WEBVTT - Black Music Month QLS Classic: Just Blaze 0:00:00.440 --> 0:00:04.720 Questlove Supreme is a production of iHeartRadio. This classic episode 0:00:04.800 --> 0:00:07.040 was produced by the team at Pandora. 0:00:08.640 --> 0:00:12.319 What's Up, Everybody, It's Sugar Steed from Team Supreme. June 0:00:12.360 --> 0:00:13.600 marks Black Music Month. 0:00:13.880 --> 0:00:14.840 We often speak. 0:00:14.600 --> 0:00:16.759 About it on Questlove Supreme and we've had some of 0:00:16.760 --> 0:00:18.560 the legends responsible. 0:00:18.000 --> 0:00:19.920 For the recognition on the show. 0:00:20.400 --> 0:00:23.120 Every day this June, we are running a different episode 0:00:23.120 --> 0:00:26.320 from the QLs archives to honor the tradition and intent 0:00:26.600 --> 0:00:29.240 of Black Music Month. This week we are focusing on 0:00:29.280 --> 0:00:32.199 some of the great hip hop conversations in the ULS catalog. 0:00:32.680 --> 0:00:35.240 Our leader Questlove has a new book out called hip 0:00:35.280 --> 0:00:38.880 Hop Is History. Check it out at questlove dot com. 0:00:38.920 --> 0:00:41.559 This is a conversation with just Blade, who has been 0:00:41.560 --> 0:00:44.159 a leading hip hop producer in DJA for over twenty 0:00:44.159 --> 0:00:52.640 five years. 0:00:52.680 --> 0:00:59.200 Suprema sub Suck Supremo, roll call Suprema sub sub Suprema, 0:00:59.360 --> 0:01:07.560 roll Suprema Supremo, roll call Suprema So Supremo. 0:01:07.160 --> 0:01:11.640 Roll Quest Love heard stories, Yeah, legends getting busted, Yeah, 0:01:11.880 --> 0:01:12.920 hashtag ass. 0:01:12.840 --> 0:01:15.440 Vaughn Yeah or ass dusted. 0:01:18.360 --> 0:01:23.480 Supremo, roll call Suprema something Supremo, roll. 0:01:23.480 --> 0:01:26.360 Call Fonte's in the building. Yeah, funky rhymes. 0:01:26.360 --> 0:01:26.840 I bust. 0:01:27.319 --> 0:01:27.639 Yeah. 0:01:27.720 --> 0:01:30.160 If you see my friend Just Blaze, Yeah, don't give 0:01:30.200 --> 0:01:31.600 him any dusts. 0:01:34.280 --> 0:01:37.160 Supremo. Roll to hear that. 0:01:37.280 --> 0:01:39.600 Sorry, sure, roll call. 0:01:39.720 --> 0:01:44.880 My name is Sugar, Yeah, Sugar Steve, Yeah, Just Blaze. 0:01:45.319 --> 0:01:57.400 Yeah, no problem, roll call no um on pay bill. Yeah, 0:01:57.400 --> 0:02:00.920 I'm gonna break it down up. Yeah to Just Blaze. 0:02:01.160 --> 0:02:01.360 Yeah. 0:02:01.640 --> 0:02:03.160 And the NPC four Housing. 0:02:03.080 --> 0:02:11.560 Ro Supremo, Supremo roll call, Supremo Son Something Supremo roll call. 0:02:11.520 --> 0:02:14.720 Boss Bills in the house. Yeah, still broke as a mofo. 0:02:15.120 --> 0:02:17.640 Yeah, but I'm still going to ask just yeah for 0:02:17.720 --> 0:02:19.960 a hookup at Polo. 0:02:20.200 --> 0:02:27.480 Supremo, Supremo roll call, Suprema Suck Sun Supremo roll Call. 0:02:27.800 --> 0:02:32.840 It's like, yeah, oh boy, I'm ready, Yeah for Just Blaze. 0:02:33.240 --> 0:02:39.399 Yeah, it's baby roa call Suprema No, Yes, Supremo. 0:02:38.960 --> 0:02:43.440 Roll No years online, Suprema son som roll call. 0:02:44.200 --> 0:02:46.640 My name is just Blaze. Yeah, I'm great, No years, 0:02:46.680 --> 0:02:49.600 no one that I still brock from state to state. 0:02:49.720 --> 0:03:02.480 Wait, roll call, roll call Suprema Son. 0:03:04.000 --> 0:03:11.400 Suprema Ladies and gentlemen, no problem, yeah, Steve. 0:03:12.639 --> 0:03:21.480 Yes, Steve actually came up, like why you said rhythm No, no, no, 0:03:21.800 --> 0:03:24.360 that was your best That was your best rhythm. 0:03:24.360 --> 0:03:28.639 We're all high right now. Thanks, it was amazing. 0:03:28.919 --> 0:03:31.360 I feel bad, he said, no, yeah, and then we 0:03:31.480 --> 0:03:32.359 didn't me to death. 0:03:32.600 --> 0:03:34.720 I didn't. I had a sixteen ready son. 0:03:34.960 --> 0:03:41.080 I didn't realize. Yes, take over the production, but of 0:03:41.080 --> 0:03:42.040 course you have the producer. 0:03:42.160 --> 0:03:46.640 Ladies and gentlemen, welcome to Quest Love Supreme only on Pandora. 0:03:47.000 --> 0:03:52.040 Please welcome our guest Justin Blaze. What's your middle name, Gregory? 0:03:52.640 --> 0:03:54.480 Justin Blakey Blakery. 0:03:55.680 --> 0:03:56.280 It's the Weed. 0:03:56.400 --> 0:04:02.240 It's it's Steve, you know, gentlemen, uh one, one of 0:04:02.280 --> 0:04:07.960 my favorite producers, one of the loudest producers, I mean, 0:04:08.320 --> 0:04:11.760 the era of the loudest drums ever. I felt ended 0:04:11.800 --> 0:04:16.920 with just place for real, like bring the drums back, bro. 0:04:17.160 --> 0:04:19.839 Ladies and gentlemen, welcome just Plaze to the show. Indeed, 0:04:23.760 --> 0:04:28.280 just since you, I feel are like the difference between 0:04:29.040 --> 0:04:32.640 your era production and the era of some guests that 0:04:32.680 --> 0:04:35.200 I've been on the show is I feel like your 0:04:35.320 --> 0:04:42.080 your second generation Renaissance. Okay, So, thus you were a 0:04:42.120 --> 0:04:46.840 fan of the original Renaissance crew, the tips of the 0:04:46.880 --> 0:04:50.640 large professors of the Pete Roxy. You grew up you 0:04:50.680 --> 0:04:54.000 know on their music before you. So thus I feel 0:04:54.000 --> 0:04:59.200 as though that makes you probably a student like a fan. 0:04:59.279 --> 0:05:02.359 You're you're, you're, you're a suit of. 0:05:02.400 --> 0:05:07.160 Renaissance rap, and you know, I feel as though it's 0:05:07.440 --> 0:05:10.640 time for you to let us know what time is. 0:05:10.640 --> 0:05:14.560 Do you guys know what time it is? What it is? 0:05:14.760 --> 0:05:15.440 This time? You do? 0:05:15.960 --> 0:05:18.400 Ladies and gentlemen, It's time for another round of. 0:05:18.920 --> 0:05:26.240 Justin Blaze, Sir, tell him what the game? 0:05:26.400 --> 0:05:28.240 You name this? 0:05:28.400 --> 0:05:29.719 Snare? Oh? 0:05:30.440 --> 0:05:30.640 Oh? 0:05:30.800 --> 0:05:36.280 Special edition, special edition. This is scrutinizing, all right, fifteen snares? 0:05:36.720 --> 0:05:45.000 What's this snare? Oh, I'll do it again to name it. 0:05:47.640 --> 0:05:50.920 I can never remember the name of this one either. Yes, 0:05:51.000 --> 0:05:54.000 there you go. What's this. 0:05:55.880 --> 0:06:05.080 Meters again? Oh? I used it on game? Yes, I 0:06:05.080 --> 0:06:07.000 can remember the name of it. But I know the break. 0:06:07.040 --> 0:06:12.400 I've used it the zillion times. No, no, no, I'm tripping. 0:06:12.800 --> 0:06:15.000 I know I've used it. I have the break. 0:06:15.000 --> 0:06:15.240 I just. 0:06:16.680 --> 0:06:21.960 South Side movement say the world. Yes, yes, Joe, yes, 0:06:22.200 --> 0:06:23.440 Joe text Popois to. 0:06:25.440 --> 0:06:28.599 M M. I know that sport, Yes, that was sport 0:06:28.920 --> 0:06:30.080 lightning rod cool mean gang. 0:06:31.880 --> 0:06:35.839 Oh, I know that Hey fellows some people sally so 0:06:35.960 --> 0:06:43.440 that woman man be a man. I didn't I didn't 0:06:43.440 --> 0:06:46.239 even that happened. Just just keep going. 0:06:47.360 --> 0:06:49.440 Now you're gonna get cocky, motherfucker. 0:06:52.520 --> 0:06:55.359 Heads. Yes, God made me. 0:06:59.200 --> 0:07:10.120 The last one. H Actually that's not fair. It is you, 0:07:10.240 --> 0:07:10.600 isn't it. 0:07:11.400 --> 0:07:11.920 I was about to. 0:07:11.920 --> 0:07:12.720 Say this is the one that. 0:07:17.480 --> 0:07:19.600 I say. I just had the song. 0:07:20.280 --> 0:07:23.360 Yes, I inserted myself, as I do with everything in life. 0:07:23.480 --> 0:07:26.880 But I thought, but the thing is it sounds I thought, 0:07:27.560 --> 0:07:32.560 motherfucking no, they wanted to loose me. One of the 0:07:32.600 --> 0:07:37.960 biggest almost near like roots melt down fist fight things 0:07:38.080 --> 0:07:39.360 was that they. 0:07:40.800 --> 0:07:41.600 Meaning not me. 0:07:44.440 --> 0:07:47.760 They wanted to keep the Clyde stubble Field h soul bride. 0:07:49.400 --> 0:07:52.720 But I was like, no, I wrapped uphold and so 0:07:53.240 --> 0:07:55.680 I thought me and Russell Elevado worked on that ship 0:07:55.720 --> 0:07:56.560 for like now. 0:07:56.480 --> 0:07:56.920 You fool me. 0:07:57.000 --> 0:07:58.880 I was always thought that was what that's what that was, 0:07:59.000 --> 0:08:02.000 No man, and I kept doing the roles at the end. 0:08:02.080 --> 0:08:05.200 Let people know it's not I mean gus me. Anyway, 0:08:05.240 --> 0:08:07.040 There's going to be four other rounds of this. 0:08:08.040 --> 0:08:11.360 There's no problem breaking. So I used to win this game. 0:08:12.040 --> 0:08:14.360 I know you, you and I are like this right. 0:08:14.360 --> 0:08:17.680 So, like on the radio, Z one hundred used to 0:08:17.680 --> 0:08:19.720 have a morning show where they used to do exactly this, 0:08:20.240 --> 0:08:22.400 and this was mymas used to drive me the schools 0:08:22.400 --> 0:08:23.960 every morning. We listened to Z one hundred and the 0:08:24.000 --> 0:08:25.720 would play a half of a second of a song 0:08:26.200 --> 0:08:27.960 and we would, you know, in the car amongst ourselves. 0:08:27.960 --> 0:08:30.200 We would play the game every morning. So fast forward 0:08:30.200 --> 0:08:34.040 a little bit later. There was a point where it 0:08:34.080 --> 0:08:36.280 wasn't Hank eleven and Halfpipe, but it was another one 0:08:36.320 --> 0:08:41.079 of the underground radio shows at the time. I was twelve. 0:08:41.160 --> 0:08:43.760 I was eleven, eleven or twelve, and they used to 0:08:43.800 --> 0:08:46.160 do exactly this, and I won six weeks in a 0:08:46.240 --> 0:08:48.480 row because. 0:08:49.160 --> 0:08:50.560 When you guessed the one second. 0:08:50.400 --> 0:08:52.120 Yeah, one second, and it wasn't a stare. It's just 0:08:52.120 --> 0:08:53.920 like they play a second of a song. But I 0:08:53.960 --> 0:08:56.760 was too young to actually win, so my mother used 0:08:56.800 --> 0:08:58.559 to have to accept the prizes for me. So it 0:08:58.600 --> 0:09:00.800 got to the point and then and then mister Magic 0:09:00.800 --> 0:09:02.200 and I was doing it on in show for a while. 0:09:02.480 --> 0:09:04.160 I won that four weeks in a row. It got 0:09:04.160 --> 0:09:07.160 to the point where they were like, justin all right, 0:09:07.200 --> 0:09:10.920 you put your mom on the phone. I want I 0:09:10.960 --> 0:09:13.720 want to set a cold chilling glasses. I want tickets 0:09:13.760 --> 0:09:16.160 to see that R and B group of boys. Wow, 0:09:17.200 --> 0:09:20.559 remember that you might remembered had a song called Rabbit 0:09:20.640 --> 0:09:24.480 stew Yeah, I won that CD just every week for 0:09:24.600 --> 0:09:26.480 like two month straight. I was winning off of doing this. 0:09:27.040 --> 0:09:30.880 I've heard you sell the story before, and that is 0:09:30.920 --> 0:09:34.520 partially the reason why I started bit you guessed, because 0:09:34.840 --> 0:09:36.199 based on you. 0:09:36.160 --> 0:09:40.040 Know, hearing him. Yeah, here is snippets. We'll do more later. 0:09:41.280 --> 0:09:44.200 Yeah, I'm kind of going off off of off script 0:09:44.320 --> 0:09:46.960 more than I normally do. I kind of want to 0:09:47.000 --> 0:09:52.200 continue you and I just came from uh about south 0:09:52.240 --> 0:09:58.800 By Southwest, uh months ago, and I more like weeks. 0:09:59.360 --> 0:10:02.360 Yeah, we my fault. You know, time doesn't exist with me, 0:10:03.880 --> 0:10:05.360 that's true. But you. 0:10:09.840 --> 0:10:13.959 So when we were eating you you declared something that 0:10:14.080 --> 0:10:15.280 totally blew my mind. 0:10:16.240 --> 0:10:16.360 Uh. 0:10:17.360 --> 0:10:20.800 There's two teams. There's Team Bizarre Ride to the Far 0:10:20.960 --> 0:10:24.960 Side and Team Lab Cabin. No, no, well team even 0:10:25.000 --> 0:10:28.040 then even then there's a battle, but there's there's Team 0:10:28.280 --> 0:10:32.040 Bizarre Ride to the Far Side versus Team ninety three 0:10:32.080 --> 0:10:32.720 to Infinity. 0:10:33.840 --> 0:10:35.600 Guess what team just plays plays for? 0:10:37.600 --> 0:10:41.040 Hell? Yeah, thank you? Thank you? 0:10:41.040 --> 0:10:45.240 Wait you too? Yeah? Yes, wait you too? 0:10:45.600 --> 0:10:49.840 Yeah, I mean listen, Bizarre Ride was wait anyone on 0:10:49.840 --> 0:10:50.280 my side? 0:10:50.280 --> 0:10:50.520 I am? 0:10:50.559 --> 0:10:52.160 I mean it doesn't matter because it's me, but I 0:10:52.240 --> 0:10:55.360 am she has to. 0:10:55.280 --> 0:10:57.280 Be on your side. No, no, no, no, I'm never 0:10:57.320 --> 0:10:57.720 on his side. 0:10:57.720 --> 0:11:00.000 I didn't hear Bizarre Right to the Fire Side until 0:11:00.160 --> 0:11:04.800 twenty ten, to be wait, honest, that's seven. 0:11:05.240 --> 0:11:08.000 Yeah, I know, I know. 0:11:06.280 --> 0:11:08.040 I heard it later than that. 0:11:08.280 --> 0:11:14.240 Really really, you're wait, y'all got something commented you listen 0:11:14.320 --> 0:11:17.320 to it fully as an album for the first Yeah, 0:11:17.400 --> 0:11:18.000 for the first time. 0:11:18.200 --> 0:11:20.319 I heard it for the first time as an album 0:11:20.679 --> 0:11:22.880 when the box set came out. 0:11:22.880 --> 0:11:24.840 When You Get Out, that's when I got it. 0:11:25.360 --> 0:11:29.880 So like for me, I heard, are you motherfucker like. 0:11:31.640 --> 0:11:32.640 The record? Yeah, it wasn't. 0:11:32.640 --> 0:11:34.719 It wasn't that I didn't like this thing I used 0:11:34.720 --> 0:11:36.800 to Well, at the time it came out, I didn't 0:11:36.840 --> 0:11:38.720 have money to buy up everything, and I didn't have 0:11:38.760 --> 0:11:40.200 time to steal everything like I wanted to. 0:11:40.520 --> 0:11:42.520 So, like it was pick and choosing. Far Side just 0:11:42.559 --> 0:11:46.800 wasn't catch up you. You purchased records before you were born. 0:11:46.679 --> 0:11:49.520 Right right, But like Far Side just never. I mean 0:11:49.920 --> 0:11:51.719 I had I had passed me by twelve minutes. That 0:11:51.760 --> 0:11:54.520 was all I really felt like I needed exactly. 0:11:54.520 --> 0:11:58.080 So for me, what it was was I've been jaking 0:11:58.120 --> 0:12:01.280 since I could walk little, whatever money I had went 0:12:01.320 --> 0:12:04.600 to records. I got to pass me by twelve and 0:12:04.679 --> 0:12:07.800 you had to get that as a DJ. Aside from that, 0:12:08.800 --> 0:12:12.920 what was the other single? There was the remix Other 0:12:12.960 --> 0:12:15.640 Fish and I got on the Fish, which and I 0:12:15.800 --> 0:12:17.640 love both of those records. There classic records to me. 0:12:18.040 --> 0:12:20.079 I'll tell you it was two things. A something didn't 0:12:20.080 --> 0:12:23.199 compel me to go halfway with that album. And secondly, 0:12:23.240 --> 0:12:25.320 but neither one of my local record stores had it 0:12:25.360 --> 0:12:26.920 on WAX. I didn't buy some of these and tapes 0:12:28.600 --> 0:12:34.160 Infinity came on had then it was only on one 0:12:35.240 --> 0:12:39.320 as most albums were back then as opposed to double 0:12:39.320 --> 0:12:42.240 a triple vine. So for me that time, by the 0:12:42.280 --> 0:12:43.920 time I got to listen to it, I didn't hear 0:12:43.960 --> 0:12:49.120 it in the era that it mattered. Now. On the 0:12:49.160 --> 0:12:51.400 other hand, it was a whole different animal for me. 0:12:51.400 --> 0:12:54.080 It was dudes that definitely rhyme different, but they still 0:12:54.080 --> 0:12:57.000 had an East Coast sensibility about them, so the beats 0:12:57.120 --> 0:12:59.400 still kind of rock like, even though they're rhyme patterns 0:12:59.440 --> 0:13:02.320 and I did we're different. I'm not saying they didn't. 0:13:02.320 --> 0:13:04.000 I just I didn't have I didn't have access to 0:13:04.000 --> 0:13:07.280 it back then. Right, But now that said Lab Cab 0:13:07.320 --> 0:13:11.040 in California, it's one of the best albums ever, and 0:13:11.160 --> 0:13:14.720 I will argue to death for Lab Cab versus. 0:13:14.960 --> 0:13:21.920 All Right, yeah, Early are born in seventy eight, right, yeah, yeah, 0:13:23.000 --> 0:13:29.920 eighty four? Like yeah, Margaret, I'm born in eighty four, Margaret, 0:13:30.040 --> 0:13:30.560 you know that? 0:13:31.280 --> 0:13:32.920 To me, that doesn't really I don't know if that 0:13:32.920 --> 0:13:35.400 plays a factor for me, at least personally, because so 0:13:35.480 --> 0:13:37.120 this morning, I'm talking about records that came out when 0:13:37.120 --> 0:13:38.439 I was four years old and known verbatim. But I 0:13:38.520 --> 0:13:41.560 know him from back then, so it wasn't like I 0:13:41.640 --> 0:13:44.840 missed the just completely missed that error. I just missed 0:13:44.840 --> 0:13:45.640 that album Were. 0:13:45.520 --> 0:13:47.640 You in the Club? Because I think the reason maybe 0:13:47.760 --> 0:13:49.000 it got to me was because I was in the 0:13:49.000 --> 0:13:50.560 club and they were playing in the club in DC, 0:13:50.800 --> 0:13:51.320 Like at ther. 0:13:51.600 --> 0:13:52.679 Were you going to be in the club at ten 0:13:52.720 --> 0:13:53.160 years old? 0:13:53.600 --> 0:13:54.520 It was I was fifteen. 0:13:54.960 --> 0:14:02.240 I mean, yeah, exclusive, everybody knows that. 0:14:02.440 --> 0:14:02.760 Put on. 0:14:08.360 --> 0:14:10.080 It's weird. I don't like. 0:14:10.120 --> 0:14:13.800 The thing was is that when the Your Mama video 0:14:13.880 --> 0:14:16.720 came out and they played a lot on video music jukebox, 0:14:17.520 --> 0:14:18.079 I kind. 0:14:17.880 --> 0:14:21.640 Of dismissed him. I was like it was slow. 0:14:22.240 --> 0:14:24.880 It was nothing new about substitution that I haven't heard before, 0:14:25.000 --> 0:14:26.040 substitution to break. 0:14:27.080 --> 0:14:27.200 Uh. 0:14:28.240 --> 0:14:31.480 But when I heard for Better for Worse, that was 0:14:31.520 --> 0:14:32.280 the one that was. 0:14:32.520 --> 0:14:35.440 That was just a goddamn revelation to me, and I 0:14:35.480 --> 0:14:38.640 told him for Better for Worse was the reason why 0:14:38.680 --> 0:14:44.560 we put Scott Storche in the roots because Richard Nichols's partner, 0:14:45.200 --> 0:14:51.120 aj Sons Simmons, he was our stretch Armstrong and Babeto 0:14:51.200 --> 0:14:54.920 of Philadelphia. So Drexel Radio was where we got our 0:14:54.960 --> 0:14:57.920 real hip hop because by then, like Poara ninety nine 0:14:57.960 --> 0:15:01.120 was just like anti you know, less rap, you know 0:15:01.160 --> 0:15:04.680 that sort of thing. So you know, when he got 0:15:04.680 --> 0:15:07.560 the record, he was like a state of Emergency's like, yo, 0:15:08.520 --> 0:15:10.200 I think we slept on the forest side. You got 0:15:10.240 --> 0:15:11.960 to hear this record, so we like it was dead 0:15:11.960 --> 0:15:13.920 of winter. We got in that car and listened to 0:15:13.920 --> 0:15:15.680 the ship and when for Better for Worse came on, 0:15:16.800 --> 0:15:20.000 like I can only describe it as if you ever 0:15:20.000 --> 0:15:24.040 seen like the Parliament Motor Booty Affair commercial or just 0:15:24.080 --> 0:15:27.840 the color, like the shit sounded like water, and I 0:15:27.880 --> 0:15:30.680 can't explain that. Maybe it's the first time I actually 0:15:30.680 --> 0:15:33.800 heard offender Rhodes up in the mix of it. But 0:15:33.840 --> 0:15:35.400 when I heard that ship, I was like, Yo, this 0:15:35.480 --> 0:15:39.560 ship sounds like water, like we need That's what we needed. 0:15:39.360 --> 0:15:39.760 Our ship. 0:15:40.280 --> 0:15:43.680 And so Richard's like, yo, a white kid living on 0:15:43.720 --> 0:15:46.200 my floor at my house him and then he came 0:15:46.200 --> 0:15:46.640 in next day. 0:15:46.680 --> 0:15:48.120 I was like, can you sound like this? 0:15:48.640 --> 0:15:50.840 And Scott just started playing the Roads and it's like 0:15:51.000 --> 0:15:55.960 you're in the group. Well, yeah, that's where you say that, 0:15:56.120 --> 0:15:59.560 and I'm La Cabin either because I. 0:15:59.560 --> 0:16:03.560 Seem from me, Lab Cabin was more of a revelation 0:16:03.840 --> 0:16:09.480 for me just production wise as well, like, uh, the song, 0:16:09.680 --> 0:16:12.360 the songs were great, but for me, the production on 0:16:12.360 --> 0:16:12.880 that album. 0:16:13.000 --> 0:16:18.560 I'll say when I when I first heard Bullshit was 0:16:18.600 --> 0:16:22.040 that the first time I really heard Dyla. We we 0:16:22.040 --> 0:16:24.920 were doing a show with the Far Side and this 0:16:25.000 --> 0:16:28.920 is when the album just got done, and like when 0:16:29.040 --> 0:16:31.680 Lab Cabin had just got done. Yeah, okay, so like 0:16:31.760 --> 0:16:35.040 we just started. Actually, do you guys have a Cat's 0:16:35.040 --> 0:16:38.080 Cradle the North Carolina and it's in car Bro Okay, 0:16:38.280 --> 0:16:40.200 so the Far Side and Roots are doing a show 0:16:40.240 --> 0:16:44.440 at the Cat's Cradle and whoever was doing like the 0:16:44.440 --> 0:16:48.760 local college nighttime hip hop joint. We opened for the 0:16:48.800 --> 0:16:50.960 Far Side, so they came to scoop me to take 0:16:50.960 --> 0:16:54.600 me to the College station, and I wanted to stay 0:16:54.720 --> 0:16:56.800 just to see Far Sides intro because you know, they 0:16:56.840 --> 0:17:01.200 had one of the best stage shows ever, like the energy. 0:17:01.320 --> 0:17:02.320 There's this four men. 0:17:02.440 --> 0:17:04.600 It was like watching bad brains on stage, Like they 0:17:04.600 --> 0:17:06.760 were just like all over the place crazy. 0:17:07.000 --> 0:17:09.080 And you know, I saw the intro. 0:17:09.200 --> 0:17:13.480 They came out to uh do do uh Ronnie Laws, 0:17:13.560 --> 0:17:19.320 Uh uh yeah, pressure pressure Sensitive is the album, yeah, 0:17:20.880 --> 0:17:24.119 title title wave tight Wave. So they came out to that, 0:17:24.160 --> 0:17:26.040 and I thought, oh, okay, that's that's that's a good intro. 0:17:26.160 --> 0:17:29.359 And then I got in the car, but because the 0:17:30.320 --> 0:17:33.320 door of the club was open, you can hear the vibration, 0:17:34.640 --> 0:17:36.600 you know, you hear the vibration of eight to eight 0:17:36.720 --> 0:17:41.200 outside the club, and dog, all I heard was we 0:17:41.200 --> 0:17:44.840 were literally outside the about to go on the highway. 0:17:45.480 --> 0:17:50.840 But I kept hearing the vibration of Dyla's kick patterns 0:17:50.920 --> 0:17:54.199 and it sounded off and I made them stop the 0:17:54.240 --> 0:17:56.560 car and I ran back to the car the club 0:17:56.600 --> 0:17:58.240 so I can open the door and listen. 0:17:58.840 --> 0:18:00.880 And I was like, yo, it's like a drunk three 0:18:00.920 --> 0:18:01.399 year old. 0:18:01.320 --> 0:18:04.359 Did this shit, and I'm trying to describe to the roots, 0:18:04.359 --> 0:18:06.920 like yo, that new Forest sid song has a kick 0:18:07.000 --> 0:18:10.640 pattern that's like it sounds real messed up. And the 0:18:10.640 --> 0:18:13.480 next night I was like, who did that shit? And 0:18:13.520 --> 0:18:16.760 they explained like this kid named JD and that sound 0:18:16.840 --> 0:18:17.840 like you know. 0:18:17.880 --> 0:18:19.680 They worked on but I was interning. I might have 0:18:19.680 --> 0:18:22.600 been assistant and journalist at that point. They spent some 0:18:22.680 --> 0:18:24.880 time at the Student I used to work at Where 0:18:24.880 --> 0:18:28.920 did You First? At the cutting room and eighty eight 0:18:30.280 --> 0:18:33.200 Keys was working with them at the time. I don't 0:18:33.200 --> 0:18:34.840 know if any of the records actually made that album, 0:18:34.880 --> 0:18:36.359 and he was working on them during that time, so 0:18:36.400 --> 0:18:39.080 a lot of those songs they were bringing up while 0:18:39.080 --> 0:18:42.119 they were in there working. So I would say that 0:18:42.160 --> 0:18:44.840 was probably my first time hero between that and Well, 0:18:44.840 --> 0:18:46.520 I guess no because The Busters the Coming came out 0:18:46.560 --> 0:18:48.439 before that bron But yeah. 0:18:48.320 --> 0:18:51.200 The Coming was ninety six. The Coming was ninety five. 0:18:51.480 --> 0:18:53.120 Ninety five, damn it was ninety five. 0:18:53.200 --> 0:18:54.440 So I want to say the Coman is the first 0:18:54.440 --> 0:18:56.160 time I had heard, but I didn't really know who 0:18:56.160 --> 0:18:57.199 he was or you know. 0:18:59.440 --> 0:19:01.760 I was on Mass he was on Skills first album too. 0:19:01.960 --> 0:19:07.440 What was that ninety six. That was That's the first 0:19:07.440 --> 0:19:09.440 time I can remember hearing him on that album. He 0:19:09.560 --> 0:19:14.159 was on He's on Skills, first album, going down the 0:19:14.320 --> 0:19:16.679 Jam and Skills and. 0:19:19.800 --> 0:19:21.320 Yeah, there's the third. 0:19:22.000 --> 0:19:23.560 I go back and listening to the album. 0:19:23.760 --> 0:19:26.200 There's actually a song on the coming. I didn't know 0:19:26.240 --> 0:19:30.040 that he did that. The l and that song did. Yes, 0:19:30.040 --> 0:19:32.479 he did. That was back Spin, which one which one 0:19:32.520 --> 0:19:38.080 would keep it moving, Keep moving. 0:19:38.280 --> 0:19:39.879 That was on ram Page's cousin. 0:19:41.200 --> 0:19:46.200 Credits. Yeah, it's credited to the Uma. Really, yes, and 0:19:46.240 --> 0:19:49.960 when you listen to that snare, it's you. 0:19:50.080 --> 0:19:51.800 I'm thinking, I'm thinking of the other posse he cut, 0:19:51.840 --> 0:19:56.680 the Deaf Squad meets Flipbow Squad. That's what I'm thinking of. Okay, 0:19:56.840 --> 0:19:57.720 that was back Spinea. 0:19:58.160 --> 0:20:02.360 Yeah, and it's it's like I didn't even thought about that. 0:20:02.560 --> 0:20:04.520 I don't even thought about who. For some reason, I 0:20:04.560 --> 0:20:08.439 always assumed that Backspin did that because of the drums. Now, 0:20:08.640 --> 0:20:11.000 but now that you mentioned it, it makes it makes sense. 0:20:11.119 --> 0:20:14.040 I didn't even know that that was he did it, 0:20:14.080 --> 0:20:15.080 Like I overlooked that. 0:20:15.200 --> 0:20:20.000 In my you know what, I hear it all that. 0:20:23.119 --> 0:20:26.280 Right, that there was a Yes, I'm looking for it 0:20:26.320 --> 0:20:26.880 as we speak. 0:20:26.960 --> 0:20:31.240 It's not I'm not just keep it, keep it moving along. 