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Speaker 1: What's happening? Welcome to another episode against the Chronicles Conversations,

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Speaker 1: because we have some pretty prolific conversations with a lot

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Speaker 1: of special guests. And the day I had one very

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Speaker 1: prolific guests, one of the most um one of the

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Speaker 1: best producers and not just hip hop for the music period,

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Speaker 1: Irving ep Pole. What's happening, brother, man Um? Another day? Brother?

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Speaker 1: How was you holidays? Man? It was surprisingly, it was chilled.

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Speaker 1: It was well needed because I'm basically unplugged from Friday too.

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Speaker 1: I'm still at the house right now and it's it's Tuesday,

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Speaker 1: which is very rare for me. So after this, I'm

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Speaker 1: hitting the road. I gotta go back and get it. Man.

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Speaker 1: I feel you, Man, Sometimes you need that, though, because

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Speaker 1: I had a thing man Um, I think probably about

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Speaker 1: a month and a half ago. I didn't do no

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Speaker 1: content none. I kind of just took a break from

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Speaker 1: it because you need a break sometimes, even the stuff

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Speaker 1: that you passion about sometimes you need to depart from

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Speaker 1: that for a little bit just to get back to

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Speaker 1: being normal. Yeah, sometimes you don't even realize. In my case,

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Speaker 1: I didn't realize I needed as much because now I'm

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Speaker 1: completely focused on some stuff that I needed to be

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Speaker 1: focused on. But I've never taken the time to just

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Speaker 1: sit down like some stuff overseas and stuff like it

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Speaker 1: was just needed, man. So I definitely encouraged doing that

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Speaker 1: from time time. Yeah, for sure, sometimes you have to

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Speaker 1: do that, man, especially you know what I think whenever

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Speaker 1: you're a creator, whether it's making music or doing content,

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Speaker 1: I think sometimes you gotta take that break, man, because

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Speaker 1: you gotta kind of reach charge to creative juice because

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Speaker 1: it gets still sometimes. Absolutely it's necessary, it gets still sometimes.

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Speaker 1: But speaking of music, man, I know you from the

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Speaker 1: watch section of the city from Los Angeles deserved. How

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Speaker 1: did you getting the music though? Man, I got the

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Speaker 1: music because my uncle which was my pastor, which was

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Speaker 1: pretty much my father bro he he uh, he had

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Speaker 1: the foresight to put a a piano in our ject

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Speaker 1: unit we had. It was the only project unit with

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Speaker 1: a upright piano in it, and he placed it in

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Speaker 1: there in hopes for of me or one of my

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Speaker 1: other siblings too naturally pick up together and and it

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Speaker 1: was me out of six kids, and he funded he

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Speaker 1: funded my lessons, my private lessons and my Oregon lessons,

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Speaker 1: and I fell in love with it. There's dope, bro.

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Speaker 1: SOB when did you become good? Because I'm pretty sure

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Speaker 1: you just didn't stump on the piano first and just

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Speaker 1: automatically became I did, man, But I just had a

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Speaker 1: love war, like I had it. I had a gift

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Speaker 1: that I didn't know that that I had, and I

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Speaker 1: can hear stuff on the radio and just kind of

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Speaker 1: kind of pick it out, you know what I mean,

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Speaker 1: and and remember it and play it. He saw that.

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Speaker 1: So when you would go to church and kind of

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Speaker 1: he kind of see you over there like and he

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Speaker 1: kind of sounding all right. And then when you invest

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Speaker 1: in it, and then back in the day, especially you know,

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Speaker 1: growing up and watched man if if it gave you

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Speaker 1: a social advantage or people appreciated that about you, it

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Speaker 1: just made me want to go harder. That's dope, man.

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Speaker 1: So you naturally had this talent for that then, absolutely,

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Speaker 1: because you if you was playing stuff by ear, and

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Speaker 1: that's us how we pick up stuff playing stuff by ear.

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Speaker 1: I hear a lot of producers say that that. Man.

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Speaker 1: You know, I just started replaying my favorite songs and

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Speaker 1: then kind of just wanting to produce on my own stuff.

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Speaker 1: So who was your first at who was the first

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Speaker 1: artist you produced, um that I produced, so that I

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Speaker 1: was a part of period, It was a part of

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Speaker 1: I was a part of Ben Harper. And this is

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Speaker 1: a crazy story still because the very first thing that

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Speaker 1: I had my hand in in the music industry, every

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Speaker 1: first thing off the rip wind go, that's crazy, that's crazy.

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Speaker 1: So it definitely it fed my appetite. So it probably

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Speaker 1: raised your expectations to you probably thought, man, this is

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Speaker 1: gonna be easy. It's gonna be like that all the time.

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Speaker 1: And you know, I was actually petrified because, Um, I

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Speaker 1: wasn't sure I was good enough. Because the bass player

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Speaker 1: of my churn Um name was Juan Nelson Rest in

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Speaker 1: Peace and Jan he was Ben Harper's bass player. So

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Speaker 1: he's like, I got a song I want you to

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Speaker 1: play on for being and so I'm like, look, bro,

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Speaker 1: give it to me, let me learn it. He's like, no, no,

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Speaker 1: you're good enough. You ain't gotta learning song on the spot. Bro.

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Speaker 1: I had to come up with learning the song and

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Speaker 1: adding to it. I got a solo on and and everything.

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Speaker 1: So here when I when I was able to to

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Speaker 1: accomplish that, bro, it definitely fired my appetite, all right, man,

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Speaker 1: And I want you to let some of the people

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Speaker 1: up there. You know, you have a very immense discography,

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Speaker 1: but I want you to start our first from R

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Speaker 1: and B world. Whoever you produce for in the world

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Speaker 1: of R and B going to hit him with an

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Speaker 1: ep R b Uh Janet, Brandy, Angie Stone, Um, Selena Johnson, Um,

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Speaker 1: a whole plethor of other ones. Man, it's just I'm blessed.

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Speaker 1: Let me just say that the man is a monster.

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Speaker 1: And you know what I noticed, Man, the Black church

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Speaker 1: in itself producing some very prolific producers, singers. It is

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Speaker 1: some very dope people to come up the church completely. Um.

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Speaker 1: It's definitely my superpower because what what the what gospel

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Speaker 1: music is, It's a it's a mash of every genre.

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Speaker 1: Um in church, You're either gonna learn it fast or

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Speaker 1: get embarrassed. And I hate being embarrassed. So like I

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Speaker 1: picked up I picked up the skill, um, which lent

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Speaker 1: to me being a dope session musician because like working

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Speaker 1: with Kanye and different uh like Diddy and different sessions

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Speaker 1: that I've been in and not knowing what we were

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Speaker 1: gonna do that day, and to be able to walk

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Speaker 1: in and be able to pick up something add to

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Speaker 1: what they were doing with never not once that I

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Speaker 1: have a moment to where it's like, bro, I can't

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Speaker 1: think of nothing. And that was all because of the

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Speaker 1: Black Church. That's dope, man. So you just mixing some

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Speaker 1: everyway names. You mixing Kanyate West? What work did you

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Speaker 1: do with him? Man Um? His his uh debut project,

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Speaker 1: College Dropout, notably his best project, Um College Dropout. I

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Speaker 1: did Late Registration and then we did a ton of

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Speaker 1: other records for Twitter and Do a Die and and

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Speaker 1: everybody who was popping at that at time at that time.

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Speaker 1: But but for that album, College Dropout, I'm all over it.

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Speaker 1: I helped create a sound around that project because when

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Speaker 1: I first met him, I was playing keys maybe a

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Speaker 1: month and then it's like, hey, bro, you know a

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Speaker 1: bass player. Sure, I called my homeboy Keynote and and

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Speaker 1: he joined us. And then he said, you know the

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Speaker 1: tour player. I called my guy Glenn Jeffrey, and we

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Speaker 1: rocked out with him for about two to three years.

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Speaker 1: So that sound that he had in we definitely lent

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Speaker 1: to that. I'm not taking none of the credit for

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Speaker 1: what he what he he's done, but I'm actually throwing

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Speaker 1: our credit in there. I get it, man, because I

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Speaker 1: understand from being an industry inside a kind of using

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Speaker 1: when you have a hit record, it's more than just

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Speaker 1: the one person that you usually see, you know, the

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Speaker 1: main person that you usually see on there. There's actually

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Speaker 1: a lot of people involved in it. Sometimes as a

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Speaker 1: lot of people involved in that process. Now, how was it,

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Speaker 1: Because we all know Kanye could be kind of polarizing sometimes,

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Speaker 1: especially now. He he was new back then, so it

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Speaker 1: was a probably a whole different mindset. How was the

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Speaker 1: experience working with him? You know, I haven't had I

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Speaker 1: don't have anything negative to say about Kanye. Um. The

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Speaker 1: experience we had was he was coming into his own

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Speaker 1: you know what I mean. He was he was a

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Speaker 1: humble cat. But then I just I did see I

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Speaker 1: did see his steam start her eyes a little bit.

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Speaker 1: Let me just say it like that. Can ain nothing

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Speaker 1: wrong with knowing you great. You know, I actually like

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Speaker 1: I actually like Kanye a whole lot, man. And I

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Speaker 1: don't think he's a bad person. I think he's very

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Speaker 1: misunderstood on some things though I agree, I agree with that,

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Speaker 1: and and I'm just saying, um, I'm just all about

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Speaker 1: how you treat people. So I don't care who you are,

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Speaker 1: if you if if you're not treating people cool, I

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Speaker 1: got a problem with them. So yeah, for sure. But

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Speaker 1: you know one thing I noticed in watching his documentary

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Speaker 1: that was on Netflix. He's always had this very he

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Speaker 1: always uh saw itself being where he was now, even

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Speaker 1: back then, even when he was kind of just you know,

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Speaker 1: coming up with going through the ranks and the label

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Speaker 1: was sleeping on him and everything. That dude believe in itself. Yeah,

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Speaker 1: I have the same belief, and I have to. You

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Speaker 1: have to. If you don't walk into a situation thinking

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Speaker 1: that you're destined for greatness, you're destined for failure. Definitely are,

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Speaker 1: especially in this industry bro to where we only eat

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Speaker 1: what we catch, exactly when we don't know where to

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Speaker 1: fish every day, you know what I mean, We don't

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Speaker 1: know was biting, We don't know what to put on

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Speaker 1: the hook, because this this industry is ever changing, bro exactly. Now.

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Speaker 1: You said you did some work with Didy Wild, you

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Speaker 1: work on with him? I worked on his press play album.

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Speaker 1: That was one of the projects. Yeah, man, I did

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Speaker 1: a song with him, I think nas and see low Green.

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Speaker 1: I played the I played the organ on that song

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Speaker 1: and I got a dope solo. I always I played

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Speaker 1: that song out, so uh yeah, check that Aubum Man,

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Speaker 1: you got to work with the people. Man, shout out

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Speaker 1: to my boys, CeeLo. That's one of the homies right there,

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Speaker 1: see Little Green, that's real doping. I know. I want

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Speaker 1: to talk about something which because it's one of my

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Speaker 1: favorite albums ever. I am a Scarface fanatic, a young

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Speaker 1: Brad you know. Shout shout out to the Homi Brad

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Speaker 1: Jordan a scarface. I'm a scarface you know, whole catalog. Man,

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Speaker 1: love it. But you executive recently executive produced one of

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Speaker 1: his greatest albums, if not the greatest. I think. I

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Speaker 1: think it's between that one in the Fix. I agree

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Speaker 1: with your brother. Uh, tell you about that experience, man,

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Speaker 1: Um Scarface. If you know Phase, he's man, he's old

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Speaker 1: school to the core. He like that album took bro

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Speaker 1: it took five years to come out. Um, since the

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Speaker 1: day we started. But I got introduced to him because

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Speaker 1: it was a song that he wanted Um and the

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Speaker 1: producer wasn't able to produce the file. So that's one

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Speaker 1: of my specialties. I can hear something, I can dissect

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Speaker 1: it and put the whole thing back together, and I

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Speaker 1: didn't before I even met him, and he thought it

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Speaker 1: was the original session. So then yeah, so so from

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Speaker 1: that point he's like, hey, no, no, no no, give me

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Speaker 1: your number. Forget the Google plugs. Let's give me your number.

