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Speaker 1: We on we on, we on we on, a motherfucker

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Speaker 1: bootleg care podcast that we are welcome. Got to give

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Speaker 1: a big shout out to uh that man, Tony Chuck

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Speaker 1: for making this amazing beat that to the background. I'm

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Speaker 1: just gonna use this as the intro for the podcast

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Speaker 1: for now. I don't know how long it's gonna stay

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Speaker 1: that way, uh, but welcome. I just want to give

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Speaker 1: a big shout out to everybody, thank you for the love.

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Speaker 1: Our first official podcast was a great success. Listen, man,

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Speaker 1: I just want to shout out everybody who listened last

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Speaker 1: week who tapped in. Shout out to Freddi Gibbs for

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Speaker 1: having a very very drunk, I mean listen, belligerent conversation

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Speaker 1: with me that people seem to enjoy. So I just

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Speaker 1: want to shout out to everybody ended up charge on

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Speaker 1: iTunes the Apple podcast, which is a big deal. I

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Speaker 1: didn't have any expectations for the first episode, so I

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Speaker 1: just want to give a big shout out to everybody

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Speaker 1: who showed love. Man, a lot of love, man, I

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Speaker 1: feel it. I appreciate it every week and to give

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Speaker 1: you guys something dope. And this week I'm actually gonna

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Speaker 1: be doing another podcast that's not gonna be an interview.

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Speaker 1: Like I said last week, I don't want this podcast

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Speaker 1: to be a contingent and hinge on having interviews every

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Speaker 1: episode because that's not ideal with what I envision this

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Speaker 1: podcast to be. Obviously, there's gonna be a lot of

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Speaker 1: dope interviews, and I'm gonna try to do an interview

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Speaker 1: every single week, but there's gonna be a lot of

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Speaker 1: episodes that are gonna be on off days. We're gonna

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Speaker 1: try to do an interview every Monday and then every Wednesday.

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Speaker 1: Every Friday, I'm gonna chop it up with the homies,

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Speaker 1: my boy dub Pecks and just talk shit, you know,

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Speaker 1: talk about topical things, talk about what's going on in

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Speaker 1: hip hop, talk about what's going on in the world,

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Speaker 1: all kinds of cool stuff. So I'm excited that episode,

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Speaker 1: where we haven't recorded it yet, it is probably gonna

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Speaker 1: get recorded tomorrow or Tuesday and drop on Wednesday. So

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Speaker 1: there'll be two podcast episodes coming out this week and

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Speaker 1: much love man salute to everybody out there. Definitely appreciate it.

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Speaker 1: Also shout out to our sponsor currently our only sponsor.

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Speaker 1: But guess what, we just locked down another sponsor and

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Speaker 1: that will be announced probably next week. I got a

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Speaker 1: shout out to I'm not going to shout them out

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Speaker 1: yet because the paperwork hasn't dried. But we do have

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Speaker 1: another sponsor that came through with the bag that I've

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Speaker 1: worked with in the past, that I'm excited to have

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Speaker 1: partner up with us on the Bootleg Heap podcast. But

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Speaker 1: shout out to our currents sole sponsor, my family, Vapin.

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Speaker 1: Hit him up on Twitter, hit him up on at

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Speaker 1: vap e N. Vapin is a company that provides so

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Speaker 1: buy you all kinds of smoke and accessories, batteries, cartridges, CBD.

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Speaker 1: They got this thing called a diamond pen that you

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Speaker 1: can dab with that's fire if you have wax. And

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Speaker 1: if you're in Phoenix, make sure you stop in to

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Speaker 1: the Herbal Wellness Center. Okay, get you some of that Vapin,

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Speaker 1: some of that bash Bury Indian School, the Urban Wellness Center.

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Speaker 1: Shout out to Vapin for showing us love and being

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Speaker 1: our sole sponsor currently. So much love to them. We're

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Speaker 1: gonna get into the Scott storre To interview though, oh

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Speaker 1: I didn't touch on me having the COVID nineteen, so

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Speaker 1: I definitely still have COVID nineteen. I just got my

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Speaker 1: smelling back, but I definitely have felt a little under

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Speaker 1: the other the last week or so, and hopefully I'll

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Speaker 1: be better by next week and I can go outside

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Speaker 1: and deal with humanity again. But as of right now,

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Speaker 1: I'm pretty sure I still have COVID nineteen. I'm fine.

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Speaker 1: I'll be okay, you know, just hanging out at the house,

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Speaker 1: that's about it, and just instacarting my groceries and anything

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Speaker 1: I need. So if you are one of those weirdos

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Speaker 1: who thinks it's i don't know, inconvenient to wear a

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Speaker 1: mask or thinks this shit is fake, fam, I got

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Speaker 1: it all right, It's real. I couldn't smell none for

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Speaker 1: a motherfucking week. My g I digress Scott Storch, one

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Speaker 1: of the greatest producers of all time, somebody who has

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Speaker 1: always intrigued me, someone who I've always been a fan of,

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Speaker 1: Somebody who I've always wanted to have a sit down

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Speaker 1: conversation with. My good friend Steve Lobel manages him. He's

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Speaker 1: had a hell of a roller coaster ride of a

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Speaker 1: career of a life personally, he's had some public lows

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Speaker 1: that we've all seen, and over the last four or

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Speaker 1: five years he's really bounced back and has been just

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Speaker 1: kill and shit. And I mean there was some stuff that.

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Speaker 1: Out of respect for his wife, I'm sure he didn't

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Speaker 1: dive into too many details about on this podcast. But man,

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Speaker 1: let me tell you something. Scott Storch has had one

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Speaker 1: of the craziest lives and whenever his movie comes out,

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Speaker 1: it's gonna be fucking epic. So this interview was done

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Speaker 1: about a month ago. Yeah, we recorded this about a

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Speaker 1: month ago, right after his single dropped. He put a

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Speaker 1: song out with Tiger in Ozuna and this we recorded

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Speaker 1: it the night that it came out, actually, or the

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Speaker 1: night before. So shout out to Scott Storch, legendary guy,

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Speaker 1: and was super excited to sit down with him. I

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Speaker 1: hope you enjoy the interview. Man, let's get into bulet

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Speaker 1: keV here with the legendary Scott Storch. Man, who needs

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Speaker 1: no introduction. Your new single just came out, sir, I

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Speaker 1: don't want to fuck up the pronunciation fuego, which pretty

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Speaker 1: much just means like hot fire, right, yeah, that hot fire.

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Speaker 1: Why I'm curious because I think ever since you announced

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Speaker 1: you were gonna be doing like a project, super excited

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Speaker 1: to hear what you. I know you're sitting on some

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Speaker 1: huge records. Yeah. Man, you know we're not that far

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Speaker 1: along the product in the project. Uh, but we were.

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Speaker 1: We I got like four or five solid songs that

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Speaker 1: I really want to use for the project. But we're

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Speaker 1: just getting going on it. But you know, we wanted to,

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Speaker 1: you know, put out a single and and do something

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Speaker 1: like the first time that was like super global and

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Speaker 1: and you know, had had potential to hit many markets,

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Speaker 1: and just do something that doesn't ask you like why

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Speaker 1: like like Scott Storch, don't we don't. We don't necessarily

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Speaker 1: associate you with the Spanish ship. Come on, man, you

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Speaker 1: know about that the Yankee in fact, though, oh shit,

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Speaker 1: that's real. But I just mean, like, I just mean,

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Speaker 1: like overall, like you know what I'm saying, like, oh yeah,

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Speaker 1: you know what I mean. I just for me, pioneering

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Speaker 1: and just trying new stuff, and even new stuff for

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Speaker 1: me is fun, you know what I mean. It makes

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Speaker 1: it like I don't like getting burnt out on doing

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Speaker 1: like what you'd expect from me. So it still has

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Speaker 1: that melody and production value and that you know I'm

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Speaker 1: known for, and it's doing something that I feel like,

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Speaker 1: I don't know. Hey, listen, man, you're one of the

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Speaker 1: most prolific producers of all times. I think you can

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Speaker 1: do whatever the fuck you want right now. You know

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Speaker 1: what I'm saying. I want to go back bro because

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Speaker 1: like we were just having this discussion about The Roots,

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Speaker 1: and I'm like a first time I ever saw the Roots,

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Speaker 1: I was probably thirteen and this was like two thousand

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Speaker 1: and two or some shit, Okay, and this was after

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Speaker 1: you would probably stopped working with him, like on a

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Speaker 1: more regular basis. I went to the production up. But

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Speaker 1: remember like buying the bootleg of Organics, which was like

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Speaker 1: the first Roots album, but it wasn't like their first

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Speaker 1: major album. Yeah, that was Do You Want More? Do

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Speaker 1: You Want More was their official debut. We did Organics.

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Speaker 1: We recorded the whole album one day. Wow. Yeah, I'm

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Speaker 1: saying we recorded the whole album in one day? Was

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Speaker 1: that out of necessity because back then studios arm was

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Speaker 1: expensive and well yeah, but then at the same time, yeah,

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Speaker 1: we wanted to, you know, make it economical. We had

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Speaker 1: a limited budget, but we were a live band. We

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Speaker 1: were used to playing these songs live, and we were

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Speaker 1: able to all set up at the same time record

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Speaker 1: to a click or a cow bell or whatever. We

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Speaker 1: were recording right, and the band would start the song

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Speaker 1: and we would cut them off from beginning to end.

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Speaker 1: I'm curious like back then, like being around that early

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Speaker 1: nineties Philly hip hop energy, like especially the Roots, Like,

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Speaker 1: did you do you feel because at the time there

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Speaker 1: was no precedent for that much live instrumentation in hip

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Speaker 1: hop or let alone a band in hip hop? What

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Speaker 1: was did it feel like as special as like now?

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Speaker 1: We obviously the Roots are you know, one of the

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Speaker 1: greatest rack groups of all time, But back then as

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Speaker 1: a kid, did you realize like what you were a

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Speaker 1: part of? Yeah? No, I mean I knew we were

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Speaker 1: on some special you know, like there was a couple

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Speaker 1: of things that sort of resembled what we were doing

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Speaker 1: at that time, but it wasn't what we were doing,

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Speaker 1: like I mean, like the Diggable Planet. Yeah, of course,

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Speaker 1: different things like but they were they were wrapping over samples.

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Speaker 1: There was another group in Philly called the Goats at

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Speaker 1: the time, but that was like a college band, but

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Speaker 1: it was like hip hop, like you know, right, the

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Speaker 1: Roots were special. You know, I knew it was gonna

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Speaker 1: have a long lifespan, but I just as much as

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Speaker 1: I loved being a part of it, I wanted so

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Speaker 1: much more to be a record producer and stay in

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Speaker 1: the studio. I'm the kind of person that likes to

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Speaker 1: like wake up in my house every day and I'm

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Speaker 1: not a big fan of going on the road and

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Speaker 1: just chose a different life. Yeah. So obviously you win

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Speaker 1: your first Grammy with the Roots, which was I mean,

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Speaker 1: I love by the way, shout out to everybody watched

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Speaker 1: you versus Battle. That ship was legendary. It was it was,

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Speaker 1: it was, It got ugly. It's all the same. But like,

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Speaker 1: at what point in time after you pivoted away from

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Speaker 1: working with them full time, Like what was that that

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Speaker 1: first big look for Scott Storch at Scott Storch to

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Speaker 1: brand like as as as a solo guy who decided

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Speaker 1: to break away from this Roots crew, Like what was

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Speaker 1: that first thing that happened where you're like, oh shit,

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Speaker 1: like I think this can actually work, Like I like

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Speaker 1: me as a record producer can actually be a thing.

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Speaker 1: I went with us this dude, uh, the guy that

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Speaker 1: actually got the record deal for the Roots, Derek Jackson.

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Speaker 1: You know, he brought it to Wendy Goldstein, et cetera,

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Speaker 1: et cetera. But you know, after I left, I ended

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Speaker 1: up getting in contact with this guy and he took

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Speaker 1: me to New York from Philly and we did a

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Speaker 1: run all the way around the city and went from

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Speaker 1: label to label. This that the other couple of you know,

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Speaker 1: I was hoping to just cut a record while I

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Speaker 1: was in New York, like that's all I wanted. And

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Speaker 1: one guy came through for me, my first client, who

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Speaker 1: was it Buster Rhymes Buster, and we made a song

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Speaker 1: called blood Out and it went on the ED Strikes

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Speaker 1: was Anarchy, Yeah, Anarchy album, And then I set up

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Speaker 1: a gig to come back the following week and work

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Speaker 1: with Capona Noriega and Capone. The day that I was

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Speaker 1: going to the studio to meet, he literally was getting

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Speaker 1: brought from prison to the studio, so this was like

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Speaker 1: his first studio stop after getting out. Did you end

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Speaker 1: up on did you end up having production on War

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Speaker 1: Report or any or what did you did you forget. Yeah,

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Speaker 1: I think that's crazy, man, So Copone and Noriega. It's

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Speaker 1: crazy because Nori also had a lot to do with

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Speaker 1: Pharrell starting with Super Thugs. That's kind of interesting to know.

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Speaker 1: But but obviously you're the You're known as the piano man.

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Speaker 1: You know what I'm saying, Like you once like you

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Speaker 1: because I feel like there's a Skott Storge sound and

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Speaker 1: a lot of people say that you know, you like

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Speaker 1: like but when it comes to the keys and and

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Speaker 1: and the way you played them bro like in the

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Speaker 1: early two thousands, I just feel like you had a

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Speaker 1: signature sound. I mean, I think you still do. But

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Speaker 1: but yeah, but you know what, like a lot of

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Speaker 1: that sound, it's it's a part of the evolution of

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Speaker 1: what hip hop became. Yeah, and you know we have

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Speaker 1: to leave it there and go for new stuff and

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Speaker 1: innovate because you know, people, you don't want people to

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Speaker 1: be like, oh, that's what he was doing back then,

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Speaker 1: Like we want some new ship. Like You've done a

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Speaker 1: great job of pivoting recently because I feel like you

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Speaker 1: kind of had to like kind of prove to everybody

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Speaker 1: like you're back over the last four I had to

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Speaker 1: get back because you know, I left music to go

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Speaker 1: off and do the debauchery and shit that I did

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Speaker 1: when I wasn't making music and doing drugs and all right,

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Speaker 1: and come back flash forward a decade later and now

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Speaker 1: you're trying to like, you know, you have to reevaluate

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Speaker 1: where is music now? And like, you know, we learn it.

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Speaker 1: I mean not the musicianship part, but the production, the

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Speaker 1: sonics and you know, the way, you know, the simplicity

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Speaker 1: of things. You know, like I had to relearn it. Yeah, No,

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Speaker 1: I feel like you you you kind of did something

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Speaker 1: that's so hard to do because if you think it's

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Speaker 1: super hard, if you do, if you think of a

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Speaker 1: lot of the producers that were popping back then, like

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Speaker 1: a lot of those guys aren't around anymore. There's a few,

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Speaker 1: there's like Timbaland, there's Dre, there's yourself. But like the

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Speaker 1: fact that you're able to tap in with Trippy Red

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Speaker 1: and tap in with well we we used to have

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Speaker 1: a specific way of looking at music as a whole,

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Speaker 1: as a you know, producer, musician. And once you think

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Speaker 1: you know the right way to make done, because there

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Speaker 1: is no right will there's the right way to make music.

