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Speaker 1: Quest Love Supreme is a production of iHeartRadio.

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Speaker 2: Happy New Year everyone. This is Sugar Steve from Questlove Supreme.

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Speaker 2: We are here with Part two or Quest Loves one

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Speaker 2: on one interview with Eric Shermon. If you haven't done

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Speaker 2: so yet, please check out Part one, where Amir and

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Speaker 2: Eric speak about the formation of EPMD, Eric's pioneering rap

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Speaker 2: delivery and funky production, and a hometown rivalry between EPMD

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Speaker 2: and Eric B and rock Him. It's a great episode

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Speaker 2: you can't miss. Now QULS is back with part two.

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Speaker 3: Enjoy the Dos Effects album the first album. Who did

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Speaker 3: the production on that record? Was that your finger Prince?

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Speaker 1: Or was that?

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Speaker 4: Now? People talk about God best to day because one

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Speaker 4: of the guys is dead, so Chris and Derek was

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Speaker 4: they are two people from school, right right, But as

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Speaker 4: you can hear the drums, Roger the whole nine of course.

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Speaker 1: But everything was Snaps.

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Speaker 4: Was used three times because again after I left the

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Speaker 4: records in there from what the album, because I used

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Speaker 4: snow on Redman, you know the record you know, watch

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Speaker 4: a Nugget, those records were there, and then all the

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Speaker 4: Roger Troutman that DOS Effects used again.

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Speaker 5: So anyway, it was the crew.

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Speaker 4: I wouldn't get the credit for it too like that,

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Speaker 4: but Christen and Derek was part of their solid scheme.

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Speaker 4: Team was the ones who really put the stuff together,

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Speaker 4: especially the single Now my voice is some live effects,

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Speaker 4: snapper neck for some live effects, but the father them

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Speaker 4: getting that James Brown thing going, that was deffly the

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Speaker 4: Derek and Chris.

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Speaker 3: So when they joined the crew, were they more Team

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Speaker 3: Parish or Team Eric? Like, how did you guys discover

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Speaker 3: them and brought them into the fold?

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Speaker 4: Well, we met them at a rap contest in Virginia,

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Speaker 4: Me and Pratts was doing the show and then there

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Speaker 4: was an after party. There was a rap contest and

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Speaker 4: and they was on it, but we let some other

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Speaker 4: two dudes win because the other two dudes was nice too.

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Speaker 5: But we knew that we was going to sign dos effects.

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Speaker 1: And did they have that style when when you.

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Speaker 4: Heard yeah, that was something that they did. They they

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Speaker 4: met in the lunch room cafeteria.

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Speaker 1: Right, okay, yeah, and Dre.

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Speaker 4: Was rhyming on one side and School was vombing on

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Speaker 4: one side. I heard the story and said his man

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Speaker 4: brung them over and said, yo, my man raps. So

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Speaker 4: they start rhyming together, not knowing that dre would be

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Speaker 4: like say something like yo, he would be like, oh

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Speaker 4: that's dope.

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Speaker 5: School was saying, but oh that's dope. Not knowing.

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Speaker 4: I don't know who had the iggity style first between

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Speaker 4: the two, but the story's never been told.

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Speaker 5: And just the fact that they met up and they

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Speaker 5: became them.

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Speaker 3: And as I said at the top, sometimes a pioneer

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Speaker 3: does get there just too. But from your point of view,

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Speaker 3: no lyrical style to me came and washed hip hop

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Speaker 3: like a tsunami. Then the iggity style of ninety one

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Speaker 3: ninety two with DOS Effects.

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Speaker 5: You have to make that clear.

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Speaker 4: Not because those are my boys, but people can talk

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Speaker 4: about who changes different errors or different moments in time

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Speaker 4: and hip hop, and their name is not bought up,

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Speaker 4: meaning that when it goes to DOS Effects and Rex

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Speaker 4: and effect heavy d Laws is the underground ice crew

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Speaker 4: called them for check yourself. I mean, I've never seen

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Speaker 4: that before Christy.

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Speaker 5: It was phenomenal.

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Speaker 4: They changed a landscape in the industry and nobody says it.

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Speaker 3: The day that they want Effects came out. You know,

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Speaker 3: it's like a local Philly Drexel radio show. Shout out

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Speaker 3: to Cosmic Kevin aj Shin keV and Man literally like

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Speaker 3: that brought hip hop into hyper speed. So not since

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Speaker 3: rock Kim have I seen one person literally make everyone

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Speaker 3: change their rhyming style. I mean even even uh On

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Speaker 3: can't trust it. Chuck Deeven caught a little glimpse of it.

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Speaker 3: You know, don't be dumb, thinking dumb.

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Speaker 6: And yeah, yeah, the thing that I have grips with

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Speaker 6: is like they changed the game and then we just

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Speaker 6: disposed of them like it never happened.

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Speaker 3: And I always wanted to know did they feel a

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Speaker 3: certain way about that, or the ep m D organization

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Speaker 3: feel a certain way about that. I didn't see that

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Speaker 3: as a fad or a trend. I saw it as

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Speaker 3: like really intricate rhyme and I mean, fu jay Z

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Speaker 3: came into the game with original flavor, with that tikeny

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Speaker 3: tongue twisting.

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Speaker 4: He stuttered, I don't know if you want to go

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Speaker 4: back to only common sense, go back to Thomson was

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Speaker 4: a big DOTS Effects fan totally.

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Speaker 5: Oh we all were dude right, right, But why.

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Speaker 3: Weren't they able to keep the momentum up? And yeah, look,

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Speaker 3: I love what Premo did with them with the real

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Speaker 3: hip hop, but I almost felt like we took from

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Speaker 3: them and just threw them away right and just never

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Speaker 3: gave them.

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Speaker 4: Yeah, I think that the pre Rock and the Premo

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Speaker 4: Records really kept their stuff going because it could have

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Speaker 4: got worse where they could have not made no records

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Speaker 4: after that, But that Primo was huge for them to

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Speaker 4: at least stay somewhat alive. But I think that once

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Speaker 4: the his part broke up, I think it tanged stuff

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Speaker 4: because that's like told me one time, you're ed, why

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Speaker 4: did you leave us? I said, I left y'all because

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Speaker 4: y y'all went with Paris, so I figured that's where

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Speaker 4: y'all wanted to be at. So I think that the

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Speaker 4: breakup messed a lot of things up on that side.

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Speaker 1: Okay, let's get into it.

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Speaker 3: So right now I'm speaking to you from my dressing

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Speaker 3: room at the Tonight Show. I happened to know that

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Speaker 3: EPMD and dis Effects did microphone checka on The Tonight

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Speaker 3: Show with Jay Leno when Jay Leno finally took over

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Speaker 3: for Johnny Carson in nineteen ninety two. Obviously, the producers like, yo,

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Speaker 3: the first thing we gotta do is start getting on

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Speaker 3: our sinios act because our senior was like way ahead

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Speaker 3: of the game, like our Senio changed the.

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Speaker 1: Game and made the old guard leave. You know what

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Speaker 1: I mean.

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Speaker 3: I believe in jay Leno's first week Night number three

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Speaker 3: because even though it was our Senio head, I wanted

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Speaker 3: to see what jay Leno was about to do. And yo,

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Speaker 3: y'all did Humming coming at you on the Tonight Show.

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Speaker 4: I did not know that was a part of that

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Speaker 4: politic thing you're saying just now.

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Speaker 5: I was I thirty.

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Speaker 3: There were no hip hop acts. Y'all were the first

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Speaker 3: hip hop act on the Tonight Show.

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Speaker 5: I did not know that, yes, And I know that.

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Speaker 3: They were trying to cut into our seniors ratings and

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Speaker 3: it worked because I was like, oh, epmds on the

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Speaker 3: Tonight Show doing humber coming action.

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Speaker 4: But but I was and let me tell the politics

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Speaker 4: on that, because I'm like, Dag, we have Coursover and

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Speaker 4: we got a headbanger, and we got were all these

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Speaker 4: other songs. But Doctor pres was so big, yes, that

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Speaker 4: they was like, let's put these two together and do

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Speaker 4: it like this, you know, for the purpose of it.

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Speaker 5: Because I'm glad group and Doctor Prex was the new pop.

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Speaker 5: I gotta say pop because they cost.

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Speaker 4: You see that new thing that's out right now with

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Speaker 4: them at the beach with about eighty thousand people doing

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Speaker 4: they want effects.

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Speaker 1: Yes, I was like yes on social media, Yo, what

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Speaker 1: the hell?

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Speaker 3: I'm so glad that came out so people get know,

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Speaker 3: so people can know, so people can know.

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Speaker 1: Was it the hit Squad first before it was the.

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Speaker 5: Depth Squad first? Yeah?

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Speaker 3: Okay, So how did y'all come into to Reggie's strateg.

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Speaker 4: Yeah, well, we did the show in New New Jersey

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Speaker 4: called Club Sensations, And if people know about Club Sensation,

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Speaker 4: you just can't go there. They're gonna rob every they

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Speaker 4: gonna disrespect you. Just don't go and perform that Club Sensation.

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Speaker 4: I don't care who you are.

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Speaker 1: That was another Latin quarter.

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Speaker 5: Now it was a small club.

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Speaker 4: But but yeah, but and not mean oh yes, yes definitely,

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Speaker 4: or the Apollo or whatever you want to say. So anyway,

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Speaker 4: that night, Do it All from Lords of the Underground

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Speaker 4: comes in my dressing room and he starts rapping, and

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Speaker 4: Do it All is dope too from whatever.

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Speaker 5: So he wasn't lost the Underground yet.

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Speaker 4: He was just Do it All, you know, trying to

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Speaker 4: get on and then he says, oh my DJ rap too,

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Speaker 4: and his DJ was Redman really. I heard Redman rhyme

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Speaker 4: that night, and I put Regie on stage that night.

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Speaker 5: Didn't even know him.

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Speaker 4: I was so impressed by his metaphause I put him

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Speaker 4: on stage that night. And plus also to be like,

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Speaker 4: YO were in this place, I'm gonna put somebody on

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Speaker 4: from out here so we can. He's saying so, and

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Speaker 4: that's how y'all meant, And God damn. And then I

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Speaker 4: gave Reggie my phone number, but he didn't write it down.

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Speaker 4: He said it took him two weeks to memorize. Reggie

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Speaker 4: memorized my number and called me two weeks.

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Speaker 1: Damn.

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Speaker 4: He said he was writing down the number, writing down,

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Speaker 4: writing down to whatever.

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Speaker 5: He kept trying, kept trying. Now, what type of determination.

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Speaker 1: Is that they talk about? K Solo?

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Speaker 5: Na speaks about K Solo. Michael Bimins speaks about K Solo.

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Speaker 4: Now speaks about Kevin, saying that Kevin was was before

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Speaker 4: his time, his story telling, the way that he put

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Speaker 4: it together, the way that he would use third party,

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Speaker 4: like you, it wasn't me. The rhyme did it, so

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Speaker 4: nobody was doing that before so, but Kevin was.

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Speaker 5: I told you it was already Parish's friend. Don't forget.

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Speaker 5: He was in that group before with Parish, So that's

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Speaker 5: how I met Kevin.

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Speaker 1: Got it okay, okay, yeah, man, the whole Telworm name.

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Speaker 5: Ship, Yeah yeah, tells the crack side.

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Speaker 1: I was say, tells the crack side. So like, yeah,

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Speaker 1: drums and death, honest.

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Speaker 5: Yeah.

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Speaker 1: Did you do any production on that record? Yeah? The

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Speaker 1: spell Bounce Okay, of course the.

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Speaker 4: First single I had to get done because they were

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Speaker 4: trying to figure out what to go with. So I

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Speaker 4: was in there with power Play with Doc and Doc

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Speaker 4: had the SB twelve hundred. I'm like, listen, let me

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Speaker 4: show you this to program these drums and that.

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Speaker 5: Don't forget if you listen to when.

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Speaker 4: I did If You Love Me by Brownstone, the bottom

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Speaker 4: drums is spell Bound.

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Speaker 5: Uh you know? Yeah that's so yeah.

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Speaker 1: I know what happens after the fade.

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Speaker 4: It's the same that like kept going on you right now, California,

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Speaker 4: kd K made that. I don't know what was with

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Speaker 4: that record that made K and l A loved that

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Speaker 4: song so much. That record was played in LA on

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Speaker 4: that station like it was no Tomorrow. It was something

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Speaker 4: about that record. I can't I still can't explain it.

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Speaker 1: Greg.

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Speaker 4: Yes, I gotta say something about Craig Matt real quick

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Speaker 4: too too. I'm gonna say somebody crank Matt said. I

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Speaker 4: got to go back to when we when we claim

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Speaker 4: the records, when I first heard rock Camp. Every weekend,

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Speaker 4: Craig Matt's mother would drop him off to my grandmother's

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Speaker 4: house and me and Craig was sitting in the living

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Speaker 4: room and check out the new records. I heard publicating

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Speaker 4: number one with Craig and I heard Nobody Beat the

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Speaker 4: Biz with Craig Mac at Grandma's house. Really, yes, that's

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Speaker 4: a weird story. People like you used to hang out

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Speaker 4: with Craig. Yeah, that was my boy.

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Speaker 1: How did Hurricane G getting the squad?

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Speaker 5: Was my baby mother? So I know.

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Speaker 4: A remether as a girl. I met in the club

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Speaker 4: with Llo coo J. Llo Coo J was was dancing

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Speaker 4: with her. After after he stopped dancing, I went over

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Speaker 4: there and talked to her. So so after that then

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Speaker 4: so then?

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Speaker 1: But was she always that?

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Speaker 4: Like she was Cardi B for Cardi B. Was Cardi

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Speaker 4: B exactly? Tone loud right, but she was already rhyming too.

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Speaker 4: I was like, are you guys? Said yeah, rhyme And

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Speaker 4: then Redman took a whole tour and then they became

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Speaker 4: sister and brother. So that's what the whole thing of

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Speaker 4: her being in the squad. And then when I went

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Speaker 4: to stretch on Barbtos and gave him that milky song,

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Speaker 4: they it blew up with them. I'm like, it's a

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Speaker 4: demo that she had. So but when I did tonight tonight,

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Speaker 4: I wasn't in the session when they was recording, Gloria

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Speaker 4: went with Reggie and my cousin Jamel, so you hit

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Speaker 4: that the snap background the records, so they was all

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Speaker 4: three in there. So whatever happened, Redman didn't want to

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Speaker 4: be soft and be like Mike check I can get

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Speaker 4: smooth to any group, but let so he stopped it.

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Speaker 5: So I guess they came up with that whole thing.

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Speaker 4: I was like to take credit for that, but it

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Speaker 4: wasn't me, it was them.

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Speaker 3: All Right, I'm gonna ask you the million dollar question

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Speaker 3: that I never ever got a satisfactory answer belt And

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Speaker 3: when I interviewed John Schecter, I've collected almost every copy

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Speaker 3: of the Source magazine. Okay, but you gotta tell me

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Speaker 3: why and how did EPMD break up the first time?

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Speaker 5: Yeah, the first time again? It was the breakup. It

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Speaker 5: was the home invasion. So the home in bad was real.

