
Speaker 4: and I'm like, I can't. That's that one is already done.
Speaker 4: It's in the camp. They'll never be another one of them.
Speaker 4: We might come close to it, but there there's you know,
Speaker 4: and we're not gonna try to redo that song over
Speaker 4: you know where it sounds, you know, like it's that song.
Speaker 3: And somebody like, I know what you tried to do,
Speaker 3: you know, got you.
Speaker 1: I considered working in the studio, going to the gym.
Speaker 2: Yeah, what's the longest you can go without creating a song,
Speaker 2: Like if you have an idea in your head that like, goddamn,
Speaker 2: this would work.
Speaker 1: But and I'll let it go.
Speaker 4: It's been a couple of months, you know why, Because
Speaker 4: I'm finding that the older I am, I can concentrate
Speaker 4: on one thing, I can't do both. So if I'm djaying,
Speaker 4: I really don't have no interest in doing beats, I
Speaker 4: really don't have no interest at all in doing beats.
Speaker 4: Last night, I did like some soul songs like the
Speaker 4: King George Got My Whiskey and and but and and and.
Speaker 3: Everything clicked so well.
Speaker 4: I did like five of them, like cause cause I
Speaker 4: got a guy that I work with that's asking me
Speaker 4: to like he was like, man, and I'm like, I
Speaker 4: love them songs. I love that circuit of like you
Speaker 4: know them them classic bluesy top like soul songs like
Speaker 4: you know one Monk, you don't stop, no show like,
Speaker 4: and I'm like, yeah, I'm like, bro, let's do them.
Speaker 4: And and last night, just last night, we did like
Speaker 4: four of them and dude was like, Man, you in
Speaker 4: the pocket right now? You really And I was like
Speaker 4: maybe because I haven't been around this that long and
Speaker 4: this is a different genre for me, you know, to
Speaker 4: to do this. But I also know for me to
Speaker 4: be good, I have to challenge myself. And and I
Speaker 4: know sometimes people don't want you to grow up. They
Speaker 4: want you to stay in this one little box or whatever.
Speaker 4: And you're just like, I'm like, that's hard for me.
Speaker 4: But I can express myself in DJing and and I
Speaker 4: love that because I can play Nirvana, I can play
Speaker 4: you know what I'm saying. I can play a hip
Speaker 4: hop from from from that to easy eat whatever I
Speaker 4: want to play or whatever, And that feels good to me.
Speaker 4: And that's the space that I'm in right now.
Speaker 2: If given an opportunity to just pick one artist to
Speaker 2: do an entire album with, who would it be?
Speaker 4: That's easy? It would be Marvin Gay. I mean, he
Speaker 4: is gone, but that's by far my favorite artist, Like
Speaker 4: you know, his truthfulness and in a lot of his songs,
Speaker 4: and you know, I'm like, damn, this took some guts.
Speaker 4: I mean, now it's easy to do that, but back then,
Speaker 4: you know.
Speaker 1: Exactly here, my dear is man.
Speaker 4: You know, if you listening to that with your significant other,
Speaker 4: you're just like, are you hearing what he's saying?
Speaker 2: My second and last question to you is, and I
Speaker 2: know that you know there have been.
Speaker 1: Fractured reunions, whatever one.
Speaker 2: I know you're tired of getting asked this question, So
Speaker 2: I'm framing it in another way. Is the cash money
Speaker 2: era or at least I don't know what it is
Speaker 2: as as a cash money fan that I'm hoping for,
Speaker 2: like a true reunion. Whatever is that in your rear
Speaker 2: view mirror now? Or is it still something?
Speaker 4: This is the problem we have like members that I
Speaker 4: would say, like incarceration came out, you know, went to
Speaker 4: jail came out in the world, changed the world changed
Speaker 4: around them, so I still think they playing catch up,
Speaker 4: you know. And it's the truest answer I could give you.
Speaker 4: And social media and the internet is not your friend.
Speaker 4: It's a tool that you use to sell something, you know,
Speaker 4: And we have this thing where it's like, hey, bro,
Speaker 4: you gotta stop with whatever you know, airing out your
Speaker 4: your goods, your bads and your uglies, you know what
Speaker 4: I'm saying. And when it comes to this, I just
Speaker 4: want you to come to work, like you know what
Speaker 4: I'm saying. And there's a disconnect to that. As a
Speaker 4: cash money fan, they want to hear cash money, you know.
Speaker 4: And what I mean is I get that we're all
Speaker 4: different individuals and you might have your record company thing
Speaker 4: going on right now and whatever you're doing, but you
Speaker 4: can't make it on this on this stage. And a
Speaker 4: lot of it is creative. That's that's that's what the
Speaker 4: argument to be. Like somebody going, well, you know, I
Speaker 4: got my own label and I got my own artists,
Speaker 4: and I want ten minutes to do that, and I'm like,
Speaker 4: we can't do that. That's not what our fans came
Speaker 4: to see. It's unfair to them. You can't make your
Speaker 4: label and your new artists off of this show. They
Speaker 4: are die hard cash Money fans. They came to see
Speaker 4: cash Money. They want us to sing the hits.
