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Speaker 1: Pushkin. DJ Premier is one of the most celebrated producers

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Speaker 1: in hip hop history. Known as the architect of hip

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Speaker 1: hop's venerated boombab sound, Primo first caught people's attention with

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Speaker 1: Guru and Gangstar during the late eighties. Guru's lyrical precision

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Speaker 1: over Premiere's jazzy sample bassed beats made Gangstar one of

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Speaker 1: the most influential rap duos of all time. Outside of Gangstar,

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Speaker 1: DJ Premier has produced classic records for a long list

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Speaker 1: of hip hop lluminaries, including New York's Big Three, Biggie

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Speaker 1: jay Z, and Nas. His expert ability to create a

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Speaker 1: patchwork of musical and lyrical samples is both instantly identifiable

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Speaker 1: and impossible to replicate. On today's episode, We'll Hear, a

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Speaker 1: live conversation are recorded with Premiere at the on Air

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Speaker 1: podcast Festival. Premiere talked in detail about hanging out and

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Speaker 1: working with his late friend, the Notorious Big. He also

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Speaker 1: reminisces about when he and Guru lived with Branford Marsalis

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Speaker 1: in Brooklyn. He also recalls what it was like to

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Speaker 1: work with D'Angelo on that fateful night at Electric Ladies

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Speaker 1: Studios when they recorded Devil's Pie. This is broken record

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Speaker 1: liner notes to the Digital Age. I'm justin Mitchman. Here's

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Speaker 1: my conversation with DJ Premiere live from Brooklyn. When they

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Speaker 1: asked me if I was gonna do this, and I'm

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Speaker 1: coming out from the West Coast and I know we're

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Speaker 1: gonna be doing this in Brooklyn. I felt like, there's

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Speaker 1: no way I could do a recording a broken record

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Speaker 1: in Brooklyn without having a legend, someone who could really

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Speaker 1: represent Brooklyn. And come on, y'all, we got DJ Premier,

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Speaker 1: decent me want absolute hip hop legend. You were the

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Speaker 1: greatest hip hop producer of all time. But no matter

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Speaker 1: who you ask, you good And we top two, three, four,

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Speaker 1: so this is.

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Speaker 2: Yeah, they say top three, so I'll take one of

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Speaker 2: those numbers.

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Speaker 3: On two or three is fine.

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Speaker 1: Maybe we can start with the fact that that you

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Speaker 1: lived at one point in Brooklyn with Branford Marsalis and

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Speaker 1: his wife.

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Speaker 3: Yeah, and his son Reese.

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Speaker 1: Shout to Reese in Clinton Hill. Yeah, And this is

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Speaker 1: st at the beginning of Gagstar. How did you meet Branford?

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Speaker 1: First of all, I.

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Speaker 2: Just joined Gang Star officially in nineteen eighty eight. We

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Speaker 2: did a single Gang Star. First of all, is originated

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Speaker 2: in Boston, Massachusetts. I'm originally from Texas by way of

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Speaker 2: Houston and through a town called Prairie View, which I

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Speaker 2: went to Prairie U A and M University, which is

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Speaker 2: an HBCU school was through the Texas A and M

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Speaker 2: University system, which that's the Aggies. My father taught at

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Speaker 2: the school and my mother taught art, so I had

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Speaker 2: a little bit of both. My father, DA was a dean, right, yeah,

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Speaker 2: he was a dean. He was my dean of arts

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Speaker 2: and sciences. Because I took computer science and I was

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Speaker 2: I was always like not going to school, you.

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Speaker 3: Know, typical wasting your parents' money.

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Speaker 2: And my father's like, you're not gonna be wasting my

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Speaker 2: money going to college and then and not go to class,

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Speaker 2: you know. So I even tried to uh sneak away

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Speaker 2: for my eight o'clock class two or three times.

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Speaker 3: One day.

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Speaker 2: My dad act like he was going because he taught

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Speaker 2: at eight o'clock class. I was drunk the night before,

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Speaker 2: so I definitely didn't want to go from hanging out

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Speaker 2: with my friends and he acted like he was going.

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Speaker 2: I act like I was going. Then I went back

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Speaker 2: to bed and he doubled back.

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Speaker 3: So all of a sudden, I heard the door go kaboom.

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Speaker 2: I tried to jump up and get dressed, and he

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Speaker 2: was like, I knew you wasn't going to class and

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Speaker 2: I was like, I want to.

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Speaker 3: Go pursue music.

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Speaker 2: He's like, and waste my money. You've been going to school.

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Speaker 2: But I've always tell people follow your gut, and if

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Speaker 2: your gut tells you to make a move, do it.

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Speaker 2: The one thing I do appreciate by my dad, God

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Speaker 2: blessing me, is he's why no, he's watching.

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Speaker 3: God bless his soul.

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Speaker 2: He He said, if you're gonna do this, show me

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Speaker 2: you can make a name for yourself that people will

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Speaker 2: will remember and that you leave a legacy behind. I said, Pop,

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Speaker 2: I'm telling you, I'm that focused.

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Speaker 3: I will do it. And everything transitioned.

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Speaker 2: So Being at a Gang Star originated in Boston with

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Speaker 2: a guy named He was called Sugar Bear at the time,

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Speaker 2: but he changes to Big Sug, not to be confused

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Speaker 2: with Sugar Night, who we also know it very well.

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Speaker 2: Him and Guru formed the group. There was other members,

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Speaker 2: but they moved to New York to pursue the career.

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Speaker 2: Sug went to prison for three years, so the other

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Speaker 2: two members that were in the group before I met

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Speaker 2: Guru didn't want to move to New York to carry

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Speaker 2: on trying to get more famous, so gru said, I'm

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Speaker 2: doing it on my own. I'm gonna just look for

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Speaker 2: a new DJ, because he had a DJ already and

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Speaker 2: actually Sugs DJ was the first one. Then he left,

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Speaker 2: then there was another DJ, then he left, and then

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Speaker 2: I joined.

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Speaker 1: You know what a wild amount of incarnations of Gangstar,

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Speaker 1: like I'm.

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Speaker 3: The third generation.

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Speaker 2: Yeah, but then obviously when I joined, it became that

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Speaker 2: the rest of the way.

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Speaker 1: And in terms of like the discography, when you go

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Speaker 1: through the albums, it's you and Guru from the start

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Speaker 1: to that, but before that there are a couple of

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Speaker 1: different iterations.

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Speaker 2: So we were on an independent label called Wild Pitch Records.

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Speaker 2: Gangster was already signed there. Once I joined the group.

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Speaker 2: We did a word record called Words I Manifest and

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Speaker 2: it blew up right away even as an independent from

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Speaker 2: there we did it. The owner, Stu Fine, was like,

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Speaker 2: we got to do an album real fast. So I

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Speaker 2: was going back to college, came back to New York

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Speaker 2: to do the album in like maybe twelve days, and

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Speaker 2: it was called No Moments to Night's.

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Speaker 1: Sky well and hold on, hold on, I mean hold on,

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Speaker 1: I don't want to know the story. But like, were

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Speaker 1: you at this point you were DJ in Texas, wax

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Speaker 1: Master c yep, at some point you become DJ Premier, Yeah,

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Speaker 1: but you do.

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Speaker 3: Fine.

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Speaker 2: Didn't like my name, so that's why I changed it

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Speaker 2: to Premiere. So that's how they're like Wax's Master season.

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Speaker 2: I'm very good at imitating people, so if I go

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Speaker 2: into different voices, I pretty much sound like the person

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Speaker 2: I'm talking to, and he's and my name is Christopher,

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Speaker 2: but he'd call me Chris, but he would always sound like.

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Speaker 3: He said, crass, crass.

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Speaker 2: I don't really like wax Master, see, And I was

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Speaker 2: like I do, and plus everybody in college just call

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Speaker 2: me Wax. So I'm like, I don't want to change it.

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Speaker 2: He goes, just just see if you can think of

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Speaker 2: some other names. So I called my mom and said, hey,

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Speaker 2: he wants me to change my name. She goes, why

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Speaker 2: don't you make a list of different names and we'll

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Speaker 2: pick one.

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Speaker 3: Premiere was one of them. I remember one was.

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Speaker 2: Called Scratch and Cut DJ platter, which there is a

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Speaker 2: DJ platter now. The platter is what spins what you

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Speaker 2: put the record on. All that spends.

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Speaker 3: We call it.

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Speaker 2: It's the platter, so DJs would get it. Everything I

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Speaker 2: would do was so DJ's would get it. I would

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Speaker 2: a DJ quick mix, which I'm glad I didn't take

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Speaker 2: that one.

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Speaker 3: Uh Premiere was one of them.

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Speaker 2: And my mom looked at the list and said, uh,

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Speaker 2: Premiere sounds like the one because she said take the

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Speaker 2: E off, you know, because like a movie premiere, the

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Speaker 2: you know, the E is on it. But she says,

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Speaker 2: take the E off and it'll be like you're the

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Speaker 2: first at everything. We call stuffin from Texas and I say, hey,

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Speaker 2: how about DJ Premiere. He goes, I love it, and

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Speaker 2: I was like, all right, I'm now DJ Premiere.

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Speaker 1: Incredible shout out to here. So when we did the album,

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Speaker 1: when did you start doing beats? Like when did you

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Speaker 1: start producing records?

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Speaker 2: I was just starting to learn to perfect my craft

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Speaker 2: on the first album, and we did a record called

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Speaker 2: Jazz Music. When Spike Lee saw the words on Manifest video,

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Speaker 2: he said that Guru looked like Malcolm X in the

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Speaker 2: video when he's on the podium with the koofie and

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Speaker 2: the glasses and.

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Speaker 3: The cheek bones.

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Speaker 2: He does resemble Malcolm X in the video that made

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Speaker 2: Spike by the album, and when he heard jazz music,

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Speaker 2: it just happened to be at the same time that

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Speaker 2: he was shooting Mobeta Blues with Denzel Washington and we'sy

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Speaker 2: snipe with that. Spike reached out and he knew we

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Speaker 2: were living in Brooklyn. So but at that time we

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Speaker 2: were at Branford Jed. I had just moved to the

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Speaker 2: Bronx with Guru and we were about to move back

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Speaker 2: to Brooklyn together. We had the studio apartment with our

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Speaker 2: dancer and Guru had a big, king sized bed with

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Speaker 2: no frame, just the mattresses and in a studio apartment

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Speaker 2: that takes up all the space because the rest of

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Speaker 2: the space was taken up by my records and my

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Speaker 2: turntables and my speakers. So me and my dancer were

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Speaker 2: sleeping sleeping bags on the floor with the mice crawling

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Speaker 2: over it, squeaking and all that stuff, and Guru had

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Speaker 2: the bed from there. When we got the call about

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Speaker 2: doing a theme song to Mobeta Blues, Spike said, the

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Speaker 2: one on y'all's album is not in depth enough about

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Speaker 2: talking about jazz artists.

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Speaker 3: I have a guy named Eric Eli who wrote a poem.

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Speaker 2: He gave that to Guru and said, can you make

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Speaker 2: a rap about this using this? So Guru looked at

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Speaker 2: it like, oh man, I can just take this John

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Speaker 2: Coltrane man Supreme, you know, it was the wise one,

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Speaker 2: and just put little things in it and made it

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Speaker 2: into a rhyme. He said, Branford, Marcellus is gonna oversee

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Speaker 2: the song, so we got with him. Bramford had just

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Speaker 2: gotten the job at the Tonight Show because Johnny Carson

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Speaker 2: was stepping down. Jay Leno was just taking over and

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Speaker 2: he hired Bramford to.

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Speaker 3: Be the music director.

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Speaker 2: So he said, Hey, we were like, we're looking for

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Speaker 2: a crib to move to Brooklyn. He said, well, I'm

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Speaker 2: about to move out of my place in about another

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Speaker 2: month or two and moved to La He said, if

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Speaker 2: you want to live with me and my wife and

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Speaker 2: my son, fuck like a month or two, you could

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Speaker 2: do that and then we'll be gone and you just

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Speaker 2: pay the rent to my manager. And he said, and

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Speaker 2: if you ever laid on the rent, we're kicking you out,

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Speaker 2: which we got threatened several times. So we always laid

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Speaker 2: on the rent, you know, regular young guy stuff. And

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Speaker 2: from there we worked on the song.

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Speaker 3: We put it together. We did two versions.

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Speaker 2: The soundtrack has more of an in that version with

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Speaker 2: the band, but when Spike decided to do a video,

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Speaker 2: he said, I need the more simple version that you

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Speaker 2: presented when y'all started to collaborate. So they used my

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Speaker 2: original version for the video, which we were happy with

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Speaker 2: just because it sounded more like what a gang starting

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Speaker 2: sound like. And we shot the video to it, which

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Speaker 2: is you know, you can find it anywhere, and that

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Speaker 2: one's called jazz Thing.

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Speaker 1: So it's jazz music.

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Speaker 3: Jazz music is the Gangstar album.

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Speaker 2: The Mobile the Blues soundtrack is jazz thing, and uh yeah,

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Speaker 2: we all the the five of us lived together.

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Speaker 1: What was that like? Because I think of Branford, you know,

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Speaker 1: it was incredible talent, his brother went and all his brothers,

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Speaker 1: the father, all of them incredible. But I think of

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Speaker 1: them as being a little more, you know, on the

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Speaker 1: conservative side of things. And you and Guru, you know.

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Speaker 2: Yeah, I used to always be like, oh man, I

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Speaker 2: don't like the fact that winning don't like hip hop,

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Speaker 2: you know, And I was like, he's not official because

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Speaker 2: he don't like hip hop because he was, you know,

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Speaker 2: he at that time. He was like it's it's noise,

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Speaker 2: it's not music, and y'all are just using machines. But

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Speaker 2: me and went cool and uh. But Branford was always

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Speaker 2: branching out because he used to get flack when he

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Speaker 2: joined Stings band to you know, for Dreaming of the

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Speaker 2: Blue Turtles. Everybody's like, ah, man, you're a pure jazz purist.

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Speaker 2: Now you're doing stuff with Sting. You're ruining your your reputation.

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Speaker 2: This before social media, he was getting a lot of

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Speaker 2: flat and Branford is so cool because.

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Speaker 3: He talks like a jazz cat.