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Speaker 1: And then we we became friends. And then I was

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Speaker 1: I moved such as scar face fan from from the beginning,

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Speaker 1: just like you. So I'm like, bro, let's forget this,

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Speaker 1: Let's just do a project. And he was like, no, man,

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Speaker 1: I don't want to wrap no more and this, and

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Speaker 1: then so he actually credits me for getting him to

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Speaker 1: wrap back to get back into wrap, and then he

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Speaker 1: was sitting and that's actually pretty depressive, man. To imagine

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Speaker 1: a world without the scar facing it. Yeah, man, it

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Speaker 1: takes a lot of pride and pushing. But he but

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Speaker 1: he's dope, and I don't I don't understand our mind

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Speaker 1: state and this in this genre to where we feel

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Speaker 1: like we we could. We're too old to do it.

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Speaker 1: Like when you've got the rolling Stones and the Eagles

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Speaker 1: and Carpenters and everybody's touring it too, they sep eighty like,

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Speaker 1: I mean that's what it is with hip hop period. Yeah,

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Speaker 1: he is, I know, it's just a lot of ages

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Speaker 1: in the hip hop. But you know what, like the

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Speaker 1: only Too Short Short, one of my dogs, Man Short

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Speaker 1: has been making music. I thought my first Too Short

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Speaker 1: album when I was fifteen, bro, And I'm old now

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Speaker 1: and he's still doing it and shows no signs of

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Speaker 1: slowing down. So I definitely think that hip hop is

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Speaker 1: getting older, absolutely, but it's okay to grow old with

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Speaker 1: it though exactly content relevant to those who are in

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Speaker 1: your bracket or in your lane because it's like I say,

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Speaker 1: like this, it's it's only not as prevalent as it

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Speaker 1: needs to be is because we're not supplying me. You know.

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Speaker 1: It's just like if you're trying the Tiki Punch was

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Speaker 1: we're really popular drink back when we was going on

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Speaker 1: up And if if I found it today, I'm probably

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Speaker 1: gonna overload on it and buy as much as I

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Speaker 1: can because it's so rare. So man, I'm a fan

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Speaker 1: of just man. If the music is dope, just put

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Speaker 1: it out exactly and that's where I met with it, man.

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Speaker 1: But I want to stay in kind of like that. Um.

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Speaker 1: I want to stay on this deeply rooted project because

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Speaker 1: I don't think people realize how incredible. That album was.

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Speaker 1: That's amazing. I know. It wasn't a lot of promor

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Speaker 1: press on it. It just kind of just came out,

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Speaker 1: explained the process to me, what your mindset was going

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Speaker 1: in and do that album. Then the minds set was

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Speaker 1: not even to do an album. It was just, man,

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Speaker 1: you think this is dope? Like, yeah, man, it's dope. Man,

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Speaker 1: it need a hook on it, Bro, just send it

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Speaker 1: to me. Send it to me. I'll write a hook

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Speaker 1: or I'll get a singer on it. And I and

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Speaker 1: then we just a massive, big body of work to

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Speaker 1: where like he almost couldn't refuse, like you think this's dope,

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Speaker 1: Like what are you talking about? So and then that

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Speaker 1: that went from taking meetings and then I'm telling Reinforceming

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Speaker 1: that it's doping is viable. So we put it together. Bro.

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Speaker 1: That's why I say it took five years because he

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Speaker 1: would he would like a song and then he would

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Speaker 1: scrap a song, and he and his whole thing was

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Speaker 1: I put out no rhyme before his time, and that's

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Speaker 1: that's his thing. So he literally made me so I

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Speaker 1: earned a position um executive producer because I was doing

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Speaker 1: so much that I told him like, Bro, like, let

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Speaker 1: me be an executive producer. He like, Man, I can't

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Speaker 1: pay for that right now. I said, Bro, I'm actually

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Speaker 1: for no money. Let's just get AUM because like this

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Speaker 1: is for the culture and this is like I'm you're

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Speaker 1: one of your biggest fans, and it's definitely will help

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Speaker 1: my career to executive produce a scar Face Records. So

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Speaker 1: he literally made me driving around with the drives, not

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Speaker 1: really sitting some stuff over the internet and sit there

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Speaker 1: for the transfers and the whole thing. So but I

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Speaker 1: did get to use all of my gifts on that project.

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Speaker 1: I wrote, I produced, I played on other musicians, UM

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Speaker 1: and producers tracks to give it a big cohesive sound.

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Speaker 1: I created all the transitions from one song to the next.

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Speaker 1: I did that from scratchy and UM. I got my

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Speaker 1: artists to sing on it. So basically I used every

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Speaker 1: single tool that I had in my arsenal. And that's

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Speaker 1: that's why that's probably my favorite project that I've ever

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Speaker 1: worked on. That's dope. Now, what's your favorite song on

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Speaker 1: the album? Man, That's that's hard because my song, my

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Speaker 1: song is uh, my favorite that I produced on There

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Speaker 1: is God. But then again, I can't sleep on hot Seat,

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Speaker 1: Um hot Seat is dope, and then uh Dope Man

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Speaker 1: pushing as another dope dope record on it out of

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Speaker 1: love Man. The whole thing is just a classic, but

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Speaker 1: it's hard to well. You know what I like about

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Speaker 1: Scarface is he gave us viny scarface on here because

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Speaker 1: he gave us the real big, you know, prolific records,

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Speaker 1: and then he went back into the hood with it.

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Speaker 1: He went back to um, you know, scarface mode. But

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Speaker 1: then he would give us more Brad George than he

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Speaker 1: would go back to Scarface. And I liked it. So

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Speaker 1: I'm gonna go through some of these. And by the way,

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Speaker 1: like I told you, the other thing, God track is

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Speaker 1: my favorite track on Help, and that's one of the

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Speaker 1: deepest records I've ever heard. And if you haven't heard that,

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Speaker 1: see I know if you're looking like I'm sideways like

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Speaker 1: this with my cameras all set up so i'nna looks

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Speaker 1: directly into the camera. Now, if you haven't heard that

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Speaker 1: deeply rooted album, you need to go out and listen

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Speaker 1: to it and actually listen to this song God. It's

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Speaker 1: one of the most incredible records in the world. But

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Speaker 1: getting back to this project, We're gonna talk about a

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Speaker 1: whole bunch of other projects, but I want to live

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Speaker 1: them this specifically because I think it was just one

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Speaker 1: of those special things. And you were you were in

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Speaker 1: around for every session, right, Um, Well, some of thee

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Speaker 1: was done out of town because like a lot of

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Speaker 1: a lot of the sessions, he didn't Houston and something

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Speaker 1: he did in l A and some sense of stuff

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Speaker 1: in But I was around for the whole you know.

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Speaker 1: I flew toun to Houston and I and I got

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Speaker 1: down with n Ojo shout out to n o Joe,

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Speaker 1: which is another classic UH producer who's been in the

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Speaker 1: camp forever. And I just got to build relationships bro

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Speaker 1: and share my talents and against with with other musicians.

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Speaker 1: And that's always dope to have that human feeld. Man.

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Speaker 1: That's why that project feels like that. That's real dope, man.

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Speaker 1: It does. It feels special, man. It almost feels like

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Speaker 1: because I know one of the things now when I

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Speaker 1: talk to these younger rappers now, and you know, when

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Speaker 1: they asked me to listen to music or whatever, I'll

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Speaker 1: tell the man, you type, you can rhyme, but you

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Speaker 1: need to get with a producer to really develop and

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Speaker 1: refine your song because now you sound like Kendrick or

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Speaker 1: whoever else is hot right now. You know, you kind

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Speaker 1: of don't have your own identity, so you need to

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Speaker 1: get with a producer. And I noticed the trend with

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Speaker 1: these kids. A lot of kids are making beats over

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Speaker 1: the internet. Now they the guy, the guy that makes

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Speaker 1: the beat, since the beach to him. They lay their

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Speaker 1: wraps and they put it out, so it never leaves

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Speaker 1: the internet pretty much, it never leaves the digital space.

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Speaker 1: And I think sometimes, like with this album, the thing

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Speaker 1: that made it sound really special sounds like that y'all

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Speaker 1: was actually throwing the old school way to where y'all

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Speaker 1: was in every session together, bro we was. I'll tell

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Speaker 1: you this, you can't sleep on live instrumentation. Oh that

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Speaker 1: that's the that's the key, because you'll never get tired

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Speaker 1: of hearing the base. You'll never get tired of hearing

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Speaker 1: the guitar, piano, drums, real drums. That's why you hear

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Speaker 1: A need a Baker today, and it sounds fresh because

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Speaker 1: it's live instrument. You can never tell when it came out.

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Speaker 1: That's why jazz has such a long shelf life because

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Speaker 1: you never get tired of hearing live instruments. So producers

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Speaker 1: out there that's not using live instruments, I'm telling you

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Speaker 1: you might want to try to do that. Yeah for sure.

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Speaker 1: And um, you know, for the youngsters out here, this

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Speaker 1: will be hearing this. I'm looking at it. Get cool

345
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Speaker 1: with the base payer. Find you a guitar player, find

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Speaker 1: you a base pready, and about you playing everything. I

347
00:17:46,960 --> 00:17:49,960
Speaker 1: think some people get the misconception that a there producer

348
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Speaker 1: or I have to play everything. I have to play

349
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Speaker 1: the keys, I have to play the thing. No, you

350
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Speaker 1: may just leaving drums, but you may be giving direction

351
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Speaker 1: to five or six other people like Quincy Jones. Just

352
00:17:59,640 --> 00:18:02,919
Speaker 1: do your inst because the exactly pumpet player, but he

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Speaker 1: he orchestrated some of the the that's in Tope. It's

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Speaker 1: music of our lifetime, exactly exactly. I want to go

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Speaker 1: to one of my other favorite um joints, Man and

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Speaker 1: I think this one has slipped on too. I love

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Speaker 1: the No Problem record, but my ship is you. You

358
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Speaker 1: won't see see lot Creem. It's kind of, you know,

359
00:18:28,280 --> 00:18:32,000
Speaker 1: a little bit out there, but it's crazy who throw

360
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Speaker 1: the concept for that record to do? Brad come in

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Speaker 1: with his own concepts and everything just kind of know

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Speaker 1: what he wanna do. That's crazy you brought that record up,

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Speaker 1: because that's the record that I originally met him. But

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Speaker 1: that record changed about four times because that got me

365
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Speaker 1: in the door, but he changed it from that and

366
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Speaker 1: then he made me change it again. Some some of

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Speaker 1: those records I made five times, but I made him

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Speaker 1: in such a way that they live in my catalogs

369
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Speaker 1: and you like them, some body else gonna like you to.

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Speaker 1: That's dope, man. It's an incredible record. And I noticed

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Speaker 1: that rap a Lot Records didn't put this particular project

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Speaker 1: out did that. This was his first record ever off

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Speaker 1: of rap a Lot Records, which is which was dope

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Speaker 1: for me as well, because like, for for us to

375
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Speaker 1: compete on that level, what does that say? What does

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Speaker 1: that say for all of our contributions? You know what

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00:19:24,080 --> 00:19:26,680
Speaker 1: I mean? Exactly? Yeah, we put it off. We did

378
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Speaker 1: it exactly, and this was on his own label. Then yeah,

379
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Speaker 1: that's dope, man, DMG undistributed it, but we did it.

