WEBVTT - DJ Premier

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<v Speaker 1>Pushkin. DJ Premier is one of the most celebrated producers

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<v Speaker 1>in hip hop history. Known as the architect of hip

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<v Speaker 1>hop's venerated boombab sound, Primo first caught people's attention with

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<v Speaker 1>Guru and Gangstar during the late eighties. Guru's lyrical precision

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<v Speaker 1>over Premiere's jazzy sample bassed beats made Gangstar one of

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<v Speaker 1>the most influential rap duos of all time. Outside of Gangstar,

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<v Speaker 1>DJ Premier has produced classic records for a long list

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<v Speaker 1>of hip hop lluminaries, including New York's Big Three, Biggie

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<v Speaker 1>jay Z, and Nas. His expert ability to create a

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<v Speaker 1>patchwork of musical and lyrical samples is both instantly identifiable

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<v Speaker 1>and impossible to replicate. On today's episode, We'll Hear, a

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<v Speaker 1>live conversation are recorded with Premiere at the on Air

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<v Speaker 1>podcast Festival. Premiere talked in detail about hanging out and

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<v Speaker 1>working with his late friend, the Notorious Big. He also

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<v Speaker 1>reminisces about when he and Guru lived with Branford Marsalis

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<v Speaker 1>in Brooklyn. He also recalls what it was like to

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<v Speaker 1>work with D'Angelo on that fateful night at Electric Ladies

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<v Speaker 1>Studios when they recorded Devil's Pie. This is broken record

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<v Speaker 1>liner notes to the Digital Age. I'm justin Mitchman. Here's

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<v Speaker 1>my conversation with DJ Premiere live from Brooklyn. When they

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<v Speaker 1>asked me if I was gonna do this, and I'm

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<v Speaker 1>coming out from the West Coast and I know we're

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<v Speaker 1>gonna be doing this in Brooklyn. I felt like, there's

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<v Speaker 1>no way I could do a recording a broken record

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<v Speaker 1>in Brooklyn without having a legend, someone who could really

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<v Speaker 1>represent Brooklyn. And come on, y'all, we got DJ Premier,

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<v Speaker 1>decent me want absolute hip hop legend. You were the

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<v Speaker 1>greatest hip hop producer of all time. But no matter

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<v Speaker 1>who you ask, you good And we top two, three, four,

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<v Speaker 1>so this is.

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<v Speaker 2>Yeah, they say top three, so I'll take one of

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<v Speaker 2>those numbers.

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<v Speaker 3>On two or three is fine.

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<v Speaker 1>Maybe we can start with the fact that that you

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<v Speaker 1>lived at one point in Brooklyn with Branford Marsalis and

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<v Speaker 1>his wife.

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<v Speaker 3>Yeah, and his son Reese.

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<v Speaker 1>Shout to Reese in Clinton Hill. Yeah, And this is

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<v Speaker 1>st at the beginning of Gagstar. How did you meet Branford?

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<v Speaker 1>First of all, I.

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<v Speaker 2>Just joined Gang Star officially in nineteen eighty eight. We

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<v Speaker 2>did a single Gang Star. First of all, is originated

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<v Speaker 2>in Boston, Massachusetts. I'm originally from Texas by way of

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<v Speaker 2>Houston and through a town called Prairie View, which I

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<v Speaker 2>went to Prairie U A and M University, which is

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<v Speaker 2>an HBCU school was through the Texas A and M

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<v Speaker 2>University system, which that's the Aggies. My father taught at

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<v Speaker 2>the school and my mother taught art, so I had

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<v Speaker 2>a little bit of both. My father, DA was a dean, right, yeah,

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<v Speaker 2>he was a dean. He was my dean of arts

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<v Speaker 2>and sciences. Because I took computer science and I was

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<v Speaker 2>I was always like not going to school, you.

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<v Speaker 3>Know, typical wasting your parents' money.

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<v Speaker 2>And my father's like, you're not gonna be wasting my

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<v Speaker 2>money going to college and then and not go to class,

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<v Speaker 2>you know. So I even tried to uh sneak away

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<v Speaker 2>for my eight o'clock class two or three times.

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<v Speaker 3>One day.

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<v Speaker 2>My dad act like he was going because he taught

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<v Speaker 2>at eight o'clock class. I was drunk the night before,

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<v Speaker 2>so I definitely didn't want to go from hanging out

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<v Speaker 2>with my friends and he acted like he was going.

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<v Speaker 2>I act like I was going. Then I went back

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<v Speaker 2>to bed and he doubled back.

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<v Speaker 3>So all of a sudden, I heard the door go kaboom.

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<v Speaker 2>I tried to jump up and get dressed, and he

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<v Speaker 2>was like, I knew you wasn't going to class and

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<v Speaker 2>I was like, I want to.

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<v Speaker 3>Go pursue music.

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<v Speaker 2>He's like, and waste my money. You've been going to school.

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<v Speaker 2>But I've always tell people follow your gut, and if

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<v Speaker 2>your gut tells you to make a move, do it.

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<v Speaker 2>The one thing I do appreciate by my dad, God

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<v Speaker 2>blessing me, is he's why no, he's watching.

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<v Speaker 3>God bless his soul.

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<v Speaker 2>He He said, if you're gonna do this, show me

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<v Speaker 2>you can make a name for yourself that people will

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<v Speaker 2>will remember and that you leave a legacy behind. I said, Pop,

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<v Speaker 2>I'm telling you, I'm that focused.

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<v Speaker 3>I will do it. And everything transitioned.

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<v Speaker 2>So Being at a Gang Star originated in Boston with

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<v Speaker 2>a guy named He was called Sugar Bear at the time,

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<v Speaker 2>but he changes to Big Sug, not to be confused

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<v Speaker 2>with Sugar Night, who we also know it very well.

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<v Speaker 2>Him and Guru formed the group. There was other members,

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<v Speaker 2>but they moved to New York to pursue the career.

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<v Speaker 2>Sug went to prison for three years, so the other

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<v Speaker 2>two members that were in the group before I met

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<v Speaker 2>Guru didn't want to move to New York to carry

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<v Speaker 2>on trying to get more famous, so gru said, I'm

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<v Speaker 2>doing it on my own. I'm gonna just look for

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<v Speaker 2>a new DJ, because he had a DJ already and

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<v Speaker 2>actually Sugs DJ was the first one. Then he left,

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<v Speaker 2>then there was another DJ, then he left, and then

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<v Speaker 2>I joined.

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<v Speaker 1>You know what a wild amount of incarnations of Gangstar,

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<v Speaker 1>like I'm.

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<v Speaker 3>The third generation.

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<v Speaker 2>Yeah, but then obviously when I joined, it became that

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<v Speaker 2>the rest of the way.

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<v Speaker 1>And in terms of like the discography, when you go

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<v Speaker 1>through the albums, it's you and Guru from the start

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<v Speaker 1>to that, but before that there are a couple of

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<v Speaker 1>different iterations.

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<v Speaker 2>So we were on an independent label called Wild Pitch Records.

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<v Speaker 2>Gangster was already signed there. Once I joined the group.

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<v Speaker 2>We did a word record called Words I Manifest and

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<v Speaker 2>it blew up right away even as an independent from

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<v Speaker 2>there we did it. The owner, Stu Fine, was like,

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<v Speaker 2>we got to do an album real fast. So I

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<v Speaker 2>was going back to college, came back to New York

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<v Speaker 2>to do the album in like maybe twelve days, and

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<v Speaker 2>it was called No Moments to Night's.

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<v Speaker 1>Sky well and hold on, hold on, I mean hold on,

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<v Speaker 1>I don't want to know the story. But like, were

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<v Speaker 1>you at this point you were DJ in Texas, wax

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<v Speaker 1>Master c yep, at some point you become DJ Premier, Yeah,

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<v Speaker 1>but you do.

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<v Speaker 3>Fine.

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<v Speaker 2>Didn't like my name, so that's why I changed it

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<v Speaker 2>to Premiere. So that's how they're like Wax's Master season.

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<v Speaker 2>I'm very good at imitating people, so if I go

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<v Speaker 2>into different voices, I pretty much sound like the person

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<v Speaker 2>I'm talking to, and he's and my name is Christopher,

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<v Speaker 2>but he'd call me Chris, but he would always sound like.

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<v Speaker 3>He said, crass, crass.

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<v Speaker 2>I don't really like wax Master, see, And I was

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<v Speaker 2>like I do, and plus everybody in college just call

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<v Speaker 2>me Wax. So I'm like, I don't want to change it.

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<v Speaker 2>He goes, just just see if you can think of

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<v Speaker 2>some other names. So I called my mom and said, hey,

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<v Speaker 2>he wants me to change my name. She goes, why

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<v Speaker 2>don't you make a list of different names and we'll

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<v Speaker 2>pick one.

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<v Speaker 3>Premiere was one of them. I remember one was.

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<v Speaker 2>Called Scratch and Cut DJ platter, which there is a

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<v Speaker 2>DJ platter now. The platter is what spins what you

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<v Speaker 2>put the record on. All that spends.

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<v Speaker 3>We call it.

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<v Speaker 2>It's the platter, so DJs would get it. Everything I

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<v Speaker 2>would do was so DJ's would get it. I would

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<v Speaker 2>a DJ quick mix, which I'm glad I didn't take

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<v Speaker 2>that one.

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<v Speaker 3>Uh Premiere was one of them.

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<v Speaker 2>And my mom looked at the list and said, uh,

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<v Speaker 2>Premiere sounds like the one because she said take the

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<v Speaker 2>E off, you know, because like a movie premiere, the

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<v Speaker 2>you know, the E is on it. But she says,

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<v Speaker 2>take the E off and it'll be like you're the

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<v Speaker 2>first at everything. We call stuffin from Texas and I say, hey,

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<v Speaker 2>how about DJ Premiere. He goes, I love it, and

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<v Speaker 2>I was like, all right, I'm now DJ Premiere.

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<v Speaker 1>Incredible shout out to here. So when we did the album,

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<v Speaker 1>when did you start doing beats? Like when did you

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<v Speaker 1>start producing records?

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<v Speaker 2>I was just starting to learn to perfect my craft

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<v Speaker 2>on the first album, and we did a record called

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<v Speaker 2>Jazz Music. When Spike Lee saw the words on Manifest video,

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<v Speaker 2>he said that Guru looked like Malcolm X in the

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<v Speaker 2>video when he's on the podium with the koofie and

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<v Speaker 2>the glasses and.

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<v Speaker 3>The cheek bones.

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<v Speaker 2>He does resemble Malcolm X in the video that made

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<v Speaker 2>Spike by the album, and when he heard jazz music,

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<v Speaker 2>it just happened to be at the same time that

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<v Speaker 2>he was shooting Mobeta Blues with Denzel Washington and we'sy

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<v Speaker 2>snipe with that. Spike reached out and he knew we

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<v Speaker 2>were living in Brooklyn. So but at that time we

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<v Speaker 2>were at Branford Jed. I had just moved to the

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<v Speaker 2>Bronx with Guru and we were about to move back

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<v Speaker 2>to Brooklyn together. We had the studio apartment with our

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<v Speaker 2>dancer and Guru had a big, king sized bed with

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<v Speaker 2>no frame, just the mattresses and in a studio apartment

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<v Speaker 2>that takes up all the space because the rest of

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<v Speaker 2>the space was taken up by my records and my

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<v Speaker 2>turntables and my speakers. So me and my dancer were

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<v Speaker 2>sleeping sleeping bags on the floor with the mice crawling

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<v Speaker 2>over it, squeaking and all that stuff, and Guru had

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<v Speaker 2>the bed from there. When we got the call about

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<v Speaker 2>doing a theme song to Mobeta Blues, Spike said, the

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<v Speaker 2>one on y'all's album is not in depth enough about

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<v Speaker 2>talking about jazz artists.

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<v Speaker 3>I have a guy named Eric Eli who wrote a poem.

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<v Speaker 2>He gave that to Guru and said, can you make

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<v Speaker 2>a rap about this using this? So Guru looked at

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<v Speaker 2>it like, oh man, I can just take this John

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<v Speaker 2>Coltrane man Supreme, you know, it was the wise one,

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<v Speaker 2>and just put little things in it and made it

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<v Speaker 2>into a rhyme. He said, Branford, Marcellus is gonna oversee

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<v Speaker 2>the song, so we got with him. Bramford had just

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<v Speaker 2>gotten the job at the Tonight Show because Johnny Carson

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<v Speaker 2>was stepping down. Jay Leno was just taking over and

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<v Speaker 2>he hired Bramford to.

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<v Speaker 3>Be the music director.

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<v Speaker 2>So he said, Hey, we were like, we're looking for

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<v Speaker 2>a crib to move to Brooklyn. He said, well, I'm

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<v Speaker 2>about to move out of my place in about another

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<v Speaker 2>month or two and moved to La He said, if

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<v Speaker 2>you want to live with me and my wife and

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<v Speaker 2>my son, fuck like a month or two, you could

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<v Speaker 2>do that and then we'll be gone and you just

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<v Speaker 2>pay the rent to my manager. And he said, and

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<v Speaker 2>if you ever laid on the rent, we're kicking you out,

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<v Speaker 2>which we got threatened several times. So we always laid

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<v Speaker 2>on the rent, you know, regular young guy stuff. And

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<v Speaker 2>from there we worked on the song.

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<v Speaker 3>We put it together. We did two versions.

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<v Speaker 2>The soundtrack has more of an in that version with

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<v Speaker 2>the band, but when Spike decided to do a video,

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<v Speaker 2>he said, I need the more simple version that you

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<v Speaker 2>presented when y'all started to collaborate. So they used my

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<v Speaker 2>original version for the video, which we were happy with

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<v Speaker 2>just because it sounded more like what a gang starting

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<v Speaker 2>sound like. And we shot the video to it, which

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<v Speaker 2>is you know, you can find it anywhere, and that

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<v Speaker 2>one's called jazz Thing.

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<v Speaker 1>So it's jazz music.

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<v Speaker 3>Jazz music is the Gangstar album.

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<v Speaker 2>The Mobile the Blues soundtrack is jazz thing, and uh yeah,

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<v Speaker 2>we all the the five of us lived together.

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<v Speaker 1>What was that like? Because I think of Branford, you know,

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<v Speaker 1>it was incredible talent, his brother went and all his brothers,

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<v Speaker 1>the father, all of them incredible. But I think of

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<v Speaker 1>them as being a little more, you know, on the

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<v Speaker 1>conservative side of things. And you and Guru, you know.