250
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Speaker 1: It's always evolving. And changing, so you have to like

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Speaker 1: constantly reinvent yourself. And it's also your stuck. Subjective music

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Speaker 1: is subjective. The people that can just keep going and

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Speaker 1: and evolving it that's you know, That's the thing. It's

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Speaker 1: rare in I always wanted to ask you this. I

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Speaker 1: remember you did clap Back for jar Roll right, which

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Speaker 1: was a fire ass record, but at that time, nobody

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Speaker 1: was smukling with gen Roll. It was kind of that

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Speaker 1: weird part of his career where fifty they had the

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Speaker 1: beef and people kind of chose when you ended up

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Speaker 1: working with fifty on the Massacre? Did was that like

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Speaker 1: a conversation, like like you did lean back obviously, Yeah,

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Speaker 1: I was like that kind of guy, and I know

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Speaker 1: you made that clear to everybody. I am not on

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Speaker 1: some wrap beef ship, but at the time he was,

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Speaker 1: and I'm trying to eat like I was a starving

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Speaker 1: art you know that you could have mad records out

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Speaker 1: still hadn't made no money, so motherfuckers was working and like,

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Speaker 1: you know, I leave those beefs to other people. But

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Speaker 1: like a lot of times I would find myself doing records,

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Speaker 1: you know, for people, and like I would get like

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Speaker 1: that clapback is an example, Like it wasn't supposed to

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Speaker 1: go to him like that. That beat was so fire.

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Speaker 1: That beat I made in my house the day before

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Speaker 1: I was going to New York. I was going to

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Speaker 1: New or to work with with Janet Jackson at y

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Speaker 1: Clutch Studio. I remember just clear as well, and that

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Speaker 1: day before P. D. Crack and Beanie Siegel stay to

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Speaker 1: my house in Florida. I made that beat and I guess,

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Speaker 1: you know, just it never happened, like they just were

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Speaker 1: sleep in the studio. It wasn't, you know whatever. So

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Speaker 1: so that was meant for. I left the next day

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Speaker 1: to New York and I got the call from Rule

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Speaker 1: like Yo, I need something. I was like, all right,

284
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Speaker 1: give him this beat and it was like a two

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Speaker 1: track and it never got That song never got mixed. Wow. Yeah,

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Speaker 1: Like the music of it was just given like a

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Speaker 1: two track on like a DAT tape like from the crib.

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Speaker 1: So maybe they equt it or whatever. But that's crazy

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Speaker 1: weird how like records end up that. It's funny because

290
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Speaker 1: I think that's when it like obviously it wasn't like

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Speaker 1: the biggest hit in the world that that beat was

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Speaker 1: so hard, man, it could. I used to cringe in

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Speaker 1: the club. I would hear it because it was like,

294
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Speaker 1: oh my god, it sounds so thin compared to all

295
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Speaker 1: because you knew it wasn't mastered. Yeah, it wasn't mixed,

296
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Speaker 1: but mastered. I'm like, dude, making me look bad, yo.

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Speaker 1: So another you know when we watched the Battle, shouts

298
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Speaker 1: to everybody who watched the Versus Battle with you and

299
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Speaker 1: Manny Fresh. The Doctor Dre records I think are kind

300
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Speaker 1: of like had to be like one of like the

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Speaker 1: turning crowning moments of your career. Like talk about like

302
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Speaker 1: obviously being a part of Chronic two thousand and one,

303
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Speaker 1: which was very very interesting time and hip hop because

304
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Speaker 1: I remember that album being teased for so long, and

305
00:17:43,480 --> 00:17:45,879
Speaker 1: I remember death Row cock blocking and putting out an

306
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Speaker 1: album called Chronicle. Had to make a Chronic two thousand

307
00:17:49,960 --> 00:17:51,679
Speaker 1: and one right because it came out, and like I remember,

308
00:17:51,680 --> 00:17:53,080
Speaker 1: I was like, dude, like that didn't make sense. But

309
00:17:53,119 --> 00:17:55,240
Speaker 1: I remember that weird ass death Row album. It had

310
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Speaker 1: like a cigar on the you had the cigar on

311
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Speaker 1: the cover, and then the guy who sounded just like

312
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Speaker 1: Snoop Dogg. There was a guy on that album that

313
00:18:01,800 --> 00:18:04,560
Speaker 1: was like a snoop impersonator. I swear to god, Sugar

314
00:18:04,560 --> 00:18:08,000
Speaker 1: was petty, but nonetheless, like that album was, It's one

315
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Speaker 1: of the top ten greatest hip hop albums of all time.

316
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Speaker 1: Can you talk about, like, how did that initial connection

317
00:18:16,960 --> 00:18:19,560
Speaker 1: happen with Dre? I think you've spoken a lot about

318
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Speaker 1: like the process of making those records, but like you

319
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Speaker 1: getting into the fold with Dre becoming a part of

320
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Speaker 1: that team that worked on that project. Okay, So there

321
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Speaker 1: was obviously the moment where I left the Roots and

322
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Speaker 1: I was trying to make a career for myself. What

323
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Speaker 1: year did you officially like break away in ninety five? Okay, Yeah,

324
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Speaker 1: I left the group. I actually ended up in ninety

325
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Speaker 1: seven getting a visit from them when I was in

326
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Speaker 1: the middle of working on the song. But this whole

327
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Speaker 1: other story, and I gave them more records. But at

328
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Speaker 1: this point, I'm trying to make a life for myself

329
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Speaker 1: as a producer, and you know, I was struggling. So

330
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Speaker 1: The Roots had a like an open mic women in

331
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Speaker 1: music series that they used to do every Sunday at

332
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Speaker 1: the Wetlands, Okay in New York, and every Sunday for

333
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Speaker 1: a year, I would do this. I was part of

334
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Speaker 1: the house band. It was me Questlove, you know, a

335
00:19:21,400 --> 00:19:23,800
Speaker 1: couple other cats and then like crazy, I mean all

336
00:19:23,880 --> 00:19:26,440
Speaker 1: everybody was there. Common was always there. You know, Eric

337
00:19:26,440 --> 00:19:30,280
Speaker 1: Abadou was there. It was a movie. It went on

338
00:19:30,320 --> 00:19:33,080
Speaker 1: every Sunday. So finally, after a year of doing that,

339
00:19:34,200 --> 00:19:37,879
Speaker 1: they did one in California at the Martini Lounge. Okay,

340
00:19:39,400 --> 00:19:45,800
Speaker 1: so I see this girl when I go out to

341
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Speaker 1: the Martini Lounge my first time ever in California, never

342
00:19:50,160 --> 00:19:53,600
Speaker 1: been to Cali, and this girl from Philly comes up

343
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Speaker 1: to me that I knew it was a rapper that

344
00:19:55,240 --> 00:20:00,800
Speaker 1: I'd worked with whatever, and it was Eve. Eve was like, yo,

345
00:20:02,160 --> 00:20:05,280
Speaker 1: I got I got a I got a record deal

346
00:20:05,320 --> 00:20:08,359
Speaker 1: with Doctor Trey. This is prior to her going to

347
00:20:08,440 --> 00:20:11,359
Speaker 1: rough references before we do like really knew Eve. She

348
00:20:11,480 --> 00:20:14,320
Speaker 1: was like way before. She wasn't like upstreams downstreams. She

349
00:20:14,359 --> 00:20:16,680
Speaker 1: was side streamed. I guess you know, Drey was so

350
00:20:16,720 --> 00:20:20,240
Speaker 1: busy with him, and you know, yeah, Dre had that

351
00:20:20,280 --> 00:20:22,439
Speaker 1: weird era where he put out that Aftermath album with

352
00:20:22,480 --> 00:20:24,360
Speaker 1: the bomb on the cover and it was like more

353
00:20:24,400 --> 00:20:27,680
Speaker 1: like a compilation album. Yeah, this was ever after that. Yeah, okay, okay,

354
00:20:28,160 --> 00:20:31,480
Speaker 1: so you know we've been there, done that, yep, that record. Yeah.

355
00:20:31,560 --> 00:20:37,520
Speaker 1: So so I'm like out there, like I'm literally at

356
00:20:37,520 --> 00:20:39,520
Speaker 1: this moment in my life, probably two months behind in

357
00:20:39,520 --> 00:20:43,440
Speaker 1: my rent and like struggling whatever. And she's like, come

358
00:20:43,480 --> 00:20:48,960
Speaker 1: meet Doctor Trey, probably like ninety eight, ninety nine, getting

359
00:20:49,080 --> 00:20:51,359
Speaker 1: ninety nine or yeah, maybe it was ninety eight. I

360
00:20:51,359 --> 00:20:55,120
Speaker 1: think it was ninety eight. At any rate, she says,

361
00:20:55,160 --> 00:20:58,119
Speaker 1: come meet Doctor Trey and you know, playing some music.

362
00:20:58,160 --> 00:20:59,560
Speaker 1: I was like, I don't have any music with me,

363
00:21:00,040 --> 00:21:02,080
Speaker 1: so we'll come play the piano for him because I

364
00:21:02,119 --> 00:21:06,440
Speaker 1: didn't have any dat tapes my CDs, and I played.

365
00:21:06,800 --> 00:21:08,800
Speaker 1: I sat in the lobby and waited for a few hours,

366
00:21:08,800 --> 00:21:11,360
Speaker 1: and you know, he's like, all right here, you hot

367
00:21:11,400 --> 00:21:13,879
Speaker 1: on them keys. So I played some shit. He was

368
00:21:13,920 --> 00:21:17,800
Speaker 1: like that. He was like, don't go anywhere. Got a

369
00:21:17,880 --> 00:21:20,960
Speaker 1: hotel room key and fucking stack of money like everything.

370
00:21:21,240 --> 00:21:24,040
Speaker 1: It's like, fuck with us. We were making this album

371
00:21:24,440 --> 00:21:28,440
Speaker 1: and he's just like the vibe of like this different

372
00:21:28,560 --> 00:21:32,600
Speaker 1: like style. I guess that he was used to hearing

373
00:21:33,200 --> 00:21:36,280
Speaker 1: in you know, California musicians that he would bring in

374
00:21:36,320 --> 00:21:38,959
Speaker 1: different keyboard players. Yeah, and it was something completely different

375
00:21:39,560 --> 00:21:42,840
Speaker 1: East Coast, but still like universal about it and he

376
00:21:42,960 --> 00:21:45,639
Speaker 1: was fucking with it, so he put me on the team.

377
00:21:45,680 --> 00:21:51,119
Speaker 1: Bro was honor. I learned everything there. That's where I

378
00:21:51,160 --> 00:21:55,679
Speaker 1: learned to really understand music production. And how long was

379
00:21:55,760 --> 00:21:59,199
Speaker 1: that era of your career where you were in there learning?

380
00:21:59,280 --> 00:22:01,960
Speaker 1: Like right, yeah, like how long did that last? Like

381
00:22:02,400 --> 00:22:04,679
Speaker 1: four or five years of like and so you're just

382
00:22:04,760 --> 00:22:08,639
Speaker 1: soaking up like everything, like because he's so meticulous. I

383
00:22:08,680 --> 00:22:11,920
Speaker 1: hear him crazy about incredit Sonic, Like you said you

384
00:22:11,960 --> 00:22:14,440
Speaker 1: hated here did jar rollsong in the club because you

385
00:22:14,480 --> 00:22:16,280
Speaker 1: could tell the difference of the that Like that's probably

386
00:22:16,359 --> 00:22:18,200
Speaker 1: probably got that for being around Jerry's a little sure.

387
00:22:19,680 --> 00:22:22,959
Speaker 1: It's insane to think, like I feel like it's like

388
00:22:23,040 --> 00:22:25,600
Speaker 1: still Dre, like low key, like the fact that you're

389
00:22:25,640 --> 00:22:29,280
Speaker 1: a kid from Philly and kind of shaped like West

390
00:22:29,280 --> 00:22:31,400
Speaker 1: Coast Sonics for like the next like eight or nine years.

391
00:22:31,400 --> 00:22:34,760
Speaker 1: Because if you go and like listen to like games documentary,

392
00:22:34,960 --> 00:22:38,119
Speaker 1: like I just feel like those keys are there at

393
00:22:38,119 --> 00:22:39,919
Speaker 1: their West Coast now, Like it's like you know what

394
00:22:39,920 --> 00:22:41,639
Speaker 1: I'm saying, Like there's records that you hear that are

395
00:22:41,680 --> 00:22:44,439
Speaker 1: like we kind of you know, I can't take credit

396
00:22:44,600 --> 00:22:48,840
Speaker 1: for like Dre's production is I'm obviously. Yeah. Yeah, like

397
00:22:48,920 --> 00:22:51,280
Speaker 1: I brought to the table, I slowly, like the Chronic

398
00:22:51,280 --> 00:22:54,639
Speaker 1: two thousand, I brought a certain it was more I mean,

399
00:22:54,640 --> 00:22:57,439
Speaker 1: it was production, but it was like even more might

400
00:22:57,560 --> 00:22:59,800
Speaker 1: want to call it writing, like we were writing these

401
00:22:59,840 --> 00:23:01,959
Speaker 1: things and this and that, and you know, he was

402
00:23:02,040 --> 00:23:03,560
Speaker 1: you know, he definitely had a vision for what he

403
00:23:03,640 --> 00:23:06,480
Speaker 1: was doing. But I brought to a new sound that

404
00:23:06,640 --> 00:23:11,119
Speaker 1: was different, like than the you know, G funk exactly

405
00:23:11,480 --> 00:23:15,520
Speaker 1: thing going on. It was more orchestral. It was like

406
00:23:15,600 --> 00:23:20,359
Speaker 1: pianos and you know, something totally new. Did you Because

407
00:23:20,560 --> 00:23:25,560
Speaker 1: at the time Dre had so many artists that I mean, damn,

408
00:23:25,640 --> 00:23:27,119
Speaker 1: I would have loved to have heard with a rock

409
00:23:27,200 --> 00:23:30,520
Speaker 1: him album, But it sounded like under Aftermath. We were

410
00:23:30,560 --> 00:23:32,320
Speaker 1: around for some of that. Did you? I was gonna

411
00:23:32,320 --> 00:23:36,080
Speaker 1: ask you, did you work on the unreleased rock album? Yeah?

412
00:23:36,680 --> 00:23:39,000
Speaker 1: How was that? How did I even rock him? Come

413
00:23:39,080 --> 00:23:42,320
Speaker 1: meet me in Miami one time? Work with me? Now?