Speaker 2: Who's the diplomatic member of the crew that has the patience?
Speaker 4: Definitely say not everybody always say if anybody could put
Speaker 4: it together.
Speaker 1: Is me Alburnhams. Is that to lay on your shoulders there.
Speaker 4: Very very very very very because the truth hurts a
Speaker 4: lot of times. But I'd rather tell you the truth
Speaker 4: when I'm like, hey man, you're doing too much. You're
Speaker 4: doing this, or you're doing like exactly how I'm speaking
Speaker 4: it to you where I'm going like, hey, dude, I
Speaker 4: get it. You want to make your you know, whatever
Speaker 4: this thing is that you're building, but you got to
Speaker 4: understand that this is not what we're getting together for.
Speaker 4: We're not getting together. You got to do that on
Speaker 4: your own. You got to you gotta make whatever this
Speaker 4: thing is that that you're trying to do. We can't
Speaker 4: give you fifteen minutes for you to say something that
Speaker 4: you know nobody don't want to hear, you know, because
Speaker 4: it's not made yet. You trying to make another identity
Speaker 4: off of something that that's that's not what people came
Speaker 4: to see. Now I could tell you what we're working
Speaker 4: on right now. It's and it's looking up. We're working
Speaker 4: on a no limit and cash money tour. Like whereas
Speaker 4: both of us and I keep saying this, Bro, I
Speaker 4: can say this to you and you're gonna get it.
Speaker 4: I'm like, listen, sir, this is the fourth quarter. I
Speaker 4: keep and I've been saying this to everybody that's involved
Speaker 4: with me. I'm like, this is the fourth quarter. This
Speaker 4: is probably all throughout your career. This is the money
Speaker 4: that you didn't make. You can say it right now, this.
Speaker 1: Is Rolling Stone's money time.
Speaker 2: And I'm not and I don't want to, Okay, I
Speaker 2: don't want anyone who's listening.
Speaker 3: I don't.
Speaker 2: I don't want to prioritize the monetary benefits of it all.
Speaker 2: But it's like everything that you work for and building
Speaker 2: a legacy comes to this moment. This is this is
Speaker 2: where legacy truly starts. Yes, and if you just show
Speaker 2: up and curb your ego, just show up.
Speaker 1: Yes, ah man that.
Speaker 2: You know And dude, I'm not even ready for this,
Speaker 2: Like how big would that combination be?
Speaker 4: What you just said and meet and saying that, listen, bro,
Speaker 4: put all of that aside, you know, and I even
Speaker 4: have to bring up things that but they're very true.
Speaker 4: And I'm like, all throughout your mother's life or your
Speaker 4: father's life, how much money did they make, how did
Speaker 4: they get treated in life, and all of that, Well,
Speaker 4: this is the time right now that all of that
Speaker 4: is paidback, right now, at this very moment. If you
Speaker 4: put all of this foolishness aside, think about what you
Speaker 4: make a night, like, you know, for something that you love.
Speaker 3: This is something that you love to do. It ain't
Speaker 3: hard to do.
Speaker 4: Don't You're being doing everything you can do to destroy that.
Speaker 3: That's crazy, that's insanity.
Speaker 2: Look at new addition, Yeah, and you know, I mean,
Speaker 2: without being too TMI with it, I mean, there's a
Speaker 2: group of six individual members and at one point I
Speaker 2: know some of the ins and outs of certain beefs
Speaker 2: or whatever. But at the end of the day, when
Speaker 2: that introduction happens, the sixth of them are on stage
Speaker 2: thy and I know mentally, you know, there's a lot
Speaker 2: of Jedi mind tricking you have to do and juggling
Speaker 2: personalities that stuff. But man, if people could just especially
Speaker 2: for hip hop, man, I mean, one is surviving just
Speaker 2: just making.
Speaker 1: It to fifty, making it to sixty, make it at
Speaker 1: the seventies.
Speaker 4: Yeah, Bro, we're unicorns that don't happen in hip hop.
Speaker 4: It does not happen, you know when you're telling somebody
Speaker 4: that listen, bro, this is this.
Speaker 1: Is you are here.
Speaker 3: Yeah. Yeah, also you are on Earth. Yeah.
Speaker 4: And thirty years later they still want these songs that
Speaker 4: will that ever happen again in hip hop? You know
Speaker 4: what I'm saying.
Speaker 3: Here's the thing.
Speaker 2: I'm not even gonna front like I am the quirt
Speaker 2: carrying flag waving member. I meant what matters is I
Speaker 2: came to the altar. I was slow to come to
Speaker 2: the altar, but I can to the altar, and dude, like,
Speaker 2: I hope, I really hope it happens just just so
Speaker 2: that hip I mean, hip hop needs it, not even
Speaker 2: you need it or your kids.