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<v Speaker 2>Yeah, I used to always be like, oh man, I

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<v Speaker 2>don't like the fact that winning don't like hip hop,

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<v Speaker 2>you know, And I was like, he's not official because

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<v Speaker 2>he don't like hip hop because he was, you know,

0:11:06.276 --> 0:11:08.276
<v Speaker 2>he at that time. He was like it's it's noise,

0:11:08.316 --> 0:11:12.476
<v Speaker 2>it's not music, and y'all are just using machines. But

0:11:12.636 --> 0:11:16.356
<v Speaker 2>me and went cool and uh. But Branford was always

0:11:16.396 --> 0:11:18.396
<v Speaker 2>branching out because he used to get flack when he

0:11:18.476 --> 0:11:21.516
<v Speaker 2>joined Stings band to you know, for Dreaming of the

0:11:21.516 --> 0:11:25.196
<v Speaker 2>Blue Turtles. Everybody's like, ah, man, you're a pure jazz purist.

0:11:25.316 --> 0:11:28.236
<v Speaker 2>Now you're doing stuff with Sting. You're ruining your your reputation.

0:11:28.356 --> 0:11:30.196
<v Speaker 2>This before social media, he was getting a lot of

0:11:30.236 --> 0:11:33.196
<v Speaker 2>flat and Branford is so cool because.

0:11:33.036 --> 0:11:34.436
<v Speaker 3>He talks like a jazz cat.

0:11:34.516 --> 0:11:36.516
<v Speaker 2>He'd be like, hey, brother, you know what I'm saying,

0:11:36.716 --> 0:11:38.636
<v Speaker 2>but fuck these motherfuckers, you know, Like.

0:11:39.356 --> 0:11:42.396
<v Speaker 3>That's what I like. Like he'll still curse and say

0:11:42.396 --> 0:11:44.636
<v Speaker 3>stuff like that, man, fuck that bitch ass brother, I

0:11:44.636 --> 0:11:46.636
<v Speaker 3>don't get fun, and then go to put it up,

0:11:47.876 --> 0:11:51.556
<v Speaker 3>you know. So that's that's brand. I call him brand Lover.

0:11:51.676 --> 0:11:53.436
<v Speaker 3>He's like, Yo, give me a hip hop nickname.

0:11:53.516 --> 0:11:56.156
<v Speaker 2>I said, brand Lover. I even made him my hat.

0:11:56.196 --> 0:11:58.796
<v Speaker 2>I went to the Compton Swap meet in La and

0:11:58.836 --> 0:12:00.996
<v Speaker 2>where where all the sham bangers were, and made him

0:12:01.036 --> 0:12:03.476
<v Speaker 2>a real hat in blue with brand.

0:12:03.196 --> 0:12:03.756
<v Speaker 3>Lover on it.

0:12:03.836 --> 0:12:05.636
<v Speaker 2>And you know, I was like, yeah, so one of

0:12:05.676 --> 0:12:09.116
<v Speaker 2>the funniest things was coow and I had so many

0:12:09.196 --> 0:12:12.556
<v Speaker 2>girlfriends and stuff at that time that were always coming

0:12:12.596 --> 0:12:13.276
<v Speaker 2>by to see.

0:12:13.156 --> 0:12:15.436
<v Speaker 1>Us, young man stuff and Branford.

0:12:15.476 --> 0:12:18.396
<v Speaker 2>Bramford said that we could give the home number because

0:12:18.396 --> 0:12:21.476
<v Speaker 2>he had an answer machine, so we were always hang

0:12:21.556 --> 0:12:24.876
<v Speaker 2>out guys, and so we might come back two three

0:12:24.916 --> 0:12:27.156
<v Speaker 2>in the morning, and it just happened to be a

0:12:27.236 --> 0:12:29.956
<v Speaker 2>time that a night that Branford had an argument with

0:12:30.036 --> 0:12:32.396
<v Speaker 2>his wife, so he was sleeping on the couch. But

0:12:32.516 --> 0:12:34.956
<v Speaker 2>we didn't know that because the area where we're going

0:12:35.036 --> 0:12:37.836
<v Speaker 2>to sleep at the answer machine, you get to see

0:12:37.836 --> 0:12:39.996
<v Speaker 2>the number lit up, you know, if all the light's off,

0:12:40.036 --> 0:12:42.036
<v Speaker 2>you'll see you know, one, two, three, four, five or six.

0:12:42.356 --> 0:12:44.596
<v Speaker 2>And we're like, oh man, it's like eight or nine messages.

0:12:44.876 --> 0:12:47.636
<v Speaker 3>We hit the thing big hey, Keith, we're looking at it.

0:12:47.716 --> 0:12:51.396
<v Speaker 2>And also Brandna goes, motherfucker and he turns on the

0:12:51.476 --> 0:12:54.516
<v Speaker 2>light because it scared us, and he's on the couch.

0:12:54.756 --> 0:12:56.316
<v Speaker 3>I'm like, man, we didn't know you were on the couch.

0:12:56.316 --> 0:12:58.316
<v Speaker 2>He goes, man, I had an argument with my wife,

0:12:58.356 --> 0:13:00.836
<v Speaker 2>and now y'all are ruining my sleep checking the goddamn

0:13:00.836 --> 0:13:02.916
<v Speaker 2>answer So you can't wait till tomorrow. And I was like, well,

0:13:02.956 --> 0:13:05.836
<v Speaker 2>you said we can use your home numbers. So he's like,

0:13:06.556 --> 0:13:08.796
<v Speaker 2>you know what, just forget it. I'm going back upstairs

0:13:08.836 --> 0:13:10.636
<v Speaker 2>with the and I'll go go in the bedroom with

0:13:10.676 --> 0:13:11.996
<v Speaker 2>her and we'd go okay.

0:13:12.836 --> 0:13:15.396
<v Speaker 3>Okay, you know, like checking the rest of the messages.

0:13:15.476 --> 0:13:17.956
<v Speaker 2>See how many people called us, you know, so that's

0:13:17.996 --> 0:13:20.956
<v Speaker 2>how much the old answer machine. How many people remember

0:13:20.996 --> 0:13:24.516
<v Speaker 2>the answer machine era? So yeah, so you know where

0:13:24.556 --> 0:13:26.756
<v Speaker 2>I'm coming from. Even if he wasn't on the couch,

0:13:27.076 --> 0:13:29.476
<v Speaker 2>everybody checks it when they get home and see who

0:13:29.516 --> 0:13:29.916
<v Speaker 2>they called.

0:13:29.996 --> 0:13:30.556
<v Speaker 3>You know, we didn't.

0:13:30.636 --> 0:13:33.356
<v Speaker 2>It was either a pager or checked that. It wasn't

0:13:33.476 --> 0:13:35.716
<v Speaker 2>cell phones yet unless you had a car phone.

0:13:35.596 --> 0:13:37.556
<v Speaker 1>Right, And in the process, sounds like you saved his

0:13:37.636 --> 0:13:38.476
<v Speaker 1>marriage maybe too.

0:13:40.156 --> 0:13:45.396
<v Speaker 3>Well they're actually divorced now. Well so maybe I ruined

0:13:45.396 --> 0:13:48.356
<v Speaker 3>it now. But nah, shout shout to his for his

0:13:48.436 --> 0:13:50.276
<v Speaker 3>ex wife. Tests she's a sweetheart.

0:13:50.596 --> 0:13:53.396
<v Speaker 2>Her brother Michae who lived underneath us in the basement,

0:13:53.796 --> 0:13:55.596
<v Speaker 2>and we all we all had a great relationship with

0:13:55.636 --> 0:13:57.676
<v Speaker 2>each other. And son Reds, who I always talked to

0:13:57.716 --> 0:14:00.276
<v Speaker 2>this very day. He moved from North Carolina back to

0:14:00.316 --> 0:14:01.596
<v Speaker 2>New York. So he's in New York.

0:14:01.676 --> 0:14:02.556
<v Speaker 1>So it's incredible.

0:14:02.556 --> 0:14:04.996
<v Speaker 2>Man Brand brandfor came by to visit me recently and

0:14:05.036 --> 0:14:07.956
<v Speaker 2>we had just a good time hanging and reminiscing. He's

0:14:07.956 --> 0:14:11.836
<v Speaker 2>one of the greatest human beings ever. He knows sports, music,

0:14:12.716 --> 0:14:16.716
<v Speaker 2>his philosophies on life is just really good to get

0:14:16.716 --> 0:14:19.316
<v Speaker 2>to grab on whenever I have I need some advice.

0:14:19.396 --> 0:14:20.436
<v Speaker 3>I still call him for that.

0:14:20.556 --> 0:14:22.636
<v Speaker 1>He seems like an incredible person to be like. I mean,

0:14:22.676 --> 0:14:25.676
<v Speaker 1>the fortune of moving from Texas to New York to

0:14:25.716 --> 0:14:28.156
<v Speaker 1>do music and then getting to me, I mean, I

0:14:28.156 --> 0:14:30.876
<v Speaker 1>guess first of all, Spike seeing the video, Yeah, you

0:14:30.876 --> 0:14:32.676
<v Speaker 1>get on the soundtrack, but just getting access to guy

0:14:32.716 --> 0:14:34.996
<v Speaker 1>like Brand from Marsalas, that your career.

0:14:35.516 --> 0:14:38.196
<v Speaker 2>He's official man. Shout to Brand Brand lover.

0:14:39.836 --> 0:14:41.516
<v Speaker 1>That house. Once he moves out, it seems like that

0:14:41.596 --> 0:14:45.116
<v Speaker 1>kind of became the center of your world, and kind

0:14:45.116 --> 0:14:47.676
<v Speaker 1>of like the hip hop world in general. Like the

0:14:47.716 --> 0:14:50.396
<v Speaker 1>way who was in the neighborhood.

0:14:50.676 --> 0:14:54.436
<v Speaker 2>Chubb Rock, the Lady of Rage who eventually moved to

0:14:54.556 --> 0:14:57.396
<v Speaker 2>La to get with doctor Dre and became one of

0:14:57.396 --> 0:14:59.636
<v Speaker 2>the first females on death Row records, you know, and

0:14:59.636 --> 0:15:01.636
<v Speaker 2>that's how we messed you know her the Snoop Dogg

0:15:01.676 --> 0:15:02.476
<v Speaker 2>for the first time.

0:15:02.716 --> 0:15:06.796
<v Speaker 3>He was Snoop Doggie Dog then and Nikki d the.

0:15:06.756 --> 0:15:10.636
<v Speaker 2>First female of Death Jam Records, and then uh Jam

0:15:10.716 --> 0:15:13.396
<v Speaker 2>Master Jay, God bless him, and I'm glad he's getting there.

0:15:13.596 --> 0:15:16.876
<v Speaker 2>His family's getting closure because they just found the killers guilty,

0:15:17.356 --> 0:15:18.916
<v Speaker 2>so justice has been served.

0:15:19.316 --> 0:15:21.196
<v Speaker 3>He used to date April.

0:15:20.836 --> 0:15:24.076
<v Speaker 2>Walker, who had Walker Wear, which was very popular clothing

0:15:24.076 --> 0:15:27.756
<v Speaker 2>line back then. Everybody knows Mike Tyson used to walk

0:15:27.796 --> 0:15:30.676
<v Speaker 2>on in the ring with the towel with the WW

0:15:30.836 --> 0:15:33.476
<v Speaker 2>on the front. That's her line, and she's actually back

0:15:33.516 --> 0:15:36.156
<v Speaker 2>out now, still repping Brooklyn. I used to date her

0:15:36.196 --> 0:15:39.556
<v Speaker 2>sister at the time, so we were all friends and

0:15:39.596 --> 0:15:41.236
<v Speaker 2>I see JMSJA all the time.

0:15:41.316 --> 0:15:41.716
<v Speaker 3>And uh.

0:15:42.236 --> 0:15:46.316
<v Speaker 2>Then a couple years later, Kuru comes to the house

0:15:46.356 --> 0:15:50.036
<v Speaker 2>and says, Yo, there's this guy named Biggie Small's down

0:15:50.076 --> 0:15:52.436
<v Speaker 2>the block. You got to come here him Rome, And

0:15:52.756 --> 0:15:55.596
<v Speaker 2>I'm like, yeah, Mr C who was Big Daddy Kynes

0:15:55.676 --> 0:15:59.276
<v Speaker 2>DJ has been pressing me because he wasn't notorious big yet.

0:15:59.636 --> 0:16:01.596
<v Speaker 2>And we went down to the corner because at that

0:16:01.676 --> 0:16:04.556
<v Speaker 2>time we used to drink forty ounces of malt liquor.

0:16:05.396 --> 0:16:08.036
<v Speaker 2>Old English was the preference, and we go down there

0:16:08.036 --> 0:16:10.396
<v Speaker 2>and we met the little his Big and he would

0:16:10.476 --> 0:16:12.356
<v Speaker 2>rhym in front of us, and he was like, what

0:16:12.396 --> 0:16:13.956
<v Speaker 2>can I do to get a deal, And he.

0:16:13.916 --> 0:16:15.636
<v Speaker 3>Said, Puffy wants to sign me.

0:16:15.716 --> 0:16:18.556
<v Speaker 2>And I'm like, you know, if he wants to sign you,

0:16:18.556 --> 0:16:20.196
<v Speaker 2>you know, just have all your business straight, have a

0:16:20.236 --> 0:16:23.116
<v Speaker 2>good lawyer, and if everything works out, you could be

0:16:23.156 --> 0:16:25.836
<v Speaker 2>the next star. And he became one of the biggest thing.

0:16:25.836 --> 0:16:27.636
<v Speaker 3>In the world. They already knew who we work or

0:16:27.636 --> 0:16:28.516
<v Speaker 3>we were established.

0:16:28.756 --> 0:16:31.396
<v Speaker 2>We were on our third album, and he would just

0:16:31.676 --> 0:16:34.596
<v Speaker 2>wrap every Friday. We would go hang out with Big

0:16:34.716 --> 0:16:37.476
<v Speaker 2>and we met Lil Kim and hold you in your

0:16:37.476 --> 0:16:41.316
<v Speaker 2>Mafia And that became the norm. To see him outside

0:16:41.356 --> 0:16:43.916
<v Speaker 2>every every weekend and just drink and smoke weed and

0:16:44.036 --> 0:16:46.036
<v Speaker 2>just have a good time with Big.

0:16:46.316 --> 0:16:48.836
<v Speaker 1>That's incredible. Did he already have the chrisma? Did you

0:16:48.876 --> 0:16:49.596
<v Speaker 1>know he was gonna be?

0:16:49.836 --> 0:16:53.916
<v Speaker 2>He was funny naturally, not trying to be a jokester.

0:16:54.636 --> 0:16:57.356
<v Speaker 2>He was just that naturally him and Big L always

0:16:57.356 --> 0:16:59.716
<v Speaker 2>say that Big L God bless him. He was another

0:16:59.716 --> 0:17:01.956
<v Speaker 2>one that was just naturally funny. They weren't sitting there

0:17:01.996 --> 0:17:04.916
<v Speaker 2>trying to be the funny guy on the block. They

0:17:04.996 --> 0:17:06.876
<v Speaker 2>just were naturally with that type of humor.

0:17:07.276 --> 0:17:10.436
<v Speaker 1>Yeah, didn't you go with Big to pick up Guru

0:17:10.476 --> 0:17:12.236
<v Speaker 1>from prison one time? Or from jail?