380
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Speaker 1: We did it from the mud. I really do hope man,

381
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Speaker 1: this scar face and you continue to collaborating. Man, we

382
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Speaker 1: need another album. So Mr Keain, I'm looking directly in

383
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Speaker 1: my camera Brad Scarty Face lection. I told you it

384
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Speaker 1: was my favorite rapper. You know, I got a chance

385
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Speaker 1: to interview scar Face, but we talked about that in

386
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Speaker 1: a minute. But well, heave another album. Man, don't think

387
00:19:57,640 --> 00:19:59,360
Speaker 1: you just gonna slide off on the sunset. I don't

388
00:19:59,359 --> 00:20:01,760
Speaker 1: know you're doing your Rockshire. He'll give us a rock album, bro.

389
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Speaker 1: I want to see that. I want to see the

390
00:20:03,680 --> 00:20:07,359
Speaker 1: progression Scarfaces. Actually, I think he's one of the most

391
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Speaker 1: talented artists of our generation. And I think because people

392
00:20:10,240 --> 00:20:12,159
Speaker 1: don't know, they know him Prime really as a wrapper.

393
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Speaker 1: The brother could play instruments though he's a real musician.

394
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Speaker 1: He's more of a blues man than he was a rapper.

395
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Speaker 1: His his musical i Q Is is amazing. Yeah, he's

396
00:20:22,480 --> 00:20:26,760
Speaker 1: He's very dope man. So I'm not gonna stay on

397
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Speaker 1: that project a long times. You've got so many albums, man,

398
00:20:30,040 --> 00:20:32,520
Speaker 1: You've got so many albums. Now, we could go on

399
00:20:32,560 --> 00:20:34,520
Speaker 1: the hip hop plane. We heard what your first record

400
00:20:34,680 --> 00:20:38,080
Speaker 1: was you being from the hood, What was your first

401
00:20:38,119 --> 00:20:41,320
Speaker 1: rap project? Who's your first rapper? My first rap project

402
00:20:41,359 --> 00:20:47,800
Speaker 1: was Dorsel, which was right arounbum thousand rap, A lot

403
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Speaker 1: of records and I just got introduced to him from

404
00:20:49,960 --> 00:20:53,000
Speaker 1: a guy who was selling them speakers and and working

405
00:20:53,000 --> 00:20:56,560
Speaker 1: on consoles with him. When I was working at North

406
00:20:56,600 --> 00:20:59,280
Speaker 1: of Rumman TRW, I was in the space and defense.

407
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Speaker 1: I was the job in the cubicle, but still at night,

408
00:21:04,080 --> 00:21:06,840
Speaker 1: like I considered that job that the job was considered

409
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Speaker 1: a very good job, but it was just a task

410
00:21:09,840 --> 00:21:12,399
Speaker 1: to me because I got off work, I would go

411
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Speaker 1: do My real job was in that studio, because that's

412
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Speaker 1: when I knew early on that that's that's what my

413
00:21:18,080 --> 00:21:21,240
Speaker 1: purpose was. That's what you were passionate about. Yeah, exactly.

414
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Speaker 1: And I think a lot of people don't understand that

415
00:21:23,680 --> 00:21:26,560
Speaker 1: that when you're passionate about something, I don't care if

416
00:21:26,560 --> 00:21:29,480
Speaker 1: you have a job making half a million dollars a year,

417
00:21:29,680 --> 00:21:33,200
Speaker 1: full benefits and you just real comfortable. You are always

418
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Speaker 1: going to be thinking about the thing that you're passionate about.

419
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Speaker 1: But I don't care. If you were an artists, I

420
00:21:38,480 --> 00:21:40,679
Speaker 1: don't care. If you're a producer, I don't care whatever

421
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Speaker 1: you are. You know, That's why I teach my kids

422
00:21:43,560 --> 00:21:46,240
Speaker 1: to do what they're passionate about, not to go working job.

423
00:21:46,320 --> 00:21:49,439
Speaker 1: Find what you do what you love. People thought I

424
00:21:49,480 --> 00:21:52,359
Speaker 1: was crazy, bro, I left. I worked that job ten years. Bro,

425
00:21:52,480 --> 00:21:54,600
Speaker 1: I was making great money. I think in two thousand

426
00:21:54,640 --> 00:21:58,800
Speaker 1: and six I left. I worked from two thousand six there.

427
00:21:58,800 --> 00:22:01,560
Speaker 1: I left there making over eighty thousand dollars a year

428
00:22:01,600 --> 00:22:04,640
Speaker 1: back then, and I walked away because it's like, Bro,

429
00:22:05,280 --> 00:22:07,360
Speaker 1: you guys are looking at this, but I can make

430
00:22:07,400 --> 00:22:09,680
Speaker 1: this in a month if if I keep doing what

431
00:22:09,800 --> 00:22:12,680
Speaker 1: I'm doing and I laying the right song, I can

432
00:22:12,720 --> 00:22:15,600
Speaker 1: make that in a month exactly. So that to that

433
00:22:15,680 --> 00:22:17,840
Speaker 1: do set record opened at the doors for you in

434
00:22:17,880 --> 00:22:21,800
Speaker 1: the hip hop community. That that got me a little bit.

435
00:22:22,240 --> 00:22:25,560
Speaker 1: But as you know, in this business, notoriety is everything.

436
00:22:25,680 --> 00:22:28,280
Speaker 1: So I would what got me in the door ros

437
00:22:28,359 --> 00:22:30,360
Speaker 1: we live in l A. That's basically what it is.

438
00:22:30,520 --> 00:22:32,920
Speaker 1: Because if I saw you, I'm on you, and I'm

439
00:22:33,040 --> 00:22:34,600
Speaker 1: I know how to approach you and I know how

440
00:22:34,640 --> 00:22:37,119
Speaker 1: to address it. But it wasn't until I got the

441
00:22:37,160 --> 00:22:40,160
Speaker 1: next placement, which was Snoop Dog on his dog House

442
00:22:40,200 --> 00:22:43,880
Speaker 1: All Star album, The Strong Wool Eat the Week, which

443
00:22:44,000 --> 00:22:47,800
Speaker 1: was r B X Snoop and I think E White

444
00:22:47,800 --> 00:22:51,720
Speaker 1: as somebody um and people start to stop and listen

445
00:22:51,760 --> 00:22:54,040
Speaker 1: to me. Then when I had something to say, hey yeah,

446
00:22:54,160 --> 00:22:56,320
Speaker 1: I produced Yeah yeah, yeah, oh yeah, I'll produce a

447
00:22:56,359 --> 00:23:00,920
Speaker 1: Snoop and then they would automagnet and then the door open.

448
00:23:01,680 --> 00:23:05,200
Speaker 1: So it wasn't until I got that notable placement to

449
00:23:05,359 --> 00:23:07,920
Speaker 1: where you know what I mean, that the tide start

450
00:23:08,000 --> 00:23:12,399
Speaker 1: to change. Yeah. Snoop is another prolific brother man. And

451
00:23:12,440 --> 00:23:15,080
Speaker 1: I don't think, you know, even as biggest snoop els,

452
00:23:15,520 --> 00:23:18,639
Speaker 1: I think people really don't have a deal, especially on

453
00:23:18,680 --> 00:23:23,080
Speaker 1: the coach because Snoop is so accessible. He coaches you football. Um,

454
00:23:23,200 --> 00:23:27,200
Speaker 1: Snoop is very open and forthcoming to people. You know

455
00:23:27,200 --> 00:23:29,520
Speaker 1: what I mean. You see Snooping traffic, He's gonna get

456
00:23:29,560 --> 00:23:32,280
Speaker 1: you a promer, said, what's happening? And he always remember

457
00:23:32,320 --> 00:23:35,000
Speaker 1: your name? He always he always remember your name every

458
00:23:35,040 --> 00:23:37,800
Speaker 1: time I see Snoop, what's happening? Still, he's a cooler brother,

459
00:23:37,800 --> 00:23:40,480
Speaker 1: one of the coolest brothers out there. So working with him,

460
00:23:40,760 --> 00:23:42,600
Speaker 1: who was that process like with the Snoop Like in

461
00:23:42,640 --> 00:23:46,320
Speaker 1: the studio Snoop Like I spent one session in and

462
00:23:46,800 --> 00:23:49,560
Speaker 1: was Snoop out at his house and Diamond Bar at

463
00:23:49,560 --> 00:23:52,320
Speaker 1: the time. And it's just the craziest story I had

464
00:23:52,400 --> 00:23:54,639
Speaker 1: is I've never seen a joint as long as the

465
00:23:54,720 --> 00:23:57,760
Speaker 1: damn uh damn as long as the keyboard. They they

466
00:23:57,800 --> 00:24:01,800
Speaker 1: had damn in five joints uh together and just smoking

467
00:24:01,840 --> 00:24:03,760
Speaker 1: out and I had to sit bro in that session

468
00:24:03,840 --> 00:24:06,600
Speaker 1: for about and I don't smoke, So I sat in

469
00:24:06,600 --> 00:24:09,040
Speaker 1: that session Bro for about literally five and six. I

470
00:24:09,280 --> 00:24:12,720
Speaker 1: was just waiting to get that that OX cord to

471
00:24:12,800 --> 00:24:16,280
Speaker 1: plug in UM and play my well. I don't even

472
00:24:16,280 --> 00:24:17,919
Speaker 1: think it was ox scords back then, but I was

473
00:24:18,000 --> 00:24:22,080
Speaker 1: waiting to play my Dad or my cassette. That's how

474
00:24:22,080 --> 00:24:24,440
Speaker 1: long ago it was. And then when when I find

475
00:24:24,480 --> 00:24:26,920
Speaker 1: because I almost left, like, Bro, let's go, because my

476
00:24:26,920 --> 00:24:30,720
Speaker 1: my homeboy Reno, brought me there like to to play

477
00:24:30,920 --> 00:24:33,400
Speaker 1: presents of music for school. So I'm sitting there. I'm

478
00:24:33,440 --> 00:24:35,359
Speaker 1: just geek to be in a room with school and

479
00:24:35,400 --> 00:24:37,800
Speaker 1: he cool, he laughing, and they just go through the process.

480
00:24:38,080 --> 00:24:40,639
Speaker 1: And then when my time finally came, that that's another

481
00:24:40,680 --> 00:24:44,320
Speaker 1: sign be patient on my fine. When my time finally came,

482
00:24:44,800 --> 00:24:48,280
Speaker 1: I pushed play and it was pretty undeniable. He loved

483
00:24:48,359 --> 00:24:52,520
Speaker 1: five joints on on out of probably ten u the

484
00:24:52,640 --> 00:24:56,200
Speaker 1: thing and automatically still I thought I was rich because

485
00:24:56,200 --> 00:24:59,720
Speaker 1: he wanted a couple of songs from me. Na, not

486
00:25:00,000 --> 00:25:02,800
Speaker 1: at all, but but that I was rich in experience,

487
00:25:03,080 --> 00:25:04,719
Speaker 1: you know what I mean. Yeah, And and and the thing

488
00:25:04,840 --> 00:25:07,240
Speaker 1: about that bro you talk about, he liked five on

489
00:25:07,359 --> 00:25:11,800
Speaker 1: the team. I've been in studio sessions and play beats

490
00:25:11,800 --> 00:25:15,919
Speaker 1: with people as fire. And you know, out of eight records,

491
00:25:15,960 --> 00:25:17,680
Speaker 1: if you get to play that minute, if you get

492
00:25:17,720 --> 00:25:21,800
Speaker 1: your exactly, they may pick one. Yeah, they may pick one,

493
00:25:21,800 --> 00:25:23,359
Speaker 1: and they may not pick nothing, because you have to

494
00:25:23,440 --> 00:25:26,119
Speaker 1: understand what artists are looking for records. They're looking for

495
00:25:26,160 --> 00:25:29,040
Speaker 1: something that fits in particular project or direction they're going in.