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Speaker 5: The home invasion that went down was real. So but

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Speaker 5: again it was blamed on me.

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Speaker 4: So after you know, you know, if you watch Beef two,

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Speaker 4: the stories out there, they blamed.

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Speaker 5: It on me.

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Speaker 1: I didn't see that.

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Speaker 5: Okay, they had the witnesses and the whole non.

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Speaker 3: So after a while, like, at what point was it

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Speaker 3: ever just like, Okay, you just show up and do

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Speaker 3: shows together, y'all friends this whole time.

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Speaker 1: Or is it like.

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Speaker 5: You're a five year breakup?

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Speaker 3: Well I know that, but I'm saying something leads to

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Speaker 3: a breakup, is a miscommunication?

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Speaker 1: Is it?

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Speaker 5: Like that was the breakup?

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Speaker 4: So if somebody that I robbed them, so that's a breakup,

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Speaker 4: was in your house and tied niggas up in the whole,

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Speaker 4: not that's a breakup.

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Speaker 3: So he literally believed that you orchestrated a breakup or

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Speaker 3: a break in.

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Speaker 1: Yes, and you went on a record to say that

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Speaker 1: was not you, right.

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Speaker 5: But it didn't matter.

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Speaker 4: No, everybody when you got same to rock Kim shit

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Speaker 4: smacked me and I smack you back. Once people are

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Speaker 4: already saying this is what it is, and you believe,

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Speaker 4: and they giving you all types of things. You believe

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Speaker 4: that this is true. So five years of that went.

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Speaker 4: That's how it happened.

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Speaker 1: It was just like that legacy down the dream, like

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Speaker 1: they came and.

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Speaker 4: Got me once, they come and get you, and you

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Speaker 4: get arrested as old they're coming back from that, and.

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Speaker 1: You got arrested for that.

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Speaker 5: Yeah, I went, yeah, I toldally, they picked me up.

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Speaker 1: I'm in the arc about this. That's the thing.

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Speaker 3: Like I read a sore story like back in ninety

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Speaker 3: three or whatever.

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Speaker 1: But I don't know, man, It's just like.

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Speaker 5: They picked me up. They picked me up, and I

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Speaker 5: fled to Atlanta.

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Speaker 1: So that's how you wound up in Atlanta, right.

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Speaker 3: I remember you telling me a story about like you

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Speaker 3: called Dallas Austin and he gave you a look.

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Speaker 5: I called that.

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Speaker 4: My boy hooked me up with Dallas and brught me

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Speaker 4: to Dark Studios and I met Dallas and Dallas like, yo,

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Speaker 4: you could have studio beat.

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Speaker 5: I didn't know who that. I didn't know who he was.

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Speaker 5: My boy Greg knew him.

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Speaker 1: Okay, So why did you choose Atlanta?

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Speaker 5: Because I went there before.

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Speaker 1: I liked it, Okay.

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Speaker 4: So and my grandmother was there, My aunts were there,

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Speaker 4: so I had family there too.

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Speaker 3: But for you to leave New York, like, was that

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Speaker 3: a heartbreak or you know I had to leave. He's

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Speaker 3: even that to go to jail. So I was, I

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Speaker 3: trust so you were on the run, right. I didn't realize.

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Speaker 3: I thought you just like, hey, man, I gotta get

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Speaker 3: out of New York.

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Speaker 1: Shit. I did not know that.

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Speaker 4: Yo, that's why you got You got to watch it

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Speaker 4: and the guy was like, yo, they at the end

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Speaker 4: of the day, they really believed it. So I told

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Speaker 4: my mother, I said, my I should go to Georgia.

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Speaker 4: I don't want to just sit around here and just wait.

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Speaker 4: So I left something you're not supposed to do.

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Speaker 3: I did anyway, And so you're making no pressure while

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Speaker 3: everyone's looking for you.

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Speaker 4: No, I made that when I got there, like later on,

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Speaker 4: like like when Russell called me and said no, first

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Speaker 4: I got to call from Puffy to make a record

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Speaker 4: for Who's the Man. That's when I made Hitting Switches

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Speaker 4: my first single. After Russell heard that, Russell was like, Yo,

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Speaker 4: you want to.

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Speaker 3: Make an album it switches. I forgot that with that

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Speaker 3: into with the beat box, right.

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Speaker 4: So then when Russell came Russell said, you want to

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Speaker 4: make an album. I said, yeah, sure, because you knew

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Speaker 4: that the group wasn't getting back together. So I made

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Speaker 4: the album. I spent new years in the studio by

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Speaker 4: myself at Dark so I was just happy just to

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Speaker 4: be there without having that pressure on me.

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Speaker 5: So then I started making the album. Afterwards, no pressure

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Speaker 5: got it.

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Speaker 3: So I mean, at the time, when you're making this,

346
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Speaker 3: what's your thoughts about what a solo Eric sermon?

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Speaker 1: The album sounds.

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Speaker 4: Like, Oh, I wasn't even worried about dang a lot

349
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Speaker 4: of you. I knew what I was. I knew that

350
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Speaker 4: I knew how to make I was making the beats.

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Speaker 4: I knew that, you know, Red Men had success. I

352
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Speaker 4: knew that Keith Murray was coming, you know, like I

353
00:17:22,720 --> 00:17:25,160
Speaker 4: knew like I had things. So I wasn't really worried

354
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Speaker 4: about what the people are going to say. Because again,

355
00:17:27,000 --> 00:17:30,800
Speaker 4: he wasn't worried about selling records or seeing who was

356
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Speaker 4: the top person or who was out or what was coming.

357
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Speaker 4: Even though the chronic had came, everything was out there came.

358
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Speaker 4: I was so comfortable and so relaxed. I really didn't care.

359
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Speaker 5: I just was making it. Because Russell asked me to

360
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Speaker 5: make an album, so I did it.

361
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Speaker 4: I wasn't worrying about people asked me what it's going

362
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Speaker 4: to sound like or not or mad because EPMD broke up.

363
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Speaker 5: I was just doing what I thought. As long as

364
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Speaker 5: it was hip hop, I was okay.

365
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Speaker 4: And once Hitting Switches came out and I went home

366
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Speaker 4: and DJ Twrimmer was like, Eric, you were on fire

367
00:18:00,280 --> 00:18:02,640
Speaker 4: out here, and I was like, for real, It's like yo,

368
00:18:03,200 --> 00:18:04,639
Speaker 4: his switch is doing fire.

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Speaker 5: So that was it so I needed.

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Speaker 3: Even though I like Stay Real, My join was Eric sermon,

371
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Speaker 3: that whole bit I want to know if you want

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Speaker 3: to know you that to me?

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Speaker 5: That song like yeah, ah.

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Speaker 4: You know what's the buck down to I was those

375
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Speaker 4: songs I had that first when Redman told me to

376
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Speaker 4: turn and I made Hitting Switches. I had those songs

377
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Speaker 4: before that, but I thought that was more Eric's sermon

378
00:18:33,760 --> 00:18:36,120
Speaker 4: because the hey ever I was doing on so.

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Speaker 5: I was trying to make sure that.

380
00:18:37,800 --> 00:18:40,679
Speaker 4: I kept it, and all Stay Will was was a

381
00:18:40,680 --> 00:18:44,040
Speaker 4: new crossover. It's the same subject, you know, So I

382
00:18:44,160 --> 00:18:46,960
Speaker 4: was trying to keep it into play to where even

383
00:18:47,000 --> 00:18:50,439
Speaker 4: though his Hitting Switches was so hard, even though I

384
00:18:50,560 --> 00:18:53,600
Speaker 4: wasn't a West Coast person, I was doing the hitting

385
00:18:53,600 --> 00:18:58,440
Speaker 4: switches as the off is on, but not knowing that

386
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Speaker 4: the West Coast took it for this, I'm doing this,

387
00:19:01,760 --> 00:19:04,760
Speaker 4: So I'm like, okay, because now they're thinking I'm I'm

388
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Speaker 4: hitting switches, but I'm really talking about off and on

389
00:19:07,760 --> 00:19:07,960
Speaker 4: is on?

390
00:19:08,800 --> 00:19:11,360
Speaker 3: Right, I see so, but they felt you were talking

391
00:19:11,400 --> 00:19:15,480
Speaker 3: about Yeah, yo, did I hear correct? Did you open

392
00:19:15,560 --> 00:19:18,400
Speaker 3: up a car business in Atlanta?

393
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Speaker 5: Yeah?

394
00:19:19,160 --> 00:19:21,040
Speaker 4: The rim shot. The rim shot was the biggest thing

395
00:19:21,440 --> 00:19:24,760
Speaker 4: happened at the time, you know, And that's how everybody

396
00:19:24,840 --> 00:19:27,880
Speaker 4: got this. See that room shop was so huge that

397
00:19:28,480 --> 00:19:30,919
Speaker 4: once it came out and stay real video and people

398
00:19:31,000 --> 00:19:33,800
Speaker 4: saw it. So don't forget. I was doing Shaquille in

399
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Speaker 4: the shop. I was doing Jam and Rose in the shop,

400
00:19:37,040 --> 00:19:41,080
Speaker 4: Chris Webber. So then I would Jake, Dave Justice would

401
00:19:41,119 --> 00:19:42,800
Speaker 4: be in the shop. Tupac would be in the shop,

402
00:19:42,920 --> 00:19:44,880
Speaker 4: don't forget. And back in the back of the shop

403
00:19:45,000 --> 00:19:49,560
Speaker 4: was one twelve Jagged in Goodie Mob outcast Usher Raymond

404
00:19:49,760 --> 00:19:52,879
Speaker 4: David Banner. These people was not even famous yet. My

405
00:19:53,160 --> 00:19:57,479
Speaker 4: place where everybody came to chill at. And if I

406
00:19:57,680 --> 00:20:01,600
Speaker 4: was a person that wasn't it wasn't secure. I could

407
00:20:01,600 --> 00:20:03,159
Speaker 4: have had half of them all this signed to me.

408
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Speaker 3: Man.

409
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Speaker 1: All right.

410
00:20:05,600 --> 00:20:08,960
Speaker 3: So when we first went to Atlanta, our street rep,

411
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Speaker 3: you know, the guy that takes you to the college

412
00:20:12,000 --> 00:20:14,280
Speaker 3: stations and takes you to radio or whatever, takes you

413
00:20:14,320 --> 00:20:15,959
Speaker 3: to the record stores. There was a record store that used

414
00:20:16,000 --> 00:20:17,480
Speaker 3: to be a gas station. I forget the name of it.

415
00:20:17,520 --> 00:20:20,600
Speaker 3: They shut down. There's like a big record shot there. Okay,

416
00:20:20,920 --> 00:20:23,280
Speaker 3: but he was like, yo, we got to take you

417
00:20:23,320 --> 00:20:26,040
Speaker 3: to Eric's. And I think we were there at a

418
00:20:26,080 --> 00:20:27,960
Speaker 3: time when it wasn't open.

419
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Speaker 1: It was like after hours or something. We never got

420
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Speaker 1: to go in there.

421
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Speaker 3: But okay, what year was that, ninety four, ninety four,

422
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Speaker 3: ninety five.

423
00:20:38,359 --> 00:20:41,119
Speaker 4: I think, so it was still popping, that was it

424
00:20:41,200 --> 00:20:42,600
Speaker 4: was still on fire at that time.

425
00:20:43,240 --> 00:20:45,199
Speaker 3: Yeah, but we were like on tour and had to

426
00:20:45,240 --> 00:20:47,840
Speaker 3: leave and couldn't go by there. But we always heard

427
00:20:47,840 --> 00:20:52,520
Speaker 3: that you gotta go buy the restrict spot. And of

428
00:20:52,680 --> 00:20:56,080
Speaker 3: all the businesses, why was that the one that called

429
00:20:56,119 --> 00:20:56,960
Speaker 3: you the most?

430
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Speaker 5: It wasn't.

431
00:20:57,880 --> 00:21:00,560
Speaker 4: It was the guy I met from Detroit and Detroit,

432
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Speaker 4: my boy G from Detroit. He had this shop. So

433
00:21:02,920 --> 00:21:05,480
Speaker 4: when I met him, I met the girl that was

434
00:21:05,520 --> 00:21:08,520
Speaker 4: with his girl. So by the shoping, me and G

435
00:21:08,680 --> 00:21:12,000
Speaker 4: got closed. But but not knowing that. Again, being Memphis

436
00:21:12,040 --> 00:21:14,080
Speaker 4: in the shop every day, I didn't know who Big

437
00:21:14,119 --> 00:21:17,040
Speaker 4: Meach was. But now it makes sense because she and

438
00:21:17,119 --> 00:21:20,119
Speaker 4: them was Detroit people. So the dude with the poontytail

439
00:21:20,680 --> 00:21:23,120
Speaker 4: was always meet in the shop. I didn't even know that.

440
00:21:23,840 --> 00:21:27,840
Speaker 1: Oh okay, and that was a lucrative business you back.

441
00:21:27,640 --> 00:21:30,639
Speaker 4: Then, Nah, I didn't care about that money that was

442
00:21:31,040 --> 00:21:34,200
Speaker 4: I was. Don't forget, I'm a producer. I'm on death chair,

443
00:21:34,520 --> 00:21:37,920
Speaker 4: so everything is mine. Reggie's mind epm D is mind

444
00:21:38,680 --> 00:21:40,800
Speaker 4: from his mind then all of a sudden run of

445
00:21:40,840 --> 00:21:41,440
Speaker 4: Memphis mind.

446
00:21:41,520 --> 00:21:43,920
Speaker 5: So that wasn't where I made the money.

447
00:21:43,960 --> 00:21:46,919
Speaker 4: For money was being made, but that wasn't what I

448
00:21:46,920 --> 00:21:49,560
Speaker 4: I wasn't doing. I was just making sure that this

449
00:21:49,720 --> 00:21:52,720
Speaker 4: was I was in something that was new, it had

450
00:21:52,760 --> 00:21:55,880
Speaker 4: the hype attached to it, so fucking oh you know.

451
00:21:56,600 --> 00:21:59,639
Speaker 3: All right, So probably the second most important thing I'm

452
00:21:59,640 --> 00:22:03,480
Speaker 3: a mention in this interview. I want to talk about

453
00:22:03,760 --> 00:22:08,879
Speaker 3: the Rockefeller remix and also Man Above and Man Above

454
00:22:09,800 --> 00:22:14,600
Speaker 3: on double or nothing. So you know, as I told you,

455
00:22:14,680 --> 00:22:21,119
Speaker 3: we connected at Clark Kent's homecoming services, right, and I

456
00:22:21,320 --> 00:22:25,959
Speaker 3: told you, I was like, dog, you don't know how

457
00:22:26,080 --> 00:22:33,720
Speaker 3: important Redman's Rockefeller Remix and Man Above on your Double

458
00:22:33,800 --> 00:22:38,880
Speaker 3: or Nothing record, right, was what I call the movement,

459
00:22:39,160 --> 00:22:42,320
Speaker 3: and the movement I was speaking of was the soul

460
00:22:42,400 --> 00:22:49,000
Speaker 3: quarium movement and the amount of times where like Dyla

461
00:22:49,720 --> 00:22:55,639
Speaker 3: and I would talk about how you really pioneered, like

462
00:22:56,200 --> 00:23:00,800
Speaker 3: the texture that both of us really put our feet in,

463
00:23:01,480 --> 00:23:05,640
Speaker 3: and it made our living, you know, that was our bread,

464
00:23:06,000 --> 00:23:11,159
Speaker 3: that texture, and as dope as it was, it's also

465
00:23:11,400 --> 00:23:17,440
Speaker 3: a very radical left turn for hip hop, a genre

466
00:23:18,240 --> 00:23:27,200
Speaker 3: which thrives on high testosterone, you know, this aggressive.