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Speaker 2: He'd be like, hey, brother, you know what I'm saying,

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Speaker 2: but fuck these motherfuckers, you know, Like.

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Speaker 3: That's what I like. Like he'll still curse and say

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Speaker 3: stuff like that, man, fuck that bitch ass brother, I

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Speaker 3: don't get fun, and then go to put it up,

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Speaker 3: you know. So that's that's brand. I call him brand Lover.

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Speaker 3: He's like, Yo, give me a hip hop nickname.

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Speaker 2: I said, brand Lover. I even made him my hat.

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Speaker 2: I went to the Compton Swap meet in La and

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Speaker 2: where where all the sham bangers were, and made him

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Speaker 2: a real hat in blue with brand.

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Speaker 3: Lover on it.

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Speaker 2: And you know, I was like, yeah, so one of

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Speaker 2: the funniest things was coow and I had so many

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Speaker 2: girlfriends and stuff at that time that were always coming

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Speaker 2: by to see.

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Speaker 1: Us, young man stuff and Branford.

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Speaker 2: Bramford said that we could give the home number because

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Speaker 2: he had an answer machine, so we were always hang

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Speaker 2: out guys, and so we might come back two three

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Speaker 2: in the morning, and it just happened to be a

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Speaker 2: time that a night that Branford had an argument with

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Speaker 2: his wife, so he was sleeping on the couch. But

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Speaker 2: we didn't know that because the area where we're going

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Speaker 2: to sleep at the answer machine, you get to see

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Speaker 2: the number lit up, you know, if all the light's off,

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Speaker 2: you'll see you know, one, two, three, four, five or six.

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Speaker 2: And we're like, oh man, it's like eight or nine messages.

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Speaker 3: We hit the thing big hey, Keith, we're looking at it.

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Speaker 2: And also Brandna goes, motherfucker and he turns on the

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Speaker 2: light because it scared us, and he's on the couch.

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Speaker 3: I'm like, man, we didn't know you were on the couch.

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Speaker 2: He goes, man, I had an argument with my wife,

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Speaker 2: and now y'all are ruining my sleep checking the goddamn

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Speaker 2: answer So you can't wait till tomorrow. And I was like, well,

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Speaker 2: you said we can use your home numbers. So he's like,

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Speaker 2: you know what, just forget it. I'm going back upstairs

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Speaker 2: with the and I'll go go in the bedroom with

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Speaker 2: her and we'd go okay.

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Speaker 3: Okay, you know, like checking the rest of the messages.

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Speaker 2: See how many people called us, you know, so that's

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Speaker 2: how much the old answer machine. How many people remember

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Speaker 2: the answer machine era? So yeah, so you know where

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Speaker 2: I'm coming from. Even if he wasn't on the couch,

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Speaker 2: everybody checks it when they get home and see who

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Speaker 2: they called.

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Speaker 3: You know, we didn't.

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Speaker 2: It was either a pager or checked that. It wasn't

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Speaker 2: cell phones yet unless you had a car phone.

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Speaker 1: Right, And in the process, sounds like you saved his

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00:13:37,636 --> 00:13:38,476
Speaker 1: marriage maybe too.

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Speaker 3: Well they're actually divorced now. Well so maybe I ruined

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Speaker 3: it now. But nah, shout shout to his for his

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Speaker 3: ex wife. Tests she's a sweetheart.

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Speaker 2: Her brother Michae who lived underneath us in the basement,

295
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Speaker 2: and we all we all had a great relationship with

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Speaker 2: each other. And son Reds, who I always talked to

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Speaker 2: this very day. He moved from North Carolina back to

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Speaker 2: New York. So he's in New York.

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Speaker 1: So it's incredible.

300
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Speaker 2: Man Brand brandfor came by to visit me recently and

301
00:14:05,036 --> 00:14:07,956
Speaker 2: we had just a good time hanging and reminiscing. He's

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00:14:07,956 --> 00:14:11,836
Speaker 2: one of the greatest human beings ever. He knows sports, music,

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00:14:12,716 --> 00:14:16,716
Speaker 2: his philosophies on life is just really good to get

304
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Speaker 2: to grab on whenever I have I need some advice.

305
00:14:19,396 --> 00:14:20,436
Speaker 3: I still call him for that.

306
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Speaker 1: He seems like an incredible person to be like. I mean,

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Speaker 1: the fortune of moving from Texas to New York to

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Speaker 1: do music and then getting to me, I mean, I

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Speaker 1: guess first of all, Spike seeing the video, Yeah, you

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Speaker 1: get on the soundtrack, but just getting access to guy

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Speaker 1: like Brand from Marsalas, that your career.

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Speaker 2: He's official man. Shout to Brand Brand lover.

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Speaker 1: That house. Once he moves out, it seems like that

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Speaker 1: kind of became the center of your world, and kind

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Speaker 1: of like the hip hop world in general. Like the

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Speaker 1: way who was in the neighborhood.

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00:14:50,676 --> 00:14:54,436
Speaker 2: Chubb Rock, the Lady of Rage who eventually moved to

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Speaker 2: La to get with doctor Dre and became one of

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Speaker 2: the first females on death Row records, you know, and

320
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Speaker 2: that's how we messed you know her the Snoop Dogg

321
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Speaker 2: for the first time.

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Speaker 3: He was Snoop Doggie Dog then and Nikki d the.

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Speaker 2: First female of Death Jam Records, and then uh Jam

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Speaker 2: Master Jay, God bless him, and I'm glad he's getting there.

325
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Speaker 2: His family's getting closure because they just found the killers guilty,

326
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Speaker 2: so justice has been served.

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Speaker 3: He used to date April.

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Speaker 2: Walker, who had Walker Wear, which was very popular clothing

329
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Speaker 2: line back then. Everybody knows Mike Tyson used to walk

330
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Speaker 2: on in the ring with the towel with the WW

331
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Speaker 2: on the front. That's her line, and she's actually back

332
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Speaker 2: out now, still repping Brooklyn. I used to date her

333
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Speaker 2: sister at the time, so we were all friends and

334
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Speaker 2: I see JMSJA all the time.

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Speaker 3: And uh.

336
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Speaker 2: Then a couple years later, Kuru comes to the house

337
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Speaker 2: and says, Yo, there's this guy named Biggie Small's down

338
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Speaker 2: the block. You got to come here him Rome, And

339
00:15:52,756 --> 00:15:55,596
Speaker 2: I'm like, yeah, Mr C who was Big Daddy Kynes

340
00:15:55,676 --> 00:15:59,276
Speaker 2: DJ has been pressing me because he wasn't notorious big yet.

341
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Speaker 2: And we went down to the corner because at that

342
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Speaker 2: time we used to drink forty ounces of malt liquor.

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Speaker 2: Old English was the preference, and we go down there

344
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Speaker 2: and we met the little his Big and he would

345
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Speaker 2: rhym in front of us, and he was like, what

346
00:16:12,396 --> 00:16:13,956
Speaker 2: can I do to get a deal, And he.

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00:16:13,916 --> 00:16:15,636
Speaker 3: Said, Puffy wants to sign me.

348
00:16:15,716 --> 00:16:18,556
Speaker 2: And I'm like, you know, if he wants to sign you,

349
00:16:18,556 --> 00:16:20,196
Speaker 2: you know, just have all your business straight, have a

350
00:16:20,236 --> 00:16:23,116
Speaker 2: good lawyer, and if everything works out, you could be

351
00:16:23,156 --> 00:16:25,836
Speaker 2: the next star. And he became one of the biggest thing.

352
00:16:25,836 --> 00:16:27,636
Speaker 3: In the world. They already knew who we work or

353
00:16:27,636 --> 00:16:28,516
Speaker 3: we were established.

354
00:16:28,756 --> 00:16:31,396
Speaker 2: We were on our third album, and he would just

355
00:16:31,676 --> 00:16:34,596
Speaker 2: wrap every Friday. We would go hang out with Big

356
00:16:34,716 --> 00:16:37,476
Speaker 2: and we met Lil Kim and hold you in your

357
00:16:37,476 --> 00:16:41,316
Speaker 2: Mafia And that became the norm. To see him outside

358
00:16:41,356 --> 00:16:43,916
Speaker 2: every every weekend and just drink and smoke weed and

359
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Speaker 2: just have a good time with Big.

360
00:16:46,316 --> 00:16:48,836
Speaker 1: That's incredible. Did he already have the chrisma? Did you

361
00:16:48,876 --> 00:16:49,596
Speaker 1: know he was gonna be?

362
00:16:49,836 --> 00:16:53,916
Speaker 2: He was funny naturally, not trying to be a jokester.

363
00:16:54,636 --> 00:16:57,356
Speaker 2: He was just that naturally him and Big L always

364
00:16:57,356 --> 00:16:59,716
Speaker 2: say that Big L God bless him. He was another

365
00:16:59,716 --> 00:17:01,956
Speaker 2: one that was just naturally funny. They weren't sitting there

366
00:17:01,996 --> 00:17:04,916
Speaker 2: trying to be the funny guy on the block. They

367
00:17:04,996 --> 00:17:06,876
Speaker 2: just were naturally with that type of humor.

368
00:17:07,276 --> 00:17:10,436
Speaker 1: Yeah, didn't you go with Big to pick up Guru

369
00:17:10,476 --> 00:17:12,236
Speaker 1: from prison one time? Or from jail?

370
00:17:12,316 --> 00:17:15,556
Speaker 2: Yeah, what happened was people doing a fraud on your

371
00:17:15,596 --> 00:17:18,196
Speaker 2: credit card was a new thing. Somebody did a fraud

372
00:17:18,236 --> 00:17:21,156
Speaker 2: on Guru's credit card and when they ran and h

373
00:17:21,716 --> 00:17:24,236
Speaker 2: he was double part, cops told him to move your card.

374
00:17:24,316 --> 00:17:26,316
Speaker 2: Matter of fact, let me see I D He checked

375
00:17:26,316 --> 00:17:28,436
Speaker 2: his ID and it said that there was a fraud

376
00:17:28,476 --> 00:17:31,236
Speaker 2: on his name, but that the cops are thinking he's

377
00:17:31,276 --> 00:17:34,596
Speaker 2: the one that's that's fraudulent and uh, you know, using

378
00:17:34,596 --> 00:17:37,276
Speaker 2: a fake card. They took him to jail at the

379
00:17:37,316 --> 00:17:39,516
Speaker 2: precinct which was we call it LG but it's called

380
00:17:39,556 --> 00:17:42,996
Speaker 2: Lafiat Gardens. And they call us and tell us that

381
00:17:43,076 --> 00:17:45,076
Speaker 2: he got locked up. Biggie calls me and tells me

382
00:17:45,276 --> 00:17:47,796
Speaker 2: he got locked up and h somebody that get him.

383
00:17:47,836 --> 00:17:49,836
Speaker 2: I said, okay, I'm coming down the block, which we like.

384
00:17:49,916 --> 00:17:52,716
Speaker 2: I said, we're only like five blocks away. Go there

385
00:17:53,036 --> 00:17:56,756
Speaker 2: the old junior mafia. Biggie, everybody's on the corner. He said,

386
00:17:56,756 --> 00:17:59,476
Speaker 2: I'm gonna go to the precinct. Can one of y'all

387
00:17:59,516 --> 00:18:02,116
Speaker 2: move his car? And then once we get him out

388
00:18:02,156 --> 00:18:04,796
Speaker 2: and figure out what's going on. We'll come get the car.

389
00:18:05,516 --> 00:18:08,116
Speaker 2: And Biggie said, okay, I said, Biggie, won't you drive

390
00:18:08,156 --> 00:18:08,756
Speaker 2: it and move it?

391
00:18:09,196 --> 00:18:09,516
Speaker 3: Okay.

392
00:18:09,756 --> 00:18:12,276
Speaker 2: Biggie gets in the driver's seat and just sits there

393
00:18:12,436 --> 00:18:14,796
Speaker 2: looking like kind of like staring. I'm like, you're not

394
00:18:14,796 --> 00:18:16,756
Speaker 2: gonna move the car because the police is still like

395
00:18:16,836 --> 00:18:17,956
Speaker 2: move the car, and.

396
00:18:17,916 --> 00:18:22,116
Speaker 3: Biggie goes, I don't know how to drive. Like, why

397
00:18:22,236 --> 00:18:24,356
Speaker 3: you sit in the driver's seat, he said, because this

398
00:18:24,396 --> 00:18:27,436
Speaker 3: is a Jaguar and it looks nice and I want

399
00:18:27,436 --> 00:18:29,636
Speaker 3: to see how it feels to sit in one. He's like,

400
00:18:29,716 --> 00:18:31,476
Speaker 3: cause I might buy one, he said, but I have

401
00:18:31,516 --> 00:18:34,916
Speaker 3: to be driven around. And I'm like, big, like get

402
00:18:34,956 --> 00:18:35,516
Speaker 3: out of the car.

403
00:18:35,676 --> 00:18:38,196
Speaker 2: So one of the other guys do with his crew,

404
00:18:38,196 --> 00:18:40,916
Speaker 2: hopped in, moved it and parked it on the corner,

405
00:18:40,916 --> 00:18:43,756
Speaker 2: and we went got him out. They found they ran everything,

406
00:18:43,836 --> 00:18:46,916
Speaker 2: found out he was legit, and we got him out

407
00:18:46,916 --> 00:18:48,636
Speaker 2: and we drove back, brought him back to his car,

408
00:18:48,676 --> 00:18:52,236
Speaker 2: and and we went home, still living at Branford's house.

409
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Speaker 1: That's amazing. After this quick break, we'll come back with

410
00:18:56,436 --> 00:19:02,756
Speaker 1: more from DJ Premiere. We're back with more of my

411
00:19:02,836 --> 00:19:07,276
Speaker 1: conversation with DJ Premiere. Another person in the neighborhood is

412
00:19:07,316 --> 00:19:10,236
Speaker 1: someone that I love, one of my FAVORIT producers, Easy Mob.

413
00:19:10,516 --> 00:19:12,276
Speaker 2: Oh yeah, he used to come over to the house

414
00:19:12,316 --> 00:19:15,276
Speaker 2: all the time when he was in wrapping this fundamental Yeah,

415
00:19:15,316 --> 00:19:19,116
Speaker 2: shout to him, ab the whole crew. Yeah, one of

416
00:19:19,116 --> 00:19:22,876
Speaker 2: the illess beat makers. I mean to me, he's the

417
00:19:22,996 --> 00:19:26,956
Speaker 2: DJ Premiere of Biggie's first album because he did the

418
00:19:27,156 --> 00:19:27,756
Speaker 2: ninety percent.

