1 00:00:02,000 --> 00:00:14,360 Speaker 1: And money. We take we are the authority on all 2 00:00:14,480 --> 00:00:19,560 Speaker 1: things R and Ladies and gentleman. My name is Tank, 3 00:00:19,760 --> 00:00:21,640 Speaker 1: I'm J Valentine, and this is the R and B 4 00:00:21,720 --> 00:00:26,000 Speaker 1: Money Podcast, the authority on all things R and P, 5 00:00:26,760 --> 00:00:34,479 Speaker 1: Ladies and gentleman. There are people who exist in many rooms, 6 00:00:34,520 --> 00:00:38,639 Speaker 1: speak on it, speak on it, many rooms, many a room, 7 00:00:38,680 --> 00:00:42,599 Speaker 1: many a room, at a high level in all of 8 00:00:42,600 --> 00:00:47,080 Speaker 1: these rooms, make the records. What else he do? DJ 9 00:00:47,200 --> 00:00:49,839 Speaker 1: the rack? What else he do? You wanted to rap 10 00:00:49,920 --> 00:00:54,000 Speaker 1: on the do it all? I mean, I've seen this 11 00:00:54,080 --> 00:01:00,360 Speaker 1: man everywhere being responsible for something, making sure that something 12 00:01:00,800 --> 00:01:04,080 Speaker 1: went down the way it was supposed to the right way. 13 00:01:04,520 --> 00:01:13,800 Speaker 1: Kawan KP breakthrough. That was thank you, thank you, um 14 00:01:13,920 --> 00:01:19,280 Speaker 1: first of all, thank you, welcome, appreciate your love. And yeah, 15 00:01:19,280 --> 00:01:22,160 Speaker 1: we don't take this lightly, man. We we we we 16 00:01:22,240 --> 00:01:27,000 Speaker 1: are observing people. And we see that those braids, okay, 17 00:01:27,319 --> 00:01:33,240 Speaker 1: those are fresh, those are fresh. That that that that 18 00:01:33,319 --> 00:01:35,839 Speaker 1: when you want braids like that, you know what I'm saying, 19 00:01:35,959 --> 00:01:38,720 Speaker 1: that's gonna cost you a little something. Yeah, yeah, it's 20 00:01:38,720 --> 00:01:42,360 Speaker 1: gonna cost you some time and somebody, yeah, or some 21 00:01:42,400 --> 00:01:52,200 Speaker 1: good relationships. You know what, you know what, because that 22 00:01:52,320 --> 00:01:57,520 Speaker 1: is exactly what and who you are brother. You are 23 00:01:57,680 --> 00:02:03,400 Speaker 1: walking representation of great relationships. Man. I appreciate that. Thank you. 24 00:02:03,800 --> 00:02:06,920 Speaker 1: And that's something that's I don't always know that very 25 00:02:07,000 --> 00:02:10,520 Speaker 1: tough to attain in this business, is to really have 26 00:02:10,639 --> 00:02:15,040 Speaker 1: great relationships. Everybody knows each other in some way. Everybody 27 00:02:15,040 --> 00:02:20,240 Speaker 1: don't everybody can't have everyone just pick up that phone call. 28 00:02:21,760 --> 00:02:25,040 Speaker 1: I'm grateful and blessed with good intentions when you call me, 29 00:02:25,080 --> 00:02:26,720 Speaker 1: I pick up. I picked up my phone call with 30 00:02:26,760 --> 00:02:30,079 Speaker 1: good intentions. People's cracking down. Well, you know, I appreciate 31 00:02:30,080 --> 00:02:31,639 Speaker 1: that because that's the point, like I want to call 32 00:02:31,680 --> 00:02:35,560 Speaker 1: with good intentions or with something that's either mutually beneficial 33 00:02:35,600 --> 00:02:37,519 Speaker 1: for us or just or I'm calling and really check 34 00:02:37,600 --> 00:02:41,120 Speaker 1: on you and the name to go with it, good 35 00:02:41,160 --> 00:02:43,519 Speaker 1: credit to go along with it. Thank you again. What 36 00:02:43,560 --> 00:02:45,240 Speaker 1: I'm saying, we know a lot of guys. You know, 37 00:02:46,320 --> 00:02:53,080 Speaker 1: I didn't know how to do the wiggles, but every 38 00:02:53,240 --> 00:02:57,200 Speaker 1: everything around your name, it's solid. Man. I'm grateful. Yeah, 39 00:02:57,240 --> 00:03:00,320 Speaker 1: and so we're we're we had those do were those 40 00:03:00,320 --> 00:03:03,720 Speaker 1: guys trying to follow in that same space to make 41 00:03:03,760 --> 00:03:06,960 Speaker 1: sure that even if it's the long way, we're just 42 00:03:06,960 --> 00:03:08,760 Speaker 1: going to do it the right way. The long way. 43 00:03:08,760 --> 00:03:11,480 Speaker 1: I mean, it's absolutely the long way, but it's you 44 00:03:11,639 --> 00:03:14,040 Speaker 1: learn more that way, like the long you know, Like 45 00:03:14,120 --> 00:03:16,760 Speaker 1: I like my career the way it is. It's like 46 00:03:17,000 --> 00:03:18,919 Speaker 1: I've been in it long enough to learn a lot 47 00:03:19,919 --> 00:03:24,480 Speaker 1: almost generationally. That's a part for me. Let's take a 48 00:03:24,560 --> 00:03:27,799 Speaker 1: journey on you getting to this place where you are 49 00:03:27,840 --> 00:03:31,359 Speaker 1: now where you know, I mean some sometimes we can flex, 50 00:03:31,440 --> 00:03:34,560 Speaker 1: sometimes we can floss. Where everything's v I p. Is 51 00:03:34,560 --> 00:03:42,600 Speaker 1: that where the bubbles come. I heard about just your 52 00:03:42,640 --> 00:03:48,120 Speaker 1: intro into this space, um into the music space. Okay, 53 00:03:48,120 --> 00:03:52,200 Speaker 1: so two ways. Well, day one. Day one is watching 54 00:03:52,200 --> 00:03:54,320 Speaker 1: my mom and her aunt and my aunts get ready 55 00:03:54,360 --> 00:03:56,080 Speaker 1: for like to go out to the club and ship, 56 00:03:56,600 --> 00:03:59,200 Speaker 1: and like I get to play records and I just 57 00:03:59,200 --> 00:04:02,720 Speaker 1: remember putting on a Need a Need Award play. Yeah, 58 00:04:02,760 --> 00:04:05,800 Speaker 1: I would just be shout out on five six. I 59 00:04:05,800 --> 00:04:08,600 Speaker 1: don't know, but but I remember seeing this record with 60 00:04:08,680 --> 00:04:10,360 Speaker 1: just like palm tree on it, and I put it on. 61 00:04:10,480 --> 00:04:12,920 Speaker 1: It was ringing my bell and I saw them lose 62 00:04:12,960 --> 00:04:15,600 Speaker 1: their ship and I'm like, okay, something to this like 63 00:04:15,720 --> 00:04:17,800 Speaker 1: and I played some more ship and they would you know, 64 00:04:17,880 --> 00:04:19,520 Speaker 1: it's almost like they were late for the club a 65 00:04:19,560 --> 00:04:22,520 Speaker 1: little bit and in my head as a as a kid, 66 00:04:22,560 --> 00:04:26,520 Speaker 1: I'm like this made my mom happy, Like I like this, 67 00:04:26,800 --> 00:04:28,960 Speaker 1: I like this feeling. So it was like, you know, 68 00:04:29,240 --> 00:04:30,920 Speaker 1: I saw music do that. I didn't know I was 69 00:04:30,920 --> 00:04:33,159 Speaker 1: gonna be a DJ and no ship. But I was 70 00:04:33,160 --> 00:04:35,239 Speaker 1: at the airport hustling, like you know, the little cards, 71 00:04:35,360 --> 00:04:37,880 Speaker 1: like I told the story something else, but the carts 72 00:04:37,920 --> 00:04:41,200 Speaker 1: at the airport. Like back when I was when I 73 00:04:41,279 --> 00:04:44,400 Speaker 1: was eleven, there was an there's an arcade in Hartsville, 74 00:04:44,839 --> 00:04:46,800 Speaker 1: and what we would do is go take these cards back. 75 00:04:46,839 --> 00:04:49,320 Speaker 1: You put them back in the stall came out. So 76 00:04:49,360 --> 00:04:52,320 Speaker 1: we were running around and just trapped all day and 77 00:04:52,360 --> 00:04:54,400 Speaker 1: then go end up at the arcade. I'm sitting there 78 00:04:54,400 --> 00:04:57,360 Speaker 1: playing the game. Dude comes in play and starts playing 79 00:04:57,640 --> 00:05:00,360 Speaker 1: like he had some jury that would seem odd. Asked 80 00:05:00,440 --> 00:05:02,720 Speaker 1: him about it. He said, yes, ll cool J, what's 81 00:05:02,760 --> 00:05:04,480 Speaker 1: up short? He cannot play this game with you. You know. 82 00:05:04,520 --> 00:05:06,880 Speaker 1: It was like weird, right, But at the time, he 83 00:05:06,960 --> 00:05:09,960 Speaker 1: had to be sixteen, So he's a kid too at 84 00:05:09,960 --> 00:05:13,360 Speaker 1: the time who had to be sixteen. I think it 85 00:05:13,400 --> 00:05:17,320 Speaker 1: got cracking family like fifteen yeah. So yeah, so it's 86 00:05:17,320 --> 00:05:19,479 Speaker 1: like I'm just playing a video game with an older kid, 87 00:05:20,200 --> 00:05:22,400 Speaker 1: but then he said somebody but he got jewels, got 88 00:05:22,480 --> 00:05:25,520 Speaker 1: jewelry and the name and um, and I'm like, how 89 00:05:25,600 --> 00:05:27,600 Speaker 1: you get that? And he was like, yeah, I'm here 90 00:05:27,640 --> 00:05:30,400 Speaker 1: doing the show and he's in my head. The voice 91 00:05:30,400 --> 00:05:34,560 Speaker 1: is still your shorty. Um, you know it's still yeah, 92 00:05:34,800 --> 00:05:36,520 Speaker 1: sure you're doing the show here and you know, and 93 00:05:36,560 --> 00:05:38,920 Speaker 1: it's it's that. But he was doing to show at 94 00:05:38,920 --> 00:05:42,400 Speaker 1: this club called the Phoenix, and he back then you 95 00:05:42,400 --> 00:05:44,760 Speaker 1: didn't have to go through t s A. So he 96 00:05:44,960 --> 00:05:47,919 Speaker 1: took me back to see like his DJ and the 97 00:05:47,920 --> 00:05:50,039 Speaker 1: people who with him, like the Beastie Boys and ship 98 00:05:50,080 --> 00:05:52,159 Speaker 1: and it was like weird, but at the same time 99 00:05:52,160 --> 00:05:54,960 Speaker 1: it was like one of those these kids are just 100 00:05:55,200 --> 00:05:59,719 Speaker 1: going places because they were all kids. They weren't so 101 00:06:00,000 --> 00:06:01,800 Speaker 1: are away in age for me, but it was like 102 00:06:02,960 --> 00:06:06,080 Speaker 1: it was interesting and then that again. Then that Christmas, 103 00:06:06,120 --> 00:06:10,680 Speaker 1: my mom got me turntables and I got two. Started. Yeah, 104 00:06:10,680 --> 00:06:14,360 Speaker 1: I started doing the high school parties, talent shows, doing 105 00:06:14,400 --> 00:06:17,880 Speaker 1: mixtapes for like dance groups, you know, like just so 106 00:06:17,920 --> 00:06:19,839 Speaker 1: they can perform to like so when it broke down 107 00:06:19,880 --> 00:06:23,839 Speaker 1: into moments and love like on Beaten like, so I'll 108 00:06:23,839 --> 00:06:29,280 Speaker 1: make show tapes and how old are you at this point. Yeah, 109 00:06:29,360 --> 00:06:32,760 Speaker 1: I want to go back to something. Um is there. 110 00:06:33,040 --> 00:06:35,760 Speaker 1: There's an arcade and it used to be used to 111 00:06:35,800 --> 00:06:40,240 Speaker 1: be Yeah, you're looking for it right now, take right now, 112 00:06:41,680 --> 00:06:45,920 Speaker 1: because I'm always in that airport, always connected. Man, listen now, 113 00:06:46,040 --> 00:06:48,400 Speaker 1: it used to be there, but you know, then things 114 00:06:48,440 --> 00:06:50,520 Speaker 1: got dangerous in Atlanta, so you know you couldn't have 115 00:06:50,640 --> 00:06:56,080 Speaker 1: airport video games. But he come up missing. Yeah, so 116 00:06:57,640 --> 00:07:00,360 Speaker 1: it's your DJ, and you're going mix tape, have before 117 00:07:00,480 --> 00:07:02,240 Speaker 1: mix tapes? Well you know, I don't even want to 118 00:07:02,240 --> 00:07:04,000 Speaker 1: call it mix tape. I will make tapes for a 119 00:07:04,040 --> 00:07:07,640 Speaker 1: couple of people, like you know, because in eighth grade 120 00:07:07,680 --> 00:07:09,520 Speaker 1: I came up on Luke Scott Walker. So I was 121 00:07:10,240 --> 00:07:13,360 Speaker 1: trapping like the dirty tapes I had too short because 122 00:07:13,360 --> 00:07:15,760 Speaker 1: you can't just get those. They don't understand. You just 123 00:07:15,800 --> 00:07:20,200 Speaker 1: couldn't get the freaky tails. You couldn't get me like 124 00:07:20,280 --> 00:07:24,120 Speaker 1: your ship. Yeah, because they had they had that that 125 00:07:24,240 --> 00:07:27,760 Speaker 1: sticker on it. They hadsory sticker. I was a church 126 00:07:27,840 --> 00:07:34,760 Speaker 1: so don't know about Hey we also fun so I 127 00:07:34,880 --> 00:07:38,440 Speaker 1: know about it. I know of it. Learned later in life. 128 00:07:38,480 --> 00:07:42,160 Speaker 1: Just used to use the words that they changed. I sang, 129 00:07:42,200 --> 00:07:45,080 Speaker 1: I sang all the cleans and all my friends and school, Like, 130 00:07:45,680 --> 00:07:49,239 Speaker 1: that's not how that got it all. Like the Lord's version, 131 00:07:50,440 --> 00:07:54,040 Speaker 1: I knew every name that too Short said on Freaky Tails, 132 00:07:54,800 --> 00:08:00,160 Speaker 1: you probably knew someone man, right, it was so so 133 00:08:00,400 --> 00:08:03,920 Speaker 1: I was doing you hustling, You're hustling the dirty types. Yeah, absolutely, 134 00:08:04,360 --> 00:08:06,320 Speaker 1: and and and you know, and then I ran into 135 00:08:06,960 --> 00:08:10,280 Speaker 1: um a friend of mines, well not even at the time, 136 00:08:10,320 --> 00:08:13,000 Speaker 1: like I was DJ and the Talent show. This dude 137 00:08:13,080 --> 00:08:14,840 Speaker 1: comes up and it's like, yo, my brother nam wrapped. 138 00:08:14,880 --> 00:08:18,000 Speaker 1: They're looking for a DJ. It was Big Recent Mellow. 139 00:08:18,080 --> 00:08:20,480 Speaker 1: Well at the time it was my cousin. It was 140 00:08:20,520 --> 00:08:24,400 Speaker 1: my homeboy Corey, but we called called each other cousins. Um. 141 00:08:24,520 --> 00:08:28,320 Speaker 1: So Corey's brother was dating Tien t Boss from TLC, 142 00:08:29,320 --> 00:08:34,400 Speaker 1: So all of us ended up all being cool. Yeah, 143 00:08:34,400 --> 00:08:37,440 Speaker 1: everybody home me. So which fast forward, That's how my 144 00:08:37,559 --> 00:08:40,800 Speaker 1: group Parental Advisory we got signed at the Baby Baby 145 00:08:40,840 --> 00:08:44,880 Speaker 1: Baby video shoot audition because what yeah, we got signed 146 00:08:44,880 --> 00:08:47,000 Speaker 1: because Tian was like, come down to our video shoot, 147 00:08:47,040 --> 00:08:50,480 Speaker 1: pebbles down here, we're doing the audition, bring your bring 148 00:08:50,480 --> 00:08:53,160 Speaker 1: your equipment and ship. So I picked up Recent Mellow. 149 00:08:53,240 --> 00:08:56,160 Speaker 1: I had this little white trans am put on my 150 00:08:56,200 --> 00:08:59,520 Speaker 1: ship in. We got down to the rehearsal spot and 151 00:08:59,559 --> 00:09:01,560 Speaker 1: I brought my ship into the rehearsal spot like I'm 152 00:09:01,600 --> 00:09:03,720 Speaker 1: setting up and she's like whoa, yeah, what do you 153 00:09:03,720 --> 00:09:08,280 Speaker 1: do with pebbles from the base. She's like, whoa, what's up? 154 00:09:08,320 --> 00:09:11,720 Speaker 1: I'm like Tian said, and she was like, well, before 155 00:09:12,559 --> 00:09:14,319 Speaker 1: a matter of fact, you're gonna be in a video. 156 00:09:14,360 --> 00:09:17,080 Speaker 1: You're gonna be Chili's boyfriend. And I'm like what And 157 00:09:17,200 --> 00:09:18,760 Speaker 1: she was like, well, if you want to use my time, 158 00:09:19,200 --> 00:09:22,559 Speaker 1: I'm auditioning to people for a video. And so I 159 00:09:22,679 --> 00:09:24,760 Speaker 1: ended up being in the video because of that, but 160 00:09:24,840 --> 00:09:27,640 Speaker 1: she also gave us a deal after we performed. Damn, 161 00:09:27,720 --> 00:09:29,880 Speaker 1: I gotta go back and look at that video that 162 00:09:30,200 --> 00:09:34,720 Speaker 1: all three of us have been video homes. Video You 163 00:09:34,920 --> 00:09:37,559 Speaker 1: was a video hole too. No no, no, no, don't 164 00:09:37,679 --> 00:09:42,480 Speaker 1: jump out. He should call for me, TLC for him 165 00:09:42,559 --> 00:09:46,000 Speaker 1: and SHARRISA for you. Don't try to get out of 166 00:09:46,040 --> 00:09:53,160 Speaker 1: this brother with us. Welcome too. Shout out to Brice 167 00:09:53,200 --> 00:09:59,000 Speaker 1: who my guy. Bryce. I had to sneak in on Bryce. 