414
00:23:42,400 --> 00:23:44,720
Speaker 1: Is this like remember he doesn't fly, you had to

415
00:23:44,880 --> 00:23:47,800
Speaker 1: drive out the Actually is this like peak like Storach

416
00:23:47,880 --> 00:23:51,040
Speaker 1: like Miami time? Yeah? But yeah, no, but I mean

417
00:23:51,119 --> 00:23:53,840
Speaker 1: we I worked with him with Dre like right in

418
00:23:53,960 --> 00:23:56,920
Speaker 1: LA and then I worked with him later in uh

419
00:23:57,000 --> 00:24:01,000
Speaker 1: in Miami. Randomly, there has to be like legend talk

420
00:24:01,040 --> 00:24:03,600
Speaker 1: about like the rock king music that you heard while

421
00:24:03,600 --> 00:24:05,320
Speaker 1: he was under aftermath because we never got to hear

422
00:24:05,359 --> 00:24:06,960
Speaker 1: any of it. I mean some of the ship was

423
00:24:07,000 --> 00:24:09,400
Speaker 1: pretty dope. I ca't front it was. It was pure

424
00:24:09,480 --> 00:24:13,120
Speaker 1: unadulterated him. He's this kind of rapper that like, once

425
00:24:13,160 --> 00:24:15,439
Speaker 1: he opens his voice, he's got a tone and a

426
00:24:15,480 --> 00:24:20,000
Speaker 1: particular style. DMX one of those people I'm looking at

427
00:24:20,080 --> 00:24:22,320
Speaker 1: right now. Yeah, shout out to the belly poster in

428
00:24:22,320 --> 00:24:27,520
Speaker 1: the room. Legendary. Yeah, No, that's I always like, even

429
00:24:27,520 --> 00:24:29,880
Speaker 1: like hit Man, there was I just felt like there

430
00:24:29,880 --> 00:24:33,040
Speaker 1: were so many fire artists in their aftermath that Devin

431
00:24:33,119 --> 00:24:36,239
Speaker 1: the dude did he sign it after Man? No, I'm

432
00:24:36,280 --> 00:24:38,679
Speaker 1: just saying on that album, Man Devon is one of

433
00:24:38,680 --> 00:24:41,959
Speaker 1: my favorite shout rap a lot rod he was. He

434
00:24:42,040 --> 00:24:45,639
Speaker 1: definitely did his thing on that album Facts and you know,

435
00:24:47,480 --> 00:24:50,560
Speaker 1: I miss it so much, but I used to all

436
00:24:50,600 --> 00:24:53,359
Speaker 1: the time after, you know, being in that crew, be

437
00:24:53,440 --> 00:24:56,840
Speaker 1: able to call my brother Nate Dog for hooks for songs,

438
00:24:56,880 --> 00:24:58,800
Speaker 1: and you just you knew you was going to get

439
00:24:58,800 --> 00:25:01,960
Speaker 1: a hit. You know, you're like yo getting Nate. You

440
00:25:02,040 --> 00:25:05,720
Speaker 1: and you and Nate's relationship very strong. Yeah, we were cool.

441
00:25:06,320 --> 00:25:09,840
Speaker 1: That's crazy because I like, what was the the he

442
00:25:09,960 --> 00:25:11,480
Speaker 1: was on? It wasn't he on a kiss record that

443
00:25:11,520 --> 00:25:16,479
Speaker 1: you did? We did the Uh yeah he was. But

444
00:25:16,520 --> 00:25:19,480
Speaker 1: there was a record that I really liked dB C

445
00:25:20,160 --> 00:25:23,920
Speaker 1: and him, The Streets def Jam Ghetto Heisman was the

446
00:25:23,960 --> 00:25:27,080
Speaker 1: name of that album. Yo. One of my favorite West

447
00:25:27,119 --> 00:25:30,520
Speaker 1: Coast rappers ever doesn't get enough respect, my favorite of

448
00:25:30,520 --> 00:25:32,880
Speaker 1: the three and West Side Connection for the record. Shout

449
00:25:32,920 --> 00:25:35,879
Speaker 1: out to Ice Cubing back ten. But yeah, man like

450
00:25:36,160 --> 00:25:38,800
Speaker 1: and then obviously man like. I always tell this to

451
00:25:39,840 --> 00:25:43,200
Speaker 1: shout out to Steve Lobell. Steve, we work, were working

452
00:25:43,320 --> 00:25:48,320
Speaker 1: the legend. But always am like, Yo, man, whenever your

453
00:25:48,480 --> 00:25:53,919
Speaker 1: Netflix mini documentary series or movie or whatever your life

454
00:25:53,920 --> 00:25:58,280
Speaker 1: story fan is the Wolf of Wall Street of music dog.

455
00:25:59,160 --> 00:26:01,520
Speaker 1: But like, we gotta get Steve Leabelle to play a

456
00:26:01,520 --> 00:26:03,760
Speaker 1: cop in the movie. He's got to play you know,

457
00:26:03,800 --> 00:26:05,520
Speaker 1: he's got to play himself or I want to know

458
00:26:05,520 --> 00:26:07,680
Speaker 1: who plays Steve at the end of the movie. When

459
00:26:07,920 --> 00:26:13,040
Speaker 1: when during your comeback good Bruce willis, Oh my god,

460
00:26:12,760 --> 00:26:21,639
Speaker 1: that's great, But now I mean you you you obviously

461
00:26:22,359 --> 00:26:26,080
Speaker 1: It's well documented by the way. I thought it was

462
00:26:26,680 --> 00:26:30,240
Speaker 1: very corny. The skits during that battle that Manny for

463
00:26:30,359 --> 00:26:33,360
Speaker 1: I thought that was the corniest shit ever. But I digress.

464
00:26:34,600 --> 00:26:37,720
Speaker 1: If you can't dazzle them with genius, baffle them with bullshit,

465
00:26:38,400 --> 00:26:43,880
Speaker 1: shout out to six or nine. Uh. Nonetheless, that era

466
00:26:43,960 --> 00:26:47,280
Speaker 1: of your life, they got out of control, right, So

467
00:26:47,400 --> 00:26:50,200
Speaker 1: there's a point in time where you're clearly the biggest producer,

468
00:26:50,320 --> 00:26:52,480
Speaker 1: I mean at your peak. Like what was the Scott

469
00:26:52,520 --> 00:26:56,160
Speaker 1: Storch beat costing? It was like a little soft eighty racks.

470
00:26:56,800 --> 00:27:00,280
Speaker 1: That's crazy. Was there ever an era in hip where

471
00:27:00,280 --> 00:27:01,760
Speaker 1: peop were getting like two hundred and fifty a beat?

472
00:27:01,840 --> 00:27:03,840
Speaker 1: Or is that just? Yeah? The thing we've had these situations,

473
00:27:04,240 --> 00:27:06,480
Speaker 1: me and me and Timbaland we split a million dollars

474
00:27:06,480 --> 00:27:12,159
Speaker 1: for a beat? Really, hell damn? Which beat was that? Huh?

475
00:27:12,200 --> 00:27:16,680
Speaker 1: Which was for a commercial? A commercial? Yeah? For what company?

476
00:27:17,400 --> 00:27:24,400
Speaker 1: And one and one shoes dropped a million? Shit? That's crazy.

477
00:27:25,880 --> 00:27:29,040
Speaker 1: You know he was commanding some crazy money. Like I

478
00:27:29,200 --> 00:27:32,000
Speaker 1: was just coming up. He was already there, like chilling

479
00:27:32,440 --> 00:27:34,840
Speaker 1: I was, so I was like, goddamn. But in that era,

480
00:27:34,880 --> 00:27:36,320
Speaker 1: I just feel like you were one of those guys,

481
00:27:36,960 --> 00:27:38,399
Speaker 1: like you were like one of those guys. It's like, yo,

482
00:27:38,440 --> 00:27:40,880
Speaker 1: if you get a Scott Storchby, like you're fucking out

483
00:27:40,880 --> 00:27:45,119
Speaker 1: of here. And I was given everybody that money's worth

484
00:27:45,840 --> 00:27:48,920
Speaker 1: until the habits came in and then it was just

485
00:27:48,960 --> 00:27:51,840
Speaker 1: like now, were was there ever any because I think

486
00:27:51,840 --> 00:27:56,800
Speaker 1: there's always like speculation that back then certain female artists

487
00:27:56,880 --> 00:27:59,800
Speaker 1: would sleep with producers to get beats? Did that ever

488
00:27:59,800 --> 00:28:03,840
Speaker 1: have no to get beats? Yeah, or like to get

489
00:28:03,840 --> 00:28:06,720
Speaker 1: a discount or like no, I mean they was playing

490
00:28:06,760 --> 00:28:09,840
Speaker 1: eighty thousand and they were still coming out of there.

491
00:28:09,840 --> 00:28:11,600
Speaker 1: It was still coming out of their budget. Yeah, they

492
00:28:11,600 --> 00:28:13,639
Speaker 1: were still coming out of you still got to recoup this,

493
00:28:13,680 --> 00:28:17,760
Speaker 1: and the fuck that's crazy now, But like, what do

494
00:28:17,840 --> 00:28:19,920
Speaker 1: you remember the year that ship started to kind of

495
00:28:19,920 --> 00:28:22,600
Speaker 1: get a little hazy and out of control, like where

496
00:28:22,600 --> 00:28:24,359
Speaker 1: it was like, fuck, man, this is the This was

497
00:28:24,440 --> 00:28:26,359
Speaker 1: kind of the beginning of the end because I originally

498
00:28:26,400 --> 00:28:28,360
Speaker 1: you weren't a big club guy, right, No, I wasn't.

499
00:28:28,359 --> 00:28:31,439
Speaker 1: I was stuck in the studio. And then like somewhere

500
00:28:31,720 --> 00:28:35,400
Speaker 1: just after I turned thirty, I think that I went

501
00:28:35,400 --> 00:28:39,360
Speaker 1: a little cuckoo and I started getting into you know,

502
00:28:39,680 --> 00:28:43,760
Speaker 1: the night life. The Papa rozzis and this and excessive

503
00:28:44,120 --> 00:28:47,120
Speaker 1: ship and then like cocaine came into the play and

504
00:28:48,240 --> 00:28:52,720
Speaker 1: you know, Jack Daniels and lots of pussy, man, I

505
00:28:52,760 --> 00:28:56,480
Speaker 1: can you can say whatever you want. Yeah, lots of pussy.

506
00:28:57,080 --> 00:29:01,480
Speaker 1: And I was going crazy and I stopped working work

507
00:29:01,640 --> 00:29:04,520
Speaker 1: just just like I got so much money became secondary.

508
00:29:06,040 --> 00:29:09,920
Speaker 1: And then so are we what do we what are

509
00:29:09,920 --> 00:29:13,080
Speaker 1: we calling this? Like six o seven? We're calling this

510
00:29:14,200 --> 00:29:19,480
Speaker 1: oh seven leaning into eight more So that was kind

511
00:29:19,480 --> 00:29:26,600
Speaker 1: of the beginning of Sugar that's wild man. And then yeah, yo,

512
00:29:26,720 --> 00:29:32,120
Speaker 1: it's I mean you brought it. I just know you

513
00:29:32,240 --> 00:29:36,040
Speaker 1: have the most legendary hit list in hip hop if

514
00:29:36,040 --> 00:29:40,640
Speaker 1: it ever, if it ever came out. We didn't have Instagram, Bro,

515
00:29:41,640 --> 00:29:45,320
Speaker 1: I'm hearing the victims were you know, shout you saw

516
00:29:45,360 --> 00:29:47,880
Speaker 1: my Fat Joiner, but you reposted it. Yeah, Fat Joe's

517
00:29:47,920 --> 00:29:51,600
Speaker 1: like he fucked all of them, all of them, whoever

518
00:29:51,640 --> 00:29:54,440
Speaker 1: you're thinking of in your head right now, reminding me

519
00:29:55,240 --> 00:29:57,560
Speaker 1: and my boy, I remember my girl, shout out my

520
00:29:57,560 --> 00:29:59,680
Speaker 1: guy DJ Chris John from Tampa. Fat Joe's old DJ.

521
00:29:59,720 --> 00:30:03,440
Speaker 1: But Chris John was like fair Scott Storch's house. He

522
00:30:03,560 --> 00:30:05,760
Speaker 1: was coming down the stairs with this bitch on this

523
00:30:06,080 --> 00:30:08,640
Speaker 1: and this bitch on the other end, and here and

524
00:30:08,840 --> 00:30:12,200
Speaker 1: thumbs and thumbs up the ass, thumbs up the ass

525
00:30:12,240 --> 00:30:18,520
Speaker 1: of them. And we're talking about cramdala cream is what

526
00:30:18,560 --> 00:30:22,720
Speaker 1: we'll say prior to them, being that we're in a

527
00:30:22,720 --> 00:30:26,240
Speaker 1: new chapter. Yeah, and now, by the way, congratulations having

528
00:30:26,280 --> 00:30:29,440
Speaker 1: a you just had a new baby, so congrast you

529
00:30:29,480 --> 00:30:35,120
Speaker 1: know what that passed. I'm like, you know, I feel

530
00:30:35,120 --> 00:30:38,400
Speaker 1: like I'm happy right now because I did all that ship.

531
00:30:38,520 --> 00:30:41,440
Speaker 1: You go out of my system and I'm like, I'm cool,

532
00:30:41,480 --> 00:30:45,560
Speaker 1: I'm content. I'm not sweating, No, you know, going to

533
00:30:45,640 --> 00:30:47,960
Speaker 1: the club and trying to find like I just did

534
00:30:48,000 --> 00:30:50,160
Speaker 1: so much of that. Like I'm in the same I'm

535
00:30:50,200 --> 00:30:52,320
Speaker 1: in the same same vibe of my life. I like

536
00:30:52,360 --> 00:30:54,440
Speaker 1: waking up early and hanging out with my nine month

537
00:30:54,440 --> 00:30:57,880
Speaker 1: old baby, watching movies, chilling with the lady. Yeah, once

538
00:30:57,920 --> 00:30:59,760
Speaker 1: you get that ship out of your system, the thing

539
00:30:59,840 --> 00:31:02,120
Speaker 1: is you didn't start to your thirty so you got

540
00:31:02,160 --> 00:31:04,239
Speaker 1: you like got it, like you had to make up

541
00:31:04,240 --> 00:31:06,239
Speaker 1: for your twenties of missing out on all that. No,

542
00:31:06,320 --> 00:31:09,000
Speaker 1: I was always a fucking monster in that department with

543
00:31:09,040 --> 00:31:12,280
Speaker 1: the women. Yeah, but just like it was a different thing.

544
00:31:12,360 --> 00:31:15,960
Speaker 1: It wasn't like, and I don't know how many women

545
00:31:16,000 --> 00:31:18,040
Speaker 1: have you had at the same time, at the most

546
00:31:18,040 --> 00:31:20,719
Speaker 1: at once. I can imagine some of those parties had

547
00:31:20,720 --> 00:31:22,680
Speaker 1: to end up with your bedroom just being lit as

548
00:31:22,680 --> 00:31:25,240
Speaker 1: fuck and you and you being the just wait for

549
00:31:25,280 --> 00:31:27,480
Speaker 1: the movie the movies, wait for the movie? Are we

550
00:31:27,560 --> 00:31:30,160
Speaker 1: talking like a starting five? Like? Are we talking like

551
00:31:30,480 --> 00:31:32,240
Speaker 1: a five path? You know what, I can say this,

552
00:31:32,520 --> 00:31:35,360
Speaker 1: and I like to say this. Through that whole era

553
00:31:35,840 --> 00:31:38,480
Speaker 1: of me being with lot, you know, for miscuous or whatever,

554
00:31:39,400 --> 00:31:42,840
Speaker 1: I always treated everybody with respects and well, everybody always

555
00:31:42,840 --> 00:31:45,360
Speaker 1: had a great time. There was never any funky shit

556
00:31:45,440 --> 00:31:48,360
Speaker 1: going on in my circle, so you know, it was cool.