496
00:25:29,280 --> 00:25:31,240
Speaker 1: So it may might be the director is not dope,

497
00:25:31,280 --> 00:25:33,320
Speaker 1: but may not just speak for them because I've heard

498
00:25:33,359 --> 00:25:35,200
Speaker 1: that before. Man, this is dope, but they just don't

499
00:25:35,240 --> 00:25:37,480
Speaker 1: fit what I'm doing right now. So you might hear

500
00:25:37,520 --> 00:25:40,879
Speaker 1: them five words that no producer want to hear. Go

501
00:25:40,960 --> 00:25:44,280
Speaker 1: to the next one, exactly, Yeah, go to the next one,

502
00:25:44,480 --> 00:25:46,919
Speaker 1: Go to the next one that's like And for your

503
00:25:47,080 --> 00:25:49,439
Speaker 1: up and coming producers out there, and get out your

504
00:25:49,440 --> 00:25:52,040
Speaker 1: feelings right now, because when you go to these meetings,

505
00:25:52,320 --> 00:25:54,320
Speaker 1: people don't have time to be nice, they don't have

506
00:25:54,440 --> 00:25:56,640
Speaker 1: time to culver your ego. They're gonna tell you when

507
00:25:56,640 --> 00:25:58,120
Speaker 1: they like someone, when they don't like it, they will

508
00:25:58,160 --> 00:26:00,119
Speaker 1: be very blunt with it. All. That's not mean you

509
00:26:00,200 --> 00:26:02,160
Speaker 1: get some dud to say, now that's your garbage, right there,

510
00:26:02,160 --> 00:26:04,760
Speaker 1: go to the next one. Yeah, And then sometimes you

511
00:26:04,800 --> 00:26:07,280
Speaker 1: get a warding. Sometimes you're in the room long enough

512
00:26:07,320 --> 00:26:10,320
Speaker 1: to see what they like. You gotta be smart. Don't

513
00:26:10,359 --> 00:26:13,439
Speaker 1: play the order that you think is the order that

514
00:26:13,800 --> 00:26:16,159
Speaker 1: before you was even in the position to hear it.

515
00:26:16,440 --> 00:26:19,920
Speaker 1: Sometimes I gotta be like, okay, yeah, nas they oh

516
00:26:19,920 --> 00:26:22,280
Speaker 1: they like that. Oh yeah, so my first song is

517
00:26:22,280 --> 00:26:25,440
Speaker 1: gonna be go to number ten, So know your order

518
00:26:25,680 --> 00:26:28,439
Speaker 1: go to number five, so you can pivot. That's why

519
00:26:28,480 --> 00:26:30,800
Speaker 1: I said. But still we're supposed to sit down when

520
00:26:30,800 --> 00:26:33,080
Speaker 1: you come up, when you come to the lab. I

521
00:26:33,080 --> 00:26:35,560
Speaker 1: ain't lost the fight in my backyard yet, because when

522
00:26:35,600 --> 00:26:38,359
Speaker 1: I get you back there, it's my world. I can

523
00:26:38,400 --> 00:26:41,399
Speaker 1: play well. I can pivot to whatever conversation we have

524
00:26:41,600 --> 00:26:45,320
Speaker 1: because my whole catalog and arsenal was there. Oh man,

525
00:26:45,359 --> 00:26:47,159
Speaker 1: I know you got fired. You ain't gotta try to

526
00:26:47,160 --> 00:26:51,480
Speaker 1: convince me. Bro. Yeah, I'm a fan. So you get

527
00:26:51,480 --> 00:26:54,600
Speaker 1: this opportunity with Snoop, who was like, um, what I

528
00:26:54,640 --> 00:26:57,520
Speaker 1: was gonna say? What was Sloop is the most recognizable

529
00:26:57,680 --> 00:27:02,360
Speaker 1: rapper in the world, nobody, He's close. His brand is incredible. Yes,

530
00:27:02,920 --> 00:27:04,840
Speaker 1: gets a Snoop Dog name, and he's gonna be able

531
00:27:04,880 --> 00:27:06,200
Speaker 1: to do that from here. And I'd like to tell

532
00:27:06,200 --> 00:27:09,280
Speaker 1: people I think he's our generations Boots and Collins almost

533
00:27:09,440 --> 00:27:13,880
Speaker 1: George Clint absolutely is. He reaches it all the way

534
00:27:13,880 --> 00:27:16,399
Speaker 1: back to that, to that genre, I mean, not that genre,

535
00:27:16,560 --> 00:27:19,359
Speaker 1: to that, to that era, and he embraces it and

536
00:27:19,400 --> 00:27:21,520
Speaker 1: he uses it. He in the twine and in this

537
00:27:21,840 --> 00:27:25,000
Speaker 1: catalog into and to his being. So it's kind of

538
00:27:25,040 --> 00:27:27,840
Speaker 1: hard to fight that exactly. Shout out to dog. So

539
00:27:28,400 --> 00:27:30,959
Speaker 1: after you get this Snoop Dog place, when you're feeling yourself,

540
00:27:30,960 --> 00:27:34,479
Speaker 1: what comes next after that? Man? After that, Um, I

541
00:27:34,520 --> 00:27:42,359
Speaker 1: think it was on to UM. Like c J Mac,

542
00:27:42,640 --> 00:27:45,000
Speaker 1: I was trying to I was trying to get on

543
00:27:45,080 --> 00:27:47,960
Speaker 1: around c J. Mack, just anybody local that had a name.

544
00:27:48,000 --> 00:27:50,080
Speaker 1: I was trying to get on with Cam. I was

545
00:27:50,119 --> 00:27:54,960
Speaker 1: trying to I was chasing UM, just the placement game.

546
00:27:55,480 --> 00:27:58,399
Speaker 1: And then I got a call to play keyboards for

547
00:27:59,200 --> 00:28:05,200
Speaker 1: UM DR Dre's label. Right, I gotta call it and

548
00:28:05,200 --> 00:28:09,280
Speaker 1: and I did that for about a year, planning being

549
00:28:09,280 --> 00:28:13,000
Speaker 1: a session musician for especially when they had producers come

550
00:28:13,000 --> 00:28:15,560
Speaker 1: in from out of town and they needed musicians. They

551
00:28:15,800 --> 00:28:17,640
Speaker 1: called me, and then I got a call one day

552
00:28:18,160 --> 00:28:21,440
Speaker 1: my man Angelo Sanders, who was m A and R

553
00:28:21,520 --> 00:28:24,719
Speaker 1: over there with with Drey, and he called me, Bro,

554
00:28:24,800 --> 00:28:26,520
Speaker 1: I never forget Still. I'm on my way to a

555
00:28:26,600 --> 00:28:28,880
Speaker 1: day or something, Bro, and I'm driving and I see

556
00:28:28,880 --> 00:28:31,560
Speaker 1: his members, like, I don't I don't want to do this,

557
00:28:31,960 --> 00:28:33,720
Speaker 1: you know what I mean. I started not to answer,

558
00:28:34,080 --> 00:28:36,119
Speaker 1: and I asked, if you like please, Bro, can you

559
00:28:36,160 --> 00:28:38,640
Speaker 1: just go to Lara VI and Um Lara Vie North

560
00:28:38,800 --> 00:28:43,520
Speaker 1: and in Hollywood or West Hollywood and just do the session.

561
00:28:43,560 --> 00:28:46,160
Speaker 1: I got the producer out here, man from Chicago, can

562
00:28:46,200 --> 00:28:48,680
Speaker 1: you just go up there? I was like, all right, dude,

563
00:28:48,680 --> 00:28:50,760
Speaker 1: I'll go up there for a minute. And I walk

564
00:28:50,800 --> 00:28:54,080
Speaker 1: in and during this Canye before he's company. So if

565
00:28:54,080 --> 00:28:57,120
Speaker 1: I didn't take that call, I mean that sparked probably

566
00:28:57,120 --> 00:29:00,920
Speaker 1: my whole next three years by that one UM session

567
00:29:00,960 --> 00:29:03,400
Speaker 1: that I agreed to go to the Stoke. So we

568
00:29:03,480 --> 00:29:05,120
Speaker 1: kind of went back in reverse order. So that was

569
00:29:05,200 --> 00:29:07,680
Speaker 1: that's when you looked up with kin here at that point. Yeah.

570
00:29:08,200 --> 00:29:12,760
Speaker 1: But but see that's when my production games started to

571
00:29:12,800 --> 00:29:15,720
Speaker 1: get better. So other stuff like you know, it still

572
00:29:15,880 --> 00:29:17,880
Speaker 1: wasn't like back to back to back, and now it's

573
00:29:17,920 --> 00:29:20,720
Speaker 1: still chasing the grind. And then this is the next

574
00:29:20,760 --> 00:29:24,800
Speaker 1: big fish that I called. That's do man, that's incredible, accellent.

575
00:29:25,040 --> 00:29:27,200
Speaker 1: I hope these cats are here listening, man, because it's

576
00:29:27,240 --> 00:29:30,000
Speaker 1: not easy doing what you do, not at all. It's

577
00:29:30,040 --> 00:29:32,920
Speaker 1: not easy. So you had this conversation we already talked

578
00:29:32,920 --> 00:29:35,800
Speaker 1: about Kanye. What came after that? I know, I'm taking

579
00:29:35,840 --> 00:29:38,840
Speaker 1: you back. So if you don't remember, Bro, I have

580
00:29:39,000 --> 00:29:41,640
Speaker 1: I remember because I lived it and I love what

581
00:29:41,720 --> 00:29:44,240
Speaker 1: I do. I'm passionate about it. So after that, like

582
00:29:44,320 --> 00:29:48,200
Speaker 1: after I got in with Kanye, it kind of like it.

583
00:29:49,800 --> 00:29:52,000
Speaker 1: I kind of had a seiling kind of it. It

584
00:29:52,080 --> 00:29:54,120
Speaker 1: wasn't like I was trying to get on as a

585
00:29:54,120 --> 00:29:57,000
Speaker 1: producer as well. But he was like, yeah, yeah, yeah,

586
00:29:57,200 --> 00:29:58,880
Speaker 1: I like your West Coast somefing like, Bro, but I

587
00:29:58,920 --> 00:30:00,720
Speaker 1: can make anything. Don't just put me in the West

588
00:30:00,760 --> 00:30:04,240
Speaker 1: Coast box. And and then we get a session with

589
00:30:04,360 --> 00:30:07,920
Speaker 1: Game one day, so I'm like, all right, Kanye, go

590
00:30:08,000 --> 00:30:11,160
Speaker 1: out the room, because like at this time, Bro, we're

591
00:30:11,160 --> 00:30:14,640
Speaker 1: working with everybody might be commented, might be Game it,

592
00:30:14,680 --> 00:30:17,280
Speaker 1: maybe Janet is. I mean, all these other people that

593
00:30:17,360 --> 00:30:19,400
Speaker 1: were working with because he's in in his problem at

594
00:30:19,400 --> 00:30:22,200
Speaker 1: the time. So when Game come in and we're working

595
00:30:22,240 --> 00:30:24,520
Speaker 1: on joints the Game, Kanye go out to Rome and

596
00:30:24,560 --> 00:30:26,640
Speaker 1: I approached Game like, hey girl, I don't only I

597
00:30:26,640 --> 00:30:29,360
Speaker 1: don't only put keys. I produced too, and I slid

598
00:30:29,400 --> 00:30:33,520
Speaker 1: him a CD right so um, and that's when we

599
00:30:33,520 --> 00:30:37,120
Speaker 1: were working on a documentary. So from that I didn't

600
00:30:37,200 --> 00:30:40,200
Speaker 1: land a placement on the documentary. But the very next album,

601
00:30:40,240 --> 00:30:43,320
Speaker 1: which was Doctor's Advocate, I got the first track on it,

602
00:30:43,360 --> 00:30:45,640
Speaker 1: which is looking at You. So at this point now

603
00:30:45,800 --> 00:30:50,440
Speaker 1: it's like I'm I'm getting further and further validated. From

604
00:30:50,480 --> 00:30:53,240
Speaker 1: that point, I just stayed in touch and then I

605
00:30:53,320 --> 00:30:56,680
Speaker 1: just you know, I kept watering that same that same plan.