467
00:23:27,840 --> 00:23:28,199
Speaker 1: Energy.

468
00:23:29,080 --> 00:23:35,239
Speaker 3: Okay, so let's start with the Rockefeller remix because the

469
00:23:35,280 --> 00:23:38,800
Speaker 3: polar opposite of it, the the the the album version

470
00:23:38,840 --> 00:23:43,720
Speaker 3: of Rockefeller, which was the first single from Redman's There's

471
00:23:43,920 --> 00:23:48,520
Speaker 3: Dark Side record, was Redman Eric Sermon one on one

472
00:23:48,720 --> 00:23:53,119
Speaker 3: like a chunky, heavily sampled.

473
00:23:52,680 --> 00:23:57,240
Speaker 4: Dense But but don't forget that was Reggie got it

474
00:23:57,320 --> 00:23:59,600
Speaker 4: by himself. And while I told him, don't do it

475
00:23:59,640 --> 00:24:02,320
Speaker 4: because g thing, he was like, don't do it, but

476
00:24:02,600 --> 00:24:03,520
Speaker 4: Reggie did anyway.

477
00:24:04,040 --> 00:24:05,920
Speaker 3: And I want to talk about There's a Dark Side

478
00:24:05,960 --> 00:24:11,320
Speaker 3: as an album, but that remix though, But what was

479
00:24:11,400 --> 00:24:12,760
Speaker 3: on your mind when you did that?

480
00:24:12,800 --> 00:24:13,040
Speaker 1: Shit?

481
00:24:13,080 --> 00:24:16,640
Speaker 3: Because that was just probably the same way that shut

482
00:24:16,720 --> 00:24:18,960
Speaker 3: him down. Shut me down when I heard it, like

483
00:24:19,280 --> 00:24:21,880
Speaker 3: looking at the stereo, like, what the fuck is this?

484
00:24:23,520 --> 00:24:24,960
Speaker 1: I've never like that.

485
00:24:25,040 --> 00:24:28,720
Speaker 3: Shit called me like, this is your destiny for the

486
00:24:28,720 --> 00:24:30,880
Speaker 3: next thirty years of your life.

487
00:24:31,160 --> 00:24:36,480
Speaker 1: This style of production what made you want to go esoteric.

488
00:24:37,440 --> 00:24:40,000
Speaker 4: It was a keyboard in there, right, and the keyboard

489
00:24:40,400 --> 00:24:43,120
Speaker 4: had no regular keyboard, but it was a rose keyboard.

490
00:24:43,920 --> 00:24:46,880
Speaker 4: But if you listen to the record, the record is

491
00:24:46,920 --> 00:24:50,480
Speaker 4: off a cassette. That's why it doesn't sound like nothing

492
00:24:51,000 --> 00:24:53,439
Speaker 4: like for you to hear it and it's hissing like

493
00:24:53,520 --> 00:24:56,240
Speaker 4: that and there's no bottom or nothing like. It was

494
00:24:56,320 --> 00:24:59,920
Speaker 4: so weird that it was even taken as a rem

495
00:25:00,080 --> 00:25:01,280
Speaker 4: mix because.

496
00:25:01,320 --> 00:25:02,919
Speaker 1: You did that remix on a cassette.

497
00:25:03,080 --> 00:25:04,680
Speaker 5: I made it live to a cassette.

498
00:25:04,760 --> 00:25:07,680
Speaker 1: There was no lady, and you mastered it from the cassette.

499
00:25:07,840 --> 00:25:11,880
Speaker 4: Yes, oh wow, that's why it sounds like that. It's

500
00:25:11,920 --> 00:25:14,399
Speaker 4: gritty as it's not. It wasn't done on purpose. It

501
00:25:14,520 --> 00:25:18,840
Speaker 4: comes from off of a cassette. So when I lined

502
00:25:18,880 --> 00:25:21,640
Speaker 4: it up to the regular one, I'm like, oh, ship,

503
00:25:21,680 --> 00:25:24,880
Speaker 4: this does sound kind of cool. But the boom boom boom,

504
00:25:25,200 --> 00:25:28,879
Speaker 4: But the the the road things was not really a

505
00:25:29,000 --> 00:25:31,480
Speaker 4: road sounds. I'm not really a player. I learned how

506
00:25:31,520 --> 00:25:35,120
Speaker 4: to play later on. So I heard what I wanted

507
00:25:35,160 --> 00:25:38,399
Speaker 4: to hear by you press the keys and you be okay, Okay,

508
00:25:38,600 --> 00:25:39,400
Speaker 4: I found the court.

509
00:25:39,560 --> 00:25:40,919
Speaker 5: Okay, here's the chord boom.

510
00:25:41,040 --> 00:25:43,160
Speaker 4: So I'm gonna do that same thing with the most

511
00:25:43,160 --> 00:25:46,200
Speaker 4: beautifulness when when I did the Assie butters over, it's

512
00:25:46,200 --> 00:25:49,040
Speaker 4: still what I wanted to hear. My version of what

513
00:25:49,880 --> 00:25:54,119
Speaker 4: make sheets sound like? What keyboard was that it was

514
00:25:54,720 --> 00:25:58,560
Speaker 4: something that ate, something like the the Roland, the whatever

515
00:25:58,600 --> 00:26:01,640
Speaker 4: it was out that was out in ninety two.

516
00:26:02,440 --> 00:26:07,200
Speaker 3: That patch show I could never billions of times I've

517
00:26:07,280 --> 00:26:07,760
Speaker 3: tried to.

518
00:26:08,840 --> 00:26:11,840
Speaker 1: I thought it was a lead. I thought it was

519
00:26:12,080 --> 00:26:12,600
Speaker 1: you know what.

520
00:26:12,720 --> 00:26:13,040
Speaker 5: You know what?

521
00:26:13,119 --> 00:26:14,919
Speaker 4: That might be what see it was one of the

522
00:26:14,960 --> 00:26:17,040
Speaker 4: popular name It could have been that, it could have

523
00:26:17,040 --> 00:26:19,080
Speaker 4: been a too could have but listen.

524
00:26:20,720 --> 00:26:22,200
Speaker 1: Because it's just the text.

525
00:26:22,200 --> 00:26:25,040
Speaker 4: It probably was you know what. You probably definitely right.

526
00:26:25,280 --> 00:26:27,800
Speaker 4: It probably was the Great Norley. It probably was a

527
00:26:27,880 --> 00:26:31,280
Speaker 4: black one. But the drums were programming the W thirty,

528
00:26:31,359 --> 00:26:34,119
Speaker 4: so I already had the drums going, and my W

529
00:26:34,200 --> 00:26:37,640
Speaker 4: thirty doesn't have a baseline sound like that.

530
00:26:37,840 --> 00:26:39,560
Speaker 5: All roads, so.

531
00:26:39,880 --> 00:26:42,480
Speaker 4: The keyboard were just sitting there. So I said, I'm

532
00:26:42,480 --> 00:26:44,880
Speaker 4: just gonna do this live. I'm gonna do the base.

533
00:26:44,960 --> 00:26:47,600
Speaker 4: I don't forget. I didn't have no looping. All the

534
00:26:47,640 --> 00:26:51,119
Speaker 4: stuff you hear and accept the drums is played live

535
00:26:51,480 --> 00:26:54,280
Speaker 4: all the way through the whatever four minutes I played

536
00:26:55,000 --> 00:26:56,520
Speaker 4: at the time, it's you.

537
00:26:56,600 --> 00:27:01,479
Speaker 1: Just played the keyboard. All the cores in the.

538
00:27:00,280 --> 00:27:03,200
Speaker 5: Everything is live. I didn't lay nothing down.

539
00:27:03,320 --> 00:27:09,080
Speaker 4: I was recording to cassette, ah Man, so it was

540
00:27:09,720 --> 00:27:12,560
Speaker 4: made and it was being programmed at the same time.

541
00:27:12,600 --> 00:27:15,119
Speaker 4: So once it was being programmed, all I did was

542
00:27:15,160 --> 00:27:19,000
Speaker 4: like one, two, three, four, and then press play on

543
00:27:19,040 --> 00:27:22,040
Speaker 4: the no lead whatever that was, and then play on

544
00:27:22,040 --> 00:27:24,200
Speaker 4: the W thirty and that that was it.

545
00:27:29,600 --> 00:27:32,000
Speaker 3: How much production did you have in the hand of

546
00:27:32,720 --> 00:27:35,840
Speaker 3: Redman's first record versus There's a Dark Side?

547
00:27:36,400 --> 00:27:39,200
Speaker 5: Yeah, mostly all of it, even high the blunt was

548
00:27:39,240 --> 00:27:40,439
Speaker 5: Pete Rock. The second one.

549
00:27:40,480 --> 00:27:42,800
Speaker 4: I didn't do it second one. I did you know?

550
00:27:42,880 --> 00:27:46,440
Speaker 4: Mine's Rockefeller remix. I can't wait exactly.

551
00:27:47,160 --> 00:27:50,240
Speaker 3: In your opinion, what do you think of there as

552
00:27:50,240 --> 00:27:54,920
Speaker 3: the dark side? As far as Reggie's whole canon is concerned.

553
00:27:55,520 --> 00:28:00,760
Speaker 4: Okay, I'm put like this. People on the the ground

554
00:28:01,080 --> 00:28:04,960
Speaker 4: loved that album. They chose There's a Dark Side underground

555
00:28:05,000 --> 00:28:10,000
Speaker 4: hardcore people. They chose that record. Now there's a dark side.

556
00:28:10,720 --> 00:28:12,800
Speaker 4: The stuff on that I love was the intro was

557
00:28:12,840 --> 00:28:17,320
Speaker 4: one of my favorites. But again, that's why Muddy Waters

558
00:28:17,359 --> 00:28:21,480
Speaker 4: was so effective because because people people did not like

559
00:28:22,600 --> 00:28:25,240
Speaker 4: There's a Dark Side, as far as it's not.

560
00:28:25,119 --> 00:28:27,920
Speaker 3: That I didn't like it, but there was something missing.

561
00:28:28,359 --> 00:28:31,200
Speaker 3: And now I feel like what was missing was your input.

562
00:28:31,400 --> 00:28:32,920
Speaker 5: Yeah I didn't do it. No, I didn't do it.

563
00:28:33,880 --> 00:28:36,600
Speaker 1: Did you not want to do that record? Or he's

564
00:28:36,640 --> 00:28:37,920
Speaker 1: just like, I want to do it on my own.

565
00:28:38,120 --> 00:28:39,800
Speaker 4: I want to do it because Reggie had got the

566
00:28:39,960 --> 00:28:44,960
Speaker 4: NPC and then he met Rockwaller two, so he figured that,

567
00:28:45,200 --> 00:28:47,040
Speaker 4: you know, he had this sound and he was nice

568
00:28:47,080 --> 00:28:48,720
Speaker 4: of what he did or.

569
00:28:48,560 --> 00:28:50,440
Speaker 5: You know whatever, this what he was making.

570
00:28:50,680 --> 00:28:53,600
Speaker 4: Because again, it ain't like I didn't think that There's

571
00:28:53,600 --> 00:28:55,800
Speaker 4: a Dark Side was dope. I don't think to me

572
00:28:55,880 --> 00:28:58,680
Speaker 4: that's my favorite album, but to other people's is I

573
00:28:58,760 --> 00:29:01,640
Speaker 4: know that what the album? And when it did come out,

574
00:29:02,200 --> 00:29:06,880
Speaker 4: Muddy Waters hit so hard because people was waiting for it.

575
00:29:07,320 --> 00:29:12,080
Speaker 3: Okay, I was lukewarm on There's a Dark Side, like

576
00:29:12,160 --> 00:29:15,320
Speaker 3: I didn't think it held up to what the album. However,

577
00:29:16,120 --> 00:29:19,880
Speaker 3: when Muddy Waters came out, I was so shocked that

578
00:29:20,040 --> 00:29:25,760
Speaker 3: it was like beyond I know, yep, oh shit. The

579
00:29:25,760 --> 00:29:28,920
Speaker 3: funny thing was, so when I got Muddy Waters, when

580
00:29:28,960 --> 00:29:30,200
Speaker 3: I first heard the intro.

581
00:29:30,560 --> 00:29:31,400
Speaker 1: Right it is it?

582
00:29:31,520 --> 00:29:34,840
Speaker 5: Yeah? I was like, way it up? Man?

583
00:29:35,080 --> 00:29:38,720
Speaker 1: Yeah, But between the intro and is he for real?

584
00:29:39,400 --> 00:29:39,640
Speaker 5: Right?

585
00:29:40,200 --> 00:29:41,120
Speaker 1: I got admit. Man.

586
00:29:42,000 --> 00:29:46,240
Speaker 3: I was so happy that we got sampled because the

587
00:29:46,280 --> 00:29:48,640
Speaker 3: thing is is that by that point, the Roots have

588
00:29:48,720 --> 00:29:52,440
Speaker 3: made three records, right, and you know, everybody was like, well,

589
00:29:52,480 --> 00:29:55,600
Speaker 3: y'all band, so y'all gonna put out records, and motherfucker's

590
00:29:55,600 --> 00:29:57,960
Speaker 3: gonna sample for y'all. You know, I was like leaving

591
00:29:58,040 --> 00:30:00,280
Speaker 3: drums here and there and not stuff like okay, and

592
00:30:00,320 --> 00:30:01,960
Speaker 3: let me let this part bear because people want to

593
00:30:02,000 --> 00:30:06,040
Speaker 3: take that, and nobody was taken to us. And you know,

594
00:30:06,160 --> 00:30:10,440
Speaker 3: by third time around, I was like, yo, we might be.

595
00:30:10,400 --> 00:30:12,600
Speaker 1: Rudolph the Red Nose Reindeer of hip hop.

596
00:30:13,000 --> 00:30:15,960
Speaker 3: Like I don't know if motherfuckers are fucking with us

597
00:30:16,000 --> 00:30:19,640
Speaker 3: like that because no one's grabbing these drums, no one's

598
00:30:19,640 --> 00:30:20,760
Speaker 3: grabbing the loops or whatever.

599
00:30:21,400 --> 00:30:26,920
Speaker 1: So when we heard our song section.

600
00:30:27,640 --> 00:30:32,440
Speaker 3: Right, yeah, sample Anyboddy artists joined me personally, I was

601
00:30:32,480 --> 00:30:38,760
Speaker 3: so happy to be acknowledged that, like, yo, like all right,

602
00:30:39,640 --> 00:30:42,680
Speaker 3: so real hip hops know who we are?