0:20:31.440 --> 0:20:33.400 So you said you were DJing since you were four 0:20:34.119 --> 0:20:34.720 like around that. 0:20:34.920 --> 0:20:37.680 Yeah, so what was your household like that you had 0:20:37.760 --> 0:20:38.920 access to those records? 0:20:38.920 --> 0:20:39.439 Like, how did you? 0:20:39.840 --> 0:20:41.760 So in my house it was it wasn't just my house, 0:20:41.800 --> 0:20:44.520 but it was my family unit in general, my family 0:20:44.840 --> 0:20:46.720 at the time pretty much all lived in the same city, 0:20:47.400 --> 0:20:51.840 and me being the first baby in the family. Uh, 0:20:52.480 --> 0:20:53.919 you ended spend a lot of time, you know, with 0:20:53.960 --> 0:20:56.399 your relatives, spending the nature big cousins, household weekends and 0:20:56.440 --> 0:20:59.520 things like that. So in my immediate household, my pops, 0:20:59.680 --> 0:21:03.639 uh was a jazz organist, taught himself how to he 0:21:03.760 --> 0:21:05.840 reverse engineered reading music. He knew how to play, but 0:21:05.800 --> 0:21:07.480 didn't know how to read. So he would get the 0:21:07.480 --> 0:21:09.200 sheet music to songs that he knew how to play 0:21:09.800 --> 0:21:12.960 and see what was happening on the paper and then say, oh, 0:21:12.960 --> 0:21:15.119 so when it says this, this is the nope that 0:21:15.160 --> 0:21:16.920 I'm supposed to be playing. So he kind of reverse 0:21:16.960 --> 0:21:18.399 engineered reading music. 0:21:18.640 --> 0:21:18.880 Wow. 0:21:19.200 --> 0:21:23.280 So he always had Casio keyboards and Yamaha keyboards aside 0:21:23.280 --> 0:21:25.600 from his Thomas organ, and you know, he would let 0:21:25.600 --> 0:21:27.440 me play with him and that's kind of where the 0:21:27.800 --> 0:21:30.480 making music bug really first came about, because we had 0:21:31.320 --> 0:21:38.840 like then Casios had uh the drum pattern loops drum, yeah, 0:21:38.880 --> 0:21:41.560 the loops, and you can actually you could you could 0:21:41.600 --> 0:21:43.680 have on the base side you could hit a bass 0:21:43.720 --> 0:21:48.280 note play. So there was that. And then his Thomas 0:21:48.600 --> 0:21:50.800 organ was one of the ones that had the drum 0:21:50.880 --> 0:21:52.960 pads in it, or drum pads on it. They weren't 0:21:53.000 --> 0:21:55.160 there were more like chick lick computer keys and there 0:21:55.160 --> 0:21:57.800 was no sequence there, but you could tap a kick 0:21:57.880 --> 0:21:59.280 a snare how I had and all that, So that 0:21:59.400 --> 0:22:05.399 there was that. And then my aunt was an avid 0:22:05.440 --> 0:22:08.720 collector of like late seventies and early eighties fulk in 0:22:09.000 --> 0:22:11.560 R and B. Spent a lot of the standards, sheryln Earth, 0:22:11.560 --> 0:22:13.359 putting fire and stuff like that. But I used to 0:22:13.359 --> 0:22:14.520 spend a lot of time at her house on the 0:22:14.560 --> 0:22:17.280 weekends as well, and I would just sit there and 0:22:17.520 --> 0:22:19.239 take all her records up the sleeves and have them 0:22:19.240 --> 0:22:22.600 all out on the wood floor. And she was walking 0:22:22.600 --> 0:22:23.560 into the room and be like, what are you doing 0:22:23.560 --> 0:22:26.040 with my records? Like they were out the sleeves just 0:22:26.200 --> 0:22:29.200 and I'm just sliding them across the wood look at yeah, 0:22:29.200 --> 0:22:31.080 look at the LA fascinated bout labels and the covers. 0:22:31.520 --> 0:22:33.119 And then so around that same time, I had an 0:22:33.119 --> 0:22:35.159 older cousin. He's seven or eight years older than me. 0:22:35.720 --> 0:22:38.200 This was right when New York Mixed show became a thing. 0:22:38.560 --> 0:22:42.359 So you had Red Alert and Chuck Chill Out on 0:22:42.400 --> 0:22:44.520 Friday and Saturdays on Kiss and then you have Mister 0:22:44.640 --> 0:22:47.359 Magic and Mollie Maw on UH one on seven on 0:22:47.400 --> 0:22:50.920 Fridays and Saturdays. So he had I might have been 0:22:51.080 --> 0:22:54.399 six ish at the time. He's maybe the twelve ish, 0:22:55.080 --> 0:22:56.920 so he had he had a boombox and his sister 0:22:56.960 --> 0:22:59.000 had a boombox. So on weekends I would stay by 0:22:59.040 --> 0:23:02.040 his house and we would uh listen to both shows 0:23:02.160 --> 0:23:04.840 at the same time and record them and then just 0:23:04.880 --> 0:23:06.320 wear that tape, both of those tapes out for the 0:23:06.400 --> 0:23:07.960 next week. We had no money at the time for 0:23:08.040 --> 0:23:11.639 more cassettes, so we would just record over last weeks show. Eventually, 0:23:11.720 --> 0:23:12.960 you know, I got a little bit older, we started 0:23:13.119 --> 0:23:16.720 archiving things, right, But so I remember like when when 0:23:16.720 --> 0:23:20.680 they premiered Salt and Pepper the Showstop, or when when 0:23:21.280 --> 0:23:24.760 when Red played U Disco three Fat Boys for the 0:23:24.800 --> 0:23:26.520 first time, Like so That's what I'm saying. Like, I 0:23:26.560 --> 0:23:29.800 didn't really miss a lot in terms of their early things. 0:23:29.880 --> 0:23:30.920 I was there for all of that. And what my 0:23:31.000 --> 0:23:32.960 cousin would do. He lived run a corner from a 0:23:32.960 --> 0:23:35.760 record store, So what he would do is he would 0:23:35.760 --> 0:23:39.399 buy all the twelve inches. As they got old and 0:23:39.480 --> 0:23:41.919 the albums would drop, he would give me the twelve inches. 0:23:42.640 --> 0:23:45.880 So like Suckers comes out, and it's like that comes out, 0:23:46.000 --> 0:23:47.840 and then the self titled album comes out, so he 0:23:47.880 --> 0:23:50.280 gives me that single. Who didn't he horn a House 0:23:50.320 --> 0:23:52.720 of Rock comes out? Then their album comes out, he 0:23:52.760 --> 0:23:53.200 gives me that. 0:23:53.400 --> 0:23:55.000 So he would give you the twelve inches because he 0:23:55.080 --> 0:23:57.000 had he had the album, so he's like, I don't 0:23:57.000 --> 0:23:58.639 need the single. He didn't think about it, like it 0:23:58.800 --> 0:24:00.040 plays better as a twelve. 0:23:59.840 --> 0:24:02.160 Inch, you know what I mean. So then and then 0:24:02.400 --> 0:24:04.639 in terms of the actual DJ anything, I'm listening to 0:24:05.480 --> 0:24:08.280 these guys scratch records on the radio and I'm but 0:24:08.280 --> 0:24:09.720 I'm not really sure what it is that they're doing. 0:24:11.400 --> 0:24:13.280 I'm thinking they're taking the needle and rubbering across the 0:24:14.040 --> 0:24:18.160 actual wax. So then we actually we had this conversation 0:24:18.280 --> 0:24:21.359 on our group chat the disco I'm sorry. The Crash 0:24:21.440 --> 0:24:25.679 Crew in Fantasy three both had the same melody as 0:24:26.000 --> 0:24:31.800 first year rocking on the radio, so right, well, Fantasy 0:24:31.840 --> 0:24:36.320 three was first Sylvia heard the melody. Jack didn't ye so, 0:24:37.160 --> 0:24:39.120 but but they came out pretty much back to back. 0:24:40.200 --> 0:24:41.960 So he. 0:24:43.560 --> 0:24:46.600 He had a one time table in his room. He 0:24:46.600 --> 0:24:48.640 plays the trick coman. He's like, you want to see 0:24:48.640 --> 0:24:50.520 me make a record, and I'm like, yeah, yeah, yeah, 0:24:50.560 --> 0:24:54.960 do it. So he plays Fantasy three and then he 0:24:55.040 --> 0:24:57.080 stops it and puts he had the Crash Crew record 0:24:57.160 --> 0:25:00.000 right underneath it, so he took the Fantasy three record 0:25:00.040 --> 0:25:01.520 off and just put the little down the Crash Crew 0:25:01.960 --> 0:25:04.480 and I'm like, oh my god, this was the same mellot. 0:25:05.119 --> 0:25:07.760 I'm thinking he's doing something, not realizing he's just playing 0:25:07.800 --> 0:25:12.320 two songs. But then his older sister had a one 0:25:12.359 --> 0:25:16.480 of those eighty star rack systems, and at the time 0:25:16.560 --> 0:25:18.760 it was a push button operated like the selector input 0:25:18.800 --> 0:25:21.040 selected was a was a Each one had its own 0:25:21.040 --> 0:25:23.160 push button, so you would push a button for cassette, 0:25:23.400 --> 0:25:25.840 push a button for turntable, push a button for radio whatever. 0:25:26.160 --> 0:25:29.000 Long story short, she had two. I want to say 0:25:29.040 --> 0:25:33.600 there were Fisher turntables in there and if you pushed 0:25:34.000 --> 0:25:36.520 a phone on one in PHONEO two they could both 0:25:36.560 --> 0:25:40.879 play together. So he takes he had a copy of Thriller. 0:25:40.920 --> 0:25:44.159 She had a copy of Thriller, so he takes beat It. 0:25:44.680 --> 0:25:46.439 It takes both copies of Beat It and starts one 0:25:46.600 --> 0:25:49.680 right after the other. So it's going boom boom cat 0:25:49.720 --> 0:25:52.040 Gat boom boom got gat boom boom cat Cat boom 0:25:52.080 --> 0:25:54.639 cat cat making the drum stutter. So it was pretty 0:25:54.720 --> 0:25:58.240 much all downhill from there, Like I became obsessed with 0:25:59.359 --> 0:26:04.720 with records and yeah, exactly, and then I would I 0:26:04.760 --> 0:26:07.800 would say, you know, I'm Cassio comes out with the 0:26:07.920 --> 0:26:14.600 s K five, which was liked my no my one 0:26:14.600 --> 0:26:16.880 of my best friends growing up down in Virginia. When 0:26:16.880 --> 0:26:19.399 I used to steal my aunt down there, he had 0:26:19.440 --> 0:26:21.840 a SK one and it was cool, but it was 0:26:21.840 --> 0:26:23.240 still just you put one sound in it, and it 0:26:23.359 --> 0:26:25.399 was that. That was that s K five. You had 0:26:25.480 --> 0:26:29.520 drum pads and four seconds of sampling time. So right 0:26:29.560 --> 0:26:34.160 around that same time, that same summer, actually, I think 0:26:34.359 --> 0:26:36.480 is when my aunt bought me Nations Are Millions, one 0:26:36.480 --> 0:26:38.880 of the only cassettes I've bought because Sam Goodey didn't 0:26:38.880 --> 0:26:43.200 have the vinyl so that Christmas, my best friend's sister 0:26:43.280 --> 0:26:45.560 gets to SK five. We jacked her for it. 0:26:46.960 --> 0:26:49.280 Christmas, I was gonna say, did you steal like records 0:26:49.400 --> 0:26:50.679 or you stole her keyboard? 0:26:50.720 --> 0:26:54.640 NOI stole her s K five, damn. But then I'm 0:26:55.400 --> 0:26:57.399 the reason I bring up Nations Nation the Millions is 0:26:57.480 --> 0:27:02.119 because I'm realizing that these records I'm finding in my 0:27:02.200 --> 0:27:07.120 mother's addict are on this public enemy record, and I'll 0:27:07.160 --> 0:27:11.800 never forget the day I realized that what funky drummer was? 0:27:12.160 --> 0:27:14.720 I found a forty found of a drummer, a funky 0:27:14.800 --> 0:27:15.560 drumber forty five, and. 0:27:15.560 --> 0:27:18.120 You grew up in a funky drummer forty five household? 0:27:18.240 --> 0:27:20.720 Yes yeah, your mom's official. 0:27:20.480 --> 0:27:23.200 Yeah yeah yeah, like like all of that, like Isaac 0:27:23.520 --> 0:27:26.520 all pretty much all the breaks, all the commercial but 0:27:26.760 --> 0:27:28.080 not like the stuff that they used to play in 0:27:28.160 --> 0:27:29.879 the park and the stuff he had to date for 0:27:30.040 --> 0:27:34.000 but anything like that was on stacks. James Brown involved, 0:27:34.119 --> 0:27:37.359 Isaac Hayes whatever, all those breaks and she it was 0:27:37.440 --> 0:27:39.840 like three boxes off that I found in the addict 0:27:39.880 --> 0:27:41.399 was when I was When I was young, Attict was 0:27:41.400 --> 0:27:43.320 a forbidden zone. You didn't go up there. Unless you 0:27:43.400 --> 0:27:45.840 had permission from my moms, because it was it wasn't 0:27:45.880 --> 0:27:50.639 a finished attic. It was like stuff everywhere. So I 0:27:50.800 --> 0:27:52.840 but I went up there anyway one day and found 0:27:52.840 --> 0:27:55.640 a box of records. I started bringing the records down 0:27:55.680 --> 0:27:58.800 and I'm realizing, I can make these beats that from 0:27:58.840 --> 0:28:00.720 here on this public Enemy records have the SK five 0:28:00.760 --> 0:28:02.879 and I have these records. And we had a thing 0:28:02.960 --> 0:28:06.840 called the Star Studio, which was it was it was 0:28:06.880 --> 0:28:10.040 a scam. It was basically a double cossette recorder. And 0:28:10.160 --> 0:28:12.159 what it did was it allows you to record to 0:28:12.240 --> 0:28:14.320 the left side of the tape and the right side 0:28:14.320 --> 0:28:18.560 of the tape signal wise independently. Right but true, that's 0:28:18.560 --> 0:28:21.720 two tracks, right, so you can have a song playing 0:28:21.760 --> 0:28:23.639 on one side and then record a vocal to the other. 0:28:23.840 --> 0:28:26.639 I used to make these things on SK five and 0:28:26.840 --> 0:28:28.440 then on the other side, me and my brother would 0:28:28.480 --> 0:28:33.040 rap right. And as you know, I don't know how 0:28:33.080 --> 0:28:34.760 far that to the story you want to go, but 0:28:34.880 --> 0:28:38.480 that was the beginning of me even realizing what making 0:28:38.840 --> 0:28:43.840 music or making beats. You would see that that verage 0:28:43.840 --> 0:28:46.240 you had to do it all. You had to wrap, 0:28:46.400 --> 0:28:50.360 you had to write, you had to break, you had 0:28:50.400 --> 0:28:53.200 to do everything. So it was really all of us 0:28:53.280 --> 0:28:58.320 in our little crew kind of all kind of attempted 0:28:58.400 --> 0:29:02.000 to do all of it, and eventually some of us 0:29:02.040 --> 0:29:03.320 just got better at one specific thing. 0:29:03.520 --> 0:29:06.320 Incidentally, where were you born, Hackensack, New Jersey? 0:29:06.960 --> 0:29:09.960 Okay, but I grew up in Patterson Cool but yeah, 0:29:10.000 --> 0:29:12.920 So it was like for me, I was pretty good 0:29:12.960 --> 0:29:15.320 with the hands of graffiti. I was decent with the 0:29:15.360 --> 0:29:18.800 breakdancing as well. I used to get busy and then 0:29:19.760 --> 0:29:22.600 it was DJing and rapping and making beats, so the 0:29:22.680 --> 0:29:25.280 djang and production things. But I excelled out, excelled at 0:29:25.280 --> 0:29:29.080 the quickest, and my rhyms were decent. But I'll never 0:29:29.120 --> 0:29:32.800 forget the day my brother turned eleven. My cousin has 0:29:32.840 --> 0:29:34.200 taken me to one hundred and twenty Fish Street for 0:29:34.240 --> 0:29:37.400 the first time, so I must have been well, not 0:29:37.520 --> 0:29:39.920 just turned ten, so I think I was twelve. He's 0:29:39.920 --> 0:29:41.520 taken me to go to record shoping one hundred twenty 0:29:41.560 --> 0:29:43.880 fifth for the first time, and I'm playing one of 0:29:43.920 --> 0:29:47.240 our beats on a cassette and we were having a 0:29:47.320 --> 0:29:49.000 rap battle in the back seat with my cousin's driver 0:29:50.360 --> 0:29:52.600 and I rhy and then he rhymed. He sent this 0:29:52.680 --> 0:29:54.600 front that blew me out of the water, blew mine 0:29:54.600 --> 0:29:56.880 out the water, and I hung up the rhymes. After that, 0:29:56.960 --> 0:29:58.840 I just said, right, so what we're gonna do is 0:29:59.480 --> 0:30:01.880 I'm ana beat Pete Rock and you're gonna bcl Smooth. 0:30:02.920 --> 0:30:05.239 And I actually found a demo that we probably made 0:30:05.240 --> 0:30:07.800 when I was like fifteen and he was eleven or 0:30:07.960 --> 0:30:10.360 or about twelve. I posted it on SoundCloud. If you 0:30:10.480 --> 0:30:12.720 look at the picture on it, we think we're Pete 0:30:12.760 --> 0:30:14.360 Rock and seals move when you listen to the beat, 0:30:14.680 --> 0:30:18.880 I'm actually cutting up, just rhyming with BIZ and I'm 0:30:19.000 --> 0:30:22.240 using a I'm using a cannibal alete. I looped up 0:30:22.280 --> 0:30:28.640 a capricorn Capricorn because yeah, you couldn't tell us people 0:30:28.640 --> 0:30:29.760 was in Pete Rock and cel Smooth. 0:30:31.720 --> 0:30:33.840 Okay, yeah, because you were fourteen by the time. 0:30:34.640 --> 0:30:36.840 Yeah yeah, exactly right around like fifteen and shit. 0:30:36.800 --> 0:30:39.280 So weird, man, that's some crazy shit. 0:30:39.240 --> 0:30:41.240 But that was my life period, Like I didn't know 0:30:41.320 --> 0:30:41.800 anything else. 0:30:41.920 --> 0:30:45.560 So when did you get your first drum machine? Like, okay, 0:30:45.600 --> 0:30:47.680 I want to do this right, So I had was 0:30:47.720 --> 0:30:48.480 your machine a choice? 0:30:48.600 --> 0:30:51.440 I had the Roland. Remember they used to make the 0:30:51.480 --> 0:30:54.040 Doctor rhythms, So I had a do R six sixty 0:30:54.680 --> 0:30:57.400 and then Lexicon, you know, Lexicon makes the we verbs 0:30:57.440 --> 0:30:59.920 and the delay unions. They scammed everybody and made it 0:31:00.200 --> 0:31:03.520 called the jam Man, and they marketed it as a 0:31:03.640 --> 0:31:06.040 sampler to make beats on. But what it really was 0:31:06.280 --> 0:31:08.280 was just a delay that you could sink to MIDI. 0:31:09.080 --> 0:31:10.840 So you would put a loop in there to sink 0:31:10.880 --> 0:31:12.480 to middy and you could start and stop it with 0:31:12.640 --> 0:31:15.960 your computer or whatever you were sequencing with, but you 0:31:15.960 --> 0:31:16.920 couldn't say anything with it. 0:31:17.040 --> 0:31:19.760 You can what year does this mean the jam Man? 0:31:19.960 --> 0:31:23.360 Oh maybe ninety two ninety three Bob said something about this. 0:31:23.520 --> 0:31:25.400 It's Bob Power. Yeah. 0:31:25.640 --> 0:31:30.920 I also believe that Marley A. Y the earlier version 0:31:31.000 --> 0:31:33.160 of this, like one of the like even I think 0:31:33.240 --> 0:31:34.480 that nobody beats the bis break. 0:31:34.600 --> 0:31:40.360 He did it through I can sink right. So that 0:31:40.560 --> 0:31:44.239 Christmas that year, whatever year it was, Roland comes up 0:31:44.240 --> 0:31:49.240 with this thing called the JS thirty and it was 0:31:50.040 --> 0:31:53.000 kind of like looking back, it was called the Sampling Workstation. 0:31:53.760 --> 0:31:55.840 Looking back, it was kind of like a very very 0:31:56.000 --> 0:31:58.680 low budget answer to like an npcin kind of thing, 0:31:59.480 --> 0:32:03.400 so relatively relatively little budgets. It was twelve hundred dollars. 0:32:04.600 --> 0:32:07.840 So all I wanted for Christmas was that didn't think 0:32:07.880 --> 0:32:09.560 I would actually get it because it was twelve hundred dollars. 0:32:10.520 --> 0:32:15.880 How much were MPC or like yeah, I was like, yeah, twelve. 0:32:15.680 --> 0:32:19.160 Hundred and twenty four ninety five back then. So I 0:32:19.240 --> 0:32:22.080 skipped the one thing seeing the Soul to Soul video 0:32:23.040 --> 0:32:26.680 and Nelly what's his name, Nell Hooper Hooper is on 0:32:26.840 --> 0:32:29.320 stage and back to life and he's got the Mac 0:32:29.680 --> 0:32:30.520 that's for a keyboard. 0:32:30.760 --> 0:32:31.240 I remember that. 0:32:31.520 --> 0:32:33.320 So that was like and I got we had gotten 0:32:33.320 --> 0:32:36.200 a computer. I used. I used to computer computer program 0:32:36.280 --> 0:32:38.240 as well. My dad was a computer program for a 0:32:38.280 --> 0:32:40.800 living and he was a keyboard just as I. So 0:32:41.240 --> 0:32:44.600 I see Nelly playing the Mac or playing the keyboard 0:32:44.680 --> 0:32:46.880 connected to the Mac, and I'm like, you can make 0:32:46.960 --> 0:32:51.200 music with computers. So beg mom to take me to 0:32:51.680 --> 0:32:54.040 software et cetera. And I walked in and I'm like, 0:32:54.360 --> 0:32:56.040 I need the program to that you make music on 0:32:56.120 --> 0:32:56.520 a computer. 0:32:57.280 --> 0:33:05.080 Wait, I'm like, I'm laughing because of how influential videos are, uh, 0:33:05.560 --> 0:33:07.640 in the life of a kid watching it and then 0:33:07.720 --> 0:33:11.360 you see something that could just be for show because 0:33:11.440 --> 0:33:16.040 you that's it. I watched Prince like do you remember 0:33:16.040 --> 0:33:17.800 the Bad Dance video where he had like the laser 0:33:17.920 --> 0:33:18.240 dis and. 0:33:21.040 --> 0:33:25.440 I Prince got scratching. 0:33:26.760 --> 0:33:28.920 When cdj's came out, that was the first thing I 0:33:28.960 --> 0:33:32.000 thought of, was Prince in the Batdance video. And it 0:33:32.080 --> 0:33:35.640 was in Speaking of which also the very first thing 0:33:35.720 --> 0:33:37.400 that my mom has ever got me. I skipped this 0:33:37.520 --> 0:33:42.240 as well, was the Radio Shack Realistic mixer, the PA mixer. 0:33:42.760 --> 0:33:45.000 It was a four channel with a no fader and 0:33:45.080 --> 0:33:49.160 only had up and down switches. Right, So I see 0:33:49.280 --> 0:33:52.080 Terminator X in the Bring the Noise video and he 0:33:52.680 --> 0:33:54.080 turns out he wasn't even really the guy doing the 0:33:54.080 --> 0:33:56.280 scratches on the records anyway, but he was their show DJ. 0:33:56.800 --> 0:33:59.400 But he's doing in the Bringing Noise video there's appointment 0:33:59.400 --> 0:34:03.360 there on State somewhere and he's back spinning two records 0:34:03.520 --> 0:34:06.960 and he's only using the up and down faders, not 0:34:07.040 --> 0:34:09.560 using the cross fader at all. So I'm thinking at 0:34:09.560 --> 0:34:13.040 the time, as is this impressionable kid Tornadox one of 0:34:13.040 --> 0:34:15.400 the best DJ's ever, These public enemies DJ. He doesn't 0:34:15.440 --> 0:34:17.600 use a cross fader, so the mixed writing is the 0:34:17.640 --> 0:34:18.560 one without the cross fader. 0:34:19.080 --> 0:34:19.480 Oh no. 0:34:22.200 --> 0:34:22.480 Mixer. 0:34:24.640 --> 0:34:33.920 They later added across had cross Face. You're listening to 0:34:34.000 --> 0:34:37.279 Course Love, Supreme and just Plaze. Here is sharing, uh, 0:34:37.440 --> 0:34:42.560 the origin of his story with us and New cross Faders. Hey, actually, 0:34:42.680 --> 0:34:44.319 since we're at it, let's go around to. 0:34:46.080 --> 0:34:47.600 Drum Fields. Are you ready? 0:34:47.840 --> 0:34:49.880 I might not be as good drum now. 0:34:49.920 --> 0:34:53.320 This is easy, okay, come on, Hey. 0:34:53.320 --> 0:34:57.440 What is it? Parliament is the problem to? 0:34:58.239 --> 0:34:59.560 All right, I'll do it right. 0:35:01.520 --> 0:35:05.279 I don't know, Yeah, I've never actually never heard I've 0:35:05.520 --> 0:35:11.319 heard it you Oh well listen. Yeah, I know it's 0:35:11.320 --> 0:35:12.640 from Shake Your but I. 0:35:12.880 --> 0:35:15.560 Never knew what another album I didn't. 0:35:16.040 --> 0:35:19.040 I was lated to that one to actually the producer's dream. 0:35:19.160 --> 0:35:22.319 I know, and I still don't like you play baby. 0:35:22.400 --> 0:35:28.239 I'm all, you're just straight mean potatoes. Be you like 0:35:28.320 --> 0:35:31.040 to mean potatoes? I like the not the gardens on 0:35:31.120 --> 0:35:31.479 the side. 0:35:31.560 --> 0:35:33.120 It's the same, but it's the same story. We'll go 0:35:33.160 --> 0:35:35.000 back to the roll to the second in a nutshell. 0:35:35.400 --> 0:35:37.120 I didn't buy a Poles boutique when it came out 0:35:37.200 --> 0:35:38.880 because I didn't find but. 0:35:38.960 --> 0:35:41.239 I didn't like what's the first thing that lad? I 0:35:41.280 --> 0:35:42.960 thought that ship was kind of corny. I wouldn't. 0:35:43.600 --> 0:35:45.359 I didn't even know that album existed until like maybe 0:35:45.360 --> 0:35:46.440 five years after it came out. 0:35:46.600 --> 0:35:49.880 Really yeah, I feel like it's. 0:35:51.400 --> 0:35:52.880 For me personally. I can listen to it now and 0:35:52.920 --> 0:35:55.640 I understand why it was revolutionary and production. It's not 0:35:55.800 --> 0:35:58.280 in my go to Four of the Beast, these catalogs. 0:35:59.520 --> 0:36:04.600 Ah, I feel that's their being to me artistic. I 0:36:04.640 --> 0:36:07.440 can't even listen to licenses l anymore. This is kind 0:36:07.480 --> 0:36:08.000 of grading. 0:36:08.440 --> 0:36:10.440 Oh, I love I listened to that well. 0:36:10.520 --> 0:36:14.560 I mean, I respect its history, but I mean as 0:36:14.640 --> 0:36:17.359 a guy who lives for record reviews and a guy 0:36:17.440 --> 0:36:19.360 who like wakes up at five am to see what 0:36:19.480 --> 0:36:23.200 Pitchfork gave something some ship like Rolling Stone was my 0:36:23.320 --> 0:36:27.759 Pitchfork as a teenager, and to see those out of 0:36:27.840 --> 0:36:31.040 touch dudes give him a lead review and a four star, 0:36:31.440 --> 0:36:37.279 Like what's the chances of some freddy white boy uh uh, 0:36:38.360 --> 0:36:43.160 mockery hip hop group getting an artistic. 0:36:44.719 --> 0:36:48.000 Come lottery like this, this, this, these accolades. 0:36:49.040 --> 0:36:51.560 So you feel like it was undeserved, many and manufactured. 0:36:53.000 --> 0:36:55.000 I mean I feel, you know, in the in the 0:36:56.080 --> 0:36:59.480 and yeah and the pantheon of of of artistic statements. 0:36:59.520 --> 0:37:04.399 I feel like the Father's nation a million, the sun 0:37:04.560 --> 0:37:07.000 is three fet hot and rising, and the Holy Ghost 0:37:07.120 --> 0:37:11.120 is Paul's boutique for the late eighties. Like those three 0:37:11.200 --> 0:37:18.439 records opened and also subsequently shut shut the door right on. Yeah, 0:37:19.760 --> 0:37:21.360 you had to be my age at the time, like 0:37:21.440 --> 0:37:25.160 we weren't expecting an artistic statement from the beastie boys. 0:37:25.400 --> 0:37:29.000 Like I was ready for more, just like you know girls. 0:37:29.440 --> 0:37:33.200 Yeah they're they're brandy mockery hip hop, and I got 0:37:33.280 --> 0:37:35.960 an artistic statement. You know, he slept on it for me. 0:37:36.040 --> 0:37:37.719 It was ill communication. That was the one where I 0:37:37.800 --> 0:37:40.239 was like, I fucked like, that's the one I come 0:37:40.320 --> 0:37:40.520 back to. 0:37:40.760 --> 0:37:43.160 That's when I got back on the train, you know 0:37:44.120 --> 0:37:44.439 your head. 0:37:44.480 --> 0:37:47.000 I wouldn't really on that one. Yeah, they were finding 0:37:47.000 --> 0:37:47.880 themselves on check yea. 0:37:47.920 --> 0:37:49.160 But yeah, I think I thought that there was they 0:37:49.200 --> 0:37:56.000 were discovering something about themselves that wasn't there before. Here's next, LTG. 0:37:56.440 --> 0:38:01.080 Cut cutting it up. I'm actually bad at this. What 0:38:01.160 --> 0:38:01.680 the hell. 0:38:04.239 --> 0:38:04.919 Do you want to play? 0:38:05.480 --> 0:38:08.120 Even like he knows this ship? You better know this ship. 0:38:10.040 --> 0:38:14.319 Oh bust and Loose, Yes, of course I made. 0:38:14.719 --> 0:38:16.120 I never cut that one up. As a kid, you 0:38:16.160 --> 0:38:17.600 ain't into the go go blaze. 