606
00:30:56,960 --> 00:31:01,880
Speaker 1: And then from the next album, uh uh l a X.

607
00:31:02,160 --> 00:31:06,200
Speaker 1: I executive produced that album, my first executive producer. Gig.

608
00:31:07,160 --> 00:31:09,040
Speaker 1: See that's a major key. I don't know you. I

609
00:31:09,040 --> 00:31:11,600
Speaker 1: don't know you EP there, Yeah I did. That's that's

610
00:31:11,680 --> 00:31:16,040
Speaker 1: my um, that's my first EP. Now for the guys

611
00:31:16,080 --> 00:31:18,320
Speaker 1: out there, they in the music industry explained to them

612
00:31:18,320 --> 00:31:21,360
Speaker 1: real quick what an executive producer does. Executive producer, But

613
00:31:21,720 --> 00:31:25,320
Speaker 1: it's so many it's a couple of different Uh definitions.

614
00:31:25,600 --> 00:31:29,600
Speaker 1: One could be, um, you're financially responsible for the project.

615
00:31:29,760 --> 00:31:33,400
Speaker 1: That's one. Yeah, that's one. But mine was I'm I'm

616
00:31:33,440 --> 00:31:36,440
Speaker 1: in charge of making sure that everything is done to

617
00:31:36,480 --> 00:31:39,360
Speaker 1: make this body of work cohesive. Whatever it calls for,

618
00:31:39,400 --> 00:31:41,920
Speaker 1: it it cause for me bringing the singer, and if

619
00:31:41,960 --> 00:31:44,400
Speaker 1: it cast for me playing on something, it's caused for me.

620
00:31:44,640 --> 00:31:46,520
Speaker 1: This song sounds cool, but it's not as big as

621
00:31:46,560 --> 00:31:48,480
Speaker 1: the other ones. It's my job to make that song

622
00:31:49,120 --> 00:31:52,640
Speaker 1: um feel like a big hug basically. So we had

623
00:31:52,840 --> 00:31:56,440
Speaker 1: we had several songs on that that project where the

624
00:31:56,920 --> 00:32:02,840
Speaker 1: producer Clinton Uh provide the files whether they did the

625
00:32:02,840 --> 00:32:04,720
Speaker 1: song or not. I'm not gonna say they did or

626
00:32:04,920 --> 00:32:07,800
Speaker 1: you know, I gotta thing to say. I won't. I'm

627
00:32:07,840 --> 00:32:09,719
Speaker 1: gonna let you slide with that one, right, but I'm

628
00:32:09,760 --> 00:32:13,120
Speaker 1: gonna say something. Usually when cats come with that thing

629
00:32:13,120 --> 00:32:15,440
Speaker 1: and they got a beat c then and they're trying

630
00:32:15,440 --> 00:32:17,800
Speaker 1: to get away with two tracking something, and you know,

631
00:32:18,120 --> 00:32:20,640
Speaker 1: they're always gonna ask for the files for your So

632
00:32:20,760 --> 00:32:23,200
Speaker 1: for your thieves out there, like you feel other people's work,

633
00:32:24,000 --> 00:32:26,200
Speaker 1: if you're mess trying to get a placement, they're going

634
00:32:26,280 --> 00:32:29,120
Speaker 1: to ask for the DNA of that track, for one,

635
00:32:29,240 --> 00:32:30,880
Speaker 1: so they could put a proper mix on it. For

636
00:32:30,960 --> 00:32:32,720
Speaker 1: two to make sure they don't get cut up in

637
00:32:32,760 --> 00:32:38,320
Speaker 1: the latches situation. Absolutely absolutely, so we can continue and Game.

638
00:32:38,360 --> 00:32:40,680
Speaker 1: It's such as he's another guy that's pretty polarized. I

639
00:32:40,720 --> 00:32:43,800
Speaker 1: wasn't working with him games. I mean, Game is my

640
00:32:43,920 --> 00:32:46,840
Speaker 1: potum man. So I've never had a bad experience with him.

641
00:32:47,200 --> 00:32:49,560
Speaker 1: He's always paid me without He's always fought for me

642
00:32:49,600 --> 00:32:53,520
Speaker 1: when it comes to me getting my jest dude, Um,

643
00:32:53,560 --> 00:32:56,000
Speaker 1: And I'm still touring with him today, you know what

644
00:32:56,000 --> 00:32:58,280
Speaker 1: I mean. I've done so many different things for him now,

645
00:32:58,320 --> 00:33:02,240
Speaker 1: I'm just musical director. Um tour the world with him

646
00:33:02,240 --> 00:33:05,080
Speaker 1: about five times, and I've even DJ for him. I'm

647
00:33:05,120 --> 00:33:08,720
Speaker 1: not even a DJ bro, but if the if the

648
00:33:08,840 --> 00:33:13,080
Speaker 1: job calls for it, I'll step up. I'll step up

649
00:33:13,080 --> 00:33:16,040
Speaker 1: and I do it. Yeah. Game is a very dope artist, man.

650
00:33:16,080 --> 00:33:18,520
Speaker 1: You know, when he first came out, I was really excited. Man.

651
00:33:19,320 --> 00:33:21,880
Speaker 1: I still think I think at one point, Man, he

652
00:33:21,960 --> 00:33:25,800
Speaker 1: had the opportunity to probably get his face kind of

653
00:33:25,840 --> 00:33:28,720
Speaker 1: put on that Mount Rushmore West Coast rep Like alone,

654
00:33:28,760 --> 00:33:31,320
Speaker 1: you just snoop the longest the side of the snoop

655
00:33:31,360 --> 00:33:34,400
Speaker 1: dogs that dr Dre's because he really really could have

656
00:33:34,480 --> 00:33:37,280
Speaker 1: been great. Though he still it was great, you know

657
00:33:37,320 --> 00:33:39,400
Speaker 1: what I'm saying. But you know, he's great and he's

658
00:33:39,440 --> 00:33:41,480
Speaker 1: a major artist, but I think he could have went

659
00:33:41,560 --> 00:33:43,640
Speaker 1: to you understand what I mean, like that super star

660
00:33:43,760 --> 00:33:48,240
Speaker 1: with rock star status. It ain't too late, it ain't.

661
00:33:48,360 --> 00:33:50,920
Speaker 1: It ain't too late for that. So you did the

662
00:33:51,040 --> 00:33:53,400
Speaker 1: l a X album. He was over there, EP and games,

663
00:33:53,440 --> 00:33:56,200
Speaker 1: protects and stuff whatever. After that, Man, what came next

664
00:33:56,520 --> 00:33:59,440
Speaker 1: after that? Bro? Like I felt it was time for

665
00:33:59,480 --> 00:34:01,760
Speaker 1: me to move on because like when it came to

666
00:34:02,000 --> 00:34:05,320
Speaker 1: I think the Red album was after that. Um, I

667
00:34:06,280 --> 00:34:09,680
Speaker 1: felt that I should have had a higher state in

668
00:34:09,760 --> 00:34:14,000
Speaker 1: that project, in elevation, So um, that didn't happen. I

669
00:34:14,719 --> 00:34:17,160
Speaker 1: gracefully bowed out for a while and said, you know what,

670
00:34:17,600 --> 00:34:20,399
Speaker 1: it's time for me to start my own, my own

671
00:34:20,400 --> 00:34:23,760
Speaker 1: company and get my own artists, because at that point

672
00:34:23,760 --> 00:34:25,560
Speaker 1: I was in the room enough to see how the

673
00:34:25,640 --> 00:34:30,320
Speaker 1: business work and how lucrative it is being an owner

674
00:34:30,400 --> 00:34:35,200
Speaker 1: as opposed to just being a player exactly. Yeah, And

675
00:34:35,960 --> 00:34:38,680
Speaker 1: being a session musician was great, you know what I mean.

676
00:34:38,719 --> 00:34:41,440
Speaker 1: It was a step up from my TRW North the

677
00:34:41,520 --> 00:34:44,480
Speaker 1: Grummant job. I mean, one night I might make four racks,

678
00:34:44,520 --> 00:34:47,239
Speaker 1: the next my the next night make two rack just

679
00:34:47,320 --> 00:34:49,960
Speaker 1: by being a stature musician. But at the same time

680
00:34:50,040 --> 00:34:54,200
Speaker 1: the producer is making a hundred thousands. So it was

681
00:34:54,239 --> 00:34:56,520
Speaker 1: just a progression, and I think it was that time

682
00:34:56,560 --> 00:34:58,759
Speaker 1: for me to to put on my executive path, to

683
00:34:58,880 --> 00:35:01,719
Speaker 1: start to build my own ran and coltivate my own

684
00:35:01,840 --> 00:35:04,759
Speaker 1: artists and find my way in that space. Yeah, and

685
00:35:04,920 --> 00:35:07,799
Speaker 1: we gonna talk abount your artists too, um. But what

686
00:35:07,880 --> 00:35:10,400
Speaker 1: I want to add, so I'm trying to get like

687
00:35:10,400 --> 00:35:14,000
Speaker 1: a time, like a chronological order, right, So if you

688
00:35:14,080 --> 00:35:15,920
Speaker 1: gotta finish with that, what was next? What was the

689
00:35:15,960 --> 00:35:18,759
Speaker 1: next mission? That was the next mission to sign my

690
00:35:18,800 --> 00:35:24,040
Speaker 1: own artist um into create a brand that that is

691
00:35:24,320 --> 00:35:28,799
Speaker 1: uh polarizing and that will last forever. But but with

692
00:35:28,840 --> 00:35:32,400
Speaker 1: the emphasis on quality. Yeah, it has to be quality.

693
00:35:32,400 --> 00:35:35,200
Speaker 1: And you've consistently delivered that quality and I think that's

694
00:35:35,200 --> 00:35:38,080
Speaker 1: why you still respected out here. Yeah, man, I like

695
00:35:38,640 --> 00:35:41,359
Speaker 1: integrity is everything, you know what I mean, whether it's

696
00:35:41,440 --> 00:35:43,400
Speaker 1: like all money ain't good money. I want like if

697
00:35:43,400 --> 00:35:46,239
Speaker 1: it's gonna damage my name, like I lived for my

698
00:35:46,360 --> 00:35:49,960
Speaker 1: last name, my my family, we have adult legacy. I'm

699
00:35:50,000 --> 00:35:54,480
Speaker 1: not I'm afraid to mess up what my parents and

700
00:35:54,760 --> 00:36:00,879
Speaker 1: four or fathers have laid as instruction. There's still now

701
00:36:00,960 --> 00:36:03,200
Speaker 1: let me ask you this because I think every producer

702
00:36:03,280 --> 00:36:07,400
Speaker 1: had these moments. Have you ever been a session with

703
00:36:07,520 --> 00:36:10,960
Speaker 1: for artists like a wrapper in particularly's talk about rappers

704
00:36:11,000 --> 00:36:15,120
Speaker 1: a wrapper and they just sounded trash that day. Yeah,

705
00:36:15,400 --> 00:36:17,879
Speaker 1: they're not, They're on top of their game. How man

706
00:36:18,000 --> 00:36:23,600
Speaker 1: would Um? I would give them options if I'm in control.