603
00:30:42,760 --> 00:30:46,080
Speaker 1: Is shit? Like That's what it felt like that I.

604
00:30:46,120 --> 00:30:48,920
Speaker 4: Was understand, man, you got to understand when you play

605
00:30:49,200 --> 00:30:53,360
Speaker 4: what we do. To me, it's crossover as far as

606
00:30:53,440 --> 00:30:56,440
Speaker 4: just the fact that we're telling people that this right

607
00:30:56,520 --> 00:30:59,280
Speaker 4: here is not right, this is not what you should

608
00:30:59,320 --> 00:31:02,160
Speaker 4: be doing this year. Right here is crazy. All y'all

609
00:31:02,200 --> 00:31:04,800
Speaker 4: doing is talking about the same bullshit, same stuff, the

610
00:31:04,800 --> 00:31:07,520
Speaker 4: same whatever like that. So y'all was bold. Now I

611
00:31:07,520 --> 00:31:09,200
Speaker 4: thought you was getting ready to tell me yo, Eric,

612
00:31:09,520 --> 00:31:12,560
Speaker 4: since we went that route, people like, yo, these.

613
00:31:12,400 --> 00:31:14,080
Speaker 5: Motherfuckers, is this in the game?

614
00:31:15,400 --> 00:31:17,520
Speaker 4: So I thought, I know, But I thought that's what

615
00:31:17,640 --> 00:31:20,720
Speaker 4: made it kind of for y'all. But again I thought, no,

616
00:31:20,920 --> 00:31:24,200
Speaker 4: I'm the same because listen, nobody did what y'all did

617
00:31:24,880 --> 00:31:28,040
Speaker 4: at that time to put the industry on blast. No

618
00:31:28,080 --> 00:31:31,120
Speaker 4: matter what you say, y'all put the industry on blasts.

619
00:31:31,480 --> 00:31:31,680
Speaker 5: You know.

620
00:31:31,720 --> 00:31:34,920
Speaker 3: It's funny though, when we made that video for first

621
00:31:34,960 --> 00:31:37,640
Speaker 3: of all, it was like we came at the train

622
00:31:37,720 --> 00:31:42,000
Speaker 3: platform a little too late, Like we were raised on YOMTV.

623
00:31:42,200 --> 00:31:43,360
Speaker 1: Raps and all that stuff.

624
00:31:44,200 --> 00:31:48,640
Speaker 3: So had like the YOMTV raps stratosphere lasted another like

625
00:31:48,840 --> 00:31:52,560
Speaker 3: five years, like really like it ended in like ninety

626
00:31:52,640 --> 00:31:57,840
Speaker 3: six ninety seven, right, But the effect where something new

627
00:31:57,960 --> 00:32:01,440
Speaker 3: could come on MTV and instantly get picked up. We

628
00:32:01,520 --> 00:32:05,720
Speaker 3: didn't have that tailwind that a lot of groups had

629
00:32:06,480 --> 00:32:10,000
Speaker 3: between eighty eight and ninety six at the height of

630
00:32:10,000 --> 00:32:15,080
Speaker 3: your TV raps, and so it was hard for us

631
00:32:15,160 --> 00:32:19,200
Speaker 3: to get on BT. I mean, you know, we do

632
00:32:19,320 --> 00:32:21,920
Speaker 3: rap City or whatever, but like we moved to Europe.

633
00:32:23,080 --> 00:32:26,960
Speaker 3: So the thing is is that our approach to videos

634
00:32:27,400 --> 00:32:32,840
Speaker 3: by that point it was such a kind of a shrug, man,

635
00:32:32,880 --> 00:32:36,280
Speaker 3: motherfuckers ain't going to catch this anyway, so okay whatever.

636
00:32:36,920 --> 00:32:40,520
Speaker 3: So it was almost like we told all right, and

637
00:32:40,600 --> 00:32:42,960
Speaker 3: I explained this before on the show. Do you remember

638
00:32:43,000 --> 00:32:47,840
Speaker 3: in Boomerang when Eddie Murphy was so depressed about Jacqueline

639
00:32:48,600 --> 00:32:51,400
Speaker 3: he told Jeffrey Holder to make whatever he wants to

640
00:32:51,600 --> 00:32:54,760
Speaker 3: on that strong Z thing, like he didn't approve it, just.

641
00:32:54,640 --> 00:32:57,200
Speaker 1: Like, hey, dude, do whatever you want. I don't give it.

642
00:32:57,200 --> 00:33:00,160
Speaker 5: Buck And he came back with all that shit, so so.

643
00:33:00,960 --> 00:33:03,520
Speaker 3: Kind of and I know it seems like a cop out,

644
00:33:03,640 --> 00:33:06,920
Speaker 3: like a word, y'all just gonna tell us someone hell

645
00:33:07,000 --> 00:33:08,720
Speaker 3: to gun to your head and said make this video.

646
00:33:09,680 --> 00:33:12,120
Speaker 3: Like really, it was more like we showed up, all right,

647
00:33:12,280 --> 00:33:16,160
Speaker 3: show us where we stand, all right, roll it, cut

648
00:33:16,400 --> 00:33:21,880
Speaker 3: be out. But what they do was not the And

649
00:33:21,920 --> 00:33:24,680
Speaker 3: that's the thing people come up all the time like, yo, man,

650
00:33:24,920 --> 00:33:26,240
Speaker 3: I'm glad y'all took a stand.

651
00:33:26,360 --> 00:33:28,640
Speaker 1: Da da da da da, And you know, I'd just.

652
00:33:28,640 --> 00:33:31,880
Speaker 5: Be like, sure, yeah, it wasn't about that. Why you

653
00:33:31,880 --> 00:33:33,120
Speaker 5: had me food to.

654
00:33:33,120 --> 00:33:33,760
Speaker 1: Tell you the truth?

655
00:33:33,840 --> 00:33:33,959
Speaker 5: Bro?

656
00:33:34,840 --> 00:33:39,120
Speaker 3: The director had did a similar video that was more

657
00:33:39,240 --> 00:33:42,960
Speaker 3: humorous for a rock group, and the rock group rejected

658
00:33:42,960 --> 00:33:45,320
Speaker 3: it and we went in the reject pile of get

659
00:33:45,400 --> 00:33:48,200
Speaker 3: from records, like, yo, what about this video?

660
00:33:48,480 --> 00:33:50,680
Speaker 1: He's like, yeah, I could do that for you now.

661
00:33:50,680 --> 00:33:53,680
Speaker 3: I'm certain for him it was a chance to sort

662
00:33:53,680 --> 00:33:56,600
Speaker 3: of take a dig at the industry and even then

663
00:33:56,680 --> 00:33:58,840
Speaker 3: seeing the final thing because we were in Europe so

664
00:33:59,000 --> 00:34:02,280
Speaker 3: much and it's not like they can email you or

665
00:34:02,320 --> 00:34:05,080
Speaker 3: look on your dropbox. It's not like now where I

666
00:34:05,080 --> 00:34:09,360
Speaker 3: could send somebody a clip and get you to approve it.

667
00:34:09,360 --> 00:34:11,279
Speaker 3: It was just basically like all right, we shot a

668
00:34:11,360 --> 00:34:16,240
Speaker 3: video and all right, the video's ready and we thought

669
00:34:16,280 --> 00:34:19,000
Speaker 3: we were trying to be funny in a fish out

670
00:34:19,000 --> 00:34:22,560
Speaker 3: of waterway, and it turned out that we were being

671
00:34:22,640 --> 00:34:27,280
Speaker 3: like instigators and suddenly we got beefour on our hands

672
00:34:27,280 --> 00:34:32,640
Speaker 3: because Biggie thought we were even that one more chanshit,

673
00:34:32,760 --> 00:34:34,680
Speaker 3: Like I didn't know that was the one more Champion shit.

674
00:34:34,840 --> 00:34:38,680
Speaker 3: So yes, I do believe in integrity in your artistry.

675
00:34:40,000 --> 00:34:44,360
Speaker 3: But we weren't really on the soapbox preach in the

676
00:34:44,360 --> 00:34:48,000
Speaker 3: way that I think people thought we were. We were

677
00:34:48,040 --> 00:34:50,280
Speaker 3: just lazy and didn't know what the video was about.

678
00:34:50,320 --> 00:34:52,480
Speaker 3: It was just like, why make a video. It ain't

679
00:34:52,520 --> 00:34:54,040
Speaker 3: like I'm going to play us anyway. All Right, We

680
00:34:54,160 --> 00:34:58,560
Speaker 3: done and we left. So that's kind of where we

681
00:34:58,600 --> 00:35:01,239
Speaker 3: went with it. But no, but in the terms of

682
00:35:01,400 --> 00:35:04,720
Speaker 3: money with waters. But like one of the funniest stories

683
00:35:04,719 --> 00:35:08,000
Speaker 3: I have in embarrassment. So when we got the credit

684
00:35:08,520 --> 00:35:11,200
Speaker 3: for a section on the is he real?

685
00:35:11,320 --> 00:35:12,920
Speaker 1: Join? Is he for real? On the intro?

686
00:35:13,760 --> 00:35:15,720
Speaker 3: That was the first time I ever got a gold record.

687
00:35:16,360 --> 00:35:18,760
Speaker 3: Girls used to come out of the crib. You worked

688
00:35:18,760 --> 00:35:19,880
Speaker 3: on that Redman record.

689
00:35:20,840 --> 00:35:24,160
Speaker 1: I'd be like, well, yeah, you know he kind of

690
00:35:24,160 --> 00:35:24,680
Speaker 1: sampled this.

691
00:35:27,600 --> 00:35:30,920
Speaker 3: Yay, Hey, this was like it wasn't it wasn't until

692
00:35:30,920 --> 00:35:33,960
Speaker 3: two thousand in which we finally started going golden platinum.

693
00:35:33,960 --> 00:35:38,320
Speaker 3: But like between the Redman record and who am I

694
00:35:38,360 --> 00:35:41,400
Speaker 3: sim Sima? Who got the people they sampled it as well?

695
00:35:41,480 --> 00:35:44,480
Speaker 3: Like right, the amount of people that have sampled.

696
00:35:44,320 --> 00:35:48,480
Speaker 4: That that that intro thing of course, But nah, man,

697
00:35:48,600 --> 00:35:52,879
Speaker 4: I'm thinking y'all for that, so that you know that

698
00:35:53,239 --> 00:35:56,120
Speaker 4: yo dog for me that.

699
00:35:57,600 --> 00:36:00,680
Speaker 3: Jesus Christ, those two songs along like the wave that

700
00:36:00,840 --> 00:36:02,000
Speaker 3: Dylan would talk about.

701
00:36:02,360 --> 00:36:03,759
Speaker 5: Why you said Man Above.

702
00:36:03,960 --> 00:36:08,879
Speaker 3: Man Above had the same texture, right, the same sort

703
00:36:08,920 --> 00:36:11,000
Speaker 3: of bounce. I assume that was made on the same

704
00:36:11,080 --> 00:36:13,360
Speaker 3: instrument or the same keyboard.

705
00:36:14,600 --> 00:36:18,440
Speaker 5: That was made in a different place, because that's why

706
00:36:18,480 --> 00:36:19,160
Speaker 5: it's more cleaner.

707
00:36:19,520 --> 00:36:23,480
Speaker 1: But Man Above, production wise, same shit, right.

708
00:36:23,520 --> 00:36:25,240
Speaker 5: It was crazy. I was doing the Mary J. Blige

709
00:36:25,280 --> 00:36:27,880
Speaker 5: remix from the Dead for the.

710
00:36:28,000 --> 00:36:33,160
Speaker 1: Man but ah, okay, okay, okay.

711
00:36:32,840 --> 00:36:35,480
Speaker 5: So this all my life. I was gonna do a

712
00:36:35,600 --> 00:36:36,520
Speaker 5: my life remix.

713
00:36:37,040 --> 00:36:39,560
Speaker 4: So that's how I had those acapellas because there wasn't

714
00:36:39,560 --> 00:36:40,520
Speaker 4: no acapellas back then.

715
00:36:40,880 --> 00:36:42,520
Speaker 5: I was getting ready to do my life remix.

716
00:36:42,960 --> 00:36:44,520
Speaker 1: That's the music that it was going to be for.

717
00:36:45,680 --> 00:36:48,200
Speaker 4: I don't know, I just know that I never ended

718
00:36:48,280 --> 00:36:50,720
Speaker 4: up doing the remix, but I had them vocals.

719
00:36:51,080 --> 00:36:51,680
Speaker 5: I used them.

720
00:36:52,040 --> 00:36:57,160
Speaker 3: Of all your productions outside of yourself, EPM D, what

721
00:36:57,160 --> 00:37:01,160
Speaker 3: what do you feel are your top five all time

722
00:37:01,480 --> 00:37:06,280
Speaker 3: Eric Sermon productions outside of yourself and in your group.

723
00:37:07,160 --> 00:37:09,040
Speaker 4: I know the best beat is gonna be so what

724
00:37:09,040 --> 00:37:10,719
Speaker 4: you're saying, though, but I'm gonna get off of that.

725
00:37:14,080 --> 00:37:17,080
Speaker 4: I'm gonna say, of course, how High. I'm gonna say,

726
00:37:17,120 --> 00:37:18,040
Speaker 4: the most beautifulest.

727
00:37:18,600 --> 00:37:20,960
Speaker 1: There's two versions of how High? I did both of them.

728
00:37:21,440 --> 00:37:24,200
Speaker 3: Why was the other version, the non the non silver

729
00:37:24,280 --> 00:37:28,960
Speaker 3: connection version pushed more like I didn't even get the

730
00:37:29,400 --> 00:37:33,120
Speaker 3: version that we now know as how High until like

731
00:37:33,239 --> 00:37:34,360
Speaker 3: maybe a month later.

732
00:37:34,560 --> 00:37:36,279
Speaker 1: Like all we heard was the.

733
00:37:38,280 --> 00:37:43,400
Speaker 4: First or on the Russell Simmons the show documentary that

734
00:37:43,560 --> 00:37:46,640
Speaker 4: was on the show first, and I heard they wanted

735
00:37:46,640 --> 00:37:48,719
Speaker 4: to shoo a video I called Lee. I was like,

736
00:37:48,719 --> 00:37:50,879
Speaker 4: oh wait, wait a second, let me you're going see

737
00:37:50,920 --> 00:37:53,880
Speaker 4: the video. Let me change the beat up, because you know,

738
00:37:54,000 --> 00:37:56,680
Speaker 4: there was this rhymen. You know how many bars there

739
00:37:56,719 --> 00:37:59,080
Speaker 4: was this rhymen and this ship was just it wasn't

740
00:37:59,400 --> 00:38:01,279
Speaker 4: If I'm gonna I'd rather met on the record. I

741
00:38:01,360 --> 00:38:04,239
Speaker 4: want to make sure that I gave them an opportunity.

742
00:38:04,520 --> 00:38:06,960
Speaker 4: I wasn't about radio. It was just making a better

743
00:38:07,000 --> 00:38:09,160
Speaker 4: record to me, you know what I mean. So I

744
00:38:09,239 --> 00:38:13,040
Speaker 4: made a better record, speaking of which you gotta talk about.