168 00:09:59,120 --> 00:10:02,160 Speaker 1: He wasn't doing the right thing. Yeah, but he don 169 00:10:02,240 --> 00:10:05,720 Speaker 1: want convinced me to do the Keysha video. Yes, Okay, 170 00:10:05,840 --> 00:10:07,439 Speaker 1: this is that one of those like what do you 171 00:10:07,480 --> 00:10:11,599 Speaker 1: call it Kevin Baking moments? Right? So Bryce was the 172 00:10:11,679 --> 00:10:15,280 Speaker 1: homie and I ended up getting face too right to 173 00:10:15,320 --> 00:10:17,319 Speaker 1: one of his beats. That's how you're making me high? 174 00:10:17,320 --> 00:10:21,480 Speaker 1: I came out no way, what yeah, yeah, this is 175 00:10:21,559 --> 00:10:24,320 Speaker 1: this is this is how it goes. The relationships. Wow. 176 00:10:24,840 --> 00:10:27,440 Speaker 1: And he beat them like yo, this your hard and 177 00:10:27,480 --> 00:10:29,320 Speaker 1: I was, and you know, I was like, it'd be 178 00:10:29,320 --> 00:10:32,480 Speaker 1: crazy if Tony Braxton was on this ship and the 179 00:10:32,600 --> 00:10:35,600 Speaker 1: versus history, remember like it was yesterday, and that's what 180 00:10:35,640 --> 00:10:38,840 Speaker 1: you call hand on. Yeah, that's that's that's what you 181 00:10:38,920 --> 00:10:41,600 Speaker 1: call han on. So y'all get the deal. You know, 182 00:10:41,600 --> 00:10:43,640 Speaker 1: we get a deal. So y'all signed face signed. We 183 00:10:43,679 --> 00:10:45,840 Speaker 1: signed a little face first, we signed to a pebbletone 184 00:10:45,920 --> 00:10:48,600 Speaker 1: the face. So we're actually the first rep REP group 185 00:10:48,960 --> 00:10:51,800 Speaker 1: to get signed. But our crew was a Dungeon family, 186 00:10:52,240 --> 00:10:55,240 Speaker 1: so I'm like, we got our own producers. And because 187 00:10:55,280 --> 00:10:56,600 Speaker 1: at the time they were like you should work with 188 00:10:56,840 --> 00:10:59,960 Speaker 1: KG from by Nature, um, like you know New York. 189 00:11:00,160 --> 00:11:04,280 Speaker 1: He was having his run to he was him and 190 00:11:04,360 --> 00:11:07,720 Speaker 1: Dave dropped a load on him like going in and 191 00:11:08,480 --> 00:11:11,000 Speaker 1: but I was like, now we got our folks Meanwhile, 192 00:11:11,200 --> 00:11:13,760 Speaker 1: they organized North's had met he was in l A 193 00:11:13,800 --> 00:11:16,280 Speaker 1: before through TLSE. They did a remix for what About 194 00:11:16,280 --> 00:11:19,400 Speaker 1: Your Friends? They have been trying to get down but 195 00:11:19,600 --> 00:11:21,319 Speaker 1: it just hadn't happened yet. But we got an idea, 196 00:11:21,320 --> 00:11:24,200 Speaker 1: were like, these are producers. So they did our first album. 197 00:11:24,720 --> 00:11:27,800 Speaker 1: And what I learned was I was doing and R 198 00:11:27,840 --> 00:11:31,160 Speaker 1: then because l A was like, yo, um you telling 199 00:11:31,240 --> 00:11:34,040 Speaker 1: us who's gonna producer our record? I was learning that 200 00:11:34,160 --> 00:11:38,280 Speaker 1: these opinions people get paid for that ship So you know, 201 00:11:38,360 --> 00:11:41,200 Speaker 1: we we we did our first album, We did a couple. 202 00:11:41,360 --> 00:11:44,000 Speaker 1: We did like three albums. But on the road when 203 00:11:44,000 --> 00:11:46,800 Speaker 1: we would go out, I'd be meeting people like like 204 00:11:47,000 --> 00:11:49,680 Speaker 1: q Tip or Quess Love or like we were on 205 00:11:49,679 --> 00:11:53,240 Speaker 1: the road with the Roots and I meet q Tip. 206 00:11:54,120 --> 00:11:57,040 Speaker 1: We get him and Dilla to do a remix for 207 00:11:57,080 --> 00:12:00,440 Speaker 1: Elevators because I'm like l A, these try called crest 208 00:12:00,440 --> 00:12:03,959 Speaker 1: producers and hot sets like it's like and I didn't. 209 00:12:04,000 --> 00:12:06,000 Speaker 1: I wasn't working then. I was just like yeo, I met. 210 00:12:06,200 --> 00:12:08,760 Speaker 1: I just met these guys and they do that too. 211 00:12:08,800 --> 00:12:12,320 Speaker 1: They want to produce. That's the other part and how 212 00:12:12,400 --> 00:12:16,080 Speaker 1: the labels work. People don't understand that l A read 213 00:12:16,080 --> 00:12:18,400 Speaker 1: who is the head of the label. He's not going 214 00:12:18,440 --> 00:12:20,480 Speaker 1: to be on the road every day, but he's not 215 00:12:20,640 --> 00:12:23,320 Speaker 1: going to know who the new young dude is. Someone 216 00:12:23,400 --> 00:12:26,959 Speaker 1: has to introduce that, and you can get paid for that, 217 00:12:27,720 --> 00:12:31,160 Speaker 1: especially if you do it with consistency and taste. I 218 00:12:31,200 --> 00:12:33,200 Speaker 1: think that's where me and l A clicked. It's like 219 00:12:33,280 --> 00:12:37,560 Speaker 1: I was, I'm am in Atlanta, dude, like that's who 220 00:12:37,600 --> 00:12:42,600 Speaker 1: I am, but I understood like outside of like just 221 00:12:42,800 --> 00:12:45,720 Speaker 1: the area because I was a DJ, So I you know, 222 00:12:45,760 --> 00:12:47,679 Speaker 1: I knew what New York hip hop founded, Like I 223 00:12:47,760 --> 00:12:50,320 Speaker 1: knew what Michael Jackson sounds like. I know what these 224 00:12:50,320 --> 00:12:52,720 Speaker 1: records do in a place. I know what Stevie Wonder 225 00:12:52,800 --> 00:12:56,480 Speaker 1: does if you play you know as or another star, Like, 226 00:12:56,520 --> 00:12:58,960 Speaker 1: I know what these moments look like. So I'm always 227 00:12:59,080 --> 00:13:02,000 Speaker 1: kind of looking for those moments with records and artists 228 00:13:02,000 --> 00:13:05,000 Speaker 1: who can deliver that. So l A me and him 229 00:13:05,080 --> 00:13:07,720 Speaker 1: just click because Pebbles was like, yo, y'all need to connect, 230 00:13:08,559 --> 00:13:12,360 Speaker 1: like really, Pebbles put me in it, like across the board, Wow, 231 00:13:12,640 --> 00:13:15,000 Speaker 1: shout out to the band. Yeah, because I think that 232 00:13:15,600 --> 00:13:19,720 Speaker 1: I've always felt like DJs like or even like the 233 00:13:19,760 --> 00:13:25,240 Speaker 1: dopest producers just because of their the amount of information 234 00:13:26,520 --> 00:13:31,520 Speaker 1: that they understand, and you musically instant either gratification or 235 00:13:31,760 --> 00:13:33,840 Speaker 1: you know, you got to change the record immediately, you 236 00:13:33,880 --> 00:13:35,920 Speaker 1: know what's going to see it Like when you see 237 00:13:36,040 --> 00:13:38,280 Speaker 1: like real time, in real time, when people are dancing 238 00:13:38,280 --> 00:13:41,560 Speaker 1: and then they stopped, that's your fault because you played 239 00:13:41,600 --> 00:13:44,920 Speaker 1: something that didn't keep the energy. So it's like it 240 00:13:44,960 --> 00:13:48,160 Speaker 1: makes you pay attention to what causes their energy, like 241 00:13:48,280 --> 00:13:52,480 Speaker 1: which sounds feel away, you know, and I think that 242 00:13:52,679 --> 00:13:56,400 Speaker 1: you know, yeah, that's my um. I don't know. I 243 00:13:56,400 --> 00:13:59,720 Speaker 1: don't know, like the secret sauce, but that's sauce. Yeah, 244 00:13:59,760 --> 00:14:01,600 Speaker 1: So like I get to like, it's why I like 245 00:14:01,679 --> 00:14:04,360 Speaker 1: DJ and Steel because I'm like, you can't tell me 246 00:14:04,400 --> 00:14:06,200 Speaker 1: this ship is jam and when I saw it not 247 00:14:06,280 --> 00:14:09,720 Speaker 1: work right, Like I don't care about what your streams 248 00:14:09,760 --> 00:14:12,559 Speaker 1: look like. I know what it looks like when people 249 00:14:12,720 --> 00:14:16,280 Speaker 1: when it when it hits people like and that's more 250 00:14:16,280 --> 00:14:19,640 Speaker 1: important because I'm like the organic field, Yeah, the actual 251 00:14:20,280 --> 00:14:24,160 Speaker 1: because people will people will actually raise you up. Yeah, 252 00:14:24,280 --> 00:14:28,000 Speaker 1: that's the foundation you need. The programming side of it, 253 00:14:28,080 --> 00:14:31,560 Speaker 1: the number side of it is just whatever. But if 254 00:14:31,560 --> 00:14:34,200 Speaker 1: you can build a swell of a good amount of 255 00:14:34,200 --> 00:14:37,920 Speaker 1: people organically, that's something completely different. Yeah, that's what you 256 00:14:37,960 --> 00:14:39,840 Speaker 1: get paid for it. Like that's I mean, that's when 257 00:14:39,840 --> 00:14:42,680 Speaker 1: you get paid. You can be talented. But if you're 258 00:14:42,680 --> 00:14:47,440 Speaker 1: going talented with no proof that someone cares, you know, 259 00:14:47,480 --> 00:14:49,440 Speaker 1: it's like then it's a gamble. But when you go 260 00:14:49,480 --> 00:14:51,720 Speaker 1: in and even when it's something small at a time, 261 00:14:51,800 --> 00:14:54,880 Speaker 1: like when it's like consistently selling out two hundred people 262 00:14:54,920 --> 00:14:56,920 Speaker 1: in a in a club, right, if you can do 263 00:14:56,960 --> 00:15:00,520 Speaker 1: that ship for two three months, that means some of 264 00:15:00,560 --> 00:15:02,920 Speaker 1: those people are coming back. That means they're affected by you. 265 00:15:03,560 --> 00:15:06,160 Speaker 1: So if you put more on, it's like if you know, 266 00:15:06,200 --> 00:15:08,360 Speaker 1: if you whip the thing on up just a little 267 00:15:08,400 --> 00:15:11,680 Speaker 1: bit more, Yeah, it's like just keep and keep whipping, 268 00:15:11,760 --> 00:15:14,640 Speaker 1: and it's like and that's that's like when it's you know, 269 00:15:14,680 --> 00:15:17,320 Speaker 1: no punt attend, that's when it's dope. You know, it's 270 00:15:17,360 --> 00:15:19,880 Speaker 1: like it's it's actually affects people in a way that 271 00:15:20,000 --> 00:15:23,840 Speaker 1: they want it. Like dope sell itself for sure. Like 272 00:15:23,960 --> 00:15:27,000 Speaker 1: it ain't a lot of commercials for no Dope. I 273 00:15:27,040 --> 00:15:30,440 Speaker 1: haven't seen anything, you know, I've seen Billboard now and 274 00:15:31,560 --> 00:15:35,760 Speaker 1: maybe setting out. I've seen down with dope like they 275 00:15:35,800 --> 00:15:39,600 Speaker 1: had to do campaigns against dope again, which goes into 276 00:15:39,720 --> 00:15:42,480 Speaker 1: our music and ship too. Though it's like you can 277 00:15:42,520 --> 00:15:44,920 Speaker 1: watch when it's when it's dope, there's always a campaign 278 00:15:44,960 --> 00:15:47,640 Speaker 1: against it on some level where it's like this alternative 279 00:15:47,840 --> 00:15:51,880 Speaker 1: to it, like this version of it. So what makes 280 00:15:51,920 --> 00:15:55,640 Speaker 1: you transition? I mean, obviously I know that it's being identified, 281 00:15:55,800 --> 00:15:59,200 Speaker 1: it's being identified early, But what makes you say, you 282 00:15:59,240 --> 00:16:02,360 Speaker 1: know what? I like the rap group thing. I like 283 00:16:02,440 --> 00:16:04,560 Speaker 1: being on a road, but you know what, I want 284 00:16:04,560 --> 00:16:08,600 Speaker 1: to make records? Well, two things, right, I was learning 285 00:16:08,600 --> 00:16:13,400 Speaker 1: how to make records and our group got signed to DreamWorks. 286 00:16:13,720 --> 00:16:16,240 Speaker 1: Um so after the face, after the face, So after 287 00:16:16,320 --> 00:16:18,600 Speaker 1: the face, Pebbles took us to m c A. Because 288 00:16:18,640 --> 00:16:20,960 Speaker 1: she got a situation the m c A. Gerald Busbey. 289 00:16:21,240 --> 00:16:24,920 Speaker 1: Oh my god. We made a record there, did okay, 290 00:16:25,000 --> 00:16:28,680 Speaker 1: but then her thing somehow another wasn't there anymore, right, 291 00:16:28,800 --> 00:16:31,000 Speaker 1: So we ended up getting a deal at dream Works 292 00:16:31,640 --> 00:16:37,920 Speaker 1: and went wrong with you. Oh man, what two nineteen 293 00:16:38,320 --> 00:16:41,760 Speaker 1: ninety nine? Maybe nine nine nine? It was like it 294 00:16:41,840 --> 00:16:45,160 Speaker 1: was ninety nine. Yeah, absolutely, um, because I think the 295 00:16:45,200 --> 00:16:48,440 Speaker 1: album came out in two thousand, because yeah, I was around, 296 00:16:48,440 --> 00:16:50,280 Speaker 1: I was, I was heavy at DreamWorks. Then it was 297 00:16:50,280 --> 00:16:53,800 Speaker 1: a great place to be UM. But but while we 298 00:16:53,800 --> 00:16:57,880 Speaker 1: were there, I started the mold and and everybody and Michael, 299 00:16:58,000 --> 00:17:00,560 Speaker 1: Michael Austin would speak to me about the route. And 300 00:17:00,600 --> 00:17:02,680 Speaker 1: we had a manager. Blue was our manager at Tim 301 00:17:02,720 --> 00:17:05,920 Speaker 1: Blue Williams. And but Blue is also managing like he 302 00:17:06,320 --> 00:17:09,960 Speaker 1: was he was busy. And because I worked with Blue 303 00:17:10,119 --> 00:17:13,639 Speaker 1: oudcast yeah yeah yeah, yeah yeah, a little group on 304 00:17:13,680 --> 00:17:19,320 Speaker 1: the outcast UM. So obviously we were not UM. But 305 00:17:20,240 --> 00:17:21,959 Speaker 1: I would I would form me. I would get these 306 00:17:21,960 --> 00:17:25,320 Speaker 1: relationships because I would talk because I wanted information. So 307 00:17:25,600 --> 00:17:28,280 Speaker 1: you know, Michael Austen became like an ally for me, 308 00:17:28,400 --> 00:17:30,240 Speaker 1: like just to understand what was going on in the 309 00:17:30,320 --> 00:17:33,600 Speaker 1: in the building. And and eventually they started talking to 310 00:17:33,680 --> 00:17:36,720 Speaker 1: me all the time. And so one day I get 311 00:17:36,720 --> 00:17:39,480 Speaker 1: a call is the group and management and they're like, 312 00:17:39,560 --> 00:17:42,640 Speaker 1: kype man, we gotta figure out something because like you're 313 00:17:42,640 --> 00:17:44,840 Speaker 1: talking to them. But I'm like, you know, you're not 314 00:17:44,880 --> 00:17:48,160 Speaker 1: necessarily the leader of the group. I'm like, okay, fair enough, 315 00:17:48,400 --> 00:17:51,240 Speaker 1: but like it's working, like we had gotta we just 316 00:17:51,359 --> 00:17:53,600 Speaker 1: started producing. We had a publishing deal, like I got 317 00:17:53,680 --> 00:17:56,679 Speaker 1: us a publish deal with hit Co, but like a 318 00:17:56,760 --> 00:17:58,760 Speaker 1: real check, like we might have got more than some 319 00:17:58,800 --> 00:18:02,639 Speaker 1: of the bigger producers in Atlanta at the time. And 320 00:18:02,680 --> 00:18:06,720 Speaker 1: I was like me being me talking is work. Yeah, 321 00:18:06,760 --> 00:18:09,160 Speaker 1: I'm like, well, you know what at well, I hear 322 00:18:09,280 --> 00:18:11,720 Speaker 1: y'all what I'm gonna do. Then l A offer me 323 00:18:11,800 --> 00:18:14,560 Speaker 1: this gig for real, I'm gonna take this so that 324 00:18:14,640 --> 00:18:17,120 Speaker 1: way our friendship can be intact. Like I don't want 325 00:18:17,119 --> 