0:17:12.316 --> 0:17:15.556
<v Speaker 2>Yeah, what happened was people doing a fraud on your

0:17:15.596 --> 0:17:18.196
<v Speaker 2>credit card was a new thing. Somebody did a fraud

0:17:18.236 --> 0:17:21.156
<v Speaker 2>on Guru's credit card and when they ran and h

0:17:21.716 --> 0:17:24.236
<v Speaker 2>he was double part, cops told him to move your card.

0:17:24.316 --> 0:17:26.316
<v Speaker 2>Matter of fact, let me see I D He checked

0:17:26.316 --> 0:17:28.436
<v Speaker 2>his ID and it said that there was a fraud

0:17:28.476 --> 0:17:31.236
<v Speaker 2>on his name, but that the cops are thinking he's

0:17:31.276 --> 0:17:34.596
<v Speaker 2>the one that's that's fraudulent and uh, you know, using

0:17:34.596 --> 0:17:37.276
<v Speaker 2>a fake card. They took him to jail at the

0:17:37.316 --> 0:17:39.516
<v Speaker 2>precinct which was we call it LG but it's called

0:17:39.556 --> 0:17:42.996
<v Speaker 2>Lafiat Gardens. And they call us and tell us that

0:17:43.076 --> 0:17:45.076
<v Speaker 2>he got locked up. Biggie calls me and tells me

0:17:45.276 --> 0:17:47.796
<v Speaker 2>he got locked up and h somebody that get him.

0:17:47.836 --> 0:17:49.836
<v Speaker 2>I said, okay, I'm coming down the block, which we like.

0:17:49.916 --> 0:17:52.716
<v Speaker 2>I said, we're only like five blocks away. Go there

0:17:53.036 --> 0:17:56.756
<v Speaker 2>the old junior mafia. Biggie, everybody's on the corner. He said,

0:17:56.756 --> 0:17:59.476
<v Speaker 2>I'm gonna go to the precinct. Can one of y'all

0:17:59.516 --> 0:18:02.116
<v Speaker 2>move his car? And then once we get him out

0:18:02.156 --> 0:18:04.796
<v Speaker 2>and figure out what's going on. We'll come get the car.

0:18:05.516 --> 0:18:08.116
<v Speaker 2>And Biggie said, okay, I said, Biggie, won't you drive

0:18:08.156 --> 0:18:08.756
<v Speaker 2>it and move it?

0:18:09.196 --> 0:18:09.516
<v Speaker 3>Okay.

0:18:09.756 --> 0:18:12.276
<v Speaker 2>Biggie gets in the driver's seat and just sits there

0:18:12.436 --> 0:18:14.796
<v Speaker 2>looking like kind of like staring. I'm like, you're not

0:18:14.796 --> 0:18:16.756
<v Speaker 2>gonna move the car because the police is still like

0:18:16.836 --> 0:18:17.956
<v Speaker 2>move the car, and.

0:18:17.916 --> 0:18:22.116
<v Speaker 3>Biggie goes, I don't know how to drive. Like, why

0:18:22.236 --> 0:18:24.356
<v Speaker 3>you sit in the driver's seat, he said, because this

0:18:24.396 --> 0:18:27.436
<v Speaker 3>is a Jaguar and it looks nice and I want

0:18:27.436 --> 0:18:29.636
<v Speaker 3>to see how it feels to sit in one. He's like,

0:18:29.716 --> 0:18:31.476
<v Speaker 3>cause I might buy one, he said, but I have

0:18:31.516 --> 0:18:34.916
<v Speaker 3>to be driven around. And I'm like, big, like get

0:18:34.956 --> 0:18:35.516
<v Speaker 3>out of the car.

0:18:35.676 --> 0:18:38.196
<v Speaker 2>So one of the other guys do with his crew,

0:18:38.196 --> 0:18:40.916
<v Speaker 2>hopped in, moved it and parked it on the corner,

0:18:40.916 --> 0:18:43.756
<v Speaker 2>and we went got him out. They found they ran everything,

0:18:43.836 --> 0:18:46.916
<v Speaker 2>found out he was legit, and we got him out

0:18:46.916 --> 0:18:48.636
<v Speaker 2>and we drove back, brought him back to his car,

0:18:48.676 --> 0:18:52.236
<v Speaker 2>and and we went home, still living at Branford's house.

0:18:52.396 --> 0:18:56.396
<v Speaker 1>That's amazing. After this quick break, we'll come back with

0:18:56.436 --> 0:19:02.756
<v Speaker 1>more from DJ Premiere. We're back with more of my

0:19:02.836 --> 0:19:07.276
<v Speaker 1>conversation with DJ Premiere. Another person in the neighborhood is

0:19:07.316 --> 0:19:10.236
<v Speaker 1>someone that I love, one of my FAVORIT producers, Easy Mob.

0:19:10.516 --> 0:19:12.276
<v Speaker 2>Oh yeah, he used to come over to the house

0:19:12.316 --> 0:19:15.276
<v Speaker 2>all the time when he was in wrapping this fundamental Yeah,

0:19:15.316 --> 0:19:19.116
<v Speaker 2>shout to him, ab the whole crew. Yeah, one of

0:19:19.116 --> 0:19:22.876
<v Speaker 2>the illess beat makers. I mean to me, he's the

0:19:22.996 --> 0:19:26.956
<v Speaker 2>DJ Premiere of Biggie's first album because he did the

0:19:27.156 --> 0:19:27.756
<v Speaker 2>ninety percent.

0:19:27.996 --> 0:19:29.956
<v Speaker 1>I mean, you did unbelievable, which is.

0:19:30.036 --> 0:19:32.876
<v Speaker 2>That was like after the album was done, like completely done.

0:19:33.036 --> 0:19:35.476
<v Speaker 1>Okay, so well let's get to that then. But he's

0:19:35.556 --> 0:19:38.076
<v Speaker 1>more be did like five the what with method Man.

0:19:38.196 --> 0:19:42.356
<v Speaker 2>One of my favorite Warning Warning a machine Gun Funk,

0:19:42.516 --> 0:19:45.316
<v Speaker 2>which is one of the best incredible track. He had

0:19:45.316 --> 0:19:48.156
<v Speaker 2>so many records on there you know him Lord Finess.

0:19:48.636 --> 0:19:52.636
<v Speaker 2>Mine was after the album was turned in. They needed

0:19:52.756 --> 0:19:55.636
<v Speaker 2>a street record for the first single, which was Juicy,

0:19:56.076 --> 0:19:58.076
<v Speaker 2>So I did unbelievable.

0:19:57.396 --> 0:19:58.556
<v Speaker 3>But being there it popped off.

0:19:58.596 --> 0:20:01.436
<v Speaker 2>They added it to the album even though it was

0:20:01.476 --> 0:20:04.796
<v Speaker 2>already done mastered in sequenced, so they.

0:20:04.596 --> 0:20:09.276
<v Speaker 1>Made album sequence disaster everything wow, because we had cops.

0:20:09.116 --> 0:20:10.756
<v Speaker 1>It's not press everything else.

0:20:10.876 --> 0:20:15.676
<v Speaker 2>Well, we back then, leaking your album was cool if

0:20:15.716 --> 0:20:19.116
<v Speaker 2>your friends had it. It wasn't like now if something

0:20:19.196 --> 0:20:22.396
<v Speaker 2>leaks and it ruins the first week sales and uh,

0:20:22.436 --> 0:20:25.676
<v Speaker 2>it's all now everybody has it and hasn't even launched yet.

0:20:25.876 --> 0:20:29.316
<v Speaker 2>This is just Bigieven would make copies for his whole

0:20:29.436 --> 0:20:32.596
<v Speaker 2>crew so that they can have him memorized, so that

0:20:32.636 --> 0:20:35.916
<v Speaker 2>if he has showed, everybody is singing the record, and

0:20:35.956 --> 0:20:38.236
<v Speaker 2>back then we all did that. You know, I'd make

0:20:38.276 --> 0:20:40.356
<v Speaker 2>asceepts for my whole team. He know, here's the album

0:20:40.436 --> 0:20:43.116
<v Speaker 2>in advanced we didn't look at it as wrong. Where

0:20:43.236 --> 0:20:45.356
<v Speaker 2>now it's like you don't want to leak out even

0:20:45.396 --> 0:20:49.156
<v Speaker 2>an interlude, you know, because somebody will put it on

0:20:49.156 --> 0:20:51.956
<v Speaker 2>on social media, and now your record's leaked, so.

0:20:51.876 --> 0:20:54.076
<v Speaker 1>It's basically done. Why does he hit you up to?

0:20:54.676 --> 0:20:58.196
<v Speaker 2>He said, I need a street record because Juicy was

0:20:58.236 --> 0:21:00.836
<v Speaker 2>more radio oriented. You know, everybody knew the M two

0:21:00.876 --> 0:21:01.436
<v Speaker 2>May record.

0:21:01.556 --> 0:21:02.636
<v Speaker 3>Just in any.

0:21:02.476 --> 0:21:06.076
<v Speaker 2>Black household, everybody's gonna have the M two May album, right,

0:21:06.076 --> 0:21:09.676
<v Speaker 2>and everybody's gonna have Juicy Fruit. That's that's standard than

0:21:09.836 --> 0:21:12.596
<v Speaker 2>any black household. I can't speak for outside of that.

0:21:12.676 --> 0:21:15.116
<v Speaker 2>I'm just going by how I was raised. But in

0:21:15.156 --> 0:21:21.156
<v Speaker 2>a black household, you. Yeah, So now the Rolling Stones

0:21:21.156 --> 0:21:24.356
<v Speaker 2>are blending in with with him too, man. But even that,

0:21:24.556 --> 0:21:27.036
<v Speaker 2>like even in the Black Household you have the Rolling Stones.

0:21:27.196 --> 0:21:29.356
<v Speaker 2>You may not have led Zeppelin, but the Stones kind

0:21:29.356 --> 0:21:33.236
<v Speaker 2>of crossed a certain line where they had got saying

0:21:33.316 --> 0:21:35.796
<v Speaker 2>with hip hop. That's how a lot of rock records,

0:21:35.836 --> 0:21:38.956
<v Speaker 2>like like Run didn't call it Arrowsmith. They say you'll

0:21:38.996 --> 0:21:41.556
<v Speaker 2>get the toys in the attic album and and cut

0:21:41.596 --> 0:21:44.516
<v Speaker 2>that break that was name of the album.

0:21:44.596 --> 0:21:46.236
<v Speaker 3>The song was called walk this Way.

0:21:46.356 --> 0:21:49.076
<v Speaker 2>But but from a hip hop perspective, like you'll get

0:21:49.076 --> 0:21:50.436
<v Speaker 2>to put that toys in the attic joint on.

0:21:51.076 --> 0:21:52.716
<v Speaker 3>You know that, that's just how they do it.

0:21:52.796 --> 0:21:56.516
<v Speaker 2>Like even assembly Line by the commodorees that the part

0:21:56.516 --> 0:21:57.276
<v Speaker 2>where it breaks down and.

0:21:57.196 --> 0:21:59.956
<v Speaker 3>Goes hut good good to hut.

0:22:00.236 --> 0:22:03.276
<v Speaker 2>Every DJ calls you'll put hout on. But it's called

0:22:03.276 --> 0:22:04.356
<v Speaker 2>assembly line.

0:22:04.476 --> 0:22:05.476
<v Speaker 1>That's from the first Commodore.

0:22:05.876 --> 0:22:08.916
<v Speaker 2>You can't find it if you look for hut, but

0:22:08.956 --> 0:22:12.436
<v Speaker 2>if if you sing it to back in music factory days,

0:22:12.636 --> 0:22:14.356
<v Speaker 2>you could go in the store and go, what's that

0:22:14.396 --> 0:22:16.996
<v Speaker 2>record that goes, Oh, comodos right there on.

0:22:17.316 --> 0:22:20.436
<v Speaker 3>Row one down two. That's that's how it was.

0:22:21.116 --> 0:22:24.116
<v Speaker 1>Let's go back to Biggie and unbelievable. Okay, when Biggie

0:22:24.156 --> 0:22:26.236
<v Speaker 1>hits you, he says, I need a street record. What

0:22:26.276 --> 0:22:27.076
<v Speaker 1>are your thoughts?

0:22:27.596 --> 0:22:31.236
<v Speaker 2>Everybody that knows my my My formula is I like

0:22:31.356 --> 0:22:34.636
<v Speaker 2>to make the beat. It's like cooking your dinner. Come

0:22:34.676 --> 0:22:35.716
<v Speaker 2>by and I'll cook you something.

0:22:36.236 --> 0:22:37.436
<v Speaker 3>That's what it is. Show up.

0:22:38.396 --> 0:22:41.396
<v Speaker 2>Oh yeah, absolutely, it's gotta be tailored. One thing I

0:22:41.436 --> 0:22:45.036
<v Speaker 2>love about Guru God Bless him from Gangstar was he

0:22:45.156 --> 0:22:48.476
<v Speaker 2>always said in the interviews. DJ Premire is a beat tailor.

0:22:48.516 --> 0:22:51.556
<v Speaker 2>He will tailor it to you, like Gambling Huff. I

0:22:51.596 --> 0:22:53.956
<v Speaker 2>saw them do an interview. You know, anybody know who

0:22:53.996 --> 0:22:57.716
<v Speaker 2>Gambling Huff is and one of the best producing crew

0:22:57.796 --> 0:23:00.516
<v Speaker 2>in the world. They're like Holland does You're Holland from Motown?

0:23:00.996 --> 0:23:04.076
<v Speaker 2>But they you know, they did all the Philadelphia International stuff.

0:23:04.076 --> 0:23:06.396
<v Speaker 2>They did the Old Jays, they did the Jones Girls,

0:23:06.556 --> 0:23:08.916
<v Speaker 2>they did Harold Melvin and Blue Nose. He did Teddy

0:23:09.236 --> 0:23:12.676
<v Speaker 2>d Grass and the Jackson's. When they left Motown, then

0:23:12.756 --> 0:23:16.316
<v Speaker 2>they went to Epic. They produced the I think the

0:23:16.356 --> 0:23:17.796
<v Speaker 2>first two albums.

0:23:17.356 --> 0:23:18.316
<v Speaker 1>And I didn't know that.

0:23:18.396 --> 0:23:21.076
<v Speaker 3>Yeah, they did enjoy Yourself in good times.

0:23:21.436 --> 0:23:24.796
<v Speaker 2>So during that time I watched their interview, and they said,

0:23:24.876 --> 0:23:28.596
<v Speaker 2>we always make the track right there that we think

0:23:28.756 --> 0:23:30.276
<v Speaker 2>you would have a hit.

0:23:30.196 --> 0:23:31.916
<v Speaker 3>Record on, and we presented to you.