745
00:38:13,040 --> 00:38:16,080
Speaker 4: Buy you some yo, We're too Short. I didn't have

746
00:38:16,160 --> 00:38:17,759
Speaker 4: no idea that I was gonna come home in New

747
00:38:17,840 --> 00:38:21,160
Speaker 4: York and it's gonna be just as big as Atlanta.

748
00:38:21,400 --> 00:38:24,600
Speaker 4: I brung Too Short to the Apollo with me that night,

749
00:38:24,880 --> 00:38:28,800
Speaker 4: and he almost was crying, like Eric, I'm like, short,

750
00:38:28,920 --> 00:38:30,840
Speaker 4: they gonna love you out here, man, you you were

751
00:38:31,440 --> 00:38:34,600
Speaker 4: selling artists. And he didn't believe it until he hit

752
00:38:34,640 --> 00:38:37,600
Speaker 4: that stage and it was pandemonium. I get me in, Short,

753
00:38:37,640 --> 00:38:38,840
Speaker 4: who's playing guitar on that?

754
00:38:39,600 --> 00:38:40,680
Speaker 1: Like that's a guitar?

755
00:38:41,560 --> 00:38:45,960
Speaker 4: A guy named it was too short boy started jay,

756
00:38:46,160 --> 00:38:48,759
Speaker 4: but one or two short boys from the from the

757
00:38:48,880 --> 00:38:50,799
Speaker 4: Dangers Click he played it.

758
00:38:50,920 --> 00:38:56,000
Speaker 3: Yeah, very unorthodox. That's basically live correct live.

759
00:38:56,080 --> 00:38:59,200
Speaker 4: Yeah, all of the drums, the whole nine, the base,

760
00:38:59,320 --> 00:38:59,920
Speaker 4: the whole nine.

761
00:39:00,040 --> 00:39:02,040
Speaker 5: His name is Shorty be Shorty Beef did it.

762
00:39:02,440 --> 00:39:05,360
Speaker 4: And got it and me and short was just in

763
00:39:05,400 --> 00:39:06,759
Speaker 4: Atlanta as guests.

764
00:39:07,160 --> 00:39:10,279
Speaker 5: Short had a lab the East Coast, West Coast.

765
00:39:10,320 --> 00:39:12,160
Speaker 4: Beef was at the height of the time and we

766
00:39:12,320 --> 00:39:14,839
Speaker 4: thought that we can do something just to ease up,

767
00:39:15,000 --> 00:39:17,359
Speaker 4: ease up to talk, you know, to one guy from

768
00:39:17,360 --> 00:39:19,640
Speaker 4: the west, one guy from the east, and and that

769
00:39:19,760 --> 00:39:20,960
Speaker 4: and that came into play.

770
00:39:21,080 --> 00:39:24,120
Speaker 5: I did that thing that night, one take and that's it.

771
00:39:24,239 --> 00:39:27,520
Speaker 4: And I was like, yo, next thing, you know, Greg

772
00:39:27,560 --> 00:39:29,640
Speaker 4: Street had it and it was over and the last

773
00:39:29,719 --> 00:39:30,360
Speaker 4: I was jealous.

774
00:39:30,360 --> 00:39:30,680
Speaker 1: Man.

775
00:39:30,880 --> 00:39:32,240
Speaker 5: It lasted in Atlanta.

776
00:39:31,920 --> 00:39:34,960
Speaker 4: For like at least told about, like talking about seven years,

777
00:39:35,040 --> 00:39:38,960
Speaker 4: six years, seven years straight of it being constantly played

778
00:39:39,440 --> 00:39:40,520
Speaker 4: every single day.

779
00:39:41,800 --> 00:39:43,000
Speaker 1: My boy used to rip me.

780
00:39:43,040 --> 00:39:46,799
Speaker 3: He's like, yo, man, how are you gonna let Eric

781
00:39:46,880 --> 00:39:52,719
Speaker 3: Sermon come in with a broken junkie sounded drum set

782
00:39:52,760 --> 00:39:53,440
Speaker 3: and I have to.

783
00:39:53,680 --> 00:39:56,720
Speaker 1: Guitar and out do the roots?

784
00:39:57,000 --> 00:40:00,480
Speaker 3: Like literally, My manager was like, he was like, remember

785
00:40:00,520 --> 00:40:01,839
Speaker 3: when y'all used to sound that raw?

786
00:40:02,000 --> 00:40:03,360
Speaker 1: I was like, what should you talking about?

787
00:40:03,719 --> 00:40:05,560
Speaker 3: It's like many y'all trying to do all these intrigate

788
00:40:05,640 --> 00:40:07,880
Speaker 3: jash it, but you need to get back to a

789
00:40:07,920 --> 00:40:12,040
Speaker 3: broken sound and drum set and a fucked up guitar

790
00:40:12,200 --> 00:40:14,600
Speaker 3: sound and ship and that's it.

791
00:40:14,920 --> 00:40:17,520
Speaker 5: I couldn't but believe me, I'm just as shocked as you. Man.

792
00:40:17,600 --> 00:40:19,200
Speaker 4: I was just doing the beat because it was me

793
00:40:19,239 --> 00:40:21,120
Speaker 4: and short. So I just did a rhyme. Man, I'm

794
00:40:21,120 --> 00:40:23,520
Speaker 4: not thinking this record's gonna do something. And then I

795
00:40:23,560 --> 00:40:26,080
Speaker 4: get home and fun Master Flex got it and it's

796
00:40:26,200 --> 00:40:28,480
Speaker 4: just as big as New York as it isn't and

797
00:40:28,560 --> 00:40:31,200
Speaker 4: you saying you had a Philly I'm like, man, this is.

798
00:40:31,200 --> 00:40:34,320
Speaker 3: Crazy cos mccaff used to always play that ship and

799
00:40:34,560 --> 00:40:37,200
Speaker 3: and you know with the with the DMZL remix coming

800
00:40:37,239 --> 00:40:37,840
Speaker 3: after that.

801
00:40:37,800 --> 00:40:43,080
Speaker 4: Oh listen, listen, David Sigerson said, Eric, dreamy Eys is

802
00:40:43,160 --> 00:40:44,120
Speaker 4: not doing well.

803
00:40:44,520 --> 00:40:45,120
Speaker 5: So what do you mean?

804
00:40:45,160 --> 00:40:47,120
Speaker 4: He said, Yo, it's not moving the way we thought

805
00:40:47,160 --> 00:40:49,400
Speaker 4: it was to be moving. It was it was a

806
00:40:49,400 --> 00:40:52,880
Speaker 4: thing called R and R back then on that whatever whatever.

807
00:40:53,400 --> 00:40:56,239
Speaker 4: So he said, can you remix it for me? So

808
00:40:56,520 --> 00:40:59,359
Speaker 4: automatically when I tell you a quest, it wasn't even

809
00:40:59,400 --> 00:41:02,960
Speaker 4: no thought. I knew what I was using, you know,

810
00:41:03,480 --> 00:41:05,760
Speaker 4: I didn't know that that was gonna take off neither,

811
00:41:06,040 --> 00:41:08,000
Speaker 4: but I go grab my partner, your Reggie.

812
00:41:08,040 --> 00:41:10,120
Speaker 5: I knew you real quick. You see, I grab Readie

813
00:41:10,120 --> 00:41:12,200
Speaker 5: for everything you're read yo, right whatever.

814
00:41:12,320 --> 00:41:15,200
Speaker 4: So after that, it was like, you know, and and

815
00:41:15,320 --> 00:41:18,560
Speaker 4: don't forget the music that was in the original record,

816
00:41:18,560 --> 00:41:21,520
Speaker 4: the band ban Then I had that sample to go on.

817
00:41:21,800 --> 00:41:25,319
Speaker 4: So I had some of the stuff, the ingredients from

818
00:41:25,400 --> 00:41:29,239
Speaker 4: the original Dreamy Eyes to put into my version. Not

819
00:41:29,719 --> 00:41:33,440
Speaker 4: that the angel is gonna be like yo, nigga, God

820
00:41:33,560 --> 00:41:34,280
Speaker 4: damn nigga.

821
00:41:34,400 --> 00:41:36,960
Speaker 5: Like I mean he was. He was like, you know, yo,

822
00:41:37,280 --> 00:41:39,000
Speaker 5: thank you, whatever you need, I got you.

823
00:41:39,040 --> 00:41:42,040
Speaker 3: So I mentioned to him like a year ago, like yo, man,

824
00:41:42,680 --> 00:41:44,840
Speaker 3: I said, Yo, how can we never thought about redoing

825
00:41:44,880 --> 00:41:48,640
Speaker 3: that live yo? And he was just like I forgot

826
00:41:48,640 --> 00:41:51,400
Speaker 3: about it. That that one's with the record books, but

827
00:41:51,440 --> 00:41:53,759
Speaker 3: wait where are the other for.

828
00:41:55,680 --> 00:41:56,520
Speaker 5: Four three two one?

829
00:41:58,280 --> 00:42:01,120
Speaker 4: And that's outside because I would say Headbanger too, because

830
00:42:01,120 --> 00:42:04,759
Speaker 4: that because when I sampled the Boosy Collins you know

831
00:42:05,040 --> 00:42:10,720
Speaker 4: again that yeah, yeah, you know, I sampled Boosi also

832
00:42:10,760 --> 00:42:14,120
Speaker 4: in Most Beautifulness too. But I made Headbanger for ice Cube.

833
00:42:14,480 --> 00:42:17,840
Speaker 4: I couldn't get it to him. So doing the last

834
00:42:18,120 --> 00:42:21,240
Speaker 4: two records, the last two records on business the person

835
00:42:21,280 --> 00:42:25,279
Speaker 4: that was Crossover and Headbanger because Russell said, if y'all

836
00:42:25,400 --> 00:42:27,840
Speaker 4: dropped that album the way it is, you're gonna fail.

837
00:42:28,320 --> 00:42:31,440
Speaker 4: So I so I went back and made Crossover and Headbanger.

838
00:42:31,520 --> 00:42:35,279
Speaker 3: Last, did you trust Russell's ears on that one?

839
00:42:35,640 --> 00:42:38,600
Speaker 5: I trust more Leo but Russell for some.

840
00:42:38,480 --> 00:42:42,160
Speaker 4: Reason, Conder knew, and I gotta give him praises because

841
00:42:42,560 --> 00:42:45,279
Speaker 4: I heard that before I heard that that's not something

842
00:42:45,320 --> 00:42:46,239
Speaker 4: that Russell will do.

843
00:42:46,600 --> 00:42:48,879
Speaker 5: Like, so you what a record and then you would

844
00:42:48,880 --> 00:42:49,760
Speaker 5: go with what he said.

845
00:42:50,200 --> 00:42:54,040
Speaker 4: But believe me, he was adamant about if you in

846
00:42:54,120 --> 00:42:57,000
Speaker 4: Paris drop that album the way it is now, you're

847
00:42:57,080 --> 00:42:57,840
Speaker 4: gonna be in trouble.

848
00:43:02,600 --> 00:43:05,200
Speaker 1: All right, let me ask you about crossover now.

849
00:43:05,880 --> 00:43:09,239
Speaker 3: And you know, once bad Boy comes into play, all

850
00:43:09,400 --> 00:43:13,680
Speaker 3: rules early bad Boy, all rules out the window. I

851
00:43:13,719 --> 00:43:18,120
Speaker 3: was under the impression that if you sample something, it

852
00:43:18,200 --> 00:43:21,439
Speaker 3: has to be at least twenty years old, thirty years old,

853
00:43:21,560 --> 00:43:24,960
Speaker 3: like it has to be the vintage, a whole generation

854
00:43:25,719 --> 00:43:27,240
Speaker 3: before it can be sampled.

855
00:43:27,600 --> 00:43:27,839
Speaker 1: Right.

856
00:43:28,600 --> 00:43:31,239
Speaker 3: However, so I used to work in a record shop,

857
00:43:32,000 --> 00:43:34,919
Speaker 3: so I was very much familiar with Roger Trautman's girl

858
00:43:34,960 --> 00:43:39,279
Speaker 3: You Should Be Mine, of course, which was like his

859
00:43:40,600 --> 00:43:47,919
Speaker 3: new Jack Swingey attempt, which weird enough. Also like him

860
00:43:47,960 --> 00:43:52,279
Speaker 3: sampling Boutie Collins' Rubber Band r U B B e er.

861
00:43:53,160 --> 00:43:57,840
Speaker 3: You know it's a contemporary song right with samples in it.

862
00:44:00,040 --> 00:44:02,600
Speaker 3: Look after I met Dylan, he told me all bets

863
00:44:02,600 --> 00:44:05,160
Speaker 3: are off like anything could be sampled. It could be

864
00:44:05,200 --> 00:44:07,560
Speaker 3: made yesterday. Yes, I'll flip it.

865
00:44:08,000 --> 00:44:13,279
Speaker 1: Yes. But back in the early nineties, I thought a record.

866
00:44:12,960 --> 00:44:15,480
Speaker 5: Had to be old it did it?

867
00:44:15,600 --> 00:44:18,520
Speaker 6: Did it? You?

868
00:44:18,880 --> 00:44:26,160
Speaker 3: Basically sampled in crossover a somewhat Newish Roger Troutman song

869
00:44:26,239 --> 00:44:28,759
Speaker 3: that wasn't wanted new it was It wasn't even two

870
00:44:28,800 --> 00:44:31,200
Speaker 3: years old yet yet, so it was in the record store.

871
00:44:31,200 --> 00:44:35,120
Speaker 3: It wasn't old, the body wasn't warm yet. Like, what

872
00:44:35,200 --> 00:44:36,160
Speaker 3: made you want to sample that?

873
00:44:36,520 --> 00:44:39,040
Speaker 4: I'm a fan of. I resembered watching my whole life.

874
00:44:39,160 --> 00:44:42,799
Speaker 4: So after I get picked up from Bron Guidry from

875
00:44:42,880 --> 00:44:47,279
Speaker 4: Sony whatever, he has the Sipus Hills album on him.

876
00:44:47,640 --> 00:44:50,799
Speaker 4: So from the airport were playing Cypus Hills. That's how

877
00:44:50,840 --> 00:44:53,920
Speaker 4: I caught Q and Cube knew about them, and how

878
00:44:54,000 --> 00:44:56,719
Speaker 4: Cube got in the video. Cube know by siplus to me.

879
00:44:57,320 --> 00:45:00,480
Speaker 3: So he came to the Apollo to shoot just kill

880
00:45:00,520 --> 00:45:01,320
Speaker 3: a man because.

881
00:45:01,920 --> 00:45:04,200
Speaker 4: Yo, yeah, but I think he heard don't forget I've

882
00:45:04,200 --> 00:45:07,200
Speaker 4: brung the cassette tape to a Q video in Cali,

883
00:45:07,680 --> 00:45:09,160
Speaker 4: and He's like, holy shit.

884
00:45:09,960 --> 00:45:12,560
Speaker 5: So when I got home, who was in New York

885
00:45:12,600 --> 00:45:15,960
Speaker 5: shoot in the video. But but anyway, got it you

886
00:45:16,040 --> 00:45:16,800
Speaker 5: was asked me about.