Speaker 4: Absolutely right, there's a great thing in our culture that's
Speaker 4: happening right now. We are so brotherly love and sisterly
Speaker 4: love right now to its us our generation, you know
Speaker 4: what I'm saying, And that just that example can save
Speaker 4: hip hop and save this younger generation, like you know,
Speaker 4: by by giving examples, we are so like you know,
Speaker 4: like we man when we do shows, like you know,
Speaker 4: me and Juvie did a tour and that's kind of
Speaker 4: what started the whole talks of us.
Speaker 3: Doing it when Me and Juvie did and it was
Speaker 3: a very successful tour.
Speaker 4: But we also paid attention to what the fans were
Speaker 4: saying to us, you know, and we realized, like, y'all
Speaker 4: not just fans, y'all family, y'all been with us for
Speaker 4: so long, like you know what I'm saying, you know,
Speaker 4: and they just like, hey, dude, you know when somebody
Speaker 4: tells you like, man, Bro, I was in a dark
Speaker 4: place and this everything that y'all did, you know got
Speaker 4: me out of that. Bro, Your music, you know, just
Speaker 4: sometimes watching an interview and you say something positive you
Speaker 4: know that got me, And I'm like, this is a
Speaker 4: connection to a lot of people, and you know, and
Speaker 4: telling somebody why be selfish? Why are you something that's
Speaker 4: a gift, that's a blessing, like and this is something
Speaker 4: that you know your family wants, not just your fans,
Speaker 4: your family, because I consider anybody that way. You know,
Speaker 4: when you go somewhere and you got everywhere you've been
Speaker 4: like as the roots or whatever, when you was doing
Speaker 4: stuff everywhere that you've been. I'm more in a show.
Speaker 4: You have picked up some people that they friends, they
Speaker 4: genuine friends. Well, you know when when you're coming through
Speaker 4: somewhere and somebody's like, oh, that's that's my man. You know,
Speaker 4: I've known him for fifteen years coming to this and
Speaker 4: we have people like that in cities where I'm like, bro,
Speaker 4: there's no we are connected to these people. Come on, man,
Speaker 4: let's get out here and give them what they what
Speaker 4: they need and what they want.
Speaker 1: From your mouth to God's ears.
Speaker 2: Man, whatever you have planned in the twenty twenty six
Speaker 2: and beyond, I support it, and I thank you so likewise,
Speaker 2: and I'm glad we finally had our first conversation.
Speaker 4: Man.
Speaker 2: I thank you for coming on the Quest Left show. Brother,
Speaker 2: thank you man, Freaky Fresh. I appreciate it.
Speaker 4: Well, you already know I'm gonna see you somewhere, bro,
Speaker 4: because you know, I'm all over this, all over the place,
Speaker 4: you know, with this DJ thing, and that's healing to me.
Speaker 4: So I don't like to say, you know how some
Speaker 4: people say I could, I'll be all right, you know,
Speaker 4: I don't like that. I'm like, I would love to
Speaker 4: have my group, you know, and let's go down in
Speaker 4: history and make some incredible songs like the other people do,
Speaker 4: like the other races do, and other faces do, Like, hey,
Speaker 4: we need to do that, and you know improve you
Speaker 4: know the negativity and all of that wrong and everybody
Speaker 4: that said we couldn't do this as black men and
Speaker 4: we can't put this these beefs aside, you know. But
Speaker 4: until then, yeah, I will continue to DJ and you know,
Speaker 4: and heal people with music and bring my a game
Speaker 4: everywhere I go. But I would love, love, love love,
Speaker 4: and I hope all of them see this to have
Speaker 4: them all together on the stage and let's do.
Speaker 2: It, manifested, It's gonna happen, Yes, sir, it'll happen, all right, Well,
Speaker 2: thank you very much, and for all of you listening, Yo,
Speaker 2: this is a great grant, incredible Manny freaky fresh on
Speaker 2: The Quest Love Show.
Speaker 1: See y'all next week, you sir.
Speaker 2: The Quest Love Show is hosted by me a Mere
Speaker 2: Quest Love Thompson. The executive producers are Sean g Brian
Speaker 2: Calhoun and Me. Produced by Brittany Benjamin and Jacob Payne.
Speaker 2: Produced for iHeart by Noel Brown, Edited by Alex conn
Speaker 2: iHeart Video support by Mark Canton Logos, graphics and animation
Speaker 2: by Nick Blowe.
Speaker 1: Additional support by Lance Coleman.
Speaker 5: Special thanks to Kathy Brown, Special thanks to Sugar Steve Mandel.
Speaker 5: Please subscribe, Brain review, and share The Quest Love Show
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Speaker 2: Check out hundreds and hundreds of QLs episodes, including The
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Speaker 2: Loup Show is a production of iHeart redem