0:23:31.916 --> 0:23:35.276
<v Speaker 2>We don't just you know, like now it's all the

0:23:35.276 --> 0:23:37.716
<v Speaker 2>producers these days, it's like, oh, here's thirty beats, pick

0:23:37.756 --> 0:23:40.196
<v Speaker 2>which one you like, and we make a song. I'm

0:23:40.316 --> 0:23:42.916
<v Speaker 2>literally looking at you. If I had to make a

0:23:42.956 --> 0:23:44.916
<v Speaker 2>record for you, I'm gonna be like, Okay, I'll listen

0:23:44.996 --> 0:23:47.516
<v Speaker 2>to what you've done and then I'll know where I

0:23:47.596 --> 0:23:49.676
<v Speaker 2>fit in and I'll make it for you.

0:23:49.796 --> 0:23:51.836
<v Speaker 1>And you do it in your student D and D

0:23:51.596 --> 0:23:52.516
<v Speaker 1>would have been with you.

0:23:52.556 --> 0:23:55.116
<v Speaker 2>At that time, and that was the studio. A lot

0:23:55.116 --> 0:23:57.796
<v Speaker 2>of people were scared to go there because it was

0:23:57.796 --> 0:24:01.996
<v Speaker 2>a Heroin Street. So it was Heroin fin Fiend's walking

0:24:02.036 --> 0:24:05.396
<v Speaker 2>around like zombies and everything, and it was Crack on

0:24:05.436 --> 0:24:07.356
<v Speaker 2>the block. It's funny because I just did an interview

0:24:07.436 --> 0:24:10.196
<v Speaker 2>with us Sway and the Heather b the last week,

0:24:10.436 --> 0:24:13.716
<v Speaker 2>and Heather used to always come there and there's a

0:24:13.756 --> 0:24:16.036
<v Speaker 2>deli that we go to, but we call it Crack Deli.

0:24:16.476 --> 0:24:18.836
<v Speaker 2>So we go, hey, man, go get me a sandwich

0:24:18.836 --> 0:24:21.596
<v Speaker 2>for Crack Deli and she goes, yeah, crack Desk.

0:24:21.676 --> 0:24:25.076
<v Speaker 3>She was like, I remember Crack Deli because all the crack.

0:24:24.876 --> 0:24:28.396
<v Speaker 2>Dealers are on the corner selling crack and you're just

0:24:28.396 --> 0:24:29.996
<v Speaker 2>going to and they're like, yo, premiere, what's up man?

0:24:30.076 --> 0:24:30.716
<v Speaker 3>Look your music?

0:24:30.756 --> 0:24:30.916
<v Speaker 1>Man?

0:24:31.236 --> 0:24:34.196
<v Speaker 3>You know you anything? I'm like no, and they're selling

0:24:34.236 --> 0:24:36.556
<v Speaker 3>crack around the corner. So we called it crack Deli.

0:24:36.636 --> 0:24:41.196
<v Speaker 3>So those are the days, you know, and y'all you

0:24:41.236 --> 0:24:43.276
<v Speaker 3>know rappers always tough and macho.

0:24:43.756 --> 0:24:45.436
<v Speaker 2>A lot of them that we worked with were like,

0:24:45.516 --> 0:24:47.836
<v Speaker 2>I'm not coming back. Yeah, it's too scary.

0:24:47.956 --> 0:24:48.236
<v Speaker 1>Wow.

0:24:48.596 --> 0:24:51.956
<v Speaker 2>Yeah, So shout to Crack Deli, shouts all, shout all

0:24:51.956 --> 0:24:55.236
<v Speaker 2>the fiends you know, and shout the D and D,

0:24:55.996 --> 0:24:59.436
<v Speaker 2>Dave and Doug. That's D n D D Doug, Dave

0:24:59.556 --> 0:25:00.836
<v Speaker 2>Bodwin and Doug Grammar.

0:25:01.276 --> 0:25:03.316
<v Speaker 1>So is that where you made unbelievable? Did you figg

0:25:03.316 --> 0:25:03.636
<v Speaker 1>it down?

0:25:04.036 --> 0:25:04.916
<v Speaker 3>They came with his crew.

0:25:04.956 --> 0:25:08.676
<v Speaker 2>He's not worried about anything, you know, I being And

0:25:08.716 --> 0:25:10.916
<v Speaker 2>it got to a point when jay Z started working

0:25:10.956 --> 0:25:14.356
<v Speaker 2>on working on Reasonable Doubt. He was an everyday guy.

0:25:14.396 --> 0:25:16.996
<v Speaker 2>We're there every day. He's in one room.

0:25:17.036 --> 0:25:17.876
<v Speaker 3>I'm in my room.

0:25:17.996 --> 0:25:21.396
<v Speaker 2>And the beat miners who produced Black Moon, Smith and

0:25:21.476 --> 0:25:24.796
<v Speaker 2>West and help to scale to recipes to Sean Price,

0:25:25.356 --> 0:25:26.476
<v Speaker 2>they would be in the other room.

0:25:26.556 --> 0:25:27.996
<v Speaker 3>So it was just a rotation.

0:25:28.156 --> 0:25:30.036
<v Speaker 2>Jay Z would go in one room, work, come to

0:25:30.076 --> 0:25:32.676
<v Speaker 2>my room and work, and he would always.

0:25:32.396 --> 0:25:35.196
<v Speaker 1>Be in there with the other like Ski or whoever else.

0:25:35.996 --> 0:25:39.556
<v Speaker 2>During that time, Ski, Sean and l V. A guy

0:25:39.636 --> 0:25:42.596
<v Speaker 2>named Nobody IRV God. He was there, but you know

0:25:42.676 --> 0:25:45.076
<v Speaker 2>he was DJ IRV back then. You know, he wasn't

0:25:45.076 --> 0:25:47.356
<v Speaker 2>Nerve Gody with the murder ink with Joe Rule.

0:25:47.196 --> 0:25:47.596
<v Speaker 3>And all that.

0:25:47.676 --> 0:25:48.276
<v Speaker 1>Yet.

0:25:48.636 --> 0:25:50.396
<v Speaker 3>Wow, so he's there early days.

0:25:50.556 --> 0:25:52.636
<v Speaker 1>Well, BIG's an interesting story because Big kind of told

0:25:52.676 --> 0:25:56.356
<v Speaker 1>you what to make right, Yes, unbelievable.

0:25:55.796 --> 0:25:58.996
<v Speaker 2>Well unbelievable, he didn't. He just told me what to scratch.

0:25:59.356 --> 0:26:01.196
<v Speaker 2>He was just like, man, make anything.

0:26:01.316 --> 0:26:03.596
<v Speaker 3>I'm like, dude, because I told him, I turned him down.

0:26:04.156 --> 0:26:06.236
<v Speaker 2>I was like, dude, I'm too busy. I'll get you

0:26:06.236 --> 0:26:08.196
<v Speaker 2>on the next album. He's like, I just need a

0:26:08.236 --> 0:26:11.076
<v Speaker 2>quick joint for the Prez please, And I'm like, yeah,

0:26:11.156 --> 0:26:12.876
<v Speaker 2>but I don't even know what to squeeze it in.

0:26:12.996 --> 0:26:14.756
<v Speaker 3>He goes, man, I don't even care if you use

0:26:14.876 --> 0:26:15.836
<v Speaker 3>M Piece of President.

0:26:15.996 --> 0:26:18.596
<v Speaker 2>And if you know hip hop, M Piece of President

0:26:18.716 --> 0:26:20.476
<v Speaker 2>by the Honey Drippers.

0:26:20.956 --> 0:26:21.636
<v Speaker 3>It's one of the.

0:26:21.556 --> 0:26:26.396
<v Speaker 2>Biggest break records of all time in hip hop culture,

0:26:26.836 --> 0:26:31.236
<v Speaker 2>So to use that you have to manipulate it and

0:26:31.316 --> 0:26:33.836
<v Speaker 2>be creative. So I said, all right, come meet me

0:26:33.876 --> 0:26:35.716
<v Speaker 2>there and I'm gonna chop it up and just come

0:26:35.756 --> 0:26:38.156
<v Speaker 2>up with some things. And I found this note that

0:26:38.276 --> 0:26:40.676
<v Speaker 2>had a vibration at the end of the note.

0:26:40.676 --> 0:26:41.596
<v Speaker 3>It was one note.

0:26:42.036 --> 0:26:43.916
<v Speaker 2>I just gave it to quest lover. I don't give

0:26:43.996 --> 0:26:46.756
<v Speaker 2>my sessions out. I took all the sounds off the

0:26:46.796 --> 0:26:49.276
<v Speaker 2>discause they wanted to re make it, but with the

0:26:49.876 --> 0:26:51.356
<v Speaker 2>original sounds of that sample?

0:26:51.836 --> 0:26:55.476
<v Speaker 1>Was that sound from and Peach the President discuss the break? Yeah,

0:26:55.556 --> 0:26:57.756
<v Speaker 1>but I'm gonna ask what's that sound from?

0:26:57.756 --> 0:27:00.236
<v Speaker 3>But it's chopped into a different drum pattern?

0:27:00.596 --> 0:27:01.996
<v Speaker 1>Where do you hear that note? What is that note

0:27:02.076 --> 0:27:02.756
<v Speaker 1>with the dun dum?

0:27:03.596 --> 0:27:04.636
<v Speaker 3>I'm you know.

0:27:05.476 --> 0:27:08.836
<v Speaker 2>Sampling is an art form, especially in the hip hop culture,

0:27:08.836 --> 0:27:12.276
<v Speaker 2>but we have brought back a lot of records that

0:27:12.396 --> 0:27:15.876
<v Speaker 2>probably wouldn't even be popular now. I mean this record

0:27:15.916 --> 0:27:19.196
<v Speaker 2>is that I've sample where you'll go to a store and

0:27:19.356 --> 0:27:21.796
<v Speaker 2>it was only like three dollars, and now that I

0:27:22.036 --> 0:27:24.716
<v Speaker 2>used it, or doctor dre used or a diamond d

0:27:25.116 --> 0:27:29.396
<v Speaker 2>or large Professor Pete Rock or dz MO B you

0:27:29.516 --> 0:27:33.716
<v Speaker 2>name it, even public Enemy with the bomb Squad. Now

0:27:33.756 --> 0:27:37.796
<v Speaker 2>you'll look, that record is two hundred dollars because they

0:27:37.876 --> 0:27:40.036
<v Speaker 2>know how Premiere use that, and a lot of people

0:27:40.996 --> 0:27:43.556
<v Speaker 2>get put Yeah, people want to own that record. So

0:27:43.716 --> 0:27:45.836
<v Speaker 2>now it's two three hundred dollars, and I'm like, well, shit,

0:27:45.916 --> 0:27:46.716
<v Speaker 2>do I get a cut of that?

0:27:47.876 --> 0:27:49.676
<v Speaker 1>So you ain't gonna tell us where that staff came from?

0:27:49.796 --> 0:27:55.156
<v Speaker 2>Au No, Hey, honestly, I can't remember for that one

0:27:55.156 --> 0:27:56.796
<v Speaker 2>because it's just one note.

0:27:56.916 --> 0:28:00.436
<v Speaker 3>But but when you play it, it goes boom, So it.

0:28:00.316 --> 0:28:03.676
<v Speaker 2>Doesn't just go boot. If you hear it on it,

0:28:03.676 --> 0:28:06.676
<v Speaker 2>it's gonna pull. So the fact that it has that

0:28:06.756 --> 0:28:10.516
<v Speaker 2>little curl on it. I just that one note and

0:28:10.596 --> 0:28:13.596
<v Speaker 2>just pitched it on different drum pads on the drum

0:28:13.676 --> 0:28:15.956
<v Speaker 2>on the machine, so now it's gonna boo boo boo.

0:28:18.356 --> 0:28:23.596
<v Speaker 2>And then just made it dancing the lyricals, and he

0:28:23.636 --> 0:28:26.756
<v Speaker 2>came in like that's it, that's it, And then he

0:28:27.556 --> 0:28:31.076
<v Speaker 2>we chilled for damn near eight hours because that's when

0:28:31.116 --> 0:28:35.076
<v Speaker 2>Bacardi Lamone had just come out, you know, and so

0:28:35.196 --> 0:28:37.636
<v Speaker 2>he has mad bottles. And not only that, a lot

0:28:37.676 --> 0:28:40.316
<v Speaker 2>of rappers started mentioning that in their rhymes, you know.

0:28:40.476 --> 0:28:43.796
<v Speaker 2>So he started drinking that eight hours past is getting

0:28:43.796 --> 0:28:45.476
<v Speaker 2>really late, and I'm like, yo, big, if we ain't

0:28:45.476 --> 0:28:47.716
<v Speaker 2>gonna record anything tonight, let's.

0:28:47.516 --> 0:28:50.956
<v Speaker 3>Come back tomorrow. He goes, oh, I'm ready. I'm like,

0:28:51.156 --> 0:28:54.236
<v Speaker 3>we've been sitting there for eight hours smoking and playing

0:28:54.276 --> 0:28:58.156
<v Speaker 3>pool and rolling dice and drinking Baccardi lamone. He's like, Okay, well,

0:28:58.196 --> 0:28:59.796
<v Speaker 3>I'm ready, let's do it. And he goes in the

0:28:59.876 --> 0:29:02.876
<v Speaker 3>booth and I'm like, you, did you write it down?

0:29:02.916 --> 0:29:06.196
<v Speaker 3>He goes, no, it's up in here. And that's my.

0:29:06.156 --> 0:29:12.036
<v Speaker 2>First time witnessing him record with no paper, and I

0:29:12.156 --> 0:29:14.436
<v Speaker 2>was like wow. And then jay Z did the same

0:29:14.516 --> 0:29:16.276
<v Speaker 2>thing no paper.

0:29:16.276 --> 0:29:18.596
<v Speaker 1>And jay Z did a similar thing too. He the

0:29:18.636 --> 0:29:21.236
<v Speaker 1>Evils from Recentable Doubt Jason's record.

0:29:21.356 --> 0:29:25.116
<v Speaker 2>Yeah, called me, did the rhyme over the phone, explain

0:29:25.396 --> 0:29:27.316
<v Speaker 2>what scratch sequence he wanted.

0:29:27.516 --> 0:29:29.396
<v Speaker 3>I'm good either way most of them. Most of the time.

0:29:29.396 --> 0:29:31.756
<v Speaker 2>Obviously, I come up with it, but I have no

0:29:31.756 --> 0:29:35.476
<v Speaker 2>problem if an MC like jay Z or Biggie knows

0:29:35.556 --> 0:29:38.156
<v Speaker 2>what they want, and then I'll see if it works.

0:29:37.996 --> 0:29:38.596
<v Speaker 3>Scratch it in.

0:29:38.676 --> 0:29:41.116
<v Speaker 2>If if it's I'm like cool, it's still gonna have

0:29:41.236 --> 0:29:46.516
<v Speaker 2>my style. Of input, but jay Z told me exactly

0:29:46.556 --> 0:29:49.236
<v Speaker 2>what he wanted. The other two songs, he I just

0:29:49.276 --> 0:29:51.316
<v Speaker 2>made the beat on the spot and then he was like, oh,

0:29:51.356 --> 0:29:53.356
<v Speaker 2>I got something for that, like friend of friend of foe.