419
00:19:27,996 --> 00:19:29,956
Speaker 1: I mean, you did unbelievable, which is.

420
00:19:30,036 --> 00:19:32,876
Speaker 2: That was like after the album was done, like completely done.

421
00:19:33,036 --> 00:19:35,476
Speaker 1: Okay, so well let's get to that then. But he's

422
00:19:35,556 --> 00:19:38,076
Speaker 1: more be did like five the what with method Man.

423
00:19:38,196 --> 00:19:42,356
Speaker 2: One of my favorite Warning Warning a machine Gun Funk,

424
00:19:42,516 --> 00:19:45,316
Speaker 2: which is one of the best incredible track. He had

425
00:19:45,316 --> 00:19:48,156
Speaker 2: so many records on there you know him Lord Finess.

426
00:19:48,636 --> 00:19:52,636
Speaker 2: Mine was after the album was turned in. They needed

427
00:19:52,756 --> 00:19:55,636
Speaker 2: a street record for the first single, which was Juicy,

428
00:19:56,076 --> 00:19:58,076
Speaker 2: So I did unbelievable.

429
00:19:57,396 --> 00:19:58,556
Speaker 3: But being there it popped off.

430
00:19:58,596 --> 00:20:01,436
Speaker 2: They added it to the album even though it was

431
00:20:01,476 --> 00:20:04,796
Speaker 2: already done mastered in sequenced, so they.

432
00:20:04,596 --> 00:20:09,276
Speaker 1: Made album sequence disaster everything wow, because we had cops.

433
00:20:09,116 --> 00:20:10,756
Speaker 1: It's not press everything else.

434
00:20:10,876 --> 00:20:15,676
Speaker 2: Well, we back then, leaking your album was cool if

435
00:20:15,716 --> 00:20:19,116
Speaker 2: your friends had it. It wasn't like now if something

436
00:20:19,196 --> 00:20:22,396
Speaker 2: leaks and it ruins the first week sales and uh,

437
00:20:22,436 --> 00:20:25,676
Speaker 2: it's all now everybody has it and hasn't even launched yet.

438
00:20:25,876 --> 00:20:29,316
Speaker 2: This is just Bigieven would make copies for his whole

439
00:20:29,436 --> 00:20:32,596
Speaker 2: crew so that they can have him memorized, so that

440
00:20:32,636 --> 00:20:35,916
Speaker 2: if he has showed, everybody is singing the record, and

441
00:20:35,956 --> 00:20:38,236
Speaker 2: back then we all did that. You know, I'd make

442
00:20:38,276 --> 00:20:40,356
Speaker 2: asceepts for my whole team. He know, here's the album

443
00:20:40,436 --> 00:20:43,116
Speaker 2: in advanced we didn't look at it as wrong. Where

444
00:20:43,236 --> 00:20:45,356
Speaker 2: now it's like you don't want to leak out even

445
00:20:45,396 --> 00:20:49,156
Speaker 2: an interlude, you know, because somebody will put it on

446
00:20:49,156 --> 00:20:51,956
Speaker 2: on social media, and now your record's leaked, so.

447
00:20:51,876 --> 00:20:54,076
Speaker 1: It's basically done. Why does he hit you up to?

448
00:20:54,676 --> 00:20:58,196
Speaker 2: He said, I need a street record because Juicy was

449
00:20:58,236 --> 00:21:00,836
Speaker 2: more radio oriented. You know, everybody knew the M two

450
00:21:00,876 --> 00:21:01,436
Speaker 2: May record.

451
00:21:01,556 --> 00:21:02,636
Speaker 3: Just in any.

452
00:21:02,476 --> 00:21:06,076
Speaker 2: Black household, everybody's gonna have the M two May album, right,

453
00:21:06,076 --> 00:21:09,676
Speaker 2: and everybody's gonna have Juicy Fruit. That's that's standard than

454
00:21:09,836 --> 00:21:12,596
Speaker 2: any black household. I can't speak for outside of that.

455
00:21:12,676 --> 00:21:15,116
Speaker 2: I'm just going by how I was raised. But in

456
00:21:15,156 --> 00:21:21,156
Speaker 2: a black household, you. Yeah, So now the Rolling Stones

457
00:21:21,156 --> 00:21:24,356
Speaker 2: are blending in with with him too, man. But even that,

458
00:21:24,556 --> 00:21:27,036
Speaker 2: like even in the Black Household you have the Rolling Stones.

459
00:21:27,196 --> 00:21:29,356
Speaker 2: You may not have led Zeppelin, but the Stones kind

460
00:21:29,356 --> 00:21:33,236
Speaker 2: of crossed a certain line where they had got saying

461
00:21:33,316 --> 00:21:35,796
Speaker 2: with hip hop. That's how a lot of rock records,

462
00:21:35,836 --> 00:21:38,956
Speaker 2: like like Run didn't call it Arrowsmith. They say you'll

463
00:21:38,996 --> 00:21:41,556
Speaker 2: get the toys in the attic album and and cut

464
00:21:41,596 --> 00:21:44,516
Speaker 2: that break that was name of the album.

465
00:21:44,596 --> 00:21:46,236
Speaker 3: The song was called walk this Way.

466
00:21:46,356 --> 00:21:49,076
Speaker 2: But but from a hip hop perspective, like you'll get

467
00:21:49,076 --> 00:21:50,436
Speaker 2: to put that toys in the attic joint on.

468
00:21:51,076 --> 00:21:52,716
Speaker 3: You know that, that's just how they do it.

469
00:21:52,796 --> 00:21:56,516
Speaker 2: Like even assembly Line by the commodorees that the part

470
00:21:56,516 --> 00:21:57,276
Speaker 2: where it breaks down and.

471
00:21:57,196 --> 00:21:59,956
Speaker 3: Goes hut good good to hut.

472
00:22:00,236 --> 00:22:03,276
Speaker 2: Every DJ calls you'll put hout on. But it's called

473
00:22:03,276 --> 00:22:04,356
Speaker 2: assembly line.

474
00:22:04,476 --> 00:22:05,476
Speaker 1: That's from the first Commodore.

475
00:22:05,876 --> 00:22:08,916
Speaker 2: You can't find it if you look for hut, but

476
00:22:08,956 --> 00:22:12,436
Speaker 2: if if you sing it to back in music factory days,

477
00:22:12,636 --> 00:22:14,356
Speaker 2: you could go in the store and go, what's that

478
00:22:14,396 --> 00:22:16,996
Speaker 2: record that goes, Oh, comodos right there on.

479
00:22:17,316 --> 00:22:20,436
Speaker 3: Row one down two. That's that's how it was.

480
00:22:21,116 --> 00:22:24,116
Speaker 1: Let's go back to Biggie and unbelievable. Okay, when Biggie

481
00:22:24,156 --> 00:22:26,236
Speaker 1: hits you, he says, I need a street record. What

482
00:22:26,276 --> 00:22:27,076
Speaker 1: are your thoughts?

483
00:22:27,596 --> 00:22:31,236
Speaker 2: Everybody that knows my my My formula is I like

484
00:22:31,356 --> 00:22:34,636
Speaker 2: to make the beat. It's like cooking your dinner. Come

485
00:22:34,676 --> 00:22:35,716
Speaker 2: by and I'll cook you something.

486
00:22:36,236 --> 00:22:37,436
Speaker 3: That's what it is. Show up.

487
00:22:38,396 --> 00:22:41,396
Speaker 2: Oh yeah, absolutely, it's gotta be tailored. One thing I

488
00:22:41,436 --> 00:22:45,036
Speaker 2: love about Guru God Bless him from Gangstar was he

489
00:22:45,156 --> 00:22:48,476
Speaker 2: always said in the interviews. DJ Premire is a beat tailor.

490
00:22:48,516 --> 00:22:51,556
Speaker 2: He will tailor it to you, like Gambling Huff. I

491
00:22:51,596 --> 00:22:53,956
Speaker 2: saw them do an interview. You know, anybody know who

492
00:22:53,996 --> 00:22:57,716
Speaker 2: Gambling Huff is and one of the best producing crew

493
00:22:57,796 --> 00:23:00,516
Speaker 2: in the world. They're like Holland does You're Holland from Motown?

494
00:23:00,996 --> 00:23:04,076
Speaker 2: But they you know, they did all the Philadelphia International stuff.

495
00:23:04,076 --> 00:23:06,396
Speaker 2: They did the Old Jays, they did the Jones Girls,

496
00:23:06,556 --> 00:23:08,916
Speaker 2: they did Harold Melvin and Blue Nose. He did Teddy

497
00:23:09,236 --> 00:23:12,676
Speaker 2: d Grass and the Jackson's. When they left Motown, then

498
00:23:12,756 --> 00:23:16,316
Speaker 2: they went to Epic. They produced the I think the

499
00:23:16,356 --> 00:23:17,796
Speaker 2: first two albums.

500
00:23:17,356 --> 00:23:18,316
Speaker 1: And I didn't know that.

501
00:23:18,396 --> 00:23:21,076
Speaker 3: Yeah, they did enjoy Yourself in good times.

502
00:23:21,436 --> 00:23:24,796
Speaker 2: So during that time I watched their interview, and they said,

503
00:23:24,876 --> 00:23:28,596
Speaker 2: we always make the track right there that we think

504
00:23:28,756 --> 00:23:30,276
Speaker 2: you would have a hit.

505
00:23:30,196 --> 00:23:31,916
Speaker 3: Record on, and we presented to you.

506
00:23:31,916 --> 00:23:35,276
Speaker 2: We don't just you know, like now it's all the

507
00:23:35,276 --> 00:23:37,716
Speaker 2: producers these days, it's like, oh, here's thirty beats, pick

508
00:23:37,756 --> 00:23:40,196
Speaker 2: which one you like, and we make a song. I'm

509
00:23:40,316 --> 00:23:42,916
Speaker 2: literally looking at you. If I had to make a

510
00:23:42,956 --> 00:23:44,916
Speaker 2: record for you, I'm gonna be like, Okay, I'll listen

511
00:23:44,996 --> 00:23:47,516
Speaker 2: to what you've done and then I'll know where I

512
00:23:47,596 --> 00:23:49,676
Speaker 2: fit in and I'll make it for you.

513
00:23:49,796 --> 00:23:51,836
Speaker 1: And you do it in your student D and D

514
00:23:51,596 --> 00:23:52,516
Speaker 1: would have been with you.

515
00:23:52,556 --> 00:23:55,116
Speaker 2: At that time, and that was the studio. A lot

516
00:23:55,116 --> 00:23:57,796
Speaker 2: of people were scared to go there because it was

517
00:23:57,796 --> 00:24:01,996
Speaker 2: a Heroin Street. So it was Heroin fin Fiend's walking

518
00:24:02,036 --> 00:24:05,396
Speaker 2: around like zombies and everything, and it was Crack on

519
00:24:05,436 --> 00:24:07,356
Speaker 2: the block. It's funny because I just did an interview

520
00:24:07,436 --> 00:24:10,196
Speaker 2: with us Sway and the Heather b the last week,

521
00:24:10,436 --> 00:24:13,716
Speaker 2: and Heather used to always come there and there's a

522
00:24:13,756 --> 00:24:16,036
Speaker 2: deli that we go to, but we call it Crack Deli.

523
00:24:16,476 --> 00:24:18,836
Speaker 2: So we go, hey, man, go get me a sandwich

524
00:24:18,836 --> 00:24:21,596
Speaker 2: for Crack Deli and she goes, yeah, crack Desk.

525
00:24:21,676 --> 00:24:25,076
Speaker 3: She was like, I remember Crack Deli because all the crack.

526
00:24:24,876 --> 00:24:28,396
Speaker 2: Dealers are on the corner selling crack and you're just

527
00:24:28,396 --> 00:24:29,996
Speaker 2: going to and they're like, yo, premiere, what's up man?

528
00:24:30,076 --> 00:24:30,716
Speaker 3: Look your music?

529
00:24:30,756 --> 00:24:30,916
Speaker 1: Man?

530
00:24:31,236 --> 00:24:34,196
Speaker 3: You know you anything? I'm like no, and they're selling

531
00:24:34,236 --> 00:24:36,556
Speaker 3: crack around the corner. So we called it crack Deli.

532
00:24:36,636 --> 00:24:41,196
Speaker 3: So those are the days, you know, and y'all you

533
00:24:41,236 --> 00:24:43,276
Speaker 3: know rappers always tough and macho.

534
00:24:43,756 --> 00:24:45,436
Speaker 2: A lot of them that we worked with were like,

535
00:24:45,516 --> 00:24:47,836
Speaker 2: I'm not coming back. Yeah, it's too scary.

536
00:24:47,956 --> 00:24:48,236
Speaker 1: Wow.

537
00:24:48,596 --> 00:24:51,956
Speaker 2: Yeah, So shout to Crack Deli, shouts all, shout all

538
00:24:51,956 --> 00:24:55,236
Speaker 2: the fiends you know, and shout the D and D,

539
00:24:55,996 --> 00:24:59,436
Speaker 2: Dave and Doug. That's D n D D Doug, Dave

540
00:24:59,556 --> 00:25:00,836
Speaker 2: Bodwin and Doug Grammar.

541
00:25:01,276 --> 00:25:03,316
Speaker 1: So is that where you made unbelievable? Did you figg

542
00:25:03,316 --> 00:25:03,636
Speaker 1: it down?

543
00:25:04,036 --> 00:25:04,916
Speaker 3: They came with his crew.

544
00:25:04,956 --> 00:25:08,676
Speaker 2: He's not worried about anything, you know, I being And

545
00:25:08,716 --> 00:25:10,916
Speaker 2: it got to a point when jay Z started working

546
00:25:10,956 --> 00:25:14,356
Speaker 2: on working on Reasonable Doubt. He was an everyday guy.

547
00:25:14,396 --> 00:25:16,996
Speaker 2: We're there every day. He's in one room.

548
00:25:17,036 --> 00:25:17,876
Speaker 3: I'm in my room.