0:38:17.840 --> 0:38:20.360 You DJ for old black people, like. 0:38:22.080 --> 0:38:24.319 Busting Loose is still not in my list at all. 0:38:24.400 --> 0:38:25.120 I don't I don't play it. 0:38:25.239 --> 0:38:36.200 You ain't doing barbecue late of course, come on man, Yeah, 0:38:36.200 --> 0:38:37.200 we'll talk about that later. 0:38:37.600 --> 0:38:41.320 But now what is it? Oh shafton Africa, Oh saff Africa. 0:38:45.440 --> 0:38:50.719 Wait one more time? Oh I know what this is? 0:38:51.840 --> 0:38:53.400 Justin blaze? What does this feel? 0:38:55.719 --> 0:38:59.880 It's not the shylight it is okay, I'm not trip 0:39:00.040 --> 0:39:03.520 from the woman. 0:39:06.239 --> 0:39:13.440 Last one cars back guaran Yes, yes, so all right, 0:39:13.520 --> 0:39:14.040 so your. 0:39:13.960 --> 0:39:17.479 First official so the drug you tout the drum machine 0:39:17.520 --> 0:39:19.719 things too, Yes, a s R two. 0:39:21.080 --> 0:39:21.719 What year was this? 0:39:22.920 --> 0:39:27.520 Right after the Wan? Yes, because I want to say 0:39:27.520 --> 0:39:30.520 it was rap Pages did an article on him. There 0:39:30.640 --> 0:39:33.120 was uh, it wasn't a production based article, but they 0:39:33.160 --> 0:39:35.640 didn't get into that. The ten was the keyboard, right, yeah, 0:39:35.680 --> 0:39:38.400 that was no, No, the ten, The ten was a 0:39:38.440 --> 0:39:40.719 keyboard interrat should you either got the keyboard or the 0:39:40.800 --> 0:39:42.400 rat And then the n s R X was the 0:39:42.480 --> 0:39:43.000 npc ST. 0:39:43.680 --> 0:39:43.839 Yeah. 0:39:44.320 --> 0:39:47.120 So yeah, the a s R ten read an article 0:39:47.360 --> 0:39:49.920 that's what I used, that said, that's what we gotta get. 0:39:50.080 --> 0:39:53.080 The s R ten, I shall say to this day, 0:39:54.080 --> 0:39:59.960 Michael D'Angelo Archer still uses in a s R ten, 0:40:01.080 --> 0:40:04.320 still walks around Steve can verify this. 0:40:04.480 --> 0:40:06.280 I've got some of the floppy disks in my pocket 0:40:06.360 --> 0:40:11.840 right here. He doesn't know, Yeah, Steve uh, Like he 0:40:12.080 --> 0:40:13.239 refuses to move. 0:40:13.760 --> 0:40:19.000 He feels like it will cripple him if he updates machine, 0:40:20.200 --> 0:40:24.759 like if you want something modern, which fontaneasy combusted, have 0:40:24.920 --> 0:40:27.360 any new equipment or it's just that he has some 0:40:27.560 --> 0:40:31.560 updated equipment, Like there's there was one particular there's one 0:40:31.600 --> 0:40:34.920 particular Japanese keyboard company that sends him like some new 0:40:35.040 --> 0:40:39.640 stuff that like he used it on Charade, this keyboard 0:40:39.719 --> 0:40:42.000 that I wish we had. It's like some it's a 0:40:42.120 --> 0:40:46.560 very vintaged Japanese sounding machine that really has some cool 0:40:47.719 --> 0:40:51.240 patches on it. Like his true gift is making patches. 0:40:52.640 --> 0:40:55.200 Like he will sit there like all all all this 0:40:55.400 --> 0:40:58.440 pat sounds like that drippy, wet Klimbu thing. 0:40:59.280 --> 0:41:00.839 Like he takes the clember passed from. 0:41:00.719 --> 0:41:04.360 The a s R and knows exactly how to filter, 0:41:04.840 --> 0:41:07.719 how yeah, how much reverb to put on it, how 0:41:07.840 --> 0:41:08.160 much to. 0:41:09.760 --> 0:41:13.400 Decay And people realize that a SR had one of 0:41:13.440 --> 0:41:16.960 the most advanced effects processors at the time. If you 0:41:17.040 --> 0:41:21.560 ever familiar with the and Sonic DP four that was 0:41:21.640 --> 0:41:23.440 and that was a standard in studios at that time. 0:41:24.560 --> 0:41:27.279 That was the effects section of the a s R 0:41:27.400 --> 0:41:29.440 ten put into an effect shooting. 0:41:30.480 --> 0:41:33.200 Really yep, so the same but just more advanced. 0:41:33.920 --> 0:41:35.000 It was the same exact thing. 0:41:38.040 --> 0:41:40.120 With company that scam and sell you the same ship, 0:41:43.280 --> 0:41:45.600 but you're like cast now busting apple like I mean, 0:41:45.600 --> 0:41:47.400 all they did was add one element and. 0:41:48.440 --> 0:41:50.320 They took it. They made it a rack mount. Actually 0:41:50.360 --> 0:41:52.960 the SR the SR version was the DP two like that. 0:41:53.040 --> 0:41:54.360 That was when they went out of the s R 0:41:54.719 --> 0:41:57.160 made the DP too. Then they doubled it and made 0:41:57.160 --> 0:41:58.759 a version called the DP four. It just gave you 0:41:58.840 --> 0:41:59.320 more effects. 0:41:59.880 --> 0:42:03.120 So as as with most beat makers that I know 0:42:03.480 --> 0:42:05.600 or that are at least from the second generation, like 0:42:05.680 --> 0:42:09.480 some of their favorite things are remaking, like practicing what 0:42:09.560 --> 0:42:11.719 if I made this beat or whatever? Like what was 0:42:11.760 --> 0:42:14.280 the first beat you prat? 0:42:14.400 --> 0:42:16.440 Like, okay, how I don't think. 0:42:16.320 --> 0:42:20.000 I ever did that. The closest I ever got to 0:42:20.080 --> 0:42:26.759 it was using the capricorn loop that Pete used for 0:42:26.880 --> 0:42:29.320 in the house. I didn't but I didn't try to 0:42:29.560 --> 0:42:31.680 remake his beat. I may be using it not for sale, 0:42:31.719 --> 0:42:34.279 but just for what you mean, for I just never 0:42:34.400 --> 0:42:36.920 I never really did that. I don't think I can't remember. 0:42:36.920 --> 0:42:38.399 I can't recall having ever done that once. 0:42:38.880 --> 0:42:42.600 Wow, sockers, because normally that's like the go to practice. 0:42:43.800 --> 0:42:46.160 When I see videos of people remaking my beats like 0:42:46.280 --> 0:42:49.680 on YouTube, and it kind of trips me out, Like, 0:42:49.960 --> 0:42:51.319 but I get it. If you want to get better, 0:42:51.360 --> 0:42:53.239 you want to learn how somebody did something, figure how 0:42:53.280 --> 0:42:53.919 somebody did something. 0:42:53.920 --> 0:42:56.359 You're gonna it's it's like a guitar player learn how 0:42:56.360 --> 0:42:57.240 to play play. 0:42:57.160 --> 0:43:01.040 Standard, yeah, or just a ballplayer who watches, you know, video. 0:43:01.160 --> 0:43:02.000 There's a lot of chefs. 0:43:02.000 --> 0:43:04.600 I know that, like, you know, we'll try to figure 0:43:04.600 --> 0:43:07.319 out like how McDonald's made, you know, the Big Man. 0:43:07.800 --> 0:43:11.359 What I was more concerned about was for me, I think, 0:43:11.680 --> 0:43:14.600 especially in that formative era, it was more so I 0:43:14.719 --> 0:43:18.080 was listening to how the records were engineered and trying 0:43:18.120 --> 0:43:20.920 to because I was working with the ASR ten and 0:43:21.160 --> 0:43:22.920 a four track, or even before that that roll in 0:43:23.040 --> 0:43:26.080 Jams thirty and a four track, and I was just 0:43:26.120 --> 0:43:27.920 trying to figure out, right, I have a drum machine, 0:43:28.040 --> 0:43:31.000 I have the same samples I see equalizes on this 0:43:31.080 --> 0:43:32.840 four track. Why don't my records sound as good as 0:43:32.880 --> 0:43:35.000 the records on the radio. And I'm not understanding the 0:43:35.040 --> 0:43:38.440 concepts of studios and mastering and mastering. I don't understand 0:43:38.440 --> 0:43:39.839 any of that. I'm just like I got I got, 0:43:39.960 --> 0:43:41.440 I got beats, and I got eqs and I got 0:43:41.520 --> 0:43:45.399 a mic. So for me, it was about squeezing whatever 0:43:45.440 --> 0:43:47.600 sound quality I could out of the little bit that 0:43:47.680 --> 0:43:48.120 I had. 0:43:48.200 --> 0:43:53.080 I will say, and a test that probably next to 0:43:53.200 --> 0:43:58.080 doctor Dre who's the cleanest producer that I know, producer 0:43:58.239 --> 0:44:03.160 slash engineer, and maybe the combination of a particular era 0:44:03.440 --> 0:44:09.359 of Tip and Bob and Tim Laith laughing or whatever, 0:44:10.480 --> 0:44:16.480 you have one of the loudest mixes I know, which 0:44:16.520 --> 0:44:18.840 is weird because I know that both you and Kanye 0:44:20.080 --> 0:44:22.960 kind of came up in the Blueprint Battle generation of 0:44:24.960 --> 0:44:29.640 you know, of the jay z era, whereas like twice 0:44:29.719 --> 0:44:34.160 in my DJ career that I've been charged with breaking 0:44:34.200 --> 0:44:36.960 the speaker, it was just Blazo. 0:44:36.719 --> 0:44:38.000 No over Kanye Records. 0:44:39.080 --> 0:44:42.120 Kanye is the only dude like when his product comes out, 0:44:42.920 --> 0:44:47.360 I have to re eat, reconfigure, re eq it like 0:44:47.480 --> 0:44:51.279 almost remastered myself, or turn the mids and the bass 0:44:51.400 --> 0:44:52.080 all the way down. 0:44:52.200 --> 0:44:53.920 Because you know that. 0:44:54.080 --> 0:44:56.080 Study famous changed over the years, because I remember when 0:44:56.200 --> 0:44:59.960 his his focus used to not really be about the 0:45:00.000 --> 0:45:01.480 If you remember a lot of times this drums would 0:45:01.480 --> 0:45:04.720 be really small, and that was one of the things 0:45:04.760 --> 0:45:07.239 that like, he's he's actually to call me about, like 0:45:07.280 --> 0:45:09.239 how do you get your drums to sound like that? 0:45:09.320 --> 0:45:11.800 With the wares were with the bass like, that was 0:45:11.840 --> 0:45:15.000 the thing I remember. I would not get into the specifics, 0:45:15.040 --> 0:45:16.560 but there were times where sometimes that would become an 0:45:16.600 --> 0:45:18.440 issue in the studio where it was like, Yo, the 0:45:18.480 --> 0:45:20.400 track is dope, but the drums seem so small. How 0:45:20.480 --> 0:45:22.080 we get to the sound sound bigger? 0:45:22.800 --> 0:45:25.399 But if you look at the history of hip has 0:45:25.440 --> 0:45:28.840 changed the millions, drums are small as shit, right, And 0:45:28.920 --> 0:45:32.080 then I realized, oh they sacrificed. They have small drums, 0:45:32.160 --> 0:45:37.160 but the noise surrounds it exactly. And so but a 0:45:37.239 --> 0:45:41.360 lot of your production is like your your your accessory 0:45:41.440 --> 0:45:46.320 noises whatever, like uh sirens you use and your snares 0:45:47.040 --> 0:45:49.880 and your loops and the voice like everything is at 0:45:49.920 --> 0:45:54.360 top level lout, but it never it never peaks, like 0:45:54.520 --> 0:45:55.680 how do you well. 0:45:56.040 --> 0:46:00.200 One thing that uh like that I would always try 0:46:00.239 --> 0:46:03.440 to do is fun make sure that each each element 0:46:03.520 --> 0:46:06.759 of the song has its own space, and sometimes you 0:46:06.840 --> 0:46:08.680 have you can't just do that with pushing the faders 0:46:08.719 --> 0:46:11.600 of any killing, there's dynamics that come into play too, 0:46:11.640 --> 0:46:14.320 because I still like to leave headroom at least so 0:46:14.480 --> 0:46:16.399 that even if you're blasting it, it still doesn't feel 0:46:16.400 --> 0:46:19.080 like it's overpowered still much. Right, So I'll give you 0:46:19.080 --> 0:46:22.520 a perfect example. You don't know, those horns are so 0:46:22.640 --> 0:46:26.400 shrill and loud, and Jay has that kind of nasally 0:46:26.440 --> 0:46:29.680 tone to his voice, so those those horns and those 0:46:29.760 --> 0:46:32.399 and his vocals kind of sit in the same frequency range. 0:46:32.840 --> 0:46:37.040 So we did on that record was we used his 0:46:37.360 --> 0:46:42.279 vocal as a side chain to trigger a compressor on 0:46:42.400 --> 0:46:44.800 a certain frequency of the horns, so that whenever he 0:46:45.000 --> 0:46:47.799 runs it would it would duck that just that part 0:46:47.840 --> 0:46:50.360 of the frequency on the horns. And then when he 0:46:50.480 --> 0:46:52.920 wasn't rhyming, the horns were coming coming full. 0:46:53.120 --> 0:46:55.920 A certain compression, right, And that's where compression works for you, right. 0:46:56.000 --> 0:46:58.600 And it's it's not like it wasn't a matter of 0:46:58.640 --> 0:47:02.279 making the horns louder or lower. It was a matter 0:47:02.280 --> 0:47:05.160 of when that frequent his voice is hitting, make sure 0:47:05.200 --> 0:47:08.240 that frequency itself is ducked on the horns. 0:47:08.520 --> 0:47:10.480 So when you when you create a track like that, 0:47:13.320 --> 0:47:16.520 it was all right, when I first heard it, that 0:47:16.880 --> 0:47:19.280 was a hard song for me to digest. I almost 0:47:19.280 --> 0:47:23.800 think it's a good thing when like you're uncomfortable with 0:47:23.960 --> 0:47:26.879 something because it's so new to you. Like first time 0:47:26.880 --> 0:47:28.759 I Rebel without pause is like, Yo, what the hell 0:47:28.840 --> 0:47:33.480 is this? And especially in light of hearing that record 0:47:34.480 --> 0:47:38.200 during nine to eleven and all that stuff, when I 0:47:38.280 --> 0:47:40.600 heard it, I just thought, you remember the scene in 0:47:41.120 --> 0:47:46.160 Casino where Joe Pesci is like, don't make me do 0:47:46.280 --> 0:47:48.600 this though, and he's like squeezing the dude's uh. 0:47:50.040 --> 0:47:55.279 The vice. I always imagine that you don't know by 0:47:55.400 --> 0:47:56.319 jay Z was. 0:47:57.920 --> 0:48:01.560 That was the soundtrack to the Ship, Like it sounded 0:48:01.719 --> 0:48:07.000 like someone's being squeezed, and like, was that your intention? 0:48:07.520 --> 0:48:13.200 Nah? For me, it was just like at that time, 0:48:13.920 --> 0:48:16.480 it was just energy. That is what I was trying 0:48:16.520 --> 0:48:19.160 to get across really more so than anything else. It's 0:48:19.200 --> 0:48:22.080 funny sometimes if you remember, he used to performance sometimes 0:48:22.120 --> 0:48:23.920 and he would have the flames in the background, Like 0:48:24.880 --> 0:48:26.840 that's when I was inventioning that moment. A lot of 0:48:26.880 --> 0:48:31.120 those records, especially during that era and it's still even 0:48:31.360 --> 0:48:34.080 to this day, but especially that era, I was thinking 0:48:34.160 --> 0:48:36.040 in terms of performance. 0:48:36.600 --> 0:48:39.200 You're seeing the final product in the stadium. 0:48:38.840 --> 0:48:43.080 And exactly so I'm seeing like that moment, or I'm 0:48:43.160 --> 0:48:46.480 seeing when he's doing song Crid and it's just the 0:48:46.520 --> 0:48:48.640 whole stage is black and it's just the spotlight on 0:48:48.760 --> 0:48:50.640 him and he's telling that story and a little by 0:48:50.680 --> 0:48:52.960 little the maybe some imagery in the background on the screens. 0:48:53.200 --> 0:48:54.960 I would always think in terms of performance, that's why 0:48:54.960 --> 0:48:56.360 I showed me what you got is the way it is, 0:48:56.880 --> 0:48:58.520 and why climax is at the end, because that was 0:48:58.520 --> 0:49:00.680 supposed to be the record. After he does corn walks 0:49:00.719 --> 0:49:04.480 off the stage, then he comes back with just and 0:49:04.560 --> 0:49:11.359 it's not a beat, it's just And by the end, 0:49:11.480 --> 0:49:13.960 everybody's soloing. The drummer's doing his thing, the basis is 0:49:14.000 --> 0:49:16.520 doing his thing, the guitar players with the key up 0:49:16.560 --> 0:49:17.680 that that's why that record is like that. 0:49:17.760 --> 0:49:19.719 So did it frustrate you that that song came so 0:49:19.920 --> 0:49:21.880 early and not later in the sequence. 0:49:22.080 --> 0:49:26.000 Yeah, a little bit, but it should have been something 0:49:26.000 --> 0:49:29.400 towards the end of the album more so than at 0:49:29.440 --> 0:49:33.319 the top. But the way it starts is also good. 0:49:33.360 --> 0:49:35.160 But us to have at the top of a project. 0:49:35.239 --> 0:49:39.320 I was gonna say, in in the case of I 0:49:39.400 --> 0:49:43.279 mean illmatic kind of ruined the the idea of one 0:49:43.320 --> 0:49:50.400 person watching everything so on on an album like The Blueprint, 0:49:51.200 --> 0:49:54.719 which is essentially an illmatic on its own. 0:49:56.280 --> 0:50:00.879 Well, I mean it's you, Kanye, Timberland, Scott, uh, who else? Bink? 0:50:01.280 --> 0:50:01.480 Yeah? 0:50:02.480 --> 0:50:02.640 Right? 0:50:03.160 --> 0:50:07.080 So who really gets final say on? Like, well, it's 0:50:07.120 --> 0:50:09.480 just start here, like who has his ear as in 0:50:09.640 --> 0:50:10.520 let me sequence this? 0:50:11.640 --> 0:50:14.320 At that time, I would say a lot of that 0:50:14.440 --> 0:50:21.680 would probably have been because Gool wasn't around, was cool around, 0:50:22.120 --> 0:50:25.120 you know, Chauncy was done after the Dynasty album? 0:50:26.800 --> 0:50:30.400 Or who was engineering? I remember the Chauncy story. Well, 0:50:30.440 --> 0:50:34.480 there's many of those, the one with the up a 0:50:34.560 --> 0:50:35.200 tape or something. 0:50:35.719 --> 0:50:37.279 There's a lot of things. And then he tried to 0:50:37.360 --> 0:50:41.160 sue Yes, yes, a couple of years ago for seventy 0:50:41.200 --> 0:50:42.600 five million for a whole I don't know what the 0:50:42.719 --> 0:50:48.840 number was. Chauncey was the engineer on the Dynasty, the 0:50:48.960 --> 0:50:52.840 Dynasty album, maybe some of Volume three. Okay, that's a 0:50:52.880 --> 0:50:55.719 whole other set of stories. I figure what it was. 0:50:55.840 --> 0:50:57.920 But basically he had a bunch of copies of the 0:50:58.000 --> 0:51:01.160 Masters and had been storing them at a storage space 0:51:01.239 --> 0:51:04.080 in la I think it was Key in California. For 0:51:05.000 --> 0:51:08.640 since he got fired, which was after the Dynasty album, 0:51:09.080 --> 0:51:11.120 and then came back and tried to sue j for 0:51:11.200 --> 0:51:12.880 a bunch of Oh no, he tried to claim ownership 0:51:13.440 --> 0:51:15.480 partial ownership of publishing and masters. 0:51:16.080 --> 0:51:17.000 Why did he get fired? 0:51:17.800 --> 0:51:19.480 He just kept messing up badly. 0:51:19.920 --> 0:51:21.239 Okay, wait, how do you know this? 0:51:21.360 --> 0:51:23.479 I think he told the story, told stories on Twitter, 0:51:23.719 --> 0:51:26.120 because when it came out that he was trying to 0:51:26.160 --> 0:51:28.520 take action, I was like, oh no, no, no, let 0:51:28.560 --> 0:51:30.920 me set a few things straight here, like he was 0:51:31.000 --> 0:51:32.160 not writing anything. 0:51:32.280 --> 0:51:34.760 He was not. He wasn't He doesn't own the masters. 0:51:34.840 --> 0:51:37.320 I actually have a lot of the Masters myself. He 0:51:37.480 --> 0:51:39.719 might have had copies or clones because that was right 0:51:39.760 --> 0:51:41.640 when we were we were doing the hybrid of two 0:51:41.680 --> 0:51:44.200 inch to in digital, so a lot of stuff was 0:51:44.239 --> 0:51:46.959 getting bounced back and forth. It was just a mess, 0:51:47.239 --> 0:51:48.800 and he was really trying to portray it like he 0:51:49.040 --> 0:51:52.080 was the driving force behind the sound of Rockefeller for 0:51:52.239 --> 0:51:54.560 some years, and he was not. He's actually the reason 0:51:54.600 --> 0:51:56.360 why a lot of records have mistakes on him. Do 0:51:56.520 --> 0:51:59.359 this go back to the Dynasty album. Listen to get 0:51:59.400 --> 0:51:59.960 your mind right. 0:52:00.360 --> 0:52:02.040 Right, that's the one that because of him. 0:52:02.080 --> 0:52:03.520 No, no, that's no, it is that your chick is 0:52:03.520 --> 0:52:04.440 in a mono because of it. 0:52:06.200 --> 0:52:09.960 Whoa to the beat? 0:52:10.080 --> 0:52:12.960 Listen to the beat? Hold up, no, but is uh 0:52:13.120 --> 0:52:15.279 what was I saying? Oh yeah, listen to get your 0:52:15.320 --> 0:52:20.759 mind right. You'll notice the chorus is performed differently every time. 0:52:21.280 --> 0:52:24.520 Sometimes it starts, yeah, you're not a fly. Fly the hooks. 0:52:25.680 --> 0:52:28.680 So really there's three hooks. Each one falls in a 0:52:28.719 --> 0:52:31.279 different place. Same thing with can't be life. Listen it 0:52:31.320 --> 0:52:33.560 can't be life. Go back and listen to that record 0:52:33.560 --> 0:52:34.920 with that in mind, you'll see that the hooks don't 0:52:35.080 --> 0:52:37.440 fall in the same place every time. So it was 0:52:37.480 --> 0:52:39.120 things like that, and then he you know, back then 0:52:39.160 --> 0:52:43.240 he used to have the slave two inch wheels together, 0:52:43.320 --> 0:52:45.600 so if you have forty eight tractionally slave two machines together. 0:52:46.360 --> 0:52:48.000 We were doing stuff from pro tools and the dumping 0:52:48.000 --> 0:52:50.719 into real to mix from real. Duros getting the tapes 0:52:50.760 --> 0:52:52.840 because he was mixing that soundtrack where we were finishing 0:52:52.960 --> 0:52:58.680 at baseline, and every set of reels that got that 0:52:59.040 --> 0:53:02.920 Durro got, the sink was off, so like none of 0:53:02.960 --> 0:53:04.879 the reels were coming back SYNCD up. So he put 0:53:04.880 --> 0:53:06.120 the two tapes up and he used to be playing 0:53:06.120 --> 0:53:06.880 a lot of sink. 0:53:07.440 --> 0:53:09.680 And and. 0:53:12.480 --> 0:53:15.040 And eventually it came to eventually it almost came their 0:53:15.080 --> 0:53:20.360 hands at one point because Daryl told about himself and 0:53:20.760 --> 0:53:23.440 uh dar wants to tell so I'll let him do it. 0:53:25.040 --> 0:53:27.080 But yes, Droyl told about himself on the phone, very 0:53:27.120 --> 0:53:28.719 matter of fact. He didn't you didn't. He didn't flip 0:53:28.760 --> 0:53:31.040 on him. He just told him about himself and hung 0:53:31.120 --> 0:53:34.560 up the phone. Charles, you come to deliver and delivers 0:53:34.600 --> 0:53:37.160 the tapes and it is ready to scrap and it 0:53:37.239 --> 0:53:38.799 didn't happen. And I'm just sitting there in the room 0:53:38.880 --> 0:53:44.719 like whoa. That escalated very quickly. It got shut down 0:53:44.719 --> 0:53:45.760 as quickly as it happened. 0:53:46.000 --> 0:53:48.960 But but and how does that translate to a guy 0:53:49.080 --> 0:53:49.439 like Jay. 0:53:49.680 --> 0:53:54.840 Jay's like one of those guys that, to me, like 0:53:55.160 --> 0:53:56.920 doesn't care how something happened. 0:53:56.960 --> 0:53:59.400 So of course he's gonna look at you like, well, 0:53:59.400 --> 0:54:00.680 you're fucking up right. 0:54:01.000 --> 0:54:04.200 And because he's looking at how do you explain to 0:54:04.320 --> 0:54:06.640 him that, like, look, he didn't line it right and 0:54:06.880 --> 0:54:07.800 this is not my fault. 0:54:07.840 --> 0:54:08.920 And I'm trying to maguyver. 0:54:09.239 --> 0:54:11.040 I think we kept j out of it a lot. 0:54:11.200 --> 0:54:12.960 He was aware that things weren't right, but he wasn't 0:54:12.960 --> 0:54:14.920 really getting to the specific because we were getting handled 0:54:15.440 --> 0:54:19.759 between me Guru and Duro. You know, we were making 0:54:19.800 --> 0:54:21.920 sure that he got handled regardless. So he might have 0:54:21.920 --> 0:54:23.239 known that there were problems, but it didn't get to 0:54:23.280 --> 0:54:24.600 the point I didn't get back to him to the 0:54:24.640 --> 0:54:28.360 point where he felt like he had to address or intervene. 0:54:28.400 --> 0:54:29.800 Well, it was the person that had to lay this 0:54:30.000 --> 0:54:31.680 the SmackDown, say oh, you're fired. 0:54:32.880 --> 0:54:35.440 That might have been hip hop. Maybe Okay, it might 0:54:35.480 --> 0:54:37.320 have been a hip hop because the thing is, Chelsey 0:54:37.520 --> 0:54:39.960 liked that all that stuff aside. I liked him as 0:54:40.000 --> 0:54:42.160 a person, and he and I got along, and he 0:54:42.200 --> 0:54:44.480 and hip hop got along very well as well. So 0:54:45.920 --> 0:54:47.440 I want to say it was hip hop. I probably 0:54:47.440 --> 0:54:50.440 had to have that conversation with him. But how do 0:54:50.560 --> 0:54:50.960 we get here? 0:54:51.320 --> 0:54:53.960 I'm kind of fault, We're kind of we're kind of 0:54:54.000 --> 0:54:58.319 asked backwards? Isn't this? So? I noticed that every major 0:54:58.400 --> 0:55:01.000 producer that gets put on has. 0:55:00.960 --> 0:55:04.160 To go through the initiation of getting ganked first, like 0:55:04.640 --> 0:55:07.120 going under the tutelage of someone never happened. 0:55:09.120 --> 0:55:11.880 You didn't apprentice under any. 0:55:11.880 --> 0:55:15.040 Never by o g's by teachers. But people who put 0:55:15.080 --> 0:55:16.600 me on were the DJs and producers that I group 0:55:16.640 --> 0:55:19.120 listening to you like that was school for me. I didn't, 0:55:19.160 --> 0:55:19.439 I can't. 0:55:19.520 --> 0:55:21.799 I moved first, but you want so I moved you up. 0:55:21.680 --> 0:55:25.319 With forty hours in my pocket, literally at forty dollars. 0:55:25.680 --> 0:55:27.759 When you said that, I heard the introduction of welcome 0:55:27.800 --> 0:55:31.000 to the jungle in my no no, no, no, no, 0:55:31.080 --> 0:55:33.600 no no no, him walking on like forty second street 0:55:33.760 --> 0:55:34.319 like looking up. 0:55:34.600 --> 0:55:35.400 So my uh. 0:55:35.840 --> 0:55:39.600 You know my old manager, Nesa, she was We know 0:55:39.680 --> 0:55:42.400 each other since high school. She went to n y 0:55:42.520 --> 0:55:45.759 U uh got got She got an internship with the 0:55:45.760 --> 0:55:52.399 cutting room, ended up becoming like the studio manager. Gave 0:55:52.520 --> 0:55:56.120 me a shot at the internship for a week, but 0:55:56.239 --> 0:55:58.359 she was kind of close to managing the studio with Dave, 0:55:58.360 --> 0:56:01.840 the dude that owned it. I always wanted to intern, 0:56:01.880 --> 0:56:03.800 but I was in school. She didn't want to just 0:56:03.800 --> 0:56:06.720 bring me in like that out of nowhere. You remember 0:56:06.760 --> 0:56:12.120 that girl Jane Doe tip short blond here. Jane was 0:56:12.160 --> 0:56:16.799 an intern. She gets the stomach flu. This is during 0:56:16.840 --> 0:56:21.000 my winter break from Rutgers. So NASA calls me and 0:56:21.040 --> 0:56:22.879 she's like, yo, so what if our interns is sick? 0:56:23.280 --> 0:56:24.560 Do you want to come intern for a week? Because 0:56:24.560 --> 0:56:26.600 she's to be able to stomach flu. So I'm like, sure, 0:56:27.480 --> 0:56:31.320 the opportunity of a lifetime for me, I come do 0:56:31.440 --> 0:56:33.800 that week. Jane calls the following Monday. I just I 0:56:33.840 --> 0:56:35.920 just got signed to em I I'm not coming back, 0:56:38.800 --> 0:56:41.000 So they are you want to stick around for a while. 