0:29:53.836 --> 0:29:56.356
<v Speaker 2>And then with bring it On, he said, I'm bringing

0:29:56.356 --> 0:29:58.516
<v Speaker 2>to him. Well, jazz O was already down with jay

0:29:58.636 --> 0:30:00.916
<v Speaker 2>Z but saw some money we had never heard of,

0:30:01.036 --> 0:30:03.556
<v Speaker 2>and he brought him in and we did Bring it On.

0:30:03.956 --> 0:30:08.156
<v Speaker 1>That's incredible. You do two other biggie records on Life

0:30:08.196 --> 0:30:10.756
<v Speaker 1>after Death, Yeah, one of them being Kicking the Door,

0:30:11.876 --> 0:30:12.916
<v Speaker 1>What made You settle?

0:30:12.996 --> 0:30:13.196
<v Speaker 3>On?

0:30:13.516 --> 0:30:16.036
<v Speaker 1>The I Put a Spell on You sample.

0:30:16.476 --> 0:30:19.156
<v Speaker 2>I Put a Spell on You was a very well

0:30:19.196 --> 0:30:21.836
<v Speaker 2>known record in Texas because, like I said, I come

0:30:21.836 --> 0:30:24.756
<v Speaker 2>from a town where we didn't call it R and B.

0:30:24.756 --> 0:30:26.916
<v Speaker 2>Back then, it was called soul music. If you go

0:30:26.956 --> 0:30:30.756
<v Speaker 2>to the record store, it was rock jazz. They didn't

0:30:30.796 --> 0:30:33.396
<v Speaker 2>say pop, and it didn't say R and B. It

0:30:33.436 --> 0:30:36.876
<v Speaker 2>said soul. So me and my mother, who was a

0:30:37.276 --> 0:30:40.156
<v Speaker 2>very big record collector aside from being an art teacher,

0:30:40.396 --> 0:30:42.876
<v Speaker 2>and she taught me aret in junior high and high school.

0:30:43.276 --> 0:30:45.556
<v Speaker 2>You know, and everybody knows my mom, you know, so

0:30:46.596 --> 0:30:49.556
<v Speaker 2>and everybody in my neighborhood has a painting that she

0:30:49.756 --> 0:30:50.836
<v Speaker 2>did in their house.

0:30:51.116 --> 0:30:53.876
<v Speaker 3>Even the funeral home where our funerals.

0:30:53.316 --> 0:30:56.316
<v Speaker 2>Were held, there's pictures in the viewing room that my

0:30:56.396 --> 0:30:58.396
<v Speaker 2>mom did in the bathrooms.

0:30:58.796 --> 0:31:00.836
<v Speaker 3>I was like, damn, I can't escape her anywhere.

0:31:00.916 --> 0:31:04.636
<v Speaker 1>So that's beautiful though, Oh yeah, by leaving a legacy,

0:31:04.676 --> 0:31:07.436
<v Speaker 1>oh yeah, many. Basically, it was just a record you

0:31:07.516 --> 0:31:08.356
<v Speaker 1>heard around Texas.

0:31:08.596 --> 0:31:11.556
<v Speaker 2>It's a record that was popular and where we're from,

0:31:11.636 --> 0:31:14.196
<v Speaker 2>you know, screaming Jay Hawkins is I Put a Spell

0:31:14.196 --> 0:31:15.276
<v Speaker 2>on you as a popular record.

0:31:15.356 --> 0:31:16.676
<v Speaker 3>We all knew the lyrics to it.

0:31:17.076 --> 0:31:20.156
<v Speaker 2>I never planned on making it into a hip hop

0:31:20.196 --> 0:31:23.516
<v Speaker 2>record for Big but when it came to him even

0:31:23.556 --> 0:31:26.916
<v Speaker 2>that I only charged him five thousand dollars for Unbelievable,

0:31:27.236 --> 0:31:29.756
<v Speaker 2>and I said, if you go platinum and you get paid,

0:31:30.356 --> 0:31:34.676
<v Speaker 2>I'm charging you triple. The next time he said done deal.

0:31:34.916 --> 0:31:37.956
<v Speaker 2>He ended up paying six times the amount. Yeah for

0:31:38.876 --> 0:31:40.996
<v Speaker 2>each record. Yeah, for kicking the Door and tenk record man.

0:31:41.196 --> 0:31:43.396
<v Speaker 2>So he kept his word. I said, you know you're

0:31:43.396 --> 0:31:46.076
<v Speaker 2>going to pay what I told you? He goes, oh, no,

0:31:46.356 --> 0:31:49.476
<v Speaker 2>I got you. Oh like Biggie was say doubt.

0:31:52.156 --> 0:31:54.156
<v Speaker 1>Puff didn't like that record though, right Kicking the.

0:31:54.076 --> 0:31:55.636
<v Speaker 3>Door night didn't. He didn't.

0:31:56.156 --> 0:31:58.436
<v Speaker 2>I dropped off the beat. That's where we used to

0:31:58.436 --> 0:32:01.476
<v Speaker 2>put it on those little ten minute cassettes. I drop

0:32:01.516 --> 0:32:05.036
<v Speaker 2>it off, and later on that evening they call us

0:32:05.076 --> 0:32:08.476
<v Speaker 2>and say, hey, you're ready to die. Platinum albums plaques

0:32:08.516 --> 0:32:10.476
<v Speaker 2>came in, so I was like, ooh, so I'm going

0:32:10.516 --> 0:32:12.556
<v Speaker 2>to pick that up, not thinking about the new track.

0:32:13.196 --> 0:32:17.876
<v Speaker 2>Buff sees me in the in the lobby and he's like, yo, man,

0:32:18.476 --> 0:32:20.236
<v Speaker 2>can you work on a new beat to give to

0:32:20.356 --> 0:32:22.516
<v Speaker 2>Big because I don't like the one that you that

0:32:22.636 --> 0:32:25.356
<v Speaker 2>you gave him. And I'm like, okay, no problem. You know,

0:32:25.436 --> 0:32:28.476
<v Speaker 2>if you don't like it, I'm not offended. But uh

0:32:28.516 --> 0:32:30.476
<v Speaker 2>he said, yeah, I need something a little more like

0:32:30.836 --> 0:32:33.276
<v Speaker 2>that's gonna rock in the tunnel. I said, that's gonna

0:32:33.356 --> 0:32:37.116
<v Speaker 2>rock in the tunnel? I said, mark my words. I said, why.

0:32:36.996 --> 0:32:38.676
<v Speaker 3>Don't you live Big here?

0:32:38.716 --> 0:32:39.916
<v Speaker 2>And he said, oh, I'm gonna give it to him

0:32:39.956 --> 0:32:42.996
<v Speaker 2>and let him hear it, but still work on something else,

0:32:42.996 --> 0:32:46.116
<v Speaker 2>because they already hired me for two records, even though

0:32:46.236 --> 0:32:48.356
<v Speaker 2>Crack Commandments wasn't a thought yet.

0:32:48.596 --> 0:32:51.116
<v Speaker 3>I was like, okay, I'll work on another one. Big

0:32:51.196 --> 0:32:51.636
<v Speaker 3>calls me.

0:32:51.716 --> 0:32:53.716
<v Speaker 2>Maybe a couple hours later, and he's like, yo, you

0:32:53.756 --> 0:32:56.636
<v Speaker 2>could come down and uh we could work on on

0:32:56.716 --> 0:32:58.996
<v Speaker 2>that beat. And I'm like, well, I'm working on a

0:32:58.996 --> 0:33:00.956
<v Speaker 2>new one now. He goes, no, the one you gave

0:33:00.996 --> 0:33:03.596
<v Speaker 2>Puff earlier. And I was like, oh, well he don't

0:33:03.636 --> 0:33:05.996
<v Speaker 2>like that one. He goes, man, fuck, then I'm gonna

0:33:06.076 --> 0:33:11.636
<v Speaker 2>kill this record. And that's that's he said. I'm going, Oh,

0:33:11.676 --> 0:33:13.756
<v Speaker 2>I got some shit for this. I said, all right,

0:33:13.876 --> 0:33:16.476
<v Speaker 2>and you know, it's so dope. After we did the record,

0:33:17.116 --> 0:33:19.556
<v Speaker 2>Buff was like, you know what, once I hear the

0:33:19.636 --> 0:33:22.876
<v Speaker 2>lyrics to it, I love it. It's a go and

0:33:22.916 --> 0:33:25.676
<v Speaker 2>he's a boss, so if he says no, it's not

0:33:25.716 --> 0:33:26.156
<v Speaker 2>coming out.

0:33:26.196 --> 0:33:27.516
<v Speaker 3>But he ended up liking it.

0:33:27.756 --> 0:33:30.436
<v Speaker 1>One other big thing I heard is that you were

0:33:30.476 --> 0:33:33.716
<v Speaker 1>with Big and Jy like about a month before Big

0:33:33.756 --> 0:33:36.956
<v Speaker 1>went to LA for his last trip YEP to LA

0:33:38.076 --> 0:33:40.436
<v Speaker 1>and he was conflicted about going.

0:33:41.036 --> 0:33:44.436
<v Speaker 2>Yeah, he at that time they were working on Brooklyn's

0:33:44.476 --> 0:33:46.276
<v Speaker 2>Finest and there was just talk about him going to

0:33:46.396 --> 0:33:48.076
<v Speaker 2>LA and he just said he didn't want to go

0:33:48.156 --> 0:33:51.436
<v Speaker 2>at that time. I don't know what transpired later because

0:33:51.876 --> 0:33:53.316
<v Speaker 2>I always tell this story.

0:33:54.036 --> 0:33:55.516
<v Speaker 3>If you saw the.

0:33:55.156 --> 0:33:58.956
<v Speaker 2>Notorious movie, at the end of the movie where he's

0:33:58.996 --> 0:34:01.836
<v Speaker 2>in the studio and he's smiling and they're playing Sky's

0:34:01.836 --> 0:34:06.036
<v Speaker 2>the Limit. That session was really my session because the

0:34:06.116 --> 0:34:09.516
<v Speaker 2>tin Crack comandments was the last song we did, and

0:34:09.676 --> 0:34:12.196
<v Speaker 2>the part where he's smiling, he goes, Yo, it's over,

0:34:12.276 --> 0:34:15.636
<v Speaker 2>I'm the greatest. That was really my session. But you know,

0:34:15.716 --> 0:34:18.596
<v Speaker 2>earlier in the movie they played ten Crack of Mammas.

0:34:18.756 --> 0:34:21.956
<v Speaker 2>They when his son played him and they were selling

0:34:21.996 --> 0:34:24.556
<v Speaker 2>the crack to on the street and they played tin

0:34:24.596 --> 0:34:25.396
<v Speaker 2>Cracker mammers there.

0:34:25.436 --> 0:34:26.996
<v Speaker 3>I guess it was more fitting for that part of

0:34:27.036 --> 0:34:31.876
<v Speaker 3>the movie. But that scene when he said prem is over, I'm.

0:34:31.716 --> 0:34:35.796
<v Speaker 2>The greatest, and I told Cho Coca about that, And

0:34:35.916 --> 0:34:37.836
<v Speaker 2>even though I know he had a lot of input

0:34:38.316 --> 0:34:41.396
<v Speaker 2>with the shape of the movie along with Biggs family,

0:34:42.116 --> 0:34:45.676
<v Speaker 2>that scene is really should have been him listening to

0:34:45.716 --> 0:34:48.316
<v Speaker 2>the Crack of Mammas and when he said it's over,

0:34:48.356 --> 0:34:49.076
<v Speaker 2>I'm the greatest.

0:34:49.116 --> 0:34:51.396
<v Speaker 3>He was still in the vocal booth, you know, in

0:34:51.436 --> 0:34:55.196
<v Speaker 3>a wheelchair. Right he got the car accident. He broke

0:34:55.276 --> 0:34:58.236
<v Speaker 3>his hip when seeing him easy crash to a car.

0:34:58.796 --> 0:34:59.396
<v Speaker 3>So and I.

0:34:59.316 --> 0:35:02.476
<v Speaker 2>Remember he said, hey, my first video is called Hypnotized

0:35:02.516 --> 0:35:04.556
<v Speaker 2>Prima and I'm gonna I'm doing physical therapy.

0:35:04.596 --> 0:35:07.436
<v Speaker 3>I'm gonna dance and he did you know? He did

0:35:07.516 --> 0:35:08.116
<v Speaker 3>the little Yeah.

0:35:08.356 --> 0:35:10.676
<v Speaker 2>If you look at the the hypnotized video, he's dancing

0:35:10.716 --> 0:35:12.956
<v Speaker 2>in it and he looks so happy too.

0:35:13.276 --> 0:35:15.556
<v Speaker 1>How did it feel for you knowing you were with

0:35:15.636 --> 0:35:18.196
<v Speaker 1>him a month before and he's feeling like, maybe I

0:35:18.236 --> 0:35:20.636
<v Speaker 1>don't want to go to La. Very weird you get

0:35:20.636 --> 0:35:21.036
<v Speaker 1>the news.

0:35:21.036 --> 0:35:25.956
<v Speaker 2>He's very weird because to get the news, my former

0:35:26.076 --> 0:35:29.076
<v Speaker 2>manager shot the fact. Gary, his girl at the time,

0:35:29.596 --> 0:35:33.556
<v Speaker 2>was best friends with Nino's girlfriend. Everybody knows that knows

0:35:33.636 --> 0:35:35.876
<v Speaker 2>Junior Mafia knows Nino. He is one of the guys

0:35:35.876 --> 0:35:39.236
<v Speaker 2>close to Big. So we got the news early because

0:35:39.236 --> 0:35:43.436
<v Speaker 2>obviously since he's a family member Big, they're already making calls,

0:35:43.476 --> 0:35:46.076
<v Speaker 2>you know, six in the morning saying that he's been killed.

0:35:46.716 --> 0:35:48.116
<v Speaker 3>So and I was like, how did you know?

0:35:48.196 --> 0:35:50.516
<v Speaker 2>He said, you know, Nino's girl is best friends with

0:35:50.556 --> 0:35:52.476
<v Speaker 2>my girl and they just called us in the middle

0:35:52.516 --> 0:35:54.756
<v Speaker 2>of the early morning and just told us that they

0:35:54.796 --> 0:35:57.476
<v Speaker 2>just he just got killed in La So we knew

0:35:57.516 --> 0:35:59.836
<v Speaker 2>before it was even We turned on the radio, turn

0:35:59.916 --> 0:36:00.356
<v Speaker 2>on TV.

0:36:00.556 --> 0:36:00.916
<v Speaker 3>Nothing.

0:36:01.796 --> 0:36:04.676
<v Speaker 2>It's probably like almost an hour to two hours later

0:36:05.036 --> 0:36:06.396
<v Speaker 2>they started making the announcement.