549
00:25:17,996 --> 00:25:21,396
Speaker 2: And the beat miners who produced Black Moon, Smith and

550
00:25:21,476 --> 00:25:24,796
Speaker 2: West and help to scale to recipes to Sean Price,

551
00:25:25,356 --> 00:25:26,476
Speaker 2: they would be in the other room.

552
00:25:26,556 --> 00:25:27,996
Speaker 3: So it was just a rotation.

553
00:25:28,156 --> 00:25:30,036
Speaker 2: Jay Z would go in one room, work, come to

554
00:25:30,076 --> 00:25:32,676
Speaker 2: my room and work, and he would always.

555
00:25:32,396 --> 00:25:35,196
Speaker 1: Be in there with the other like Ski or whoever else.

556
00:25:35,996 --> 00:25:39,556
Speaker 2: During that time, Ski, Sean and l V. A guy

557
00:25:39,636 --> 00:25:42,596
Speaker 2: named Nobody IRV God. He was there, but you know

558
00:25:42,676 --> 00:25:45,076
Speaker 2: he was DJ IRV back then. You know, he wasn't

559
00:25:45,076 --> 00:25:47,356
Speaker 2: Nerve Gody with the murder ink with Joe Rule.

560
00:25:47,196 --> 00:25:47,596
Speaker 3: And all that.

561
00:25:47,676 --> 00:25:48,276
Speaker 1: Yet.

562
00:25:48,636 --> 00:25:50,396
Speaker 3: Wow, so he's there early days.

563
00:25:50,556 --> 00:25:52,636
Speaker 1: Well, BIG's an interesting story because Big kind of told

564
00:25:52,676 --> 00:25:56,356
Speaker 1: you what to make right, Yes, unbelievable.

565
00:25:55,796 --> 00:25:58,996
Speaker 2: Well unbelievable, he didn't. He just told me what to scratch.

566
00:25:59,356 --> 00:26:01,196
Speaker 2: He was just like, man, make anything.

567
00:26:01,316 --> 00:26:03,596
Speaker 3: I'm like, dude, because I told him, I turned him down.

568
00:26:04,156 --> 00:26:06,236
Speaker 2: I was like, dude, I'm too busy. I'll get you

569
00:26:06,236 --> 00:26:08,196
Speaker 2: on the next album. He's like, I just need a

570
00:26:08,236 --> 00:26:11,076
Speaker 2: quick joint for the Prez please, And I'm like, yeah,

571
00:26:11,156 --> 00:26:12,876
Speaker 2: but I don't even know what to squeeze it in.

572
00:26:12,996 --> 00:26:14,756
Speaker 3: He goes, man, I don't even care if you use

573
00:26:14,876 --> 00:26:15,836
Speaker 3: M Piece of President.

574
00:26:15,996 --> 00:26:18,596
Speaker 2: And if you know hip hop, M Piece of President

575
00:26:18,716 --> 00:26:20,476
Speaker 2: by the Honey Drippers.

576
00:26:20,956 --> 00:26:21,636
Speaker 3: It's one of the.

577
00:26:21,556 --> 00:26:26,396
Speaker 2: Biggest break records of all time in hip hop culture,

578
00:26:26,836 --> 00:26:31,236
Speaker 2: So to use that you have to manipulate it and

579
00:26:31,316 --> 00:26:33,836
Speaker 2: be creative. So I said, all right, come meet me

580
00:26:33,876 --> 00:26:35,716
Speaker 2: there and I'm gonna chop it up and just come

581
00:26:35,756 --> 00:26:38,156
Speaker 2: up with some things. And I found this note that

582
00:26:38,276 --> 00:26:40,676
Speaker 2: had a vibration at the end of the note.

583
00:26:40,676 --> 00:26:41,596
Speaker 3: It was one note.

584
00:26:42,036 --> 00:26:43,916
Speaker 2: I just gave it to quest lover. I don't give

585
00:26:43,996 --> 00:26:46,756
Speaker 2: my sessions out. I took all the sounds off the

586
00:26:46,796 --> 00:26:49,276
Speaker 2: discause they wanted to re make it, but with the

587
00:26:49,876 --> 00:26:51,356
Speaker 2: original sounds of that sample?

588
00:26:51,836 --> 00:26:55,476
Speaker 1: Was that sound from and Peach the President discuss the break? Yeah,

589
00:26:55,556 --> 00:26:57,756
Speaker 1: but I'm gonna ask what's that sound from?

590
00:26:57,756 --> 00:27:00,236
Speaker 3: But it's chopped into a different drum pattern?

591
00:27:00,596 --> 00:27:01,996
Speaker 1: Where do you hear that note? What is that note

592
00:27:02,076 --> 00:27:02,756
Speaker 1: with the dun dum?

593
00:27:03,596 --> 00:27:04,636
Speaker 3: I'm you know.

594
00:27:05,476 --> 00:27:08,836
Speaker 2: Sampling is an art form, especially in the hip hop culture,

595
00:27:08,836 --> 00:27:12,276
Speaker 2: but we have brought back a lot of records that

596
00:27:12,396 --> 00:27:15,876
Speaker 2: probably wouldn't even be popular now. I mean this record

597
00:27:15,916 --> 00:27:19,196
Speaker 2: is that I've sample where you'll go to a store and

598
00:27:19,356 --> 00:27:21,796
Speaker 2: it was only like three dollars, and now that I

599
00:27:22,036 --> 00:27:24,716
Speaker 2: used it, or doctor dre used or a diamond d

600
00:27:25,116 --> 00:27:29,396
Speaker 2: or large Professor Pete Rock or dz MO B you

601
00:27:29,516 --> 00:27:33,716
Speaker 2: name it, even public Enemy with the bomb Squad. Now

602
00:27:33,756 --> 00:27:37,796
Speaker 2: you'll look, that record is two hundred dollars because they

603
00:27:37,876 --> 00:27:40,036
Speaker 2: know how Premiere use that, and a lot of people

604
00:27:40,996 --> 00:27:43,556
Speaker 2: get put Yeah, people want to own that record. So

605
00:27:43,716 --> 00:27:45,836
Speaker 2: now it's two three hundred dollars, and I'm like, well, shit,

606
00:27:45,916 --> 00:27:46,716
Speaker 2: do I get a cut of that?

607
00:27:47,876 --> 00:27:49,676
Speaker 1: So you ain't gonna tell us where that staff came from?

608
00:27:49,796 --> 00:27:55,156
Speaker 2: Au No, Hey, honestly, I can't remember for that one

609
00:27:55,156 --> 00:27:56,796
Speaker 2: because it's just one note.

610
00:27:56,916 --> 00:28:00,436
Speaker 3: But but when you play it, it goes boom, So it.

611
00:28:00,316 --> 00:28:03,676
Speaker 2: Doesn't just go boot. If you hear it on it,

612
00:28:03,676 --> 00:28:06,676
Speaker 2: it's gonna pull. So the fact that it has that

613
00:28:06,756 --> 00:28:10,516
Speaker 2: little curl on it. I just that one note and

614
00:28:10,596 --> 00:28:13,596
Speaker 2: just pitched it on different drum pads on the drum

615
00:28:13,676 --> 00:28:15,956
Speaker 2: on the machine, so now it's gonna boo boo boo.

616
00:28:18,356 --> 00:28:23,596
Speaker 2: And then just made it dancing the lyricals, and he

617
00:28:23,636 --> 00:28:26,756
Speaker 2: came in like that's it, that's it, And then he

618
00:28:27,556 --> 00:28:31,076
Speaker 2: we chilled for damn near eight hours because that's when

619
00:28:31,116 --> 00:28:35,076
Speaker 2: Bacardi Lamone had just come out, you know, and so

620
00:28:35,196 --> 00:28:37,636
Speaker 2: he has mad bottles. And not only that, a lot

621
00:28:37,676 --> 00:28:40,316
Speaker 2: of rappers started mentioning that in their rhymes, you know.

622
00:28:40,476 --> 00:28:43,796
Speaker 2: So he started drinking that eight hours past is getting

623
00:28:43,796 --> 00:28:45,476
Speaker 2: really late, and I'm like, yo, big, if we ain't

624
00:28:45,476 --> 00:28:47,716
Speaker 2: gonna record anything tonight, let's.

625
00:28:47,516 --> 00:28:50,956
Speaker 3: Come back tomorrow. He goes, oh, I'm ready. I'm like,

626
00:28:51,156 --> 00:28:54,236
Speaker 3: we've been sitting there for eight hours smoking and playing

627
00:28:54,276 --> 00:28:58,156
Speaker 3: pool and rolling dice and drinking Baccardi lamone. He's like, Okay, well,

628
00:28:58,196 --> 00:28:59,796
Speaker 3: I'm ready, let's do it. And he goes in the

629
00:28:59,876 --> 00:29:02,876
Speaker 3: booth and I'm like, you, did you write it down?

630
00:29:02,916 --> 00:29:06,196
Speaker 3: He goes, no, it's up in here. And that's my.

631
00:29:06,156 --> 00:29:12,036
Speaker 2: First time witnessing him record with no paper, and I

632
00:29:12,156 --> 00:29:14,436
Speaker 2: was like wow. And then jay Z did the same

633
00:29:14,516 --> 00:29:16,276
Speaker 2: thing no paper.

634
00:29:16,276 --> 00:29:18,596
Speaker 1: And jay Z did a similar thing too. He the

635
00:29:18,636 --> 00:29:21,236
Speaker 1: Evils from Recentable Doubt Jason's record.

636
00:29:21,356 --> 00:29:25,116
Speaker 2: Yeah, called me, did the rhyme over the phone, explain

637
00:29:25,396 --> 00:29:27,316
Speaker 2: what scratch sequence he wanted.

638
00:29:27,516 --> 00:29:29,396
Speaker 3: I'm good either way most of them. Most of the time.

639
00:29:29,396 --> 00:29:31,756
Speaker 2: Obviously, I come up with it, but I have no

640
00:29:31,756 --> 00:29:35,476
Speaker 2: problem if an MC like jay Z or Biggie knows

641
00:29:35,556 --> 00:29:38,156
Speaker 2: what they want, and then I'll see if it works.

642
00:29:37,996 --> 00:29:38,596
Speaker 3: Scratch it in.

643
00:29:38,676 --> 00:29:41,116
Speaker 2: If if it's I'm like cool, it's still gonna have

644
00:29:41,236 --> 00:29:46,516
Speaker 2: my style. Of input, but jay Z told me exactly

645
00:29:46,556 --> 00:29:49,236
Speaker 2: what he wanted. The other two songs, he I just

646
00:29:49,276 --> 00:29:51,316
Speaker 2: made the beat on the spot and then he was like, oh,

647
00:29:51,356 --> 00:29:53,356
Speaker 2: I got something for that, like friend of friend of foe.

648
00:29:53,836 --> 00:29:56,356
Speaker 2: And then with bring it On, he said, I'm bringing

649
00:29:56,356 --> 00:29:58,516
Speaker 2: to him. Well, jazz O was already down with jay

650
00:29:58,636 --> 00:30:00,916
Speaker 2: Z but saw some money we had never heard of,

651
00:30:01,036 --> 00:30:03,556
Speaker 2: and he brought him in and we did Bring it On.

652
00:30:03,956 --> 00:30:08,156
Speaker 1: That's incredible. You do two other biggie records on Life

653
00:30:08,196 --> 00:30:10,756
Speaker 1: after Death, Yeah, one of them being Kicking the Door,

654
00:30:11,876 --> 00:30:12,916
Speaker 1: What made You settle?

655
00:30:12,996 --> 00:30:13,196
Speaker 3: On?

656
00:30:13,516 --> 00:30:16,036
Speaker 1: The I Put a Spell on You sample.

657
00:30:16,476 --> 00:30:19,156
Speaker 2: I Put a Spell on You was a very well

658
00:30:19,196 --> 00:30:21,836
Speaker 2: known record in Texas because, like I said, I come

659
00:30:21,836 --> 00:30:24,756
Speaker 2: from a town where we didn't call it R and B.

660
00:30:24,756 --> 00:30:26,916
Speaker 2: Back then, it was called soul music. If you go

661
00:30:26,956 --> 00:30:30,756
Speaker 2: to the record store, it was rock jazz. They didn't

662
00:30:30,796 --> 00:30:33,396
Speaker 2: say pop, and it didn't say R and B. It

663
00:30:33,436 --> 00:30:36,876
Speaker 2: said soul. So me and my mother, who was a

664
00:30:37,276 --> 00:30:40,156
Speaker 2: very big record collector aside from being an art teacher,

665
00:30:40,396 --> 00:30:42,876
Speaker 2: and she taught me aret in junior high and high school.

666
00:30:43,276 --> 00:30:45,556
Speaker 2: You know, and everybody knows my mom, you know, so

667
00:30:46,596 --> 00:30:49,556
Speaker 2: and everybody in my neighborhood has a painting that she

668
00:30:49,756 --> 00:30:50,836
Speaker 2: did in their house.

669
00:30:51,116 --> 00:30:53,876
Speaker 3: Even the funeral home where our funerals.

670
00:30:53,316 --> 00:30:56,316
Speaker 2: Were held, there's pictures in the viewing room that my

671
00:30:56,396 --> 00:30:58,396
Speaker 2: mom did in the bathrooms.

672
00:30:58,796 --> 00:31:00,836
Speaker 3: I was like, damn, I can't escape her anywhere.

673
00:31:00,916 --> 00:31:04,636
Speaker 1: So that's beautiful though, Oh yeah, by leaving a legacy,

674
00:31:04,676 --> 00:31:07,436
Speaker 1: oh yeah, many. Basically, it was just a record you

675
00:31:07,516 --> 00:31:08,356
Speaker 1: heard around Texas.

676
00:31:08,596 --> 00:31:11,556
Speaker 2: It's a record that was popular and where we're from,

677
00:31:11,636 --> 00:31:14,196
Speaker 2: you know, screaming Jay Hawkins is I Put a Spell

678
00:31:14,196 --> 00:31:15,276
Speaker 2: on you as a popular record.

679
00:31:15,356 --> 00:31:16,676
Speaker 3: We all knew the lyrics to it.