557
00:31:48,920 --> 00:31:50,720
Speaker 1: You know, I think it's dope is your relationship with

558
00:31:50,760 --> 00:31:54,240
Speaker 1: Fat Joe? Because Fat Joe is one of those guys

559
00:31:54,280 --> 00:31:59,320
Speaker 1: who I feel like never wavered in his friendship with you,

560
00:32:00,360 --> 00:32:03,000
Speaker 1: if that makes sense. Yeah, No, he always remained loyal

561
00:32:03,040 --> 00:32:04,680
Speaker 1: to me because I feel like a lot of people

562
00:32:05,160 --> 00:32:07,239
Speaker 1: Chris Brown as well. I just feel like a lot

563
00:32:07,280 --> 00:32:09,760
Speaker 1: of people like kind of wrote you off man, and

564
00:32:09,800 --> 00:32:12,600
Speaker 1: like I think a lot but I think looking out

565
00:32:12,640 --> 00:32:14,400
Speaker 1: of my mind, I mean, fair enough, but I think

566
00:32:14,400 --> 00:32:17,040
Speaker 1: a lot of times like in our industry, like once

567
00:32:17,080 --> 00:32:20,600
Speaker 1: you can't do something for somebody like you almost like

568
00:32:20,800 --> 00:32:23,400
Speaker 1: get the ignore on it, you know what I'm saying, Like, like,

569
00:32:23,520 --> 00:32:26,760
Speaker 1: did you a lot of those people who maybe a

570
00:32:26,760 --> 00:32:29,680
Speaker 1: lot of the people that really cared for me, wanted

571
00:32:29,720 --> 00:32:32,760
Speaker 1: to believe time and time again, you know, they wanted

572
00:32:32,800 --> 00:32:36,720
Speaker 1: to believe, so they would you know, tolerate it with

573
00:32:36,840 --> 00:32:41,360
Speaker 1: you know, we you know, we just after a while

574
00:32:41,480 --> 00:32:44,160
Speaker 1: you just figure it out. Like you know, you can't

575
00:32:44,480 --> 00:32:47,600
Speaker 1: nobody can force you to to get your act together.

576
00:32:47,640 --> 00:32:49,400
Speaker 1: You have to do it. You just have to get

577
00:32:49,400 --> 00:32:52,560
Speaker 1: it together. And then I want you to talk about

578
00:32:52,720 --> 00:32:56,880
Speaker 1: the project you have, the Heavenly Center, which I think

579
00:32:57,480 --> 00:33:00,080
Speaker 1: is a great approach because I grew up around, you know,

580
00:33:00,160 --> 00:33:05,240
Speaker 1: my family being big, big drug addicts, and I think

581
00:33:05,280 --> 00:33:08,000
Speaker 1: the twelve step program is a little dated. Hell yeah,

582
00:33:07,840 --> 00:33:10,520
Speaker 1: it's it's prehistoric. It's prehistoric, and it's kind of like

583
00:33:11,040 --> 00:33:13,640
Speaker 1: faith based, you know, it's kind of like you know,

584
00:33:14,040 --> 00:33:16,480
Speaker 1: and I think that you know, kind of from what

585
00:33:16,520 --> 00:33:20,880
Speaker 1: I understand, the Heavenly Center is a cannabis centric like

586
00:33:20,920 --> 00:33:22,680
Speaker 1: a place to try to help people get off certain

587
00:33:22,720 --> 00:33:25,360
Speaker 1: drugs by by using cannabis. Crowd yeah, not just I

588
00:33:25,360 --> 00:33:28,440
Speaker 1: mean we allow the cannabis and we'll educate you about

589
00:33:28,480 --> 00:33:34,440
Speaker 1: the cannabis and like try and evaluate you and see

590
00:33:34,480 --> 00:33:37,080
Speaker 1: what cannabis works the best for you and how much

591
00:33:37,120 --> 00:33:39,440
Speaker 1: of it Millig, It's really it's really helpful to get

592
00:33:39,480 --> 00:33:42,840
Speaker 1: people off opiates by the individual. Yeah, it really helpful.

593
00:33:42,920 --> 00:33:45,400
Speaker 1: And for me it worked to get off of cocaine

594
00:33:45,520 --> 00:33:48,840
Speaker 1: and like, you know, I'm living proof of that shit.

595
00:33:49,840 --> 00:33:53,560
Speaker 1: You know, people have anxiety when they when they're recovering

596
00:33:53,600 --> 00:33:57,800
Speaker 1: from hard substances. Cannabis helps with that and get you

597
00:33:57,840 --> 00:34:00,720
Speaker 1: through that and people you start enjoying the way you feel,

598
00:34:01,320 --> 00:34:04,800
Speaker 1: and it's not like a negative thing like whereas like

599
00:34:04,880 --> 00:34:07,840
Speaker 1: some of these drugs, the high that comes from that

600
00:34:08,520 --> 00:34:11,880
Speaker 1: destroys your life. It's not the case with cannabis. So

601
00:34:11,920 --> 00:34:14,279
Speaker 1: people want to feel like they have something that they

602
00:34:14,280 --> 00:34:18,520
Speaker 1: can relax and you know, just and it's also it's

603
00:34:18,520 --> 00:34:21,600
Speaker 1: an anti inflammatory. So like I think a hard like

604
00:34:21,640 --> 00:34:23,720
Speaker 1: we talk about people who get fucked up on Perks

605
00:34:23,719 --> 00:34:27,240
Speaker 1: and ship and heroin getting off. The getting off means

606
00:34:27,280 --> 00:34:32,560
Speaker 1: those withdraws and if you could just dab yourself, you're

607
00:34:32,680 --> 00:34:35,480
Speaker 1: you know, it helps, man. So the Heavenly Center is

608
00:34:35,520 --> 00:34:39,600
Speaker 1: opening up when it's first July first and it's in

609
00:34:39,760 --> 00:34:42,560
Speaker 1: La it's in Studio City, Studio City, so it's in

610
00:34:42,560 --> 00:34:48,120
Speaker 1: the valley. See the heavenly I like that. Come on man,

611
00:34:48,680 --> 00:34:53,160
Speaker 1: that's fire. So is that something that like what like,

612
00:34:53,680 --> 00:34:57,120
Speaker 1: obviously we know you're on this like comeback trail and

613
00:34:57,120 --> 00:34:59,799
Speaker 1: we know you're you're your lowest of your lows. Was

614
00:35:00,040 --> 00:35:01,640
Speaker 1: what was the inspiration of saying, like, you know what,

615
00:35:01,640 --> 00:35:04,000
Speaker 1: I'm going to try to help people. Yeah, that was

616
00:35:04,040 --> 00:35:07,400
Speaker 1: definitely part of it. And you know, conversations with obviously

617
00:35:07,480 --> 00:35:10,880
Speaker 1: with Steve LaBelle and you know he's always helping me,

618
00:35:11,400 --> 00:35:17,760
Speaker 1: you know, trying to you know, to expand one. Of course,

619
00:35:17,920 --> 00:35:21,280
Speaker 1: of course it's not always about like making a beat,

620
00:35:21,320 --> 00:35:25,240
Speaker 1: Like there's so much more we can do. Like you know, dude,

621
00:35:25,440 --> 00:35:28,279
Speaker 1: you we wouldn't have Yeasies if Kanye West just it

622
00:35:28,320 --> 00:35:31,600
Speaker 1: may beats all time, we wouldn't even have him rapping.

623
00:35:31,840 --> 00:35:37,640
Speaker 1: He would still be just producing facts. You're you're your

624
00:35:37,719 --> 00:35:40,920
Speaker 1: last five four or five years. We touched on that

625
00:35:41,000 --> 00:35:44,719
Speaker 1: a little bit, but we're talking down below from Roddy Rich.

626
00:35:44,960 --> 00:35:51,080
Speaker 1: We're talking russ I mean trippy even like the stuff

627
00:35:51,120 --> 00:35:53,719
Speaker 1: he did with six ' nine, you know, crazy right,

628
00:35:53,840 --> 00:35:59,320
Speaker 1: Like what who is the the one artist that is

629
00:35:59,360 --> 00:36:01,680
Speaker 1: a new school artists that you feel like you have

630
00:36:02,400 --> 00:36:06,320
Speaker 1: an insane chemistry with like that. It's just like Russ

631
00:36:06,320 --> 00:36:08,200
Speaker 1: for sure, I was gonna say, I've got have not

632
00:36:08,280 --> 00:36:10,840
Speaker 1: failed yet. We've made I don't know we We've released

633
00:36:10,840 --> 00:36:16,480
Speaker 1: how many songs with him so far? Five? Five? More

634
00:36:16,520 --> 00:36:19,200
Speaker 1: than that? And Russ is the kind of guy six

635
00:36:19,320 --> 00:36:21,880
Speaker 1: or seven. Every time we would go in the studio

636
00:36:22,280 --> 00:36:24,560
Speaker 1: we worked six or whatever. The number of records that's

637
00:36:24,600 --> 00:36:27,200
Speaker 1: out is the number of records we did, and they

638
00:36:27,280 --> 00:36:30,560
Speaker 1: all go out. Yeah, yeah, that's wild. And then like

639
00:36:30,640 --> 00:36:32,520
Speaker 1: it's crazy because I know that like he kind of

640
00:36:32,520 --> 00:36:36,239
Speaker 1: prides himself on self production on but I remember seeing

641
00:36:36,280 --> 00:36:38,040
Speaker 1: an interview was like, yo, the one guy wanted to

642
00:36:38,040 --> 00:36:40,600
Speaker 1: get in with the Scott Storch. Yeah, he was saying,

643
00:36:40,719 --> 00:36:44,920
Speaker 1: I think Doctor dray Me and Timbaland were his top three.

644
00:36:45,480 --> 00:36:48,959
Speaker 1: Like like getting like letting like letting somebody like into

645
00:36:48,960 --> 00:36:51,040
Speaker 1: this creative process like it's got an honor. Man. It

646
00:36:51,120 --> 00:36:55,000
Speaker 1: felt good, like you know when people like you know,

647
00:36:55,280 --> 00:36:59,160
Speaker 1: it gets you inspired, when you feel you know people

648
00:36:59,200 --> 00:37:01,879
Speaker 1: are feeling what you're doing, and it's like because they

649
00:37:01,880 --> 00:37:04,120
Speaker 1: don't know what to expect after, you know, when they're

650
00:37:04,120 --> 00:37:06,280
Speaker 1: gonna come into the studio with you. Like I remember

651
00:37:06,480 --> 00:37:09,080
Speaker 1: Russ was even saying, he was like, man, it's one

652
00:37:09,080 --> 00:37:10,960
Speaker 1: thing to get an opportunity to come in and work

653
00:37:11,000 --> 00:37:14,440
Speaker 1: with Scott Storage, but He's like, and then for it

654
00:37:14,520 --> 00:37:18,520
Speaker 1: to be dope, that's that's that's on the cake on

655
00:37:21,800 --> 00:37:26,880
Speaker 1: your album is something that I think is overdue because

656
00:37:26,880 --> 00:37:29,280
Speaker 1: I think back in the day when like DJ Clue

657
00:37:29,280 --> 00:37:32,800
Speaker 1: was dropping the professional and like you, I mean Timberland

658
00:37:32,880 --> 00:37:35,200
Speaker 1: even you know, I mean obviously tim Tim was rapping

659
00:37:35,239 --> 00:37:37,600
Speaker 1: Timberland and Magoo, Oh my God, shout out to Magoo

660
00:37:37,640 --> 00:37:39,880
Speaker 1: fake as q Tip. I love him though when I

661
00:37:39,880 --> 00:37:42,400
Speaker 1: was a kid, who was one of my favorite rappers.

662
00:37:42,560 --> 00:37:44,520
Speaker 1: But I feel like this is something this way overdue, man,

663
00:37:44,640 --> 00:37:50,240
Speaker 1: Like are you reconnecting with uh any of the veterans,

664
00:37:50,320 --> 00:37:54,239
Speaker 1: the Vets, the Fat Joe's. I think, I mean, it's

665
00:37:54,239 --> 00:37:57,399
Speaker 1: gonna be multi fascinated album and it's not just rap shit,

666
00:37:57,840 --> 00:38:01,360
Speaker 1: It's gonna be all different kinds of ship. What about

667
00:38:01,520 --> 00:38:09,239
Speaker 1: little country, some country? But what like obviously you when

668
00:38:09,239 --> 00:38:11,160
Speaker 1: you did don't say nothing. I was I remember as

669
00:38:11,160 --> 00:38:13,799
Speaker 1: a kid seeing the article or the ad in Double

670
00:38:13,800 --> 00:38:16,839
Speaker 1: Excel and it's saying produced by Scott Storch oh Ship.

671
00:38:17,400 --> 00:38:21,960
Speaker 1: He's back with he's doing the Roots record. But I'm

672
00:38:21,960 --> 00:38:24,439
Speaker 1: wondering what would what would have to happen like now,

673
00:38:24,520 --> 00:38:26,160
Speaker 1: Like would would that be something where you'd be like, Yo,

674
00:38:26,160 --> 00:38:28,359
Speaker 1: I need to like it's my debut album. I need

675
00:38:28,400 --> 00:38:31,960
Speaker 1: to bring thought and question to do a record like

676
00:38:32,400 --> 00:38:35,799
Speaker 1: going It's already happened. Talked to Black Thought maybe a

677
00:38:35,880 --> 00:38:38,400
Speaker 1: month ago about it. By the way, Black Thoughts is

678
00:38:38,440 --> 00:38:40,400
Speaker 1: one of the greatest rappers. I want to make a

679
00:38:40,480 --> 00:38:44,319
Speaker 1: record like with Black Thought and like J Cole, something

680
00:38:44,320 --> 00:38:46,600
Speaker 1: crazy with quest love on the drums, bru and ship

681
00:38:46,719 --> 00:38:49,480
Speaker 1: like that that sounds like a hip hop what dream?

682
00:38:50,239 --> 00:38:52,279
Speaker 1: I told them. I told both of them. I told

683
00:38:52,360 --> 00:38:57,719
Speaker 1: J Cole and I told Damn, that's that's great, yo.

684
00:38:59,000 --> 00:39:01,680
Speaker 1: You working with six N. Obviously, prior to all this

685
00:39:01,719 --> 00:39:05,680
Speaker 1: crazy ship going on, I remember seeing that video you

686
00:39:05,680 --> 00:39:08,839
Speaker 1: Want the Keys. It was the Tory record, by the way,

687
00:39:09,160 --> 00:39:14,520
Speaker 1: Tory shouldn't that that That hook was crazy? Crazy? Was there?

688
00:39:14,600 --> 00:39:16,640
Speaker 1: But was there any other records that that we didn't?