887
00:45:17,440 --> 00:45:19,920
Speaker 3: Let me explain to our listeners what I'm asking him

888
00:45:20,000 --> 00:45:23,040
Speaker 3: is basically for him to sample. You got to chill

889
00:45:23,120 --> 00:45:27,600
Speaker 3: for EPMD. That to me is a vintage song that

890
00:45:27,640 --> 00:45:30,759
Speaker 3: we all know, and if it's vintage, that means it's

891
00:45:30,800 --> 00:45:35,880
Speaker 3: been oven long enough to be sample. However, we're crossover.

892
00:45:37,000 --> 00:45:40,320
Speaker 3: That song was like not even two years old yet,

893
00:45:40,480 --> 00:45:43,319
Speaker 3: and you know, like I was like wow when I

894
00:45:43,360 --> 00:45:45,120
Speaker 3: heard it. I was like, yo, are we allowed to

895
00:45:45,160 --> 00:45:48,719
Speaker 3: sample something that's brand new, that isn't even vintage yet

896
00:45:48,719 --> 00:45:53,640
Speaker 3: before it's ready to be sampled. And for you, there

897
00:45:53,719 --> 00:45:54,480
Speaker 3: wasn't a difference.

898
00:45:54,760 --> 00:45:57,080
Speaker 4: Well, I thought it was new because I didn't. I

899
00:45:57,160 --> 00:45:58,800
Speaker 4: never saw it yet, so to me, I think it

900
00:45:58,840 --> 00:46:01,560
Speaker 4: probably was even a year old. But I saw the

901
00:46:01,719 --> 00:46:04,719
Speaker 4: hem on the thing with the globe all I saw

902
00:46:05,200 --> 00:46:09,680
Speaker 4: so on the cover, So it wasn't my intentions to sample.

903
00:46:10,080 --> 00:46:13,320
Speaker 5: I just saw a new Roger album, don't forget.

904
00:46:13,600 --> 00:46:18,360
Speaker 4: When I got to the hand the album then Russell

905
00:46:18,480 --> 00:46:22,960
Speaker 4: was like, if you hand the album then y'all gonna fail, right,

906
00:46:23,280 --> 00:46:27,160
Speaker 4: So I went and made crossover. Happened to have the

907
00:46:27,680 --> 00:46:30,960
Speaker 4: consette tape on me, right, and I went through it

908
00:46:31,920 --> 00:46:35,560
Speaker 4: and baby with you be mine? I let it play.

909
00:46:35,560 --> 00:46:40,920
Speaker 4: It said, well, I'm bearing back to you whatever you are.

910
00:46:41,040 --> 00:46:42,360
Speaker 5: I said, holy ship.

911
00:46:43,040 --> 00:46:46,400
Speaker 3: Here's the thing though, and this is another deal with

912
00:46:46,440 --> 00:46:52,800
Speaker 3: thing now, anyone else me included, I would have thought

913
00:46:53,120 --> 00:46:55,880
Speaker 3: that first part, the baby won't you be My like

914
00:46:56,120 --> 00:47:00,000
Speaker 3: if my boss is telling me my album's gonna fail

915
00:47:00,120 --> 00:47:03,400
Speaker 3: if I don't have a hit single. Of all the

916
00:47:03,440 --> 00:47:07,680
Speaker 3: parts to sample on that record, I would have never

917
00:47:07,840 --> 00:47:13,200
Speaker 3: thought sample the bridge. I would have sampled the other part.

918
00:47:13,400 --> 00:47:17,440
Speaker 3: What made you choose the the lesser of two evils?

919
00:47:17,520 --> 00:47:20,920
Speaker 3: The part that I wouldn't think the sample. You just

920
00:47:20,920 --> 00:47:24,080
Speaker 3: wanted the texture. You wanted the texture quarter. It was,

921
00:47:24,239 --> 00:47:26,680
Speaker 3: that's Roger. So when you hit a more.

922
00:47:26,640 --> 00:47:30,759
Speaker 4: Balanced you got the chill, but both boom boom bow quarter.

923
00:47:30,920 --> 00:47:33,560
Speaker 5: So I got to bring that back. That's the whole thing.

924
00:47:34,200 --> 00:47:37,520
Speaker 3: And all of your bass assault songs, especially the way

925
00:47:37,560 --> 00:47:40,640
Speaker 3: you flip the Adriz mohammed shit, that to me is

926
00:47:40,719 --> 00:47:44,600
Speaker 3: like whatever you cooked up for the verse, that is

927
00:47:44,719 --> 00:47:48,520
Speaker 3: prime Eric SimMan like perfection to me, man, that that's

928
00:47:48,560 --> 00:47:51,160
Speaker 3: just that's my ship, all right.

929
00:47:51,280 --> 00:47:52,840
Speaker 1: So what are your last.

930
00:47:52,560 --> 00:47:54,960
Speaker 5: Two reservoir dogs?

931
00:47:55,680 --> 00:47:59,440
Speaker 3: You did res dogs Man, No, the Reservoir Dogs on

932
00:47:59,640 --> 00:48:00,560
Speaker 3: Jay's record.

933
00:48:00,880 --> 00:48:02,960
Speaker 5: Me and Rock Waller did ves Dogs.

934
00:48:03,040 --> 00:48:05,920
Speaker 4: Yes, you look at the credits of Eric Sermon and

935
00:48:05,960 --> 00:48:08,279
Speaker 4: pop rock name not even on that on there.

936
00:48:08,560 --> 00:48:09,520
Speaker 5: But he did it with me.

937
00:48:10,120 --> 00:48:12,839
Speaker 1: Damn. I didn't even know that shit. Yo. Talk about

938
00:48:12,840 --> 00:48:14,000
Speaker 1: the four three two one session.

939
00:48:14,800 --> 00:48:17,719
Speaker 5: There was no session. I did that with nobody being there.

940
00:48:17,719 --> 00:48:20,320
Speaker 4: It was a record that was done by track masters

941
00:48:20,360 --> 00:48:23,160
Speaker 4: at first though quest and the record I didn't like it,

942
00:48:23,440 --> 00:48:26,920
Speaker 4: and they had look going first and whatever go on

943
00:48:26,960 --> 00:48:29,040
Speaker 4: this part, this is going that part. It wasn't nothing

944
00:48:29,040 --> 00:48:31,560
Speaker 4: that you heard. So I told Kevin Lows, Yo, give

945
00:48:31,600 --> 00:48:32,080
Speaker 4: me the song.

946
00:48:32,080 --> 00:48:32,560
Speaker 5: I'm gonna make.

947
00:48:32,840 --> 00:48:34,560
Speaker 4: Let me see if I could do something with it.

948
00:48:34,840 --> 00:48:37,600
Speaker 4: And put your hands were so hot. So I made

949
00:48:37,640 --> 00:48:40,440
Speaker 4: my own version of push your hands while forty two

950
00:48:40,440 --> 00:48:42,480
Speaker 4: one came out. See if you listen to forty two

951
00:48:42,560 --> 00:48:46,120
Speaker 4: one and put your hands, it's the same drum pattern.

952
00:48:46,160 --> 00:48:49,120
Speaker 5: I followed the same drum pattern. Set it going. Oh,

953
00:48:51,400 --> 00:48:54,600
Speaker 5: I tell you're going, but boom boom. I did boom

954
00:48:54,600 --> 00:48:57,359
Speaker 5: boom boom. That's it. I did nothing different.

955
00:49:00,080 --> 00:49:03,600
Speaker 1: A I didn't realize that till right the fuck now.

956
00:49:04,560 --> 00:49:08,839
Speaker 3: Damn. So by the time you got it, they all

957
00:49:08,840 --> 00:49:12,759
Speaker 3: did their verses already.

958
00:49:11,160 --> 00:49:13,320
Speaker 4: Did their verses and the only one that we added

959
00:49:13,360 --> 00:49:16,080
Speaker 4: on was cannabis and then the master p. But the

960
00:49:16,160 --> 00:49:17,799
Speaker 4: verses were done, so of course I got to put

961
00:49:17,840 --> 00:49:19,960
Speaker 4: retting MEP together. They didn't have running MEP together. I

962
00:49:20,000 --> 00:49:22,200
Speaker 4: put reverting MEP together. And then I'm like, Yo, the

963
00:49:22,239 --> 00:49:24,960
Speaker 4: new kid dnx, I gotta make sure that it comes

964
00:49:25,000 --> 00:49:26,560
Speaker 4: in so farward.

965
00:49:26,320 --> 00:49:27,080
Speaker 5: Stay out the door.

966
00:49:27,280 --> 00:49:29,960
Speaker 4: So whoever, so when he comes, I got to make

967
00:49:30,000 --> 00:49:33,200
Speaker 4: sure that this is highlighted because I.

968
00:49:33,120 --> 00:49:36,799
Speaker 5: Know he's the next of the next. So and then llokuja.

969
00:49:37,239 --> 00:49:39,640
Speaker 4: You see how I was putting in the ll cooj

970
00:49:39,880 --> 00:49:43,360
Speaker 4: or stopping because Llo first didn't go like that. He

971
00:49:43,520 --> 00:49:46,319
Speaker 4: was rhyming so fast through the whole verse. I was

972
00:49:46,360 --> 00:49:48,440
Speaker 4: breaking it up for it to make sense to me.

973
00:49:49,440 --> 00:49:52,480
Speaker 4: And that's why I was add living and cannabis. Got mad,

974
00:49:52,520 --> 00:49:54,239
Speaker 4: said Yo, man, I thought you was. I thought I

975
00:49:54,320 --> 00:49:57,319
Speaker 4: was squawed. You know you added on everybody only verse

976
00:49:57,400 --> 00:50:00,000
Speaker 4: you add libble doing with Llo cujas verse. I said,

977
00:50:00,040 --> 00:50:04,520
Speaker 4: I was add living to fill the holes in Ah.

978
00:50:04,640 --> 00:50:06,040
Speaker 1: I got it. I got it.

979
00:50:06,840 --> 00:50:10,960
Speaker 3: So did you realize like what was brewing underneath as

980
00:50:11,000 --> 00:50:16,400
Speaker 3: far as like what was happening between l and and Cannabis.

981
00:50:15,960 --> 00:50:16,439
Speaker 1: At the time.

982
00:50:17,200 --> 00:50:19,600
Speaker 4: Nah, I didn't realize. I thought that Cannabis would never

983
00:50:19,680 --> 00:50:22,399
Speaker 4: dissed him. But Llokoj is like that.

984
00:50:22,840 --> 00:50:28,200
Speaker 3: Ll explained like on this podcast that okay, I might

985
00:50:28,239 --> 00:50:29,319
Speaker 3: have taken it too far.

986
00:50:29,400 --> 00:50:32,399
Speaker 4: And I think that LLOJ got us on Rampage too.

987
00:50:33,000 --> 00:50:36,239
Speaker 4: You think he's busting shots females rappers too. I don't

988
00:50:36,280 --> 00:50:40,480
Speaker 4: give a fuck fool he got fucking Foxy on u Shota.

989
00:50:39,920 --> 00:50:46,440
Speaker 5: Like it don't matter be Lookoja is a battle rapper

990
00:50:46,560 --> 00:50:47,120
Speaker 5: at heart.

991
00:50:47,600 --> 00:50:50,320
Speaker 1: So even though in his own posse cut that's.

992
00:50:50,120 --> 00:50:57,399
Speaker 4: Benefiting him, Yes, you and your squad, but to face

993
00:50:57,440 --> 00:51:00,960
Speaker 4: the real guard, the undertaking that's in Rampage, it's only

994
00:51:01,040 --> 00:51:02,840
Speaker 4: one squad and that's the hit squad.

995
00:51:03,040 --> 00:51:06,439
Speaker 5: There's no other person calling them selves squads but that.

996
00:51:06,800 --> 00:51:09,800
Speaker 4: And again, if you look at Paris when he says,

997
00:51:09,960 --> 00:51:12,520
Speaker 4: I know they all met Dick l but that's okay. See,

998
00:51:12,840 --> 00:51:15,719
Speaker 4: somebody would take take it like Paris is telling Ello

999
00:51:16,080 --> 00:51:18,560
Speaker 4: Cuja that see what I'm saying, you gotta watch what

1000
00:51:18,640 --> 00:51:21,279
Speaker 4: the what the people do. I know you don't look

1001
00:51:21,320 --> 00:51:22,880
Speaker 4: at it like that, but they do.

1002
00:51:23,600 --> 00:51:26,200
Speaker 3: Damn man, you're gonna make me go back and listen

1003
00:51:26,239 --> 00:51:31,920
Speaker 3: to your entire canvon to see subliminal digs. I mean,

1004
00:51:31,960 --> 00:51:34,800
Speaker 3: I'm thinking that if someone's on your record that y'all family,

1005
00:51:34,880 --> 00:51:36,120
Speaker 3: y'all squad, I don't know it.

1006
00:51:36,160 --> 00:51:37,000
Speaker 5: Don't go like that.

1007
00:51:37,080 --> 00:51:39,719
Speaker 4: I just told you what the Foxy Brown with with

1008
00:51:39,800 --> 00:51:42,600
Speaker 4: who shot you? Nigga like yo, like he might not

1009
00:51:42,800 --> 00:51:45,880
Speaker 4: say it again. But two you're saying that.

1010
00:51:46,000 --> 00:51:48,520
Speaker 5: I'm not mad at him. That's the He's the battle

1011
00:51:48,640 --> 00:51:49,800
Speaker 5: ultimate battle rapper.

1012
00:51:50,280 --> 00:51:54,000
Speaker 4: Wow, that's why he came back and probably detracted to cannabis.

1013
00:51:54,080 --> 00:51:58,120
Speaker 4: Cannabis loved that. Why would he just llokoja? He wouldn't

1014
00:51:58,160 --> 00:51:58,680
Speaker 4: do that.

1015
00:51:59,120 --> 00:52:01,719
Speaker 3: At the time when he Burray came to you, did

1016
00:52:01,719 --> 00:52:04,080
Speaker 3: he have an actual MC name? Because I love the

1017
00:52:04,120 --> 00:52:04,720
Speaker 3: fact that.

1018
00:52:05,280 --> 00:52:06,279
Speaker 5: And then it was Keith it Keith.

1019
00:52:06,920 --> 00:52:09,560
Speaker 3: But what made what made him use his government name

1020
00:52:09,640 --> 00:52:12,920
Speaker 3: instead of his his MC name me. I mean, I

1021
00:52:12,920 --> 00:52:14,560
Speaker 3: thought it was smart. I thought it was ironic.

1022
00:52:15,320 --> 00:52:17,759
Speaker 4: He said, he said, Eric, I'm gonna use my name,

1023
00:52:18,080 --> 00:52:20,920
Speaker 4: you use your name. I'm calling myself Keith Murray. Sounded

1024
00:52:20,920 --> 00:52:22,400
Speaker 4: like an R and B artist exactly.

1025
00:52:23,280 --> 00:52:25,959
Speaker 1: Yep. The irony of it, yep.