680
00:31:17,076 --> 00:31:20,156
Speaker 2: I never planned on making it into a hip hop

681
00:31:20,196 --> 00:31:23,516
Speaker 2: record for Big but when it came to him even

682
00:31:23,556 --> 00:31:26,916
Speaker 2: that I only charged him five thousand dollars for Unbelievable,

683
00:31:27,236 --> 00:31:29,756
Speaker 2: and I said, if you go platinum and you get paid,

684
00:31:30,356 --> 00:31:34,676
Speaker 2: I'm charging you triple. The next time he said done deal.

685
00:31:34,916 --> 00:31:37,956
Speaker 2: He ended up paying six times the amount. Yeah for

686
00:31:38,876 --> 00:31:40,996
Speaker 2: each record. Yeah, for kicking the Door and tenk record man.

687
00:31:41,196 --> 00:31:43,396
Speaker 2: So he kept his word. I said, you know you're

688
00:31:43,396 --> 00:31:46,076
Speaker 2: going to pay what I told you? He goes, oh, no,

689
00:31:46,356 --> 00:31:49,476
Speaker 2: I got you. Oh like Biggie was say doubt.

690
00:31:52,156 --> 00:31:54,156
Speaker 1: Puff didn't like that record though, right Kicking the.

691
00:31:54,076 --> 00:31:55,636
Speaker 3: Door night didn't. He didn't.

692
00:31:56,156 --> 00:31:58,436
Speaker 2: I dropped off the beat. That's where we used to

693
00:31:58,436 --> 00:32:01,476
Speaker 2: put it on those little ten minute cassettes. I drop

694
00:32:01,516 --> 00:32:05,036
Speaker 2: it off, and later on that evening they call us

695
00:32:05,076 --> 00:32:08,476
Speaker 2: and say, hey, you're ready to die. Platinum albums plaques

696
00:32:08,516 --> 00:32:10,476
Speaker 2: came in, so I was like, ooh, so I'm going

697
00:32:10,516 --> 00:32:12,556
Speaker 2: to pick that up, not thinking about the new track.

698
00:32:13,196 --> 00:32:17,876
Speaker 2: Buff sees me in the in the lobby and he's like, yo, man,

699
00:32:18,476 --> 00:32:20,236
Speaker 2: can you work on a new beat to give to

700
00:32:20,356 --> 00:32:22,516
Speaker 2: Big because I don't like the one that you that

701
00:32:22,636 --> 00:32:25,356
Speaker 2: you gave him. And I'm like, okay, no problem. You know,

702
00:32:25,436 --> 00:32:28,476
Speaker 2: if you don't like it, I'm not offended. But uh

703
00:32:28,516 --> 00:32:30,476
Speaker 2: he said, yeah, I need something a little more like

704
00:32:30,836 --> 00:32:33,276
Speaker 2: that's gonna rock in the tunnel. I said, that's gonna

705
00:32:33,356 --> 00:32:37,116
Speaker 2: rock in the tunnel? I said, mark my words. I said, why.

706
00:32:36,996 --> 00:32:38,676
Speaker 3: Don't you live Big here?

707
00:32:38,716 --> 00:32:39,916
Speaker 2: And he said, oh, I'm gonna give it to him

708
00:32:39,956 --> 00:32:42,996
Speaker 2: and let him hear it, but still work on something else,

709
00:32:42,996 --> 00:32:46,116
Speaker 2: because they already hired me for two records, even though

710
00:32:46,236 --> 00:32:48,356
Speaker 2: Crack Commandments wasn't a thought yet.

711
00:32:48,596 --> 00:32:51,116
Speaker 3: I was like, okay, I'll work on another one. Big

712
00:32:51,196 --> 00:32:51,636
Speaker 3: calls me.

713
00:32:51,716 --> 00:32:53,716
Speaker 2: Maybe a couple hours later, and he's like, yo, you

714
00:32:53,756 --> 00:32:56,636
Speaker 2: could come down and uh we could work on on

715
00:32:56,716 --> 00:32:58,996
Speaker 2: that beat. And I'm like, well, I'm working on a

716
00:32:58,996 --> 00:33:00,956
Speaker 2: new one now. He goes, no, the one you gave

717
00:33:00,996 --> 00:33:03,596
Speaker 2: Puff earlier. And I was like, oh, well he don't

718
00:33:03,636 --> 00:33:05,996
Speaker 2: like that one. He goes, man, fuck, then I'm gonna

719
00:33:06,076 --> 00:33:11,636
Speaker 2: kill this record. And that's that's he said. I'm going, Oh,

720
00:33:11,676 --> 00:33:13,756
Speaker 2: I got some shit for this. I said, all right,

721
00:33:13,876 --> 00:33:16,476
Speaker 2: and you know, it's so dope. After we did the record,

722
00:33:17,116 --> 00:33:19,556
Speaker 2: Buff was like, you know what, once I hear the

723
00:33:19,636 --> 00:33:22,876
Speaker 2: lyrics to it, I love it. It's a go and

724
00:33:22,916 --> 00:33:25,676
Speaker 2: he's a boss, so if he says no, it's not

725
00:33:25,716 --> 00:33:26,156
Speaker 2: coming out.

726
00:33:26,196 --> 00:33:27,516
Speaker 3: But he ended up liking it.

727
00:33:27,756 --> 00:33:30,436
Speaker 1: One other big thing I heard is that you were

728
00:33:30,476 --> 00:33:33,716
Speaker 1: with Big and Jy like about a month before Big

729
00:33:33,756 --> 00:33:36,956
Speaker 1: went to LA for his last trip YEP to LA

730
00:33:38,076 --> 00:33:40,436
Speaker 1: and he was conflicted about going.

731
00:33:41,036 --> 00:33:44,436
Speaker 2: Yeah, he at that time they were working on Brooklyn's

732
00:33:44,476 --> 00:33:46,276
Speaker 2: Finest and there was just talk about him going to

733
00:33:46,396 --> 00:33:48,076
Speaker 2: LA and he just said he didn't want to go

734
00:33:48,156 --> 00:33:51,436
Speaker 2: at that time. I don't know what transpired later because

735
00:33:51,876 --> 00:33:53,316
Speaker 2: I always tell this story.

736
00:33:54,036 --> 00:33:55,516
Speaker 3: If you saw the.

737
00:33:55,156 --> 00:33:58,956
Speaker 2: Notorious movie, at the end of the movie where he's

738
00:33:58,996 --> 00:34:01,836
Speaker 2: in the studio and he's smiling and they're playing Sky's

739
00:34:01,836 --> 00:34:06,036
Speaker 2: the Limit. That session was really my session because the

740
00:34:06,116 --> 00:34:09,516
Speaker 2: tin Crack comandments was the last song we did, and

741
00:34:09,676 --> 00:34:12,196
Speaker 2: the part where he's smiling, he goes, Yo, it's over,

742
00:34:12,276 --> 00:34:15,636
Speaker 2: I'm the greatest. That was really my session. But you know,

743
00:34:15,716 --> 00:34:18,596
Speaker 2: earlier in the movie they played ten Crack of Mammas.

744
00:34:18,756 --> 00:34:21,956
Speaker 2: They when his son played him and they were selling

745
00:34:21,996 --> 00:34:24,556
Speaker 2: the crack to on the street and they played tin

746
00:34:24,596 --> 00:34:25,396
Speaker 2: Cracker mammers there.

747
00:34:25,436 --> 00:34:26,996
Speaker 3: I guess it was more fitting for that part of

748
00:34:27,036 --> 00:34:31,876
Speaker 3: the movie. But that scene when he said prem is over, I'm.

749
00:34:31,716 --> 00:34:35,796
Speaker 2: The greatest, and I told Cho Coca about that, And

750
00:34:35,916 --> 00:34:37,836
Speaker 2: even though I know he had a lot of input

751
00:34:38,316 --> 00:34:41,396
Speaker 2: with the shape of the movie along with Biggs family,

752
00:34:42,116 --> 00:34:45,676
Speaker 2: that scene is really should have been him listening to

753
00:34:45,716 --> 00:34:48,316
Speaker 2: the Crack of Mammas and when he said it's over,

754
00:34:48,356 --> 00:34:49,076
Speaker 2: I'm the greatest.

755
00:34:49,116 --> 00:34:51,396
Speaker 3: He was still in the vocal booth, you know, in

756
00:34:51,436 --> 00:34:55,196
Speaker 3: a wheelchair. Right he got the car accident. He broke

757
00:34:55,276 --> 00:34:58,236
Speaker 3: his hip when seeing him easy crash to a car.

758
00:34:58,796 --> 00:34:59,396
Speaker 3: So and I.

759
00:34:59,316 --> 00:35:02,476
Speaker 2: Remember he said, hey, my first video is called Hypnotized

760
00:35:02,516 --> 00:35:04,556
Speaker 2: Prima and I'm gonna I'm doing physical therapy.

761
00:35:04,596 --> 00:35:07,436
Speaker 3: I'm gonna dance and he did you know? He did

762
00:35:07,516 --> 00:35:08,116
Speaker 3: the little Yeah.

763
00:35:08,356 --> 00:35:10,676
Speaker 2: If you look at the the hypnotized video, he's dancing

764
00:35:10,716 --> 00:35:12,956
Speaker 2: in it and he looks so happy too.

765
00:35:13,276 --> 00:35:15,556
Speaker 1: How did it feel for you knowing you were with

766
00:35:15,636 --> 00:35:18,196
Speaker 1: him a month before and he's feeling like, maybe I

767
00:35:18,236 --> 00:35:20,636
Speaker 1: don't want to go to La. Very weird you get

768
00:35:20,636 --> 00:35:21,036
Speaker 1: the news.

769
00:35:21,036 --> 00:35:25,956
Speaker 2: He's very weird because to get the news, my former

770
00:35:26,076 --> 00:35:29,076
Speaker 2: manager shot the fact. Gary, his girl at the time,

771
00:35:29,596 --> 00:35:33,556
Speaker 2: was best friends with Nino's girlfriend. Everybody knows that knows

772
00:35:33,636 --> 00:35:35,876
Speaker 2: Junior Mafia knows Nino. He is one of the guys

773
00:35:35,876 --> 00:35:39,236
Speaker 2: close to Big. So we got the news early because

774
00:35:39,236 --> 00:35:43,436
Speaker 2: obviously since he's a family member Big, they're already making calls,

775
00:35:43,476 --> 00:35:46,076
Speaker 2: you know, six in the morning saying that he's been killed.

776
00:35:46,716 --> 00:35:48,116
Speaker 3: So and I was like, how did you know?

777
00:35:48,196 --> 00:35:50,516
Speaker 2: He said, you know, Nino's girl is best friends with

778
00:35:50,556 --> 00:35:52,476
Speaker 2: my girl and they just called us in the middle

779
00:35:52,516 --> 00:35:54,756
Speaker 2: of the early morning and just told us that they

780
00:35:54,796 --> 00:35:57,476
Speaker 2: just he just got killed in La So we knew

781
00:35:57,516 --> 00:35:59,836
Speaker 2: before it was even We turned on the radio, turn

782
00:35:59,916 --> 00:36:00,356
Speaker 2: on TV.

783
00:36:00,556 --> 00:36:00,916
Speaker 3: Nothing.

784
00:36:01,796 --> 00:36:04,676
Speaker 2: It's probably like almost an hour to two hours later

785
00:36:05,036 --> 00:36:06,396
Speaker 2: they started making the announcement.

786
00:36:06,476 --> 00:36:07,556
Speaker 3: So we already knew.

787
00:36:07,876 --> 00:36:11,116
Speaker 1: That's wild Man and that whole that whole thing with

788
00:36:11,116 --> 00:36:13,196
Speaker 1: with Pock and Big Too must have been interesting for you.

789
00:36:13,196 --> 00:36:15,796
Speaker 1: You're you're interesting because you always like at the you're

790
00:36:15,836 --> 00:36:18,516
Speaker 1: kind of always in the middle of everything, Like like

791
00:36:18,836 --> 00:36:20,836
Speaker 1: Jerrew the Damager, who did a lot of work with

792
00:36:20,916 --> 00:36:24,836
Speaker 1: Incredible MC. He's beefing with with Bad Boy Records.

793
00:36:25,316 --> 00:36:30,756
Speaker 3: He wasn't beefing, it was they were mad at him. Yeah, well, yeah,

794
00:36:30,796 --> 00:36:32,836
Speaker 3: what it was. It's real simple.

795
00:36:32,996 --> 00:36:35,996
Speaker 2: At the time when we were at the Sauce Awards,

796
00:36:36,316 --> 00:36:38,356
Speaker 2: we were very hot. At the time, Jay Ru was

797
00:36:38,476 --> 00:36:41,116
Speaker 2: very hot. We thought we was gonna get Producer of

798
00:36:41,156 --> 00:36:44,556
Speaker 2: the Year and Jay rw was so big at that

799
00:36:44,596 --> 00:36:47,676
Speaker 2: time come Clean and his Sunrises in the East album,

800
00:36:47,996 --> 00:36:51,916
Speaker 2: and the Sauce Awards was the first televised one. It

801
00:36:51,996 --> 00:36:55,076
Speaker 2: was a pre taped one the year before that aired,

802
00:36:55,116 --> 00:36:58,956
Speaker 2: but this one is live. So when we were there

803
00:36:59,716 --> 00:37:01,556
Speaker 2: with all the stuff going back and forth, we were

804
00:37:01,556 --> 00:37:03,956
Speaker 2: a little more hot headed back then. We're not now

805
00:37:03,996 --> 00:37:07,596
Speaker 2: we're grown, but you know, you remember we're we're in

806
00:37:07,596 --> 00:37:11,556
Speaker 2: our twenties going into our thirties. We're very, very gung

807
00:37:11,596 --> 00:37:14,916
Speaker 2: hole about sticking to the script of not ever bound

808
00:37:15,036 --> 00:37:18,796
Speaker 2: down to watering down the music. So when when all

809
00:37:18,836 --> 00:37:21,716
Speaker 2: the back and forth was going on with Sugar and Puff,

810
00:37:22,356 --> 00:37:24,956
Speaker 2: we went to the studio and I was working on

811
00:37:25,116 --> 00:37:27,876
Speaker 2: Jayrew's second album, Rath of the Math, and I put

812
00:37:27,876 --> 00:37:31,236
Speaker 2: this track on. It was called one Day, but he

813
00:37:31,356 --> 00:37:35,316
Speaker 2: talked about what happened all in one day, almost like

814
00:37:35,396 --> 00:37:38,276
Speaker 2: a fictional story. But he but he wasn't afraid to

815
00:37:38,316 --> 00:37:42,556
Speaker 2: mention anybody's names because that's just how Puff, Yeah, and

816
00:37:42,876 --> 00:37:45,916
Speaker 2: the others, Foxy Brown, a guy named Jay Black, you know.