00:18:21,320 Speaker 1: to funk off the energy. That way y'all can run it. 326 00:18:21,840 --> 00:18:23,800 Speaker 1: And then I went to work. Like you mean you 327 00:18:23,880 --> 00:18:27,160 Speaker 1: walked away from the group. Yeah, well, I mean I 328 00:18:27,080 --> 00:18:28,600 Speaker 1: I don't want to make I don't know dramatic like 329 00:18:29,760 --> 00:18:33,360 Speaker 1: you take a job. Well, I had an option, like 330 00:18:33,880 --> 00:18:36,359 Speaker 1: you know, I had the option. And again I was 331 00:18:36,400 --> 00:18:39,280 Speaker 1: looking at like, bro, we're friends, Like I don't like this, 332 00:18:39,359 --> 00:18:43,080 Speaker 1: felt this call feels weird. All this is weird. We 333 00:18:43,119 --> 00:18:46,000 Speaker 1: ain't got to do this. And I took the job. 334 00:18:46,080 --> 00:18:47,480 Speaker 1: And then I went to work. But I but I 335 00:18:47,520 --> 00:18:55,959 Speaker 1: went to work like heavy, heavy work. I think I 336 00:18:56,000 --> 00:18:59,280 Speaker 1: did this remix for this group called a Few good Men, 337 00:18:59,560 --> 00:19:01,520 Speaker 1: and it was they had this ballot call have have 338 00:19:01,640 --> 00:19:04,120 Speaker 1: I ever? And it was a ballot, but I had 339 00:19:04,240 --> 00:19:06,399 Speaker 1: um met the sixty nine boys on the road. So 340 00:19:06,440 --> 00:19:08,920 Speaker 1: we did a bass remix of it and that ship 341 00:19:08,960 --> 00:19:12,680 Speaker 1: went up and I was like, oh, okay, okay. He 342 00:19:12,760 --> 00:19:14,960 Speaker 1: was like okay, damn, that was cool. How you do that? Like, 343 00:19:15,160 --> 00:19:16,919 Speaker 1: but to me, that's something we did in Atlanta, like 344 00:19:16,960 --> 00:19:19,320 Speaker 1: taking bass records like Miami based records, putting them on 345 00:19:19,359 --> 00:19:23,640 Speaker 1: the Keith Sweat, you know, just making an ignorant um 346 00:19:23,760 --> 00:19:27,280 Speaker 1: and asked me to help out Usher after his first 347 00:19:27,320 --> 00:19:29,920 Speaker 1: album came out, so he was like I was trying 348 00:19:29,920 --> 00:19:32,720 Speaker 1: to figure it out, and you know, he was like 349 00:19:32,920 --> 00:19:35,399 Speaker 1: close in a close enough in age for me to 350 00:19:35,480 --> 00:19:39,080 Speaker 1: understand why why not just taking to Jermaine like domain 351 00:19:39,160 --> 00:19:43,119 Speaker 1: good with kids making right and Jermaine's southern that's just 352 00:19:43,240 --> 00:19:47,520 Speaker 1: from Tennessee. As cool as it is that he got 353 00:19:47,520 --> 00:19:51,320 Speaker 1: the swag from New York, you kind of can't overshoot 354 00:19:51,359 --> 00:19:53,800 Speaker 1: swag if you're fourteen, someone can't you get with it. 355 00:19:53,800 --> 00:19:57,920 Speaker 1: It's just a sexual thing. It's like you, well, then 356 00:19:58,040 --> 00:20:01,160 Speaker 1: I can't drop my daughter at at that show. So 357 00:20:01,720 --> 00:20:05,679 Speaker 1: we just made it kind of more age appropriate and 358 00:20:05,720 --> 00:20:08,359 Speaker 1: with Southern swag like where it's like it's it's a 359 00:20:08,400 --> 00:20:11,359 Speaker 1: gentleman doing it, so you're there for you make me 360 00:20:11,400 --> 00:20:14,080 Speaker 1: wanna yeah all of it? Yeah, yeah, you made me 361 00:20:14,119 --> 00:20:17,560 Speaker 1: want to like the beginning, you made me well no, 362 00:20:17,560 --> 00:20:19,800 Speaker 1: now you maybe one of was literally the end like 363 00:20:20,800 --> 00:20:25,560 Speaker 1: where like I remember having like the night the hook 364 00:20:25,760 --> 00:20:27,679 Speaker 1: Jermaine wrote the hook, and I called l A. I 365 00:20:27,720 --> 00:20:29,720 Speaker 1: was like, yo, you should come out of Jamaine's house. 366 00:20:29,760 --> 00:20:31,439 Speaker 1: It might have been like forty five minutes to an 367 00:20:31,480 --> 00:20:34,360 Speaker 1: hour away, and he was like what. I'm like, yeah, 368 00:20:34,400 --> 00:20:37,040 Speaker 1: you should do that for this one. He drove out, 369 00:20:37,640 --> 00:20:39,960 Speaker 1: came out. I was like, okay, ship, what the rest 370 00:20:40,000 --> 00:20:43,840 Speaker 1: of it that? And I was like, oh, ship, you 371 00:20:43,840 --> 00:20:45,960 Speaker 1: haven't drive off for one song off a hook for 372 00:20:46,000 --> 00:20:49,679 Speaker 1: a hook? Yeah, ship, But I'm like you maybe like 373 00:20:49,720 --> 00:20:51,520 Speaker 1: it's like you don't hit it. Like I'm like, I'm 374 00:20:51,640 --> 00:20:54,240 Speaker 1: losing my ship, just like this might be like two 375 00:20:54,280 --> 00:20:57,200 Speaker 1: or three o'clock in the morning, by the way, which 376 00:20:57,960 --> 00:21:01,080 Speaker 1: lets you know him being about to smoke, like all 377 00:21:01,160 --> 00:21:04,159 Speaker 1: right and gotten this portion drove over the next morning, 378 00:21:04,280 --> 00:21:06,480 Speaker 1: you know, after you know we finished it and brought 379 00:21:06,520 --> 00:21:08,760 Speaker 1: it back, he was like, okay, a man. You know, 380 00:21:08,840 --> 00:21:12,000 Speaker 1: he wasn't mad for the drive because it was like that, 381 00:21:12,359 --> 00:21:14,720 Speaker 1: but it was that kind of it was that energy 382 00:21:14,840 --> 00:21:18,680 Speaker 1: that was happening like in l A was absolutely about 383 00:21:18,760 --> 00:21:22,760 Speaker 1: the song. Smoke. That was a game changer. But that's 384 00:21:22,800 --> 00:21:28,760 Speaker 1: that's also while we're so adamant about creators also being 385 00:21:29,280 --> 00:21:34,160 Speaker 1: owners and label heads, because a guy who has never 386 00:21:34,200 --> 00:21:38,320 Speaker 1: created anything like that of his own, he don't understand 387 00:21:38,359 --> 00:21:40,240 Speaker 1: that at two or three in the morning, that moment, 388 00:21:40,480 --> 00:21:44,040 Speaker 1: especially even if he's just coming to Cheerley, what the 389 00:21:44,119 --> 00:21:47,640 Speaker 1: young fellas is doing just to keep him going understand 390 00:21:47,640 --> 00:21:50,520 Speaker 1: how to Chile and understanding how to Cheerley to not 391 00:21:50,520 --> 00:21:52,960 Speaker 1: getting the way of that, not getting away or discourage 392 00:21:53,000 --> 00:21:55,920 Speaker 1: something that might be different, because I think that's where 393 00:21:55,960 --> 00:21:57,960 Speaker 1: a lot of it happens, is like the fear of different. 394 00:21:58,200 --> 00:22:01,119 Speaker 1: Like being in Atlanta, we didn't necessarily have to worry 395 00:22:01,119 --> 00:22:03,400 Speaker 1: about it because we didn't have people on our next 396 00:22:03,440 --> 00:22:05,919 Speaker 1: about what this was because no one knew yet nobody 397 00:22:05,960 --> 00:22:08,800 Speaker 1: knew what it was, so we were blessed in that way. 398 00:22:09,080 --> 00:22:12,560 Speaker 1: That's that's just an amazing feeling to have that and 399 00:22:12,600 --> 00:22:16,160 Speaker 1: to be around creatives. Like I said, you know, yes 400 00:22:16,200 --> 00:22:19,320 Speaker 1: we have as creative as we have our things that 401 00:22:20,800 --> 00:22:22,720 Speaker 1: ain't always up to part you know what I mean, 402 00:22:22,760 --> 00:22:26,800 Speaker 1: because we're creative. Yeah, And and what's what's right right? 403 00:22:27,000 --> 00:22:30,320 Speaker 1: Like who's to say what's the right way to do anything, 404 00:22:30,920 --> 00:22:33,399 Speaker 1: Like in my head, like I don't know what the 405 00:22:33,440 --> 00:22:37,480 Speaker 1: first person who said timberland ship was dope, but I 406 00:22:37,520 --> 00:22:41,280 Speaker 1: can imagine if a lot of people say that's retarded. No, 407 00:22:41,560 --> 00:22:45,560 Speaker 1: in talking to Timberland, him being him being met with 408 00:22:45,640 --> 00:22:51,080 Speaker 1: resistance about the pony song from you know, a guy 409 00:22:51,119 --> 00:22:54,439 Speaker 1: who's the godfather to me, Davante, Like I don't know 410 00:22:54,440 --> 00:23:04,640 Speaker 1: about all that that, it's cool, but like imagine that conversation, right, yeah, 411 00:23:05,760 --> 00:23:10,360 Speaker 1: from the guy who did crap, like because that could 412 00:23:10,359 --> 00:23:13,359 Speaker 1: be the gospel, all that that within itself. If DeVante 413 00:23:13,480 --> 00:23:15,600 Speaker 1: said to me, that ain't the way I would burn 414 00:23:15,640 --> 00:23:19,800 Speaker 1: everything down down, I burn everything down, all of it. 415 00:23:21,119 --> 00:23:24,680 Speaker 1: DeVante said no, he said it wasn't it was We're 416 00:23:24,680 --> 00:23:26,480 Speaker 1: going to go another way. Did he say no? He 417 00:23:26,480 --> 00:23:29,560 Speaker 1: didn't the world He didn't say yes, this is word 418 00:23:32,280 --> 00:23:37,200 Speaker 1: that means though, And for Timberland to stand on that 419 00:23:38,000 --> 00:23:41,479 Speaker 1: and just say, I don't know, I think this is 420 00:23:41,760 --> 00:23:44,480 Speaker 1: I like it. I like it. But Timberland also as 421 00:23:44,480 --> 00:23:52,280 Speaker 1: a DJ again absolutely so his perspective in beatmaking, it's 422 00:23:52,320 --> 00:23:56,760 Speaker 1: about keeping that happening and the space that he creates 423 00:23:56,800 --> 00:24:01,440 Speaker 1: it with. Like I used to watch people try to imitate. Yeah, 424 00:24:01,440 --> 00:24:05,600 Speaker 1: I used to do it definitely. And the one thing, 425 00:24:05,680 --> 00:24:08,199 Speaker 1: you know, I went to something for the people immediately, 426 00:24:09,520 --> 00:24:16,439 Speaker 1: Like people didn't realize how he used space. It's not 427 00:24:16,520 --> 00:24:22,200 Speaker 1: just the drums, it's the space because she's produced. There's 428 00:24:22,200 --> 00:24:25,159 Speaker 1: some spooky ship happening in some of themselves. Yeah, like 429 00:24:25,200 --> 00:24:28,679 Speaker 1: it's suspense and he's giving it all room. But you 430 00:24:28,680 --> 00:24:30,800 Speaker 1: know I'm saying being different, Like you spoke about that Atlanta. 431 00:24:30,840 --> 00:24:33,000 Speaker 1: Nobody knew what that was, what you guys were doing 432 00:24:33,040 --> 00:24:35,040 Speaker 1: down there. We were just like because I was down 433 00:24:35,040 --> 00:24:39,640 Speaker 1: in Atlanta, and you know what I'm saying, messing with 434 00:24:39,880 --> 00:24:42,560 Speaker 1: messing with Noontime, you know what I'm saying. So I 435 00:24:42,560 --> 00:24:45,639 Speaker 1: would always be in the lab with shout out the 436 00:24:45,680 --> 00:24:52,840 Speaker 1: Noontime Brothers one thousand percent. Kid, what's up? We got 437 00:24:52,920 --> 00:24:57,439 Speaker 1: Arrest of the Chris Chris Hicks one. Like Noontime like 438 00:24:57,760 --> 00:25:00,040 Speaker 1: noon Time showed us out of hustle. Like what I 439 00:25:00,119 --> 00:25:02,760 Speaker 1: will say is we learned how to do music from 440 00:25:02,880 --> 00:25:05,000 Speaker 1: l A and Pebble's. But I swear I used to 441 00:25:05,000 --> 00:25:06,840 Speaker 1: watch no One Time'm like, oh they are getting money 442 00:25:06,840 --> 00:25:09,240 Speaker 1: over there, man, but they'll figured out how to trap 443 00:25:09,280 --> 00:25:12,560 Speaker 1: off music in a way that it's like we got 444 00:25:12,800 --> 00:25:14,920 Speaker 1: rooms full of we got producers that they were doing 445 00:25:15,160 --> 00:25:18,080 Speaker 1: motown ship like like it was. It was a factory. 446 00:25:18,080 --> 00:25:22,200 Speaker 1: Like you get down there's ten b Cox and Jone. 447 00:25:22,320 --> 00:25:24,800 Speaker 1: It's like the people who would be there were really amazing, 448 00:25:25,080 --> 00:25:29,199 Speaker 1: like jazz fade, but it would be fun energy. It 449 00:25:29,240 --> 00:25:31,280 Speaker 1: was early b Cox too, Yeah, it was. It was 450 00:25:31,520 --> 00:25:36,440 Speaker 1: it was right before had figured out his own identity 451 00:25:36,480 --> 00:25:39,040 Speaker 1: because b Cox at first was the baby chacked up, 452 00:25:40,800 --> 00:25:44,200 Speaker 1: you know what I'm saying. And I was like, he's 453 00:25:44,240 --> 00:25:48,120 Speaker 1: not Jake Dub like he's got something else. And then 454 00:25:48,560 --> 00:25:50,879 Speaker 1: I remember him telling me, yeah, I'm about to go 455 00:25:50,920 --> 00:25:53,120 Speaker 1: meet up with your main duprix. I was like, okay, 456 00:25:53,440 --> 00:25:55,040 Speaker 1: but hey, by the way, but I'm gonna get like 457 00:25:55,160 --> 00:25:59,680 Speaker 1: Jagge got made that happen, Like they found him over there, wow, twinters, 458 00:26:00,040 --> 00:26:03,359 Speaker 1: So he brought he brought the twins over to work 459 00:26:03,400 --> 00:26:05,600 Speaker 1: with me. Because the twins brought him to work with 460 00:26:05,680 --> 00:26:08,080 Speaker 1: your man, that's crazy. Yeah, And he was like, you 461 00:26:08,119 --> 00:26:10,520 Speaker 1: think you gotta work with the twins and man a 462 00:26:10,520 --> 00:26:12,080 Speaker 1: little work with him, you know what I'm saying. And 463 00:26:12,119 --> 00:26:14,000 Speaker 1: they walked in, you know, so you know, the twins 464 00:26:14,000 --> 00:26:16,960 Speaker 1: don't know you when they first walked in. That walk 465 00:26:17,040 --> 00:26:19,399 Speaker 1: in is a little stinky. It ain't it ain't warm. 466 00:26:21,960 --> 00:26:24,400 Speaker 1: Is different. And then you know, we had to have 467 00:26:24,440 --> 00:26:26,840 Speaker 1: our sing off, and then we had to go play 468 00:26:26,840 --> 00:26:29,679 Speaker 1: a little basketball and I had to you know, hey, guys, 469 00:26:31,160 --> 00:26:36,359 Speaker 1: I'm different on this basketball court. It was me Donnie 470 00:26:36,359 --> 00:26:44,280 Speaker 1: Scats against the Twins, your main student, main studio half 471 00:26:44,280 --> 00:26:47,080 Speaker 1: court game. I must have had at least three dunks. Ship. 472 00:26:47,840 --> 00:26:51,240 Speaker 1: I know this athletic. I was going crazy. They switched 473 00:26:51,240 --> 00:26:52,960 Speaker 1: off on me so many times. I didn't know who 474 00:26:53,040 --> 00:26:58,640 Speaker 1: was checking. I got the Twins. I don't know what's 475 00:26:58,640 --> 00:27:01,160 Speaker 1: going on right now. And when it would start arguing, 476 00:27:01,680 --> 00:27:04,640 Speaker 1: it would be crazy because they like argue on some like, 477 00:27:04,720 --> 00:27:08,360 Speaker 1: you know, somebody gonna get stabbed. I'm man, y'all brothers man. 478 00:27:08,480 --> 00:27:13,359 Speaker 1: Come on, y'all, don't just met man, Love you, brothers man. 479 00:27:14,720 --> 00:27:17,320 Speaker 1: That was the first time, as we talked about noon time, 480 00:27:17,359 --> 00:27:21,639 Speaker 1: that I had ever seen a producer be about his 481 00:27:21,920 --> 00:27:26,240 Speaker 1: business in terms of how he managed, how he did production. 482 00:27:26,320 --> 00:27:31,680 Speaker 1: And that was Teddy Bishop. Teddy Bishop was a businessman, 483 00:27:32,200 --> 00:27:36,520 Speaker 1: producer like splits will get done here. I clock in 484 00:27:37,119 --> 00:27:40,560 Speaker 1: at two and at eight p m. I will be 485 00:27:40,600 --> 00:27:44,200 Speaker 1: packing up my briefcase. Good day, fellas, I'll see you tomorrow. 