689
00:39:16,760 --> 00:39:19,799
Speaker 1: We never heard that? You guys did? Yeah? Do you?

690
00:39:20,040 --> 00:39:27,120
Speaker 1: It was like more is there is that? Like? Uh no,

691
00:39:27,120 --> 00:39:28,640
Speaker 1: no, no no, I mean, are there any records that are

692
00:39:28,680 --> 00:39:30,600
Speaker 1: that we have that haven't come out that that that

693
00:39:30,680 --> 00:39:33,960
Speaker 1: are no, no, no, okay, what is that? Like? I

694
00:39:34,000 --> 00:39:37,200
Speaker 1: wonder as a producer because on the hip hop side

695
00:39:37,239 --> 00:39:39,719
Speaker 1: of things, I feel like a lot of rappers just

696
00:39:39,760 --> 00:39:41,319
Speaker 1: are I mean, he's kind of black on him, But

697
00:39:41,360 --> 00:39:44,960
Speaker 1: as a producer, you're kind of not necessarily I don't

698
00:39:44,960 --> 00:39:46,719
Speaker 1: know if you're held to the same standards, like would

699
00:39:46,760 --> 00:39:48,440
Speaker 1: you would you work with someone like him again if

700
00:39:48,440 --> 00:39:51,440
Speaker 1: it made sense? I you know, I hate I don't

701
00:39:51,480 --> 00:39:53,440
Speaker 1: even want to answer this question because I know people

702
00:39:53,760 --> 00:39:56,640
Speaker 1: are gonna intentionally for no matter what I say. If

703
00:39:56,680 --> 00:39:59,480
Speaker 1: I said I would, I won't, won't whatever they're gonna like,

704
00:39:59,719 --> 00:40:02,520
Speaker 1: you know, just talk about it. But I'll just say this.

705
00:40:03,680 --> 00:40:07,680
Speaker 1: You know, I don't turn my back on anybody in life.

706
00:40:07,920 --> 00:40:10,160
Speaker 1: That's it, you know what I mean. I mean, you've

707
00:40:10,160 --> 00:40:12,880
Speaker 1: been You've been in some low places, man, I've been

708
00:40:12,920 --> 00:40:15,799
Speaker 1: in some low places. You know, human beings can work

709
00:40:15,840 --> 00:40:18,200
Speaker 1: through shit together, you know what I mean. That's Hey,

710
00:40:18,200 --> 00:40:21,319
Speaker 1: that's some real shit, man, That's some real shit. Yo.

711
00:40:21,480 --> 00:40:28,040
Speaker 1: Is there ever a beat of yours that you wish? Uh?

712
00:40:28,400 --> 00:40:30,680
Speaker 1: Like that that came out that like maybe it was

713
00:40:30,719 --> 00:40:33,279
Speaker 1: a record that you were like, you know what, it

714
00:40:33,360 --> 00:40:38,200
Speaker 1: wasn't worth the bag. Yeah, those who happened, let's not

715
00:40:38,239 --> 00:40:41,560
Speaker 1: even address those. Can we have any examples at all?

716
00:40:41,760 --> 00:40:44,480
Speaker 1: Just one? Can you give us one? I don't know,

717
00:40:45,520 --> 00:40:48,080
Speaker 1: there had to be a record that dropped that you

718
00:40:48,080 --> 00:40:52,720
Speaker 1: were like, damn, Like maybe it's somebody who's not around anymore.

719
00:40:53,120 --> 00:40:56,799
Speaker 1: Not I mean, obviously, maybe they're just you know, I

720
00:40:56,800 --> 00:40:59,160
Speaker 1: can I don't want to, you know, I can't. I

721
00:40:59,200 --> 00:41:01,319
Speaker 1: don't want to offend it anybody with that. But yeah,

722
00:41:01,320 --> 00:41:03,759
Speaker 1: there's been some records that were whack. Let me go through,

723
00:41:04,160 --> 00:41:06,120
Speaker 1: you know what. More than there were being records that

724
00:41:06,120 --> 00:41:10,719
Speaker 1: were whack, there's records that sometimes I remember jay Z

725
00:41:10,880 --> 00:41:14,239
Speaker 1: telling me that record went to the wrong person. He

726
00:41:14,280 --> 00:41:16,320
Speaker 1: sat me down. He was like, he's like, you should

727
00:41:16,360 --> 00:41:18,560
Speaker 1: have gave this record to that person, you should give

728
00:41:18,640 --> 00:41:21,600
Speaker 1: that record to this. Well, give us that example. You

729
00:41:21,640 --> 00:41:25,160
Speaker 1: don't remember, yo, that's real because a lot of it is, uh,

730
00:41:25,719 --> 00:41:27,919
Speaker 1: it's fit right. It's like, damn, can you imagine if

731
00:41:28,480 --> 00:41:30,440
Speaker 1: I always remember I don't know if you watched the

732
00:41:31,200 --> 00:41:36,239
Speaker 1: jay Z documentary where Timberland's playing in beats and Timer

733
00:41:36,280 --> 00:41:40,640
Speaker 1: them plays him the potion and then Luda ended up

734
00:41:40,640 --> 00:41:43,400
Speaker 1: with the potion and jay Z passed on it, and

735
00:41:43,440 --> 00:41:45,680
Speaker 1: it was like, oh, that happens all the time. Jay

736
00:41:45,719 --> 00:41:48,239
Speaker 1: would have got on that ship. Or you know, like

737
00:41:48,440 --> 00:41:53,080
Speaker 1: you maybe you had one artist who's here, and then

738
00:41:53,120 --> 00:41:55,239
Speaker 1: there's another artist that's your favorite artist and that's a

739
00:41:55,320 --> 00:41:58,279
Speaker 1: huge artist, and the one artist came to see you

740
00:41:58,600 --> 00:42:00,760
Speaker 1: and you were playing beats and then ended up getting

741
00:42:00,760 --> 00:42:03,160
Speaker 1: that and you're like you didn't realize that next week

742
00:42:03,200 --> 00:42:06,160
Speaker 1: you were meeting with this fucking massive artist and you're like, fuck,

743
00:42:06,680 --> 00:42:09,319
Speaker 1: but you can't. I'm not grinding like that. I don't

744
00:42:09,480 --> 00:42:11,359
Speaker 1: I know a lot of stories where people will take

745
00:42:11,400 --> 00:42:13,440
Speaker 1: the ship like yeah, no, no, I need that be back,

746
00:42:13,800 --> 00:42:16,600
Speaker 1: like jay Z, Oh yeah, this one already took it. Whatever.

747
00:42:16,640 --> 00:42:18,880
Speaker 1: I never done that. Okay, I'm gonna I'm gonna take

748
00:42:18,920 --> 00:42:20,960
Speaker 1: a guess. Let me get a guess on on a

749
00:42:20,960 --> 00:42:22,920
Speaker 1: whack beat or a beat a song of years that

750
00:42:22,920 --> 00:42:24,640
Speaker 1: you weren't a fan of. Let me just get a guess.

751
00:42:25,560 --> 00:42:28,680
Speaker 1: Let's go with h Brook hogans about us. Come on, man,

752
00:42:29,000 --> 00:42:32,440
Speaker 1: I see what his interview is going. Shout out to

753
00:42:32,440 --> 00:42:35,759
Speaker 1: Brook Hogan man, yo, secret, Yeah, I mean we're kind

754
00:42:35,760 --> 00:42:38,839
Speaker 1: of being filled right now, So go ahead, I'll tell

755
00:42:38,840 --> 00:42:43,480
Speaker 1: you a secret camera MOTHERU big bag for that record?

756
00:42:44,120 --> 00:42:46,840
Speaker 1: Big bag, big Bag? Now was the Brooke Hogan? Was

757
00:42:46,880 --> 00:42:49,640
Speaker 1: that was that? Was? That? Was that Haul Cogan money?

758
00:42:49,920 --> 00:42:52,239
Speaker 1: Huh nah? Or was that from her label? That was

759
00:42:52,280 --> 00:42:57,040
Speaker 1: from her label? That's crazy that did you like chop

760
00:42:57,080 --> 00:43:01,439
Speaker 1: it up? Did you chop it up with Hulk? Yeah? Cool,

761
00:43:02,440 --> 00:43:07,600
Speaker 1: that's crazy Holster the Holkster. I'm all right, yo, it's

762
00:43:07,600 --> 00:43:15,600
Speaker 1: it's it's interesting because like, yo, you did Shutterbug Shut Up.

763
00:43:15,680 --> 00:43:18,600
Speaker 1: That was such a great fucking album. Man. You know

764
00:43:18,640 --> 00:43:24,600
Speaker 1: what's interesting about that song. That's the only record that

765
00:43:24,760 --> 00:43:28,319
Speaker 1: I'm proud of at all that I made as a

766
00:43:28,320 --> 00:43:31,960
Speaker 1: complete fucking junkie because it was in that era, right, Yes,

767
00:43:33,080 --> 00:43:36,240
Speaker 1: that's interesting. Yeah, I'm looking I'm looking at the records

768
00:43:36,320 --> 00:43:39,160
Speaker 1: during that time, and I'm like, and I remember the conversation.

769
00:43:39,560 --> 00:43:43,440
Speaker 1: I remember Big Boy. He was like, man, people warned me,

770
00:43:43,480 --> 00:43:45,360
Speaker 1: they were like when he was in the studio and

771
00:43:45,360 --> 00:43:47,160
Speaker 1: he's like that, you know, you know, you're not so

772
00:43:47,280 --> 00:43:50,400
Speaker 1: good right now, but the ships flying like He's like,

773
00:43:50,480 --> 00:43:54,120
Speaker 1: I like this record. I'm like, cool. I was fucking

774
00:43:54,160 --> 00:43:57,279
Speaker 1: sweating profusely going to the bathroom to fucking do coke

775
00:43:57,360 --> 00:44:04,480
Speaker 1: and ship like fucked up with that record? Outside outside

776
00:44:04,520 --> 00:44:07,680
Speaker 1: of the million dollar commercial? Do you remember the beat

777
00:44:07,719 --> 00:44:09,960
Speaker 1: that you got paid the most for it by a

778
00:44:10,040 --> 00:44:19,279
Speaker 1: label that record, No No, the one No No. I

779
00:44:19,280 --> 00:44:21,560
Speaker 1: mean outside of that because that was a commercial, so

780
00:44:21,680 --> 00:44:24,799
Speaker 1: like was pretty close to that. But I'm saying, do

781
00:44:24,800 --> 00:44:26,359
Speaker 1: you remember, like yo, the most I mean you got

782
00:44:26,360 --> 00:44:28,320
Speaker 1: in your head like yo, I remember the biggest bag

783
00:44:28,360 --> 00:44:30,120
Speaker 1: I got for a beat in mighty? Like what what

784
00:44:30,160 --> 00:44:33,719
Speaker 1: do you remember what record that was? Now? The real

785
00:44:33,760 --> 00:44:36,600
Speaker 1: I mean, those bags are cool. The big bags come

786
00:44:36,640 --> 00:44:40,160
Speaker 1: when they motherfucking go, right, because when your record goes

787
00:44:40,239 --> 00:44:43,839
Speaker 1: that's when the real bag. It's crazy because like I

788
00:44:43,880 --> 00:44:46,040
Speaker 1: when you did the bat, I was like, damn, I forgot,

789
00:44:46,160 --> 00:44:50,200
Speaker 1: like you like launched Chris Brown, bro, like you had

790
00:44:50,200 --> 00:44:56,840
Speaker 1: his first single like that. Nobody knows that artists are

791
00:44:56,880 --> 00:44:59,319
Speaker 1: going to be where they end up going, right, And

792
00:44:59,400 --> 00:45:02,240
Speaker 1: Chris Brown at that time, it was sixteen years old,

793
00:45:02,400 --> 00:45:05,479
Speaker 1: he was just turning sixteen, just turning sixteen years old,

794
00:45:06,160 --> 00:45:08,360
Speaker 1: and you're the one of the biggest producers in the

795
00:45:08,400 --> 00:45:13,560
Speaker 1: world at the time. Like what did did you see

796
00:45:13,560 --> 00:45:15,360
Speaker 1: that in him? Like earlier? Was it just like for

797
00:45:15,400 --> 00:45:17,880
Speaker 1: you just like another placement like yeah, nah, man, Like

798
00:45:18,840 --> 00:45:21,080
Speaker 1: I made him a promise the day I met him,

799
00:45:21,120 --> 00:45:23,319
Speaker 1: I was like, yo, I'm making you a number one

800
00:45:23,360 --> 00:45:26,480
Speaker 1: song right now. And like I just had a feeling

801
00:45:26,520 --> 00:45:32,520
Speaker 1: like he just seemed like uh for a time, the

802
00:45:32,640 --> 00:45:36,680
Speaker 1: new Michael Jackson, Like this kid was dancing because he

803
00:45:36,760 --> 00:45:40,520
Speaker 1: had a crazy ass voice that age, and I could

804
00:45:40,560 --> 00:45:43,600
Speaker 1: tell his whole personality, his whole style and everything. Yeah,

805
00:45:43,600 --> 00:45:46,000
Speaker 1: I knew he was gonna go, and especially since the

806
00:45:46,040 --> 00:45:49,400
Speaker 1: people that brought him there, one of them was Mark Pitts,

807
00:45:50,239 --> 00:45:54,399
Speaker 1: you know who discovered like you know, Biggie and shit

808
00:45:54,480 --> 00:45:59,680
Speaker 1: like that. You and Dre's relationship, how is it today? Great?

809
00:46:00,160 --> 00:46:02,480
Speaker 1: Has he like like like like I sent him my

810
00:46:02,600 --> 00:46:06,040
Speaker 1: single he liked it nice. I had to get approval

811
00:46:06,080 --> 00:46:08,520
Speaker 1: from the Godfather because you like it like acknowledge like

812
00:46:08,560 --> 00:46:10,000
Speaker 1: young man, I'm like proud of you, Scott, because I

813
00:46:10,000 --> 00:46:12,760
Speaker 1: feel like we all should be like that shows fans

814
00:46:12,760 --> 00:46:15,239
Speaker 1: of hip hop like, man, like, your comeback story is crazy, bro,

815
00:46:16,400 --> 00:46:20,759
Speaker 1: and it's just getting started. Yeah man, you know, but

816
00:46:20,800 --> 00:46:26,560
Speaker 1: I'm glad that I'm evolving into a guy that is

817
00:46:26,600 --> 00:46:30,320
Speaker 1: making his own records and not just being like a

818
00:46:30,520 --> 00:46:34,440
Speaker 1: you know, a beat slut. Like I'm making my own

819
00:46:34,480 --> 00:46:37,600
Speaker 1: albums and my own records movies. When you say it

820
00:46:37,680 --> 00:46:39,480
Speaker 1: beat slut that what do you What are you saying

821
00:46:39,840 --> 00:46:43,200
Speaker 1: like somebody who just sells beats to everybody and that's

822
00:46:43,280 --> 00:46:45,799
Speaker 1: you know, it is cool. But when you're making big

823
00:46:45,880 --> 00:46:49,320
Speaker 1: records like and you're taking the time and put in

824
00:46:49,400 --> 00:46:52,919
Speaker 1: the work and be a DJ Kaled and go through,

825
00:46:53,280 --> 00:46:55,839
Speaker 1: you know, it's fucking hell trying to get clearances and

826
00:46:56,120 --> 00:46:59,000
Speaker 1: getting vocals and the vocals is it in the vocals? Yeah?