0:56:41.080 --> 0:56:43.040 I'm like all right, cool. So it was kind of 0:56:43.040 --> 0:56:45.480 supposed to be a temporary winner break kind of thing, 0:56:46.520 --> 0:56:53.239 and then the night manager ended up getting fired for 0:56:53.760 --> 0:56:57.680 some just some mother some nonsense, so they needed somebody 0:56:57.719 --> 0:56:59.640 to take that position. They needed a night manager. 0:56:59.680 --> 0:57:02.280 They need, like right away, where is the cutting room located? 0:57:02.320 --> 0:57:03.359 I feel like it was right. 0:57:03.360 --> 0:57:05.440 Next door to Platinum Island and Rockers, So six seventy 0:57:05.480 --> 0:57:06.520 eight Broadway. 0:57:07.040 --> 0:57:08.000 Okay, we did cut there. 0:57:08.080 --> 0:57:11.120 Okay, I'm trying to figure out, like where that's my 0:57:11.360 --> 0:57:12.480 Ladelph half life location. 0:57:12.560 --> 0:57:13.839 That's where do well? 0:57:13.880 --> 0:57:18.120 No door was that Platinum Island next door? You guys 0:57:18.120 --> 0:57:21.720 worked at Platinum Mountain, all right, okay, and so Dory, 0:57:21.720 --> 0:57:23.280 your door was that Platinum Oultin. I was next door 0:57:23.280 --> 0:57:26.600 at the cutting room. So night manager gets fired. They 0:57:26.680 --> 0:57:27.960 come to me ask me if I want the job. 0:57:28.400 --> 0:57:30.400 I'm like all right, that means I gotta leave school. Basically, 0:57:31.240 --> 0:57:33.160 you know, I want to say I was two and 0:57:33.200 --> 0:57:35.920 a half years and I was studying computer programming. I 0:57:36.040 --> 0:57:38.200 wasn't really happy though at the same I wasn't happy 0:57:38.240 --> 0:57:41.560 in school. At the same time, I'm I'm at Rutgers, 0:57:41.680 --> 0:57:46.080 so I'm in Newark a lot. So I'm like finding 0:57:46.120 --> 0:57:50.120 my way into DJing at open mics and baby play 0:57:50.160 --> 0:57:52.960 my beats at open mics, and dudes like the artifacts 0:57:53.000 --> 0:57:57.360 are showing up. Bradman came through once or twice outside 0:57:57.400 --> 0:57:59.720 as well, there or a lot. It was a spot 0:57:59.760 --> 0:58:01.840 called the Pipeline, was the open mic that did on Wednesdays. 0:58:03.160 --> 0:58:07.040 So that era where it was like, I'm not really 0:58:07.040 --> 0:58:10.520 happy with school. Rutgers had just hired a bunch of 0:58:10.800 --> 0:58:14.240 foreign professors and no disrespect to them by any means, 0:58:14.280 --> 0:58:16.960 but their accents were so heavy none of us could 0:58:17.120 --> 0:58:19.400 understand what they were saying in the classes. So you're 0:58:19.400 --> 0:58:23.160 sitting there like and you're studying complex things like Calculus 0:58:23.240 --> 0:58:28.400 three and you know, in computer programming, and the dude, 0:58:28.880 --> 0:58:31.640 this one dude African guy, we will all just sit 0:58:31.720 --> 0:58:33.000 there and look at each other in the class like 0:58:34.560 --> 0:58:36.920 what he's saying at all? And then it was an 0:58:36.920 --> 0:58:39.760 Irish dude whose accent was also so heavy, Like so 0:58:39.800 --> 0:58:42.160 I'm getting discouraged by school. I'm starting to do these 0:58:42.200 --> 0:58:47.160 open mics because I'm meeting people locally in NewYork, and 0:58:48.400 --> 0:58:51.080 it started to become more human to me. Up until 0:58:51.080 --> 0:58:53.800 that point, everything that I had done was kind of 0:58:53.840 --> 0:58:55.960 in my own world, you know, with my friends, my 0:58:56.040 --> 0:58:58.840 local friends, DJing. I'm DJing little things here and there, 0:58:58.920 --> 0:59:00.720 you know, in my city, of becoming the man in 0:59:00.760 --> 0:59:06.360 my city, but nothing outside of that DJ just you know, 0:59:06.400 --> 0:59:08.720 so I'm selling local mixtapes. They're starting to make a 0:59:08.760 --> 0:59:10.360 little bit of noise. I'm kind of known as the 0:59:10.440 --> 0:59:13.360 dude on my side of town. But you know, in 0:59:13.440 --> 0:59:14.880 that era especially, you have a lot of dudes that 0:59:14.960 --> 0:59:17.320 sell dreams, you know, especially the young kids. Like I 0:59:17.400 --> 0:59:19.200 remember going to this one dude's house who was actually 0:59:19.240 --> 0:59:22.080 an old friend of ours. I didn't know that anybody 0:59:22.120 --> 0:59:23.920 could just call the record and get a press kid, right, 0:59:25.200 --> 0:59:27.600 So he's walking around talking about how I can't hang 0:59:27.640 --> 0:59:30.120 with Puffy, that he drink too much baileies, like that 0:59:30.240 --> 0:59:33.480 was just his thing. I'm hanging with this drink and 0:59:35.040 --> 0:59:37.080 I'll go to his house and he would have all 0:59:37.120 --> 0:59:39.919 these what I found out brivalized years later were press kids. 0:59:40.480 --> 0:59:43.040 But he would have all these folders sitting out across 0:59:43.360 --> 0:59:47.120 the table with the logos and our artist pictures and bios. 0:59:47.360 --> 0:59:49.440 But it's all just press kids, like anybody can get them. 0:59:49.680 --> 0:59:51.240 But he was making it seem like he was working 0:59:51.280 --> 0:59:53.920 with all of these artists. And you see the logos, 0:59:53.960 --> 0:59:57.520 you're like bad Boy or Arista Uptown whatever. Right, so, 0:59:59.160 --> 1:00:04.040 and there was another dude name Peter Pan. Yeah so, 1:00:04.400 --> 1:00:09.520 but so anyway, just point is this, It wasn't really real, right, 1:00:09.680 --> 1:00:12.680 you know, at that point. And then I'm just trying 1:00:12.720 --> 1:00:15.520 to catch all the important parts being in Rutgers and 1:00:15.600 --> 1:00:19.040 then being in subsequently being in Newark, and I'm seeing 1:00:19.360 --> 1:00:21.520 dudes like the Outsiders, dudes like like the Artifacts. This 1:00:21.600 --> 1:00:24.720 is when Jersey Raps popping the first wave of it, 1:00:24.800 --> 1:00:28.440 you know, like kind of like righte like post Flavor, Yeah, 1:00:28.600 --> 1:00:30.960 exactly like them used to show up. And I remember 1:00:31.040 --> 1:00:33.080 being there one day and one of the dudes, young 1:00:33.200 --> 1:00:36.680 Z and Rod Digger are on stage raym and none 1:00:36.680 --> 1:00:39.760 of them know who I am. I'm playing beats in 1:00:39.800 --> 1:00:40.800 between the intermissions. 1:00:41.040 --> 1:00:43.640 How are you playing beats without the technology of the 1:00:44.760 --> 1:00:45.400 being invented? 1:00:45.480 --> 1:00:48.280 Yeah, we just had tapes, had the beats on tapes. 1:00:48.440 --> 1:00:50.400 So I'm DJing, but I'm also just playing tapes, and 1:00:50.600 --> 1:00:53.200 that was I was playing tapes during intermissions. So I'm 1:00:53.200 --> 1:00:57.640 playing a beat and I remember Z was like, I 1:00:57.760 --> 1:01:00.240 went to put a record on Framing Roan two and 1:01:00.280 --> 1:01:01.480 he was like, no, put that on the beat, put 1:01:01.520 --> 1:01:03.040 that beat back over. Whatever that beat was that was 1:01:03.120 --> 1:01:06.080 just playing, And I was like, it became real in 1:01:06.200 --> 1:01:09.800 that moment, Like somebody who has a record deal, whose 1:01:09.840 --> 1:01:13.080 records I have bought, an established artist, wants to rhyme 1:01:13.160 --> 1:01:15.320 on something that I made. It's not my homie from 1:01:15.360 --> 1:01:16.640 down the block. It's not a dude I go to 1:01:16.680 --> 1:01:19.240 school with. And on top of that, it became a 1:01:19.320 --> 1:01:21.040 human because up until this point, all these guys were 1:01:21.080 --> 1:01:23.160 guys you see on TV, you hear them on the radio, 1:01:23.280 --> 1:01:25.680 you buy the records, you study their album covers. You know, 1:01:26.280 --> 1:01:29.520 I'm an album art geague. So that's where these guys 1:01:29.560 --> 1:01:31.480 lived in those boxes. All of a sudden, he's a 1:01:31.560 --> 1:01:33.560 human being and he's you know, it's a real thing. 1:01:34.080 --> 1:01:37.439 It became tangible in that moment. So around that same time, 1:01:38.400 --> 1:01:40.200 another guy that I went to college with had a 1:01:40.240 --> 1:01:43.960 local crew called a BHA and they were making a 1:01:43.960 --> 1:01:46.600 little indie records here right there, and I started hanging 1:01:46.600 --> 1:01:49.080 with you know, running with them a bit, and from 1:01:49.120 --> 1:01:51.480 that point on it just became more human. So this 1:01:51.640 --> 1:01:56.040 is right at that same time when Jane Doe uh 1:01:56.320 --> 1:01:59.960 leaves leaves, I get the internship. I then become the Nightmare. 1:02:01.440 --> 1:02:08.120 And another thing I actually ended up right when Steaks 1:02:08.200 --> 1:02:11.000 Is High. Chemist Steaks Is High was MOS's premiere, right, yeah, 1:02:11.680 --> 1:02:15.360 big Brother Bik, it was right. So I'm doing an 1:02:15.400 --> 1:02:18.880 open mic I think in East Orange. Rod Digga had 1:02:19.040 --> 1:02:21.160 signed to at one point to violate it through Q 1:02:21.360 --> 1:02:24.479 tip and a kid called Roots was doing her demo 1:02:26.160 --> 1:02:32.800 and and oh I just caught that. So yeah, kid 1:02:32.880 --> 1:02:35.160 called Roots is doing her demo and it just and 1:02:35.480 --> 1:02:38.800 this was maybe like my second week, you no, maybe 1:02:38.840 --> 1:02:40.840 I've been there for about a month or so. I'm 1:02:40.920 --> 1:02:44.160 dj ning an open mic in East Orange. Digger shows 1:02:44.200 --> 1:02:48.080 up and I never spoke to her during that time, 1:02:48.160 --> 1:02:50.240 and I just slip the open mics right previously when 1:02:50.240 --> 1:02:53.240 I was in college. So she comes, she's like, I 1:02:53.360 --> 1:02:55.440 recognized you. Wrestling was somewhere. I didn't even gonna get 1:02:55.440 --> 1:02:56.720 it at the studio when you were working with Q 1:02:56.840 --> 1:02:59.520 Tip whatever whatever. So we have a little conversation and 1:02:59.600 --> 1:03:02.720 then most just walks in and does big Brother beat, 1:03:03.040 --> 1:03:05.600 and then I play a beat. He's like anybody out 1:03:05.600 --> 1:03:07.400 of beats. I played cassette. He rhymes on that. So 1:03:07.440 --> 1:03:10.560 all of a sudden, it was like just it wasn't 1:03:10.760 --> 1:03:12.920 happening on records, but was just happening organically. 1:03:13.320 --> 1:03:14.560 So just it was kind of like, so, when was 1:03:14.600 --> 1:03:15.880 your first beat that you landed? 1:03:18.040 --> 1:03:21.760 No mace, like my first real beat for that that 1:03:21.800 --> 1:03:24.440 anybody ever bought. I gotta check what song I really 1:03:24.520 --> 1:03:25.680 like it, the one when they get shot out of 1:03:25.680 --> 1:03:29.040 the cannons, Blinky blink, blinky blink. 1:03:35.200 --> 1:03:35.680 It was only. 1:03:37.080 --> 1:03:39.640 So what happens is at this point, I'm working studio 1:03:39.680 --> 1:03:41.200 for maybe about a year and a half, two years, 1:03:41.920 --> 1:03:44.080 and I'm starting to thinking, all right, things are happening, 1:03:44.080 --> 1:03:45.560 but they're not I'm not making any money. I should 1:03:45.560 --> 1:03:47.880 probably maybe start considering going back and just finishing my 1:03:47.960 --> 1:03:52.240 last couple of specials at school. Whatever. So one of 1:03:52.280 --> 1:03:54.440 the things that I used to do, because I'm not 1:03:54.480 --> 1:03:58.080 a good salesman, I like to sell myself. So what 1:03:58.160 --> 1:03:59.480 I would do is when I would get off work. 1:03:59.480 --> 1:04:01.920 I would just go to whatever room was available, make beats, 1:04:02.360 --> 1:04:06.120 work on records, and leave the door crack so people 1:04:06.120 --> 1:04:08.800 would just walk past and hopefully be like what is that? 1:04:09.400 --> 1:04:11.440 So whatever, it would have happened here and there. You know, 1:04:11.640 --> 1:04:15.840 nothing ever, really uh came about from it. I developed 1:04:15.840 --> 1:04:17.560 a few friendships with some A and rs and a 1:04:17.600 --> 1:04:19.360 couple of artists that way, but nothing ever came out 1:04:19.360 --> 1:04:23.680 of it. But then one day, Mace is working in 1:04:23.760 --> 1:04:26.800 the next room. They're sequencing a sampler. I forget what 1:04:26.880 --> 1:04:28.760 it was, a bad Boy sampler or something, and he 1:04:28.800 --> 1:04:31.160 had to fix something on it. So I'm making sure 1:04:31.160 --> 1:04:35.360 to play my music extra loud because they were floating 1:04:35.400 --> 1:04:37.400 right in the hallways. So this dude comes to pokes 1:04:37.440 --> 1:04:39.240 his head the room and he's like, what's that And 1:04:39.320 --> 1:04:40.920 I'm saying, that's just something I'm working on. He's like, 1:04:40.920 --> 1:04:44.600 who are you? My name is just just what just just? 1:04:45.120 --> 1:04:47.120 Your name is just just And I was like, no, 1:04:47.200 --> 1:04:50.000 it's just just My name is Justin. So he's like, 1:04:50.080 --> 1:04:52.080 all right, blame me some more beats. So I blamed 1:04:52.120 --> 1:04:53.240 some beats. I don't know who he is. I just 1:04:53.320 --> 1:04:56.280 knew he's connected to them somehow. So you know how 1:04:56.640 --> 1:04:58.720 Mace used to always reference to a kudahudah love. 1:04:58.800 --> 1:04:59.000 Yeah. 1:04:59.480 --> 1:05:02.240 Yeah, So this was coolest partner, the cool tot silent 1:05:02.320 --> 1:05:07.440 partner in the company. So he was like, Yo, where 1:05:07.480 --> 1:05:11.160 you at on Thursday? And I'm like here working, So 1:05:11.320 --> 1:05:12.919 you're working. I'm like, yeah, this is my day job. 1:05:13.400 --> 1:05:15.720 He's like, come in the hit Factory on Thursday. So 1:05:15.840 --> 1:05:17.320 I go to the Hit Factory. He's like, matter of fact, 1:05:17.400 --> 1:05:20.320 we give you an idea, you know, an audition popcorn Love. 1:05:20.320 --> 1:05:22.240 I'm like yeah. He's like, take that loop it up, 1:05:23.400 --> 1:05:28.320 put the scratches and whatnot on it. Put He's like, 1:05:28.400 --> 1:05:30.680 do all that, trust me make So I probably end 1:05:30.720 --> 1:05:32.680 up picking it as his first single. And I'm like 1:05:32.840 --> 1:05:36.960 what He handed me the key, like the golden ticket, 1:05:37.040 --> 1:05:38.800 like you see, like a nice guy do this. 1:05:39.640 --> 1:05:39.920 Wow. 1:05:40.320 --> 1:05:44.560 So I did it that night, went to Hit Factory 1:05:44.600 --> 1:05:49.640 that Thursday and playing it for him and as soon 1:05:49.640 --> 1:05:51.480 as he heard it, he just started jumping around the room. 1:05:52.160 --> 1:05:53.920 This is the Yeah, this is the single. This is 1:05:53.960 --> 1:05:57.560 the single. And my man was Sam. He looked over 1:05:57.600 --> 1:06:00.720 at me like I told you. I didn't preface it 1:06:00.800 --> 1:06:02.720 with him, Like he didn't say I had somebody making 1:06:02.800 --> 1:06:05.440 this beat. He was just like he gave me the 1:06:05.480 --> 1:06:09.400 Allue and Joe when the record came out, I was like, yo, 1:06:09.480 --> 1:06:12.120 putting pluced by just blazing. Super said like because it 1:06:12.240 --> 1:06:14.919 was it was his idea. He literally strew me the value. 1:06:14.960 --> 1:06:16.160 Didn't ask for no money or anything. 1:06:21.080 --> 1:06:23.480 All right, So I gotta figure out how you wound 1:06:23.560 --> 1:06:27.320 up at Baseline Studios and so fast forward. 1:06:28.560 --> 1:06:30.680 I'm the maze thing happens. 1:06:31.760 --> 1:06:31.920 You know. 1:06:32.000 --> 1:06:37.000 Matt Fingers MM short redhead kid, one of my best. 1:06:37.480 --> 1:06:39.240 He used to have an indie label called Guests Wild 1:06:39.400 --> 1:06:44.400 back in the days. Mike Zoo had most a couple 1:06:44.440 --> 1:06:47.160 of records early stuff like that. Anyway, he had a 1:06:47.200 --> 1:06:51.960 relationship with Penalty Records with Mayhem and UH Martin Morton. 1:06:52.160 --> 1:06:53.720 Okay, so he. 1:06:56.320 --> 1:06:57.960 I'm talking about one day because he was a clan 1:06:58.240 --> 1:07:01.080 at the studio as well. He's song from Mace and 1:07:01.160 --> 1:07:03.320 I'm like yeah, He's like for real. I'm like yeah, 1:07:03.360 --> 1:07:06.200 He's like, you'll give me some beats, So again, not 1:07:06.280 --> 1:07:07.760 trying to get anything out of it. He takes a 1:07:07.800 --> 1:07:11.160 cassette gives it to a man at Penalty. This is 1:07:11.280 --> 1:07:15.880 right when they were finishing Norway's album and that led 1:07:15.960 --> 1:07:18.200 to UH me working with they had just signed half 1:07:18.240 --> 1:07:18.600 a Milk. 1:07:19.200 --> 1:07:19.920 Okay, so. 1:07:22.040 --> 1:07:24.560 Now I'm in the story with half a milk. So 1:07:24.720 --> 1:07:26.520 that was kind of like the main thing wasn't a fluke. 1:07:26.600 --> 1:07:28.320 We just did it again. And then from there I 1:07:28.480 --> 1:07:30.840 met Killer Priest, did a couple, which is how I 1:07:30.920 --> 1:07:33.240 ended up here in this building. You know, back then 1:07:33.840 --> 1:07:37.080 met Killer Priest, Tragedy Kadafi. So I'm working with a 1:07:37.080 --> 1:07:38.520 lot of dudes that I respect, that I like, but 1:07:38.560 --> 1:07:43.000 it's not dudes that are selling to the records. And 1:07:43.320 --> 1:07:47.439 then Matt pun I thought it was a print call. 1:07:48.200 --> 1:07:48.680 It wasn't. 1:07:51.200 --> 1:07:57.600 First I'm notice is Pawn and I'm like he never 1:07:58.440 --> 1:08:01.120 never sounded like a regularly and being on the phone. 1:08:01.320 --> 1:08:04.360 Like cal on my crib and the brox what So 1:08:04.880 --> 1:08:07.120 I'm like, so I'm like, all right, So I go 1:08:07.200 --> 1:08:10.520 to his crib, played him some beats sam Ash, I 1:08:10.560 --> 1:08:12.200 want to say it with sam Ash at the time, 1:08:12.280 --> 1:08:13.600 I just wipped them off and sold him a bunch 1:08:13.600 --> 1:08:15.840 of studio get he didn't need. He was modeling his house. 1:08:15.880 --> 1:08:17.400 He was trying to build a studio in it. So 1:08:17.479 --> 1:08:20.200 I'm looking around the house and I'm like, well, you 1:08:20.280 --> 1:08:21.920 got a D eighty you got D eighty eights, so 1:08:21.960 --> 1:08:24.519 you don't need a that's and you got a O 1:08:24.680 --> 1:08:26.640 two R so you don't need a Maxi Digital eight 1:08:26.680 --> 1:08:30.000 bus like they double. So whatever, right, So I'm just 1:08:30.280 --> 1:08:31.800 I'm just on the strength, just telling him, you know, 1:08:31.920 --> 1:08:33.240 like he's like, if you don't you want to stand 1:08:33.240 --> 1:08:35.559 this stuff? I said, yeah, I engineer. He said, all right, 1:08:35.560 --> 1:08:37.519 So when I want to build my studio, would you 1:08:37.680 --> 1:08:40.200 come and help me put things together? I said, here, 1:08:40.240 --> 1:08:41.639 no problem. He said, all take whatever you want. 1:08:42.160 --> 1:08:42.439 Wow. 1:08:42.680 --> 1:08:45.960 So he ended up building like my first studio, like 1:08:46.040 --> 1:08:48.840 inadvertently gave me everything I needed to get started in 1:08:48.960 --> 1:08:51.599 the crib. So now I can crank out beats twenty 1:08:51.640 --> 1:08:53.160 four to seven. I got everything at the crib, I 1:08:53.200 --> 1:08:56.720 can record, I'm doing everything in the house, but I'm 1:08:56.720 --> 1:08:59.920 still working at the cutting room. Bruce Hornsby was a 1:09:00.040 --> 1:09:02.640 big client of ours, and he used to print call 1:09:02.720 --> 1:09:03.240 me all the time. 1:09:05.160 --> 1:09:09.479 Used to figure out, man, that's crazy. 1:09:10.000 --> 1:09:13.880 So me and h Bruce was working I think with 1:09:14.080 --> 1:09:17.840 David Byrne I think at the time. So they're working 1:09:17.920 --> 1:09:22.320 on something and they were. They were working at at 1:09:22.920 --> 1:09:25.240 the studio for quite some time. So being that I 1:09:25.360 --> 1:09:26.720 was a dude, who helped him with a lot of things. 1:09:26.800 --> 1:09:30.200 Being helped me and us, Me and him developed the report. 1:09:30.960 --> 1:09:35.880 So sometimes he would hold studio. He'd be like, Hey, 1:09:36.000 --> 1:09:38.439 this is uh, you know Joe Blow from Galaxy Records. 1:09:38.479 --> 1:09:40.720 You want to offer you offer justin a record deal. 1:09:42.400 --> 1:09:44.680 Just be like, God, whatever, Like what do you want? 1:09:44.720 --> 1:09:47.559 Bruce like in that kind of relationship, So. 1:09:49.360 --> 1:09:50.720 I can tell her this story is about to go. 1:09:51.640 --> 1:09:56.200 So I'm at I've told a story of bits and 1:09:56.200 --> 1:09:58.560 pieces of it. I'm trying to speed to it. I 1:09:58.680 --> 1:10:01.040 told total bit of it before. So fast forward a 1:10:01.080 --> 1:10:04.200 little bit later. Bruce is still pranked calling me. I 1:10:04.280 --> 1:10:08.120 meet Dino from Universal right when Rock was finishing up 1:10:08.360 --> 1:10:13.479 the eighteenth let and Cannabis had they had just signed Cannabis. 1:10:14.360 --> 1:10:16.200 I forget how I met him, was a chance of meeting, 1:10:17.240 --> 1:10:18.960 but he gives me the sales pitch. 1:10:19.080 --> 1:10:19.200 Yo. 1:10:20.000 --> 1:10:23.200 Uh, I played in like forty beats and I walked 1:10:23.200 --> 1:10:25.080 in with a beat CD. Nobody had a CD recorder 1:10:25.080 --> 1:10:27.920 at the time. We're not common. I literally probably was 1:10:28.160 --> 1:10:30.519 just me and a hit factory, meaning in a hit 1:10:30.560 --> 1:10:33.840 factory the only people who had them, and I walked 1:10:33.880 --> 1:10:36.760 away a CD, which automatically He's like who brings beats 1:10:36.800 --> 1:10:39.320 on a CD. So that quarter is on. So we 1:10:39.560 --> 1:10:42.240 go through the music. He loves it. He gives me 1:10:42.320 --> 1:10:44.320 the sales pitch. He gives me the Gilbert Godfrey and 1:10:44.439 --> 1:10:46.200 gas face. We're gonna make you a big, big, big, 1:10:46.240 --> 1:10:47.280 big big one big Reacher. 1:10:48.320 --> 1:10:48.479 You know. 1:10:48.560 --> 1:10:50.120 He's like, I got Cannabis, I got rock Kim, I 1:10:50.160 --> 1:10:51.800 got this, I got that. I never hear from Dino 1:10:51.800 --> 1:10:56.280 again after the whole sales pitch. So I get a 1:10:56.360 --> 1:11:01.439 phone call about to two three beats later, uh at 1:11:01.479 --> 1:11:04.360 the studio. So I went to the phone studio. Can 1:11:04.400 --> 1:11:07.120 I speak to Just And I'm like, yeah, this is him. So, 1:11:07.360 --> 1:11:09.880 my name is g Roberson. I work for Rockefeller Records. 1:11:10.680 --> 1:11:12.639 I'd like to talk to you about a couple of things. 1:11:12.640 --> 1:11:14.320 And I'm like, Y're all right, Bruce, what do you want? 1:11:16.600 --> 1:11:18.880 I'm like, how does Bruce know what Rockefeller Records is? 1:11:20.400 --> 1:11:23.400 This is whatever? And I'm like, so I'm playing, I'm 1:11:23.439 --> 1:11:24.720 going back and forth with it, and eventually I just 1:11:24.760 --> 1:11:28.720 hang up the phone. So then the phone rings again, like, hey, 1:11:28.800 --> 1:11:30.519 I got disconnected. I was trying to speak to us. 1:11:31.240 --> 1:11:35.559 My name is G from Rockefeller Records, and I'm like, oh, okay. 1:11:36.040 --> 1:11:39.200 So he's like, yeah, so you know, I was at Universal. 1:11:39.240 --> 1:11:41.360 I had a meeting with Dino two weeks ago, and 1:11:41.520 --> 1:11:43.280 I have this artist that I'm trying to sign named 1:11:43.320 --> 1:11:48.120 Billy Bathgate and he doesn't have a demo. He's like. 1:11:48.240 --> 1:11:50.960 So he's like, you know, my artist doesn't have a demo, 1:11:51.840 --> 1:11:53.439 but I've been doing it, just taking him around to 1:11:53.479 --> 1:11:56.360 different labels and having him roy I'm Live and Youno 1:11:56.439 --> 1:11:59.680 played your CD and we want like we love, I love, 1:11:59.760 --> 1:12:01.439 like for what I heard out of the twenties, it's 1:12:01.439 --> 1:12:04.880 like ten no I love. And I'm like okay. So 1:12:04.960 --> 1:12:08.040 he's like, so what's up and he's like, well, I'm 1:12:08.040 --> 1:12:10.760 working on a deal for Bathgate. On top of that, 1:12:11.360 --> 1:12:13.200 I just started as an A and R Rockefeller Records, 1:12:13.240 --> 1:12:17.360 and we're trying to build a production team. So I'm like, okay, 1:12:17.840 --> 1:12:20.559 so how does this relate to me. It's like, we want, 1:12:20.600 --> 1:12:22.200 we would like to talk about being part of the team. 1:12:23.439 --> 1:12:24.920 Can you come down to the office. This is when 1:12:24.920 --> 1:12:27.160 their office is. I think we're on fifteenth Street, like 1:12:27.280 --> 1:12:30.960 you're Union Square somewhere. So I go to Dave. Dave 1:12:31.000 --> 1:12:33.200 was the owner of the studio and he's like oh, Dave, 1:12:33.200 --> 1:12:35.240 I gotta go. Jay Z's label just call. They wouldn't 1:12:35.240 --> 1:12:37.040 have a meeting, he said, But you just came back 1:12:37.080 --> 1:12:40.120 from lunch break, and I'm like, I just got a 1:12:40.160 --> 1:12:43.960 call from jay Z's record label. You talking about lunch breaks. 1:12:44.760 --> 1:12:49.400 So he's like, just go go, So I leave, go 1:12:49.560 --> 1:12:51.479 to the meeting. They're like, so basically want to do 1:12:51.560 --> 1:12:55.160 a production crew. You this kid we just found called 1:12:55.200 --> 1:13:00.679 Kanye West Rock Wilder and but rock wider o their buck. 1:13:00.520 --> 1:13:03.560 Wild and Rock was supposed to be part of the 1:13:03.720 --> 1:13:05.720 sign production and. 1:13:05.920 --> 1:13:09.680 K Rob from k Robin Ramel. Wow, they were we 1:13:09.760 --> 1:13:13.439 were gonna be rock the world, that is what they 1:13:13.439 --> 1:13:17.479 were gonna call it. And and yeah, imagine how crazy 1:13:17.520 --> 1:13:20.599 that would have been. So it never happened. The you'll 1:13:20.640 --> 1:13:24.080 never happen. Uh. But we ended up just having a 1:13:24.120 --> 1:13:27.760 good working relationship. I never signed a Rockefeller. I just 1:13:28.840 --> 1:13:30.920 we we worked well. They paid me a lot of money. 