486 00:27:44,240 --> 00:27:47,800 Speaker 1: I'm going home to eat dinner. I'm like, where's he going? 487 00:27:48,160 --> 00:27:54,800 Speaker 1: Just jazzy thing would just be walking in. Well he 488 00:27:54,880 --> 00:27:57,639 Speaker 1: walk in with all the energy and like you know 489 00:27:57,680 --> 00:27:59,200 Speaker 1: what I'm saying, we might go to the strip club 490 00:27:59,280 --> 00:28:02,880 Speaker 1: like it like it was just that time down there 491 00:28:02,920 --> 00:28:06,040 Speaker 1: for me, going through all those progressions where all of 492 00:28:06,040 --> 00:28:09,080 Speaker 1: those guys was was really an important moment for me 493 00:28:09,640 --> 00:28:11,919 Speaker 1: and being broke at the same time. Yeah. And by 494 00:28:11,960 --> 00:28:14,280 Speaker 1: the way, Atlanta, you can be broke. Yes, I don't know. 495 00:28:14,400 --> 00:28:16,000 Speaker 1: I went to the strip up with all the twenty 496 00:28:16,000 --> 00:28:19,879 Speaker 1: dollars and I just kept falling it over, turning like 497 00:28:19,960 --> 00:28:22,800 Speaker 1: I think, well, it's not that he got over. Nobody 498 00:28:22,840 --> 00:28:25,280 Speaker 1: thought he was bawling, like they just let him live. 499 00:28:25,920 --> 00:28:28,800 Speaker 1: Like that's the Atlanta thing. It's like, yeah, oh that's cute, 500 00:28:29,680 --> 00:28:32,800 Speaker 1: you know, enjoying yourself. What was at your level? What 501 00:28:32,880 --> 00:28:36,480 Speaker 1: was the club? I can't think of what. There are 502 00:28:36,560 --> 00:28:39,480 Speaker 1: so many levels in Atlanta, and I was. I was 503 00:28:39,600 --> 00:28:43,160 Speaker 1: at my baby level with my per diam And by 504 00:28:43,200 --> 00:28:46,080 Speaker 1: the way, you could get like you could get sympathy love. 505 00:28:46,800 --> 00:28:49,360 Speaker 1: I was getting so much sympathy love you know what I 506 00:28:49,320 --> 00:28:51,960 Speaker 1: I know. I know my fit wasn't it wasn't right. 507 00:28:52,360 --> 00:28:54,920 Speaker 1: It was just twenty five in my hand. But I 508 00:28:54,960 --> 00:28:58,560 Speaker 1: think me and the girl had a connection probably like 509 00:28:58,880 --> 00:29:03,280 Speaker 1: she's a human, you know what I mean? Like that 510 00:29:03,400 --> 00:29:07,720 Speaker 1: happens like you're trying to win off the human. Absolutely so, 511 00:29:08,480 --> 00:29:09,920 Speaker 1: so what do you want to do? What else? You 512 00:29:09,920 --> 00:29:12,920 Speaker 1: want to do? What you want to I've still got 513 00:29:12,960 --> 00:29:14,440 Speaker 1: my church on me, you know what I'm saying. You 514 00:29:14,480 --> 00:29:16,920 Speaker 1: know the you know the Lord. It's not judgment here, 515 00:29:16,960 --> 00:29:20,719 Speaker 1: No judgment here, man. We are all children of God. Amen. 516 00:29:21,920 --> 00:29:23,560 Speaker 1: They go, hey man, I'm gonna get this money over 517 00:29:24,640 --> 00:29:28,560 Speaker 1: get his money. Do you feel like since y'all mentioned 518 00:29:28,560 --> 00:29:31,840 Speaker 1: it the strip club, since it's such you know, it's 519 00:29:31,880 --> 00:29:34,960 Speaker 1: a staple of Atlanta, something that's always mentioned. It's something 520 00:29:34,960 --> 00:29:36,720 Speaker 1: that if you don't matter who you are, you could 521 00:29:36,760 --> 00:29:38,960 Speaker 1: be top of the top loss of the loss you're 522 00:29:39,000 --> 00:29:41,800 Speaker 1: going to step into one of those strip clubs in Atlanta? 523 00:29:42,040 --> 00:29:45,200 Speaker 1: Do you feel like that's a driving force? Has been 524 00:29:45,240 --> 00:29:47,520 Speaker 1: a driving force in what you guys as music has 525 00:29:47,560 --> 00:29:50,960 Speaker 1: been out there as well. Um, it's a driving source 526 00:29:51,360 --> 00:29:56,880 Speaker 1: of of of where things connect, right, but um, yeah, absolutely, 527 00:29:57,080 --> 00:30:00,480 Speaker 1: like and it's I guess that's skipping stages. Right. So 528 00:30:01,120 --> 00:30:05,200 Speaker 1: in my from DJ to music stuff, right, I have 529 00:30:05,240 --> 00:30:09,120 Speaker 1: an uncle who he was a businessman like he because 530 00:30:09,160 --> 00:30:11,480 Speaker 1: he wanted to make sure I was not on a bullshit. 531 00:30:11,560 --> 00:30:13,440 Speaker 1: So he was like, what you need to stay straight, 532 00:30:14,120 --> 00:30:17,200 Speaker 1: and so he took me to Guitar Center and got 533 00:30:17,240 --> 00:30:19,840 Speaker 1: me straight. And some of that equipment ended up being 534 00:30:19,840 --> 00:30:23,160 Speaker 1: the first equipment we had at the Dungeon. But the 535 00:30:23,240 --> 00:30:25,880 Speaker 1: other story, and that is when I was around thirteen 536 00:30:25,880 --> 00:30:28,640 Speaker 1: as well, I used to go clean up at the club, 537 00:30:28,720 --> 00:30:30,640 Speaker 1: at the strip club at the Blue Flame, because me 538 00:30:30,680 --> 00:30:32,440 Speaker 1: and my aunt used to do the clean up in 539 00:30:32,480 --> 00:30:38,360 Speaker 1: the mornings. You're cleaning the Blue Flame. Yeah, so it's like, 540 00:30:39,600 --> 00:30:41,680 Speaker 1: you know, I'm in there looking at the equipment like man, like, 541 00:30:41,720 --> 00:30:43,680 Speaker 1: I'm in there. After we finished, I'm playing with the 542 00:30:43,760 --> 00:30:47,880 Speaker 1: DJ ship like I'm playing with lights and smoke like 543 00:30:49,120 --> 00:30:50,760 Speaker 1: because I'm like, oh, this ship lives like And I 544 00:30:50,800 --> 00:30:53,520 Speaker 1: had never been in a live strip club at that point, 545 00:30:53,520 --> 00:30:56,520 Speaker 1: but it looked like a stage, looked entertaining. I knew 546 00:30:56,520 --> 00:30:58,560 Speaker 1: I was in the club. I knew it smells funny, 547 00:30:59,320 --> 00:31:02,640 Speaker 1: like I know this got it got it got in 548 00:31:02,680 --> 00:31:05,960 Speaker 1: the morning, especially in the morning I haven't been in 549 00:31:06,000 --> 00:31:09,480 Speaker 1: the strip club in the mor We have been in 550 00:31:09,520 --> 00:31:11,680 Speaker 1: the strip clubs and be in there. Give me out 551 00:31:11,680 --> 00:31:16,000 Speaker 1: of there, trying to get you King of Dimonds. Seven am, 552 00:31:16,600 --> 00:31:24,720 Speaker 1: they're still going consider the morning. I want to take 553 00:31:24,880 --> 00:31:26,040 Speaker 1: this end of the night. I don't want to be 554 00:31:26,600 --> 00:31:29,200 Speaker 1: in there in the morning. But I mean, you, yeah, 555 00:31:29,280 --> 00:31:32,240 Speaker 1: I guess it's fair. It's fair. So bro, you I 556 00:31:32,280 --> 00:31:38,200 Speaker 1: mean like that that uss your album was out of 557 00:31:38,240 --> 00:31:44,280 Speaker 1: control and you're you're in here orchestrating, orchestrating and moving 558 00:31:44,320 --> 00:31:47,960 Speaker 1: things around. I'm helping, I'm contributing, contributing. What is the 559 00:31:48,000 --> 00:31:54,320 Speaker 1: conversation after that, especially when it is as successful. Ironically, 560 00:31:54,400 --> 00:31:57,960 Speaker 1: So during that same time, we have a deal at DreamWorks. 561 00:31:58,240 --> 00:32:00,920 Speaker 1: So this half the user album has and they're like, yo, 562 00:32:00,920 --> 00:32:03,560 Speaker 1: won't you come work over here? So they offered me 563 00:32:03,600 --> 00:32:06,720 Speaker 1: a whole gig like I. They gave me a package, 564 00:32:07,280 --> 00:32:09,880 Speaker 1: the insurance like I. I had to go back to 565 00:32:09,920 --> 00:32:14,280 Speaker 1: Atlanta like so l A. They offered me this as 566 00:32:14,280 --> 00:32:16,520 Speaker 1: a gig, And I didn't know niggas get paid like this, 567 00:32:17,160 --> 00:32:20,600 Speaker 1: you know, Because again what I understand now is l 568 00:32:20,680 --> 00:32:24,160 Speaker 1: Face was a production company. Dream Works was David Geffen 569 00:32:24,520 --> 00:32:29,960 Speaker 1: Spielberg and Cattenberg. It was go back. It was with 570 00:32:30,160 --> 00:32:32,760 Speaker 1: the bag. They make the bags they're like so it's 571 00:32:32,800 --> 00:32:35,800 Speaker 1: like they were really like, yo, how much you make? 572 00:32:36,040 --> 00:32:40,040 Speaker 1: Like they would hear me with the real like like 573 00:32:40,160 --> 00:32:43,840 Speaker 1: scoffing at my money, and I'm like I felt disrespected, 574 00:32:43,920 --> 00:32:47,040 Speaker 1: not just me, but I felt like what we were doing. 575 00:32:47,080 --> 00:32:48,800 Speaker 1: I'm like, why are they talking to me like this 576 00:32:49,120 --> 00:32:52,440 Speaker 1: with the records that we're selling and the impact is happening. 577 00:32:53,440 --> 00:32:55,880 Speaker 1: I went back to um l A told him about it. 578 00:32:55,960 --> 00:32:58,880 Speaker 1: He was like, man, give me a minute, and I 579 00:32:58,920 --> 00:33:01,560 Speaker 1: guess he then called all around and Usher at the 580 00:33:01,600 --> 00:33:04,160 Speaker 1: time was like, Yo, you can't. You can't lose KP. 581 00:33:05,120 --> 00:33:07,960 Speaker 1: And that's how I got my production deal Ghetto Vision, 582 00:33:08,040 --> 00:33:10,440 Speaker 1: because he was like, I can't give you more more money. 583 00:33:10,760 --> 00:33:13,440 Speaker 1: I can give you more opportunity opportunity and I was like, 584 00:33:13,480 --> 00:33:19,800 Speaker 1: I'll take that. And sometimes you gotta have I mean, 585 00:33:19,840 --> 00:33:23,560 Speaker 1: obviously hindsight right like they say, but sometimes you just 586 00:33:23,560 --> 00:33:25,640 Speaker 1: have to have faith. Yeah, that's all. And what that 587 00:33:25,680 --> 00:33:28,200 Speaker 1: opportunity can be other than chasing a bag. Because I 588 00:33:28,240 --> 00:33:31,040 Speaker 1: also understood what this bad came me having to educate 589 00:33:31,080 --> 00:33:33,960 Speaker 1: these people on how to do ship that we did naturally. Yeah, 590 00:33:34,520 --> 00:33:37,000 Speaker 1: like I understood the idea of you know, breaking up 591 00:33:37,000 --> 00:33:40,240 Speaker 1: the team. It's like, yeah, I think I'm talented, but 592 00:33:40,320 --> 00:33:43,360 Speaker 1: I know my squad helps me to focus on the 593 00:33:43,440 --> 00:33:47,240 Speaker 1: part I do. And that's the part I liked about it. 594 00:33:47,280 --> 00:33:49,520 Speaker 1: So and also I got a chance to sign that's 595 00:33:49,520 --> 00:33:51,760 Speaker 1: when I signed young Bloods and Tia and ti I. 596 00:33:52,400 --> 00:33:55,960 Speaker 1: So it's like I would have had to explain that 597 00:33:56,160 --> 00:33:59,520 Speaker 1: in l A Like young Bloods didn't have a song 598 00:33:59,560 --> 00:34:01,600 Speaker 1: when I sign on them. I just saw them in 599 00:34:01,680 --> 00:34:04,840 Speaker 1: the club throwing the football around. And it was in 600 00:34:04,880 --> 00:34:07,920 Speaker 1: the club throwing the football. Yeah, Like it looked like 601 00:34:07,960 --> 00:34:10,200 Speaker 1: animal house to me, and I was like, it's something 602 00:34:10,239 --> 00:34:15,000 Speaker 1: fun that time someone you just can't skip the club, Yes, 603 00:34:15,080 --> 00:34:17,080 Speaker 1: it was. It was a club called a Chili Pepper 604 00:34:17,120 --> 00:34:20,400 Speaker 1: and they had two levels and they were upstairs, like 605 00:34:20,440 --> 00:34:22,919 Speaker 1: there's a balcony on this side, on this side, there's 606 00:34:22,920 --> 00:34:26,040 Speaker 1: a dance floor down here. They're throwing the ball across 607 00:34:26,080 --> 00:34:30,040 Speaker 1: the balcony like yeah, as the club is going on, 608 00:34:30,200 --> 00:34:33,919 Speaker 1: everybody party. Yeah, I love that they're playing cash yeah, 609 00:34:34,239 --> 00:34:37,799 Speaker 1: and seam Paul like shake them off, he said, shake 610 00:34:37,840 --> 00:34:40,279 Speaker 1: them that's a that's a that's a song like we 611 00:34:40,320 --> 00:34:44,080 Speaker 1: should like, let's let's do that on them, and Pretty King, 612 00:34:44,200 --> 00:34:47,080 Speaker 1: who is Seam Paul's cousin, was like, yeah, yeah, that's 613 00:34:47,080 --> 00:34:49,720 Speaker 1: what I was gonna do. And they went home, produced 614 00:34:49,719 --> 00:34:53,000 Speaker 1: the record and came back. So do you sign young 615 00:34:53,040 --> 00:34:59,319 Speaker 1: Blood before you signed yea her Young Bluds? Probably maybe ship. 616 00:35:00,200 --> 00:35:02,640 Speaker 1: Matter of fact, t I is in eighty five in 617 00:35:02,680 --> 00:35:07,719 Speaker 1: the video for eighty five, like that's their second I 618 00:35:07,760 --> 00:35:10,919 Speaker 1: think that was the second single, third single, And that's 619 00:35:10,960 --> 00:35:13,400 Speaker 1: when I met Tip. Are you married by the video? Shoot? 620 00:35:13,440 --> 00:35:15,080 Speaker 1: No no no no. I met him around this time, and 621 00:35:15,120 --> 00:35:17,200 Speaker 1: by that time I started to take him everywhere I went. 622 00:35:17,320 --> 00:35:20,359 Speaker 1: Like the day I met him was like a day 623 00:35:20,440 --> 00:35:23,640 Speaker 1: or two before like a Source Awards, and I was like, okay, 624 00:35:23,840 --> 00:35:25,640 Speaker 1: he rapped. A matter of fact, he came to a 625 00:35:25,719 --> 00:35:28,040 Speaker 1: session the group I was in n p A. He 626 00:35:28,080 --> 00:35:32,359 Speaker 1: came to the session and Reese was like, yea O KP. 627 00:35:32,440 --> 00:35:33,960 Speaker 1: I think you're gonna like him. You should come down. 628 00:35:34,160 --> 00:35:37,480 Speaker 1: I was, I'm always at the studio and um, I 629 00:35:37,520 --> 00:35:38,880 Speaker 1: was like, well, if you wrap rap on this, and 630 00:35:38,880 --> 00:35:40,880 Speaker 1: he rapped on the song it's on It's on like 631 00:35:40,920 --> 00:35:44,840 Speaker 1: our third album, right, but um he came in and 632 00:35:45,480 --> 00:35:47,759 Speaker 1: on the spot said some ship that really that I 633 00:35:47,840 --> 00:35:50,880 Speaker 1: knew he made right then, but it was so fire 634 00:35:51,640 --> 00:35:52,880 Speaker 1: and I was like, oh yeah, Bet. I was like, 635 00:35:52,880 --> 00:35:54,279 Speaker 1: what you're doing tomorrow? You want to come to l A. 636 00:35:54,480 --> 00:35:57,560 Speaker 1: And he was like, let me check my schedule and 637 00:35:59,440 --> 00:36:01,239 Speaker 1: but yeah, yeah, I can do it. I can do it, 638 00:36:01,360 --> 00:36:03,439 Speaker 1: and hopped on a plane with me the next morning 639 00:36:03,440 --> 00:36:06,000 Speaker 1: to come to l A. And that's and I was 640 00:36:06,040 --> 00:36:10,799 Speaker 1: just watching him around everybody like, um, like this was 641 00:36:10,880 --> 00:36:13,120 Speaker 1: the year that watched for the hook was big for 642 00:36:13,239 --> 00:36:17,640 Speaker 1: the Dungeon family, so we were kind of popping um. 643 00:36:17,680 --> 00:36:21,719 Speaker 1: So he comes out and just the he jumped in 644 00:36:21,760 --> 00:36:23,560 Speaker 1: the middle of a cipher on the back of the 645 00:36:23,600 --> 00:36:26,000 Speaker 1: bus that like rap City was doing it and Gip 646 00:36:26,040 --> 00:36:29,040 Speaker 1: came out like hell shout it and it's like it 647 00:36:29,080 --> 00:36:31,960 Speaker 1: was that kind of energy, right, but he had it. 648 00:36:32,080 --> 00:36:37,200 Speaker 1: He wasn't scared, like not from the guidea like there 649 00:36:37,239 --> 