817
00:37:46,036 --> 00:37:49,676
Speaker 2: So when he mentioned all of that, we were still

818
00:37:49,716 --> 00:37:51,956
Speaker 2: on some you know, let's put this out as a

819
00:37:52,036 --> 00:37:53,796
Speaker 2: leak before we dropped the first single.

820
00:37:54,356 --> 00:37:56,396
Speaker 3: Yes, it pierced a lot.

821
00:37:56,236 --> 00:37:59,156
Speaker 2: Of people in that and the bad Boy crew, and

822
00:37:59,196 --> 00:38:01,556
Speaker 2: they took it the wrong way. But one thing I

823
00:38:01,596 --> 00:38:05,116
Speaker 2: got to say is when it got to that point,

824
00:38:05,236 --> 00:38:09,396
Speaker 2: Puff called Jay Rwe he called the label, told we

825
00:38:09,436 --> 00:38:11,596
Speaker 2: got to have a talk about this, and they got

826
00:38:11,636 --> 00:38:14,076
Speaker 2: into a big back and forth about you know, don't

827
00:38:14,076 --> 00:38:15,836
Speaker 2: say my name on the record. Jay R was like,

828
00:38:15,876 --> 00:38:17,956
Speaker 2: I'll say whatever I want, and they're going back and forth,

829
00:38:17,956 --> 00:38:20,516
Speaker 2: back and forth, back and forth. And one thing I

830
00:38:20,556 --> 00:38:23,596
Speaker 2: gotta say about Puff was he said, you know what,

831
00:38:24,436 --> 00:38:27,516
Speaker 2: I gotta respect jay Ruth for not being afraid to

832
00:38:27,596 --> 00:38:31,076
Speaker 2: say my name no matter how he felt where he said.

833
00:38:31,116 --> 00:38:32,996
Speaker 2: I know a lot of people probably say stuff about

834
00:38:32,996 --> 00:38:35,836
Speaker 2: me and their raps, but they just do it subliminally.

835
00:38:36,316 --> 00:38:38,236
Speaker 2: He said, jay Ruth was man enough to say it

836
00:38:38,316 --> 00:38:40,596
Speaker 2: and tell me that he's standing on it, like what

837
00:38:40,676 --> 00:38:43,276
Speaker 2: they say now stand on business. We've been standing on business.

838
00:38:43,476 --> 00:38:45,836
Speaker 2: And he gave him his respect, and then it just

839
00:38:45,956 --> 00:38:46,916
Speaker 2: finally fizzled out.

840
00:38:46,956 --> 00:38:48,236
Speaker 1: But I love that you never get in the middle

841
00:38:48,236 --> 00:38:50,836
Speaker 1: of it either, Like you made the beat, your name's

842
00:38:50,876 --> 00:38:51,436
Speaker 1: mentioned in it.

843
00:38:51,516 --> 00:38:52,876
Speaker 3: I told I told all of them.

844
00:38:52,876 --> 00:38:55,036
Speaker 2: I told Big it cause even Big was like, man,

845
00:38:55,036 --> 00:38:57,196
Speaker 2: he's gotta be talking about me too, because he said

846
00:38:57,436 --> 00:38:59,676
Speaker 2: hip hop had on a Vasace suit. I'm like, you're

847
00:38:59,716 --> 00:39:03,916
Speaker 2: not the first one wearing Vasace. Mad people wearing VASACEI

848
00:39:03,956 --> 00:39:06,636
Speaker 2: before you, and we would have said your name too,

849
00:39:07,036 --> 00:39:09,356
Speaker 2: you know, if we wanted to say your name. Everybody

850
00:39:09,476 --> 00:39:12,036
Speaker 2: mentioned with the specific people that were brought up, and

851
00:39:12,076 --> 00:39:14,716
Speaker 2: that was it. But it did finally fizzled out of

852
00:39:14,716 --> 00:39:16,636
Speaker 2: the years later. And uh and like I said, the

853
00:39:16,676 --> 00:39:19,196
Speaker 2: respect was given because I was in the session to

854
00:39:19,316 --> 00:39:21,276
Speaker 2: hear all the talk you know, Jay Rudy was like,

855
00:39:21,356 --> 00:39:21,956
Speaker 2: let me go with.

856
00:39:21,876 --> 00:39:23,596
Speaker 1: You, and you were on the response, but you I

857
00:39:23,636 --> 00:39:25,796
Speaker 1: mean he Big responds on kicking the door.

858
00:39:26,636 --> 00:39:30,276
Speaker 3: Kicking the door. He always said, I got some.

859
00:39:30,236 --> 00:39:32,276
Speaker 1: Of your friends with Big, your friends with Park, your

860
00:39:32,276 --> 00:39:34,356
Speaker 1: friends with Lady of Rages on death Row. You're kind

861
00:39:34,356 --> 00:39:36,556
Speaker 1: of always in there, all of us.

862
00:39:36,636 --> 00:39:40,356
Speaker 2: Yeah, and I'm not doing it to be a trouble maker.

863
00:39:40,476 --> 00:39:43,796
Speaker 2: But still, back in that time when we were much younger,

864
00:39:43,836 --> 00:39:46,396
Speaker 2: we were very rebellious and hard headed, you know, a

865
00:39:46,396 --> 00:39:48,996
Speaker 2: little ignorant. But as you grow you look back and

866
00:39:49,036 --> 00:39:51,996
Speaker 2: you go, wow, we went through some ship but at

867
00:39:52,036 --> 00:39:55,196
Speaker 2: the same time, everybody got got respect for each other.

868
00:39:55,476 --> 00:39:57,916
Speaker 2: It's just so sad that Pock and Big had to

869
00:39:58,596 --> 00:40:01,356
Speaker 2: leave us so soon, and Big l because we all

870
00:40:01,396 --> 00:40:04,556
Speaker 2: were in the same clubs together, we were all hanging together.

871
00:40:04,596 --> 00:40:05,516
Speaker 3: We were all cool.

872
00:40:05,956 --> 00:40:09,116
Speaker 2: You know, I knew Pocking Big seeing them together for years,

873
00:40:09,756 --> 00:40:12,796
Speaker 2: being good friends with each other, you know. So it's

874
00:40:12,836 --> 00:40:15,756
Speaker 2: sad that they're both gone. And then it was never

875
00:40:15,876 --> 00:40:19,276
Speaker 2: an East Coast West Coast beef. You got fans that

876
00:40:19,596 --> 00:40:22,996
Speaker 2: fuel it like that, but the fans are not in

877
00:40:23,036 --> 00:40:25,196
Speaker 2: the mix of the situation that was going down I

878
00:40:25,236 --> 00:40:26,916
Speaker 2: had nothing to do with the music.

879
00:40:26,836 --> 00:40:27,396
Speaker 1: Right right.

880
00:40:27,476 --> 00:40:27,676
Speaker 3: Yeah.

881
00:40:27,796 --> 00:40:30,796
Speaker 1: So it's incredible too because I think you said something

882
00:40:30,836 --> 00:40:32,676
Speaker 1: and I never heard this that Big wanted to get

883
00:40:32,676 --> 00:40:37,196
Speaker 1: Doctor Dre to do records with him. Yea life after that,

884
00:40:37,796 --> 00:40:38,756
Speaker 1: which would have been amazing.

885
00:40:38,796 --> 00:40:40,476
Speaker 3: It was the day after the Source Awars.

886
00:40:40,836 --> 00:40:44,356
Speaker 2: Yeah, he has suged you know, how can we connect

887
00:40:44,396 --> 00:40:46,796
Speaker 2: to do a record? So that shows you right there, Big,

888
00:40:47,356 --> 00:40:49,876
Speaker 2: they're not thinking about all the talk that happened at

889
00:40:49,876 --> 00:40:52,036
Speaker 2: the Source Awards. He's like, let's get some work done

890
00:40:52,076 --> 00:40:53,196
Speaker 2: with some music again.

891
00:40:54,476 --> 00:40:56,236
Speaker 1: After one last break, we'll be back with the rest

892
00:40:56,236 --> 00:41:03,796
Speaker 1: of my conversation with DJ Premiere. Here's the rest of

893
00:41:03,836 --> 00:41:07,556
Speaker 1: my conversation with DJ Premiere. Hold up, I want to

894
00:41:07,556 --> 00:41:10,116
Speaker 1: play Let's play the song and I want to play

895
00:41:10,156 --> 00:41:24,356
Speaker 1: with you with your sample. Yeah, man, it's impossible to

896
00:41:24,436 --> 00:41:25,836
Speaker 1: not it's hard to turn that off.

897
00:41:25,876 --> 00:41:30,076
Speaker 3: But you know, out to DiAngelo man, one of the greatest.

898
00:41:29,876 --> 00:41:43,676
Speaker 1: Ridiculous Yeah, let's play where that comes from? First Teddy

899
00:41:43,676 --> 00:41:48,836
Speaker 1: Pendergrass first record, That's where it comes from. Right.

900
00:41:49,916 --> 00:41:51,396
Speaker 3: Uh, maybe.

901
00:41:53,716 --> 00:41:54,436
Speaker 1: It sounds like.

902
00:41:54,436 --> 00:41:56,516
Speaker 3: It sounds like it?

903
00:41:57,916 --> 00:41:58,516
Speaker 1: Am I wrong?

904
00:42:00,076 --> 00:42:00,596
Speaker 3: You could be.

905
00:42:05,316 --> 00:42:10,316
Speaker 1: I want to play this game with you, man. Okay, Well, let's.

906
00:42:10,116 --> 00:42:12,596
Speaker 3: Assume it's that, okay, allegedly.

907
00:42:12,716 --> 00:42:18,556
Speaker 1: Allegedly it's Teddy Pendergrass for his record produced by Gambling Huff, Yes, sir,

908
00:42:19,116 --> 00:42:23,796
Speaker 1: And it's a shuffle in three dun du un dun dun.

909
00:42:23,956 --> 00:42:25,516
Speaker 1: It's like a shuffle, it's a waltz.

910
00:42:25,636 --> 00:42:25,796
Speaker 3: Right.

911
00:42:26,436 --> 00:42:28,556
Speaker 1: If this is the song allegedly, you turn it into

912
00:42:28,876 --> 00:42:32,636
Speaker 1: like a call and response, dunda dun dun dun starts

913
00:42:32,636 --> 00:42:35,076
Speaker 1: over dun dunda dun ridiculous.

914
00:42:35,236 --> 00:42:39,316
Speaker 2: Right, Hey, that's the part of the creativity of sampling.

915
00:42:39,436 --> 00:42:43,596
Speaker 2: If you're deep rooted into respecting the art form of

916
00:42:43,636 --> 00:42:45,916
Speaker 2: HAIs a ton you know when you have people like

917
00:42:46,076 --> 00:42:47,516
Speaker 2: you know, Larry Smith.

918
00:42:47,196 --> 00:42:50,156
Speaker 3: And Molly Ma who was my idol.

919
00:42:50,596 --> 00:42:55,956
Speaker 2: Mally just revolutionized sampling first and brought it to the

920
00:42:55,956 --> 00:42:59,636
Speaker 2: forefront with records like The Bridge and Eric bi as

921
00:42:59,676 --> 00:43:03,196
Speaker 2: President and Coogi rapping DJ Polo Rode to the Riches

922
00:43:03,276 --> 00:43:05,996
Speaker 2: and records like that Big Daddy Kane. We just took

923
00:43:05,996 --> 00:43:08,556
Speaker 2: it to another level after Mally taught us how to

924
00:43:08,596 --> 00:43:12,316
Speaker 2: do it. So part of my creativity comes from being

925
00:43:12,316 --> 00:43:14,756
Speaker 2: a DJ, because I think DJs have more of an

926
00:43:14,876 --> 00:43:18,956
Speaker 2: understanding of how to manipulate sounds and make it into

927
00:43:18,996 --> 00:43:22,116
Speaker 2: a whole new thing because when we DJ, or if

928
00:43:22,196 --> 00:43:25,396
Speaker 2: especially if you're a battle DJ, you're taking records and

929
00:43:25,516 --> 00:43:29,556
Speaker 2: destroying your opponent in a battle by taking the departs

930
00:43:29,596 --> 00:43:32,756
Speaker 2: and reworking it a way where the cold crowd's going, oh,

931
00:43:32,876 --> 00:43:35,996
Speaker 2: you know, and it's only more understood by people in

932
00:43:36,036 --> 00:43:39,796
Speaker 2: the culture that are into DJing and whatnot. But that's

933
00:43:39,876 --> 00:43:43,556
Speaker 2: my always my approach before our program, it is, how

934
00:43:43,596 --> 00:43:45,356
Speaker 2: could I make this turn into something else?

935
00:43:45,396 --> 00:43:47,836
Speaker 3: And you gotta you know, you gotta hurt your neck.

936
00:43:48,036 --> 00:43:50,876
Speaker 1: So yeah, not only is it crazy the way you

937
00:43:50,916 --> 00:43:57,196
Speaker 1: manipulated the sample allegedly, but the other the other incredible

938
00:43:57,236 --> 00:44:00,076
Speaker 1: thing is it's in a record that's a classic record,

939
00:44:00,116 --> 00:44:02,036
Speaker 1: one of the great records of all time, that's pretty

940
00:44:02,076 --> 00:44:06,596
Speaker 1: much only produced by D'Angelo and Rafael Sadek. You come

941
00:44:06,676 --> 00:44:09,316
Speaker 1: in second track, fit seamlessly in that.