827
00:46:59,160 --> 00:47:02,160
Speaker 1: That ship isn't yo. Listen, listen, I'm one record deep

828
00:47:02,239 --> 00:47:05,800
Speaker 1: and now I'm like, damn, no respect to called because

829
00:47:06,080 --> 00:47:10,239
Speaker 1: having this deal with everyone's teams. I mean, that's it's

830
00:47:10,280 --> 00:47:12,839
Speaker 1: it's low key like it's a lot because I put

831
00:47:12,840 --> 00:47:15,000
Speaker 1: out a project before and it was like it was

832
00:47:15,040 --> 00:47:19,439
Speaker 1: a lot. Man, it's a lot. Dude. Have you been

833
00:47:20,120 --> 00:47:23,000
Speaker 1: coming from your background and being as musical as you are,

834
00:47:23,719 --> 00:47:25,200
Speaker 1: like you said, you kind of had to relearn where

835
00:47:25,280 --> 00:47:28,040
Speaker 1: music is now? And I've seen you in the studio

836
00:47:28,080 --> 00:47:30,000
Speaker 1: even if stuff doesn't end up dropping, I've seen you

837
00:47:30,000 --> 00:47:32,600
Speaker 1: in the studio so many of these young kids from

838
00:47:32,640 --> 00:47:37,759
Speaker 1: this young generation, and I feel like sometimes I'll see

839
00:47:37,800 --> 00:47:39,279
Speaker 1: you in the studio with a certain arts and I'll

840
00:47:39,280 --> 00:47:40,839
Speaker 1: be like, man that I don't know what that kid

841
00:47:40,840 --> 00:47:44,560
Speaker 1: deserves to be in the studio with Scott's Storch just because, like, artistically,

842
00:47:44,680 --> 00:47:46,000
Speaker 1: I think a lot of the there's a lot of

843
00:47:46,120 --> 00:47:47,960
Speaker 1: a lot of the ship that's coming out. In the

844
00:47:48,040 --> 00:47:50,239
Speaker 1: last couple of years, it has kind of been whatever. Yeah,

845
00:47:50,280 --> 00:47:52,759
Speaker 1: I mean I have to experiment sometimes, I have to

846
00:47:52,840 --> 00:47:54,399
Speaker 1: like take a closer look at the artists and see

847
00:47:54,400 --> 00:47:56,160
Speaker 1: if it can work or not, And sometimes it does.

848
00:47:56,320 --> 00:47:58,680
Speaker 1: Is there ever a time where you're like, man, I

849
00:47:58,719 --> 00:48:01,759
Speaker 1: just I just can't do this. This is just not Yes,

850
00:48:02,360 --> 00:48:07,480
Speaker 1: that's happened with the new guys. Who's like somebody, let

851
00:48:07,520 --> 00:48:10,040
Speaker 1: me tell you one of the things that's crazy to me. Yeah,

852
00:48:10,520 --> 00:48:18,799
Speaker 1: Like there's you know, people rapping. You know, I'm not

853
00:48:18,800 --> 00:48:25,080
Speaker 1: talking about stylistically, but on beat. Okay, if something it's

854
00:48:25,239 --> 00:48:27,759
Speaker 1: really I mean a lot of people like it and

855
00:48:27,800 --> 00:48:31,440
Speaker 1: have grown accustomed to wrap completely off beat. I like

856
00:48:31,520 --> 00:48:35,080
Speaker 1: it slightly off beat. When it's completely not even remotely

857
00:48:35,120 --> 00:48:38,560
Speaker 1: anywhere near the beat. It fucking ladies and gentlemen. Things

858
00:48:38,640 --> 00:48:41,560
Speaker 1: have gone blue face. It bothers the funk out of

859
00:48:41,600 --> 00:48:43,080
Speaker 1: me when I'm in the studio. That's the only thing.

860
00:48:43,239 --> 00:48:45,000
Speaker 1: And then I'll just get aheadache and I'll be like ya,

861
00:48:45,040 --> 00:48:49,960
Speaker 1: I'll be right back. I might not come back. Who

862
00:48:49,960 --> 00:48:54,080
Speaker 1: are some of the producers that inspire you? Now? There's

863
00:48:54,080 --> 00:48:56,440
Speaker 1: a whole wave of young guys that are i mean

864
00:48:56,520 --> 00:48:59,879
Speaker 1: murdered beats. It's incredible. There's a lot of cats out there,

865
00:49:00,360 --> 00:49:05,040
Speaker 1: you know, vinyls, Vinyls is fire, doesn't get vinyls don't

866
00:49:05,040 --> 00:49:09,360
Speaker 1: have like yeah, hip boys incredible. Like I also feel

867
00:49:09,360 --> 00:49:11,520
Speaker 1: like too, like with with where music is too, Like

868
00:49:12,520 --> 00:49:14,399
Speaker 1: the d M ship is kind of its own thing,

869
00:49:14,880 --> 00:49:17,600
Speaker 1: you know, Like is that something that like you can

870
00:49:17,640 --> 00:49:19,920
Speaker 1: see yourself like doing an DM record on your album

871
00:49:20,000 --> 00:49:23,279
Speaker 1: or working with someone like Marshmallow or Yeah, I mean

872
00:49:23,320 --> 00:49:26,200
Speaker 1: a lot of d M isn't d M anymore. It's

873
00:49:26,239 --> 00:49:29,880
Speaker 1: definitely just pop music. Like you listen to the Chain Smokers,

874
00:49:29,920 --> 00:49:33,040
Speaker 1: You're like, this is one hundred BPMS producers that are

875
00:49:33,040 --> 00:49:35,799
Speaker 1: working on Like you said, like Marshmallow got Roddy Rich

876
00:49:35,840 --> 00:49:38,960
Speaker 1: on a single. Yeah, like straight regular make a rap

877
00:49:39,000 --> 00:49:51,799
Speaker 1: shit it is, Yeah, craziest house party you ever threw.

878
00:49:51,840 --> 00:49:56,000
Speaker 1: Crazy It was back in like nineteen sixty seven, No

879
00:49:57,760 --> 00:49:59,680
Speaker 1: fucking remember, I don't know it was a lot of

880
00:49:59,719 --> 00:50:05,480
Speaker 1: crazy in that generation. What about waking up the next day,

881
00:50:07,360 --> 00:50:09,840
Speaker 1: what's the biggest thing you would like, like, like I

882
00:50:09,880 --> 00:50:14,080
Speaker 1: always feel like we all have those nights where it's like, damn,

883
00:50:14,400 --> 00:50:16,799
Speaker 1: did this shit even happen? Like I don't, like, bro,

884
00:50:17,040 --> 00:50:20,040
Speaker 1: I don't even remember how I would get there sometimes,

885
00:50:20,040 --> 00:50:23,120
Speaker 1: but I would wake up in the middle of the

886
00:50:23,160 --> 00:50:26,080
Speaker 1: ocean on my yacht, not knowing how you got there,

887
00:50:26,239 --> 00:50:29,279
Speaker 1: ten ass naked girls and just wake up and the

888
00:50:29,360 --> 00:50:32,399
Speaker 1: ten piece Yeah, just all ass naked all not even

889
00:50:32,440 --> 00:50:34,719
Speaker 1: in the bedrooms mad bedrooms in the boat, but like

890
00:50:34,800 --> 00:50:37,120
Speaker 1: on top of the boat, like out in the front,

891
00:50:37,239 --> 00:50:41,880
Speaker 1: like just fucking like drink spilled everywhere. Just not even remember.

892
00:50:42,560 --> 00:50:44,680
Speaker 1: I didn't even remember how I got on a boat.

893
00:50:45,080 --> 00:50:47,600
Speaker 1: That shit is crazy. Yeah, we were doing some wild

894
00:50:48,880 --> 00:50:53,399
Speaker 1: and then, uh, you had an interesting era where you

895
00:50:53,400 --> 00:50:55,600
Speaker 1: you and you and Little Cambre kind of a thing.

896
00:50:56,280 --> 00:50:58,880
Speaker 1: We were cool. You guys were like cool. Yeah, I

897
00:50:58,880 --> 00:51:00,279
Speaker 1: feel like you guys were like one of the early

898
00:51:00,320 --> 00:51:03,319
Speaker 1: hip hop power power situations that were rumored. That was

899
00:51:03,360 --> 00:51:08,439
Speaker 1: a very brief moment, but our friendship was very like long,

900
00:51:08,520 --> 00:51:12,040
Speaker 1: like we literally didn't really like we weren't together like

901
00:51:12,080 --> 00:51:15,640
Speaker 1: that we were cool, but we were more like enjoyed

902
00:51:15,719 --> 00:51:18,240
Speaker 1: each other's company as like more of a brotherly sisterly

903
00:51:18,280 --> 00:51:20,560
Speaker 1: thing because were you you were here, It wasn't really

904
00:51:20,920 --> 00:51:24,759
Speaker 1: a physical connection like that, Like it was more like

905
00:51:24,800 --> 00:51:29,480
Speaker 1: a friendship vibe. Were you which which album did you?

906
00:51:29,600 --> 00:51:32,040
Speaker 1: Because she had she had that two album run in

907
00:51:32,080 --> 00:51:34,319
Speaker 1: that era where it was like Notorious k I Am

908
00:51:34,800 --> 00:51:37,000
Speaker 1: and then Lebelle Mafia was lighters up right, it was

909
00:51:37,000 --> 00:51:40,279
Speaker 1: that that was a great album. I remember when you

910
00:51:40,320 --> 00:51:42,520
Speaker 1: played that ship in that battle. I was like, man,

911
00:51:42,800 --> 00:51:44,880
Speaker 1: I forgot which song do you wish you would have

912
00:51:44,880 --> 00:51:46,839
Speaker 1: played during the battle that you'd liken? There's a lot

913
00:51:46,880 --> 00:51:50,759
Speaker 1: of them. There was maybe a couple of choices that

914
00:51:50,840 --> 00:51:53,279
Speaker 1: I had influence around me that was like you should

915
00:51:53,400 --> 00:51:56,160
Speaker 1: like this is there one that you left out there?

916
00:51:56,160 --> 00:51:58,080
Speaker 1: Like fuck this one? It was like kind of the

917
00:51:58,120 --> 00:52:01,160
Speaker 1: obvious one that could have got played. Yeah, there's probably

918
00:52:01,160 --> 00:52:04,480
Speaker 1: something I can't think of it now. Well, the album

919
00:52:04,520 --> 00:52:06,799
Speaker 1: hopefully will be getting soon. You say you got five

920
00:52:06,880 --> 00:52:11,839
Speaker 1: or six records that you feel good about their album quality. Oh,

921
00:52:11,880 --> 00:52:14,759
Speaker 1: they're like you know that these are going on? Yeah,

922
00:52:14,800 --> 00:52:17,000
Speaker 1: I got a gang of records that are like cool

923
00:52:17,440 --> 00:52:19,600
Speaker 1: that might need to be touched up. Yeah, I mean

924
00:52:20,080 --> 00:52:24,360
Speaker 1: unless it's something real special, it's not gonna who who

925
00:52:24,560 --> 00:52:26,560
Speaker 1: can you tell us who else is for sure making

926
00:52:26,600 --> 00:52:31,000
Speaker 1: the album? No? Okay? Have you You know it's funny

927
00:52:31,000 --> 00:52:34,359
Speaker 1: because I remember one art one one one one artist,

928
00:52:34,400 --> 00:52:35,799
Speaker 1: So I want to hear you with, right, I got

929
00:52:35,840 --> 00:52:39,480
Speaker 1: to actually introduce you to is the Baby? Did you

930
00:52:39,520 --> 00:52:43,480
Speaker 1: guys ever end up getting together and creating after that? Well?

931
00:52:43,480 --> 00:52:45,560
Speaker 1: I think it was during the Grammys, right, it was

932
00:52:45,560 --> 00:52:50,319
Speaker 1: like Grammy week. Bro. I don't know how, but I

933
00:52:50,440 --> 00:52:54,960
Speaker 1: somehow based ever sending him a pack and I want

934
00:52:54,960 --> 00:52:57,160
Speaker 1: to work with him. I was like yeah, and like

935
00:52:57,200 --> 00:53:00,800
Speaker 1: I would just be collecting joints. I was always waiting

936
00:53:00,800 --> 00:53:03,160
Speaker 1: for one more to come that was better to send,

937
00:53:03,520 --> 00:53:06,080
Speaker 1: and I just ended up missing the boat. But I'm

938
00:53:06,080 --> 00:53:08,200
Speaker 1: gonna catch him on the next one. Yeah, Like when

939
00:53:08,200 --> 00:53:11,359
Speaker 1: you it's crazy that you're like, yo, like Storre are

940
00:53:11,360 --> 00:53:13,320
Speaker 1: sending out packs, you know what I'm saying, Like, I

941
00:53:13,360 --> 00:53:15,880
Speaker 1: won't do that for anybody, I bet, Yeah, but an

942
00:53:15,960 --> 00:53:18,280
Speaker 1: artist like him, I like, I'm you know, a huge

943
00:53:18,320 --> 00:53:21,840
Speaker 1: fan of him and Little Baby like both both people

944
00:53:21,840 --> 00:53:24,719
Speaker 1: that I'll send the pack. Yeah, Like two of the

945
00:53:24,719 --> 00:53:28,120
Speaker 1: illest guys right now? I mean, who else do you

946
00:53:28,200 --> 00:53:31,799
Speaker 1: like as a fan lyrically coming from a guy who

947
00:53:31,840 --> 00:53:34,319
Speaker 1: started out with one of the greatest rappers of all

948
00:53:34,360 --> 00:53:37,000
Speaker 1: time as the vocalist of your group shot a black

949
00:53:37,040 --> 00:53:39,520
Speaker 1: thought who like lyrically right now? Do you respect like

950
00:53:39,600 --> 00:53:43,640
Speaker 1: on some bar ship like Drake? Of course? I mean,

951
00:53:43,719 --> 00:53:46,920
Speaker 1: you know, he's just consistent and always you know, you know,

952
00:53:46,960 --> 00:53:51,640
Speaker 1: it's aesthetically pleasing to the ear. You know, the Griselda

953
00:53:51,760 --> 00:53:53,520
Speaker 1: dudes or shout out to have you have you got

954
00:53:53,520 --> 00:53:55,120
Speaker 1: to work with him? Yet? No, I'm just supposed to

955
00:53:55,120 --> 00:53:57,040
Speaker 1: get with Benny. Listen, we got to get the Benny,

956
00:53:57,080 --> 00:53:59,919
Speaker 1: the Butcher, the West Side. Shout out to Conway, shout

957
00:54:00,040 --> 00:54:03,279
Speaker 1: out to that whole crew. You know. An album that

958
00:54:03,320 --> 00:54:06,560
Speaker 1: you should check out. I think it'll appreciate is mad

959
00:54:06,600 --> 00:54:09,799
Speaker 1: Lib and Freddie Gibbs put an album out last year

960
00:54:10,840 --> 00:54:16,200
Speaker 1: that was amazing. Like, did you ever because coming up

961
00:54:16,239 --> 00:54:18,319
Speaker 1: in that era, like when you were hot, like there

962
00:54:18,400 --> 00:54:21,040
Speaker 1: was this other world where it was like mad Lib

963
00:54:21,120 --> 00:54:24,840
Speaker 1: and Black Milk and all these like underground, super grimy

964
00:54:24,880 --> 00:54:27,799
Speaker 1: ass rap producers. Did you like ever like tapping with

965
00:54:27,840 --> 00:54:29,520
Speaker 1: any of that type of ship or were you just

966
00:54:29,560 --> 00:54:31,960
Speaker 1: kind of in your own world because you kind of

967
00:54:31,960 --> 00:54:37,480
Speaker 1: came from that world too. What about Jake Dillon did

968
00:54:37,480 --> 00:54:38,960
Speaker 1: you ever link, like, did you and him ever have

969
00:54:39,040 --> 00:54:43,480
Speaker 1: any time where you guys cross paths? A record that

970
00:54:43,719 --> 00:54:46,840
Speaker 1: you know, I totally was like reaching for that style

971
00:54:47,160 --> 00:54:52,160
Speaker 1: when he was active. You know, there was a record

972
00:54:52,200 --> 00:54:55,439
Speaker 1: that they called Nothing New on the Roots of Things.