0:36:06.476 --> 0:36:07.556
<v Speaker 3>So we already knew.

0:36:07.876 --> 0:36:11.116
<v Speaker 1>That's wild Man and that whole that whole thing with

0:36:11.116 --> 0:36:13.196
<v Speaker 1>with Pock and Big Too must have been interesting for you.

0:36:13.196 --> 0:36:15.796
<v Speaker 1>You're you're interesting because you always like at the you're

0:36:15.836 --> 0:36:18.516
<v Speaker 1>kind of always in the middle of everything, Like like

0:36:18.836 --> 0:36:20.836
<v Speaker 1>Jerrew the Damager, who did a lot of work with

0:36:20.916 --> 0:36:24.836
<v Speaker 1>Incredible MC. He's beefing with with Bad Boy Records.

0:36:25.316 --> 0:36:30.756
<v Speaker 3>He wasn't beefing, it was they were mad at him. Yeah, well, yeah,

0:36:30.796 --> 0:36:32.836
<v Speaker 3>what it was. It's real simple.

0:36:32.996 --> 0:36:35.996
<v Speaker 2>At the time when we were at the Sauce Awards,

0:36:36.316 --> 0:36:38.356
<v Speaker 2>we were very hot. At the time, Jay Ru was

0:36:38.476 --> 0:36:41.116
<v Speaker 2>very hot. We thought we was gonna get Producer of

0:36:41.156 --> 0:36:44.556
<v Speaker 2>the Year and Jay rw was so big at that

0:36:44.596 --> 0:36:47.676
<v Speaker 2>time come Clean and his Sunrises in the East album,

0:36:47.996 --> 0:36:51.916
<v Speaker 2>and the Sauce Awards was the first televised one. It

0:36:51.996 --> 0:36:55.076
<v Speaker 2>was a pre taped one the year before that aired,

0:36:55.116 --> 0:36:58.956
<v Speaker 2>but this one is live. So when we were there

0:36:59.716 --> 0:37:01.556
<v Speaker 2>with all the stuff going back and forth, we were

0:37:01.556 --> 0:37:03.956
<v Speaker 2>a little more hot headed back then. We're not now

0:37:03.996 --> 0:37:07.596
<v Speaker 2>we're grown, but you know, you remember we're we're in

0:37:07.596 --> 0:37:11.556
<v Speaker 2>our twenties going into our thirties. We're very, very gung

0:37:11.596 --> 0:37:14.916
<v Speaker 2>hole about sticking to the script of not ever bound

0:37:15.036 --> 0:37:18.796
<v Speaker 2>down to watering down the music. So when when all

0:37:18.836 --> 0:37:21.716
<v Speaker 2>the back and forth was going on with Sugar and Puff,

0:37:22.356 --> 0:37:24.956
<v Speaker 2>we went to the studio and I was working on

0:37:25.116 --> 0:37:27.876
<v Speaker 2>Jayrew's second album, Rath of the Math, and I put

0:37:27.876 --> 0:37:31.236
<v Speaker 2>this track on. It was called one Day, but he

0:37:31.356 --> 0:37:35.316
<v Speaker 2>talked about what happened all in one day, almost like

0:37:35.396 --> 0:37:38.276
<v Speaker 2>a fictional story. But he but he wasn't afraid to

0:37:38.316 --> 0:37:42.556
<v Speaker 2>mention anybody's names because that's just how Puff, Yeah, and

0:37:42.876 --> 0:37:45.916
<v Speaker 2>the others, Foxy Brown, a guy named Jay Black, you know.

0:37:46.036 --> 0:37:49.676
<v Speaker 2>So when he mentioned all of that, we were still

0:37:49.716 --> 0:37:51.956
<v Speaker 2>on some you know, let's put this out as a

0:37:52.036 --> 0:37:53.796
<v Speaker 2>leak before we dropped the first single.

0:37:54.356 --> 0:37:56.396
<v Speaker 3>Yes, it pierced a lot.

0:37:56.236 --> 0:37:59.156
<v Speaker 2>Of people in that and the bad Boy crew, and

0:37:59.196 --> 0:38:01.556
<v Speaker 2>they took it the wrong way. But one thing I

0:38:01.596 --> 0:38:05.116
<v Speaker 2>got to say is when it got to that point,

0:38:05.236 --> 0:38:09.396
<v Speaker 2>Puff called Jay Rwe he called the label, told we

0:38:09.436 --> 0:38:11.596
<v Speaker 2>got to have a talk about this, and they got

0:38:11.636 --> 0:38:14.076
<v Speaker 2>into a big back and forth about you know, don't

0:38:14.076 --> 0:38:15.836
<v Speaker 2>say my name on the record. Jay R was like,

0:38:15.876 --> 0:38:17.956
<v Speaker 2>I'll say whatever I want, and they're going back and forth,

0:38:17.956 --> 0:38:20.516
<v Speaker 2>back and forth, back and forth. And one thing I

0:38:20.556 --> 0:38:23.596
<v Speaker 2>gotta say about Puff was he said, you know what,

0:38:24.436 --> 0:38:27.516
<v Speaker 2>I gotta respect jay Ruth for not being afraid to

0:38:27.596 --> 0:38:31.076
<v Speaker 2>say my name no matter how he felt where he said.

0:38:31.116 --> 0:38:32.996
<v Speaker 2>I know a lot of people probably say stuff about

0:38:32.996 --> 0:38:35.836
<v Speaker 2>me and their raps, but they just do it subliminally.

0:38:36.316 --> 0:38:38.236
<v Speaker 2>He said, jay Ruth was man enough to say it

0:38:38.316 --> 0:38:40.596
<v Speaker 2>and tell me that he's standing on it, like what

0:38:40.676 --> 0:38:43.276
<v Speaker 2>they say now stand on business. We've been standing on business.

0:38:43.476 --> 0:38:45.836
<v Speaker 2>And he gave him his respect, and then it just

0:38:45.956 --> 0:38:46.916
<v Speaker 2>finally fizzled out.

0:38:46.956 --> 0:38:48.236
<v Speaker 1>But I love that you never get in the middle

0:38:48.236 --> 0:38:50.836
<v Speaker 1>of it either, Like you made the beat, your name's

0:38:50.876 --> 0:38:51.436
<v Speaker 1>mentioned in it.

0:38:51.516 --> 0:38:52.876
<v Speaker 3>I told I told all of them.

0:38:52.876 --> 0:38:55.036
<v Speaker 2>I told Big it cause even Big was like, man,

0:38:55.036 --> 0:38:57.196
<v Speaker 2>he's gotta be talking about me too, because he said

0:38:57.436 --> 0:38:59.676
<v Speaker 2>hip hop had on a Vasace suit. I'm like, you're

0:38:59.716 --> 0:39:03.916
<v Speaker 2>not the first one wearing Vasace. Mad people wearing VASACEI

0:39:03.956 --> 0:39:06.636
<v Speaker 2>before you, and we would have said your name too,

0:39:07.036 --> 0:39:09.356
<v Speaker 2>you know, if we wanted to say your name. Everybody

0:39:09.476 --> 0:39:12.036
<v Speaker 2>mentioned with the specific people that were brought up, and

0:39:12.076 --> 0:39:14.716
<v Speaker 2>that was it. But it did finally fizzled out of

0:39:14.716 --> 0:39:16.636
<v Speaker 2>the years later. And uh and like I said, the

0:39:16.676 --> 0:39:19.196
<v Speaker 2>respect was given because I was in the session to

0:39:19.316 --> 0:39:21.276
<v Speaker 2>hear all the talk you know, Jay Rudy was like,

0:39:21.356 --> 0:39:21.956
<v Speaker 2>let me go with.

0:39:21.876 --> 0:39:23.596
<v Speaker 1>You, and you were on the response, but you I

0:39:23.636 --> 0:39:25.796
<v Speaker 1>mean he Big responds on kicking the door.

0:39:26.636 --> 0:39:30.276
<v Speaker 3>Kicking the door. He always said, I got some.

0:39:30.236 --> 0:39:32.276
<v Speaker 1>Of your friends with Big, your friends with Park, your

0:39:32.276 --> 0:39:34.356
<v Speaker 1>friends with Lady of Rages on death Row. You're kind

0:39:34.356 --> 0:39:36.556
<v Speaker 1>of always in there, all of us.

0:39:36.636 --> 0:39:40.356
<v Speaker 2>Yeah, and I'm not doing it to be a trouble maker.

0:39:40.476 --> 0:39:43.796
<v Speaker 2>But still, back in that time when we were much younger,

0:39:43.836 --> 0:39:46.396
<v Speaker 2>we were very rebellious and hard headed, you know, a

0:39:46.396 --> 0:39:48.996
<v Speaker 2>little ignorant. But as you grow you look back and

0:39:49.036 --> 0:39:51.996
<v Speaker 2>you go, wow, we went through some ship but at

0:39:52.036 --> 0:39:55.196
<v Speaker 2>the same time, everybody got got respect for each other.

0:39:55.476 --> 0:39:57.916
<v Speaker 2>It's just so sad that Pock and Big had to

0:39:58.596 --> 0:40:01.356
<v Speaker 2>leave us so soon, and Big l because we all

0:40:01.396 --> 0:40:04.556
<v Speaker 2>were in the same clubs together, we were all hanging together.

0:40:04.596 --> 0:40:05.516
<v Speaker 3>We were all cool.

0:40:05.956 --> 0:40:09.116
<v Speaker 2>You know, I knew Pocking Big seeing them together for years,

0:40:09.756 --> 0:40:12.796
<v Speaker 2>being good friends with each other, you know. So it's

0:40:12.836 --> 0:40:15.756
<v Speaker 2>sad that they're both gone. And then it was never

0:40:15.876 --> 0:40:19.276
<v Speaker 2>an East Coast West Coast beef. You got fans that

0:40:19.596 --> 0:40:22.996
<v Speaker 2>fuel it like that, but the fans are not in

0:40:23.036 --> 0:40:25.196
<v Speaker 2>the mix of the situation that was going down I

0:40:25.236 --> 0:40:26.916
<v Speaker 2>had nothing to do with the music.

0:40:26.836 --> 0:40:27.396
<v Speaker 1>Right right.

0:40:27.476 --> 0:40:27.676
<v Speaker 3>Yeah.

0:40:27.796 --> 0:40:30.796
<v Speaker 1>So it's incredible too because I think you said something

0:40:30.836 --> 0:40:32.676
<v Speaker 1>and I never heard this that Big wanted to get

0:40:32.676 --> 0:40:37.196
<v Speaker 1>Doctor Dre to do records with him. Yea life after that,

0:40:37.796 --> 0:40:38.756
<v Speaker 1>which would have been amazing.

0:40:38.796 --> 0:40:40.476
<v Speaker 3>It was the day after the Source Awars.

0:40:40.836 --> 0:40:44.356
<v Speaker 2>Yeah, he has suged you know, how can we connect

0:40:44.396 --> 0:40:46.796
<v Speaker 2>to do a record? So that shows you right there, Big,

0:40:47.356 --> 0:40:49.876
<v Speaker 2>they're not thinking about all the talk that happened at

0:40:49.876 --> 0:40:52.036
<v Speaker 2>the Source Awards. He's like, let's get some work done

0:40:52.076 --> 0:40:53.196
<v Speaker 2>with some music again.

0:40:54.476 --> 0:40:56.236
<v Speaker 1>After one last break, we'll be back with the rest

0:40:56.236 --> 0:41:03.796
<v Speaker 1>of my conversation with DJ Premiere. Here's the rest of

0:41:03.836 --> 0:41:07.556
<v Speaker 1>my conversation with DJ Premiere. Hold up, I want to

0:41:07.556 --> 0:41:10.116
<v Speaker 1>play Let's play the song and I want to play

0:41:10.156 --> 0:41:24.356
<v Speaker 1>with you with your sample. Yeah, man, it's impossible to

0:41:24.436 --> 0:41:25.836
<v Speaker 1>not it's hard to turn that off.

0:41:25.876 --> 0:41:30.076
<v Speaker 3>But you know, out to DiAngelo man, one of the greatest.

0:41:29.876 --> 0:41:43.676
<v Speaker 1>Ridiculous Yeah, let's play where that comes from? First Teddy

0:41:43.676 --> 0:41:48.836
<v Speaker 1>Pendergrass first record, That's where it comes from. Right.

0:41:49.916 --> 0:41:51.396
<v Speaker 3>Uh, maybe.

0:41:53.716 --> 0:41:54.436
<v Speaker 1>It sounds like.

0:41:54.436 --> 0:41:56.516
<v Speaker 3>It sounds like it?

0:41:57.916 --> 0:41:58.516
<v Speaker 1>Am I wrong?

0:42:00.076 --> 0:42:00.596
<v Speaker 3>You could be.

0:42:05.316 --> 0:42:10.316
<v Speaker 1>I want to play this game with you, man. Okay, Well, let's.

0:42:10.116 --> 0:42:12.596
<v Speaker 3>Assume it's that, okay, allegedly.

0:42:12.716 --> 0:42:18.556
<v Speaker 1>Allegedly it's Teddy Pendergrass for his record produced by Gambling Huff, Yes, sir,

0:42:19.116 --> 0:42:23.796
<v Speaker 1>And it's a shuffle in three dun du un dun dun.

0:42:23.956 --> 0:42:25.516
<v Speaker 1>It's like a shuffle, it's a waltz.

0:42:25.636 --> 0:42:25.796
<v Speaker 3>Right.

0:42:26.436 --> 0:42:28.556
<v Speaker 1>If this is the song allegedly, you turn it into

0:42:28.876 --> 0:42:32.636
<v Speaker 1>like a call and response, dunda dun dun dun starts

0:42:32.636 --> 0:42:35.076
<v Speaker 1>over dun dunda dun ridiculous.

0:42:35.236 --> 0:42:39.316
<v Speaker 2>Right, Hey, that's the part of the creativity of sampling.

0:42:39.436 --> 0:42:43.596
<v Speaker 2>If you're deep rooted into respecting the art form of

0:42:43.636 --> 0:42:45.916
<v Speaker 2>HAIs a ton you know when you have people like

0:42:46.076 --> 0:42:47.516
<v Speaker 2>you know, Larry Smith.

0:42:47.196 --> 0:42:50.156
<v Speaker 3>And Molly Ma who was my idol.