942
00:44:09,516 --> 00:44:12,396
Speaker 2: Yeah, we were labelmates, me and D'Angelo, so we knew

943
00:44:12,436 --> 00:44:16,076
Speaker 2: each other before he did the Brown Sugar album and

944
00:44:16,396 --> 00:44:19,036
Speaker 2: I was on tour at the time with the nas

945
00:44:19,196 --> 00:44:23,276
Speaker 2: mop and uh Jay Ruth's debut album, and he asked

946
00:44:23,276 --> 00:44:27,076
Speaker 2: me to do a remix to Lady, which I did

947
00:44:27,116 --> 00:44:29,516
Speaker 2: a version where I took I used to call it

948
00:44:29,716 --> 00:44:32,156
Speaker 2: just the drums or just the basse. This one, I

949
00:44:32,196 --> 00:44:35,236
Speaker 2: took the music out and just had the drums and

950
00:44:35,356 --> 00:44:38,396
Speaker 2: played these stabs. Stabs is just a note.

951
00:44:38,596 --> 00:44:41,676
Speaker 3: Bam bam, bam, bam bam. We got those stabs, so

952
00:44:41,756 --> 00:44:42,756
Speaker 3: it was just stabs.

953
00:44:43,276 --> 00:44:45,196
Speaker 2: And he I remember I was on tour and he

954
00:44:45,236 --> 00:44:47,636
Speaker 2: was like, Yo, I'm shooting a video to your version

955
00:44:47,676 --> 00:44:50,956
Speaker 2: with the stabs, which he did and he had everybody

956
00:44:50,996 --> 00:44:51,716
Speaker 2: in America's that.

957
00:44:51,676 --> 00:44:52,996
Speaker 1: Video was all white in the back.

958
00:44:53,156 --> 00:44:54,436
Speaker 3: Yeah. Yeah, I remember Erica.

959
00:44:54,476 --> 00:44:57,236
Speaker 2: My dude was pregnant with with the Andred three thousand

960
00:44:57,876 --> 00:45:01,436
Speaker 2: son and and he just joy was in it and

961
00:45:01,756 --> 00:45:04,196
Speaker 2: just so many people. A Z was our labelmate as well,

962
00:45:04,236 --> 00:45:08,116
Speaker 2: who had got famous through nas ze Matic album, and uh,

963
00:45:08,196 --> 00:45:10,556
Speaker 2: he did the verse and it was just a dope video.

964
00:45:10,676 --> 00:45:13,036
Speaker 2: And and then from there he's like, I'm working on

965
00:45:13,036 --> 00:45:15,676
Speaker 2: my new album Voodoo what you Got? And I said, man,

966
00:45:15,716 --> 00:45:18,836
Speaker 2: I'm actually leaving the studio now. I was working with Cannabis.

967
00:45:19,196 --> 00:45:22,476
Speaker 2: It was a track that we worked on that didn't

968
00:45:22,876 --> 00:45:24,036
Speaker 2: turn into what we.

969
00:45:23,876 --> 00:45:24,676
Speaker 3: Were gonna work on.

970
00:45:26,356 --> 00:45:28,916
Speaker 2: Yeah, because he was doing he was doing a record

971
00:45:28,916 --> 00:45:31,956
Speaker 2: called Nignometry and he called me and said, I.

972
00:45:31,916 --> 00:45:34,436
Speaker 1: Want to.

973
00:45:35,716 --> 00:45:39,556
Speaker 2: Uh, okay in word nometry and uh and he's and

974
00:45:39,596 --> 00:45:42,836
Speaker 2: he said, I want a real driving baseline. So I

975
00:45:42,876 --> 00:45:46,956
Speaker 2: started just looking and did that. He said, no, you never.

976
00:45:47,276 --> 00:45:50,156
Speaker 2: I wish he would have. Yeah, shout the Byss man.

977
00:45:50,236 --> 00:45:50,876
Speaker 3: He's uh.

978
00:45:50,996 --> 00:45:52,956
Speaker 2: If you know him, we call him Biss. He he

979
00:45:53,036 --> 00:45:55,516
Speaker 2: didn't do the record. I'm literally leaving this me and

980
00:45:55,596 --> 00:45:58,196
Speaker 2: Biss and leaving the studio. I said, we'll work on

981
00:45:58,236 --> 00:46:01,836
Speaker 2: something later. And Dee and I were already friends. So

982
00:46:01,876 --> 00:46:04,036
Speaker 2: when he said, yo, man, I'm an electric lady. Which

983
00:46:04,076 --> 00:46:06,956
Speaker 2: is his sacred place, which is if y'all know, it's

984
00:46:07,036 --> 00:46:10,396
Speaker 2: Jimmy Hendrick Studio still to this day, I said, I

985
00:46:10,436 --> 00:46:12,636
Speaker 2: got this record I was doing with Bess, but uh,

986
00:46:13,076 --> 00:46:15,596
Speaker 2: it's on some hip hop rahym and shit. He was,

987
00:46:15,636 --> 00:46:17,636
Speaker 2: I want to hear it, and I was like, nah,

988
00:46:17,636 --> 00:46:21,196
Speaker 2: it's not really, it's not that type of vibe. I'll

989
00:46:21,276 --> 00:46:23,756
Speaker 2: work on something and meet you tomorrow, but I'll come by.

990
00:46:23,796 --> 00:46:25,636
Speaker 2: He said, I want to play these stuff anyway. He said,

991
00:46:25,716 --> 00:46:27,956
Speaker 2: Jay Diller is here, Qus Love is here. We're working

992
00:46:27,956 --> 00:46:28,636
Speaker 2: on some stuff.

993
00:46:29,116 --> 00:46:32,196
Speaker 3: I go there, Jay Dillar, we miss you, brother.

994
00:46:32,756 --> 00:46:35,996
Speaker 2: Quest Love is their work doing the drums to Untitled

995
00:46:36,516 --> 00:46:39,596
Speaker 2: is the one with where he was naked in the video.

996
00:46:40,316 --> 00:46:42,916
Speaker 2: They was there working on that and Jay Dilla was

997
00:46:42,956 --> 00:46:45,116
Speaker 2: in there playing the drums and laying some stuff down,

998
00:46:45,676 --> 00:46:47,316
Speaker 2: and then he said, let me hear the one that

999
00:46:47,356 --> 00:46:50,436
Speaker 2: you that you were working on. I played and Dangel

1000
00:46:50,596 --> 00:46:55,556
Speaker 2: just goes, whoa yo, I want that? Like, he goes,

1001
00:46:55,636 --> 00:46:58,356
Speaker 2: I'm gonna kill this, and we laid it down, and

1002
00:46:58,396 --> 00:47:02,236
Speaker 2: that there's a picture of me Alchemists, who was just

1003
00:47:02,276 --> 00:47:05,676
Speaker 2: starting to work on bes. We were about to go

1004
00:47:05,716 --> 00:47:09,236
Speaker 2: on tour together. Alchemist was a roadie for Cyprus Hill,

1005
00:47:09,676 --> 00:47:12,396
Speaker 2: but we will yeah, so so we were about to

1006
00:47:12,396 --> 00:47:15,436
Speaker 2: go on tour. So that's why we were together. And

1007
00:47:15,156 --> 00:47:17,596
Speaker 2: I asked de could I bring my friend with me?

1008
00:47:18,156 --> 00:47:20,116
Speaker 2: And he goes, got something smoker. I said, oh, yeah,

1009
00:47:20,116 --> 00:47:23,196
Speaker 2: he's from California. He got the crazy and we came

1010
00:47:23,236 --> 00:47:25,676
Speaker 2: over there and J Diller that that picture is to

1011
00:47:25,756 --> 00:47:29,556
Speaker 2: this day a classic picture Me di'angelo, J Dillon, Alchemist

1012
00:47:29,796 --> 00:47:32,396
Speaker 2: and that's from that session of me bringing to be

1013
00:47:33,076 --> 00:47:38,076
Speaker 2: Diler recording the some music for di'angelo and Questlove laying

1014
00:47:38,196 --> 00:47:39,796
Speaker 2: the how does it feel drums?

1015
00:47:39,876 --> 00:47:41,796
Speaker 1: You know what? The third amazing thing about that is then,

1016
00:47:42,196 --> 00:47:45,076
Speaker 1: is that there couldn't be two songs with a different

1017
00:47:45,076 --> 00:47:47,676
Speaker 1: feel on that record than unentitled how does It Feel?

1018
00:47:48,396 --> 00:47:50,316
Speaker 1: And Devil's Pie and you know what else?

1019
00:47:50,476 --> 00:47:52,716
Speaker 3: He said, Yo, I'm gonna be nigging in my first video.

1020
00:47:52,996 --> 00:47:56,276
Speaker 3: He knew what that, Yeah, because because his trainer is

1021
00:47:56,316 --> 00:47:58,316
Speaker 3: not in the picture, but his trainer had in this

1022
00:47:58,476 --> 00:47:58,916
Speaker 3: late night.

1023
00:47:59,356 --> 00:48:01,756
Speaker 2: It's late night, and his trainer came there to get

1024
00:48:01,796 --> 00:48:05,396
Speaker 2: his abs tight because he said, I want to, he said, praying.

1025
00:48:05,516 --> 00:48:08,476
Speaker 3: I'm gonna be glistening and I'm gonna he said, He said,

1026
00:48:08,476 --> 00:48:10,236
Speaker 3: the women are going to go crazy, and they did

1027
00:48:10,916 --> 00:48:14,236
Speaker 3: every you name it. The women went crazy for that video.

1028
00:48:14,636 --> 00:48:14,916
Speaker 3: You know.

1029
00:48:15,076 --> 00:48:16,596
Speaker 1: Are you still in touch with d Yeah?

1030
00:48:16,596 --> 00:48:18,796
Speaker 3: I just hit him up. I'll tell you what day

1031
00:48:18,836 --> 00:48:20,436
Speaker 3: it was, chuck us out.

1032
00:48:21,036 --> 00:48:23,916
Speaker 2: It's to where I'll hit him up and go, yo,

1033
00:48:24,036 --> 00:48:25,596
Speaker 2: we need you, motherfucker.

1034
00:48:26,276 --> 00:48:28,716
Speaker 3: Like he's like, I know, I know, I know you know.

1035
00:48:28,796 --> 00:48:32,156
Speaker 2: And it's to tell him, like, you know, you're such

1036
00:48:32,196 --> 00:48:35,436
Speaker 2: an important beast to this music puzzle man, and we

1037
00:48:35,556 --> 00:48:39,236
Speaker 2: need you, bro. So I just hit him on that.

1038
00:48:39,516 --> 00:48:41,636
Speaker 2: I do it every now and then just to just

1039
00:48:41,676 --> 00:48:44,596
Speaker 2: to uh, to let him know I love that.

1040
00:48:44,636 --> 00:48:46,676
Speaker 1: You won't tell me where that sample comes from, You'll

1041
00:48:46,716 --> 00:48:48,116
Speaker 1: show me that was February.

1042
00:48:49,196 --> 00:48:50,676
Speaker 3: It was February fifteenth.

1043
00:48:50,716 --> 00:48:53,036
Speaker 2: And there is the reason why I hit wow because

1044
00:48:53,396 --> 00:48:58,236
Speaker 2: on Instagram there there was a post of di'angelo, Rick,

1045
00:48:58,396 --> 00:49:03,156
Speaker 2: James Prince and like two other artists that were doing

1046
00:49:03,196 --> 00:49:07,996
Speaker 2: classic songs and DiAngelo was doing a song that's rare

1047
00:49:08,116 --> 00:49:10,836
Speaker 2: by funk a Delic and it's one of my favorite

1048
00:49:10,916 --> 00:49:15,836
Speaker 2: songs from the Hardcore Jolly's album called soul Mates. It's

1049
00:49:15,916 --> 00:49:18,436
Speaker 2: not one of their big records. And when I saw

1050
00:49:18,556 --> 00:49:22,876
Speaker 2: d look what I wrote. I said, Man, I never

1051
00:49:23,076 --> 00:49:26,236
Speaker 2: knew you shot a clip of singing soul Mats.

1052
00:49:26,676 --> 00:49:28,196
Speaker 3: That's my fucking song.

1053
00:49:28,796 --> 00:49:31,716
Speaker 2: I looped that guitar lick at the end and do

1054
00:49:31,796 --> 00:49:33,236
Speaker 2: a routine at my shows.

1055
00:49:33,796 --> 00:49:36,476
Speaker 3: Man, you are the funk and he gave me the

1056
00:49:36,516 --> 00:49:37,516
Speaker 3: little yeah.

1057
00:49:37,516 --> 00:49:38,716
Speaker 1: He gave me a little heart man.

1058
00:49:38,836 --> 00:49:43,116
Speaker 2: And and check this out everybody's that they posted on there.

1059
00:49:43,556 --> 00:49:45,956
Speaker 3: He was the only one that just put a funkadelic song.

1060
00:49:46,356 --> 00:49:48,196
Speaker 3: All the rest of them they posted had.

1061
00:49:48,076 --> 00:49:51,316
Speaker 2: The song that they sang and I put the dummies

1062
00:49:51,316 --> 00:49:53,556
Speaker 2: that posted it called it a funk Adelic song.

1063
00:49:53,676 --> 00:49:54,596
Speaker 3: They don't be knowing.

1064
00:49:54,876 --> 00:49:57,476
Speaker 2: I said that Hardcore Jolly's LPI is phenomenon on He

1065
00:49:57,556 --> 00:50:00,076
Speaker 2: put another one to see him playing that on the guitar,

1066
00:50:00,116 --> 00:50:03,076
Speaker 2: and I never knew he played that, And that clip

1067
00:50:03,636 --> 00:50:07,596
Speaker 2: lets me know he's another level of funky, you know

1068
00:50:07,596 --> 00:50:11,116
Speaker 2: what I'm saying, Like he's a whole nother level of funky.

1069
00:50:11,436 --> 00:50:14,916
Speaker 2: And I love him so much, man, because he's deep.

1070
00:50:15,516 --> 00:50:17,996
Speaker 2: Got to kind of know him to understand him.

1071
00:50:18,396 --> 00:50:20,716
Speaker 1: Have you worked with him since then? Like have you done?

1072
00:50:21,116 --> 00:50:23,676
Speaker 2: I just gave him some music to work on, and

1073
00:50:24,636 --> 00:50:27,796
Speaker 2: d definitely marches to the beat of his own drum.

1074
00:50:27,836 --> 00:50:31,076
Speaker 2: When he feels like moving, then he'll move. You can't

1075
00:50:31,156 --> 00:50:32,116
Speaker 2: tell him when.