1026
00:52:26,200 --> 00:52:30,440
Speaker 3: Okay, So what's the decision behind with the Insomnia Project

1027
00:52:30,600 --> 00:52:36,160
Speaker 3: and the Erico NASA's album. Oh my god, man, hey man,

1028
00:52:36,360 --> 00:52:38,680
Speaker 3: I'm like Ard War You're you're Eric servant.

1029
00:52:38,719 --> 00:52:39,319
Speaker 1: I have to ask.

1030
00:52:39,800 --> 00:52:40,879
Speaker 5: But I wish I could go back.

1031
00:52:41,040 --> 00:52:43,840
Speaker 4: I wish I could not with funk Orama because I

1032
00:52:43,880 --> 00:52:45,920
Speaker 4: love that Q Tips showed up and met them in

1033
00:52:45,960 --> 00:52:48,359
Speaker 4: the video. Was so dope like that. But I just

1034
00:52:48,360 --> 00:52:52,080
Speaker 4: think that I was on in the scope and Jimmy

1035
00:52:52,120 --> 00:52:54,680
Speaker 4: I Bean was playing the record for Dre back and forth,

1036
00:52:54,920 --> 00:52:57,080
Speaker 4: and Dre were like, Yo, not yet, not ready yet,

1037
00:52:57,400 --> 00:52:58,959
Speaker 4: not ready yet, not yet ready yet?

1038
00:52:59,080 --> 00:53:02,759
Speaker 5: So when when the product that you heard, Dre okay it?

1039
00:53:03,200 --> 00:53:05,239
Speaker 4: But when I go back, I'd be like, man, I

1040
00:53:05,840 --> 00:53:08,799
Speaker 4: could have made it more like the Chronic where it

1041
00:53:08,960 --> 00:53:11,360
Speaker 4: had me. I could have made it more like my

1042
00:53:11,520 --> 00:53:14,279
Speaker 4: production as far as like what I really wanted to

1043
00:53:14,320 --> 00:53:17,760
Speaker 4: make for it and not make records for the groups

1044
00:53:17,800 --> 00:53:20,560
Speaker 4: that I had. I could have did the Chronic and

1045
00:53:20,640 --> 00:53:24,719
Speaker 4: then had those rappers on the type chronic, type of mode.

1046
00:53:25,040 --> 00:53:29,239
Speaker 4: And that's all I felt about that funk Orama was

1047
00:53:29,440 --> 00:53:31,920
Speaker 4: where I was supposed to go the whole album.

1048
00:53:32,239 --> 00:53:35,160
Speaker 1: Got it? Yo? Did you do any production on Jamal's

1049
00:53:35,200 --> 00:53:35,879
Speaker 1: record at all?

1050
00:53:36,719 --> 00:53:39,600
Speaker 5: I just did. I told you I did situation and

1051
00:53:39,640 --> 00:53:40,680
Speaker 5: I did keep it real.

1052
00:53:41,360 --> 00:53:43,840
Speaker 1: Jamal's you Didn't You didn't do Jamon did you?

1053
00:53:44,400 --> 00:53:45,400
Speaker 5: Mom? Was on My Rockwaller.

1054
00:53:45,960 --> 00:53:50,319
Speaker 4: Jamal's album is one of the most underrated for him

1055
00:53:50,360 --> 00:53:51,520
Speaker 4: having Diamond.

1056
00:53:51,160 --> 00:53:54,240
Speaker 1: D say it, Eric Simon say.

1057
00:53:54,040 --> 00:53:59,080
Speaker 4: It, Rockwader Man, Mike Dean, I mean he it was.

1058
00:53:59,640 --> 00:54:03,400
Speaker 4: It was put together man, Jesus Christ, it was put together.

1059
00:54:03,719 --> 00:54:07,000
Speaker 4: Phill Duphies was doing Molly Jim Yo. Why do you

1060
00:54:07,000 --> 00:54:09,600
Speaker 4: think he was on Buster? He was on on Junior

1061
00:54:09,680 --> 00:54:13,560
Speaker 4: markea like, but he Reggie, he was a problem.

1062
00:54:14,440 --> 00:54:16,160
Speaker 1: Oh he should have been way bigger, should have been

1063
00:54:16,160 --> 00:54:17,000
Speaker 1: way bigger.

1064
00:54:16,719 --> 00:54:18,000
Speaker 5: Way, bigger way, bigger.

1065
00:54:18,840 --> 00:54:21,680
Speaker 3: Music just came out of nowhere. No one saw music

1066
00:54:21,719 --> 00:54:25,719
Speaker 3: coming right. No, no cats was ready to count you out.

1067
00:54:25,880 --> 00:54:28,680
Speaker 3: And I don't mean like personally counts you out. Yeah,

1068
00:54:28,760 --> 00:54:33,080
Speaker 3: it's just like you know, with you don't expect someone

1069
00:54:33,160 --> 00:54:36,200
Speaker 3: that was first hitting like thirteen years ago to be

1070
00:54:36,520 --> 00:54:39,680
Speaker 3: even a big to be even a a bigger factor.

1071
00:54:39,840 --> 00:54:41,560
Speaker 5: I know, I know. It was crazy.

1072
00:54:41,880 --> 00:54:46,080
Speaker 4: It was again, man, I still again, but No, I saved,

1073
00:54:46,719 --> 00:54:49,120
Speaker 4: gave me all that life again for him, still in

1074
00:54:49,120 --> 00:54:52,720
Speaker 4: that record, for my basement, and trusting that the world

1075
00:54:52,800 --> 00:54:53,239
Speaker 4: had to.

1076
00:54:53,160 --> 00:54:55,080
Speaker 5: Hear it because I didn't make it for the world.

1077
00:54:55,600 --> 00:54:58,600
Speaker 4: I made it because Midnight Love was my favorite albums,

1078
00:54:58,800 --> 00:55:00,640
Speaker 4: and I was just saying that if I was had

1079
00:55:00,719 --> 00:55:02,839
Speaker 4: Marvin Gate, here's what I would make on him.

1080
00:55:02,880 --> 00:55:04,680
Speaker 5: That's what I was doing. I was saying that I

1081
00:55:04,719 --> 00:55:06,680
Speaker 5: would make something like this with him.

1082
00:55:07,239 --> 00:55:08,960
Speaker 1: She said music was not supposed to come out.

1083
00:55:09,280 --> 00:55:11,360
Speaker 5: It was stolen from my basement. It was not supposed

1084
00:55:11,360 --> 00:55:11,719
Speaker 5: to come out.

1085
00:55:12,239 --> 00:55:14,719
Speaker 1: How people stealing ship from your basement and bringing.

1086
00:55:14,480 --> 00:55:17,040
Speaker 5: It on it It was it was my best friend.

1087
00:55:17,520 --> 00:55:19,560
Speaker 4: The fact that I played it for him and he

1088
00:55:19,719 --> 00:55:21,799
Speaker 4: took it, and then like I didn't know that he

1089
00:55:21,920 --> 00:55:24,160
Speaker 4: took it. And when I got to the w Hotel

1090
00:55:25,040 --> 00:55:29,520
Speaker 4: it was a clear channel music seminar and Steve was like, yo,

1091
00:55:29,920 --> 00:55:32,239
Speaker 4: he played it for him, And when they all came

1092
00:55:32,320 --> 00:55:34,640
Speaker 4: back into your eric, your new song with Marvin Gate

1093
00:55:35,120 --> 00:55:36,560
Speaker 4: is fantastic.

1094
00:55:37,040 --> 00:55:39,960
Speaker 5: So it was he stole it. It was never going

1095
00:55:40,040 --> 00:55:40,920
Speaker 5: to leave my basement.

1096
00:55:41,760 --> 00:55:45,200
Speaker 3: How hard was it to clear the or at least

1097
00:55:45,239 --> 00:55:46,400
Speaker 3: to get blessings from.

1098
00:55:46,480 --> 00:55:49,040
Speaker 4: I paid them. I paid two one thousand dollars. I

1099
00:55:49,040 --> 00:55:51,279
Speaker 4: paid one fifty to the state and fee down to

1100
00:55:51,280 --> 00:55:54,920
Speaker 4: the lawyer. Well, I knew that the time of Toler

1101
00:55:54,960 --> 00:55:59,240
Speaker 4: Clive Davis was battling on the table. So once Tommy

1102
00:55:59,320 --> 00:56:01,400
Speaker 4: came with his off and we went to climb and said, Yo,

1103
00:56:01,520 --> 00:56:03,959
Speaker 4: time you offer X, Y and Z. So I knew

1104
00:56:04,000 --> 00:56:07,040
Speaker 4: that that four million was coming. So again the best

1105
00:56:07,040 --> 00:56:08,359
Speaker 4: thing to do is to pay for it.

1106
00:56:09,400 --> 00:56:13,960
Speaker 3: Got it okay? And talk about working with just Blaze

1107
00:56:14,000 --> 00:56:15,320
Speaker 3: for uh for React?

1108
00:56:15,560 --> 00:56:16,759
Speaker 5: Oh my god, this is some stuff.

1109
00:56:16,760 --> 00:56:19,000
Speaker 1: But you missed did you see did you.

1110
00:56:18,960 --> 00:56:21,839
Speaker 5: See the right I ain't right back with it.

1111
00:56:22,560 --> 00:56:24,600
Speaker 1: Did you see the post about React?

1112
00:56:25,000 --> 00:56:25,200
Speaker 5: No?

1113
00:56:27,239 --> 00:56:31,120
Speaker 1: Okay, send it to me. There's I gotta find it.

1114
00:56:32,000 --> 00:56:35,520
Speaker 3: But and I always wanted to know, so I don't

1115
00:56:35,560 --> 00:56:38,239
Speaker 3: know exactly what's happening. So the part that you got

1116
00:56:38,360 --> 00:56:43,000
Speaker 3: sampled like whatever she says, and now I'm mean whatever

1117
00:56:43,080 --> 00:56:48,200
Speaker 3: y'all sampled is And I don't know the language or whatever,

1118
00:56:48,280 --> 00:56:53,160
Speaker 3: but it is. It is a very depressing song. I

1119
00:56:53,239 --> 00:56:57,000
Speaker 3: heard about heartbreak. It's like the opposite of it, and

1120
00:56:57,080 --> 00:56:58,920
Speaker 3: I get it. Like with hip hop, you can take

1121
00:56:58,960 --> 00:57:03,440
Speaker 3: anything and make it. But there was someone's like, you know,

1122
00:57:03,800 --> 00:57:06,600
Speaker 3: like Eric Sermon, just happens to choose like the most

1123
00:57:06,640 --> 00:57:08,000
Speaker 3: depressing song about.

1124
00:57:08,480 --> 00:57:10,879
Speaker 4: Yeah, I know about death suicide. I know I heard

1125
00:57:10,880 --> 00:57:12,719
Speaker 4: about that. I heard about that.

1126
00:57:13,360 --> 00:57:16,280
Speaker 1: Yeah, that's crazy, So yeah, how did you look up

1127
00:57:16,320 --> 00:57:17,080
Speaker 1: with Just Blaze?

1128
00:57:17,920 --> 00:57:18,960
Speaker 5: After music dropped?

1129
00:57:19,000 --> 00:57:22,680
Speaker 4: People was like, yo, you know again to come back

1130
00:57:22,720 --> 00:57:26,080
Speaker 4: with another one after something like Marvin Gabe Man, like

1131
00:57:26,120 --> 00:57:28,320
Speaker 4: I said for and I know Just Blaze got in

1132
00:57:28,360 --> 00:57:30,800
Speaker 4: trouble from Dame Dash with that, Like yo, you how

1133
00:57:30,920 --> 00:57:33,680
Speaker 4: you gonna give somebody say without putting it past us?

1134
00:57:33,800 --> 00:57:37,160
Speaker 4: Nigga Jermaine Duprix had that beat where Meth had that beat.

1135
00:57:37,400 --> 00:57:39,680
Speaker 5: Nobody knew what to do with the record. If you

1136
00:57:39,760 --> 00:57:40,640
Speaker 5: watch the jay.

1137
00:57:40,520 --> 00:57:43,560
Speaker 4: Z documentary from Redder Mephis in the limousine, you couldn't

1138
00:57:43,560 --> 00:57:45,040
Speaker 4: hear that record in the background.

1139
00:57:45,280 --> 00:57:48,440
Speaker 5: They had to be playing, but again, nobody knew what

1140
00:57:48,480 --> 00:57:49,080
Speaker 5: to do with it.

1141
00:57:49,440 --> 00:57:51,240
Speaker 4: I just heard it and was like, yo, whatever she

1142
00:57:51,360 --> 00:57:53,680
Speaker 4: said that, I'm not so once I had a concept.

1143
00:57:54,000 --> 00:57:55,760
Speaker 5: I'm ready to go, you know what I'm saying.

1144
00:57:55,840 --> 00:57:59,480
Speaker 4: And the verse that that Reggie's that you hear Reggie,

1145
00:57:59,800 --> 00:58:02,320
Speaker 4: It was an old verse. I put Reggie on the

1146
00:58:02,360 --> 00:58:05,400
Speaker 4: record like I always do, and then when Reggie heard it,

1147
00:58:05,640 --> 00:58:08,200
Speaker 4: he did the verse over. But that was a demo

1148
00:58:08,600 --> 00:58:12,080
Speaker 4: that I played for Clide Davis after the music for

1149
00:58:12,400 --> 00:58:15,240
Speaker 4: the second album. I played it with a demo Reggie

1150
00:58:15,280 --> 00:58:16,960
Speaker 4: and then Reggie did the verse so over for the

1151
00:58:16,960 --> 00:58:17,520
Speaker 4: South Cleara.

1152
00:58:18,280 --> 00:58:20,840
Speaker 3: You know what, I feel like, I'm Hot should have

1153
00:58:20,880 --> 00:58:25,000
Speaker 3: been even further than music, Like, why wasn't I'm Hot

1154
00:58:25,320 --> 00:58:26,280
Speaker 3: fully promoted?

1155
00:58:26,320 --> 00:58:26,640
Speaker 1: You know what?

1156
00:58:26,880 --> 00:58:30,320
Speaker 4: I think that, you know, it wasn't just you, man,

1157
00:58:30,960 --> 00:58:33,600
Speaker 4: I think that Clive and then was getting ready to

1158
00:58:33,680 --> 00:58:36,640
Speaker 4: jump to the second album really quick because music had

1159
00:58:36,640 --> 00:58:39,960
Speaker 4: did what it did. And then I'm Hot came and

1160
00:58:40,000 --> 00:58:43,560
Speaker 4: we shot the video and the twin towers had got hit.

1161
00:58:43,640 --> 00:58:46,480
Speaker 4: So the video started with the fire, the fire truck,

1162
00:58:46,520 --> 00:58:47,280
Speaker 4: the whole nine.

1163
00:58:49,200 --> 00:58:51,760
Speaker 5: So the politics of I'm Hot, you.

1164
00:58:51,720 --> 00:58:54,520
Speaker 4: Know, I'm hot, just like so, you know, with the

1165
00:58:54,520 --> 00:58:56,160
Speaker 4: people burning up the whole nine.