0:42:50.596 --> 0:42:55.956
<v Speaker 2>Mally just revolutionized sampling first and brought it to the

0:42:55.956 --> 0:42:59.636
<v Speaker 2>forefront with records like The Bridge and Eric bi as

0:42:59.676 --> 0:43:03.196
<v Speaker 2>President and Coogi rapping DJ Polo Rode to the Riches

0:43:03.276 --> 0:43:05.996
<v Speaker 2>and records like that Big Daddy Kane. We just took

0:43:05.996 --> 0:43:08.556
<v Speaker 2>it to another level after Mally taught us how to

0:43:08.596 --> 0:43:12.316
<v Speaker 2>do it. So part of my creativity comes from being

0:43:12.316 --> 0:43:14.756
<v Speaker 2>a DJ, because I think DJs have more of an

0:43:14.876 --> 0:43:18.956
<v Speaker 2>understanding of how to manipulate sounds and make it into

0:43:18.996 --> 0:43:22.116
<v Speaker 2>a whole new thing because when we DJ, or if

0:43:22.196 --> 0:43:25.396
<v Speaker 2>especially if you're a battle DJ, you're taking records and

0:43:25.516 --> 0:43:29.556
<v Speaker 2>destroying your opponent in a battle by taking the departs

0:43:29.596 --> 0:43:32.756
<v Speaker 2>and reworking it a way where the cold crowd's going, oh,

0:43:32.876 --> 0:43:35.996
<v Speaker 2>you know, and it's only more understood by people in

0:43:36.036 --> 0:43:39.796
<v Speaker 2>the culture that are into DJing and whatnot. But that's

0:43:39.876 --> 0:43:43.556
<v Speaker 2>my always my approach before our program, it is, how

0:43:43.596 --> 0:43:45.356
<v Speaker 2>could I make this turn into something else?

0:43:45.396 --> 0:43:47.836
<v Speaker 3>And you gotta you know, you gotta hurt your neck.

0:43:48.036 --> 0:43:50.876
<v Speaker 1>So yeah, not only is it crazy the way you

0:43:50.916 --> 0:43:57.196
<v Speaker 1>manipulated the sample allegedly, but the other the other incredible

0:43:57.236 --> 0:44:00.076
<v Speaker 1>thing is it's in a record that's a classic record,

0:44:00.116 --> 0:44:02.036
<v Speaker 1>one of the great records of all time, that's pretty

0:44:02.076 --> 0:44:06.596
<v Speaker 1>much only produced by D'Angelo and Rafael Sadek. You come

0:44:06.676 --> 0:44:09.316
<v Speaker 1>in second track, fit seamlessly in that.

0:44:09.516 --> 0:44:12.396
<v Speaker 2>Yeah, we were labelmates, me and D'Angelo, so we knew

0:44:12.436 --> 0:44:16.076
<v Speaker 2>each other before he did the Brown Sugar album and

0:44:16.396 --> 0:44:19.036
<v Speaker 2>I was on tour at the time with the nas

0:44:19.196 --> 0:44:23.276
<v Speaker 2>mop and uh Jay Ruth's debut album, and he asked

0:44:23.276 --> 0:44:27.076
<v Speaker 2>me to do a remix to Lady, which I did

0:44:27.116 --> 0:44:29.516
<v Speaker 2>a version where I took I used to call it

0:44:29.716 --> 0:44:32.156
<v Speaker 2>just the drums or just the basse. This one, I

0:44:32.196 --> 0:44:35.236
<v Speaker 2>took the music out and just had the drums and

0:44:35.356 --> 0:44:38.396
<v Speaker 2>played these stabs. Stabs is just a note.

0:44:38.596 --> 0:44:41.676
<v Speaker 3>Bam bam, bam, bam bam. We got those stabs, so

0:44:41.756 --> 0:44:42.756
<v Speaker 3>it was just stabs.

0:44:43.276 --> 0:44:45.196
<v Speaker 2>And he I remember I was on tour and he

0:44:45.236 --> 0:44:47.636
<v Speaker 2>was like, Yo, I'm shooting a video to your version

0:44:47.676 --> 0:44:50.956
<v Speaker 2>with the stabs, which he did and he had everybody

0:44:50.996 --> 0:44:51.716
<v Speaker 2>in America's that.

0:44:51.676 --> 0:44:52.996
<v Speaker 1>Video was all white in the back.

0:44:53.156 --> 0:44:54.436
<v Speaker 3>Yeah. Yeah, I remember Erica.

0:44:54.476 --> 0:44:57.236
<v Speaker 2>My dude was pregnant with with the Andred three thousand

0:44:57.876 --> 0:45:01.436
<v Speaker 2>son and and he just joy was in it and

0:45:01.756 --> 0:45:04.196
<v Speaker 2>just so many people. A Z was our labelmate as well,

0:45:04.236 --> 0:45:08.116
<v Speaker 2>who had got famous through nas ze Matic album, and uh,

0:45:08.196 --> 0:45:10.556
<v Speaker 2>he did the verse and it was just a dope video.

0:45:10.676 --> 0:45:13.036
<v Speaker 2>And and then from there he's like, I'm working on

0:45:13.036 --> 0:45:15.676
<v Speaker 2>my new album Voodoo what you Got? And I said, man,

0:45:15.716 --> 0:45:18.836
<v Speaker 2>I'm actually leaving the studio now. I was working with Cannabis.

0:45:19.196 --> 0:45:22.476
<v Speaker 2>It was a track that we worked on that didn't

0:45:22.876 --> 0:45:24.036
<v Speaker 2>turn into what we.

0:45:23.876 --> 0:45:24.676
<v Speaker 3>Were gonna work on.

0:45:26.356 --> 0:45:28.916
<v Speaker 2>Yeah, because he was doing he was doing a record

0:45:28.916 --> 0:45:31.956
<v Speaker 2>called Nignometry and he called me and said, I.

0:45:31.916 --> 0:45:34.436
<v Speaker 1>Want to.

0:45:35.716 --> 0:45:39.556
<v Speaker 2>Uh, okay in word nometry and uh and he's and

0:45:39.596 --> 0:45:42.836
<v Speaker 2>he said, I want a real driving baseline. So I

0:45:42.876 --> 0:45:46.956
<v Speaker 2>started just looking and did that. He said, no, you never.

0:45:47.276 --> 0:45:50.156
<v Speaker 2>I wish he would have. Yeah, shout the Byss man.

0:45:50.236 --> 0:45:50.876
<v Speaker 3>He's uh.

0:45:50.996 --> 0:45:52.956
<v Speaker 2>If you know him, we call him Biss. He he

0:45:53.036 --> 0:45:55.516
<v Speaker 2>didn't do the record. I'm literally leaving this me and

0:45:55.596 --> 0:45:58.196
<v Speaker 2>Biss and leaving the studio. I said, we'll work on

0:45:58.236 --> 0:46:01.836
<v Speaker 2>something later. And Dee and I were already friends. So

0:46:01.876 --> 0:46:04.036
<v Speaker 2>when he said, yo, man, I'm an electric lady. Which

0:46:04.076 --> 0:46:06.956
<v Speaker 2>is his sacred place, which is if y'all know, it's

0:46:07.036 --> 0:46:10.396
<v Speaker 2>Jimmy Hendrick Studio still to this day, I said, I

0:46:10.436 --> 0:46:12.636
<v Speaker 2>got this record I was doing with Bess, but uh,

0:46:13.076 --> 0:46:15.596
<v Speaker 2>it's on some hip hop rahym and shit. He was,

0:46:15.636 --> 0:46:17.636
<v Speaker 2>I want to hear it, and I was like, nah,

0:46:17.636 --> 0:46:21.196
<v Speaker 2>it's not really, it's not that type of vibe. I'll

0:46:21.276 --> 0:46:23.756
<v Speaker 2>work on something and meet you tomorrow, but I'll come by.

0:46:23.796 --> 0:46:25.636
<v Speaker 2>He said, I want to play these stuff anyway. He said,

0:46:25.716 --> 0:46:27.956
<v Speaker 2>Jay Diller is here, Qus Love is here. We're working

0:46:27.956 --> 0:46:28.636
<v Speaker 2>on some stuff.

0:46:29.116 --> 0:46:32.196
<v Speaker 3>I go there, Jay Dillar, we miss you, brother.

0:46:32.756 --> 0:46:35.996
<v Speaker 2>Quest Love is their work doing the drums to Untitled

0:46:36.516 --> 0:46:39.596
<v Speaker 2>is the one with where he was naked in the video.

0:46:40.316 --> 0:46:42.916
<v Speaker 2>They was there working on that and Jay Dilla was

0:46:42.956 --> 0:46:45.116
<v Speaker 2>in there playing the drums and laying some stuff down,

0:46:45.676 --> 0:46:47.316
<v Speaker 2>and then he said, let me hear the one that

0:46:47.356 --> 0:46:50.436
<v Speaker 2>you that you were working on. I played and Dangel

0:46:50.596 --> 0:46:55.556
<v Speaker 2>just goes, whoa yo, I want that? Like, he goes,

0:46:55.636 --> 0:46:58.356
<v Speaker 2>I'm gonna kill this, and we laid it down, and

0:46:58.396 --> 0:47:02.236
<v Speaker 2>that there's a picture of me Alchemists, who was just

0:47:02.276 --> 0:47:05.676
<v Speaker 2>starting to work on bes. We were about to go

0:47:05.716 --> 0:47:09.236
<v Speaker 2>on tour together. Alchemist was a roadie for Cyprus Hill,

0:47:09.676 --> 0:47:12.396
<v Speaker 2>but we will yeah, so so we were about to

0:47:12.396 --> 0:47:15.436
<v Speaker 2>go on tour. So that's why we were together. And

0:47:15.156 --> 0:47:17.596
<v Speaker 2>I asked de could I bring my friend with me?

0:47:18.156 --> 0:47:20.116
<v Speaker 2>And he goes, got something smoker. I said, oh, yeah,

0:47:20.116 --> 0:47:23.196
<v Speaker 2>he's from California. He got the crazy and we came

0:47:23.236 --> 0:47:25.676
<v Speaker 2>over there and J Diller that that picture is to

0:47:25.756 --> 0:47:29.556
<v Speaker 2>this day a classic picture Me di'angelo, J Dillon, Alchemist

0:47:29.796 --> 0:47:32.396
<v Speaker 2>and that's from that session of me bringing to be

0:47:33.076 --> 0:47:38.076
<v Speaker 2>Diler recording the some music for di'angelo and Questlove laying

0:47:38.196 --> 0:47:39.796
<v Speaker 2>the how does it feel drums?

0:47:39.876 --> 0:47:41.796
<v Speaker 1>You know what? The third amazing thing about that is then,

0:47:42.196 --> 0:47:45.076
<v Speaker 1>is that there couldn't be two songs with a different

0:47:45.076 --> 0:47:47.676
<v Speaker 1>feel on that record than unentitled how does It Feel?

0:47:48.396 --> 0:47:50.316
<v Speaker 1>And Devil's Pie and you know what else?

0:47:50.476 --> 0:47:52.716
<v Speaker 3>He said, Yo, I'm gonna be nigging in my first video.

0:47:52.996 --> 0:47:56.276
<v Speaker 3>He knew what that, Yeah, because because his trainer is

0:47:56.316 --> 0:47:58.316
<v Speaker 3>not in the picture, but his trainer had in this

0:47:58.476 --> 0:47:58.916
<v Speaker 3>late night.

0:47:59.356 --> 0:48:01.756
<v Speaker 2>It's late night, and his trainer came there to get

0:48:01.796 --> 0:48:05.396
<v Speaker 2>his abs tight because he said, I want to, he said, praying.

0:48:05.516 --> 0:48:08.476
<v Speaker 3>I'm gonna be glistening and I'm gonna he said, He said,

0:48:08.476 --> 0:48:10.236
<v Speaker 3>the women are going to go crazy, and they did

0:48:10.916 --> 0:48:14.236
<v Speaker 3>every you name it. The women went crazy for that video.

0:48:14.636 --> 0:48:14.916
<v Speaker 3>You know.

0:48:15.076 --> 0:48:16.596
<v Speaker 1>Are you still in touch with d Yeah?

0:48:16.596 --> 0:48:18.796
<v Speaker 3>I just hit him up. I'll tell you what day

0:48:18.836 --> 0:48:20.436
<v Speaker 3>it was, chuck us out.

0:48:21.036 --> 0:48:23.916
<v Speaker 2>It's to where I'll hit him up and go, yo,

0:48:24.036 --> 0:48:25.596
<v Speaker 2>we need you, motherfucker.

0:48:26.276 --> 0:48:28.716
<v Speaker 3>Like he's like, I know, I know, I know you know.

0:48:28.796 --> 0:48:32.156
<v Speaker 2>And it's to tell him, like, you know, you're such

0:48:32.196 --> 0:48:35.436
<v Speaker 2>an important beast to this music puzzle man, and we

0:48:35.556 --> 0:48:39.236
<v Speaker 2>need you, bro. So I just hit him on that.

0:48:39.516 --> 0:48:41.636
<v Speaker 2>I do it every now and then just to just

0:48:41.676 --> 0:48:44.596
<v Speaker 2>to uh, to let him know I love that.

0:48:44.636 --> 0:48:46.676
<v Speaker 1>You won't tell me where that sample comes from, You'll

0:48:46.716 --> 0:48:48.116
<v Speaker 1>show me that was February.

0:48:49.196 --> 0:48:50.676
<v Speaker 3>It was February fifteenth.

0:48:50.716 --> 0:48:53.036
<v Speaker 2>And there is the reason why I hit wow because

0:48:53.396 --> 0:48:58.236
<v Speaker 2>on Instagram there there was a post of di'angelo, Rick,

0:48:58.396 --> 0:49:03.156
<v Speaker 2>James Prince and like two other artists that were doing

0:49:03.196 --> 0:49:07.996
<v Speaker 2>classic songs and DiAngelo was doing a song that's rare

0:49:08.116 --> 0:49:10.836
<v Speaker 2>by funk a Delic and it's one of my favorite

0:49:10.916 --> 0:49:15.836
<v Speaker 2>songs from the Hardcore Jolly's album called soul Mates. It's

0:49:15.916 --> 0:49:18.436
<v Speaker 2>not one of their big records. And when I saw

0:49:18.556 --> 0:49:22.876
<v Speaker 2>d look what I wrote. I said, Man, I never

0:49:23.076 --> 0:49:26.236
<v Speaker 2>knew you shot a clip of singing soul Mats.

0:49:26.676 --> 0:49:28.196
<v Speaker 3>That's my fucking song.

0:49:28.796 --> 0:49:31.716
<v Speaker 2>I looped that guitar lick at the end and do

0:49:31.796 --> 0:49:33.236
<v Speaker 2>a routine at my shows.

0:49:33.796 --> 0:49:36.476
<v Speaker 3>Man, you are the funk and he gave me the

0:49:36.516 --> 0:49:37.516
<v Speaker 3>little yeah.

0:49:37.516 --> 0:49:38.716
<v Speaker 1>He gave me a little heart man.

0:49:38.836 --> 0:49:43.116
<v Speaker 2>And and check this out everybody's that they posted on there.

0:49:43.556 --> 0:49:45.956
<v Speaker 3>He was the only one that just put a funkadelic song.

0:49:46.356 --> 0:49:48.196
<v Speaker 3>All the rest of them they posted had.

0:49:48.076 --> 0:49:51.316
<v Speaker 2>The song that they sang and I put the dummies

0:49:51.316 --> 0:49:53.556
<v Speaker 2>that posted it called it a funk Adelic song.