1076
00:50:32,356 --> 00:50:35,636
Speaker 1: His feel on the guitar too is you know, he's.

1077
00:50:35,476 --> 00:50:37,516
Speaker 2: A keyboardist, but he plays that guitar too.

1078
00:50:37,676 --> 00:50:40,396
Speaker 1: It's just a unique feel, like just his sense of timing,

1079
00:50:40,436 --> 00:50:41,356
Speaker 1: you know what I mean, Like the way when you

1080
00:50:41,396 --> 00:50:43,236
Speaker 1: hear Stevie Wonder play drums and a sense of time

1081
00:50:43,236 --> 00:50:45,636
Speaker 1: and drums that's a little like it's sound like Stevie

1082
00:50:45,636 --> 00:50:47,196
Speaker 1: like he has just his own.

1083
00:50:47,236 --> 00:50:49,756
Speaker 3: Yeah, his own pocket.

1084
00:50:49,796 --> 00:50:53,436
Speaker 2: So seeing that just got me amped, Like I wanted

1085
00:50:53,556 --> 00:50:57,116
Speaker 2: him to know that badly, like dude, and I.

1086
00:50:57,076 --> 00:50:59,796
Speaker 3: Sent That's why I sent it to him, because he's like, Yo,

1087
00:50:59,876 --> 00:51:00,796
Speaker 3: where'd you find that?

1088
00:51:01,076 --> 00:51:04,796
Speaker 2: And I was like, somebody posted you Prince, Rick James

1089
00:51:04,836 --> 00:51:07,196
Speaker 2: and like two other artists I can't even remember doing

1090
00:51:07,196 --> 00:51:09,036
Speaker 2: a cover of a song where they are.

1091
00:51:09,276 --> 00:51:10,596
Speaker 3: Everything was acoustic.

1092
00:51:10,316 --> 00:51:13,636
Speaker 2: Versions with them on just guitars. So that was his

1093
00:51:13,756 --> 00:51:14,796
Speaker 2: choice and he was first and.

1094
00:51:14,756 --> 00:51:17,356
Speaker 3: He just said a Funkadelic song. It's like, you don't

1095
00:51:17,396 --> 00:51:18,436
Speaker 3: know the name of that.

1096
00:51:19,396 --> 00:51:21,116
Speaker 1: Prince was a fan of Gangstar, right.

1097
00:51:21,076 --> 00:51:22,796
Speaker 3: Yeah, man, because of DiAngelo.

1098
00:51:23,196 --> 00:51:26,036
Speaker 2: He took me to a show that he was doing,

1099
00:51:26,356 --> 00:51:28,796
Speaker 2: I think at Tramps, and that used to be one

1100
00:51:28,836 --> 00:51:31,076
Speaker 2: of the venues that where a lot of New York

1101
00:51:31,116 --> 00:51:31,996
Speaker 2: shows were done.

1102
00:51:32,476 --> 00:51:34,836
Speaker 3: And he knew we would just talk Prince all the

1103
00:51:34,836 --> 00:51:36,556
Speaker 3: time because him and Prince used to hang a lot.

1104
00:51:37,196 --> 00:51:41,916
Speaker 2: And he said, Prince's gonna make a surprise performance. He said,

1105
00:51:41,916 --> 00:51:43,836
Speaker 2: I gotta go do a little bit of press. Go

1106
00:51:43,916 --> 00:51:45,756
Speaker 2: in that room over there, and I'll be back in

1107
00:51:45,756 --> 00:51:48,156
Speaker 2: a few minutes. I was like, okay, and I ought

1108
00:51:48,196 --> 00:51:50,636
Speaker 2: to open the door and there's a pool table and

1109
00:51:50,756 --> 00:51:52,996
Speaker 2: Prince sitting there looking at me, and you.

1110
00:51:52,956 --> 00:51:56,516
Speaker 3: Know, Prince gives you those looks and you're just like, yo,

1111
00:51:57,516 --> 00:52:00,076
Speaker 3: you could be the thug. You could be the most

1112
00:52:00,156 --> 00:52:02,076
Speaker 3: gangster dude. When you see.

1113
00:52:01,916 --> 00:52:04,036
Speaker 2: Prince, you're gonna buy down and give him his give

1114
00:52:04,076 --> 00:52:07,996
Speaker 2: him his flowers. Basically, d knew he was in there.

1115
00:52:08,116 --> 00:52:10,276
Speaker 2: He tricked me and said, Yo, you just go in

1116
00:52:10,316 --> 00:52:11,516
Speaker 2: that room and just wait for me for a few

1117
00:52:11,556 --> 00:52:13,756
Speaker 2: minutes while I go do a couple of interviews, and

1118
00:52:14,356 --> 00:52:16,076
Speaker 2: Treash from Naughty by Nature was there.

1119
00:52:16,116 --> 00:52:18,116
Speaker 1: Oh man, I remember the greats.

1120
00:52:18,236 --> 00:52:20,436
Speaker 2: I remember when Prince said, hey, man, I love Stepping

1121
00:52:20,476 --> 00:52:23,396
Speaker 2: the Arena, which was our second album. Tretch punched me

1122
00:52:23,396 --> 00:52:24,116
Speaker 2: in the chest and.

1123
00:52:24,076 --> 00:52:26,196
Speaker 3: Goes, see, nigga, Prince love you.

1124
00:52:26,396 --> 00:52:29,356
Speaker 2: And and I'm like, I'm like, I see that, and

1125
00:52:29,556 --> 00:52:31,916
Speaker 2: we had we had a cool conversation and it's just

1126
00:52:31,996 --> 00:52:36,356
Speaker 2: like Prince Man like like like my second album, did

1127
00:52:36,396 --> 00:52:39,436
Speaker 2: you guys like changing And we weren't even at that

1128
00:52:39,476 --> 00:52:42,036
Speaker 2: stage where you could change nothing. That was more than

1129
00:52:42,156 --> 00:52:44,916
Speaker 2: enough for me. We had a conversation.

1130
00:52:44,516 --> 00:52:46,236
Speaker 1: And he knew that he named the album. It's not

1131
00:52:46,276 --> 00:52:47,196
Speaker 1: even like yo, like.

1132
00:52:47,356 --> 00:52:49,956
Speaker 2: Yeah, Stepping the Arena, he said, one of my favorite albums.

1133
00:52:49,956 --> 00:52:53,396
Speaker 2: And he's not into sampling really, but he understood the

1134
00:52:53,476 --> 00:52:56,676
Speaker 2: artistry of how we constructed our music, so he appreciated

1135
00:52:56,716 --> 00:53:00,236
Speaker 2: it in a different way than just looping a hit, you know,

1136
00:53:00,596 --> 00:53:02,436
Speaker 2: which a lot of people do they loop hits and

1137
00:53:02,516 --> 00:53:05,196
Speaker 2: then from there it's a hit again.

1138
00:53:05,836 --> 00:53:08,196
Speaker 1: You know, I could keep you forever, but I feel

1139
00:53:08,196 --> 00:53:10,556
Speaker 1: like we could end on this out, which is that

1140
00:53:10,836 --> 00:53:12,836
Speaker 1: speaking of Prince wasn't a fan of samples. There's a

1141
00:53:12,836 --> 00:53:15,556
Speaker 1: lot of people at the time, in the early days,

1142
00:53:15,676 --> 00:53:17,756
Speaker 1: late eadies, early nineties not a fan of sampling. But

1143
00:53:17,836 --> 00:53:20,636
Speaker 1: I think maybe I want to know if you have

1144
00:53:20,996 --> 00:53:24,196
Speaker 1: if we can get confirmation. Ezy Mob, who were talking

1145
00:53:24,236 --> 00:53:27,236
Speaker 1: about earlier in ninety two. I love that someone here

1146
00:53:27,276 --> 00:53:30,916
Speaker 1: loves Eazy Mob, whoever that is, love God love Mob man.

1147
00:53:30,956 --> 00:53:32,876
Speaker 1: He's the best. But in ninety two.

1148
00:53:32,716 --> 00:53:34,956
Speaker 3: He produced Tupac and Biggie and.

1149
00:53:35,076 --> 00:53:37,196
Speaker 1: Like we said, some of the best Biggie records and

1150
00:53:37,236 --> 00:53:39,596
Speaker 1: some of the best Park records on Me against the World.

1151
00:53:40,116 --> 00:53:42,916
Speaker 1: But he produced the Miles Davis record. Yeah, I do

1152
00:53:44,356 --> 00:53:46,236
Speaker 1: Miles Davis's last record. So I want to play the

1153
00:53:46,276 --> 00:53:48,436
Speaker 1: title cut off of Dubac real quick, and then I

1154
00:53:48,516 --> 00:54:00,516
Speaker 1: got a question for you based on that. Okay, So

1155
00:54:00,556 --> 00:54:03,356
Speaker 1: that's Miles Davis at a time when people like Winton

1156
00:54:03,516 --> 00:54:06,476
Speaker 1: et cetera are like, you know, we don't sample, here's Miles.

1157
00:54:06,516 --> 00:54:08,956
Speaker 1: He's like, I'm gonna go work with Eazy Mobs.

1158
00:54:08,876 --> 00:54:11,556
Speaker 2: Said, and I'm doing everything and I don't care how

1159
00:54:11,596 --> 00:54:12,516
Speaker 2: you feel about it.

1160
00:54:12,756 --> 00:54:16,156
Speaker 1: And so that's a cool in the Gang loop in

1161
00:54:16,156 --> 00:54:22,156
Speaker 1: the back Summer madness allegedly allegedly, but I think really

1162
00:54:22,156 --> 00:54:24,836
Speaker 1: what he's looping it from DJ Premier in deep concentration

1163
00:54:25,596 --> 00:54:26,636
Speaker 1: from the normous a nice.

1164
00:54:26,476 --> 00:54:33,436
Speaker 2: Guy and I did not sue.

1165
00:54:34,836 --> 00:54:35,396
Speaker 3: So you want.

1166
00:54:35,516 --> 00:54:38,756
Speaker 1: Allegedly you want a Miles Davids record. I'm pretty sure

1167
00:54:38,796 --> 00:54:39,076
Speaker 1: with them.

1168
00:54:39,196 --> 00:54:39,436
Speaker 3: Yeah.

1169
00:54:39,796 --> 00:54:45,356
Speaker 1: Yeah, it's the fucking craziest thing ever, because I so

1170
00:54:45,596 --> 00:54:47,436
Speaker 1: the reason I think that is from that because there's

1171
00:54:47,476 --> 00:54:49,836
Speaker 1: like that. I think you added that piano over the

1172
00:54:49,876 --> 00:54:52,476
Speaker 1: loop that no no, no over the because that's not

1173
00:54:52,516 --> 00:54:54,396
Speaker 1: in the Cool in the Gang song, but that's in

1174
00:54:54,476 --> 00:54:55,316
Speaker 1: the Miles version.

1175
00:54:55,396 --> 00:54:55,636
Speaker 3: Yeah.

1176
00:54:56,156 --> 00:55:00,476
Speaker 2: So friends, like I said, me and easy Mode be

1177
00:55:00,556 --> 00:55:04,196
Speaker 2: a friend to this very day. And uh, he's just

1178
00:55:04,236 --> 00:55:07,156
Speaker 2: one of the greatest slept on underrated producers.

1179
00:55:07,156 --> 00:55:10,516
Speaker 3: He should be always on. And when it comes to.

1180
00:55:10,516 --> 00:55:15,916
Speaker 2: The top top five question love mob Man.

1181
00:55:15,676 --> 00:55:19,916
Speaker 1: No question, Well amazing we got DJ Premiere. Everybody give

1182
00:55:19,956 --> 00:55:26,556
Speaker 1: it up. Thank you, thank you, appreciate you man, Thanks

1183
00:55:26,556 --> 00:55:30,236
Speaker 1: to everyone, Thanks to DJ Premiere, thanks for having us.

1184
00:55:30,356 --> 00:55:41,316
Speaker 3: Appreciate y'all allegedly, peace and love everybody.

1185
00:55:41,876 --> 00:55:43,596
Speaker 1: Thanks the DJ Premiere for making it out to on

1186
00:55:43,716 --> 00:55:46,636
Speaker 1: AirFest and Brooklyn. It was incredible getting a chance to

1187
00:55:46,676 --> 00:55:47,996
Speaker 1: speak with them, and I hope we get to do

1188
00:55:48,036 --> 00:55:51,396
Speaker 1: a part two sometime soon. You can hear a playlist

1189
00:55:51,396 --> 00:55:53,676
Speaker 1: of all of our favorite DJ Premiere and Gang Star

1190
00:55:53,836 --> 00:55:57,796
Speaker 1: songs at broken Record podcast dot com. Subscribe to our

1191
00:55:57,796 --> 00:56:01,156
Speaker 1: YouTube channel at YouTube dot com slash broken Record Podcast,

1192
00:56:01,196 --> 00:56:04,276
Speaker 1: where you can find all of our new episodes. You

1193
00:56:04,276 --> 00:56:07,716
Speaker 1: can follow us on Twitter at broken Record. Broken Record

1194
00:56:07,756 --> 00:56:10,716
Speaker 1: is produced and edited by Leah Rose, with marketing help

1195
00:56:10,716 --> 00:56:14,596
Speaker 1: from Marek Sandler and Jordan McMillan. Our engineer is Ben Tollinday.

1196
00:56:15,196 --> 00:56:18,716
Speaker 1: Broken Record is a production of Pushkin Industries. If you

1197
00:56:18,756 --> 00:56:22,076
Speaker 1: love this show and others from Pushkin, consider subscribing to

1198
00:56:22,196 --> 00:56:26,196
Speaker 1: Pushkin Plus. Pushkin Plus is a podcast subscription that offers

1199
00:56:26,196 --> 00:56:29,276
Speaker 1: bonus content and ad free listening for four ninety nine

1200
00:56:29,356 --> 00:56:33,316
Speaker 1: a month. Look for Pushkin Plus on Apple podcast subscriptions.

1201
00:56:34,076 --> 00:56:36,716
Speaker 1: And if you like this show, please remember to share, rate,

1202
00:56:36,756 --> 00:56:39,596
Speaker 1: and review us on your podcast app. Our theme music's

1203
00:56:39,596 --> 00:56:41,636
Speaker 1: back Anny Beats. I'm justin Richmond.