707
00:36:23,680 --> 00:36:25,719
Speaker 1: It depends on if it's my session or if it's

708
00:36:25,760 --> 00:36:28,759
Speaker 1: my track. Um. Fortunately, I haven't had to deal with

709
00:36:28,800 --> 00:36:30,959
Speaker 1: that too much to where I had control to where

710
00:36:30,960 --> 00:36:34,000
Speaker 1: it's like, um, you're so horrible that I don't want

711
00:36:34,040 --> 00:36:37,560
Speaker 1: you on my track because I haven't really dealt with

712
00:36:38,440 --> 00:36:44,480
Speaker 1: people that I had to appease. That makes sense, Um,

713
00:36:44,520 --> 00:36:47,319
Speaker 1: but when music is terrible to me too, Like I

714
00:36:47,400 --> 00:36:50,200
Speaker 1: have to tell you, I'm gonna tell you the way

715
00:36:50,200 --> 00:36:52,560
Speaker 1: to like kind of pride you in another direction. That

716
00:36:52,640 --> 00:36:55,759
Speaker 1: sound cool? Yeah, but let's do it another version and

717
00:36:55,760 --> 00:36:59,759
Speaker 1: who was a diplomatic way? Then exactly whichever version is better,

718
00:37:00,280 --> 00:37:01,960
Speaker 1: then we'll just go with that and then I'll get

719
00:37:02,160 --> 00:37:06,239
Speaker 1: that that way. I still I still uh get what

720
00:37:06,320 --> 00:37:08,680
Speaker 1: I want. And then I get I get the part

721
00:37:08,760 --> 00:37:13,480
Speaker 1: and with this season, now, those are the big clients, right, Yeah,

722
00:37:13,560 --> 00:37:15,239
Speaker 1: have you ever been in there? Have you ever done

723
00:37:15,239 --> 00:37:18,120
Speaker 1: a session with an independent rapper that she was just like, man,

724
00:37:18,160 --> 00:37:19,799
Speaker 1: just dude, it so trash. I don't want to deal

725
00:37:19,840 --> 00:37:21,879
Speaker 1: with it. Yeah, I can't do it. And thank god

726
00:37:21,920 --> 00:37:24,480
Speaker 1: I was never in that position to where I needed

727
00:37:24,480 --> 00:37:26,480
Speaker 1: money that bad to where I just had to accept it.

728
00:37:26,520 --> 00:37:29,000
Speaker 1: I will, I will walk away from it. Man, You're

729
00:37:29,080 --> 00:37:31,720
Speaker 1: lucky to do because I've seen guys and sessions before

730
00:37:32,040 --> 00:37:35,720
Speaker 1: and not saying they're not truly independent independent artist artists

731
00:37:35,719 --> 00:37:38,680
Speaker 1: that send my own. And I've had one of my

732
00:37:38,760 --> 00:37:41,040
Speaker 1: producer homeboys I won't say no name because the rapper

733
00:37:41,120 --> 00:37:44,520
Speaker 1: is kind of known the producers, and he told me said, bro,

734
00:37:44,719 --> 00:37:47,759
Speaker 1: he picked the button, said bro, I'm about to leave.

735
00:37:47,920 --> 00:37:51,880
Speaker 1: This ship is trash. Yeah, because he kind of got frustrated.

736
00:37:51,880 --> 00:37:54,000
Speaker 1: He was telling a diplomatic way, bro, let's try it

737
00:37:54,040 --> 00:37:56,399
Speaker 1: this way, come on out, but the guy kept going

738
00:37:56,480 --> 00:37:58,400
Speaker 1: back to what he was doing. He finally said, you know,

739
00:37:58,400 --> 00:38:00,200
Speaker 1: he's not gonna waste my time. He took his use

740
00:38:00,239 --> 00:38:04,719
Speaker 1: it and bomblished and was giving you've done that before. Yeah,

741
00:38:04,800 --> 00:38:10,000
Speaker 1: I've done it, but like because like, first thing somebody

742
00:38:10,000 --> 00:38:11,960
Speaker 1: to say that could be somebody in the the first experience

743
00:38:12,000 --> 00:38:14,160
Speaker 1: with you, and they'd be like, ep I heard he

744
00:38:14,200 --> 00:38:16,840
Speaker 1: did that record. Wasn't that he's tracked? Like I'm protecting

745
00:38:16,840 --> 00:38:20,719
Speaker 1: my brand. It really matters, you know what. So tell

746
00:38:20,760 --> 00:38:25,520
Speaker 1: me about that one experience. One experience. I just like before,

747
00:38:25,920 --> 00:38:28,200
Speaker 1: it never got to the point to where we recorded

748
00:38:28,200 --> 00:38:30,840
Speaker 1: the record or had to put it out like I

749
00:38:30,840 --> 00:38:34,480
Speaker 1: would like, I would just blame it on. Bro. I

750
00:38:34,680 --> 00:38:37,000
Speaker 1: got this film project and I'm only filmed, and I'm

751
00:38:37,000 --> 00:38:39,360
Speaker 1: giving up giving somebody gonna hear this and be like

752
00:38:39,400 --> 00:38:42,960
Speaker 1: this think he told me the same thing. I just

753
00:38:43,000 --> 00:38:44,920
Speaker 1: put it on the film. I'm working on the film

754
00:38:45,000 --> 00:38:46,640
Speaker 1: right now. Bro, I'm not even doing like I would

755
00:38:46,640 --> 00:38:49,120
Speaker 1: love to do it. I'm working on this film. It's

756
00:38:49,200 --> 00:38:51,839
Speaker 1: very demanding, ro and it's it's commanding all of my time.

757
00:38:52,560 --> 00:38:54,560
Speaker 1: That's dope. And I know you did um you did

758
00:38:54,600 --> 00:38:56,359
Speaker 1: some work with Mac Tim Was that you and Max

759
00:38:56,440 --> 00:38:58,320
Speaker 1: first time working together when you did a Big ballersh

760
00:38:58,560 --> 00:39:01,279
Speaker 1: It was that was that that record was hard, Bro,

761
00:39:01,560 --> 00:39:04,080
Speaker 1: We did that. And then I also like Mac was

762
00:39:04,120 --> 00:39:06,239
Speaker 1: involved in some teleb and stuff too. He did Dion

763
00:39:06,320 --> 00:39:09,520
Speaker 1: Sanders Show, um, and I did the theme song for

764
00:39:09,600 --> 00:39:15,240
Speaker 1: that so um yeah that that Big Baller was was dope.

765
00:39:15,239 --> 00:39:17,600
Speaker 1: And I did another one car It's Your Life with

766
00:39:18,360 --> 00:39:21,840
Speaker 1: Anthony Hamilton's on that. On that actually I get I

767
00:39:21,960 --> 00:39:25,400
Speaker 1: forget to name Athony Hamilton, all these different arts that

768
00:39:25,480 --> 00:39:27,879
Speaker 1: I work with, bro like on that album. I didn't

769
00:39:27,960 --> 00:39:30,920
Speaker 1: join with Anthony Hamilton and Mac tim Oh that's it's

770
00:39:30,960 --> 00:39:36,759
Speaker 1: it's only it's only Anthony Hamilton's that's t man. So

771
00:39:37,200 --> 00:39:39,719
Speaker 1: I don't know you've got artists right now, e p um,

772
00:39:40,239 --> 00:39:43,040
Speaker 1: you have artists right now. When you walk there looking

773
00:39:43,080 --> 00:39:44,960
Speaker 1: for artists, I'm pretty sure you're not out there just

774
00:39:45,040 --> 00:39:47,319
Speaker 1: trying to sign any and everybody. But what did you

775
00:39:47,320 --> 00:39:49,160
Speaker 1: look for an artist when you when you meet up

776
00:39:49,160 --> 00:39:54,200
Speaker 1: with him. It's it's changed too because now I look for, um,

777
00:39:54,239 --> 00:39:57,839
Speaker 1: I left for somebody who's willing to invest and push theirselves.

778
00:39:58,200 --> 00:39:59,719
Speaker 1: If I had to push you, I mean that's the

779
00:39:59,800 --> 00:40:03,000
Speaker 1: numb the one thing. Um. I can't push you more

780
00:40:03,040 --> 00:40:06,040
Speaker 1: than you want to put yourself. Um. So I look

781
00:40:06,120 --> 00:40:08,640
Speaker 1: for somebody who's and it might be this might be

782
00:40:08,760 --> 00:40:12,160
Speaker 1: number one, who's who has integrity and who has a

783
00:40:12,480 --> 00:40:15,520
Speaker 1: who who is a dope human being, damn everything else,

784
00:40:15,600 --> 00:40:17,600
Speaker 1: because if I can't get along with you as a

785
00:40:17,680 --> 00:40:21,359
Speaker 1: human being, we're not gonna get along. Because, um I looked.

786
00:40:21,480 --> 00:40:24,360
Speaker 1: I look for somebody who's unique, who's not talking about

787
00:40:24,400 --> 00:40:27,000
Speaker 1: the same thing everybody's talking about, who's not thinking the

788
00:40:27,080 --> 00:40:30,279
Speaker 1: same tracks of everybody else it's thinking, it's the same

789
00:40:30,320 --> 00:40:34,040
Speaker 1: conversation over and over and over. So the likelihood that

790
00:40:34,120 --> 00:40:38,520
Speaker 1: you're standing out and going somewhere else, um, it's very slim.

791
00:40:38,560 --> 00:40:43,600
Speaker 1: If if if there's nothing special about you, that's dope. Man, Now,

792
00:40:44,800 --> 00:40:46,800
Speaker 1: tell me about your artist that you have now in

793
00:40:46,880 --> 00:40:49,360
Speaker 1: your roster, because you have you do have a production

794
00:40:49,400 --> 00:40:53,960
Speaker 1: company though, right, and yeah, we presently are looking for

795
00:40:54,160 --> 00:40:56,400
Speaker 1: you know, we've got some six that were you know,

796
00:40:56,480 --> 00:41:00,560
Speaker 1: going into But let's talk about your artists. Okay, um

797
00:41:00,600 --> 00:41:02,479
Speaker 1: I got an artist. Let me go down the list.

798
00:41:02,640 --> 00:41:05,360
Speaker 1: I got an artist, Maze three oh one, who's who's

799
00:41:05,400 --> 00:41:09,919
Speaker 1: from Maryland. He's super dope, He's diverse. Um I will

800
00:41:10,000 --> 00:41:15,800
Speaker 1: put him up against your Drake's your h he's a

801
00:41:15,960 --> 00:41:21,600
Speaker 1: slashed between Drake and all the current stuff. That's no,

802
00:41:21,920 --> 00:41:25,400
Speaker 1: you haven't heard him yet. I'm going down the line first.

803
00:41:25,560 --> 00:41:27,520
Speaker 1: But I have a deal with him with Techno and

804
00:41:27,600 --> 00:41:32,800
Speaker 1: Strange Music partner. We did a joint venture with them.

805
00:41:32,920 --> 00:41:35,600
Speaker 1: Um the artist you're talking about as another kid from

806
00:41:35,640 --> 00:41:40,000
Speaker 1: Indian from Indiana, from Elkhart, Indiana, from the rural parts

807
00:41:40,040 --> 00:41:44,879
Speaker 1: of Indiana. But who's sold eclectic. Uh, he's He calls

808
00:41:44,920 --> 00:41:47,920
Speaker 1: himself a geek. He calls himself a nerve. But but

809
00:41:48,640 --> 00:41:51,320
Speaker 1: I'm I'm learning, Like, man, what was I think in

810
00:41:51,360 --> 00:41:54,200
Speaker 1: all these other years? Because those are the dudes who

811
00:41:54,320 --> 00:41:57,120
Speaker 1: put those are the dudes that are in tech. Those

812
00:41:57,120 --> 00:41:59,680
Speaker 1: are the most successful people in the world because they

813
00:42:00,120 --> 00:42:04,960
Speaker 1: have taken their social awkwardness and put it into whatever

814
00:42:05,160 --> 00:42:08,160
Speaker 1: their thing is. So he put all of his focus

815
00:42:08,200 --> 00:42:10,720
Speaker 1: on music and writing. So this dude is so prolific.