0:49:53.676 --> 0:49:54.596
<v Speaker 3>They don't be knowing.

0:49:54.876 --> 0:49:57.476
<v Speaker 2>I said that Hardcore Jolly's LPI is phenomenon on He

0:49:57.556 --> 0:50:00.076
<v Speaker 2>put another one to see him playing that on the guitar,

0:50:00.116 --> 0:50:03.076
<v Speaker 2>and I never knew he played that, And that clip

0:50:03.636 --> 0:50:07.596
<v Speaker 2>lets me know he's another level of funky, you know

0:50:07.596 --> 0:50:11.116
<v Speaker 2>what I'm saying, Like he's a whole nother level of funky.

0:50:11.436 --> 0:50:14.916
<v Speaker 2>And I love him so much, man, because he's deep.

0:50:15.516 --> 0:50:17.996
<v Speaker 2>Got to kind of know him to understand him.

0:50:18.396 --> 0:50:20.716
<v Speaker 1>Have you worked with him since then? Like have you done?

0:50:21.116 --> 0:50:23.676
<v Speaker 2>I just gave him some music to work on, and

0:50:24.636 --> 0:50:27.796
<v Speaker 2>d definitely marches to the beat of his own drum.

0:50:27.836 --> 0:50:31.076
<v Speaker 2>When he feels like moving, then he'll move. You can't

0:50:31.156 --> 0:50:32.116
<v Speaker 2>tell him when.

0:50:32.356 --> 0:50:35.636
<v Speaker 1>His feel on the guitar too is you know, he's.

0:50:35.476 --> 0:50:37.516
<v Speaker 2>A keyboardist, but he plays that guitar too.

0:50:37.676 --> 0:50:40.396
<v Speaker 1>It's just a unique feel, like just his sense of timing,

0:50:40.436 --> 0:50:41.356
<v Speaker 1>you know what I mean, Like the way when you

0:50:41.396 --> 0:50:43.236
<v Speaker 1>hear Stevie Wonder play drums and a sense of time

0:50:43.236 --> 0:50:45.636
<v Speaker 1>and drums that's a little like it's sound like Stevie

0:50:45.636 --> 0:50:47.196
<v Speaker 1>like he has just his own.

0:50:47.236 --> 0:50:49.756
<v Speaker 3>Yeah, his own pocket.

0:50:49.796 --> 0:50:53.436
<v Speaker 2>So seeing that just got me amped, Like I wanted

0:50:53.556 --> 0:50:57.116
<v Speaker 2>him to know that badly, like dude, and I.

0:50:57.076 --> 0:50:59.796
<v Speaker 3>Sent That's why I sent it to him, because he's like, Yo,

0:50:59.876 --> 0:51:00.796
<v Speaker 3>where'd you find that?

0:51:01.076 --> 0:51:04.796
<v Speaker 2>And I was like, somebody posted you Prince, Rick James

0:51:04.836 --> 0:51:07.196
<v Speaker 2>and like two other artists I can't even remember doing

0:51:07.196 --> 0:51:09.036
<v Speaker 2>a cover of a song where they are.

0:51:09.276 --> 0:51:10.596
<v Speaker 3>Everything was acoustic.

0:51:10.316 --> 0:51:13.636
<v Speaker 2>Versions with them on just guitars. So that was his

0:51:13.756 --> 0:51:14.796
<v Speaker 2>choice and he was first and.

0:51:14.756 --> 0:51:17.356
<v Speaker 3>He just said a Funkadelic song. It's like, you don't

0:51:17.396 --> 0:51:18.436
<v Speaker 3>know the name of that.

0:51:19.396 --> 0:51:21.116
<v Speaker 1>Prince was a fan of Gangstar, right.

0:51:21.076 --> 0:51:22.796
<v Speaker 3>Yeah, man, because of DiAngelo.

0:51:23.196 --> 0:51:26.036
<v Speaker 2>He took me to a show that he was doing,

0:51:26.356 --> 0:51:28.796
<v Speaker 2>I think at Tramps, and that used to be one

0:51:28.836 --> 0:51:31.076
<v Speaker 2>of the venues that where a lot of New York

0:51:31.116 --> 0:51:31.996
<v Speaker 2>shows were done.

0:51:32.476 --> 0:51:34.836
<v Speaker 3>And he knew we would just talk Prince all the

0:51:34.836 --> 0:51:36.556
<v Speaker 3>time because him and Prince used to hang a lot.

0:51:37.196 --> 0:51:41.916
<v Speaker 2>And he said, Prince's gonna make a surprise performance. He said,

0:51:41.916 --> 0:51:43.836
<v Speaker 2>I gotta go do a little bit of press. Go

0:51:43.916 --> 0:51:45.756
<v Speaker 2>in that room over there, and I'll be back in

0:51:45.756 --> 0:51:48.156
<v Speaker 2>a few minutes. I was like, okay, and I ought

0:51:48.196 --> 0:51:50.636
<v Speaker 2>to open the door and there's a pool table and

0:51:50.756 --> 0:51:52.996
<v Speaker 2>Prince sitting there looking at me, and you.

0:51:52.956 --> 0:51:56.516
<v Speaker 3>Know, Prince gives you those looks and you're just like, yo,

0:51:57.516 --> 0:52:00.076
<v Speaker 3>you could be the thug. You could be the most

0:52:00.156 --> 0:52:02.076
<v Speaker 3>gangster dude. When you see.

0:52:01.916 --> 0:52:04.036
<v Speaker 2>Prince, you're gonna buy down and give him his give

0:52:04.076 --> 0:52:07.996
<v Speaker 2>him his flowers. Basically, d knew he was in there.

0:52:08.116 --> 0:52:10.276
<v Speaker 2>He tricked me and said, Yo, you just go in

0:52:10.316 --> 0:52:11.516
<v Speaker 2>that room and just wait for me for a few

0:52:11.556 --> 0:52:13.756
<v Speaker 2>minutes while I go do a couple of interviews, and

0:52:14.356 --> 0:52:16.076
<v Speaker 2>Treash from Naughty by Nature was there.

0:52:16.116 --> 0:52:18.116
<v Speaker 1>Oh man, I remember the greats.

0:52:18.236 --> 0:52:20.436
<v Speaker 2>I remember when Prince said, hey, man, I love Stepping

0:52:20.476 --> 0:52:23.396
<v Speaker 2>the Arena, which was our second album. Tretch punched me

0:52:23.396 --> 0:52:24.116
<v Speaker 2>in the chest and.

0:52:24.076 --> 0:52:26.196
<v Speaker 3>Goes, see, nigga, Prince love you.

0:52:26.396 --> 0:52:29.356
<v Speaker 2>And and I'm like, I'm like, I see that, and

0:52:29.556 --> 0:52:31.916
<v Speaker 2>we had we had a cool conversation and it's just

0:52:31.996 --> 0:52:36.356
<v Speaker 2>like Prince Man like like like my second album, did

0:52:36.396 --> 0:52:39.436
<v Speaker 2>you guys like changing And we weren't even at that

0:52:39.476 --> 0:52:42.036
<v Speaker 2>stage where you could change nothing. That was more than

0:52:42.156 --> 0:52:44.916
<v Speaker 2>enough for me. We had a conversation.

0:52:44.516 --> 0:52:46.236
<v Speaker 1>And he knew that he named the album. It's not

0:52:46.276 --> 0:52:47.196
<v Speaker 1>even like yo, like.

0:52:47.356 --> 0:52:49.956
<v Speaker 2>Yeah, Stepping the Arena, he said, one of my favorite albums.

0:52:49.956 --> 0:52:53.396
<v Speaker 2>And he's not into sampling really, but he understood the

0:52:53.476 --> 0:52:56.676
<v Speaker 2>artistry of how we constructed our music, so he appreciated

0:52:56.716 --> 0:53:00.236
<v Speaker 2>it in a different way than just looping a hit, you know,

0:53:00.596 --> 0:53:02.436
<v Speaker 2>which a lot of people do they loop hits and

0:53:02.516 --> 0:53:05.196
<v Speaker 2>then from there it's a hit again.

0:53:05.836 --> 0:53:08.196
<v Speaker 1>You know, I could keep you forever, but I feel

0:53:08.196 --> 0:53:10.556
<v Speaker 1>like we could end on this out, which is that

0:53:10.836 --> 0:53:12.836
<v Speaker 1>speaking of Prince wasn't a fan of samples. There's a

0:53:12.836 --> 0:53:15.556
<v Speaker 1>lot of people at the time, in the early days,

0:53:15.676 --> 0:53:17.756
<v Speaker 1>late eadies, early nineties not a fan of sampling. But

0:53:17.836 --> 0:53:20.636
<v Speaker 1>I think maybe I want to know if you have

0:53:20.996 --> 0:53:24.196
<v Speaker 1>if we can get confirmation. Ezy Mob, who were talking

0:53:24.236 --> 0:53:27.236
<v Speaker 1>about earlier in ninety two. I love that someone here

0:53:27.276 --> 0:53:30.916
<v Speaker 1>loves Eazy Mob, whoever that is, love God love Mob man.

0:53:30.956 --> 0:53:32.876
<v Speaker 1>He's the best. But in ninety two.

0:53:32.716 --> 0:53:34.956
<v Speaker 3>He produced Tupac and Biggie and.

0:53:35.076 --> 0:53:37.196
<v Speaker 1>Like we said, some of the best Biggie records and

0:53:37.236 --> 0:53:39.596
<v Speaker 1>some of the best Park records on Me against the World.

0:53:40.116 --> 0:53:42.916
<v Speaker 1>But he produced the Miles Davis record. Yeah, I do

0:53:44.356 --> 0:53:46.236
<v Speaker 1>Miles Davis's last record. So I want to play the

0:53:46.276 --> 0:53:48.436
<v Speaker 1>title cut off of Dubac real quick, and then I

0:53:48.516 --> 0:54:00.516
<v Speaker 1>got a question for you based on that. Okay, So

0:54:00.556 --> 0:54:03.356
<v Speaker 1>that's Miles Davis at a time when people like Winton

0:54:03.516 --> 0:54:06.476
<v Speaker 1>et cetera are like, you know, we don't sample, here's Miles.

0:54:06.516 --> 0:54:08.956
<v Speaker 1>He's like, I'm gonna go work with Eazy Mobs.

0:54:08.876 --> 0:54:11.556
<v Speaker 2>Said, and I'm doing everything and I don't care how

0:54:11.596 --> 0:54:12.516
<v Speaker 2>you feel about it.

0:54:12.756 --> 0:54:16.156
<v Speaker 1>And so that's a cool in the Gang loop in

0:54:16.156 --> 0:54:22.156
<v Speaker 1>the back Summer madness allegedly allegedly, but I think really

0:54:22.156 --> 0:54:24.836
<v Speaker 1>what he's looping it from DJ Premier in deep concentration

0:54:25.596 --> 0:54:26.636
<v Speaker 1>from the normous a nice.

0:54:26.476 --> 0:54:33.436
<v Speaker 2>Guy and I did not sue.

0:54:34.836 --> 0:54:35.396
<v Speaker 3>So you want.

0:54:35.516 --> 0:54:38.756
<v Speaker 1>Allegedly you want a Miles Davids record. I'm pretty sure

0:54:38.796 --> 0:54:39.076
<v Speaker 1>with them.

0:54:39.196 --> 0:54:39.436
<v Speaker 3>Yeah.

0:54:39.796 --> 0:54:45.356
<v Speaker 1>Yeah, it's the fucking craziest thing ever, because I so

0:54:45.596 --> 0:54:47.436
<v Speaker 1>the reason I think that is from that because there's

0:54:47.476 --> 0:54:49.836
<v Speaker 1>like that. I think you added that piano over the

0:54:49.876 --> 0:54:52.476
<v Speaker 1>loop that no no, no over the because that's not

0:54:52.516 --> 0:54:54.396
<v Speaker 1>in the Cool in the Gang song, but that's in

0:54:54.476 --> 0:54:55.316
<v Speaker 1>the Miles version.

0:54:55.396 --> 0:54:55.636
<v Speaker 3>Yeah.

0:54:56.156 --> 0:55:00.476
<v Speaker 2>So friends, like I said, me and easy Mode be

0:55:00.556 --> 0:55:04.196
<v Speaker 2>a friend to this very day. And uh, he's just

0:55:04.236 --> 0:55:07.156
<v Speaker 2>one of the greatest slept on underrated producers.

0:55:07.156 --> 0:55:10.516
<v Speaker 3>He should be always on. And when it comes to.

0:55:10.516 --> 0:55:15.916
<v Speaker 2>The top top five question love mob Man.

0:55:15.676 --> 0:55:19.916
<v Speaker 1>No question, Well amazing we got DJ Premiere. Everybody give

0:55:19.956 --> 0:55:26.556
<v Speaker 1>it up. Thank you, thank you, appreciate you man, Thanks

0:55:26.556 --> 0:55:30.236
<v Speaker 1>to everyone, Thanks to DJ Premiere, thanks for having us.

0:55:30.356 --> 0:55:41.316
<v Speaker 3>Appreciate y'all allegedly, peace and love everybody.

0:55:41.876 --> 0:55:43.596
<v Speaker 1>Thanks the DJ Premiere for making it out to on

0:55:43.716 --> 0:55:46.636
<v Speaker 1>AirFest and Brooklyn. It was incredible getting a chance to

0:55:46.676 --> 0:55:47.996
<v Speaker 1>speak with them, and I hope we get to do

0:55:48.036 --> 0:55:51.396
<v Speaker 1>a part two sometime soon. You can hear a playlist

0:55:51.396 --> 0:55:53.676
<v Speaker 1>of all of our favorite DJ Premiere and Gang Star

0:55:53.836 --> 0:55:57.796
<v Speaker 1>songs at broken Record podcast dot com. Subscribe to our

0:55:57.796 --> 0:56:01.156
<v Speaker 1>YouTube channel at YouTube dot com slash broken Record Podcast,

0:56:01.196 --> 0:56:04.276
<v Speaker 1>where you can find all of our new episodes. You

0:56:04.276 --> 0:56:07.716
<v Speaker 1>can follow us on Twitter at broken Record. Broken Record

0:56:07.756 --> 0:56:10.716
<v Speaker 1>is produced and edited by Leah Rose, with marketing help

0:56:10.716 --> 0:56:14.596
<v Speaker 1>from Marek Sandler and Jordan McMillan. Our engineer is Ben Tollinday.

0:56:15.196 --> 0:56:18.716
<v Speaker 1>Broken Record is a production of Pushkin Industries. If you

0:56:18.756 --> 0:56:22.076
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0:56:29.356 --> 0:56:33.316
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0:56:34.076 --> 0:56:36.716
<v Speaker 1>And if you like this show, please remember to share, rate,

0:56:36.756 --> 0:56:39.596
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0:56:39.596 --> 0:56:41.636
<v Speaker 1>back Anny Beats. I'm justin Richmond.