973
00:55:01,520 --> 00:55:06,200
Speaker 1: Where's the where is your first Grammy? Right now? Yeah?

974
00:55:06,200 --> 00:55:08,480
Speaker 1: The roots Grammy? Where's that at? Do you still? Man?

975
00:55:08,480 --> 00:55:12,960
Speaker 1: They didn't give us trophies? Really? We got the certificate. Damn,

976
00:55:13,320 --> 00:55:18,160
Speaker 1: we got the certificate. That ship is crazy. That's disappointing. Man.

977
00:55:18,440 --> 00:55:21,839
Speaker 1: I want to I want anybody who's watching this man

978
00:55:21,960 --> 00:55:25,920
Speaker 1: like who's been through some addiction or might be going

979
00:55:25,920 --> 00:55:28,000
Speaker 1: through some addiction right now. Obviously besides pulling up to

980
00:55:28,000 --> 00:55:31,640
Speaker 1: the Heavenly Center June first or July first first, you

981
00:55:31,680 --> 00:55:33,480
Speaker 1: got to come down there and speak I'm coming man.

982
00:55:34,120 --> 00:55:37,240
Speaker 1: I mean, yeah, I listen, trust me. I've been through

983
00:55:37,360 --> 00:55:41,319
Speaker 1: a lot of drug addiction ship in my life, not

984
00:55:41,440 --> 00:55:46,799
Speaker 1: personally you know, my family, Yeah, but what is I

985
00:55:46,800 --> 00:55:50,600
Speaker 1: always would always like what I've learned from experiencing it

986
00:55:50,640 --> 00:55:55,720
Speaker 1: is like you can't It's frustrating dealing with somebody who's

987
00:55:55,760 --> 00:55:58,160
Speaker 1: addicted to some ship because you you just want them

988
00:55:58,200 --> 00:56:00,880
Speaker 1: to listen to you and to just get clean. But

989
00:56:01,000 --> 00:56:05,400
Speaker 1: like it's really I know it's so cliche, but I

990
00:56:05,400 --> 00:56:07,319
Speaker 1: feel like, I mean, you could tell me if I'm wrong.

991
00:56:07,360 --> 00:56:10,920
Speaker 1: It's like, yo, it's it's it's up to you. Like

992
00:56:10,920 --> 00:56:13,680
Speaker 1: when you're ready to you have to want to get clean.

993
00:56:13,719 --> 00:56:16,640
Speaker 1: You can't get caught getting high in the bathroom and

994
00:56:16,680 --> 00:56:18,520
Speaker 1: now are you ready? Like it doesn't have to be

995
00:56:18,560 --> 00:56:20,000
Speaker 1: a person who's like, oh yeah, I'm ready to get

996
00:56:20,040 --> 00:56:22,080
Speaker 1: clean right now. They have to just all they have

997
00:56:22,080 --> 00:56:24,279
Speaker 1: to do is want to Do you think people have

998
00:56:24,320 --> 00:56:28,920
Speaker 1: to hit rock bottom first? Yeah? I mean sometimes, uh,

999
00:56:30,160 --> 00:56:32,839
Speaker 1: you know, some people might get a scare something that

1000
00:56:33,000 --> 00:56:36,600
Speaker 1: like just leads them to it. What was what was

1001
00:56:36,640 --> 00:56:38,680
Speaker 1: your rock bottom? Do you remember that moment where it

1002
00:56:38,719 --> 00:56:42,719
Speaker 1: was like, man, it's I remember because I remember times

1003
00:56:42,719 --> 00:56:44,879
Speaker 1: when I lived in Vegas and Molly Ma would be like, yo,

1004
00:56:44,920 --> 00:56:47,000
Speaker 1: Scott Stort just staying in my crib right now, Like

1005
00:56:47,080 --> 00:56:49,160
Speaker 1: you know what I'm saying, Like this was when I

1006
00:56:49,280 --> 00:56:52,200
Speaker 1: when with twenty ten twenty eleven back in the day.

1007
00:56:52,200 --> 00:56:54,360
Speaker 1: But like, do you remember your moment when it was

1008
00:56:54,440 --> 00:56:59,960
Speaker 1: like the last time. You know what I'm saying. I mean,

1009
00:57:00,040 --> 00:57:02,640
Speaker 1: there was a lot of those moments. I can imagine

1010
00:57:02,719 --> 00:57:05,040
Speaker 1: there was a lot of like dark moments. But you

1011
00:57:05,080 --> 00:57:08,800
Speaker 1: know what I mean, by the good grace of God,

1012
00:57:09,719 --> 00:57:13,040
Speaker 1: I got through it. Your wife marijuana, Yeah, shout out

1013
00:57:13,040 --> 00:57:16,320
Speaker 1: to Steve Lobel. But first and foremost I was ready

1014
00:57:16,360 --> 00:57:20,160
Speaker 1: to give it up. I knew it was either for

1015
00:57:20,320 --> 00:57:25,760
Speaker 1: me death or jail or something that was gonna go down,

1016
00:57:25,800 --> 00:57:27,840
Speaker 1: you know what I mean. It was like you never

1017
00:57:27,920 --> 00:57:29,880
Speaker 1: did you never do like get locked up during that

1018
00:57:29,920 --> 00:57:31,800
Speaker 1: whole ship, or was there times where you just did

1019
00:57:31,800 --> 00:57:34,640
Speaker 1: some overnight ship in jail? Or I got arrested one time.

1020
00:57:36,080 --> 00:57:40,880
Speaker 1: I got arrested one time in Vegas. That'd be a great,

1021
00:57:40,960 --> 00:57:45,240
Speaker 1: terrible night. And you know he wasn't taking part with

1022
00:57:45,280 --> 00:57:47,640
Speaker 1: me on any of that ship. But I got caught

1023
00:57:47,880 --> 00:57:53,000
Speaker 1: in a hotel room with cocaine, like not a lot,

1024
00:57:53,160 --> 00:57:56,840
Speaker 1: like like crumbs of it, and I got arrested. That's

1025
00:57:56,840 --> 00:57:59,720
Speaker 1: some wild ship to get arrested for in Vegas. It's like,

1026
00:57:59,720 --> 00:58:02,960
Speaker 1: what do you think people like we're in Vegas, motherfucker, Like,

1027
00:58:03,000 --> 00:58:04,560
Speaker 1: what do you think I'm doing in my hotel room?

1028
00:58:04,600 --> 00:58:07,720
Speaker 1: You know what? I'm saying, and then any advice you

1029
00:58:07,760 --> 00:58:10,880
Speaker 1: would give to uh, you know, I managed a couple

1030
00:58:10,880 --> 00:58:14,120
Speaker 1: of producers, and I feel like the production coming up

1031
00:58:14,120 --> 00:58:18,760
Speaker 1: as a producer nowadays, I feel like is it probably

1032
00:58:18,840 --> 00:58:24,880
Speaker 1: was always harder, but I just feel like with the

1033
00:58:24,960 --> 00:58:31,560
Speaker 1: of technology that's available, it's much easier to get into producing.

1034
00:58:31,560 --> 00:58:33,200
Speaker 1: I'm not saying it's easier to get good at it,

1035
00:58:33,920 --> 00:58:35,880
Speaker 1: but same way with DJ and like back in the day,

1036
00:58:35,880 --> 00:58:38,240
Speaker 1: you used to have to buy turntables and records and

1037
00:58:38,480 --> 00:58:40,800
Speaker 1: it was a lot. Now you just get a little

1038
00:58:40,840 --> 00:58:44,560
Speaker 1: fucking toy and your app Like, But for for producers

1039
00:58:44,600 --> 00:58:48,320
Speaker 1: who you know, like I want to try to break through, Like,

1040
00:58:48,400 --> 00:58:50,360
Speaker 1: what is some advice you would give to them? Because

1041
00:58:50,360 --> 00:58:54,479
Speaker 1: I feel like it's it's a lot of it is luck. Yeah,

1042
00:58:54,560 --> 00:58:58,439
Speaker 1: for a producer, someone who's finding artist to produce and

1043
00:58:58,720 --> 00:59:03,240
Speaker 1: get them a record deal and least an album, Yeah,

1044
00:59:03,400 --> 00:59:08,400
Speaker 1: that's it. Hey artist. Yeah, I mean look at the babies, dude, justice, Like,

1045
00:59:08,800 --> 00:59:11,960
Speaker 1: because one of those that goes is gonna be worth

1046
00:59:12,920 --> 00:59:18,120
Speaker 1: fifty one hundred fucking placements. That's crazy. Are you currently

1047
00:59:18,120 --> 00:59:22,160
Speaker 1: grooming any artists under under under Scott's stortres? I mean

1048
00:59:22,320 --> 00:59:24,920
Speaker 1: we intend to at some point. But I'm trying to

1049
00:59:24,960 --> 00:59:28,600
Speaker 1: groom myself as the artist with features. It's a different thing,

1050
00:59:28,920 --> 00:59:32,840
Speaker 1: totally totally different. Yeah, I think you know the music

1051
00:59:32,920 --> 00:59:34,240
Speaker 1: I want to hear. Shout out to my guy Dubie.

1052
00:59:34,280 --> 00:59:36,360
Speaker 1: I heard you got you and doubIe did a little uh,

1053
00:59:36,400 --> 00:59:41,640
Speaker 1: a little uh. I don't know EP or something have you. Yeah,

1054
00:59:41,880 --> 00:59:45,600
Speaker 1: shout out to Doobie Man. Can I smoke cigarette? Go ahead?

1055
00:59:46,200 --> 00:59:52,880
Speaker 1: We got cigarettes? Bag. This guy's got. This guy, Casey

1056
00:59:53,080 --> 00:59:58,160
Speaker 1: is the cigarette. God. Thank this guy's a walking fucking cigarette.

1057
00:59:58,480 --> 01:00:01,400
Speaker 1: That's all. He fucking doesn't smoke. God bless him. I

1058
01:00:01,440 --> 01:00:11,760
Speaker 1: love him. We too. Yeah, yeah, I'd love to smoke

1059
01:00:12,240 --> 01:00:17,080
Speaker 1: for radio, you know, so you records your new singles

1060
01:00:17,120 --> 01:00:19,880
Speaker 1: out right now? Yeah, you'll see at the end of

1061
01:00:19,960 --> 01:00:22,680
Speaker 1: this we're gonna do You'll see at the end of this,

1062
01:00:22,840 --> 01:00:26,880
Speaker 1: we're gonna do a two minute radio joint. It'll be like, Yo,

1063
01:00:27,800 --> 01:00:30,160
Speaker 1: I want to get some of it phone. I want

1064
01:00:30,160 --> 01:00:38,840
Speaker 1: to set to the president, mister Weaver, mister Weaver, ah man,

1065
01:00:39,040 --> 01:00:42,280
Speaker 1: all right, we're good. Light up that goddamn that cigarette.

1066
01:00:42,360 --> 01:00:51,360
Speaker 1: But but let's get to it pretty much, yo, you

1067
01:00:51,480 --> 01:00:55,680
Speaker 1: and R Kelly working together? What was that session? Like

1068
01:00:57,360 --> 01:01:00,000
Speaker 1: that session was another one of those situations where Record

1069
01:01:00,120 --> 01:01:02,480
Speaker 1: didn't where it was supposed to go. I should have

1070
01:01:02,520 --> 01:01:06,480
Speaker 1: went to someone else. No, watch this, I forget the

1071
01:01:06,600 --> 01:01:08,640
Speaker 1: name of the goddamn group. I don't remember the name

1072
01:01:08,680 --> 01:01:10,960
Speaker 1: of the group. But do you remember how they were

1073
01:01:11,000 --> 01:01:17,440
Speaker 1: signed to some group for something for like like Adie Rex.

1074
01:01:17,720 --> 01:01:20,120
Speaker 1: Do you remember who they were signed to? I don't

1075
01:01:20,120 --> 01:01:22,600
Speaker 1: remember that either. All right, so I can find out

1076
01:01:22,640 --> 01:01:24,800
Speaker 1: this information. I'm gonna talk to my my my ex

1077
01:01:24,960 --> 01:01:30,040
Speaker 1: manager back in the day, my boy Derek. But I could.

1078
01:01:30,720 --> 01:01:33,440
Speaker 1: I sold them to Beat and they wanted to get

1079
01:01:33,440 --> 01:01:36,600
Speaker 1: an R. Kelly feature, and they got an R. Kelly

1080
01:01:36,680 --> 01:01:39,840
Speaker 1: feature and R Kelly said, hold up, I want this

1081
01:01:40,360 --> 01:01:42,120
Speaker 1: and I don't. You guys are not getting on it.

1082
01:01:42,200 --> 01:01:45,560
Speaker 1: So he paid them to get off, to get off, damn,

1083
01:01:46,120 --> 01:01:49,880
Speaker 1: and he got plays only and then we threw the

1084
01:01:49,960 --> 01:01:57,880
Speaker 1: game on there. The game was new Hey man, that's crazy.

1085
01:01:58,200 --> 01:02:00,280
Speaker 1: So you weren't even in the session with cows Nah.