1:13:30.920 --> 1:13:32.920 I stuck around. You know they would do They would 1:13:32.920 --> 1:13:35.800 pay me in advance for like like down the line. Well, 1:13:35.840 --> 1:13:38.640 I'm getting a little bit ahead of it. So the 1:13:38.720 --> 1:13:40.040 first thing they give me is to work on a 1:13:40.080 --> 1:13:46.080 Mills album. Yeah, so I engineered that album. I co 1:13:46.240 --> 1:13:49.200 produced the few of the songs uncredited, but just you know, 1:13:52.200 --> 1:13:56.200 and UH recorded in track the whole thing. That was 1:13:56.200 --> 1:13:58.800 also the first time anybody rockefed I ever even heard 1:13:58.840 --> 1:14:00.479 of a recorded on pro tools. They didn't know what 1:14:00.560 --> 1:14:03.559 that was. So Bill ran out of She ran out 1:14:03.600 --> 1:14:06.280 a budget, she couldn't buy no more to tapes. Something. 1:14:06.400 --> 1:14:09.800 We got this thing called pro tools. We'll try it. Yeah, 1:14:09.960 --> 1:14:15.680 So so I do her whole album and UH did one, 1:14:15.840 --> 1:14:17.680 one or two things with Bleak and beans. Jay wasn't 1:14:17.720 --> 1:14:20.200 paying me any attention. We get to the end of 1:14:20.200 --> 1:14:22.080 the Bill's album. Here's a song that I did with her. 1:14:22.479 --> 1:14:25.800 He says, who's on that? Who's that dude on the song? 1:14:25.920 --> 1:14:27.960 Or that was Bathket We put bath Gate on the record. 1:14:28.760 --> 1:14:30.800 He's like, taking did the classic goal? Take him off? 1:14:31.040 --> 1:14:33.599 I'm getting on this? And who did the beat? Oh? 1:14:33.960 --> 1:14:36.240 Just oh yeah? He got better? All right? Cool? 1:14:36.280 --> 1:14:37.080 Telling come down. 1:14:40.439 --> 1:14:41.799 Like the tell him come down the baseline. 1:14:42.360 --> 1:14:43.840 So he got better. 1:14:44.360 --> 1:14:46.879 So I gave him. I had given him a cassette 1:14:46.920 --> 1:14:50.439 of what the Becoming Streets is talking like by chance 1:14:50.479 --> 1:14:52.000 two days before. I didn't give it to him. I 1:14:52.080 --> 1:14:54.840 gave it to g or Hip, who gave it to him. 1:14:55.600 --> 1:14:57.560 Get a call from Lenny. Yo, he's he's cut. He 1:14:57.680 --> 1:15:00.360 just cut streets watch or Streets is talking likelast night, 1:15:00.640 --> 1:15:03.200 and you want you to come to Baseline bring some 1:15:03.280 --> 1:15:05.160 more beats. And then the story that I told a 1:15:05.240 --> 1:15:07.800 million times, I made stick to the script while he 1:15:07.880 --> 1:15:11.080 was in the booth recording, parking lot pimping. He comes 1:15:11.120 --> 1:15:12.439 out the room and I play him stick to the 1:15:12.479 --> 1:15:14.080 script and he's like, yo, when did you make this? 1:15:14.240 --> 1:15:16.840 I'm like, just now in the headphones. He's like, but 1:15:16.920 --> 1:15:17.960 I was in the booth. I said, yeah, I just 1:15:18.000 --> 1:15:20.360 made it real quick, you know, chopped up loop, played 1:15:20.360 --> 1:15:22.599 the keys, whatever. And that's when he was like, alright, 1:15:22.640 --> 1:15:25.800 stick around And that was pretty much it. And then 1:15:25.840 --> 1:15:28.080 I guess a year and a half later or two yearsly, 1:15:28.439 --> 1:15:30.000 I ended up owning Baseline. 1:15:30.880 --> 1:15:35.080 At its height. What was the typical day at Baseline, 1:15:35.240 --> 1:15:37.040 Like chaos. 1:15:36.920 --> 1:15:40.280 Was depending on whatever you're talking about. By the time, 1:15:40.400 --> 1:15:42.120 like dip sent had come around and everything, Yes, it 1:15:42.240 --> 1:15:44.960 was pretty chaotic for a lot of reasons. But I 1:15:45.000 --> 1:15:47.720 mean just even schedule wise, because like you have all 1:15:47.800 --> 1:15:50.080 these guys and these various crews in there, and there 1:15:50.120 --> 1:15:51.600 were the cruise cruise. 1:15:51.400 --> 1:15:53.519 You have your room. Does Kanye have his room, No, 1:15:53.640 --> 1:15:55.040 it's it's just it's two rooms. 1:15:55.120 --> 1:15:57.439 So it's the room, the main room in my room. 1:15:58.200 --> 1:16:00.760 He makes ministress on baseline. And so we was in 1:16:00.840 --> 1:16:01.879 the big broom. 1:16:02.120 --> 1:16:03.920 Yeah. Yeah, So they were in the A room and 1:16:03.960 --> 1:16:08.800 I was in the B room. So Bleak was an 1:16:08.800 --> 1:16:11.439 early bird, So Bleek might get there by eleven, a 1:16:11.680 --> 1:16:18.080 M Jay might show up around two, dip set might 1:16:18.200 --> 1:16:23.559 show up around eight. Beans would show up in at 1:16:23.560 --> 1:16:27.040 four in the morning. Not to be in troublesomewhere. So 1:16:27.600 --> 1:16:31.280 literally like a twenty four hour factory. And you're all, yes, 1:16:31.479 --> 1:16:32.400 that's exactly what it was. 1:16:33.560 --> 1:16:34.439 Answer this for me. 1:16:35.600 --> 1:16:38.240 How did none of them? How did none of them 1:16:38.360 --> 1:16:45.759 stop you from giving uh? Uh cool mean gang. 1:16:48.360 --> 1:16:48.960 To Joe button? 1:16:49.200 --> 1:16:51.360 Yeah, Joe, But how did they not stop you? 1:16:51.920 --> 1:16:56.679 So I'll never forget that day. I'm at what studio 1:16:56.840 --> 1:16:58.840 was in La the same studio Ya was leaving when 1:16:58.880 --> 1:17:03.040 he had the accident sound something, and I forget the 1:17:03.120 --> 1:17:07.920 name of it, but I'm in there. Uh it say 1:17:07.920 --> 1:17:09.639 it was a two room facility. We had both rooms. 1:17:09.920 --> 1:17:11.880 Water room is me making beats. The other room is 1:17:12.720 --> 1:17:15.720 a state propping a bunch of dudes, uh working on 1:17:15.840 --> 1:17:20.760 an album or working on different projects. So I come 1:17:20.840 --> 1:17:23.880 up with the pumping Up idea that night. I came 1:17:24.000 --> 1:17:26.080 up with it as a follow up to rock the 1:17:26.200 --> 1:17:30.120 Mic for Freeway and Beings. So that was my vision, 1:17:30.360 --> 1:17:33.080 like Rocked the Mic had kind of just had its 1:17:33.160 --> 1:17:38.840 run and starting to wane. I think Flip Side had 1:17:38.960 --> 1:17:41.479 maybe just all no, Flip Side hadn't I don't know 1:17:41.600 --> 1:17:43.120 flip Side had come out yet. It was rock the 1:17:43.160 --> 1:17:44.720 Mic was on Stay Property, so yeah, Flip Side I 1:17:44.720 --> 1:17:47.479 hadn't come out yet, So Pumping Up was supposed to 1:17:47.479 --> 1:17:50.560 be to follow up to Rock the Mic. Now in 1:17:50.640 --> 1:17:53.240 Freeze case free will pretty much wrap to anything that 1:17:53.280 --> 1:17:56.439 I give him. At that point in his life, Freeway 1:17:56.479 --> 1:18:00.120 would have wrapped to anything anybody gave him. Literally, I 1:18:00.160 --> 1:18:02.120 had him rapping on Casey and Jojo all my life. 1:18:03.520 --> 1:18:08.439 Still is It sounded like a good idea at the time. 1:18:08.600 --> 1:18:13.120 You know, it didn't come out for a reason. But yeah, yeah, 1:18:13.840 --> 1:18:17.280 it's called my piano. I'll find it in sentences, so 1:18:17.800 --> 1:18:22.320 my piano. So I'm in there, I make the beat. 1:18:22.760 --> 1:18:25.240 Freeways was ready to like tell me when to wrap, 1:18:26.160 --> 1:18:29.599 and but Beans was kind of like, uh, I think 1:18:29.640 --> 1:18:31.680 he might have been heavy on the lean length this time, 1:18:32.080 --> 1:18:35.200 so he kind of was just like, so he leaves, 1:18:36.080 --> 1:18:38.240 and then a bunch of random rappers just started coming in, 1:18:38.320 --> 1:18:42.400 like local La dudes who are like fans and just 1:18:42.560 --> 1:18:44.720 you know those dudes that somehow ended up in your 1:18:44.760 --> 1:18:47.799 session and trying to you know, get on your records. 1:18:48.360 --> 1:18:51.240 So I won't name names, but there was just one 1:18:52.120 --> 1:18:55.200 who was just like, I had to turn the beat 1:18:55.200 --> 1:18:57.320 off now, like, but he came in and started writing verses. 1:18:58.320 --> 1:18:59.840 I was like, oh, yeah, the beat has to just stop. 1:19:01.360 --> 1:19:03.760 So I stopped the beat and I started making as 1:19:03.920 --> 1:19:07.240 One from Blueprint too, and I was, this is gonna 1:19:07.240 --> 1:19:09.720 be the Rockefella song that everybody gets on. It's a 1:19:09.840 --> 1:19:13.320 Rockefella song. There's nobody else. The other artists just kind 1:19:13.320 --> 1:19:17.920 of sending that. So I started making as One and 1:19:18.040 --> 1:19:20.080 then we ended up recording that I gave the Young 1:19:20.120 --> 1:19:22.640 Guns there, I think because young Guns started with the 1:19:23.000 --> 1:19:25.840 Sneath book out the cut out, the cut I figured 1:19:25.840 --> 1:19:27.880 whose routine I jacked? It was somebody's part routine that 1:19:27.920 --> 1:19:35.160 I had jack. Yeah, so that's what that's came up with. 1:19:35.200 --> 1:19:37.200 That idea. Gave that to young Guns. They start, so 1:19:37.320 --> 1:19:40.799 you're coming up with the hooks to hooks, sometimes rhymes, 1:19:41.320 --> 1:19:44.360 sometimes I'm rewriting rhymes, you know, it's it's always something. 1:19:46.360 --> 1:19:49.519 So that pumping up beat goes away. So now we're 1:19:49.560 --> 1:19:53.840 Blueprint Too era and this is like the first time 1:19:53.880 --> 1:19:56.560 that Farrell and Ja really really locked in, like for 1:19:56.920 --> 1:19:58.639 just coming up with the record after record after record. 1:19:59.800 --> 1:20:02.360 So I'm in the beat room doing what I can 1:20:02.439 --> 1:20:06.960 really do, just in there working. I remember the pump 1:20:07.000 --> 1:20:09.800 It Up beat mm hm. So I go, I go 1:20:09.840 --> 1:20:14.120 to jail. I'm like, yo, did hear a song? He's 1:20:14.160 --> 1:20:16.200 like all right, So he comes in like five minutes later, 1:20:16.240 --> 1:20:18.360 he's like, yeah, that's mean. But I'm finishing this for 1:20:18.439 --> 1:20:19.120 our record right now. 1:20:19.160 --> 1:20:26.200 So if he finished, excuse me, miss over now, I want. 1:20:26.040 --> 1:20:34.400 To say, it was all tonight. Yeah, I'm talking about please. 1:20:36.000 --> 1:20:39.040 I love that. That's that's I love that song. I 1:20:39.080 --> 1:20:41.160 mean in general, the Forrail records and they were all dope. 1:20:41.560 --> 1:20:43.920 It was like if pump It Up was on Blueprint two, 1:20:44.040 --> 1:20:45.120 that could have made a world. 1:20:46.880 --> 1:20:50.639 So actually the record that he was working on ended 1:20:50.760 --> 1:20:53.840 up not being used. It was where he first did 1:20:53.880 --> 1:20:56.639 to come get someone. He took the wrath came around. 1:20:56.960 --> 1:20:59.120 He did that another on another frail beat, which I 1:20:59.240 --> 1:20:59.920 just found recently. 1:21:01.760 --> 1:21:02.040 M M. 1:21:02.439 --> 1:21:04.600 Yeah, because I have all the tapes, you know, so 1:21:04.680 --> 1:21:06.240 sometimes I justkim through the server and see what I find. 1:21:08.240 --> 1:21:10.960 But anyway, so so he goes back to do the 1:21:11.000 --> 1:21:13.519 Peril record and he kind of was just like, yeah, 1:21:13.760 --> 1:21:18.439 that's nice, you know. Like now, Jay's like that sometimes 1:21:18.439 --> 1:21:19.840 if he's focused on I've seen him do that to 1:21:19.880 --> 1:21:22.479 other people in regards to me, like I'm finishing this 1:21:22.600 --> 1:21:24.200 dress record right now, I gotta i gotta go back 1:21:24.200 --> 1:21:26.160 in the room. So I didn't. I didn't take offense 1:21:26.240 --> 1:21:30.439 to it. But it's funny in retrospect. So moving on 1:21:30.640 --> 1:21:35.120 from that, pumping up comes out ends up becoming you 1:21:35.200 --> 1:21:38.880 know what it does. It's a huge record. Jay walks 1:21:38.920 --> 1:21:42.519 in the room one day, he's like, Yo, that pumping 1:21:42.560 --> 1:21:43.920 up is crazy. But next time you come up with 1:21:44.000 --> 1:21:48.000 something like that, like playing motherfucker, you do let me 1:21:48.080 --> 1:21:50.160 know about that. Like you know the things that I 1:21:50.280 --> 1:21:51.960 never We never had a structure where it was like 1:21:52.080 --> 1:21:54.240 I owe them first, write a refusal. But you're not 1:21:54.280 --> 1:21:56.360 an idiot. You know where certain records are supposed to go, 1:21:57.080 --> 1:21:58.400 and they knew that. I knew that, So it was 1:21:58.479 --> 1:22:00.000 never really a thing who. 1:22:00.080 --> 1:22:05.640 A skater because when he does it on that organe Scan. 1:22:04.560 --> 1:22:06.280 Don't worry Scan, No, I'll give it back soon. 1:22:06.840 --> 1:22:09.679 Sc was your nickname or something, Scan Dollar. 1:22:09.720 --> 1:22:12.599 It was a clues manager. It was close. It was cluesman. 1:22:12.880 --> 1:22:16.679 Scan was basically, uh, clues manager, but that's a desert 1:22:16.760 --> 1:22:18.360 storm was clue dur escape. 1:22:18.680 --> 1:22:19.080 I see. 1:22:19.640 --> 1:22:24.240 So, and Joe had his affiliation with Uh. You know, 1:22:24.320 --> 1:22:26.200 Skane was the one who bought Joe to death chair. 1:22:26.760 --> 1:22:28.960 So it's kind of that connection. So give me that beat. 1:22:29.000 --> 1:22:30.880 Don worry Scane, I'll give it back, right. 1:22:32.120 --> 1:22:32.560 So that's what. 1:22:32.720 --> 1:22:34.760 So when I told Jay that, he was like, you did, 1:22:34.880 --> 1:22:37.080 I'm like yeah. He's like, nah, I remember you said 1:22:37.080 --> 1:22:39.360 I'm gonna go do this for real record. He was like, 1:22:39.400 --> 1:22:42.160 I can't remember that now. Then he went and recorded 1:22:42.200 --> 1:22:43.920 his verse that was that. 1:22:45.840 --> 1:22:48.360 Okay, So I feel like we're jumping all over the place, 1:22:48.439 --> 1:22:50.559 which is we're very unmarrrored to dude. 1:22:51.960 --> 1:22:55.320 Back to the beginning. So when you were a kid, yes, 1:22:56.760 --> 1:22:59.800 we can do it. No, well okay, well what about 1:22:59.840 --> 1:23:00.880 your work with mad Lyon? 1:23:01.640 --> 1:23:01.920 Wow? 1:23:03.040 --> 1:23:03.280 Wow? 1:23:03.800 --> 1:23:05.479 Actually well no, no, no, no, no, no back up, 1:23:05.880 --> 1:23:07.960 because I think this is something that this this room 1:23:08.040 --> 1:23:12.599 doesn't know you're responsible for the club classic? 1:23:13.840 --> 1:23:20.040 Uh shake that ask girl, how are you? Yes? How 1:23:20.080 --> 1:23:21.360 are you responsible for that? 1:23:21.479 --> 1:23:24.840 So I didn't do the original original version that was 1:23:24.920 --> 1:23:29.360 tap rest in Peace Dude from Baltimore. But the interesting 1:23:29.600 --> 1:23:32.040 thing about what was happening at that time in Jersey 1:23:34.800 --> 1:23:38.200 what later on ended up becoming known as Baltimore club music, 1:23:38.280 --> 1:23:42.080 which then became, uh, you know, over time a Jersey club. 1:23:43.120 --> 1:23:46.479 We had that influx happening, but then we also had 1:23:46.479 --> 1:23:48.240 a lot of stuff from Chicago that was coming in. 1:23:48.760 --> 1:23:53.360 So like the casual stuff shout out to Curtis h 1:23:53.720 --> 1:23:56.000 a lot of that stuff was starting to infiltrate, and 1:23:57.880 --> 1:24:01.160 it was basically the beginnings of the primordial soup of 1:24:01.240 --> 1:24:02.439 what became Jersey Club. 1:24:03.560 --> 1:24:08.639 So, okay, so is Jersey club? Of course you're gonna 1:24:08.880 --> 1:24:11.000 say yes, most of you all beat me down for it. 1:24:11.520 --> 1:24:16.719 Is Jersey club an actual, legitimate, recognized genre genre. 1:24:17.520 --> 1:24:20.679 That's a question because I didn't know a subject. 1:24:20.920 --> 1:24:25.040 What's the difference between Jersey Jersey Baltimore House. Well, I 1:24:25.120 --> 1:24:27.720 know the difference, I know House, but I. 1:24:27.760 --> 1:24:32.759 Feel like there you can't mention Jersey club without mentioning 1:24:32.800 --> 1:24:34.960 Baltimore House. But I feel like the Jersey Jersey Club 1:24:35.000 --> 1:24:37.240 has become its own thing, the way they programmed the 1:24:37.240 --> 1:24:39.200 when they chot the samples, when they do certain studies, 1:24:39.240 --> 1:24:44.040 it's become its own thing, like it's becomes its own thing. 1:24:44.280 --> 1:24:48.439 So whereas the think the James Brown Marvel with Link 1:24:48.479 --> 1:24:50.400 Collins think Loop is. 1:24:50.479 --> 1:24:54.680 Not as prominent in Jersey Club anymore, so that breaks 1:24:55.840 --> 1:25:00.599 it's all right. So like obviously all the Jersey Club 1:25:00.680 --> 1:25:03.439 records you have to think loop or at least the tambourine, 1:25:03.479 --> 1:25:06.000 the shakers or the tambourines in there. I feel like 1:25:06.040 --> 1:25:07.840 there was a certain point where it got away from 1:25:07.880 --> 1:25:10.559 that and it was more about the bottom the base 1:25:10.640 --> 1:25:16.559 pause and that pattern that boom boom boom, boom boom boom. 1:25:16.920 --> 1:25:19.519 Both of those records are still based on that. But 1:25:20.040 --> 1:25:22.240 what I'm noticing with the younger generations that are doing 1:25:22.320 --> 1:25:24.240 it now, It's not something that I can necessarily put 1:25:24.280 --> 1:25:26.040 in the words because I never really analyzed it from 1:25:26.080 --> 1:25:29.120 that standpoint, but the way they are truncating and stuttering 1:25:29.200 --> 1:25:31.799 and flipping out of their samples, there's definitely a distinctly 1:25:31.880 --> 1:25:34.840 different way that they do it in Jersey versus how 1:25:34.880 --> 1:25:37.439 they do it in Baltimore versus how like some of 1:25:37.479 --> 1:25:39.160 the dudes that are doing it in Philly, like a 1:25:39.640 --> 1:25:42.479 like a Sega for example. Are they all do it 1:25:42.479 --> 1:25:44.960 a little bit differently? And that's not something that I 1:25:45.000 --> 1:25:47.559 could really quantify or put in the words how it's different. 1:25:47.760 --> 1:25:50.639 So I mean, but is this still pulse wise typically 1:25:51.560 --> 1:25:52.959 one hundred and twenty eight bpms? 1:25:53.000 --> 1:25:55.479 Oh yeah, the foundation, The foundation is still the same. 1:25:55.520 --> 1:25:57.000 The foundation is still the same. Se Man. 1:25:57.280 --> 1:25:58.600 I feel like I was on to some where you 1:25:58.680 --> 1:26:00.639 got Me and didn't complete the miss if you'd work, 1:26:01.120 --> 1:26:02.400 I feel like the world. 1:26:03.479 --> 1:26:06.920 I feel like America, like with you Got Me and 1:26:07.040 --> 1:26:11.400 with Bombs over bag Dad. I think America is ready 1:26:11.439 --> 1:26:12.200 for German bass. 1:26:12.640 --> 1:26:16.519 But it's like it's the gatekeepers on what it happened. 1:26:17.080 --> 1:26:21.800 You think you're talking about it now. I just feel like, 1:26:22.280 --> 1:26:27.639 I mean, I just I just feel like the breaking out. 1:26:27.760 --> 1:26:32.040 I'm praying with this dreat record that the bpms get 1:26:32.120 --> 1:26:35.599 sped up more and it really start starts a paradigm shift. 1:26:35.840 --> 1:26:37.639 I don't hope that this is so hope they gets 1:26:37.640 --> 1:26:39.560 sped up more. I just hope there's more variants in 1:26:39.680 --> 1:26:40.360 the bpms. 1:26:40.560 --> 1:26:43.800 Well, it's due time, because it's twenty seventeen, and true 1:26:43.840 --> 1:26:46.720 to my five year theory, with things changing on the 1:26:46.760 --> 1:26:50.280 sevens and the twos, something new is going to happen 1:26:50.320 --> 1:26:54.599 to hip hop. According I meant the last thirty plus 1:26:54.760 --> 1:26:55.920 years that it's happened. 1:26:56.920 --> 1:26:58.120 I'm praying that this is it. 1:26:58.280 --> 1:27:02.240 I mean nothing against you know, seventy three bpms and 1:27:02.360 --> 1:27:03.960 I mean now people getting super slower. 1:27:04.000 --> 1:27:07.080 No, now it's it's the lean effect. So now it's 1:27:07.160 --> 1:27:11.600 like a half Yeah, it's like literally one fifty to 1:27:11.680 --> 1:27:12.439 fifty one bpm. 1:27:12.520 --> 1:27:14.800 Do you resent that? I mean not resent that, I 1:27:14.880 --> 1:27:15.840 mean I know I don't. 1:27:15.720 --> 1:27:19.200 Resent it because it actually allows me in DJ sets 1:27:19.200 --> 1:27:22.680 to have a little bit more fun because not for 1:27:22.800 --> 1:27:24.559 one reason, but for one of the main reasons being 1:27:25.400 --> 1:27:29.160 you can go from the super high energy to this 1:27:30.040 --> 1:27:35.960 total shift but still keep people doing the same bounce, 1:27:36.720 --> 1:27:39.599 you see what I'm saying, like, and then that allows 1:27:39.680 --> 1:27:42.040 you as a DJ to get creative with it and say, Okay, 1:27:42.560 --> 1:27:44.360 I can go from one hundred to fifty and it 1:27:44.400 --> 1:27:46.040 feels the same, but now the mood has changed, so 1:27:46.080 --> 1:27:47.720 now I can say, way out of that, it hit 1:27:47.760 --> 1:27:51.120 the seventy five bpms, and then after that some way 1:27:51.240 --> 1:27:53.120 fun way you get to one to forty. A lot 1:27:53.160 --> 1:27:55.640 of the halftime and double time stuff that's happening at 1:27:55.720 --> 1:27:58.160 least in my DJ sets has allowed me to navigate 1:27:58.240 --> 1:27:59.320 more courses quickly. 1:28:00.479 --> 1:28:04.479 You I, We're just saying, but it's just like, as 1:28:04.600 --> 1:28:08.840 a person like I can't stand bad segues and DJ sets, 1:28:09.400 --> 1:28:11.000 so everything has to make sense to me. 1:28:11.479 --> 1:28:13.360 I'm the same way. That's why I like, I watched 1:28:13.400 --> 1:28:16.160 some I watched some dudes, and sometimes I immedtedly get 1:28:16.320 --> 1:28:20.040 jealous of dudes that aren't that don't mind, just care right, 1:28:20.400 --> 1:28:24.439 just stopping the music and totally just shifting tempos and moves, 1:28:24.720 --> 1:28:26.880 and you know what, But the more I watch dudes 1:28:27.240 --> 1:28:30.439 do that, whether it's somebody that's opening for me, whether 1:28:30.520 --> 1:28:33.080 it's somebody that I'm playing before and opening for, whether 1:28:33.160 --> 1:28:35.200 it's a co headline or whatever it is, I watched 1:28:35.240 --> 1:28:37.519 those from the side sometimes and I'm like, I wish 1:28:37.640 --> 1:28:40.719 I did not care the way you don't care, because, 1:28:41.040 --> 1:28:43.599 to be honest, today's audience doesn't care. 1:28:43.600 --> 1:28:45.880 I don't care as long as I just want to 1:28:45.880 --> 1:28:47.800 hear a playlist loud right club. 1:28:48.040 --> 1:28:51.200 And when I see that, I'm like, I literally have 1:28:51.280 --> 1:28:53.400 said to myself countless times. I wish I did not 1:28:53.600 --> 1:28:57.880 care because that terrible, ugly segue that that dude just 1:28:58.000 --> 1:29:02.479 did just had put this party on full tilt. Yeah. 1:29:02.560 --> 1:29:05.120 We I don't know which year the Roots Picnic it was, 1:29:05.280 --> 1:29:10.760 but we hired a DJ that was going back from 1:29:11.120 --> 1:29:15.720 his iPhone to his CDJs. 1:29:15.800 --> 1:29:20.240 What was that doing that then? But he but he 1:29:20.439 --> 1:29:21.479 had them going crazy? 1:29:21.479 --> 1:29:24.000 I crazy, right, he had Well, it was like, yo, 1:29:24.080 --> 1:29:25.639 there's some new shit I just made and he goes 1:29:25.640 --> 1:29:27.800 to his iPhone and he puts it on the whole 1:29:27.840 --> 1:29:29.160 place is going crazy right now. 1:29:29.280 --> 1:29:33.760 It's it's it's really Uh. Today's audiences have a very 1:29:33.920 --> 1:29:37.000 different ear and a very different set of standards. 1:29:37.520 --> 1:29:39.280 They care more about the end result in the process. 1:29:39.400 --> 1:29:40.160 I guess that. 1:29:40.640 --> 1:29:42.960 I guess they care more about the end results than. 1:29:42.840 --> 1:29:45.560 The process, more so than like there you know, I 1:29:45.600 --> 1:29:48.120 will say this and this is something that This is 1:29:48.160 --> 1:29:52.920 an argument that I I had years ago in Australia. 1:29:53.680 --> 1:29:57.800 I feel like there's this uh divide in terms of 1:29:57.880 --> 1:30:02.560 what people want from a DJ across general. Like I 1:30:02.720 --> 1:30:06.800 was at a record spot down Under and I was 1:30:06.880 --> 1:30:09.640 talking to Homie and UH through that random spot and 1:30:09.720 --> 1:30:14.800 his wife and we were talking about DJs Uh, this 1:30:15.000 --> 1:30:17.760 was I guess six, Yeah, it was two thousand and six. 1:30:18.000 --> 1:30:23.120 So we were talking about DJs that play reissues versus 1:30:23.240 --> 1:30:28.160 original pressings and bootlegs and edits and just having that conversation. 1:30:29.000 --> 1:30:33.080 But she said one key thing that made me realize, 1:30:33.160 --> 1:30:39.559 that made me realize where are actual divide laid? Because 1:30:39.600 --> 1:30:41.439 she said, when I go to see a DJ play, 1:30:41.439 --> 1:30:42.920 and I said, that's the problem. You're going to see 1:30:43.000 --> 1:30:47.880 him like, I personally do not care where do the 1:30:47.960 --> 1:30:51.479 sourcing it from? Like there's some some sometimes certain peerists, 1:30:51.840 --> 1:30:54.760 certain types of peers would be like the Serado kids. Uh, 1:30:55.760 --> 1:30:58.719 when they have when they go into their Serado argument 1:30:58.760 --> 1:31:00.960 and they start talking about the fact that, like a 1:31:01.040 --> 1:31:04.400 kid now can just go download all thirty volumes or 1:31:04.400 --> 1:31:06.400 whatever it is of ultimately beats and breaks and play them. 1:31:07.280 --> 1:31:08.360 They didn't know what it was like to have to 1:31:08.400 --> 1:31:10.400 go track those volumes down. And I'm like, all right, 1:31:11.240 --> 1:31:13.160 I knew what that was like, but I didn't have 1:31:13.240 --> 1:31:16.320 the struggle of having to discover those break beats and 1:31:16.439 --> 1:31:19.960 find all the original pressings with right when Bamana was 1:31:20.000 --> 1:31:22.040 playing in the park, whoever was playing in the park, 1:31:23.560 --> 1:31:25.400 you know, they used to have to they used to. 1:31:25.800 --> 1:31:27.880 They cover the records, they're black, the labels out, and 1:31:27.920 --> 1:31:30.080 then you would hope that somebody from Downstairs Records or 1:31:30.080 --> 1:31:33.439 Downtown Records, whatever would right, you can sing it to 1:31:33.479 --> 1:31:36.000 them and say such and such, just play this record 1:31:36.040 --> 1:31:40.160 that sounds like this and hopefully, hey, hopefully they have it. 1:31:40.720 --> 1:31:42.800 B hopefully they deem you cool enough to give it 1:31:42.920 --> 1:31:46.759 to you. There was a lot of gatekeeping, this gatekeeping 1:31:46.800 --> 1:31:50.439 at every level. So for me, I'm like, wait, why 1:31:50.439 --> 1:31:52.880 are you worried about seeing him play? I'm worried about 1:31:52.920 --> 1:31:57.640 hearing him play because ultimately, if he doesn't impress me 1:31:57.800 --> 1:31:59.519 with what I hear, or if he or she doesn't 1:31:59.520 --> 1:32:02.200 impress me what I hear, then it's game over. So 1:32:02.320 --> 1:32:04.880 that's what I feel like. Every generation, the qualifications and 1:32:05.000 --> 1:32:08.400 ramifications change in terms of what people are looking for. 1:32:08.640 --> 1:32:10.880 And even still when you can, like while it's true 1:32:10.920 --> 1:32:14.439 to the Sorato generation can just download volumes to play them, 1:32:14.520 --> 1:32:16.360 and you said exactly, you ain't lived with them, like 1:32:16.400 --> 1:32:17.960 you still got to live with those records. You gotta 1:32:18.040 --> 1:32:22.240 know why eight bars, why they work, and the record 1:32:22.360 --> 1:32:24.160 is hot and right, because you can't just play the 1:32:24.200 --> 1:32:27.320 whole Frisco Disco right, because people will look at you like, 1:32:27.360 --> 1:32:28.479 what you can. 1:32:28.439 --> 1:32:31.719 Get to that pump pumpum, it's it's it's a change. 