816
00:42:11,239 --> 00:42:16,120
Speaker 1: He's he's uh, he's diverse. He comes up with some

817
00:42:16,120 --> 00:42:18,360
Speaker 1: stuff that I've never heard of before. His name is

818
00:42:18,400 --> 00:42:22,640
Speaker 1: Indie um the super He calls himself the super artist,

819
00:42:22,680 --> 00:42:24,880
Speaker 1: and I was gonna change that. In the beginning, still

820
00:42:24,960 --> 00:42:28,040
Speaker 1: like the super artist, he's kind of whatever, But then

821
00:42:28,120 --> 00:42:30,840
Speaker 1: he proved itself to really be the super artists or

822
00:42:30,880 --> 00:42:33,160
Speaker 1: I'm a champion based on what I heard that the

823
00:42:33,960 --> 00:42:38,200
Speaker 1: me is the super artist. So I've never met somebody

824
00:42:38,200 --> 00:42:40,200
Speaker 1: who writes so many hits that you as soon as

825
00:42:40,200 --> 00:42:42,360
Speaker 1: you hear them, you out imagine me see them on

826
00:42:42,400 --> 00:42:45,719
Speaker 1: TV and for ads. That's the type of catalog. He's

827
00:42:45,719 --> 00:42:48,799
Speaker 1: a mask. So I got him. I got an rv

828
00:42:49,320 --> 00:42:56,480
Speaker 1: uh artists kimber Nicole. She's very dope, She's she's very soulful.

829
00:42:56,800 --> 00:42:59,120
Speaker 1: Her voice is beautiful. She reminds me of a like

830
00:42:59,680 --> 00:43:03,120
Speaker 1: a holiday, a current day billy holiday, somebody who voice

831
00:43:03,560 --> 00:43:06,319
Speaker 1: is the whole thing. I have g I uh My

832
00:43:06,400 --> 00:43:09,040
Speaker 1: man g I from the Nickinson Garden, who's just a

833
00:43:10,040 --> 00:43:14,040
Speaker 1: supertol because he's dope with backgrounds, he's dope with mixing,

834
00:43:14,360 --> 00:43:16,399
Speaker 1: he's dope with rapp and he's dope for singing. He's

835
00:43:16,520 --> 00:43:23,320
Speaker 1: very prolific. Um. I just signed ari Arianna h shay Lee.

836
00:43:23,360 --> 00:43:26,360
Speaker 1: She's from l a twenty two year old. Her voice

837
00:43:26,360 --> 00:43:30,439
Speaker 1: reminds me of a India ire mixed with dage love

838
00:43:30,680 --> 00:43:34,799
Speaker 1: mixed with uh uh Karene Bailey Ray you know what

839
00:43:34,800 --> 00:43:37,719
Speaker 1: I mean. So and she can spit spit too. And

840
00:43:37,960 --> 00:43:40,560
Speaker 1: I guess the last artist I just signed a kid

841
00:43:40,920 --> 00:43:43,879
Speaker 1: who his name is Jordan. He goes by a lonely boy.

842
00:43:44,440 --> 00:43:47,879
Speaker 1: He um out of Treeport Louisiana Roe the Brow. He's

843
00:43:48,120 --> 00:43:53,000
Speaker 1: eighteen years old. He's very, very dope producer l Radio eighteen.

844
00:43:53,480 --> 00:43:56,360
Speaker 1: He sings a rap and he's gonna he's gonna rival

845
00:43:56,480 --> 00:44:01,239
Speaker 1: everything in here on the radios to produces. Production is incredible.

846
00:44:01,440 --> 00:44:03,439
Speaker 1: And I'm like, bro, you gotta show me that he's

847
00:44:03,440 --> 00:44:09,239
Speaker 1: on foodie loops killing it. And I'm like, man, you know,

848
00:44:10,080 --> 00:44:12,240
Speaker 1: and you know when you talk about fruity loose to stuff,

849
00:44:12,280 --> 00:44:14,400
Speaker 1: I'm so old schooled with it. Man. When I first,

850
00:44:14,480 --> 00:44:17,840
Speaker 1: you know, start really working with these kids, man, I

851
00:44:17,880 --> 00:44:19,600
Speaker 1: was looking at the way they produced. I was like, man,

852
00:44:19,640 --> 00:44:22,040
Speaker 1: where you're equipping that? Like where you're m PC? What're

853
00:44:22,040 --> 00:44:24,239
Speaker 1: the keyboards all in here? Ge? We don't do that

854
00:44:24,280 --> 00:44:26,200
Speaker 1: no more? Help me a lot, help me with a

855
00:44:26,239 --> 00:44:28,040
Speaker 1: lot of stuff. Is I realized I don't need all

856
00:44:28,040 --> 00:44:32,319
Speaker 1: this stuff no more? Yeah, you can't need it technology?

857
00:44:32,520 --> 00:44:35,400
Speaker 1: You know what I mean by me adding what I

858
00:44:35,960 --> 00:44:39,560
Speaker 1: what what I contribute and added with him, and once

859
00:44:39,600 --> 00:44:42,320
Speaker 1: I give him his own sound and his own sauce,

860
00:44:42,800 --> 00:44:45,240
Speaker 1: because he's only emulating what he hears on the radio

861
00:44:45,280 --> 00:44:47,160
Speaker 1: and what he sees or what he thinks popping. But

862
00:44:47,280 --> 00:44:50,839
Speaker 1: I give this other sauce he's out of it. Yeah,

863
00:44:51,000 --> 00:44:52,920
Speaker 1: I gotta link you up with fiend. Are you familiar

864
00:44:52,960 --> 00:44:57,000
Speaker 1: with Fiend? I'm not fiend Um. There was with no

865
00:44:57,160 --> 00:44:59,279
Speaker 1: limit Um what's the record? You know? To make him

866
00:44:59,320 --> 00:45:03,360
Speaker 1: say unre right. He was a big kind of gravity

867
00:45:03,440 --> 00:45:06,640
Speaker 1: voice guy on there. But he's a prolific songwriter man,

868
00:45:06,719 --> 00:45:09,120
Speaker 1: And he was actually working with a lot doing a

869
00:45:09,120 --> 00:45:12,640
Speaker 1: lot of work with Craig Common over in Atlantic, and

870
00:45:12,680 --> 00:45:14,399
Speaker 1: he wrote a lot of bigger records, like he wrote

871
00:45:14,480 --> 00:45:17,320
Speaker 1: Shortly for Applies, I believe and some other big records.

872
00:45:17,320 --> 00:45:19,319
Speaker 1: You know, did some stuff with t thing, stuff that

873
00:45:19,360 --> 00:45:23,200
Speaker 1: you wouldn't think he necessarily did. But he he is dope, man,

874
00:45:23,239 --> 00:45:24,880
Speaker 1: And that's one thing he is. Because I got an

875
00:45:24,960 --> 00:45:27,400
Speaker 1: artist I'm working with right now, and I kind of

876
00:45:27,440 --> 00:45:29,640
Speaker 1: paired them too together because he got a couple of

877
00:45:29,640 --> 00:45:31,839
Speaker 1: songs that kind of got that in no bounce to it,

878
00:45:32,200 --> 00:45:33,520
Speaker 1: And I said, man, we need to put you with

879
00:45:33,640 --> 00:45:35,960
Speaker 1: theme so he can come you know, dope. So I'll

880
00:45:36,000 --> 00:45:38,400
Speaker 1: link you up with him. Man, I'm gonna definitely I

881
00:45:38,480 --> 00:45:39,920
Speaker 1: might put you all on the phone together to day

882
00:45:40,000 --> 00:45:43,799
Speaker 1: Broun do some stuff man, So you know, with us

883
00:45:43,880 --> 00:45:46,440
Speaker 1: closing this out, man, what would be the biggest advice.

884
00:45:47,040 --> 00:45:50,600
Speaker 1: But before I say that, hold on these stuffs. I

885
00:45:50,760 --> 00:45:53,440
Speaker 1: want to start something, man to where there's a lot

886
00:45:53,480 --> 00:45:57,360
Speaker 1: of producers out here that got potential. They got potential,

887
00:45:57,400 --> 00:45:59,560
Speaker 1: but they need some direction. And then you're gonna put

888
00:45:59,600 --> 00:46:01,360
Speaker 1: something together for those kids. Because I get hit up

889
00:46:01,480 --> 00:46:03,960
Speaker 1: by so many cats that help with their music, and

890
00:46:04,080 --> 00:46:07,279
Speaker 1: I've actually came across some pretty dope stuff. I just

891
00:46:07,400 --> 00:46:09,279
Speaker 1: don't have the time all the time to really go

892
00:46:09,360 --> 00:46:11,200
Speaker 1: in and fix with the problem is. But I'm like, man,

893
00:46:11,200 --> 00:46:12,960
Speaker 1: if this dude ever got this figured out, he might

894
00:46:13,000 --> 00:46:18,839
Speaker 1: be pretty dope. But the direction of your label and everything, man,

895
00:46:19,600 --> 00:46:21,799
Speaker 1: where you're going you decide to get your own group

896
00:46:21,880 --> 00:46:24,920
Speaker 1: of artists? Right? What would you suggest for up and

897
00:46:24,960 --> 00:46:27,560
Speaker 1: coming producers out here? What you would would you suggest

898
00:46:27,640 --> 00:46:29,520
Speaker 1: that they go out to find them an artist first

899
00:46:29,520 --> 00:46:31,799
Speaker 1: and developed that artist before they go out and try

900
00:46:31,840 --> 00:46:34,560
Speaker 1: to start submitting their music to everybody else, or which

901
00:46:34,640 --> 00:46:37,400
Speaker 1: is one is just the smartest thing to do because

902
00:46:37,960 --> 00:46:41,600
Speaker 1: for two like, I don't consider myself a super producer

903
00:46:42,200 --> 00:46:45,239
Speaker 1: unless I'm able to introduce some breaking new artists. And

904
00:46:46,120 --> 00:46:48,440
Speaker 1: exactly you could be a dope producer. But I think

905
00:46:48,600 --> 00:46:51,120
Speaker 1: my definition of the super producer. And when I'm holding

906
00:46:51,200 --> 00:46:55,120
Speaker 1: myself accountable too, is is I gotta break an artist,

907
00:46:55,160 --> 00:46:57,480
Speaker 1: I gotta bring something new, and I got to create

908
00:46:57,560 --> 00:47:01,120
Speaker 1: a whole new land. So it's it's just smart business

909
00:47:01,560 --> 00:47:05,000
Speaker 1: to since the game is so oversaturated and to just

910
00:47:05,239 --> 00:47:08,160
Speaker 1: sit around and I've done it to where I chase

911
00:47:08,239 --> 00:47:11,400
Speaker 1: placements or on this album. And I mean that's another

912
00:47:11,440 --> 00:47:14,120
Speaker 1: thing working with game Bro. It's nerve racking when you

913
00:47:14,239 --> 00:47:17,040
Speaker 1: when you're competing with all of the top producers in

914
00:47:17,080 --> 00:47:18,880
Speaker 1: the world and then you go to the to the

915
00:47:18,960 --> 00:47:21,600
Speaker 1: boards that year, I got five song songs on the album,

916
00:47:21,600 --> 00:47:23,600
Speaker 1: and you come in the next day and you don't

917
00:47:23,640 --> 00:47:27,920
Speaker 1: have none of it because he continuously getting submission from

918
00:47:27,960 --> 00:47:30,640
Speaker 1: other producers and getting knocked off, and you gotta fight

919
00:47:30,719 --> 00:47:33,560
Speaker 1: and fight and fight and chase placement. That's nerve wracking.