00:36:39,680 Speaker 1: was a camera, Oh Bet, I'm on, let's go. A 650 00:36:39,680 --> 00:36:43,760 Speaker 1: matter of fact, he Cool Breeze didn't make Cool Breese 651 00:36:44,280 --> 00:36:47,880 Speaker 1: whose song it was. He drove from Atlanta to California 652 00:36:48,520 --> 00:36:51,120 Speaker 1: and didn't make a sound check or camera blocking, so 653 00:36:51,200 --> 00:36:53,840 Speaker 1: t I ended up doing his part for the camera 654 00:36:53,880 --> 00:36:55,680 Speaker 1: block but he performed the ship out of it and 655 00:36:55,760 --> 00:36:59,359 Speaker 1: knew all the words, and so everybody was like, yeah, 656 00:36:59,680 --> 00:37:02,680 Speaker 1: and that's like his first weekend out. Oh yeah. He 657 00:37:02,760 --> 00:37:05,319 Speaker 1: took advantage of the moment and I got back and 658 00:37:05,360 --> 00:37:07,560 Speaker 1: we signed him when the week like the day we 659 00:37:07,600 --> 00:37:11,240 Speaker 1: got back. I don't think Ta gets enough credit for 660 00:37:11,320 --> 00:37:16,000 Speaker 1: the kind of rapper, songwriter, the songwriter that he is. 661 00:37:16,760 --> 00:37:23,840 Speaker 1: And I've watched him do sixteen bars in his head 662 00:37:24,440 --> 00:37:29,400 Speaker 1: in five minutes. No, he's actually brilliant. And I'm like, 663 00:37:30,480 --> 00:37:32,400 Speaker 1: which is you know, goes to the whole point the 664 00:37:32,400 --> 00:37:34,759 Speaker 1: trouble man ship, just like smart kids are usually bored 665 00:37:34,760 --> 00:37:37,920 Speaker 1: in school, so you know she's gonna happen. I'm like, 666 00:37:37,960 --> 00:37:42,439 Speaker 1: how did you just make that up? Yeah? Yeah, yeah. 667 00:37:42,640 --> 00:37:45,000 Speaker 1: And and the music he makes it's very diverse. It's 668 00:37:45,040 --> 00:37:48,360 Speaker 1: not like I think everybody just especially since he coined 669 00:37:48,360 --> 00:37:51,920 Speaker 1: the term, you know, trap music, everybody just puts him 670 00:37:51,960 --> 00:37:54,719 Speaker 1: in that category. Yeah, but he's a songwriter. He's like 671 00:37:55,400 --> 00:37:58,799 Speaker 1: if if you if you make a mistake, right and 672 00:37:58,880 --> 00:38:02,839 Speaker 1: put him in a sign up with the other trap artists, right, 673 00:38:03,239 --> 00:38:05,920 Speaker 1: if you put him in the best place for him 674 00:38:05,920 --> 00:38:07,920 Speaker 1: to be, in the middle, But if you put him 675 00:38:07,920 --> 00:38:12,000 Speaker 1: anywhere too early. Everybody else's fun because he has hits, 676 00:38:12,000 --> 00:38:15,520 Speaker 1: Like he don't have vibes. He ain't got no damn 677 00:38:15,560 --> 00:38:18,279 Speaker 1: but he ain't gonna vibe. They got hits something very 678 00:38:18,320 --> 00:38:22,680 Speaker 1: different between the vibe and hit. Yeah, Like it's like 679 00:38:22,719 --> 00:38:26,160 Speaker 1: I funk with that. It's cool. God him, Like why 680 00:38:26,200 --> 00:38:29,719 Speaker 1: this keep punched me upside? Bring him out? Bring him out? 681 00:38:30,440 --> 00:38:34,360 Speaker 1: Like you can't have whatever you like. It's the hardest 682 00:38:34,400 --> 00:38:36,080 Speaker 1: part is we gotta do Metley's for him, Like we 683 00:38:36,160 --> 00:38:40,040 Speaker 1: gotta put together a quick ten minutes Metley. It's like, 684 00:38:40,239 --> 00:38:43,439 Speaker 1: what where do you go? It's just it's just hooks. Yeah, 685 00:38:44,520 --> 00:38:46,479 Speaker 1: you want to use everything, you know what I'm saying. 686 00:38:46,560 --> 00:38:49,600 Speaker 1: It's like something we can't leave out that we can't. Oh, 687 00:38:49,680 --> 00:38:51,880 Speaker 1: that's gotta be in there by the time you finished 688 00:38:51,880 --> 00:38:54,680 Speaker 1: the thirty minutes ago. Was that tough for you that 689 00:38:54,760 --> 00:38:57,200 Speaker 1: you saw that early in him and you identified that 690 00:38:57,320 --> 00:38:59,960 Speaker 1: with him, but you weren't able to have the six 691 00:39:00,040 --> 00:39:05,120 Speaker 1: said she wanted at Ghetto Vision with him. Nah, I 692 00:39:05,160 --> 00:39:06,680 Speaker 1: didn't look at it. I don't think I looked at 693 00:39:06,680 --> 00:39:10,040 Speaker 1: it like that because I'm serious with my ship. No, 694 00:39:08,920 --> 00:39:13,280 Speaker 1: I'm listening and what I'm what I'm proud of is quality. 695 00:39:14,120 --> 00:39:16,759 Speaker 1: Like if if we were in today, what would be 696 00:39:16,800 --> 00:39:20,040 Speaker 1: what that record would be? Was his mixtape, Like it's 697 00:39:20,080 --> 00:39:23,240 Speaker 1: so like it's sold a hundred seventy thousand, but it's 698 00:39:23,239 --> 00:39:25,719 Speaker 1: sold a hundred seventy thousand and five thousand at a 699 00:39:25,800 --> 00:39:29,200 Speaker 1: time every week for about seventy some weeks. And I 700 00:39:29,239 --> 00:39:34,120 Speaker 1: was like, to me, that means somebody's hearing it and 701 00:39:34,120 --> 00:39:37,520 Speaker 1: it's and it was steady. And so it was a 702 00:39:37,600 --> 00:39:39,600 Speaker 1: brick based on all the other ship we were know what, 703 00:39:40,280 --> 00:39:43,440 Speaker 1: but it was a success in planning the seed. It's like, 704 00:39:44,120 --> 00:39:46,520 Speaker 1: you know, still ain't forgave myself for him. It's like 705 00:39:48,120 --> 00:39:51,160 Speaker 1: still it's like a real record for him, you know. 706 00:39:51,200 --> 00:39:53,239 Speaker 1: So it's like, um no, I never thought about like that. 707 00:39:53,280 --> 00:39:56,160 Speaker 1: I felt like I did what I was supposed to do. 708 00:39:57,080 --> 00:39:59,319 Speaker 1: Like I did the part that I was supposed to do. 709 00:39:59,360 --> 00:40:02,520 Speaker 1: Because the thing is, from that point on, he that 710 00:40:02,719 --> 00:40:05,680 Speaker 1: not working the way it could have got him into 711 00:40:05,719 --> 00:40:08,680 Speaker 1: a place where he did more work. But he started 712 00:40:08,719 --> 00:40:12,160 Speaker 1: really working. He turned up like like yeah, he started. 713 00:40:12,160 --> 00:40:15,400 Speaker 1: He he turned up like a like a real trapper, 714 00:40:15,480 --> 00:40:19,080 Speaker 1: like got in the car and and start doing the 715 00:40:19,160 --> 00:40:24,440 Speaker 1: radius of Atlanta, the Alabama, the Florida, the North Arolina, 716 00:40:24,520 --> 00:40:27,680 Speaker 1: South Carolina and every weekend, like you wouldn't see him 717 00:40:27,680 --> 00:40:31,439 Speaker 1: in Atlanta from Wednesday to Sunday, like, and it wasn't 718 00:40:31,440 --> 00:40:33,759 Speaker 1: a big record, but he was going out making sure, 719 00:40:34,080 --> 00:40:36,760 Speaker 1: you know, like the people knew who he was doing 720 00:40:36,840 --> 00:40:40,359 Speaker 1: the club shows and and you know he was doing it. 721 00:40:40,400 --> 00:40:43,879 Speaker 1: He was doing his things. So by the time Trap 722 00:40:44,000 --> 00:40:47,040 Speaker 1: Music came around, like the second album and um twenty 723 00:40:47,040 --> 00:40:50,719 Speaker 1: folds came out, people knew him more. So when he 724 00:40:50,760 --> 00:40:54,160 Speaker 1: went to get a deal at Atlantic, and it's like 725 00:40:54,280 --> 00:40:57,640 Speaker 1: by this time, I had I left Arisa because when 726 00:40:57,680 --> 00:41:00,160 Speaker 1: his first album came out, it was when we us 727 00:41:00,160 --> 00:41:03,640 Speaker 1: went from LaFace to Arista. Okay, so when we were 728 00:41:03,640 --> 00:41:07,600 Speaker 1: doing in Atlanta, everything was easy. We got to New York. 729 00:41:07,640 --> 00:41:10,399 Speaker 1: You got to convince new you know, a new set 730 00:41:10,400 --> 00:41:13,719 Speaker 1: of people that this is worth something who don't ever 731 00:41:13,920 --> 00:41:19,560 Speaker 1: visit the space. So that that I attribute a lot 732 00:41:19,560 --> 00:41:21,919 Speaker 1: of that to that. It's like, you know, like our 733 00:41:22,000 --> 00:41:24,399 Speaker 1: first the first choice for a single was a song 734 00:41:24,440 --> 00:41:27,000 Speaker 1: called Dope Wars in the Trap. That was what I 735 00:41:27,040 --> 00:41:29,239 Speaker 1: wanted to put out first. We can't play that on 736 00:41:29,280 --> 00:41:32,520 Speaker 1: the radio. This is New York. We can't play that um, 737 00:41:32,520 --> 00:41:35,200 Speaker 1: but you got this record with the Neptunes and Beanie Man. 738 00:41:35,320 --> 00:41:38,040 Speaker 1: I'm like, yeah, yeah, we're gonna get to that. Yeah no, no, no, 739 00:41:38,160 --> 00:41:40,920 Speaker 1: let's get to that. And that ended up being the 740 00:41:40,960 --> 00:41:43,399 Speaker 1: first single. But it's like skipping a grade for sure. 741 00:41:43,440 --> 00:41:45,440 Speaker 1: So it's like the learning experience for all of us 742 00:41:45,480 --> 00:41:47,239 Speaker 1: at that point, because I'm like, well, fuck it, it 743 00:41:47,360 --> 00:41:50,959 Speaker 1: is our record. Like as a as a label head 744 00:41:51,040 --> 00:41:55,000 Speaker 1: at that time, I'm still looking at it like, well, 745 00:41:55,080 --> 00:41:58,160 Speaker 1: you know, as opposed to going with good, we've gone 746 00:41:58,239 --> 00:42:01,399 Speaker 1: We've yeah, we've gone through that, understand Yeah. So but 747 00:42:01,400 --> 00:42:04,719 Speaker 1: but what it was was it showed like, Okay, you 748 00:42:04,760 --> 00:42:08,360 Speaker 1: were right in the choice, like, but you gotta stick 749 00:42:08,400 --> 00:42:10,759 Speaker 1: with that. You gotta fight through that part. So that 750 00:42:10,840 --> 00:42:13,319 Speaker 1: kind of helped me through everything else and even just 751 00:42:13,360 --> 00:42:15,319 Speaker 1: building you up as an executive. Yeah, that got me 752 00:42:15,400 --> 00:42:17,160 Speaker 1: Like if it wasn't for t I, I I couldn't have 753 00:42:17,840 --> 00:42:22,040 Speaker 1: I couldn't have got a John legend off with the 754 00:42:22,000 --> 00:42:27,960 Speaker 1: insenstance of Carl Thomas Tuba. I mean, you know, listen, 755 00:42:28,560 --> 00:42:31,200 Speaker 1: just pay attention, man. But what I'm saying, but it's like, 756 00:42:31,239 --> 00:42:34,760 Speaker 1: but understanding what Carl is also understanding what John also 757 00:42:34,840 --> 00:42:37,879 Speaker 1: brought to that was like, Okay, there's a place where 758 00:42:38,239 --> 00:42:40,319 Speaker 1: you know that it connects in a black space, but 759 00:42:40,360 --> 00:42:44,759 Speaker 1: you also understand in a very nacking, co articulate way. Yes, yeah, 760 00:42:45,760 --> 00:42:48,840 Speaker 1: you can do this as well. Yeah no, no, John, 761 00:42:48,960 --> 00:42:54,840 Speaker 1: John is definitely tapped into the to the Queen's English. Yeah, absolutely, yeah, 762 00:42:54,880 --> 00:42:59,279 Speaker 1: but it's just it's but something about absolutely you never 763 00:42:59,360 --> 00:43:02,080 Speaker 1: lose the soul in that and it's something about that 764 00:43:02,160 --> 00:43:05,600 Speaker 1: tone for sure that is just always connected and it's 765 00:43:05,640 --> 00:43:09,080 Speaker 1: what and it's what you do with it subject matter 766 00:43:09,120 --> 00:43:14,680 Speaker 1: why you know, and even like and this is this 767 00:43:14,719 --> 00:43:18,680 Speaker 1: is I guess it was really my flex. Um. So 768 00:43:19,360 --> 00:43:22,320 Speaker 1: I got fired from Sony. I got fired from Sony 769 00:43:22,400 --> 00:43:26,000 Speaker 1: when Rick Rubin came in, and it wasn't like you 770 00:43:26,160 --> 00:43:28,960 Speaker 1: suck your fired. It's like I'm bringing my people. Yeah, 771 00:43:29,239 --> 00:43:31,960 Speaker 1: but Dion just told the people at Colorado like listen, 772 00:43:32,320 --> 00:43:37,520 Speaker 1: y'all might want to hop in the trail. Yeah. So 773 00:43:38,600 --> 00:43:41,520 Speaker 1: but but um, when I when I got fired, I 774 00:43:41,560 --> 00:43:46,600 Speaker 1: had this is post ordinary People album works. Um a 775 00:43:46,640 --> 00:43:48,840 Speaker 1: matter of fact, it is like the third album evolved. 776 00:43:49,360 --> 00:43:51,239 Speaker 1: So I get fired. John is like, well, I still 777 00:43:51,280 --> 00:43:53,600 Speaker 1: want you to work on my project, you know, come 778 00:43:53,800 --> 00:43:57,120 Speaker 1: and light whatever. Cool, and he plays me this record 779 00:43:57,440 --> 00:44:00,400 Speaker 1: green Light, but it was it was another beat. It 780 00:44:00,480 --> 00:44:02,560 Speaker 1: was like a whole It was like it sounded like 781 00:44:02,880 --> 00:44:07,840 Speaker 1: video game music a little bit well porn. Um. There's 782 00:44:07,960 --> 00:44:13,759 Speaker 1: just a very great correlation between those sounds. I'm not 783 00:44:13,800 --> 00:44:18,160 Speaker 1: gonna say how I know. I'm just gonna just gonna 784 00:44:18,200 --> 00:44:25,279 Speaker 1: say you said it first. Um. But but I was like, man, 785 00:44:25,320 --> 00:44:28,759 Speaker 1: this this melody is crazy. This song exactly dope. And 786 00:44:28,920 --> 00:44:30,960 Speaker 1: he would he would do like a Vincent Price thing 787 00:44:30,960 --> 00:44:32,800 Speaker 1: in the middle of it where Dre's on one to 788 00:44:32,960 --> 00:44:35,880 Speaker 1: three red like I mean green like um. But anyway, 789 00:44:35,880 --> 00:44:37,920 Speaker 1: he was doing this thing. I was like, let me 790 00:44:37,920 --> 00:44:39,920 Speaker 1: get let me get the vocals. And I had just 791 00:44:39,960 --> 00:44:42,719 Speaker 1: got fired. But I had just met my Lee and 792 00:44:42,760 --> 00:44:44,800 Speaker 1: I was like, I had moved my l down to Atlanta. 793 00:44:44,840 --> 00:44:46,920 Speaker 1: In my house, I put a studio in the basement 794 00:44:47,280 --> 00:44:48,799 Speaker 1: and I got back and I had this files. I 795 00:44:48,840 --> 00:44:50,759 Speaker 1: was like, Yo, we gotta fix this ship. And he 796 00:44:50,800 --> 00:44:53,360 Speaker 1: was like, you know, all right yeah, And I'm like, 797 00:44:53,560 --> 00:44:55,239 Speaker 1: let's gonna do this ship like a bass record. We're 798 00:44:55,239 --> 00:44:57,919 Speaker 1: gonna make this ship fast. It's gonna we're gonna fam 799 00:44:58,040 --> 00:44:59,719 Speaker 1: you this bitch out like we're gonna try to figure 800 00:44:59,719 --> 00:45:02,200 Speaker 1: out how make this as as black as it can be? 801 00:45:02,880 --> 00:45:05,680 Speaker 1: And we ended up doing it and after we finished, 802 00:45:05,719 --> 00:45:07,480 Speaker 1: I was like, man, we need somebody to wrap on it. 803 00:45:08,960 --> 00:45:13,919 Speaker 1: I'm like I tried. I called Dre and I'm like, hey, yo, 804 00:45:13,960 --> 00:45:16,200 Speaker 1: I got this recommend John Legend and we just did 805 00:45:16,280 --> 00:45:19,600 Speaker 1: it and send it. Andre is a very yeah. No. 806 00:45:19,920 --> 00:45:23,760 Speaker 1: Nigga's like he's not a it's not a lot of playing. Oh, 807 00:45:23,840 --> 00:45:25,440 Speaker 1: let me think about it. Give me a ride to it. 808 00:45:25,480 --> 00:45:27,360 Speaker 1: He don't like, you don't really get that. It's like 809 00:45:31,480 --> 00:45:34,480 Speaker 1: or all right, um, and he gave me all right. 