1:32:32.000 --> 1:32:33.719 There's very few of those records that you can actually 1:32:33.800 --> 1:32:36.599 play front Tobacco. You can play UFO front to back. 1:32:36.920 --> 1:32:39.280 You could play Cavern front to back. You can't really 1:32:39.320 --> 1:32:42.479 play Big Beat past the break right. You can play 1:32:42.479 --> 1:32:44.920 a little bit of it, but he sings, But after that, 1:32:45.040 --> 1:32:46.360 that's pretty much it. You're done. 1:32:47.160 --> 1:32:49.400 You know you still got the music. 1:32:49.760 --> 1:32:52.519 I used to be that way in the beginning, and 1:32:52.680 --> 1:33:01.000 then we had a bus accident, yeah, and destroyed Myless Heroes. Yeah, 1:33:01.040 --> 1:33:04.200 my Headless Heroes was like the first thing in the Yes, 1:33:04.520 --> 1:33:07.800 two hundred bucks done. And then I was like, nah, 1:33:07.800 --> 1:33:10.240 I'm spending boot legs from now on. 1:33:12.120 --> 1:33:15.040 I have friends, like some of my friends are like 1:33:15.120 --> 1:33:19.880 some of the bulls either purist or OCD types or 1:33:20.000 --> 1:33:23.200 purest o CD types that you ever meet, and like 1:33:23.280 --> 1:33:25.280 they won't make beats from a reissue. 1:33:25.400 --> 1:33:27.760 Yeah, I know cats like that too, And I'm like, really, 1:33:28.040 --> 1:33:30.760 I'm like, why that's weird because I only like in 1:33:30.840 --> 1:33:33.560 Peace to President, on the boot on the on the 1:33:33.680 --> 1:33:37.639 Ultimate Beasts Breaks versions, what Kenny Do got the Master 1:33:37.800 --> 1:33:41.200 to it re isssued it and it's too damn clean. 1:33:41.240 --> 1:33:42.160 It's clean. It's too clean. 1:33:42.439 --> 1:33:43.840 It too it's not good to me. 1:33:44.320 --> 1:33:47.080 I like his I like to play his reissue when 1:33:47.160 --> 1:33:51.080 I just want to give people a make them do 1:33:51.160 --> 1:33:53.600 you get that? Like? Or when they just stay here 1:33:53.640 --> 1:33:55.280 and they're like, yo, this is the same, but it's different. 1:33:55.320 --> 1:33:56.680 What did you do? You know? 1:33:56.840 --> 1:33:58.640 But like other than that, I don't care where you 1:33:58.720 --> 1:34:01.800 get it from as long as it's going back to you. 1:34:01.880 --> 1:34:04.719 Oh wait, what since we're down the rabbit hole already? 1:34:05.360 --> 1:34:08.960 Since you said that, do you ever find yourself whenever 1:34:09.120 --> 1:34:12.880 your peers are over your shoulder? Do you ignore the 1:34:12.960 --> 1:34:15.240 audience and then suddenly you're doing it for them? And 1:34:15.360 --> 1:34:16.360 does that ruin your set? 1:34:17.800 --> 1:34:18.840 I try to not do that. 1:34:19.200 --> 1:34:21.400 In another way, if Natasha is over your shoulder right 1:34:21.920 --> 1:34:23.560 and you know you got some shit, it's going to 1:34:23.640 --> 1:34:24.639 fuck her up right. 1:34:24.960 --> 1:34:28.240 Now, you know what? I only I only so a 1:34:28.680 --> 1:34:31.080 something like that. We're saying, it's like me, Natasha, my 1:34:31.160 --> 1:34:35.280 other record NERD friends. I will only do that at 1:34:35.400 --> 1:34:38.960 our party. So at our party and we all know 1:34:39.040 --> 1:34:41.040 that anything goes, and that's when we really get to 1:34:41.120 --> 1:34:43.559 go in on each other. Like you don't have this boom. 1:34:43.920 --> 1:34:45.920 You don't have this boom, or I'll do something crazy 1:34:46.040 --> 1:34:47.920 like you don't have this boom and I'll play it then. 1:34:48.120 --> 1:34:50.240 And I have copies for everybody. You get a copy, 1:34:51.439 --> 1:34:54.360 a copy I do. I do the open things sometimes, 1:34:54.840 --> 1:34:57.760 you know, like I come out to the moment Monday 1:34:57.800 --> 1:35:01.200 more often so like, but when it comes to like 1:35:01.280 --> 1:35:04.360 where I'm working, and sometimes a lot of times, like 1:35:04.560 --> 1:35:09.879 I do certain types of events that they don't really frequent, 1:35:10.240 --> 1:35:13.040 but they're curious about them, you know, like if it's 1:35:13.040 --> 1:35:14.560 like a big d M thing or something like that. 1:35:15.040 --> 1:35:17.240 A lot of them, like I'm not just talking about 1:35:17.280 --> 1:35:18.560 Natasha then, but just in general, a lot of my 1:35:18.600 --> 1:35:21.080 friends don't necessarily frequent those places, but they're curious about 1:35:21.080 --> 1:35:23.720 what goes on. I'm not gonna go and play like 1:35:24.120 --> 1:35:29.679 the Ill super Duper Rare, you know, a funk funk 1:35:29.760 --> 1:35:32.080 boogie record. You know, when I'm in the middle of 1:35:32.160 --> 1:35:34.080 playing a bunch of turn up music for some kids 1:35:34.120 --> 1:35:35.559 and doing doing what I gotta do for them. 1:35:36.000 --> 1:35:38.120 You know, it's it's not it's so you have more 1:35:38.200 --> 1:35:38.960 nuanced control. 1:35:39.320 --> 1:35:40.280 Yeah, yeah, you guys. 1:35:40.439 --> 1:35:42.920 I can't resist sometimes I can't. 1:35:42.960 --> 1:35:44.559 I can't do it now. Now Here's the thing. If 1:35:44.600 --> 1:35:47.760 I'm in a venue or playing a party or an 1:35:47.840 --> 1:35:49.800 event or a festival where it's kind of more of that, 1:35:49.920 --> 1:35:52.760 anything goes kind of thing right, and you can throw 1:35:52.800 --> 1:35:55.439 the curveball and the audience is. There's some places that 1:35:55.479 --> 1:35:57.400 you will play and people know, people know who you are, 1:35:57.479 --> 1:35:59.519 they know your taste. If they're coming to see you play, 1:35:59.560 --> 1:36:01.320 they know that they might get a curve ball. People 1:36:01.360 --> 1:36:02.960 going to see Rich Pardina because they know he's gonna 1:36:03.000 --> 1:36:04.600 throw curve balls, you know. 1:36:05.880 --> 1:36:09.599 Oh yeah, your status definitely determines how much you can 1:36:09.640 --> 1:36:10.800 get away from your right. 1:36:11.080 --> 1:36:13.840 Yeah. So like if I'm playing a certain place and 1:36:14.360 --> 1:36:17.040 I'm like establishing myself, Like for example, there are certain 1:36:17.080 --> 1:36:20.880 festivals that I play where it's like just Blazers playing. 1:36:20.920 --> 1:36:23.320 We are at that stage and as soon as I 1:36:23.360 --> 1:36:25.120 you know, my stage could be forty percent of thirty 1:36:25.160 --> 1:36:28.160 percent full. By the time I get twenty minutes in, 1:36:28.520 --> 1:36:31.160 i'mout one hundred percent capacity. There are other festivals that 1:36:31.200 --> 1:36:34.280 I play where it's like I'm establishing myself in this market. 1:36:34.920 --> 1:36:40.439 So my curveball ability is very low because I'm trying 1:36:40.439 --> 1:36:42.479 to establish myself here. I'm not gonna be the guy 1:36:42.479 --> 1:36:43.880 that's gonna all of a sudden be like he was 1:36:43.920 --> 1:36:45.559 doing great and then he just started playing the theme 1:36:45.560 --> 1:36:48.599 from the Jeffersons. I'm choosing as an. 1:36:48.560 --> 1:36:54.760 Example, like, Yeah, Kate Turna, I don't know you ever 1:36:54.800 --> 1:36:56.519 seen Yeah, he's kind like that, like he did. 1:36:56.680 --> 1:36:57.320 I went and saw him. 1:36:57.360 --> 1:36:59.519 He was here a couple it was like last month 1:36:59.840 --> 1:37:02.400 and his opening set This is a room for the 1:37:02.520 --> 1:37:05.680 like twenty year old. You know, his opening song was 1:37:05.720 --> 1:37:08.920 Welcome to the Club by Blue Magic Wow. And I 1:37:09.040 --> 1:37:13.440 texted that but that was, like, you just that was revolutionary, 1:37:13.479 --> 1:37:14.559 and they he had him jamming too. 1:37:14.720 --> 1:37:18.240 But that's the thing. There are certain people that that 1:37:19.200 --> 1:37:22.360 certain generations will look to for that. He's somebody that 1:37:22.439 --> 1:37:25.479 can do that, not because he has the status of 1:37:25.520 --> 1:37:27.200 being able to get away with curveballs, because he's one 1:37:27.240 --> 1:37:29.880 of the certain people looked at certain DJs for certain things. 1:37:30.720 --> 1:37:33.400 Some people look just like, I know he's gonna play 1:37:33.439 --> 1:37:35.280 a good time, play all the songs. I know he's 1:37:35.320 --> 1:37:36.720 gonna know when to drop the vocal out so I 1:37:36.800 --> 1:37:38.759 can sing along, and it's just pretty much a standard 1:37:38.840 --> 1:37:40.760 good time. Then you have other guys who are known 1:37:40.800 --> 1:37:43.240 as like the Diggers and I feel like Kate Trnado 1:37:43.320 --> 1:37:46.000 in a lot of ways is the digger sample. 1:37:47.400 --> 1:37:49.920 I he was dropping whispers. I was like, what the fuck? 1:37:50.040 --> 1:37:50.160 Right? 1:37:50.280 --> 1:37:51.200 It was so people. 1:37:51.439 --> 1:37:53.559 That doesn't surprise me at all because I know him, 1:37:53.560 --> 1:37:55.960 but because I've seen him play and I've watched the 1:37:56.040 --> 1:37:59.040 fact that the crowd respects him when he does that. Now, 1:37:59.080 --> 1:38:01.080 it depends on what mark, depending where market we're in. 1:38:01.280 --> 1:38:04.360 I remember when I was playing, we played a festival together. 1:38:04.439 --> 1:38:06.280 I want to say it was in New Zealand. His 1:38:06.439 --> 1:38:11.240 stage was a much smaller stage, but he was able 1:38:11.320 --> 1:38:13.640 to do that on the stage that music Me and 1:38:13.760 --> 1:38:15.760 zay Low on the stage that I was playing at 1:38:16.120 --> 1:38:18.920 that would not have worked because just by the way 1:38:18.920 --> 1:38:23.519 I'm positioned, I'm positioned on the stage. That's the stage. 1:38:23.840 --> 1:38:24.920 So it's not gonna work for me. 1:38:29.439 --> 1:38:33.720 Wait, since we're talking about DJ tricks and stuff and. 1:38:35.200 --> 1:38:39.280 You know, surprises and obscure songs, I think maybe now 1:38:39.320 --> 1:38:40.720 it's a good time to try part three. 1:38:45.520 --> 1:38:48.519 It's part three. I'm going it's a little more advanced. 1:38:48.800 --> 1:38:51.400 Oh come on, did that drum roll thing? Was like torture? 1:38:51.840 --> 1:38:54.120 No, no, no, no, you did well, you did well? 1:38:54.720 --> 1:38:57.439 All right, So can you guess these jawns. 1:38:58.040 --> 1:39:05.000 Okay, I can already tell you. 1:39:06.479 --> 1:39:07.240 I know that one. 1:39:11.120 --> 1:39:13.000 DC LaRue vernon. 1:39:18.280 --> 1:39:19.040 What just happened? 1:39:22.400 --> 1:39:24.280 Hold up very white brothers? 1:39:25.280 --> 1:39:27.240 So again? Oh wait? What am I I'll do? Yeah, 1:39:27.400 --> 1:39:29.559 I'm going to play trying to play. 1:39:29.720 --> 1:39:30.040 That's all. 1:39:30.080 --> 1:39:32.679 Play, y'all host this show. Y'all should know this ship. 1:39:33.080 --> 1:39:34.240 I don't want to hear it. 1:39:34.360 --> 1:39:34.600 You know. 1:39:35.000 --> 1:39:36.479 Now here's the thing. There's something I don't I don't 1:39:36.520 --> 1:39:38.479 know the original bridge, I know who was used by 1:39:39.439 --> 1:39:41.320 I better know that I have the record. I don't 1:39:41.439 --> 1:39:42.040 know what by name? 1:39:42.320 --> 1:39:47.600 Okay, we'll try again. I don't know that I have diabetes. 1:39:49.280 --> 1:39:50.320 I'm I'm out. 1:39:52.200 --> 1:39:57.200 A couple of let the Sunshine and by who? How 1:39:57.240 --> 1:39:58.720 do you know it's let the Sunshine? Because when you 1:39:58.800 --> 1:40:01.120 played it, you let it go little and I can 1:40:01.200 --> 1:40:01.640 hear the let this. 1:40:02.000 --> 1:40:03.240 I just don't know whose version that is. 1:40:03.960 --> 1:40:12.960 It's the three Block singers? Who is this? All? Right? 1:40:15.080 --> 1:40:17.120 Then he played that? 1:40:20.240 --> 1:40:20.559 Okay? 1:40:21.360 --> 1:40:21.920 What is the name? 1:40:22.360 --> 1:40:23.680 Is breaks? This version of. 1:40:27.360 --> 1:40:29.559 Brace's version of what's the what's the version of Mango 1:40:30.640 --> 1:40:33.120 Mango meet by by Mandro? 1:40:33.240 --> 1:40:35.360 Okay, do you guys know the mango meat story? 1:40:36.000 --> 1:40:37.519 Oh am? 1:40:37.560 --> 1:40:38.439 I allowed to reveal it. 1:40:39.320 --> 1:40:41.479 I feel like since I've done it, I heard that 1:40:41.640 --> 1:40:43.240 Jeff has been redoing that. 1:40:43.720 --> 1:40:44.800 Motherfucker I do it? 1:40:45.040 --> 1:40:47.280 Oh gosh, what you thought you. 1:40:47.880 --> 1:40:48.800 Thought we were going? 1:40:50.080 --> 1:40:51.400 All right? Fine, mango meat? 1:40:51.640 --> 1:40:52.400 Can I do it first? 1:40:52.520 --> 1:40:53.280 Okay, go ahead? 1:40:53.320 --> 1:40:54.439 Can I do it first? 1:40:54.640 --> 1:40:54.960 Please? 1:40:55.200 --> 1:41:06.320 Go go? What's about to happen here? All right? 1:41:12.680 --> 1:41:12.840 Oh? 1:41:13.120 --> 1:41:13.360 Wow? 1:41:14.680 --> 1:41:17.360 Then I got and I got it. 1:41:17.760 --> 1:41:20.360 That might that might traveling? 1:41:21.160 --> 1:41:21.360 Wow. 1:41:23.040 --> 1:41:29.759 Man, the night he revealed that ship, it was confusion. 1:41:30.600 --> 1:41:31.720 What is that? 1:41:31.800 --> 1:41:34.960 Realizing the freeways? What is the what is the uh? 1:41:36.280 --> 1:41:39.000 Oh you still don't know? No, I know, I know, 1:41:39.120 --> 1:41:39.960 but I just look. 1:41:40.600 --> 1:41:43.000 I wanted to ask a dumb question. I guess in 1:41:43.040 --> 1:41:47.640 the room, but I was somebody listening, mister Blaize, But 1:41:47.920 --> 1:41:51.400 what did you replace whatever that instrument was for rock? 1:41:51.439 --> 1:41:51.760 The mic? 1:41:51.840 --> 1:41:53.840 Like, I mean, it just sounds it sounds different, like 1:41:53.840 --> 1:41:55.599 it's still I can hear the Caden sounds the same, 1:41:55.920 --> 1:41:58.120 but whatever the it's production. 1:41:58.280 --> 1:41:59.840 He tuned it higher and. 1:42:00.600 --> 1:42:02.000 There's a lot there's a lot more to it, but 1:42:02.080 --> 1:42:03.880 that's basically right there. 1:42:04.040 --> 1:42:04.280 Yeah. 1:42:04.840 --> 1:42:08.719 That was done on the ASRX pro really yeah, randomly, 1:42:08.800 --> 1:42:10.519 like I had one. The thing I loved about the 1:42:10.560 --> 1:42:13.719 a SRX Pro was or that the SRX in general 1:42:13.880 --> 1:42:16.479 was that it was the engine of the sr ten. 1:42:16.560 --> 1:42:18.240 But it also had built in a built in sound 1:42:18.320 --> 1:42:23.799 module where you can access patches through RAM as opposed 1:42:23.800 --> 1:42:26.360 to having to load stuff and through uh A drive 1:42:26.680 --> 1:42:29.160 or not having to use like a JV ten eighty 1:42:29.240 --> 1:42:31.200 or twenty eighty or whatever to get your sound. So 1:42:31.240 --> 1:42:35.360 it's basically right. It was basically all in one machine. 1:42:35.439 --> 1:42:38.080 Like you had the sampling section, you had your samples, 1:42:38.160 --> 1:42:41.120 and you also had built in piano patches, basses and 1:42:41.200 --> 1:42:44.080 things like that, and no drum machine to my knowledge 1:42:44.120 --> 1:42:46.280 up until that point, had had that all built into 1:42:46.320 --> 1:42:46.639 the RAM. 1:42:47.320 --> 1:42:47.599 Wow. 1:42:47.960 --> 1:42:50.400 Yeah, so I started I started trying to I championed 1:42:50.439 --> 1:42:53.040 it for a while. It was no NPC, but I 1:42:53.280 --> 1:42:57.760 it was. There was a certain element of portableness. 1:43:01.040 --> 1:43:03.479 Of course, right, I mean on that equipment. 1:43:04.120 --> 1:43:05.240 So we're not dying. 1:43:07.200 --> 1:43:07.560 I know that. 1:43:07.640 --> 1:43:09.960 That's the get it together said, that's one. 1:43:10.000 --> 1:43:12.160 I never was one of those like switched on back 1:43:12.360 --> 1:43:15.040 or hooked on box records. Another let the sunshine and 1:43:18.600 --> 1:43:19.559 by the move machine. 1:43:19.960 --> 1:43:27.320 Okay, looked that was I do have that. No, I 1:43:27.360 --> 1:43:27.960 don't know that one. 1:43:28.360 --> 1:43:30.640 Oh congo byte afric. 1:43:32.560 --> 1:43:35.799 Oh yeah, no, here Yeah, that's d C LaRue. 1:43:37.479 --> 1:43:40.240 Was a squeak? Yeah, that is that a kick pedal 1:43:40.360 --> 1:43:44.960 or or chair. Yeah, it's things like the squeak of 1:43:44.960 --> 1:43:47.280 the pedal. Pay whole thing. Oh, play a little bit 1:43:47.360 --> 1:43:53.280 of it anyway. 1:43:53.360 --> 1:43:55.360 That is who is d C LaRue. 1:43:55.120 --> 1:44:01.680 Dclu in discreet Industrlet's vernon, vernon, vernon, birch, birch, Get 1:44:01.800 --> 1:44:03.360 up like that last night? 1:44:03.400 --> 1:44:08.960 Actually that was Sylvester. That Selvester sounds like boon. I 1:44:08.960 --> 1:44:11.719 don't think it is what it sounds like. It sounds 1:44:11.760 --> 1:44:13.400 like me and the gang, but I know it's not. 1:44:14.240 --> 1:44:14.759 You're close. 1:44:14.920 --> 1:44:17.920 Yeah, it's it's get it by Mandrel. Can you get it? 1:44:18.400 --> 1:44:18.640 Get it? 1:44:18.800 --> 1:44:19.080 Get it? 1:44:19.280 --> 1:44:23.320 Get it? Oh yeah, okay, last. 1:44:24.600 --> 1:44:27.960 Together brothers. I used to us to trol people and 1:44:28.080 --> 1:44:31.680 I would like even I still do, yeah instead of 1:44:31.920 --> 1:44:35.600 the train. Yeah yeah, but like it wasn't you know, 1:44:35.680 --> 1:44:38.639 It wasn't until I really like, it wasn't until maybe 1:44:39.479 --> 1:44:41.640 at some point in the two early two thousands that 1:44:41.680 --> 1:44:44.519 I realized that's what that was. And now the Train 1:44:44.640 --> 1:44:47.160 is my favorite bass record because that that that The 1:44:47.479 --> 1:44:48.400 together brothers, it's so. 1:44:48.560 --> 1:44:51.840 Hard, So I never going together brothers better. I don't 1:44:51.880 --> 1:44:53.640 like the way they programmed that the the no no. 1:44:53.720 --> 1:44:55.120 Not that I don't like Together Brothers butt, I mean 1:44:55.120 --> 1:44:57.560 that's the source. My point is I never listened to 1:44:57.760 --> 1:45:00.760 Ride the Train from the context of production. I only 1:45:00.800 --> 1:45:03.200 ever listened to it as that song that drove you 1:45:03.320 --> 1:45:04.800 nuts when it came on the radio or when the 1:45:04.880 --> 1:45:07.840 video came over. So once I found the sample, I 1:45:07.920 --> 1:45:09.240 went back and listened to it, and I was like, 1:45:09.640 --> 1:45:11.679 for them to take this and making Miami based record 1:45:11.720 --> 1:45:14.320 out of it, that was like some old like when 1:45:14.439 --> 1:45:18.240 uh what was a mister Mixer's crew, the ghetto style 1:45:18.360 --> 1:45:20.880 DJs when they would do things like on mega mixes 1:45:20.920 --> 1:45:24.560 when they would have no matter how you try, you 1:45:24.680 --> 1:45:27.840 can't stop. But making Miami bass flip out of that. 1:45:28.560 --> 1:45:32.800 I appreciated that, like because it's typically Miami based. They 1:45:32.800 --> 1:45:38.080 were sampling craft work, planet rock, uh, stuff that was 1:45:38.080 --> 1:45:42.639 already electro. Right when you take something like that together 1:45:42.720 --> 1:45:45.040 Brothers Record Together Brothers Records, which is when you listen 1:45:45.080 --> 1:45:48.240 to Alontowa, it's completely different styles doesn't lend itself to 1:45:48.280 --> 1:45:50.519 bass music. That was kind of like the reason why, 1:45:50.600 --> 1:45:52.320 like people ask me, like about the sample flips I'm 1:45:52.320 --> 1:45:54.040 the most proud of, or that I had the most 1:45:54.080 --> 1:45:56.680 fun doing whatever. Obviously, the Rick James one that you 1:45:56.760 --> 1:45:58.320 and I, you know, have a history with like that 1:45:58.479 --> 1:46:00.439 was one where it was like I took some nothing. 1:46:00.479 --> 1:46:02.360 I hadn't been sampled before. It had never been sampled 1:46:02.800 --> 1:46:03.120 for that. 1:46:03.600 --> 1:46:03.800 It was. 1:46:03.840 --> 1:46:06.120 It wasn't supposed to be, hey, look here's you can't 1:46:06.200 --> 1:46:08.640 touch this. You know it was, but when you listen to, 1:46:08.720 --> 1:46:10.920 you like, there's something about this that sounds familiar, and 1:46:11.000 --> 1:46:13.200 then you realize that there's nothing but me chopping it 1:46:13.280 --> 1:46:13.880 up on the past. 1:46:14.120 --> 1:46:16.680 You did it with ignorant shit with the with the. 1:46:18.360 --> 1:46:22.719 Nobody ever listened to, but nobody ever listens to people. 1:46:22.680 --> 1:46:26.720 Want to quiet did it was well they kind of 1:46:26.800 --> 1:46:28.000 used vicious on the. 1:46:29.760 --> 1:46:31.920 He took like a little bit of it. But yeah, 1:46:31.960 --> 1:46:34.679 but I mean listening I remember the record. I remember 1:46:35.680 --> 1:46:38.559 it was the main part, but like the little hook right. 1:46:38.840 --> 1:46:41.880 There as well, or even like the uh, the t 1:46:42.080 --> 1:46:46.040 I Rihanna live your life where it was like everybody 1:46:46.120 --> 1:46:48.040 knows that record from the fact kid on YouTube doing this. 1:46:49.160 --> 1:46:50.800 And the funny thing is now it came about in 1:46:50.880 --> 1:46:53.720 almost the same exact way. You know, I did the 1:46:54.080 --> 1:46:56.479 Rick James things from my MySpace page, like trying to 1:46:56.520 --> 1:46:58.560 figure out a way to just branded, like, hey, this 1:46:58.720 --> 1:47:01.560 is my actual page. So I forget what I was 1:47:01.640 --> 1:47:03.240 trying to brand, but it was the same thing. We 1:47:03.360 --> 1:47:06.880 make a track out of something ultimately ridiculous, but trying 1:47:06.880 --> 1:47:09.200 to make something incredible and cool out of it. And 1:47:09.640 --> 1:47:13.519 I don't know if it was for like, it wasn't 1:47:13.560 --> 1:47:15.280 Friends her or something, but it was something else from 1:47:15.320 --> 1:47:17.800 that early Internet era, and it just so happened and 1:47:17.880 --> 1:47:19.960 Tip called me right after I made it. Well, as 1:47:20.000 --> 1:47:21.639 we were making I'm yo, this could actually be a song. 1:47:21.680 --> 1:47:23.320 So I started writing a hook to it, and it 1:47:23.520 --> 1:47:26.320 just so happened that Tip called me like right after 1:47:26.360 --> 1:47:29.280 I laid the references, and I was like, yoh, I 1:47:29.360 --> 1:47:31.639 had the opportunity to get a Justin Timberlake on a record, 1:47:31.680 --> 1:47:33.960 because I guess Justin Oda he owed Justin o him 1:47:33.960 --> 1:47:38.599 a favor forgetting on something. So originally it was that's 1:47:38.640 --> 1:47:40.040 why it's all false sett of a demo if you 1:47:40.040 --> 1:47:42.080 ever hear the demo's all false sett of because I 1:47:42.240 --> 1:47:46.240 was referencing as Justin Timberlake. But then Rihanna came into 1:47:46.280 --> 1:47:47.679 the picture and we ended up going with that because 1:47:47.680 --> 1:47:49.840 it made more sense for her to be on that record. 1:47:50.920 --> 1:47:53.040 Okay, now I gotta jump all over the place. Since 1:47:53.080 --> 1:47:58.920 you mentioned Kingdom Come, I wish someone was there to 1:48:01.200 --> 1:48:03.799 work on the hook writing process of those three songs, 1:48:04.400 --> 1:48:06.360 which the show me what you Got. 1:48:08.960 --> 1:48:10.960 I'm not mad aged show me what you got, but 1:48:11.200 --> 1:48:13.280 just for it was the way got killed it. It 1:48:13.400 --> 1:48:16.639 was the wave. I didn't mind the way people don't wave. 1:48:16.880 --> 1:48:18.920 But here's the thing. Black people don't wave, right. But 1:48:19.000 --> 1:48:20.439 I'll tell you what. I don't play that, but I 1:48:20.479 --> 1:48:23.720 play festival I don't, or parties or bigger parties. I 1:48:23.760 --> 1:48:26.080 don't play the whole record, but I play it up 1:48:26.200 --> 1:48:30.320 until the wave and every but everybody wait, okay, anyway, 1:48:30.320 --> 1:48:32.160 it was like, so I think I actually stole something 1:48:32.160 --> 1:48:35.880 from mster c When when when the record first came out, 1:48:36.120 --> 1:48:38.040 and how someone was running back to back to back 1:48:38.080 --> 1:48:40.400 to back and missus got hype and started doing the 1:48:40.840 --> 1:48:43.479 hands up and wave to the left, wave to the 1:48:43.600 --> 1:48:45.560 right way. So for me, that's the perfect way to 1:48:45.600 --> 1:48:48.640 get out of that record, because everybody does it. They 1:48:48.720 --> 1:48:52.040 all in white people, black people, whatever. Now now that 1:48:52.080 --> 1:48:54.080 it's an older record. At the time, it might not 1:48:54.160 --> 1:48:54.479 have worked. 1:48:54.800 --> 1:48:55.559 It works now. 1:48:56.840 --> 1:48:59.880 I think the resistance to show me what you got 1:49:00.320 --> 1:49:03.880 was more about at that point, it was just too 1:49:03.960 --> 1:49:07.240 much God damn Hove. At that point it was like, 1:49:07.360 --> 1:49:10.080 I think anything would have been overkilled. 