920
00:47:33,640 --> 00:47:36,200
Speaker 1: Build with your own, build your own artists, create the

921
00:47:36,280 --> 00:47:38,799
Speaker 1: sound at the same time, create the synergy, and then

922
00:47:38,840 --> 00:47:42,920
Speaker 1: you're gonna work forever. He say, it's dope, man. So

923
00:47:43,680 --> 00:47:45,759
Speaker 1: as far as the roster that you have now, would

924
00:47:45,760 --> 00:47:48,920
Speaker 1: you be expanding that roster in the future maybe if

925
00:47:49,000 --> 00:47:52,759
Speaker 1: it's un but right now I'm kind of capacity and

926
00:47:52,880 --> 00:47:55,560
Speaker 1: then we can't end. This like another example of what

927
00:47:55,719 --> 00:47:57,719
Speaker 1: we just talked about, bro is I'm a big fan

928
00:47:57,800 --> 00:48:00,399
Speaker 1: of Glasses, Mamma. You know what I mean. I met

929
00:48:00,480 --> 00:48:05,200
Speaker 1: Glasses um when we did um I executive produced, uh

930
00:48:06,040 --> 00:48:10,600
Speaker 1: you know the Homie Bone from Anthers Um the Bassards

931
00:48:10,600 --> 00:48:14,800
Speaker 1: of the Party. Yeah, I executive produced and produced the

932
00:48:14,880 --> 00:48:20,759
Speaker 1: whole soundtrack to that documentary. And then um Bone introduced

933
00:48:20,840 --> 00:48:23,640
Speaker 1: me to two Glasses because he did a joint on

934
00:48:24,120 --> 00:48:27,360
Speaker 1: on one of the songs that I submitted called j Wayden,

935
00:48:27,400 --> 00:48:32,160
Speaker 1: which is stupid, right. So I've always had this appreciation

936
00:48:32,239 --> 00:48:34,040
Speaker 1: for his gift and what he brings to the industry.

937
00:48:34,320 --> 00:48:37,120
Speaker 1: And we've just teamed up after all these years and

938
00:48:37,200 --> 00:48:40,680
Speaker 1: we put a collaborative project together where I executive produced

939
00:48:40,680 --> 00:48:43,800
Speaker 1: and produced every single record on the on the album

940
00:48:43,960 --> 00:48:46,440
Speaker 1: and it's and it's amazing. It's West Coast, and I

941
00:48:46,560 --> 00:48:48,520
Speaker 1: want to do something for the West Coast because I'm

942
00:48:48,600 --> 00:48:51,759
Speaker 1: the last several things I've done, I've done some protectline

943
00:48:51,760 --> 00:48:54,120
Speaker 1: and stuff for all people all over the globe, and

944
00:48:54,200 --> 00:48:56,800
Speaker 1: I wanted to do something. And also I had a

945
00:48:56,880 --> 00:48:59,120
Speaker 1: chip on my shoulder because it's like when you hear

946
00:48:59,239 --> 00:49:06,359
Speaker 1: these young casts, what all right? I need to put

947
00:49:06,440 --> 00:49:08,399
Speaker 1: something back in the street. So come on, Glass, let's

948
00:49:08,480 --> 00:49:11,120
Speaker 1: let's get down. Let's just let's just work. And it's

949
00:49:11,160 --> 00:49:14,839
Speaker 1: been working like we got a beautiful uh body of work.

950
00:49:14,920 --> 00:49:17,719
Speaker 1: Brow that that this summer. You're you've probably been here

951
00:49:17,719 --> 00:49:19,879
Speaker 1: in a couple of joints already. But wait, no, I've

952
00:49:19,920 --> 00:49:21,440
Speaker 1: heard the whole thing is a lot of people don't know.

953
00:49:21,480 --> 00:49:25,359
Speaker 1: I managed glasses. I'm just talking about what people seeing

954
00:49:25,400 --> 00:49:29,760
Speaker 1: this interview here. Yeah, it's incredible, It's it's incredible. Hopefully

955
00:49:29,800 --> 00:49:31,319
Speaker 1: we stick with that title, bro, you know what I'm

956
00:49:31,360 --> 00:49:33,080
Speaker 1: talking about. We need to. I'm talking to him now

957
00:49:33,160 --> 00:49:35,840
Speaker 1: about staying with this particular title because I said that

958
00:49:35,960 --> 00:49:39,479
Speaker 1: means something. You know, we got a video. I gotta

959
00:49:39,840 --> 00:49:43,279
Speaker 1: have this evening for a video. Another pickup thing from

960
00:49:43,320 --> 00:49:45,839
Speaker 1: five to seven. So I'll definitely get it. Is there

961
00:49:45,880 --> 00:49:48,440
Speaker 1: again too? Sure that's joke and I'll probably see y'all

962
00:49:48,480 --> 00:49:51,200
Speaker 1: up there. You talk about the shoot store. Yeah, I'm

963
00:49:51,200 --> 00:49:52,960
Speaker 1: at to get with y'all on that. I'm probably roll

964
00:49:53,080 --> 00:49:55,279
Speaker 1: through there. I'm gonna probably roll through there, man. So

965
00:49:55,640 --> 00:49:58,680
Speaker 1: what I was gonna ask you to how can people

966
00:49:58,719 --> 00:50:02,480
Speaker 1: get at you bro? Very easily? Man? My my social

967
00:50:02,560 --> 00:50:07,000
Speaker 1: money Instagram is simply at EP music spelled the correct

968
00:50:07,040 --> 00:50:11,359
Speaker 1: way E P m U s I c um Facebook Um,

969
00:50:12,440 --> 00:50:15,400
Speaker 1: if you're ever on Facebook, is just Facebook for its

970
00:50:15,480 --> 00:50:18,160
Speaker 1: last Urban Pope r v i E N pop E.

971
00:50:18,719 --> 00:50:21,120
Speaker 1: My website is being rebuilt right now, but that is

972
00:50:21,360 --> 00:50:27,040
Speaker 1: www dot Irvan Pope dot com. Um my band pages

973
00:50:27,360 --> 00:50:30,520
Speaker 1: at the Furnace Band. So just how at me? Man,

974
00:50:31,520 --> 00:50:33,680
Speaker 1: I'm here. That's dope. So you were so you make

975
00:50:33,719 --> 00:50:37,480
Speaker 1: yourself accessible up and coming artists pretty much absolutely, but

976
00:50:37,600 --> 00:50:39,200
Speaker 1: y'all be to come with some fire. You heard this

977
00:50:39,320 --> 00:50:41,560
Speaker 1: man were walking, he would get up out the chair

978
00:50:41,600 --> 00:50:43,560
Speaker 1: and walk out on your ask Man, well you got what.

979
00:50:43,640 --> 00:50:45,200
Speaker 1: You might not make it to that point if you're

980
00:50:45,200 --> 00:50:48,040
Speaker 1: not hot. Yeah. But but my last artist that I

981
00:50:48,200 --> 00:50:51,320
Speaker 1: just signed, bro, I met him on Instagram. I'm producing

982
00:50:51,760 --> 00:50:53,719
Speaker 1: online because I do a lot of lives. So just

983
00:50:53,840 --> 00:50:57,239
Speaker 1: check me out. Um. I cooked live, I cooked up

984
00:50:57,320 --> 00:51:02,719
Speaker 1: and then his his cameraman hit him like hit me, like, hey, bro,

985
00:51:02,840 --> 00:51:05,640
Speaker 1: I got the perfect artists for you. But after me

986
00:51:05,760 --> 00:51:08,000
Speaker 1: seeing him on my life like three days in a row,

987
00:51:09,200 --> 00:51:11,680
Speaker 1: so I'm like, shoot me something and he shot he

988
00:51:11,800 --> 00:51:14,239
Speaker 1: shot me something, and I'm like I listened to it

989
00:51:15,760 --> 00:51:19,080
Speaker 1: and it sounds like child is Gambino, right, And I'm like,

990
00:51:19,680 --> 00:51:22,120
Speaker 1: this is left. Maybe you do know, maybe you have

991
00:51:22,320 --> 00:51:25,160
Speaker 1: been paying attention. So I'm like, gonna shoot me something else,

992
00:51:25,200 --> 00:51:27,239
Speaker 1: and he shot me something else, which was doping a

993
00:51:27,280 --> 00:51:31,200
Speaker 1: whole another area. I'm like, all right, well, get to

994
00:51:31,400 --> 00:51:33,520
Speaker 1: l A. Just get to l A, because I've sent

995
00:51:33,640 --> 00:51:36,520
Speaker 1: for people before and I've tried this and tried that. Like, Bro,

996
00:51:36,800 --> 00:51:38,680
Speaker 1: show me you serious. Get to l A and we

997
00:51:38,760 --> 00:51:40,840
Speaker 1: can make a problem in me. A week later, it's like,

998
00:51:40,920 --> 00:51:43,359
Speaker 1: all right, I got the ticket, but the hotels is hot,

999
00:51:43,640 --> 00:51:47,319
Speaker 1: so I'm like, all right, well whatever, Bro, just kind

1000
00:51:47,360 --> 00:51:49,200
Speaker 1: of figure it out. And then I was like in

1001
00:51:49,320 --> 00:51:52,320
Speaker 1: the interim, I made him two joints, like let me

1002
00:51:52,360 --> 00:51:54,239
Speaker 1: see how fast he worked if I put a look

1003
00:51:54,360 --> 00:51:56,879
Speaker 1: on this and send it to him, and he sent

1004
00:51:57,000 --> 00:51:59,840
Speaker 1: me back to still he sent me back to incredible

1005
00:52:00,200 --> 00:52:05,080
Speaker 1: too incredible records. I was like, UM, maybe I'll help

1006
00:52:05,160 --> 00:52:10,080
Speaker 1: y'all with the hotel. Uh, just get down here, bro,

1007
00:52:10,360 --> 00:52:12,080
Speaker 1: Let's get down here. Let's work for a week and

1008
00:52:12,120 --> 00:52:15,279
Speaker 1: see if we got any synergy five and then well

1009
00:52:15,360 --> 00:52:17,160
Speaker 1: we know what we have something to talk about after

1010
00:52:17,239 --> 00:52:19,920
Speaker 1: that point, and then everything is kind of clicked and

1011
00:52:20,000 --> 00:52:22,080
Speaker 1: work out, and here we are, and he's been out

1012
00:52:22,080 --> 00:52:24,399
Speaker 1: here ever since. Ing, Yeah, he's been. He went back

1013
00:52:24,520 --> 00:52:27,080
Speaker 1: for maybe a month and then went back with his

1014
00:52:27,239 --> 00:52:29,879
Speaker 1: job and came back out there. And we're getting down.

1015
00:52:29,960 --> 00:52:31,960
Speaker 1: But like you'll hear a lot of his stuff I'm

1016
00:52:32,080 --> 00:52:35,239
Speaker 1: sure on television and film and add So he's one

1017
00:52:35,280 --> 00:52:37,480
Speaker 1: of those artists that and that's what I look for.

1018
00:52:38,160 --> 00:52:42,319
Speaker 1: I look for somebody who I can take their their

1019
00:52:42,719 --> 00:52:47,600
Speaker 1: catalog to multiple streams. Television, film, add those are the

1020
00:52:47,680 --> 00:52:49,719
Speaker 1: most lucrative things. So if you're just making some stuff

1021
00:52:49,760 --> 00:52:53,600
Speaker 1: to get some some some spins and some streams on

1022
00:52:53,920 --> 00:52:58,840
Speaker 1: on regular Celestial Radio or Spotify and stuff like that,

1023
00:52:58,920 --> 00:53:01,880
Speaker 1: school the real bag is writing stuff that's gonna be

1024
00:53:01,920 --> 00:53:07,400
Speaker 1: around here forever, exactly, continue the license, exactly making classics

1025
00:53:07,480 --> 00:53:11,120
Speaker 1: man with EP. I appreciate you coming on, brother, I

1026
00:53:11,160 --> 00:53:14,080
Speaker 1: appreciate you having so for sure. And we go wrap

1027
00:53:14,200 --> 00:53:17,080
Speaker 1: this episode up. Guys, thanks for checking in with us again,

1028
00:53:17,560 --> 00:53:21,040
Speaker 1: and we'll see you real soon. Peace. We out of here.