1086
01:02:00,600 --> 01:02:03,520
Speaker 1: It was something that like the people who bought the

1087
01:02:03,560 --> 01:02:06,080
Speaker 1: Beat at the Short Club in Miami one time New

1088
01:02:06,160 --> 01:02:08,560
Speaker 1: Year's like it was he was there. I was like,

1089
01:02:08,800 --> 01:02:13,600
Speaker 1: what is he? You know? It is what I was

1090
01:02:13,600 --> 01:02:15,560
Speaker 1: gonna say is that I'm not talking about him on

1091
01:02:15,640 --> 01:02:19,520
Speaker 1: a social level at all, but on a social level,

1092
01:02:19,600 --> 01:02:21,840
Speaker 1: on a musical level, he's a genius, one of the

1093
01:02:21,880 --> 01:02:25,720
Speaker 1: greatest artists ever. That dude is. I would have loved

1094
01:02:25,760 --> 01:02:29,600
Speaker 1: to see the motherfucking versus battle R Kelly and Usher

1095
01:02:29,800 --> 01:02:32,440
Speaker 1: and nobody's standing out. Fucking he destroyed that. No, he

1096
01:02:32,600 --> 01:02:38,240
Speaker 1: destroyed everyone, destroy everybody. I agree, Unfortunately, Like you said,

1097
01:02:38,320 --> 01:02:41,040
Speaker 1: it's like I think that at the end of the day,

1098
01:02:41,480 --> 01:02:44,800
Speaker 1: you're allowed well you know, you're allowed to. I think

1099
01:02:45,440 --> 01:02:49,360
Speaker 1: you're allowed to separate art from the person. Man, if

1100
01:02:49,400 --> 01:02:54,440
Speaker 1: that makes sense, you know, like ship, I love R

1101
01:02:54,560 --> 01:02:57,640
Speaker 1: Kelly as music. I don't love him man, I mean,

1102
01:02:57,640 --> 01:02:59,640
Speaker 1: I don't know that motherfucker. But his music was just

1103
01:03:00,720 --> 01:03:04,880
Speaker 1: twelve play bro like songs that make your hair stand up,

1104
01:03:05,000 --> 01:03:09,400
Speaker 1: like man, one hundred percent, bro Yo, you're working, uh,

1105
01:03:10,680 --> 01:03:16,960
Speaker 1: you working with And the Massacre Massacre, I always feel

1106
01:03:17,000 --> 01:03:21,240
Speaker 1: like doesn't get his just due for how fucking incredible

1107
01:03:21,280 --> 01:03:24,040
Speaker 1: that album was. I think that get Richard that train

1108
01:03:24,120 --> 01:03:28,520
Speaker 1: at such high, you know, expectations, it was almost impossible

1109
01:03:28,520 --> 01:03:30,760
Speaker 1: to follow it up. But I mean, I think it

1110
01:03:30,880 --> 01:03:32,960
Speaker 1: was a matter of like, just like anything else, the

1111
01:03:33,040 --> 01:03:37,120
Speaker 1: evolution of what you know, what he was doing. But

1112
01:03:37,520 --> 01:03:40,880
Speaker 1: talk about like you and fifties chemistry, because there was

1113
01:03:40,920 --> 01:03:45,120
Speaker 1: some chemistry there. I mean, you guys made some classic

1114
01:03:45,240 --> 01:03:49,440
Speaker 1: music and that was the comfort zone. There was a

1115
01:03:49,480 --> 01:03:51,880
Speaker 1: comfort zone with him. And I'm gonna tell you one

1116
01:03:51,920 --> 01:04:00,360
Speaker 1: of the first reasons why is you know, Dre had

1117
01:04:00,440 --> 01:04:03,120
Speaker 1: me in his studio and he's seen me in Dre's studio,

1118
01:04:03,600 --> 01:04:07,280
Speaker 1: so there's a comfort zone. Like you know, there's a

1119
01:04:07,360 --> 01:04:10,160
Speaker 1: certain quality and a bar set by Dre. And I

1120
01:04:10,200 --> 01:04:12,600
Speaker 1: wouldn't be in there if I wasn't supposed to be

1121
01:04:12,720 --> 01:04:14,920
Speaker 1: in there. So he had he was comfortable with me

1122
01:04:15,600 --> 01:04:17,760
Speaker 1: in my opinion and music and what I would submit

1123
01:04:17,800 --> 01:04:20,360
Speaker 1: because he knew you wouldn't be there if Yeah, so

1124
01:04:20,520 --> 01:04:23,880
Speaker 1: he knew my like my vision is cool, you know

1125
01:04:23,920 --> 01:04:26,520
Speaker 1: what I mean? Like people always second guests, especially in

1126
01:04:26,560 --> 01:04:30,400
Speaker 1: that time, because it's not like now where everything I mean,

1127
01:04:30,440 --> 01:04:32,560
Speaker 1: I'm not trying to fucking shit on shit, but there's

1128
01:04:32,560 --> 01:04:34,320
Speaker 1: a lot of shit that sounds like a lot to say.

1129
01:04:34,720 --> 01:04:37,360
Speaker 1: Everything is the same drum patterns list like we were making.

1130
01:04:37,560 --> 01:04:41,400
Speaker 1: Every song was its own thing. Are you artistically frustrated

1131
01:04:41,400 --> 01:04:43,040
Speaker 1: when you hear some of this ship? Yeah? I mean,

1132
01:04:43,120 --> 01:04:46,120
Speaker 1: you know, we all fucking lock into the trap bubble

1133
01:04:46,160 --> 01:04:48,320
Speaker 1: and fucking the new drum sounds and this and that.

1134
01:04:48,480 --> 01:04:52,600
Speaker 1: But bro, I was fucking putting up kicks like crazy shit,

1135
01:04:52,720 --> 01:04:54,720
Speaker 1: like if you listen to like the lean back drums, Like,

1136
01:04:56,200 --> 01:04:58,160
Speaker 1: where were you getting your drums from? Because I was,

1137
01:04:59,160 --> 01:05:02,120
Speaker 1: did you because I remember remember Kanye said that he

1138
01:05:02,960 --> 01:05:05,920
Speaker 1: he would steal drums from a lot of Doctor Dre

1139
01:05:06,080 --> 01:05:08,840
Speaker 1: ship listen, we would, yeah, and then he would flip

1140
01:05:08,920 --> 01:05:11,080
Speaker 1: them and do them and filter them, and so would

1141
01:05:11,120 --> 01:05:12,760
Speaker 1: you would Did you ever take any drums from Dre?

1142
01:05:12,880 --> 01:05:15,240
Speaker 1: Did you ever give you any drums? A shiploaded drums?

1143
01:05:15,480 --> 01:05:18,280
Speaker 1: I got drums from Timberland I got are those drums?

1144
01:05:18,320 --> 01:05:21,680
Speaker 1: You still use it? Use it as day? No? No, no.

1145
01:05:24,880 --> 01:05:28,160
Speaker 1: I had this zip disc at that time. Was that

1146
01:05:28,240 --> 01:05:30,880
Speaker 1: we were using the zip disc with our our MPs,

1147
01:05:31,560 --> 01:05:34,160
Speaker 1: you know the MP three thousand, of the MP two thousand,

1148
01:05:35,000 --> 01:05:37,080
Speaker 1: and the motherfucking disc I had with all that ship

1149
01:05:37,160 --> 01:05:39,000
Speaker 1: on there was going I could get it again. But

1150
01:05:39,560 --> 01:05:42,480
Speaker 1: you know, I'm sure certain ones are still very essential.

1151
01:05:42,920 --> 01:05:47,720
Speaker 1: But you know, the sonics changed. Did you work on

1152
01:05:47,840 --> 01:05:50,960
Speaker 1: any iteration of detox at all? Or was that kind

1153
01:05:50,960 --> 01:05:53,040
Speaker 1: of the error in which you and Dre weren't close anymore.

1154
01:05:53,880 --> 01:05:57,520
Speaker 1: We had we've had moments and working you know at

1155
01:05:57,560 --> 01:06:00,960
Speaker 1: some point because I know there's like a million iterations

1156
01:06:00,960 --> 01:06:04,760
Speaker 1: of those faults, you know, I don't think he ever

1157
01:06:04,920 --> 01:06:11,640
Speaker 1: was working specifically on like he would make music and

1158
01:06:11,760 --> 01:06:14,680
Speaker 1: it's something really he gravitated towards it. Then I'm sure

1159
01:06:14,680 --> 01:06:16,280
Speaker 1: he probably would have wanted to keep it for that

1160
01:06:16,520 --> 01:06:21,400
Speaker 1: or for whatever. But you know, that's why do you

1161
01:06:21,480 --> 01:06:26,880
Speaker 1: think you and jay Z never had a real moment

1162
01:06:27,600 --> 01:06:30,120
Speaker 1: if that makes sense, the way Jay had his moments

1163
01:06:30,160 --> 01:06:33,240
Speaker 1: with Primo and had his moments with Timberland, Like why

1164
01:06:33,320 --> 01:06:36,840
Speaker 1: do you think jay Z and the Scott Storts train

1165
01:06:36,960 --> 01:06:40,040
Speaker 1: never I feel like there were certain loyalties that were

1166
01:06:40,160 --> 01:06:44,840
Speaker 1: established to him and other producers that you know, I

1167
01:06:45,120 --> 01:06:46,960
Speaker 1: was not part of, and they earned that and they

1168
01:06:47,400 --> 01:06:50,480
Speaker 1: from growing with him from the beginning, And you know,

1169
01:06:51,080 --> 01:06:53,160
Speaker 1: was that is that like a thing like because if

1170
01:06:53,200 --> 01:06:55,040
Speaker 1: you think of like, who do we think of Hope,

1171
01:06:55,080 --> 01:06:58,880
Speaker 1: Like when we think of Hope, we think of Primo

1172
01:06:59,800 --> 01:07:02,960
Speaker 1: to then later on just plaze Kanye like so that

1173
01:07:03,120 --> 01:07:05,720
Speaker 1: was like a Swiss Oh my god, him and Swiss. Yeah,

1174
01:07:05,760 --> 01:07:08,480
Speaker 1: he was on the rough Riders something. But like back

1175
01:07:08,600 --> 01:07:12,680
Speaker 1: then that that was the thing. Like, I mean, it

1176
01:07:12,760 --> 01:07:14,919
Speaker 1: definitely happened with the Neptunes. I feel like at some point,

1177
01:07:14,960 --> 01:07:16,440
Speaker 1: like with a lot of artists, you would be like

1178
01:07:17,560 --> 01:07:19,840
Speaker 1: Neptune's are always going to be on as a certain

1179
01:07:19,880 --> 01:07:22,800
Speaker 1: soul album, But like, who did did you have that

1180
01:07:22,880 --> 01:07:26,640
Speaker 1: with anybody? That? I mean I had that. I had

1181
01:07:26,720 --> 01:07:29,800
Speaker 1: that with Fat Joe. You know, we made we kept

1182
01:07:29,920 --> 01:07:33,920
Speaker 1: you know, every time we would do something. You know,

1183
01:07:34,120 --> 01:07:38,160
Speaker 1: certain people. Hey man, let me tell you something. I

1184
01:07:38,240 --> 01:07:41,320
Speaker 1: don't remember a song ever being bigger than Lean back

1185
01:07:41,360 --> 01:07:45,320
Speaker 1: when I was a kid during that summer that ship

1186
01:07:45,520 --> 01:07:48,680
Speaker 1: was I heard it was going crazy. I wasn't there

1187
01:07:49,040 --> 01:07:52,600
Speaker 1: at Summer jam in New York. It was a problem. Yo.

1188
01:07:52,960 --> 01:07:57,200
Speaker 1: That and that beat? Like yo man, what like I

1189
01:07:57,360 --> 01:08:01,240
Speaker 1: think that if you just take away the lyrics. That's

1190
01:08:01,280 --> 01:08:04,520
Speaker 1: one thing too about these beat battles. That's frustrating because

1191
01:08:04,560 --> 01:08:07,000
Speaker 1: I'd be like, yo, man, who can really just play

1192
01:08:07,080 --> 01:08:10,840
Speaker 1: beats and be like, oh shit, that's one of them beats?

1193
01:08:12,480 --> 01:08:14,800
Speaker 1: Stand up? Oh my god, what do you think is

1194
01:08:14,840 --> 01:08:17,599
Speaker 1: your hardest beat? Like? What's your beat? That? Like, that's

1195
01:08:17,640 --> 01:08:20,519
Speaker 1: probably one of them. You know. Megan Ring was a

1196
01:08:20,560 --> 01:08:25,320
Speaker 1: good one just as a beat. I mean, there's a

1197
01:08:25,400 --> 01:08:31,160
Speaker 1: lot of them that are just yeah, exhibits bets. Oh man,

1198
01:08:33,080 --> 01:08:36,559
Speaker 1: that was his first single on off for Restless right,

1199
01:08:38,280 --> 01:08:41,320
Speaker 1: very amazing. I'm shot at the exhibit. Oh look, Scott Man,

1200
01:08:41,360 --> 01:08:44,400
Speaker 1: you're a fucking legend. Hopefully we'll get the album before

1201
01:08:44,960 --> 01:08:48,880
Speaker 1: twenty twenty one, for sure. Are you going to be doing?

1202
01:08:49,920 --> 01:08:51,320
Speaker 1: I know for a while there I would see you

1203
01:08:51,439 --> 01:08:55,240
Speaker 1: like going to playing the keys live and places and shit,

1204
01:08:55,920 --> 01:08:57,880
Speaker 1: you know what. I feel like you could have a

1205
01:08:58,000 --> 01:09:04,040
Speaker 1: Vegas residency. Actually, after going through being uh, you know,

1206
01:09:04,160 --> 01:09:07,439
Speaker 1: socially distanced and just at the house so much, I'm

1207
01:09:07,520 --> 01:09:11,519
Speaker 1: kind of inspired to go and you know, hit the road. Yeah,

1208
01:09:11,760 --> 01:09:14,560
Speaker 1: not hit the road, but do some specific dates and

1209
01:09:14,640 --> 01:09:18,280
Speaker 1: some specific place I saw, like when you came out

1210
01:09:18,320 --> 01:09:21,360
Speaker 1: with Russ. That ship was amazing. You know, support the

1211
01:09:21,479 --> 01:09:25,120
Speaker 1: record and and you know, just catch that wave for

1212
01:09:25,160 --> 01:09:30,120
Speaker 1: a second. Yeah, man, listen, I remember what what show

1213
01:09:30,160 --> 01:09:31,400
Speaker 1: did he come out with Russ? It was out here

1214
01:09:31,560 --> 01:09:37,040
Speaker 1: Stable Center. Yeah, that ship is crazy. That was a

1215
01:09:37,120 --> 01:09:39,120
Speaker 1: vibe man, shout out to Russ. I'm sure you guys

1216
01:09:39,160 --> 01:09:43,360
Speaker 1: got I'm sure you guys got more music coming. I mean,

1217
01:09:43,439 --> 01:09:48,120
Speaker 1: we just put one out which record? Three am oh

1218
01:09:48,240 --> 01:09:50,920
Speaker 1: that you fire? A shout out to Abadan too. We

1219
01:09:50,960 --> 01:09:56,040
Speaker 1: shout out Abadan. Abdon is uh at the studio? A

1220
01:09:56,120 --> 01:10:00,280
Speaker 1: wonderful man from the Netherlands is that yeah, man out

1221
01:10:00,520 --> 01:10:04,080
Speaker 1: shout out to the Netherlands and shout out to you man.

1222
01:10:04,080 --> 01:10:06,280
Speaker 1: I appreciate you for coming through. I can't wait to

1223
01:10:06,320 --> 01:10:07,120
Speaker 1: hear the fucking album.