1:49:10.720 --> 1:49:12.200 Which is funny because that was his come back out. 1:49:13.240 --> 1:49:16.240 Yeah, he came. Yeah, he was silent for yeah. 1:49:16.280 --> 1:49:18.320 But I mean it was still I mean it was 1:49:18.320 --> 1:49:21.720 still the bad Yeah, the back I mean, you know, 1:49:22.520 --> 1:49:23.800 don't I think anything. 1:49:25.160 --> 1:49:27.680 Would. I mean, it was too much of it. And 1:49:27.800 --> 1:49:28.240 this is the thing. 1:49:28.439 --> 1:49:33.799 Whenever he snickers on his record, I hate that snicker 1:49:33.840 --> 1:49:38.640 because it's like that, that is the all right, you 1:49:38.680 --> 1:49:40.720 ever watched you ever watched. 1:49:45.040 --> 1:49:45.080 You? 1:49:45.160 --> 1:49:46.040 Ever watched you? 1:49:46.120 --> 1:49:51.680 Ever watch uh the Chappelle extras where Charlie Murphy's describing 1:49:51.840 --> 1:49:56.600 the guy that says you fucking wore on Yeah, and 1:49:56.920 --> 1:49:59.240 now that this gets Yeah, he has a friend. He 1:49:59.320 --> 1:50:03.880 has a black in that insults you to the point 1:50:03.880 --> 1:50:05.599 where you just want to beat the ship out of him. 1:50:05.880 --> 1:50:08.080 He has a way of saying, you fucking moron, and 1:50:08.160 --> 1:50:10.519 he turns into a white person saying it makes you 1:50:10.600 --> 1:50:15.280 want to fuck him up. That's what does that j snicker. 1:50:15.800 --> 1:50:18.280 It's not even like the two like the Tupac snicker. 1:50:19.400 --> 1:50:21.439 What was the Tupac I mean no, I don't. 1:50:22.600 --> 1:50:24.640 Like, I don't know about the Tupac snicker being a thing. 1:50:25.360 --> 1:50:26.920 I mean no, Tupac always. 1:50:29.960 --> 1:50:32.799 It's supposed to be smart, but it's never as menacing 1:50:32.920 --> 1:50:35.400 as Tupac think it is in his head, Like I 1:50:35.479 --> 1:50:38.720 think his mind Tupac thinks would be like the super Villains. 1:50:38.360 --> 1:50:40.479 And I never even noticed. I never even know the 1:50:40.600 --> 1:50:50.439 snicker is a thing. Get I know the Jada, that's 1:50:50.520 --> 1:50:51.760 the Jada. 1:50:55.439 --> 1:50:55.880 I love this. 1:50:57.360 --> 1:50:59.280 All right, here's the super Rappit. We're never going to 1:50:59.320 --> 1:51:01.080 get to your career. Sorry, that's fine. 1:51:01.560 --> 1:51:04.080 So one of the one of the most amazing things 1:51:04.160 --> 1:51:06.559 I've found out that Bill and I found out teaching 1:51:06.600 --> 1:51:07.120 at NYU. 1:51:07.400 --> 1:51:09.160 Does the world even know that you teach at n 1:51:09.280 --> 1:51:11.160 YU with me? Or do I teach it n YU? 1:51:11.280 --> 1:51:13.479 Or do I just hand out papers if you weren't 1:51:13.520 --> 1:51:15.639 there would class be as smooth as possible? 1:51:15.720 --> 1:51:17.880 Hell no, Yeah, this is the black laugh? Is this 1:51:18.120 --> 1:51:20.880 is this the theory? Okay? So it was the whole 1:51:20.920 --> 1:51:23.400 class about the black laugh? No, this is actually really interesting. 1:51:24.000 --> 1:51:24.639 It's amazing. 1:51:24.840 --> 1:51:28.880 So what I didn't know was that in general, emotions 1:51:28.960 --> 1:51:33.479 were illegal during slavery period. I mean, even with your 1:51:33.520 --> 1:51:35.160 parents you're like, you better not cry for I give 1:51:35.200 --> 1:51:37.960 you something to cry out, or you know, you can't 1:51:38.000 --> 1:51:39.519 get angry at someone or whatever. 1:51:39.800 --> 1:51:43.479 But you also couldn't laugh. Laughing was illegal slave time. 1:51:43.560 --> 1:51:46.920 You were Sassin, so it was just keep your head down, 1:51:47.080 --> 1:51:50.519 do you work, No crying, no laughing, no whatever. So 1:51:51.160 --> 1:51:55.080 the slaves had to invent uh some sort of device 1:51:56.240 --> 1:51:58.200 so that they can express emotions if they want to 1:51:58.240 --> 1:52:02.200 cry or scream or some then. So the idea of 1:52:02.680 --> 1:52:07.160 a barrel laughs comes from a place. They built a barrel, 1:52:07.640 --> 1:52:11.120 filled it with water, so if you felt yourself wanted 1:52:11.120 --> 1:52:13.360 to curse out your master or laugh at a joke 1:52:13.439 --> 1:52:17.000 or something, and then one get fifty lashes, you would 1:52:17.040 --> 1:52:19.599 duck your head in the water and laugh to suppress 1:52:20.200 --> 1:52:20.759 the sounds. 1:52:20.880 --> 1:52:22.680 And that's when a term barrel laughs comes from. 1:52:22.760 --> 1:52:25.880 That's where it comes from now where it's relevant into 1:52:26.080 --> 1:52:32.720 terms of entertainment. The very first spoken word, or I 1:52:32.800 --> 1:52:37.360 guess the first recorded material for black people was a 1:52:37.439 --> 1:52:43.320 song called the Laughing Song, and I guess it was 1:52:43.360 --> 1:52:46.640 the fuck the police of its day, because it's like, well, 1:52:46.640 --> 1:52:49.679 I'm recording a song, so you can't give. 1:52:49.600 --> 1:52:52.280 Me lashes or put me in jail. For laughing. So 1:52:52.960 --> 1:52:54.880 ha ha, it's the ha ha ha song or whatever. 1:52:56.000 --> 1:53:00.240 And so one of our teaching assistants, Amalia Amalia, she 1:53:00.360 --> 1:53:03.640 did a study and in her study she noticed that. 1:53:05.200 --> 1:53:09.080 Laughing on any black records is never laughing. It's an 1:53:09.120 --> 1:53:13.000 expression of pain. So when Stevie like the. 1:53:13.040 --> 1:53:18.719 Invention of Michael's he he is from Stevie wonders maybe 1:53:18.760 --> 1:53:23.880 your baby, which is about betrayal, so he just most 1:53:23.920 --> 1:53:28.479 of James Brown's grunts hot or either laughing is uh 1:53:29.160 --> 1:53:34.000 an exclamation term or it's a villain term, like I 1:53:34.080 --> 1:53:35.439 got you, motherfucker, what you gonna do? 1:53:35.960 --> 1:53:40.160 It's it's never just a genuine, genuine, hearty laugh of joy. 1:53:40.160 --> 1:53:43.960 Or her laughter on any and she has. She's done 1:53:44.280 --> 1:53:47.080 a study of like one hundred years of recorded music 1:53:49.760 --> 1:53:50.520 in documentary. 1:53:52.800 --> 1:53:55.280 Now is that class. 1:53:59.320 --> 1:54:00.920 Turned me out of find a laugh? 1:54:01.120 --> 1:54:06.639 Yeah, Jenny, Literally every laugh she has is either villainous 1:54:07.600 --> 1:54:09.280 or an exclamation. 1:54:10.280 --> 1:54:22.320 Or an ironic Yeah, not one, all right, So I 1:54:22.400 --> 1:54:24.639 can't even backsell it. So this is the Laughing song 1:54:24.720 --> 1:54:27.120 by George W. Johnson from eighteen ninety. 1:54:26.920 --> 1:54:40.320 Eight Robert Song by George W. As I am, I 1:54:40.400 --> 1:54:44.080 was coming around the corner, I had some people sad, 1:54:44.560 --> 1:54:48.160 it comes down the dog here, it comes this by 1:54:48.760 --> 1:54:51.640 you know, he is like a snowflower. His thousand is 1:54:51.840 --> 1:54:57.200 like a strap at open rules here for gaps. Then 1:54:57.240 --> 1:54:57.880 I laugh. 1:55:14.360 --> 1:55:17.240 How was that recorded in the very first. 1:55:19.320 --> 1:55:21.480 You know, how was recorded or what it was recorded on? 1:55:22.400 --> 1:55:28.040 I mean, whatever it's I mean, I wouldn't say that, yeah, 1:55:28.080 --> 1:55:33.760 it's it's on acetate. I wouldn't even say it's during 1:55:33.800 --> 1:55:36.160 the time period that what's his name was? Yeah, that 1:55:36.280 --> 1:55:39.840 low Max was going around recording people. But I don't 1:55:39.880 --> 1:55:45.800 know the history. I can yeah to another, but anyway 1:55:45.920 --> 1:55:54.040 leading back, leading back to JA yeah, yeah, but I 1:55:54.200 --> 1:55:54.760 just never. 1:55:56.440 --> 1:55:59.800 Yeah his laugh. It's like being called a moron. 1:56:00.920 --> 1:56:01.640 What I'm gonna do? 1:56:01.720 --> 1:56:07.680 I'm sorry, Yeah, it's just it irks me. But my 1:56:07.760 --> 1:56:11.480 whole point was that I felt. 1:56:12.720 --> 1:56:15.600 It got short one. I think people were just ready 1:56:15.640 --> 1:56:18.800 for the j backlash to go down. It was time 1:56:18.880 --> 1:56:24.760 for it, and to Oh my God and and Kingdom 1:56:24.840 --> 1:56:31.480 Come could have used way better hooks, and but I 1:56:31.640 --> 1:56:34.360 still felt the thing was I sold him. I told 1:56:34.440 --> 1:56:37.400 him to start that record with those three songs because 1:56:37.440 --> 1:56:41.520 in my head I wanted his comeback to be like 1:56:41.760 --> 1:56:45.160 the updated two thousand and six version of America's Most Wanted. 1:56:45.720 --> 1:56:48.840 I described, like yo, these three records. 1:56:51.200 --> 1:56:53.760 And but see you know the things that he had 1:56:53.800 --> 1:56:57.400 his own other other vision, like he wanted it. He'd 1:56:57.400 --> 1:56:58.720 always wanted to do a project with Dre. 1:57:01.560 --> 1:57:05.280 And if you look like every all their collaborations are 1:57:05.440 --> 1:57:08.920 fail Like Dre the first watch It Too was dope. 1:57:08.960 --> 1:57:11.200 That song wasn't really, but he came up on that verse. 1:57:11.360 --> 1:57:13.840 Dre tried to mix those records. He didn't know, he 1:57:13.880 --> 1:57:15.480 didn't bother trying to make sure me what you got. 1:57:15.520 --> 1:57:21.760 He tried to mix Kingdom Come and not You. They 1:57:21.840 --> 1:57:24.720 had this thing where they were like they had done 1:57:24.840 --> 1:57:27.720 deal with Dre, where Dre was kind of supposed to 1:57:27.760 --> 1:57:31.760 help oversee the album and also do the mixing. They 1:57:31.880 --> 1:57:33.840 knew they know how hands on I am with my stuff. 1:57:33.960 --> 1:57:37.040 Dre knows that. But I said, you know what, it's Dre. 1:57:37.280 --> 1:57:39.720 I can't argue with that, you know, like if he 1:57:39.760 --> 1:57:41.920 says is he wants to do cool. I knew it 1:57:42.000 --> 1:57:44.200 was gonna happen. I know I was gonna get a 1:57:44.240 --> 1:57:46.800 call m H. And that's exactly what happened. I got 1:57:46.880 --> 1:57:50.200 a call like yo, because because Dre has already me 1:57:50.280 --> 1:57:53.040 and Dred already tried this with when we were working 1:57:53.080 --> 1:57:56.040 on games first album, you know Dre oversaw right, No, No, 1:57:56.240 --> 1:58:00.880 the first album we had like Church for Thugs, Yeah 1:58:01.000 --> 1:58:04.520 one a second album. So like Drey had already tried 1:58:04.560 --> 1:58:06.920 to mix my records. And because it's Dre, I'm never 1:58:06.960 --> 1:58:09.480 gonna say no. You can't attempt that, you know, like 1:58:09.560 --> 1:58:14.240 that's it's tray. And Dre has probably one of the 1:58:14.600 --> 1:58:17.000 the best ears in the hip hop as it relates 1:58:17.080 --> 1:58:20.280 to his sound. He knows how to make his sound 1:58:20.480 --> 1:58:22.840 sound amazing. But he called me and say, I don't 1:58:22.840 --> 1:58:24.880 know how you do what you do with these crazy 1:58:24.920 --> 1:58:28.600 bass frequencies and these super high in horns like part 1:58:28.920 --> 1:58:31.960 I tried to make it. It's not happening. Uh, come 1:58:32.000 --> 1:58:33.440 get on the plane. And I went out to LA 1:58:33.480 --> 1:58:36.800 and fixed the game record and it wasn't even a 1:58:36.840 --> 1:58:39.040 long process. It was just I know how I EQ 1:58:39.560 --> 1:58:46.480 what IQ exactly. And then with with Kingdom cod was 1:58:46.520 --> 1:58:48.240 kind of the same thing, like I never I never 1:58:48.320 --> 1:58:49.720 at this point I was you were doing files and 1:58:49.760 --> 1:58:51.480 I never was the type to send files out. Again, 1:58:51.520 --> 1:58:53.520 it's Dre, I'm not gonna say no. And I remember 1:58:53.600 --> 1:58:56.600 Jay Brown being like doing this solid. You know, I 1:58:56.760 --> 1:58:58.400 know that you're you know, you do your own stuff 1:58:58.440 --> 1:59:00.680 and you're your own factory. But we're trying to do 1:59:00.720 --> 1:59:02.320 this deal with Dre where he mixes everything. I said, 1:59:02.320 --> 1:59:04.720 all right, fine, sending the files, get the same call, Yo, 1:59:04.880 --> 1:59:08.320 it's it's not coming back right like I heard just rough, 1:59:08.520 --> 1:59:09.200 you might as well just. 1:59:09.200 --> 1:59:09.800 Have just do it. 1:59:11.120 --> 1:59:13.720 Because all he was he what he was trying to 1:59:13.760 --> 1:59:17.120 do was retreat my It's like, what just I already 1:59:17.160 --> 1:59:19.520 have the demo here, so let me just fix that up. 1:59:19.880 --> 1:59:22.400 So the day that they sent me the files back 1:59:23.280 --> 1:59:25.680 and j was coming to approve or listening to the 1:59:25.760 --> 1:59:27.400 mix and see if he was cool with it, was 1:59:27.440 --> 1:59:30.600 the dad played him, show me what you got m 1:59:31.200 --> 1:59:33.920 and he, because I had to mix up for Kingdom, 1:59:34.040 --> 1:59:37.280 come in the b room and then I like, I 1:59:37.320 --> 1:59:38.600 have something else you need to listen to it. 1:59:38.680 --> 1:59:41.080 I play time. Yeah. 1:59:41.520 --> 1:59:43.280 I want to say this was maybe the last thing 1:59:43.360 --> 1:59:46.440 that he did recording wise. At Baseline. We mixed. We 1:59:46.520 --> 1:59:48.960 mixed Blueprint three at Baseline, but he didn't record it 1:59:49.000 --> 1:59:50.880 the other there. We just bought the files back and. 1:59:50.880 --> 1:59:53.080 Mixed it Baseline. Still no. 1:59:54.680 --> 2:00:00.680 Baseline. I had the Grand Closing two thousand or eleven, 2:00:00.680 --> 2:00:04.440 Waito eleven, twenty eleven. So I did the great clothes 2:00:04.480 --> 2:00:07.720 on What was the last thing worked on there? That 2:00:07.880 --> 2:00:11.240 is a good question. I'm gonna have to get back 2:00:11.280 --> 2:00:14.480 to you on that. I want to say Blueprint three 2:00:14.680 --> 2:00:16.160 was the last thing. I want to say I actually 2:00:16.240 --> 2:00:18.360 worked on there, Like there might have been a few 2:00:18.400 --> 2:00:20.720 other random things that came up here and there before 2:00:20.760 --> 2:00:24.480 I finally closed the doors, but the last full project 2:00:24.520 --> 2:00:26.440 that was worked on there, like the entire Blueprint three 2:00:26.560 --> 2:00:27.040 was mixed there. 2:00:27.920 --> 2:00:32.720 Okay, now I'm gonna get back in the DeLorean and 2:00:32.840 --> 2:00:33.320 go back to. 2:00:35.960 --> 2:00:38.120 Let's go back to the shake that ass thing. 2:00:38.120 --> 2:00:40.560 Actually, that's why I was saying it because I got it. 2:00:41.240 --> 2:00:43.280 So I didn't make the record, but I was in 2:00:43.440 --> 2:00:46.720 my in my neighborhood or in my local market. I 2:00:46.720 --> 2:00:48.280 would say I was one of the guys that, like 2:00:48.520 --> 2:00:52.760 can I guess, helped break it. So I had routines 2:00:52.800 --> 2:00:55.280 that I would do. Back then, you didn't have twenty 2:00:55.360 --> 2:00:57.920 Jersey House records to play because it worked twenty of 2:00:57.960 --> 2:01:04.000 them or twenty Baltimore House records at that time. So 2:01:04.040 --> 2:01:05.360 I used to have a whole team that I used 2:01:05.400 --> 2:01:08.360 to do. So one night I used to do. I 2:01:08.440 --> 2:01:10.640 used to do a roll skating rink and from nine 2:01:10.680 --> 2:01:12.920 to twelve was roll skating and then from twelve o'clock 2:01:12.960 --> 2:01:14.320 on we would shut down the skating rink and it 2:01:14.320 --> 2:01:16.560 would just be people dancing on the skating rink. It 2:01:16.680 --> 2:01:20.640 was all ages. I was maybe like sixteen when I 2:01:20.760 --> 2:01:25.080 was doing at the time. So one night we got 2:01:25.120 --> 2:01:28.000 little bit of money together and we had Wendy Williams 2:01:28.400 --> 2:01:33.040 host Wow and uh, mister c was gonna be the DJ. 2:01:33.640 --> 2:01:35.200 Because the party started doing pretty well, so we were 2:01:35.240 --> 2:01:36.440 able to, you know, get a little bit of money 2:01:36.440 --> 2:01:40.520 together and start booking people. So Whenny Williams comes down 2:01:40.520 --> 2:01:43.720 to the host, Carhart Dad like she could have been 2:01:43.760 --> 2:01:47.560 an extra in a Youngster's video or what she was, 2:01:47.640 --> 2:01:58.520 car Heart down from top to bottom like Scully or 2:01:58.640 --> 2:02:03.840 shut out Stretch. So she comes down and she's doing 2:02:03.880 --> 2:02:07.000 her whole thing. I'm still DJing, and I know that 2:02:07.080 --> 2:02:08.800 missus he's about to do his thing. So I'm like, 2:02:08.920 --> 2:02:11.280 you know, I've always been a type to kind of 2:02:12.160 --> 2:02:14.880 respect the headlining DJ, but at the same time, like, 2:02:14.960 --> 2:02:17.320 this is my party, so I'm gonna throw out so 2:02:17.520 --> 2:02:19.360 my things. I knew that he was gonna do the 2:02:19.440 --> 2:02:22.160 hip hop thing. He had never really been exposed to 2:02:23.200 --> 2:02:26.920 Jersey just house culture in general up until that point, 2:02:27.080 --> 2:02:29.520 because it's very different from what's happening in house in 2:02:29.600 --> 2:02:30.520 house clubs in New York. 2:02:30.640 --> 2:02:30.920 Gotcha. 2:02:31.400 --> 2:02:35.000 So I do my usual Jersey house thing, which is 2:02:35.040 --> 2:02:37.720 really just the mix of the Chicago stuff, the Baltimore stuff, 2:02:37.760 --> 2:02:40.000 some of our local Jersey stuff, some of the Detroit 2:02:40.120 --> 2:02:43.520 tech noow, and I ended with this routine that I 2:02:43.640 --> 2:02:44.960 used to do, where I used to do a mix, 2:02:45.360 --> 2:02:50.080 a blend of shake shake, shake that ass. And the 2:02:50.120 --> 2:02:51.680 whole time, he's just kind of in a corner, like 2:02:51.800 --> 2:02:53.880 you know, being the celebrity DJ, just watching me, waiting 2:02:53.920 --> 2:02:56.120 to get on. He's just coming whatever. I play that 2:02:57.280 --> 2:03:00.360 and he immediately is just like, wait, what's this? As 2:03:00.400 --> 2:03:05.000 soon as he heard to opening dum dump done done done, 2:03:05.080 --> 2:03:07.800 like the Bounce called him. Then he looks at the 2:03:07.880 --> 2:03:09.920 crowd and he sees with the crowds when we had 2:03:10.040 --> 2:03:12.800 just moved the crowd onto the skating ring, so now 2:03:12.840 --> 2:03:15.120 everybody's dancing. He just watched what's happening, like, Yo, this 2:03:15.200 --> 2:03:21.160 is amazing. So I get a phone call from stage 2:03:21.160 --> 2:03:25.400 information that night we uh he hits me the next day, 2:03:25.960 --> 2:03:28.200 he said, I need that record or that song that 2:03:28.280 --> 2:03:30.280 you have. I need to do something with this. 2:03:31.240 --> 2:03:33.600 So who is the original artist on that red. 2:03:35.200 --> 2:03:37.840 He passed away a few years ago, so I bring him. 2:03:37.960 --> 2:03:40.880 I bring him a copy to the Cold He's like, oh, 2:03:40.920 --> 2:03:43.240 we meet the Cold Chilling offices. This is when Cold 2:03:43.320 --> 2:03:46.640 Chilling still add offices. So I go to Cold Chilling. Now, 2:03:47.000 --> 2:03:49.680 me as a kid who grew up on people in 2:03:49.760 --> 2:03:52.760 my age, grew up on like, you want me to 2:03:52.800 --> 2:03:55.440 come to Cold Chilling. So I called my older cousin, 2:03:55.480 --> 2:03:57.240 You'd be right over to Cold Chilling the next day 2:03:57.800 --> 2:04:02.280 or I actually a couple of days later, and I 2:04:02.360 --> 2:04:05.080 give him the record and he literally gives me a 2:04:05.800 --> 2:04:08.800 copy of every single record that came out on Cold Chilling, 2:04:09.160 --> 2:04:16.000 from the inception like the Prism day to then sealed, yeah, sealed, 2:04:16.080 --> 2:04:20.480 brand new, unopened. So it's like literally like three boxes 2:04:20.560 --> 2:04:23.720 worth and doubles of everything a man. 2:04:24.080 --> 2:04:26.600 So I'm including like the looks like a job for 2:04:26.760 --> 2:04:33.120 Big Daddy Kane and everything where I want to interview. 2:04:33.520 --> 2:04:37.960 That was that was? That was, That was post co chill, 2:04:38.080 --> 2:04:39.640 because that was that was. 2:04:41.520 --> 2:04:44.960 But Chilling was like was it was? It Prince of Darkness, 2:04:45.000 --> 2:04:45.360 I think was. 2:04:49.680 --> 2:04:52.600 But but then like because I'm new when I'm young, 2:04:53.520 --> 2:04:55.560 or because I'm so young, they like, wait a minute, 2:04:56.200 --> 2:04:58.240 we should play start playing them some of our new records. 2:04:58.600 --> 2:05:00.800 They're trying to kind of guinea pig me to be 2:05:00.880 --> 2:05:02.960 like the kid A and R. So now I'm going 2:05:02.960 --> 2:05:04.640 to cold Chilling and like they they had signed a 2:05:04.680 --> 2:05:07.280 group called the Brooklyn Zoo. Had nothing to do with 2:05:07.400 --> 2:05:11.560 Dirty but they were called the Brooklyn Zoo. And he 2:05:11.920 --> 2:05:14.440 plays they play me the video and they play me 2:05:14.480 --> 2:05:16.760 this song, or they play me the video and I'm 2:05:16.800 --> 2:05:19.400 waiting for the Wu Tang symbol to pop up, and 2:05:19.520 --> 2:05:22.040 it doesn't pop up, and then the video's over and 2:05:22.120 --> 2:05:25.240 I'm like, well, where's the Wu Tang symbol? I don't 2:05:25.240 --> 2:05:27.520 know even I'm a kid, like you play it. And 2:05:27.600 --> 2:05:30.880 this was right when UH returned to the thirty six 2:05:30.880 --> 2:05:32.320 shames that come out, So I'm like, where's the Wu 2:05:32.440 --> 2:05:36.080 Tang symbol? There wasn't one. I'm like, but they're called 2:05:36.080 --> 2:05:40.120 the Brooklyn Zoo, you know, Like it was just so 2:05:40.200 --> 2:05:41.920 that I walked up with the Brooklyn Zoo twelve inch too. 2:05:42.080 --> 2:05:43.960 It was just you know, like but it was just 2:05:44.080 --> 2:05:47.720 that surreal experience of I'm at the CoA chilling offices 2:05:47.720 --> 2:05:50.040 and I've just been giving this entire catalog on wax. 2:05:50.360 --> 2:05:52.960 So that's actually the first time my name ever appeared 2:05:53.000 --> 2:05:55.720 on a record was when mister C did his version 2:05:55.800 --> 2:05:58.080 of shape that ass. If you look at the bottom 2:05:58.120 --> 2:06:00.880 of the twelve inch it's his big being up to 2:06:00.960 --> 2:06:04.040 my man DJ just from Jersey. So like, to me, 2:06:04.160 --> 2:06:06.080 I had made it. You couldn't something my name was 2:06:06.160 --> 2:06:08.960 on a record, period, Like it doesn't matter that it 2:06:09.040 --> 2:06:11.160 was a tape kings pressing, it was a record, but 2:06:11.280 --> 2:06:14.000 I'm like, I'm like, Mom, look, She's like, who's DJ 2:06:14.080 --> 2:06:17.360 Judge from Jersey. I'm like, that's me. But like I 2:06:17.440 --> 2:06:20.200 still ask you today. I have a framed copy of 2:06:20.240 --> 2:06:23.000 that record, like just because it's one of those reminders, 2:06:23.040 --> 2:06:24.600 like my first time ever my name was ever on 2:06:24.680 --> 2:06:27.640 a record was It wasn't even a record that I produced, 2:06:28.360 --> 2:06:30.480 but I knew I had a big hand in it, 2:06:30.520 --> 2:06:32.560 and that record ran New York radio in clubs for 2:06:32.720 --> 2:06:34.920 god knows how that's I heard. 2:06:35.600 --> 2:06:39.520 So all right now I'm skipping the Matt Lion. 2:06:42.080 --> 2:06:47.280 That was a really random thing. I don't remember how 2:06:47.360 --> 2:06:51.000 it came up. I don't remember how it came up. 2:06:51.120 --> 2:06:52.919 Chris had just gotten a job at Reprise. 2:06:53.920 --> 2:06:58.320 He was like the right he was forgot Chris. 2:07:03.040 --> 2:07:12.480 Office this dude named thorough maybe a through something like that, 2:07:13.080 --> 2:07:15.520 and then he gave a line a deal. I don't 2:07:15.520 --> 2:07:18.960 remember how the initial like how it happened, but I 2:07:19.520 --> 2:07:22.000 end up like my first time ever in l A, 2:07:23.200 --> 2:07:25.280 like being flown out to l A birecty. My first 2:07:25.320 --> 2:07:27.520 time I set foot in California was being flown out 2:07:27.840 --> 2:07:30.080 to do this mad Line album. And a lot of 2:07:30.200 --> 2:07:32.560 stuff that I was doing was very orchestral at the times. 2:07:32.640 --> 2:07:39.400 A lot of string arrangements, uh, a lot of horn arrangements, 2:07:39.800 --> 2:07:42.720 timpane stuff like that. And his idea was he was 2:07:42.760 --> 2:07:48.680 trying to do like a Conan inspired album like Yes, 2:07:50.280 --> 2:07:54.960 looked up Mad Lion Predator or Prey Predator p r 2:07:55.080 --> 2:07:58.320 e D. Like instead of Predator is Predators. 2:07:58.120 --> 2:08:00.560 A Predators the nineties? 2:08:00.680 --> 2:08:02.640 Right, we wore Prey album? 2:08:03.040 --> 2:08:05.120 God Yeah wow? 2:08:07.760 --> 2:08:14.000 Like his talking voices very it's close to close to 2:08:14.080 --> 2:08:17.400 his rap bush. I did like eight records for him. 2:08:17.760 --> 2:08:19.600 It was my first time ever seeing like a lump 2:08:19.640 --> 2:08:26.120 sum of money like maybe like something like almost one 2:08:26.200 --> 2:08:29.800 hundred grand check or is that in cash sign of 2:08:30.400 --> 2:08:34.120 I got a check from Warner Brothers. But then I 2:08:34.320 --> 2:08:38.560 forget what. I forget what the situation was. But I 2:08:38.640 --> 2:08:40.200 want to say, maybe there was a white label of 2:08:40.200 --> 2:08:42.600 one of the records that we did that I ended 2:08:42.640 --> 2:08:44.160 up getting because I was still in a record pool 2:08:44.160 --> 2:08:46.520 at the time. So I get like by a copy 2:08:46.560 --> 2:08:48.640 of my own a record at the record pool and 2:08:48.760 --> 2:08:50.160 it just has produced by mad Line. 2:08:50.440 --> 2:08:56.960 Mm hm, and I'm like, sure, yes, you did this record. 2:08:57.440 --> 2:09:00.560 So we were on you know, we we We're on 2:09:00.640 --> 2:09:01.000 the phone. 2:09:01.200 --> 2:09:01.600 He manned. 