810 00:45:34,840 --> 00:45:37,359 Speaker 1: He was like give me a there too, like all right, 811 00:45:37,920 --> 00:45:41,920 Speaker 1: and this is around Christmas, so the Christmas and New 812 00:45:41,960 --> 00:45:44,320 Speaker 1: Year's Eve he calls me like aighte book studio tonight 813 00:45:45,000 --> 00:45:47,279 Speaker 1: and he went in and did the verse on it 814 00:45:47,640 --> 00:45:49,279 Speaker 1: and he was like, give me a minute, let me 815 00:45:49,360 --> 00:45:51,400 Speaker 1: just do it by myself. So I left when we 816 00:45:51,440 --> 00:45:54,040 Speaker 1: got something to eat. When I came back, he was like, hey, man, 817 00:45:54,080 --> 00:45:56,239 Speaker 1: I added some ship in that little middle part. You know, 818 00:45:56,440 --> 00:45:58,040 Speaker 1: you ain't gotta keep this if you don't want to. 819 00:46:00,000 --> 00:46:02,279 Speaker 1: And it was one to three and I'm like, oh, 820 00:46:02,360 --> 00:46:05,399 Speaker 1: this thing is amazing. I was like, thank you so much. 821 00:46:05,440 --> 00:46:08,839 Speaker 1: Thank you so much so because I'm like, because you know, now, 822 00:46:08,880 --> 00:46:10,840 Speaker 1: it's like this is us, this is producing, this is 823 00:46:10,920 --> 00:46:13,120 Speaker 1: us Me and Malay starting to produce. So I'm like 824 00:46:13,560 --> 00:46:17,400 Speaker 1: our first record that we're getting off after me getting 825 00:46:17,400 --> 00:46:21,279 Speaker 1: faster fired and you're delivering to the place that fired. You. 826 00:46:21,480 --> 00:46:35,640 Speaker 1: M yeah, yeah, you're welcome. You're well, you're welcome, You're welcome. Yeah. 827 00:46:35,680 --> 00:46:39,080 Speaker 1: So I leave. I leave Arras because it got to 828 00:46:39,080 --> 00:46:44,360 Speaker 1: a point where I think that familiarity breathe contempt thing happens, 829 00:46:45,000 --> 00:46:49,040 Speaker 1: and I felt like I wanted to learn who I 830 00:46:49,160 --> 00:46:53,040 Speaker 1: was outside of the protection of it's like the family, 831 00:46:53,120 --> 00:46:55,600 Speaker 1: you know what I mean? And you know, So I 832 00:46:56,520 --> 00:47:01,160 Speaker 1: left and the day I left Arras to that evening, 833 00:47:01,600 --> 00:47:05,640 Speaker 1: I got hired at Sony No the next day did 834 00:47:05,680 --> 00:47:09,800 Speaker 1: you know that you were you know? No? I literally 835 00:47:09,880 --> 00:47:13,200 Speaker 1: like the Ares thing was like in a moment. It 836 00:47:13,560 --> 00:47:16,000 Speaker 1: happened in a moment, and it was like, mm, I know, 837 00:47:16,080 --> 00:47:17,680 Speaker 1: it just feels like it don't feel good to me. 838 00:47:18,200 --> 00:47:19,960 Speaker 1: And I asked l A and he was like if 839 00:47:20,080 --> 00:47:22,680 Speaker 1: if you're sure, yeah, all right, And I called my 840 00:47:22,760 --> 00:47:25,280 Speaker 1: lawyer afterwards and was like as I walked out the building, 841 00:47:25,320 --> 00:47:29,600 Speaker 1: like yo, I just left and he was like, why 842 00:47:29,600 --> 00:47:31,840 Speaker 1: would you do that? Hold on, give me a minute. 843 00:47:32,320 --> 00:47:36,719 Speaker 1: And at the time, Arista was around the corner from Sony, 844 00:47:36,960 --> 00:47:40,879 Speaker 1: like literally around the corner, like take a a right 845 00:47:40,960 --> 00:47:42,919 Speaker 1: and the right and the left and there you go right. 846 00:47:43,280 --> 00:47:46,040 Speaker 1: And as I was walking out of Arison, He's like, hey, 847 00:47:46,280 --> 00:47:51,319 Speaker 1: walk over to Sony right quick. And yeah, it was. 848 00:47:51,440 --> 00:47:53,280 Speaker 1: It was the funniest ship because I ended up meeting 849 00:47:53,320 --> 00:47:57,319 Speaker 1: with m Mark Jordan, who ended up like was the 850 00:47:57,320 --> 00:48:02,279 Speaker 1: person who brought Rihanna and um. And Mark was like, YEO, 851 00:48:02,360 --> 00:48:04,520 Speaker 1: can you send me a resume? And at the time 852 00:48:04,560 --> 00:48:07,239 Speaker 1: I just didn't have one, like I did never had that. 853 00:48:07,320 --> 00:48:09,759 Speaker 1: I never had one, and I just never had this ship, right. 854 00:48:09,800 --> 00:48:12,400 Speaker 1: So I called my assistant in Atlanta, was like, Hey, 855 00:48:12,440 --> 00:48:13,719 Speaker 1: can you put all this ship this in my CD 856 00:48:13,840 --> 00:48:15,920 Speaker 1: rack and like one of these cases and send it 857 00:48:15,960 --> 00:48:18,400 Speaker 1: up here right quick and like all the ship I 858 00:48:18,440 --> 00:48:20,719 Speaker 1: worked on with my credits in it. So she sent 859 00:48:20,880 --> 00:48:25,319 Speaker 1: this like sixty thing, this double C D heavy ass thing, 860 00:48:25,680 --> 00:48:29,440 Speaker 1: um delta dash to me in New York and I 861 00:48:29,480 --> 00:48:31,719 Speaker 1: went downstairs at the hotel and wrote resume on a 862 00:48:31,719 --> 00:48:34,399 Speaker 1: piece of paper and zip that ship up and sent 863 00:48:34,480 --> 00:48:39,200 Speaker 1: it over and boss. But it was like it was 864 00:48:39,239 --> 00:48:42,880 Speaker 1: so ignorant, but it was like it now because I 865 00:48:42,920 --> 00:48:44,560 Speaker 1: was like, if you want to read ship it shipped 866 00:48:44,560 --> 00:48:48,239 Speaker 1: in there, all the credits in there, and Donnie I 867 00:48:48,480 --> 00:48:51,440 Speaker 1: was like, um, he was like, tell the kid to 868 00:48:51,440 --> 00:48:53,600 Speaker 1: come here, and like, you know, I want to meet him. 869 00:48:53,840 --> 00:48:56,000 Speaker 1: And I met him the next day and he hired 870 00:48:56,040 --> 00:49:01,359 Speaker 1: me send all yeah, yeah, send of ship. Yeah, say 871 00:49:01,400 --> 00:49:04,000 Speaker 1: what you've done. Let me let me listen to what 872 00:49:04,040 --> 00:49:07,600 Speaker 1: you've done. Just read about You can read too, it's 873 00:49:07,640 --> 00:49:11,439 Speaker 1: credits in there, but but listen to it. Listen to it. Yeah, yeah, 874 00:49:11,480 --> 00:49:14,400 Speaker 1: because you can't read about taste. You can hear a taste. 875 00:49:15,960 --> 00:49:18,560 Speaker 1: You can hear it, but just somebody's just writing it 876 00:49:18,560 --> 00:49:22,240 Speaker 1: down on something that was especially with so many credits, 877 00:49:22,320 --> 00:49:25,280 Speaker 1: everybody can say they did something like where's the thread? 878 00:49:26,239 --> 00:49:29,680 Speaker 1: Like I feel like that's if anything, I feel like 879 00:49:29,719 --> 00:49:34,000 Speaker 1: there's a thread and taste in the things that I've do, 880 00:49:34,360 --> 00:49:37,560 Speaker 1: have done, dealt with, contributed to you, my brother, You 881 00:49:37,640 --> 00:49:42,799 Speaker 1: have taste. You are a taste maker. Thank you, And 882 00:49:42,840 --> 00:49:46,399 Speaker 1: everybody is not what I mean not you know, maybe 883 00:49:46,440 --> 00:49:49,640 Speaker 1: so reflex if you could just we we've we've run 884 00:49:49,680 --> 00:49:53,400 Speaker 1: down a few names of all the things you've touched. 885 00:49:54,040 --> 00:49:59,680 Speaker 1: He does sound so Paul but ironically touch Yeah. Yeah, 886 00:50:00,200 --> 00:50:08,520 Speaker 1: come on Mario, Yeah yeah ship um man Okay, uh okay, 887 00:50:08,560 --> 00:50:16,600 Speaker 1: my group p A outcast, Goodie my Chelse, Tony Braxton, Um, 888 00:50:16,800 --> 00:50:26,799 Speaker 1: John Legend, Wow t I young bloods Pink. I can't. 889 00:50:26,840 --> 00:50:31,440 Speaker 1: That's like one of my favorite um and on Earth. Um. 890 00:50:31,560 --> 00:50:33,120 Speaker 1: That's why I don't like doing this. Kill him Mike, 891 00:50:33,960 --> 00:50:37,560 Speaker 1: how we put you on the spot bro O marian 892 00:50:38,000 --> 00:50:47,960 Speaker 1: Um for real Kendrick m by Satellite UM A lot 893 00:50:48,000 --> 00:50:51,920 Speaker 1: of ship um that's crazy just and I know it's 894 00:50:51,960 --> 00:50:57,279 Speaker 1: way more more. We just needed that. This was a 895 00:50:57,320 --> 00:51:09,319 Speaker 1: flex moment. Yeah, cap g Yeah, I don't know a 896 00:51:09,360 --> 00:51:21,920 Speaker 1: lot of stuff consistently working me me, me me. Are 897 00:51:21,960 --> 00:51:23,560 Speaker 1: you going with these things as you're working on us 898 00:51:23,560 --> 00:51:27,120 Speaker 1: your album? Just in case you need some of that, Yeah, 899 00:51:27,120 --> 00:51:35,280 Speaker 1: I'm unvailable. Call me KP. We have a sex segment 900 00:51:35,320 --> 00:51:41,480 Speaker 1: in our in our podcasts, we call it call it 901 00:51:41,600 --> 00:51:50,120 Speaker 1: Top five keep these Top five, Top five on, Top 902 00:51:51,320 --> 00:52:01,720 Speaker 1: top five hor and B Singers, Top five mm hmm okay, 903 00:52:02,960 --> 00:52:22,360 Speaker 1: Top five to Luther Van draws, uh oh, like I 904 00:52:22,400 --> 00:52:36,319 Speaker 1: can get through the whole lous five Top five Luther 905 00:52:36,440 --> 00:52:44,000 Speaker 1: Van draws um Donnie had the way l Green the 906 00:52:44,040 --> 00:52:52,000 Speaker 1: gospel according to my goodness, Anita Baker Usher, Can I 907 00:52:52,040 --> 00:52:56,200 Speaker 1: say something? Yeah, I think And I can't say this enough. 908 00:52:57,080 --> 00:52:59,920 Speaker 1: When Anita Baker came out on this stage in Bank 909 00:53:01,920 --> 00:53:09,720 Speaker 1: and started to sing Happy Birthday, I almost cried. Yeah, 910 00:53:09,800 --> 00:53:15,800 Speaker 1: it's worth it, that's worth that is how powerful Happy 911 00:53:15,840 --> 00:53:23,360 Speaker 1: Birthday her everything. She didn't sing raptor she sing Happy Birthday, 912 00:53:23,480 --> 00:53:25,440 Speaker 1: and it was just a touch. She just went to 913 00:53:25,520 --> 00:53:29,280 Speaker 1: this place like and I was like, oh my god, 914 00:53:29,400 --> 00:53:31,799 Speaker 1: y'all don't feel that. Yeah they do. They don't know 915 00:53:31,920 --> 00:53:35,480 Speaker 1: it sometimes, but that's why it works, because it's a 916 00:53:35,600 --> 00:53:40,440 Speaker 1: universal tone that that tone cheches that chord and like 917 00:53:40,719 --> 00:53:43,880 Speaker 1: everybody who hears it unless you just ain't gotta hurt it. 918 00:53:43,920 --> 00:53:48,960 Speaker 1: Whooped me just that little bit of happy. But because 919 00:53:50,600 --> 00:53:54,720 Speaker 1: especially growing up such an Anita Baker fan to hear 920 00:53:54,760 --> 00:53:59,280 Speaker 1: it live like that in that room with those dynamics 921 00:53:59,280 --> 00:54:01,799 Speaker 1: on that myke like, y'all got everything in that room 922 00:54:01,920 --> 00:54:06,120 Speaker 1: is just right. Usher ain't missing, he's not missing night 923 00:54:06,160 --> 00:54:10,040 Speaker 1: after night, he's not missing so much so that Anita 924 00:54:10,080 --> 00:54:13,680 Speaker 1: Baker can come in. It doesn't change it. I mean 925 00:54:13,719 --> 00:54:16,240 Speaker 1: it changes it for the better, but doesn't it doesn't 926 00:54:16,640 --> 00:54:19,160 Speaker 1: compare don to make you go all right when you 927 00:54:19,239 --> 00:54:23,239 Speaker 1: go now no no, yeah. But but that is also 928 00:54:23,280 --> 00:54:25,919 Speaker 1: a testament to what he grew up on it and 929 00:54:25,960 --> 00:54:30,000 Speaker 1: what his standard is. Right. So I think that's you know, 930 00:54:30,520 --> 00:54:32,560 Speaker 1: I think getting back to the other part is like 931 00:54:32,800 --> 00:54:35,759 Speaker 1: that's the part that's missing the standards. Like we're talking 932 00:54:35,760 --> 00:54:43,440 Speaker 1: about the show earlier, right, the thing um standards and 933 00:54:43,520 --> 00:54:46,000 Speaker 1: understanding how good you gotta be to be able to 934 00:54:46,040 --> 00:54:50,920 Speaker 1: be next to great people and wanting to like wanting 935 00:54:50,960 --> 00:54:53,560 Speaker 1: to be in the room with the best. That means 936 00:54:53,560 --> 00:54:55,600 Speaker 1: you gotta practice like the best. You gotta rehearse, you 937 00:54:55,680 --> 00:54:58,520 Speaker 1: gotta you gotta take care of yourself, you gotta you 938 00:54:58,560 --> 00:55:01,399 Speaker 1: gotta do ship. You gonna put in real time. Yeah, 939 00:55:01,800 --> 00:55:06,879 Speaker 1: this is your job. Yes, we all love it, absolutely, 940 00:55:06,960 --> 00:55:10,320 Speaker 1: but but you get to do this as a job. 941 00:55:11,320 --> 00:55:14,680 Speaker 1: This is like support your kids, pay for like pay 942 00:55:14,719 --> 00:55:19,960 Speaker 1: for tuition doing this ship. Sometimes it's not a game. Um, okay, 943 00:55:20,000 --> 00:55:25,560 Speaker 1: here we're going that dot KP Top five R and 944 00:55:25,640 --> 00:55:31,080 Speaker 1: B songs, your record maker, you know, ahead he sends 945 00:55:31,200 --> 00:55:35,480 Speaker 1: the CD, the double CD. You know, I wish I 946 00:55:35,760 --> 00:55:38,680 Speaker 1: wish a strip club on the would go up to 947 00:55:38,800 --> 00:55:46,360 Speaker 1: KP and say, all you do is spend record spending 948 00:55:46,520 --> 00:55:52,640 Speaker 1: making break records dollar Billea, dollar Ville. Can I look 949 00:55:52,680 --> 00:55:55,919 Speaker 1: at my phone? I just want to see what about? 950 00:55:56,200 --> 00:55:59,640 Speaker 1: Come on, that's no rules your world. I'm going through 951 00:55:59,680 --> 00:56:02,879 Speaker 1: my I listened to you know, because it changes every day, 952 00:56:03,600 --> 00:56:05,480 Speaker 1: every day, just depending on the mood in the feeling. 953 00:56:06,880 --> 00:56:11,200 Speaker 1: Top five okay, oh you know I'll stay and okay 954 00:56:11,280 --> 00:56:18,040 Speaker 1: obviously never too much. Yeah, yeah, joint Paine Maze. Yeah, 955 00:56:18,440 --> 00:56:23,399 Speaker 1: m that's a good one. Not Dorn, not rob Ba, no, 956 00:56:24,000 --> 00:56:29,040 Speaker 1: but but without who's the jam? Yeah, um, Miguel such 957 00:56:29,040 --> 00:56:34,520 Speaker 1: a great one. Um, did you have something to do 958 00:56:34,560 --> 00:56:36,719 Speaker 1: with that? I just I gotta ask. That's wow that 959 00:56:36,840 --> 00:56:41,239 Speaker 1: you ask that, right, not for real, but yeah, so 960 00:56:42,480 --> 00:56:45,920 Speaker 1: like I gotta ask, Okay, so it would just make 961 00:56:46,000 --> 00:56:48,799 Speaker 1: sense that yeah. But now now I don't have ship 962 00:56:48,880 --> 00:56:51,000 Speaker 1: to do with Miguel's career in that way, right, but 963 00:56:51,280 --> 00:56:54,319 Speaker 1: at the him the day that they did the record, right, 964 00:56:55,560 --> 00:56:58,360 Speaker 1: it's gonna sound like crazy, but you can call Miguel 965 00:56:58,640 --> 00:57:02,640 Speaker 1: a row Um Filana, who was managing at the time, 966 00:57:02,680 --> 00:57:05,200 Speaker 1: Flanna Williams asked me to come to the studio and 967 00:57:05,360 --> 00:57:07,399 Speaker 1: I don't know what for were just whatever, like that's 968 00:57:07,400 --> 00:57:10,839 Speaker 1: my friend and um from Atlanta. We're in New York 969 00:57:10,880 --> 00:57:17,240 Speaker 1: at Platinum House. That's way up studio Platinum whatever, uh platinum, 970 00:57:17,320 --> 00:57:22,800 Speaker 1: let's platinum there you go, so we um we're going there. 971 00:57:22,840 --> 00:57:26,720 Speaker 1: And they played this record I lose my ship like 972 00:57:26,960 --> 00:57:30,560 Speaker 1: it's crazy. But it was like only like two minutes. 