1166
00:58:56,280 --> 00:58:58,040
Speaker 5: I think that's what stopped it from going.

1167
00:58:58,320 --> 00:59:00,680
Speaker 4: I really think that because because the video was banned

1168
00:59:00,960 --> 00:59:03,880
Speaker 4: and the record was just bad timing. But but again

1169
00:59:03,960 --> 00:59:06,320
Speaker 4: I thought too, and I thought that maybe I said, Okay,

1170
00:59:06,320 --> 00:59:08,600
Speaker 4: well he going back to the Marvin Gaye again. It's

1171
00:59:08,720 --> 00:59:10,600
Speaker 4: not that and this, But I felt how you felt.

1172
00:59:10,600 --> 00:59:13,640
Speaker 4: I think it was more politics.

1173
00:59:12,840 --> 00:59:16,840
Speaker 3: Got it, yo, man, there's so much of your remixes.

1174
00:59:16,880 --> 00:59:20,600
Speaker 3: I want to ask, but you know, it's already three.

1175
00:59:20,440 --> 00:59:23,400
Speaker 5: Hours, it's already a part to us. Three hours. But listen.

1176
00:59:23,760 --> 00:59:26,280
Speaker 4: I did three and a half hours with Drink Champs too, Like,

1177
00:59:26,360 --> 00:59:28,840
Speaker 4: no matter what, No, you wouldn't the same thing you doing.

1178
00:59:28,880 --> 00:59:31,040
Speaker 4: He's like, Eric, I could still keep going. I'm like, yeah,

1179
00:59:31,040 --> 00:59:34,120
Speaker 4: you're right. This is thirty seven years of me being

1180
00:59:34,240 --> 00:59:37,720
Speaker 4: this game, doing what I do and producing almost half

1181
00:59:37,840 --> 00:59:40,520
Speaker 4: the entire hip hop industry and the third of R

1182
00:59:40,520 --> 00:59:42,680
Speaker 4: and B music. I produced it, so I get it.

1183
00:59:42,760 --> 00:59:44,600
Speaker 4: I know it's I know you can go. You can

1184
00:59:44,680 --> 00:59:45,800
Speaker 4: keep going because I put it in.

1185
00:59:47,120 --> 00:59:49,200
Speaker 3: So I'm not going to ask you the usual like

1186
00:59:49,320 --> 00:59:51,880
Speaker 3: are you still hungry? I know you're still hungry because

1187
00:59:52,000 --> 00:59:57,560
Speaker 3: even the records we'd have mentioned, like the esp Joint hitting,

1188
00:59:57,880 --> 01:00:03,960
Speaker 3: the breath of fresh airs you even then, like like

1189
01:00:04,080 --> 01:00:04,960
Speaker 3: what keeps you?

1190
01:00:06,400 --> 01:00:07,680
Speaker 1: What keeps you going?

1191
01:00:08,760 --> 01:00:09,840
Speaker 5: I feel like Nas.

1192
01:00:09,880 --> 01:00:12,760
Speaker 4: You know how Nas just put the Fall five albums

1193
01:00:12,760 --> 01:00:15,960
Speaker 4: out and nobody again. No, Like he didn't get the

1194
01:00:16,040 --> 01:00:19,040
Speaker 4: response that he wanted, but he didn't want that response.

1195
01:00:19,520 --> 01:00:22,520
Speaker 4: He just wanted the rhyme. He felt like, I got

1196
01:00:22,520 --> 01:00:25,080
Speaker 4: this rude with hip boy. I'm gonna do four albums

1197
01:00:25,120 --> 01:00:27,640
Speaker 4: with him, do one whatever, And That's why I'm at.

1198
01:00:27,720 --> 01:00:30,760
Speaker 4: I'm at though, two yo. I like what I'm doing.

1199
01:00:30,920 --> 01:00:34,800
Speaker 4: I like this craft. I like making records, you know

1200
01:00:34,840 --> 01:00:38,240
Speaker 4: what I'm saying. Of course, if I was in it

1201
01:00:38,480 --> 01:00:42,120
Speaker 4: where I had to make money from it and survive, oh,

1202
01:00:42,160 --> 01:00:44,320
Speaker 4: I'll be brought up a little bit more different. But

1203
01:00:44,480 --> 01:00:47,640
Speaker 4: right now like like I still I like, you know,

1204
01:00:48,000 --> 01:00:50,480
Speaker 4: making records and being able to do certain stuff and

1205
01:00:50,520 --> 01:00:52,960
Speaker 4: then being able to be like, Okay, well I watched

1206
01:00:53,000 --> 01:00:55,520
Speaker 4: my colleagues and I'd be like, yo, listen, question.

1207
01:00:55,600 --> 01:00:57,920
Speaker 5: You ain't gonna tell me to stop, nigga. I know

1208
01:00:58,000 --> 01:00:58,560
Speaker 5: when it's over.

1209
01:00:58,720 --> 01:01:01,240
Speaker 4: I know when the shit there than when when our

1210
01:01:01,280 --> 01:01:03,880
Speaker 4: colleagues and went too far and it's over for them.

1211
01:01:04,120 --> 01:01:05,960
Speaker 4: But you ain't gonna tell me that, you know, I

1212
01:01:06,800 --> 01:01:10,440
Speaker 4: would know that, like when I dropped Brunner in twenty nineteen,

1213
01:01:10,680 --> 01:01:12,720
Speaker 4: I was ahead of my time. I know the fact

1214
01:01:12,760 --> 01:01:14,960
Speaker 4: that when it comes down to it, I'm blessed with

1215
01:01:14,960 --> 01:01:17,000
Speaker 4: what I know how to do, and that's.

1216
01:01:16,880 --> 01:01:19,960
Speaker 5: Make records and do music. So I choose not to

1217
01:01:20,040 --> 01:01:20,360
Speaker 5: do it.

1218
01:01:20,560 --> 01:01:22,760
Speaker 4: If I choose not to, but nobody gonna stop me,

1219
01:01:22,960 --> 01:01:24,640
Speaker 4: and nobody gonna know you and being gonna tell me

1220
01:01:24,880 --> 01:01:25,720
Speaker 4: that's over for me.

1221
01:01:25,760 --> 01:01:26,880
Speaker 5: I tell myself is over.

1222
01:01:27,680 --> 01:01:28,880
Speaker 1: You tell the truth, Like.

1223
01:01:30,520 --> 01:01:32,600
Speaker 5: You said that age stuff.

1224
01:01:32,760 --> 01:01:36,160
Speaker 4: You can write, nigga write a rhyme, enough with you,

1225
01:01:36,280 --> 01:01:38,200
Speaker 4: Nigga's mad because you still here nigga.

1226
01:01:38,320 --> 01:01:41,760
Speaker 3: Right, rhyme, how do you exercise the muscles in the gym?

1227
01:01:41,880 --> 01:01:44,720
Speaker 3: Like making beats? Like how many do you make a day?

1228
01:01:45,360 --> 01:01:47,840
Speaker 4: Well, I don't make this many productions as that dude

1229
01:01:48,080 --> 01:01:50,439
Speaker 4: like I used to. But I stayed with the rhyme.

1230
01:01:50,480 --> 01:01:54,160
Speaker 4: My sister even say, yo, my brother's always exercising, meaning

1231
01:01:54,200 --> 01:01:58,120
Speaker 4: that no matter what, like I still keep the rhymes going.

1232
01:01:58,160 --> 01:01:59,240
Speaker 5: And she was like, you're ericant.

1233
01:01:59,720 --> 01:02:02,000
Speaker 4: I've been around you a long time, and I tell

1234
01:02:02,080 --> 01:02:05,720
Speaker 4: it everybody. I said, my brother keeps the exercise on

1235
01:02:05,720 --> 01:02:09,680
Speaker 4: that mic, like, no matter what, he always constantly writing rhymes.

1236
01:02:09,840 --> 01:02:13,440
Speaker 4: I make beats when I have to, and I want

1237
01:02:13,480 --> 01:02:16,000
Speaker 4: to get back into that in twenty twenty five where

1238
01:02:16,320 --> 01:02:18,720
Speaker 4: I'm making the least a couple of beats today, I

1239
01:02:18,760 --> 01:02:21,040
Speaker 4: really really stopped doing that, Like right now. I got

1240
01:02:21,040 --> 01:02:23,919
Speaker 4: a whole bunch of shit that I got called for

1241
01:02:24,960 --> 01:02:28,680
Speaker 4: just today, que someone Walker, Beyondce, a couple of others

1242
01:02:28,760 --> 01:02:32,080
Speaker 4: the game everybody that called in for records, and I'd

1243
01:02:32,120 --> 01:02:34,680
Speaker 4: be like, Okay, what damn do I have it? Or

1244
01:02:34,720 --> 01:02:36,880
Speaker 4: do I not have it? And if I don't have it,

1245
01:02:36,880 --> 01:02:39,840
Speaker 4: then I gotta go make it. So that's when you

1246
01:02:39,880 --> 01:02:42,720
Speaker 4: know too. But I did so much stuff in between,

1247
01:02:42,840 --> 01:02:45,480
Speaker 4: because you see COVID was here, that was three years

1248
01:02:45,960 --> 01:02:47,480
Speaker 4: of making music before that.

1249
01:02:48,600 --> 01:02:50,560
Speaker 5: Jazzy Jeff says something that was so prolific.

1250
01:02:51,280 --> 01:02:56,560
Speaker 4: He says, get everything out of your laptop because it's

1251
01:02:56,920 --> 01:03:00,720
Speaker 4: doing shit in there. So that whole mentality now though

1252
01:03:00,760 --> 01:03:03,960
Speaker 4: two quest is like I'm letting all this shit go.

1253
01:03:04,520 --> 01:03:05,280
Speaker 5: You know about that?

1254
01:03:05,440 --> 01:03:07,480
Speaker 4: If I have to make volumes to put out on

1255
01:03:07,520 --> 01:03:09,760
Speaker 4: the web for niggas just to have, it's not gonna

1256
01:03:09,760 --> 01:03:12,880
Speaker 4: do me no good inside that laptop.

1257
01:03:13,600 --> 01:03:19,840
Speaker 3: You right, you are right, yo, man, Just with I'm

1258
01:03:19,840 --> 01:03:22,880
Speaker 3: trying to figure out that there's anything you.

1259
01:03:22,840 --> 01:03:23,919
Speaker 5: Can always get me again.

1260
01:03:24,000 --> 01:03:26,240
Speaker 4: You gotta come back, you know, you do, I know,

1261
01:03:26,320 --> 01:03:28,880
Speaker 4: I know, I know, I know, But I feel like

1262
01:03:29,400 --> 01:03:32,000
Speaker 4: it's one of the moments where it's like someone's going

1263
01:03:32,080 --> 01:03:34,040
Speaker 4: to be like you, what the fuck you ask him about?

1264
01:03:34,880 --> 01:03:37,920
Speaker 4: Oh yeah, I think that you started off with the

1265
01:03:37,960 --> 01:03:40,920
Speaker 4: correct answers and you ended off with everything that I

1266
01:03:41,000 --> 01:03:43,920
Speaker 4: didn't expect the records to mention, the ones you brought up.

1267
01:03:44,000 --> 01:03:44,960
Speaker 5: All of it is difference.

1268
01:03:44,960 --> 01:03:47,560
Speaker 4: It's gonna be very different from every other interview I

1269
01:03:47,560 --> 01:03:49,480
Speaker 4: did because the questions that you asked.

1270
01:03:49,600 --> 01:03:51,400
Speaker 1: Well, those are my favorite. Man.

1271
01:03:51,400 --> 01:03:55,840
Speaker 3: But thank you, bro. Like you're you're definitely one of

1272
01:03:55,880 --> 01:03:59,520
Speaker 3: my aspirations. Like not not just like empty talker, Oh

1273
01:03:59,560 --> 01:04:02,000
Speaker 3: you a leged, you legend, like literally, man, the amount

1274
01:04:02,040 --> 01:04:05,360
Speaker 3: of times that I've heard your ideas and like, yo, man,

1275
01:04:05,400 --> 01:04:09,640
Speaker 3: I gotta try that ship out. But do man, You're

1276
01:04:09,760 --> 01:04:12,000
Speaker 3: you're such an inspiration to us in the movement. Man,

1277
01:04:12,040 --> 01:04:14,000
Speaker 3: I just want to I want to thank you for that, man,

1278
01:04:14,320 --> 01:04:14,760
Speaker 3: And I'm.

1279
01:04:14,640 --> 01:04:16,680
Speaker 4: Glad you told me about the Jay Diller thing because

1280
01:04:16,720 --> 01:04:19,840
Speaker 4: I would never thought that again. I hear people Jay

1281
01:04:19,840 --> 01:04:21,800
Speaker 4: Diner speak about other people's names.

1282
01:04:22,120 --> 01:04:24,760
Speaker 5: I never heard him talk about me. And I'm baseline driven.

1283
01:04:24,960 --> 01:04:27,800
Speaker 4: But for you to say, Eric, nah nigga, the neo

1284
01:04:27,920 --> 01:04:30,120
Speaker 4: soul movement was started by you.

1285
01:04:30,480 --> 01:04:32,280
Speaker 5: This other movement was started by you.

1286
01:04:32,280 --> 01:04:37,280
Speaker 4: You making these records, made these sounds, and we was listening.

1287
01:04:38,160 --> 01:04:40,520
Speaker 3: You were the guy of that man and we we

1288
01:04:40,520 --> 01:04:41,360
Speaker 3: we thank you for that ship.

1289
01:04:41,440 --> 01:04:41,640
Speaker 1: Man.

1290
01:04:41,680 --> 01:04:45,680
Speaker 3: So okay on behalf of the squad, y'all. I hope

1291
01:04:45,720 --> 01:04:51,120
Speaker 3: you have a good year until the next time. Question Love,

1292
01:04:52,080 --> 01:04:56,960
Speaker 3: Eric Servant, question of Supreme check out thank you for

1293
01:04:57,040 --> 01:05:01,040
Speaker 3: listening to Question of Supreme posted by air Quest, Loft Thompson,

1294
01:05:01,360 --> 01:05:06,120
Speaker 3: Liah Saint Clair, Sugar, Steve Mandel, and unpaid Bill Sherman.

1295
01:05:06,600 --> 01:05:11,920
Speaker 3: Executive producers are Amir Quest, Love Thompson, Sean g and

1296
01:05:12,040 --> 01:05:18,760
Speaker 3: Brian Calhoun. Produced by Brittany Benjamin Cousin, Jake Payne and

1297
01:05:18,840 --> 01:05:24,760
Speaker 3: Liah Saint Clair. Edited by Alex Convoys. Produced by iHeart

1298
01:05:24,800 --> 01:05:25,640
Speaker 3: by Noel Brown.

1299
01:05:34,520 --> 01:05:37,440
Speaker 1: Quest Love Supreme is a production of iHeart Radio.

1300
01:05:41,280 --> 01:05:44,560
Speaker 3: For more podcasts from iHeart Radio, visit the iHeart Radio app,

1301
01:05:44,760 --> 01:05:48,160
Speaker 3: Apple Podcasts, or wherever you listen to your favorite shows.