973 00:57:30,560 --> 00:57:32,360 Speaker 1: I'm like, oh my god, man, if you'll just put 974 00:57:32,400 --> 00:57:36,080 Speaker 1: a bridge on this song, please just try and and 975 00:57:36,240 --> 00:57:38,920 Speaker 1: it was like this moment was like yeah, I think 976 00:57:39,120 --> 00:57:50,920 Speaker 1: row was like all right, and then they so I 977 00:57:51,320 --> 00:57:56,000 Speaker 1: feel like in a way like I pushed Yeah, yeah, 978 00:57:56,240 --> 00:57:59,040 Speaker 1: they hurt you. Yeah, they hurt like like but but 979 00:57:59,160 --> 00:58:03,440 Speaker 1: again in a way not and not in a I did, 980 00:58:03,600 --> 00:58:05,920 Speaker 1: but it's not. But it's what we're supposed to do 981 00:58:06,120 --> 00:58:09,560 Speaker 1: and pushing each other creatively, right like because it's not 982 00:58:09,640 --> 00:58:13,880 Speaker 1: like I did, they did it. But which is also 983 00:58:13,960 --> 00:58:17,080 Speaker 1: the important part. Who you have in the room matters 984 00:58:17,200 --> 00:58:19,360 Speaker 1: so much because if you've got somebody room that could 985 00:58:19,440 --> 00:58:23,440 Speaker 1: possibly suck it up, they shouldn't be there. And if 986 00:58:23,520 --> 00:58:27,560 Speaker 1: someone's there and the opinions, it's almost like you should 987 00:58:27,560 --> 00:58:31,360 Speaker 1: have done something to be in that room, Like whether 988 00:58:31,440 --> 00:58:34,760 Speaker 1: it's somebody sees something in you that special like us. 989 00:58:35,760 --> 00:58:39,360 Speaker 1: You know, it's it's not necessarily always about like I 990 00:58:39,400 --> 00:58:43,480 Speaker 1: don't know if creativity is always about inclusion for everybody 991 00:58:43,640 --> 00:58:47,000 Speaker 1: in the room. It's like it's like make sure that 992 00:58:47,200 --> 00:58:52,200 Speaker 1: the the good information gets to the good people. And yeah, 993 00:58:52,240 --> 00:58:54,320 Speaker 1: I think that's that's the part. It's like we just 994 00:58:54,360 --> 00:58:57,800 Speaker 1: gotta share. We got to share it with each other 995 00:58:58,080 --> 00:59:02,240 Speaker 1: in that way. Okay aru, that was that three? Never 996 00:59:02,320 --> 00:59:12,240 Speaker 1: too much? That was three? Okay um hours and hours? Yeah, 997 00:59:13,680 --> 00:59:17,080 Speaker 1: and that song okame on. You know what, I ain't 998 00:59:17,080 --> 00:59:19,280 Speaker 1: even gotta say, y'all saw what happened? I tell y'all 999 00:59:19,320 --> 00:59:23,280 Speaker 1: sing what happened? I told her? Yea, she came. She 1000 00:59:24,520 --> 00:59:35,880 Speaker 1: jumped on the record running. Yeah, it's due. What are 1001 00:59:35,920 --> 00:59:39,760 Speaker 1: you doing? Yeah, that's down, great R and B song. 1002 00:59:40,280 --> 00:59:42,000 Speaker 1: You're gonna be singing that song for years. Yeah, oh 1003 00:59:42,080 --> 00:59:46,840 Speaker 1: my god, it's a classic. Um, you don't have to call, Yeah, 1004 00:59:46,880 --> 00:59:49,560 Speaker 1: you don't have to call why not? Let it's okay girl, 1005 00:59:49,640 --> 00:59:51,400 Speaker 1: it's so where between. You don't have to call him friend? 1006 00:59:52,520 --> 00:59:58,640 Speaker 1: Oh like whoa you you don't have to call? Is? 1007 01:00:00,160 --> 01:00:03,360 Speaker 1: I mean, he's he's always had, he's always had very 1008 01:00:03,920 --> 01:00:09,600 Speaker 1: legendary connective connected song and visual moments. Yeah, but that 1009 01:00:09,760 --> 01:00:18,080 Speaker 1: video that exactly, exactly exactly, Yeah, then fly, I know 1010 01:00:18,240 --> 01:00:22,360 Speaker 1: the choreography. Okay, you know, I don't call myself a dancer, 1011 01:00:22,440 --> 01:00:26,040 Speaker 1: but I can dance. But I do know anybody's ever 1012 01:00:26,120 --> 01:00:30,960 Speaker 1: missing when that number. I'm just saying that, if anybody's 1013 01:00:30,960 --> 01:00:36,400 Speaker 1: ever missing during that song, you let me know you 1014 01:00:36,560 --> 01:00:40,000 Speaker 1: have he gonna come fuck it up. That's what you 1015 01:00:40,120 --> 01:00:43,760 Speaker 1: ready for the skates and towards something with him. Goddamn. 1016 01:00:44,120 --> 01:00:48,600 Speaker 1: And that's fine, And that's fine. You'll hear about it. 1017 01:00:50,320 --> 01:00:57,480 Speaker 1: You'll know that I was there contributing that. Um. Okay, 1018 01:00:57,600 --> 01:01:00,200 Speaker 1: that's that's a great top five. Let's get into Let's 1019 01:01:00,200 --> 01:01:03,560 Speaker 1: get into the R and B voltro al Right, remember 1020 01:01:03,880 --> 01:01:11,560 Speaker 1: trying all the lines will come together, Michael McDonald. As 1021 01:01:11,600 --> 01:01:13,800 Speaker 1: we built this voltron, we want four things to build 1022 01:01:13,840 --> 01:01:19,440 Speaker 1: this R and B artist. Um, we want to know 1023 01:01:19,480 --> 01:01:22,640 Speaker 1: who you're gonna get the vocals, from the styling, from 1024 01:01:23,160 --> 01:01:26,760 Speaker 1: the performance style, and the passion of the artists. Let's 1025 01:01:26,760 --> 01:01:29,440 Speaker 1: start with the vocal. Who do you want your R 1026 01:01:29,520 --> 01:01:38,960 Speaker 1: and B singer to sing like m saying this is 1027 01:01:39,080 --> 01:01:44,520 Speaker 1: my this is my guy? Right? Okay, Well I mean 1028 01:01:45,160 --> 01:01:59,800 Speaker 1: it can okay, Um, I must say voice, ah, teddy, 1029 01:02:00,000 --> 01:02:08,000 Speaker 1: there as ship feeling. I'm gonna I'm so teddy. P 1030 01:02:08,160 --> 01:02:20,520 Speaker 1: for the vocal is aggressive. Yeah yeah, aggressive performance style Charlie, Charlie. Yeah, 1031 01:02:20,520 --> 01:02:22,920 Speaker 1: I go, Charlie with the whistle, with the whistle, with 1032 01:02:23,080 --> 01:02:28,200 Speaker 1: the coming out of that whistle, that he's dancing, he 1033 01:02:28,360 --> 01:02:32,960 Speaker 1: is sank, he is controlling the crowd. He is he's yeah, 1034 01:02:33,000 --> 01:02:39,320 Speaker 1: he's all over that. Charlie Wilson might have, in my opinion, 1035 01:02:39,480 --> 01:02:45,120 Speaker 1: one of the greatest tones of all times. Yeah. Yeah, 1036 01:02:45,520 --> 01:02:47,920 Speaker 1: Like when I watched when I watched him, that's what 1037 01:02:48,040 --> 01:02:51,040 Speaker 1: made me start that challenge. I watched him sing the Yams. 1038 01:02:52,520 --> 01:02:55,960 Speaker 1: I watched him sing that. I was like, what is that? 1039 01:02:56,560 --> 01:02:59,360 Speaker 1: Charlie Wishing is a complete player. Oh and actually I 1040 01:02:59,400 --> 01:03:01,360 Speaker 1: don't even know if it's real. If if I come 1041 01:03:01,400 --> 01:03:08,200 Speaker 1: back to that, that performance style. Early Bobby Brown, he 1042 01:03:08,320 --> 01:03:10,200 Speaker 1: did have a highway. Does he still have a highway? 1043 01:03:10,200 --> 01:03:15,240 Speaker 1: In that line? Did he get out here? It's above 1044 01:03:15,240 --> 01:03:18,560 Speaker 1: the highways by the airport. He got a street like 1045 01:03:18,720 --> 01:03:22,000 Speaker 1: he don't lived there, He's not from there. He for Boston. Yeah, 1046 01:03:22,080 --> 01:03:26,360 Speaker 1: Bobby was the studio out theretown which is now because 1047 01:03:26,400 --> 01:03:32,120 Speaker 1: what outcasts about it? Yeah, he Bobby. Bobby was a 1048 01:03:32,200 --> 01:03:35,760 Speaker 1: proud it's a problem and he he proud on it. 1049 01:03:35,840 --> 01:03:38,840 Speaker 1: Say it's like it's like he couldn't wait. Like man, 1050 01:03:38,880 --> 01:03:42,480 Speaker 1: it's like who wanted? Who wanted? Did you know? That 1051 01:03:42,760 --> 01:03:49,200 Speaker 1: is Edwards? He was Usher's road manager. He was also 1052 01:03:49,720 --> 01:03:52,560 Speaker 1: Bobby Brown's road back. I did not realize that he 1053 01:03:52,680 --> 01:03:57,520 Speaker 1: was my first manager. Okay, okay, he's the first I 1054 01:03:57,920 --> 01:04:00,720 Speaker 1: met Usher through him. He took you, brought me to 1055 01:04:01,200 --> 01:04:03,840 Speaker 1: his house and I said, ate dinner with moms and 1056 01:04:04,200 --> 01:04:07,360 Speaker 1: all the cool stuff. And Um, at the time, Usher 1057 01:04:07,520 --> 01:04:11,480 Speaker 1: had that that girl artist side. I think Melinda look 1058 01:04:11,560 --> 01:04:16,160 Speaker 1: Mexican like yeah yeah yeah, and they was they was 1059 01:04:16,200 --> 01:04:18,320 Speaker 1: there and I was, you know, hey, go like that 1060 01:04:19,080 --> 01:04:26,440 Speaker 1: the first time. Okay, Um, styling of the artists put 1061 01:04:26,520 --> 01:04:38,600 Speaker 1: that ship on leather pants. Oh, I'm gonna get this one. 1062 01:04:40,240 --> 01:04:43,080 Speaker 1: I'm gonna saying Usher, but I'm gonna say Usher for 1063 01:04:43,160 --> 01:04:50,520 Speaker 1: this one because he does the most and it comes off. Actually, 1064 01:04:50,600 --> 01:04:54,720 Speaker 1: let me see styling, because I might end up back 1065 01:04:54,760 --> 01:05:01,760 Speaker 1: at fucking Bobby Brown. Fuck um style of performance. No styling, styling, 1066 01:05:03,760 --> 01:05:09,600 Speaker 1: the drip and should then sometimes that's this. I'm gonna 1067 01:05:09,640 --> 01:05:12,560 Speaker 1: have a jeld to see. I'm going to jel Toe 1068 01:05:12,720 --> 01:05:15,680 Speaker 1: What would you what? Because it's like, you know what, 1069 01:05:15,960 --> 01:05:20,080 Speaker 1: it won't be pretty. You won't feel like I'm going 1070 01:05:20,120 --> 01:05:22,360 Speaker 1: to jeld to see Timberland boots with a with a 1071 01:05:22,520 --> 01:05:26,560 Speaker 1: rain short set. Yeah, with a can from this show 1072 01:05:26,680 --> 01:05:30,560 Speaker 1: to the club or to the trap, anywhere I want 1073 01:05:30,600 --> 01:05:34,160 Speaker 1: to go like this in this leather jumpsuit. Yeah, these 1074 01:05:34,280 --> 01:05:40,720 Speaker 1: leather overalls. Yeahahah changed my life. And finally, who you 1075 01:05:40,760 --> 01:05:43,960 Speaker 1: getting the passion from the heart of the artists Donny 1076 01:05:45,640 --> 01:05:50,640 Speaker 1: the way, Like as long as I as long as 1077 01:05:50,680 --> 01:05:53,720 Speaker 1: I live, I can't sing along with Donnie hath A 1078 01:05:53,760 --> 01:05:56,280 Speaker 1: Way still because it feels like it's different every time 1079 01:05:56,320 --> 01:06:01,919 Speaker 1: I hear the timing. Yeah, yeah, the pockets. It's incredible, Man, 1080 01:06:02,160 --> 01:06:09,960 Speaker 1: you'd be like the same exaction. I know exactly what 1081 01:06:10,040 --> 01:06:15,080 Speaker 1: you're talking the way it's incredible. He's absolutely incredible. Um. 1082 01:06:16,960 --> 01:06:19,720 Speaker 1: That's a great vote, that's a great vultual. It's a 1083 01:06:19,720 --> 01:06:24,680 Speaker 1: great um. I feel like if if I can sprinkle 1084 01:06:25,040 --> 01:06:28,920 Speaker 1: something though, that would sprinkle some shot in it. Why not? 1085 01:06:29,280 --> 01:06:32,320 Speaker 1: Because it's like it's a commanding she does the vibe. 1086 01:06:32,920 --> 01:06:36,680 Speaker 1: It commands attention in a way like is it fair 1087 01:06:37,280 --> 01:06:46,600 Speaker 1: to use the word vibe something now like is the 1088 01:06:46,680 --> 01:06:51,600 Speaker 1: original though before they start turning into other is not? 1089 01:06:51,720 --> 01:06:57,240 Speaker 1: A vibe is a different kind of exist experience. It's 1090 01:06:57,280 --> 01:07:00,560 Speaker 1: an experience like a vibe to me is always like 1091 01:07:00,600 --> 01:07:03,880 Speaker 1: a song that didn't get finished. A vibe is almost listen, 1092 01:07:04,680 --> 01:07:06,640 Speaker 1: I respect that. I don't look at a vibe that way. 1093 01:07:08,600 --> 01:07:12,440 Speaker 1: Vibe is almost like, oh, you have to be into 1094 01:07:12,560 --> 01:07:15,440 Speaker 1: that in order to you. You don't with it, You 1095 01:07:15,480 --> 01:07:17,960 Speaker 1: ain't this, Yeah, you ain't known, Yeah, you know. This 1096 01:07:18,120 --> 01:07:20,360 Speaker 1: is just for the people that you know. They vibe 1097 01:07:20,400 --> 01:07:27,360 Speaker 1: on that over shot day is uni a universal experience. 1098 01:07:27,480 --> 01:07:30,760 Speaker 1: I'll wipe the sand off the shore, give me the 1099 01:07:30,800 --> 01:07:33,680 Speaker 1: world if it was mine. How do you do that? 1100 01:07:34,080 --> 01:07:37,320 Speaker 1: How do you wipe the sand off the shore? Like? How? Like? 1101 01:07:37,440 --> 01:07:39,960 Speaker 1: That's not a vibe, that's a bar. It's a full bar. 1102 01:07:40,880 --> 01:07:44,439 Speaker 1: So far it's a bar. This is no ordinary love. 1103 01:07:47,240 --> 01:07:53,120 Speaker 1: There's nothing stronger than pride. Yeah, Like it's it's almost 1104 01:07:53,160 --> 01:07:55,880 Speaker 1: like you hear like some about her music feels like 1105 01:07:56,040 --> 01:08:00,280 Speaker 1: she lives life between every album, like a full though, 1106 01:08:00,360 --> 01:08:03,280 Speaker 1: like a fool span of something, and then this album 1107 01:08:03,560 --> 01:08:06,080 Speaker 1: or this project or whatever it is, it's based in that, 1108 01:08:06,240 --> 01:08:07,920 Speaker 1: and you hear the reality in it. You hear the 1109 01:08:08,560 --> 01:08:12,000 Speaker 1: I hear where she is. I'm like, like I hear 1110 01:08:12,160 --> 01:08:15,480 Speaker 1: like where I can envision where she's walking. Yeah, next 1111 01:08:15,520 --> 01:08:17,400 Speaker 1: thing we know Kap's I'm like, yeah, you know, right 1112 01:08:20,560 --> 01:08:24,320 Speaker 1: to make sure that I told her to add a vamp, 1113 01:08:25,600 --> 01:08:30,800 Speaker 1: you know, to be crazy, you know what to be crazy? Know, No, 1114 01:08:31,640 --> 01:08:33,640 Speaker 1: it's possible in your life is very possible. Oh no, 1115 01:08:33,840 --> 01:08:37,680 Speaker 1: my life is very far as gumpy, Like I just 1116 01:08:37,960 --> 01:08:42,560 Speaker 1: end up in random ship. Yeah yeah, like and they say, so, 1117 01:08:42,640 --> 01:08:48,719 Speaker 1: what do you think? Well, since you asked, that's that's 1118 01:08:48,800 --> 01:08:53,160 Speaker 1: literally the that's how that's the alright story. Like like 1119 01:08:53,360 --> 01:08:55,360 Speaker 1: for as, he was like, what you're thinking? I was like, well, 1120 01:08:55,439 --> 01:08:58,639 Speaker 1: if you just maybe and he was like, yeah, okay, 1121 01:08:59,680 --> 01:09:02,280 Speaker 1: speak in it for real. He promised me a song 1122 01:09:03,920 --> 01:09:06,519 Speaker 1: time ago. Did you ask me the other night? I 1123 01:09:06,520 --> 01:09:07,800 Speaker 1: didn't get it. He was he was like he was 1124 01:09:07,840 --> 01:09:10,840 Speaker 1: in and out, so um, you know. I I was 1125 01:09:10,920 --> 01:09:12,920 Speaker 1: running around trying to be the host with the most 1126 01:09:13,200 --> 01:09:18,639 Speaker 1: fulfill my oblications. But she's just like, yeah, the reason 1127 01:09:18,640 --> 01:09:21,000 Speaker 1: why I'm here, Yeah, reason why I said he was coming. 1128 01:09:21,040 --> 01:09:24,960 Speaker 1: I took the job. I would love two things to 1129 01:09:25,040 --> 01:09:28,120 Speaker 1: get my song as well as you know some of 1130 01:09:28,200 --> 01:09:31,120 Speaker 1: that limited edition Chanelle he'd be wearing. I mean, just 1131 01:09:31,280 --> 01:09:34,800 Speaker 1: you know, yeah we can we can worry about that, 1132 01:09:35,160 --> 01:09:37,080 Speaker 1: you know, the Chanelle park later. But you know what 1133 01:09:37,120 --> 01:09:39,320 Speaker 1: I'm getting put it in there for. But the song. 1134 01:09:39,880 --> 01:09:43,000 Speaker 1: Help me buy some of the now. Man, help me, 1135 01:09:43,080 --> 01:09:48,000 Speaker 1: help me, help me, help me? Man, you hear me, man, Man, 1136 01:09:48,080 --> 01:09:51,320 Speaker 1: come on, man, um, we got one more part of 1137 01:09:51,360 --> 01:09:52,840 Speaker 1: the show, man that I think it's I think it's 1138 01:09:52,960 --> 01:09:56,439 Speaker 1: very part of very very very special about your travels 1139 01:09:56,439 --> 01:09:59,960 Speaker 1: in this thing, this thing. Man, you're about to eat, 1140 01:10:00,000 --> 01:10:03,040 Speaker 1: You're about to go, you go name it's card. I 1141 01:10:03,040 --> 01:10:06,160 Speaker 1: ain't saying on name. Are he's saying no name. He's 1142 01:10:06,160 --> 01:10:09,439 Speaker 1: saying no name. I ain't saying no name. I ain't 1143 01:10:09,439 --> 01:10:13,519 Speaker 1: saying no names. Who was down, what they did, who 1144 01:10:13,680 --> 01:10:19,680 Speaker 1: it was weird? And what they had he's saying, I 1145 01:10:19,680 --> 01:10:24,120 Speaker 1: ain't saying on names. The segment is about you telling 1146 01:10:24,160 --> 01:10:27,720 Speaker 1: the story funnier, fucked up, are funny and fucked up. 1147 01:10:28,400 --> 01:10:31,240 Speaker 1: I'm no good at these. I mean because I was 1148 01:10:31,360 --> 01:10:34,960 Speaker 1: raised by trappers, like so the short memory things like 1149 01:10:35,320 --> 01:10:37,680 Speaker 1: oh yeah, but I'm sure your mother should happen the 1150 01:10:37,680 --> 01:10:40,400 Speaker 1: other day, so you remember two? Yeah, yeah, yeah, you 1151 01:10:40,439 --> 01:10:43,120 Speaker 1: got you got stories, man, the only rule to the 1152 01:10:43,200 --> 01:10:45,200 Speaker 1: game is you can't say that name, which I ain't 1153 01:10:45,240 --> 01:10:49,840 Speaker 1: worried about you saying on names. So yeah, this is 1154 01:10:50,439 --> 01:10:55,040 Speaker 1: KP the Great J Great. I ain't saying no names. 1155 01:10:56,800 --> 01:10:59,080 Speaker 1: Take your time, brother, take it. This is like I 1156 01:10:59,640 --> 01:11:04,000 Speaker 1: am a real loss because it's either all the way 1157 01:11:04,040 --> 01:11:10,880 Speaker 1: fucked up and I just want to forget it because 1158 01:11:10,920 --> 01:11:12,960 Speaker 1: it's okay. So and this is this is gonna be 1159 01:11:12,960 --> 01:11:15,240 Speaker 1: funny because I think you're gonna you'll get it, um 1160 01:11:18,160 --> 01:11:24,320 Speaker 1: and everybody will get it. Actually, no, it was like 1161 01:11:24,439 --> 01:11:27,400 Speaker 1: a late night basketball game. It was like it was 1162 01:11:27,520 --> 01:11:32,679 Speaker 1: like a lot of like I know it's gonna go ahead, 1163 01:11:32,720 --> 01:11:36,080 Speaker 1: go ahead, go ahead. No, you know what is I 1164 01:11:36,160 --> 01:11:38,760 Speaker 1: had to go to we had we had sessions, and 1165 01:11:39,240 --> 01:11:41,559 Speaker 1: we had to travel for these sessions. And every night 1166 01:11:41,640 --> 01:11:44,320 Speaker 1: we were waiting to go to this session, like it 1167 01:11:44,520 --> 01:11:48,639 Speaker 1: was every night we were told at this time, somebody's 1168 01:11:48,640 --> 01:11:51,920 Speaker 1: gonna call you and I'm gonna meet here and then 1169 01:11:51,920 --> 01:11:55,559 Speaker 1: we'll go to the studio. But this in particular time, 1170 01:11:55,640 --> 01:11:58,120 Speaker 1: we you know, like so just the third night that 1171 01:11:58,200 --> 01:12:01,360 Speaker 1: we're waiting to go to the studio, somebody finally calls. 1172 01:12:01,360 --> 01:12:02,800 Speaker 1: It's like one o'clock in the morning. Me, that's at 1173 01:12:02,840 --> 01:12:05,880 Speaker 1: the spot way out cool that get there. It's weird 1174 01:12:05,920 --> 01:12:09,680 Speaker 1: as a bunch of like it's just um weird athletics, 1175 01:12:10,360 --> 01:12:16,160 Speaker 1: um like bad team play and um. So we go 1176 01:12:16,280 --> 01:12:18,639 Speaker 1: through this weird space and then like, okay, now let's 1177 01:12:18,640 --> 01:12:20,400 Speaker 1: go to the studio. It's now four or five o'clock 1178 01:12:20,439 --> 01:12:22,880 Speaker 1: in the morning. But when you get there, it's like 1179 01:12:24,520 --> 01:12:28,000 Speaker 1: most studios you're going too, it's like reception blah blah blah. Right, 1180 01:12:28,760 --> 01:12:32,080 Speaker 1: you open the doors and you start hearing tropical sounds 1181 01:12:35,920 --> 01:12:44,800 Speaker 1: like Google cock like yeah, and you look ad you 1182 01:12:44,800 --> 01:12:48,760 Speaker 1: start seeing trees and and like you realize in the 1183 01:12:49,080 --> 01:12:53,800 Speaker 1: jungle and it's supposed to be. And they're like, okay, 1184 01:12:53,880 --> 01:12:55,800 Speaker 1: before you go ahead, you gotta change clothes. I'm like 1185 01:12:56,120 --> 01:12:59,600 Speaker 1: you're talking about And it was like, well, yes, the 1186 01:12:59,680 --> 01:13:05,519 Speaker 1: thing right now, I'm like, first of all, I was fresh, 1187 01:13:08,520 --> 01:13:10,840 Speaker 1: and the thing that they wanted to change me and 1188 01:13:10,960 --> 01:13:15,240 Speaker 1: my guy we're like who we who I was with fresh? 1189 01:13:15,280 --> 01:13:20,519 Speaker 1: Because we were like ship, we're showing up. They asked 1190 01:13:20,600 --> 01:13:25,000 Speaker 1: us to put all some some uniform that everyone there 1191 01:13:25,080 --> 01:13:27,840 Speaker 1: has to wear. And at this point, I'm like, we'll 1192 01:13:27,880 --> 01:13:30,680 Speaker 1: fucking ship. We're in We're in this basis, let me 1193 01:13:30,720 --> 01:13:33,120 Speaker 1: get that canteen, let me get, let me get, let 1194 01:13:33,160 --> 01:13:36,000 Speaker 1: me get some extra, like let me go all the way. 1195 01:13:36,920 --> 01:13:42,120 Speaker 1: And it's like and we're going in session and it's 1196 01:13:42,160 --> 01:13:48,479 Speaker 1: like full on jungle in here right like like on 1197 01:13:48,640 --> 01:13:52,720 Speaker 1: the wall there are like it was just it was why, 1198 01:13:52,800 --> 01:13:54,280 Speaker 1: it was like it was a lot. It was like 1199 01:13:54,560 --> 01:13:58,960 Speaker 1: the jungle ship everywhere, and all of a sudden, out 1200 01:13:59,000 --> 01:14:03,160 Speaker 1: of nowhere, this voice just started singing, but like he 1201 01:14:03,240 --> 01:14:05,760 Speaker 1: didn't say hey, y'all, y'all ready, It wasn't none of that. 1202 01:14:05,960 --> 01:14:09,120 Speaker 1: It was just like a and and they were doing 1203 01:14:09,479 --> 01:14:12,920 Speaker 1: a version of the person who I was with, and 1204 01:14:13,160 --> 01:14:18,519 Speaker 1: it was just like like tapped in though like in 1205 01:14:18,640 --> 01:14:21,680 Speaker 1: a very like scary like how did you do that? 1206 01:14:21,800 --> 01:14:26,400 Speaker 1: Kind of way? And when we went in, well, when 1207 01:14:26,439 --> 01:14:30,160 Speaker 1: the person came out, they were dressed like the person 1208 01:14:30,240 --> 01:14:32,599 Speaker 1: I was with, but y'all was dressed like we were 1209 01:14:32,680 --> 01:14:42,519 Speaker 1: dressed like ship. Yeah, I can't go no farther than that. 1210 01:14:46,720 --> 01:14:52,120 Speaker 1: But the song didn't, No song got done. We hotailed 1211 01:14:52,160 --> 01:14:55,240 Speaker 1: it out of there and that was it. It was like, 1212 01:14:56,640 --> 01:14:59,040 Speaker 1: did you keep the binoculars? I kept the jacket I 1213 01:14:59,160 --> 01:15:01,639 Speaker 1: was wearing it. I'm wearing a jacket in Rubber band 1214 01:15:01,680 --> 01:15:04,920 Speaker 1: Man video. It was a day before because it was 1215 01:15:05,000 --> 01:15:07,560 Speaker 1: the week before this happened, so I kept that I 1216 01:15:07,800 --> 01:15:10,559 Speaker 1: wish I might, I would might get a ship back. 1217 01:15:13,320 --> 01:15:17,040 Speaker 1: I got on the heat I got on in the 1218 01:15:17,240 --> 01:15:23,160 Speaker 1: video from the jungle. That's great. That's great. Listen you 1219 01:15:23,360 --> 01:15:26,120 Speaker 1: said on that, y'all gotta figure out who that is 1220 01:15:30,520 --> 01:15:37,400 Speaker 1: dressed like, that's great, that's great. You're a great man. 1221 01:15:37,840 --> 01:15:40,320 Speaker 1: You picked up listen. I don't know if someone names 1222 01:15:40,360 --> 01:15:45,439 Speaker 1: you KP the Great. Yes, this is radio DJ D 1223 01:15:45,560 --> 01:15:49,840 Speaker 1: Strong and shout out to D Strong because I was 1224 01:15:49,840 --> 01:15:52,439 Speaker 1: trying to find a DJ name giving you the proper name. Bro. 1225 01:15:52,880 --> 01:15:55,479 Speaker 1: I appreciate you're a great guy. Many thank you, Thank you. 1226 01:15:55,520 --> 01:15:58,000 Speaker 1: Find yourself A pace is doing great things. Man. I 1227 01:15:58,120 --> 01:16:04,640 Speaker 1: think that the um, the energy um, it procedes you. 1228 01:16:05,000 --> 01:16:07,320 Speaker 1: You know what I'm saying. It speaks, it speaks before you, 1229 01:16:08,000 --> 01:16:10,120 Speaker 1: and I appreciate that by the time you get on 1230 01:16:10,160 --> 01:16:14,200 Speaker 1: the scene, it's it's great business as usual. Yeah, I'm 1231 01:16:14,200 --> 01:16:16,479 Speaker 1: saying so and man, well, y'all are doing great business 1232 01:16:16,560 --> 01:16:20,000 Speaker 1: like this is actually like like like when he hit me, 1233 01:16:20,040 --> 01:16:22,479 Speaker 1: I was like hell yeah, like and trying to make 1234 01:16:22,479 --> 01:16:26,320 Speaker 1: sure I was on your schedule. Because I'm like, I like, no, 1235 01:16:26,720 --> 01:16:30,320 Speaker 1: I love what you'all are doing because it's it's fun, 1236 01:16:31,080 --> 01:16:36,200 Speaker 1: it's it's informed, but it's educational in a way, you 1237 01:16:36,240 --> 01:16:39,160 Speaker 1: know what I'm saying for you know, we started talking 1238 01:16:39,160 --> 01:16:42,559 Speaker 1: about influences and you know, he started telling these stories 1239 01:16:42,560 --> 01:16:44,080 Speaker 1: that it gives you a reason to go look at 1240 01:16:44,160 --> 01:16:47,400 Speaker 1: things and it might trigger something new with somebody else, 1241 01:16:48,040 --> 01:16:50,360 Speaker 1: like hopefully you know, yeah, well that's what it is. 1242 01:16:51,320 --> 01:16:54,719 Speaker 1: We gotta pass, you know, we gotta give this game 1243 01:16:54,960 --> 01:16:58,200 Speaker 1: some kind of way, like our kind of game absolutely 1244 01:16:58,560 --> 01:17:03,679 Speaker 1: actual yep. And and and in a constructive space. Yeah. 1245 01:17:03,920 --> 01:17:06,799 Speaker 1: And I think all of us, and I think everybody 1246 01:17:06,840 --> 01:17:09,960 Speaker 1: that you guys bring on that it comes from love first, 1247 01:17:10,760 --> 01:17:13,960 Speaker 1: like love the music, love of the idea of being 1248 01:17:14,000 --> 01:17:16,479 Speaker 1: able to continue it, you know, and having a place 1249 01:17:16,560 --> 01:17:20,840 Speaker 1: for us to exercise these gifts. You know, it's that 1250 01:17:21,080 --> 01:17:24,680 Speaker 1: love part is the main thing. So it's like you 1251 01:17:24,760 --> 01:17:27,360 Speaker 1: can you that energy, that the energy you talk about, 1252 01:17:27,800 --> 01:17:31,599 Speaker 1: it's just love. It's like I saw you doing hosting 1253 01:17:31,920 --> 01:17:33,479 Speaker 1: and I can tell you loved what you were doing, 1254 01:17:33,640 --> 01:17:38,479 Speaker 1: especially when you were on the Homie when he was 1255 01:17:38,520 --> 01:17:40,800 Speaker 1: on his head. I was like, he loved it. I 1256 01:17:40,840 --> 01:17:43,920 Speaker 1: had a ball you know what I'm saying it seeing 1257 01:17:44,080 --> 01:17:46,639 Speaker 1: like seeing all these cool people in the audience made 1258 01:17:46,680 --> 01:17:49,000 Speaker 1: it that much more fun for me. Like, Man, I'm 1259 01:17:49,040 --> 01:17:51,280 Speaker 1: hosting in front of but I was sitting next to 1260 01:17:51,439 --> 01:17:55,080 Speaker 1: I was sitting next to Run Red Run and LLL. 1261 01:17:55,160 --> 01:17:58,280 Speaker 1: I'm like, nuts, It's like it was like a full 1262 01:17:58,360 --> 01:18:03,320 Speaker 1: circle moment. I'm sitting this is real life heroes. You 1263 01:18:03,360 --> 01:18:06,720 Speaker 1: know what I'm saying, Like, you just can't. You can 1264 01:18:06,800 --> 01:18:10,120 Speaker 1: never take those moments for granted. Bro, those moments are 1265 01:18:10,200 --> 01:18:12,920 Speaker 1: just like but but it's the thing that will keep 1266 01:18:12,920 --> 01:18:14,439 Speaker 1: you going, Like it's the thing that keeps you young, 1267 01:18:14,479 --> 01:18:16,920 Speaker 1: and it keeps you keeps it fun. You know, Like 1268 01:18:17,120 --> 01:18:20,280 Speaker 1: I'm very grown and experienced at this point in my life, 1269 01:18:20,439 --> 01:18:23,360 Speaker 1: but I don't. I don't feel old yet because I 1270 01:18:23,479 --> 01:18:27,760 Speaker 1: still find fun and new ship. There's still some stimulation 1271 01:18:27,840 --> 01:18:31,120 Speaker 1: going on, absolutely still some growth. I'm always still learning. 1272 01:18:31,400 --> 01:18:35,800 Speaker 1: Yeah yeah, well brother brother KP to great man. Listen, man, 1273 01:18:35,920 --> 01:18:40,320 Speaker 1: we thank you for for coming by a humble set up, 1274 01:18:43,360 --> 01:18:48,040 Speaker 1: no name. That's a great story, bro. We are we 1275 01:18:48,120 --> 01:18:53,200 Speaker 1: are waiting for um the great contribution. You know what 1276 01:18:53,240 --> 01:18:54,960 Speaker 1: I'm saying to R and B Money, this is the 1277 01:18:55,120 --> 01:18:57,639 Speaker 1: this is the first installment. You know what I'm saying 1278 01:18:57,680 --> 01:19:00,479 Speaker 1: of your contribution to R and B Money, we will 1279 01:19:00,479 --> 01:19:04,200 Speaker 1: be looking for more. What I'm saying, we're calling on 1280 01:19:04,280 --> 01:19:11,559 Speaker 1: you for counsel to everybody else. Yeah, man, anything, Yeah, 1281 01:19:11,920 --> 01:19:14,800 Speaker 1: I appreciate that. Yeah, thank you man, and listen. Man, 1282 01:19:14,840 --> 01:19:17,240 Speaker 1: I'm Tank, I'm Ja Valentine, UM and this is the 1283 01:19:17,400 --> 01:19:20,880 Speaker 1: R B Money podcast. The authority on all things are 1284 01:19:21,000 --> 01:19:29,920 Speaker 1: in B. Some people are just great. KPU our love, respect, 1285 01:19:30,000 --> 01:19:41,080 Speaker 1: Man Money. R and B Money is a production of 1286 01:19:41,160 --> 01:19:44,760 Speaker 1: the Black Effect Podcast Network. For more podcasts from I 1287 01:19:44,920 --> 01:19:48,720 Speaker 1: Heart Radio, is it the I Heart Radio app, Apple Podcast, 1288 01:19:48,920 --> 01:19:52,120 Speaker 1: or wherever you listen to your favorite shows, don't forget 1289 01:19:52,160 --> 01:19:54,960 Speaker 1: to subscribe to and rate our show and you can 1290 01:19:55,000 --> 01:19:58,439 Speaker 1: connect with us on social media at j Valentine and 1291 01:19:58,560 --> 01:20:02,320 Speaker 1: at the Real Tank. For the extended episode, subscribe to 1292 01:20:02,520 --> 01:20:06,120 Speaker 1: YouTube dot com, forward slash R and B Money