2:09:01.960 --> 2:09:03.480 We talked about it. It wasn't he didn't give me 2:09:03.520 --> 2:09:05.600 the industry run around. He didn't do it. You know, 2:09:05.680 --> 2:09:07.360 we talked about it. He was like, listen, you know, 2:09:08.160 --> 2:09:09.640 gave me his opinion on it. I gave him my 2:09:09.680 --> 2:09:11.760 opinion on it. He said, well, how about this, how 2:09:11.760 --> 2:09:13.560 about we just make it the Madline and just play 2:09:13.600 --> 2:09:15.240 his album. I said, no, it doesn't doesn't need to 2:09:15.280 --> 2:09:17.640 even be that. I just want to be properly try 2:09:17.920 --> 2:09:18.960 for what I did. And from there on that we 2:09:19.000 --> 2:09:24.919 had no problem at all. Funny enough, that was actually 2:09:26.000 --> 2:09:29.320 all That album is the first time auto tunes have 2:09:29.400 --> 2:09:31.680 actually used on an R and b record, Wow, what 2:09:31.840 --> 2:09:38.000 year is that? I don't know it was before because 2:09:38.040 --> 2:09:39.600 Sheriff did it. Obviously that was the first one. And 2:09:39.640 --> 2:09:42.320 then I want to say, and then Jennifer Lopez had 2:09:42.360 --> 2:09:44.440 it on. I think maybe if you Want My Love 2:09:44.560 --> 2:09:46.920 or something like that. We did a record with Total, 2:09:49.520 --> 2:09:50.280 did he explode? 2:09:53.640 --> 2:09:58.080 Am I the only one that really likes Total? I 2:09:58.280 --> 2:10:01.240 appreciate Total for what they were, what know theirs? The 2:10:01.280 --> 2:10:10.520 first album was JAC Sitting Home. I tried. Look they 2:10:10.520 --> 2:10:11.880 had on there called rock track. 2:10:11.960 --> 2:10:16.720 I remember it was like having having good songs and 2:10:16.880 --> 2:10:22.080 giving good performances are two different, right, And what I 2:10:22.160 --> 2:10:26.720 appreciated about Total is that I felt they worked within it. 2:10:27.480 --> 2:10:29.280 I felt that they were accessible. They were the girls 2:10:29.320 --> 2:10:32.000 next door. They sound right your cousin Tanisia's singing. 2:10:32.800 --> 2:10:34.280 And I don't think I ever tried to be anything 2:10:34.320 --> 2:10:38.560 more than you know, like So we did the Remember 2:10:39.000 --> 2:10:41.680 we did the record. It was it called I don't 2:10:41.680 --> 2:10:43.560 remember what it was called, but you look up mad 2:10:43.640 --> 2:10:46.960 line Total, it'll it'll come up. But we did the record, 2:10:47.120 --> 2:10:51.560 and I'm gonna try something right after. I already I 2:10:51.680 --> 2:10:53.920 was using pro tools, you know, early on, so I 2:10:54.000 --> 2:10:56.520 knew about the auto tune effect, so I put auto 2:10:56.560 --> 2:10:58.280 tune I think on pay the Dark Pan was the 2:10:58.360 --> 2:11:00.880 dark Skian girl put Auto two on her. She was like, 2:11:01.800 --> 2:11:04.200 what's that? So I'm like, oh, I'm just gonna put 2:11:04.200 --> 2:11:07.560 all on all their vocals, all her background. 2:11:07.640 --> 2:11:09.000 The first of the second album. 2:11:09.360 --> 2:11:13.800 This is One Mad Lines was featuring featuring Total, so 2:11:14.480 --> 2:11:16.760 we did I did the bag speaking. That's another funny 2:11:16.800 --> 2:11:19.480 story that that doing that record is how I met 2:11:19.680 --> 2:11:24.880 Joey Longo, Pal Joey this but this was when Thong 2:11:25.040 --> 2:11:32.280 song was out and okay, so wait they used drums 2:11:32.320 --> 2:11:38.240 from Earth People. So I walk into Unique, Wow the 2:11:38.360 --> 2:11:41.160 dam I'm doing this session and I look at my 2:11:41.400 --> 2:11:45.320 uh track sheet and it says assistant engineer or by session, 2:11:46.360 --> 2:11:49.160 assistant Engineer's gonna be Pal Joey. And actually it might 2:11:49.240 --> 2:11:51.320 have just said Joey Longo because that was just real near. 2:11:52.400 --> 2:11:54.000 So I'm in the room and it's just, you know, 2:11:54.120 --> 2:11:56.400 this white dude a little bit older than me, you know, 2:11:57.280 --> 2:11:59.320 you know what he was talking about. And I started 2:11:59.360 --> 2:12:02.920 putting on are you Pal Joey, like the Pal Joey 2:12:02.960 --> 2:12:05.920 and he's like, you know who I am. I'm like, 2:12:07.800 --> 2:12:13.240 you know Earth People? Soho krs like I was just 2:12:13.360 --> 2:12:15.040 I was so wide I did so I was like, 2:12:15.040 --> 2:12:15.960 why are you working here? 2:12:17.760 --> 2:12:17.960 Wait? 2:12:18.200 --> 2:12:22.000 Can you stop the story? Yeah, I know pal Joey 2:12:22.080 --> 2:12:27.320 from all the Kras credits. Pal Joey did motherfucking so 2:12:27.520 --> 2:12:28.320 host hop music. 2:12:28.440 --> 2:12:29.920 Yes, that's what I'm saying, Yes. 2:12:35.240 --> 2:12:35.960 In a conversation. 2:12:36.120 --> 2:12:39.400 Now, yeah, I think you should have got it. 2:12:39.440 --> 2:12:41.160 You think he probably got a pretty good check because 2:12:41.400 --> 2:12:44.640 Mark Ronson sampled him well, credited him on the uh 2:12:45.360 --> 2:12:47.520 the last record that the the. 2:12:47.560 --> 2:12:49.080 One that sounds like hot music. 2:12:49.920 --> 2:12:54.640 So so so I'm like, I'm I you know, looking back, 2:12:54.720 --> 2:12:56.200 that was a crazy thing to ask. By the time, 2:12:56.240 --> 2:12:58.880 I was just like, he's a hero to me. And 2:12:59.040 --> 2:13:02.320 when I hear thongs so he has aside from Hot Music, 2:13:02.400 --> 2:13:06.840 his other classic house record is Earth People Dance, So 2:13:07.400 --> 2:13:09.600 he had a bonus beats version on the flip that 2:13:09.720 --> 2:13:13.480 the DJ's used to rints crazy. So yeah, So at 2:13:13.520 --> 2:13:16.560 the end of Thong song, I remember it changes and 2:13:16.600 --> 2:13:18.840 it gets a little bit more foreign to Flourish. They're 2:13:19.040 --> 2:13:22.520 using pal Joey's drums. So not only has this done 2:13:22.560 --> 2:13:24.560 done amazing classic records, and at the time, I'm thinking 2:13:24.600 --> 2:13:26.680 that all of my heroes are living, rich and lavish 2:13:27.200 --> 2:13:28.800 and are doing are well to do whatever. So I 2:13:28.840 --> 2:13:31.240 asked him, why are you working here? He's like, well, 2:13:31.480 --> 2:13:33.840 I wanted to learn about engineering and I needed a job. 2:13:34.800 --> 2:13:37.600 So I'm like, but you realized that, like your drums 2:13:37.640 --> 2:13:39.920 are sampled in the number one record in the world 2:13:40.000 --> 2:13:43.560 right now, you don't need like why are you working here? 2:13:44.080 --> 2:13:45.880 And I was just so that was my first time 2:13:45.920 --> 2:13:48.560 meeting somebody that was a hero mine, but meeting them 2:13:48.600 --> 2:13:51.040 is just in their regular life. And he was like, 2:13:51.080 --> 2:13:52.600 you think I can get some money for that, and 2:13:52.680 --> 2:13:59.040 I'm like, dude, yeah, those are clearly your drums, your 2:13:59.120 --> 2:14:02.080 program drums, not a loop you found and no, this 2:14:02.240 --> 2:14:04.760 is your program drums are on the biggest record. 2:14:06.840 --> 2:14:12.720 Wow, I'm mind blowing this. Pal Joey Yes, ah damn 2:14:12.880 --> 2:14:13.560 that's Earth People. 2:14:13.800 --> 2:14:14.000 Yeah. 2:14:14.560 --> 2:14:16.000 Yeah, I'm sorry, it's Earth People. 2:14:16.120 --> 2:14:17.800 So dude, I'm just the random Sorry. I met Pal 2:14:17.920 --> 2:14:19.880 Joey and kind of like was like, yo, dude, talk 2:14:19.920 --> 2:14:22.360 to this lawyer. You can go get some money next time. 2:14:22.400 --> 2:14:24.080 I don't know the exactly outcomeing, but like next time 2:14:24.080 --> 2:14:25.400 I saw him look a lot happier and it was 2:14:25.440 --> 2:14:30.440 like yo, yeah, so you know, I'll stop the story 2:14:30.520 --> 2:14:32.080 there but I think he was doing he did okay, 2:14:32.400 --> 2:14:35.320 uh made out okay over that. But anyway, Yeah, so 2:14:38.480 --> 2:14:40.560 that Lion situation was the first time that I'd ever 2:14:40.800 --> 2:14:42.520 made a little, a nice little trunk of money up 2:14:42.560 --> 2:14:46.760 front at once. My first time in LA. Uh was that? 2:14:46.840 --> 2:14:49.240 My first experience in Boystown in LA. I have a 2:14:49.280 --> 2:14:52.720 great Boystown story. I was talking about Westwood. I don't 2:14:52.760 --> 2:14:55.480 know it's like the actual Boystown area of LA. Okay, 2:14:56.120 --> 2:14:57.240 I didn't know what Boystown was. 2:14:58.200 --> 2:15:02.960 You're the roots in nineteen ninety four when oh wow, 2:15:03.560 --> 2:15:05.880 I have a I got a better one though. This 2:15:05.960 --> 2:15:07.480 is we're about to get off the air now. 2:15:13.600 --> 2:15:16.960 It was this was my second my second time in 2:15:17.200 --> 2:15:19.840 l A. I ended up in anybody who's familiar with 2:15:20.000 --> 2:15:21.960 La over next time you're in l A, you know 2:15:22.040 --> 2:15:23.360 that I hop on Sunset. 2:15:24.160 --> 2:15:26.400 Yeah, Halloway Drive. 2:15:26.960 --> 2:15:30.680 Right next to that is the Halloway Motel. So the 2:15:30.840 --> 2:15:34.640 night of the Grammys, I ended up having to stay 2:15:34.920 --> 2:15:37.760 in that hotel. Why, not knowing what it was. 2:15:38.840 --> 2:15:40.760 I'll give you the short It's the cheapest hotel on 2:15:40.840 --> 2:15:41.560 the not just. 2:15:41.720 --> 2:15:44.440 It's not even a hotel. Bro It's a place where wait. 2:15:44.280 --> 2:15:46.560 A minute, wait by the air. 2:15:46.720 --> 2:15:49.440 Yes, this is what they rhyme about, like thing of 2:15:49.480 --> 2:15:55.760 the Bristol Hotel by cool. So it's wait, it's crazy 2:15:55.800 --> 2:15:58.680 because it's like, Okay, I see the Roscoes, I know 2:15:59.120 --> 2:16:00.640 where the I HOPI. 2:16:00.720 --> 2:16:04.480 It's literally right next to the eye. How I'll give 2:16:04.520 --> 2:16:07.280 you the shortest version possible. So this is my second time. 2:16:07.320 --> 2:16:08.800 This is my first time in LA on my own, 2:16:09.000 --> 2:16:11.720 just being there. Me and and hip Hop went to La. 2:16:11.880 --> 2:16:13.720 I think we set up some meetings or whatever. 2:16:14.640 --> 2:16:16.680 Hip Hop Kanye's manager, Yeah, yeah. 2:16:16.520 --> 2:16:19.520 Okay, so we're out there. We're both dumb, young we 2:16:19.560 --> 2:16:22.360 do you know, We're just out there. So this was 2:16:22.640 --> 2:16:24.280 we were out there while the Grammys were happening, so 2:16:24.360 --> 2:16:26.080 we kept We're only supposed to be there three days. 2:16:26.080 --> 2:16:28.760 We kept extending the stay, and the hotel's found with 2:16:28.760 --> 2:16:32.240 that they're getting money. So the day of the grammysh price, 2:16:33.160 --> 2:16:36.160 the price just the rooms aren't even available. So there 2:16:36.640 --> 2:16:39.160 the Grammys comes and I called out to the front 2:16:39.200 --> 2:16:40.680 desk like, hey, so we're just gonna extend our stay. 2:16:40.680 --> 2:16:43.039 I'm not going to the Gramies. I'm They're like, oh, sorry, 2:16:43.040 --> 2:16:44.760 well that room has been sold out since last year 2:16:44.800 --> 2:16:48.440 for this day, Like and I'm like, all right, so 2:16:48.600 --> 2:16:51.240 can you help us out? Like we need to stay here. 2:16:51.360 --> 2:16:53.440 We don't have a plane to get back home. So 2:16:53.640 --> 2:16:56.080 they called all their other hotels like you know in 2:16:57.120 --> 2:16:59.960 LA trying to find rooms. They couldn't find a room, 2:17:00.760 --> 2:17:03.280 they had their rooms available. They start calling other hotels 2:17:03.360 --> 2:17:04.640 just to try to help us out because we've been 2:17:04.640 --> 2:17:06.480 staying there for like two weeks, so they were trying 2:17:06.480 --> 2:17:08.360 to look out for us. Long story short, there are 2:17:08.440 --> 2:17:12.760 literally no hotel rooms in l A at all period. 2:17:12.840 --> 2:17:15.960 It's the day of the Grammys. There's nothing. You're also 2:17:16.040 --> 2:17:19.280 talking like maybe like two thousand. So a lot of 2:17:19.320 --> 2:17:21.080 those you know a lot of those newer hotels that 2:17:21.120 --> 2:17:23.440 are in l A now, like those they don't exist 2:17:23.520 --> 2:17:23.840 back then. 2:17:24.040 --> 2:17:28.000 This is when records were actually said pre R and B. 2:17:29.560 --> 2:17:40.800 They just none of it available. So so me and uh, 2:17:41.959 --> 2:17:45.280 uh that's see, I forget dude's name. What was the 2:17:45.560 --> 2:17:48.440 what were the what was the crew behind Sunshine Anderson's uh. 2:17:48.720 --> 2:17:54.520 Who was City and uh Mike City producer before I. 2:17:54.600 --> 2:17:56.400 Forget dude's name, but he was like the guy that 2:17:56.480 --> 2:17:58.920 kind of ran their crew or was like, oh they 2:17:59.000 --> 2:18:05.920 had him maybe start with a jay he he he 2:18:06.000 --> 2:18:07.440 was the industry dud at the time he was popping. 2:18:07.600 --> 2:18:10.520 I remember what his name was, kind of irrelevant. He 2:18:10.760 --> 2:18:15.120 was having So I'm skipping around. First of all, my 2:18:15.240 --> 2:18:19.720 homie mo Betta comes and picks me up mh one 2:18:19.720 --> 2:18:22.760 of my old homes from the bed. So we're literally 2:18:22.879 --> 2:18:26.000 driving around La trying to find our hotel. That's the 2:18:26.040 --> 2:18:28.040 reason why I bought dude up to some chinadis, and 2:18:28.080 --> 2:18:30.560 dude was because he would start a Grammy party that night. 2:18:31.000 --> 2:18:32.800 Hip Hop was gonna help him with the party. So 2:18:32.920 --> 2:18:35.520 a hip left like, ya gotta go help homeboy. Can 2:18:35.560 --> 2:18:36.879 you try to sort out the rooms? I'm like, yeah, 2:18:36.879 --> 2:18:38.200 we'll figure it out. At the time, I don't know 2:18:38.200 --> 2:18:39.200 how difficult it's gonna be. 2:18:40.280 --> 2:18:40.400 Uh. 2:18:40.680 --> 2:18:42.080 We check out of the room. Hip goes and does 2:18:42.120 --> 2:18:45.360 what he has to do. The party is on at 2:18:45.480 --> 2:18:47.480 I think the House of Blues on some like that 2:18:47.560 --> 2:18:52.840 was right off Sunset or whatever. So I get uh, 2:18:53.520 --> 2:18:57.120 we go around at every hotel, nobody has anything. We 2:18:57.320 --> 2:19:04.760 plastic place, the Holloway Motel and the Science that's vacancy, right. 2:19:05.520 --> 2:19:07.440 So we get there and it wasn't even like a 2:19:07.520 --> 2:19:10.480 front desk. They had like a or the window. They 2:19:10.520 --> 2:19:13.480 had a window so sign number. 2:19:13.280 --> 2:19:19.039 Two bulletproof class all you need so hard keys. 2:19:20.560 --> 2:19:22.560 You have any rooms. He's like, well, unfortunately, guys, we 2:19:22.640 --> 2:19:25.680 only have doubles. I'm like, well that's great because there's 2:19:25.720 --> 2:19:30.920 two of us. So he doesn't know that hip, but 2:19:30.959 --> 2:19:32.360 he sees me and mo bet he's in my homie. 2:19:32.360 --> 2:19:35.200 He's like when you know, He's like, unfortunately. I'm like, wait, 2:19:35.240 --> 2:19:37.920 but no, doubles are fine. There's two people. We need 2:19:38.000 --> 2:19:41.840 two beds. So there's a jar sitting right next to him. 2:19:41.920 --> 2:19:45.400 I don't look at the joh I'm thinking it's like lollipops, candy. 2:19:46.080 --> 2:19:54.520 I don't know. But I'm looking around just the neighborhood 2:19:54.959 --> 2:19:57.879 and there's a lot of prostitutes out here, right whatever. 2:19:58.959 --> 2:20:01.360 I'm just kind of this is my second time in La, 2:20:01.480 --> 2:20:04.000 my first time really on my own, so I'm just 2:20:04.040 --> 2:20:05.720 getting the laying the land. Wow, this is I guess 2:20:05.760 --> 2:20:06.680 this is the hooker area. 2:20:06.720 --> 2:20:12.720 I don't know. So they're like pancakes. I get to 2:20:12.840 --> 2:20:13.280 the whole time. 2:20:13.280 --> 2:20:14.800 I get it in and it's it's a The room 2:20:14.920 --> 2:20:16.640 is clean. It's you know, bare bones, but it's clean. 2:20:17.959 --> 2:20:20.440 So I'm in there for a while and I'm like, 2:20:20.480 --> 2:20:23.040 I said I'm nobody. So I'm just like, the Grammy 2:20:23.720 --> 2:20:25.640 Red Carpet is happening. We're watching it on T I'm 2:20:25.640 --> 2:20:27.440 watching it on TV. Hip Hop is doing his thing, 2:20:27.920 --> 2:20:30.960 you know, gallivanting with Homeboy at the setting up for 2:20:31.040 --> 2:20:33.640 the hard rock calf or the not the House of 2:20:33.680 --> 2:20:34.680 Blues drunk. 2:20:34.800 --> 2:20:37.320 What album is out that you're is this blueprint or 2:20:37.560 --> 2:20:40.439 this is pre pre all of that, like two thousand. 2:20:40.720 --> 2:20:44.920 Maybe maybe a mill Maybe that's probably it. Maybe a mill. 2:20:46.200 --> 2:20:50.800 So I'm like, well, hip hop is having that party, 2:20:50.840 --> 2:20:52.880 but back and get into that or always having a party. 2:20:52.959 --> 2:20:55.960 Hip Hop is back and get into that. So I 2:20:56.040 --> 2:20:57.000 go to get in the shower. 2:21:00.240 --> 2:21:00.480 So I. 2:21:05.760 --> 2:21:14.560 Start showering. It's like, yeah, I think this is something. 2:21:15.360 --> 2:21:19.360 Do you still have what you caught that night? I 2:21:19.400 --> 2:21:20.360 don't need to switch seat. 2:21:21.720 --> 2:21:24.120 Actually, I think this is the fear that we can 2:21:24.160 --> 2:21:27.879 all relate to. And the shower and middle middle lather 2:21:32.160 --> 2:21:37.280 mid the water shuts off, there's no water. Yeah, what 2:21:37.360 --> 2:21:42.240 do you you do? So? And I had like I 2:21:42.320 --> 2:21:46.080 literally just stepped in waters on me, soap up, water stops. 2:21:46.120 --> 2:21:49.400 And I'm like the timer on the shower, what do 2:21:49.520 --> 2:21:49.720 I do? 2:21:50.640 --> 2:21:53.800 So I kind of I'm covered in soap like it's 2:21:54.280 --> 2:21:55.880 you can't really just tabl it off because then it's 2:21:55.879 --> 2:21:59.680 just I had no choice. So that right after that, 2:21:59.760 --> 2:22:03.360 the rings got the front desk or the front window 2:22:05.520 --> 2:22:07.640 letting me know that there's been a water main break 2:22:07.680 --> 2:22:10.280 in the area. There's no water anywhere in the area. 2:22:11.120 --> 2:22:13.320 So I wipe. I'm still sticky with the soap filleb 2:22:13.320 --> 2:22:15.720 all over me. I get dressed, I'm like, what do 2:22:15.800 --> 2:22:18.040 I do? Uh Like, I'll just go to the iehop. 2:22:18.560 --> 2:22:20.960 Can't go to hop. There's no water, so I hop 2:22:21.120 --> 2:22:24.160 was closed, so I was just gonna go back to 2:22:24.200 --> 2:22:25.720 the room. So I'm sitting on the in the room, 2:22:26.280 --> 2:22:28.280 sitting on the bed watching the Grammy red carpet, still 2:22:28.360 --> 2:22:31.680 covered in soap, you know, but like sticky and whatnot. 2:22:32.480 --> 2:22:36.080 And then all of a sudden, I hear coming from 2:22:36.080 --> 2:22:38.960 the next door. So I'm like, oh, I guess, so 2:22:39.120 --> 2:22:42.720 somebody somebody's getting it in, so I need somebody is 2:22:42.800 --> 2:22:47.240 lucky that I notice. I hear many voices. It wasn't 2:22:47.360 --> 2:22:50.480 just like a male and a female moan, or a 2:22:50.560 --> 2:22:52.160 male and a male moan, or a female and a 2:22:52.200 --> 2:23:00.280 female moan. It was just some all types. I'm like, 2:23:03.840 --> 2:23:05.760 so That's when it really hits me, like, yo, I'm 2:23:05.879 --> 2:23:10.280 in like a hotel motel, like the hotel motel, and 2:23:10.400 --> 2:23:12.040 I run back out to I run back out to 2:23:12.080 --> 2:23:14.560 the front desk and it's closed, but the jar is 2:23:14.560 --> 2:23:16.120 still there, or the front window, but the jar is 2:23:16.160 --> 2:23:18.400 still there. And I realized the jars are actually it's 2:23:18.520 --> 2:23:20.520 what's where the jar, what's in it is. It's not 2:23:20.600 --> 2:23:23.120 lolly pops, it's not bubble gum. It's packets of ky 2:23:23.440 --> 2:23:33.920 and kind of so I'm like, right, So I'm like, well, 2:23:34.520 --> 2:23:38.240 so now I'm just I'm walking around. Remember I said, 2:23:38.280 --> 2:23:41.120 I noticed there were a lot of hookers out, So 2:23:41.280 --> 2:23:43.320 that's what I'm realizing. That's when I'm starting to realize 2:23:43.360 --> 2:23:46.039 what area that I'm in, Like, and I'm staying at 2:23:46.080 --> 2:23:49.680 a motel that they're all coming to through their business in. 2:23:51.160 --> 2:23:52.320 So then I try to I'm like, you know what, 2:23:53.040 --> 2:23:55.800 I'm sticky, I'm covered in soap. I had dreads at 2:23:55.840 --> 2:23:58.840 the time, so my dreads is all soap and watered 2:23:58.920 --> 2:24:01.720 up everything. So I'm like, you, I know where the 2:24:01.760 --> 2:24:03.880 House of Blues is, So I was just gonna try 2:24:03.920 --> 2:24:06.160 to walk towards there. Maybe I can just get into 2:24:06.160 --> 2:24:07.760 the party somehow. But then I realize how I look, 2:24:08.520 --> 2:24:09.720 And then I look at the line and I see 2:24:09.760 --> 2:24:11.240 the line is down on the block because it's a 2:24:11.320 --> 2:24:14.800 House of Blues Grammy party in LA And I realize 2:24:14.800 --> 2:24:16.480 I'm not getting into that, but I'm gonna try anyway. 2:24:16.520 --> 2:24:18.560 But this is really before cell phone was even really 2:24:18.680 --> 2:24:20.680 like where I had a cell phone. I want to say, 2:24:20.680 --> 2:24:23.160 a hit baby did it. I'm like, I don't know 2:24:23.200 --> 2:24:24.320 what to like. I don't know what to do with 2:24:24.360 --> 2:24:28.640 this point. So I roamed Boystown for the next couple 2:24:28.680 --> 2:24:35.080 of hours. Oh wow, and just not you know, what 2:24:35.200 --> 2:24:38.160 do I do with that situation? So eventually I go 2:24:38.280 --> 2:24:40.080 back to the hotel. I realize what it is now, 2:24:40.160 --> 2:24:43.080 water comes back on I you know, finish the shower, 2:24:43.840 --> 2:24:46.160 so I lay my jacket on top of the bed. 2:24:47.600 --> 2:24:49.760 I don't get in the bed and I just lay there. 2:24:50.200 --> 2:24:52.520 So hip hop finally comes in like six thirty in 2:24:52.520 --> 2:24:55.840 the morning, and he's tired. He's been at this party 2:24:55.920 --> 2:24:57.520 or like they probably went for food after him, god 2:24:57.600 --> 2:25:01.000 knows what else. So I come like half asleep, but 2:25:01.000 --> 2:25:02.360 I see him going to pull the sheets back and 2:25:02.400 --> 2:25:05.800 get in the bed. I'm like, no, I don't get 2:25:05.840 --> 2:25:09.080 in the bed whenever you do not get in the bed. 2:25:09.760 --> 2:25:11.640 He's so confused, like he gets in the bed anyway. 2:25:11.640 --> 2:25:14.440 I'm like, dude, stop, like to sleep on. Do you 2:25:14.480 --> 2:25:17.000 see what I'm doing? Do you guise where we're at? 2:25:17.120 --> 2:25:20.320 You see to drive condoms in ky you know at 2:25:20.360 --> 2:25:31.600 the front, there was no wow shout out to search. 2:25:33.200 --> 2:25:37.880 So uh, next morning, uh mo, better finds uh you know, 2:25:37.920 --> 2:25:40.119 now the grand people are leaving. So the next morning 2:25:40.160 --> 2:25:43.160 we find a hotel. Oh but then I don't really 2:25:43.200 --> 2:25:45.640 know that this is traditionally supposed to be an hourly 2:25:45.800 --> 2:25:47.880 thing and if you stay over there, like check out time, 2:25:47.920 --> 2:25:50.920 it's still like nine a m. Because nobody goes through 2:25:50.920 --> 2:25:56.560 those places in stays. So I'm getting the phone calls 2:25:57.640 --> 2:26:01.760 and dude is a very effeminate and his medisms on 2:26:01.800 --> 2:26:04.560 the phone, So I'm kind of like just kind of like, yo, whatever, dude, 2:26:04.760 --> 2:26:06.640 because he's like it was checkout time. I'm like, yeah, whatever, 2:26:06.760 --> 2:26:09.800 click because I'm I'm activating. I'm tired. If I've had 2:26:09.840 --> 2:26:11.600 the worst of the night from hell, I just want 2:26:11.600 --> 2:26:13.360 to sleep inside. Know that I have another hotel room. 2:26:13.959 --> 2:26:17.120 So dude calls again a little bit later, still, you know, 2:26:17.240 --> 2:26:21.400 being effeminine, and I'm just like, you gotta get up. 2:26:21.560 --> 2:26:23.080 I gotta get up, I gotta get up. Hip hop 2:26:23.120 --> 2:26:24.960 had left righty because he was going to try to 2:26:25.000 --> 2:26:29.040 find another hotel room. So dude calls one more time 2:26:29.040 --> 2:26:31.320 and I'm like, hey, yo, we're we're about to be 2:26:31.400 --> 2:26:33.240 out in fact to be found a hotel room at 2:26:33.280 --> 2:26:36.000 this point. Next thing, I know, about five minutes later, 2:26:36.000 --> 2:26:39.040 the banging I'm not doing baby, and it's I hear 2:26:39.120 --> 2:26:40.879 that same with feminine voice. So I opened the door 2:26:40.959 --> 2:26:43.280 like ready to like make it the thing. And the 2:26:43.360 --> 2:26:56.480 dude is like six foot nine diesel my white beaters, 2:26:56.680 --> 2:27:00.560 his muscles, got muscles, and I'm like, sir, we'll be 2:27:00.720 --> 2:27:01.279 right out. 2:27:03.200 --> 2:27:04.240 That episode. 2:27:07.240 --> 2:27:07.640 I bet you. 2:27:13.240 --> 2:27:18.280 Man, Let's let's go somewhere. So okay, so sigon, yes man, 2:27:18.560 --> 2:27:20.800 what happened with that record? Like I'm now that it's 2:27:21.000 --> 2:27:26.000 like over and what endless delays? So wait did it 2:27:26.040 --> 2:27:26.360 come out? 2:27:26.800 --> 2:27:29.480 It did come out, came out twenty eleven. 2:27:30.160 --> 2:27:32.879 I got that mistake with Jay Electronic means. 2:27:34.000 --> 2:27:39.880 Lord of Mercy Side was brought to me by like 2:27:39.920 --> 2:27:41.600 when Sycamore was first trying to figure out what the 2:27:41.640 --> 2:27:45.040 an R game was. Whenever he wanted to work with me, Like, 2:27:45.200 --> 2:27:46.960 and I used to just see Sycamore around and be like, 2:27:47.120 --> 2:27:50.520 who is this dude? Like I'll be in Chicago, and 2:27:50.560 --> 2:27:53.280 the next I'll be in Cleveland, and I'll be in Chicago, 2:27:53.360 --> 2:27:55.400 Sycamore is there. I'll be in Cleveland the next day 2:27:55.520 --> 2:27:58.360 he's there, and I'm like, you know, he was just 2:27:58.440 --> 2:28:01.200 trying to I was on a road with Jay and 2:28:02.520 --> 2:28:04.880 Fifty at the time, so Sick was kind of just 2:28:05.000 --> 2:28:06.760 like finding out where we were playing at and popping 2:28:06.840 --> 2:28:08.680 up in every market, just trying to make a name 2:28:08.720 --> 2:28:11.560 for him. So so took a lot of control him. 2:28:11.560 --> 2:28:12.840 He wanted to do the an R thing. So he 2:28:12.879 --> 2:28:14.280 brings me a bunch of artists. One of the artists 2:28:14.280 --> 2:28:17.440 he brings me aside off, So I'm like, yo, kid's 2:28:17.520 --> 2:28:19.760 kind of nice have him coming down to the studio. 2:28:20.480 --> 2:28:24.080 Gave SI about four records or four beats. I'm gonna 2:28:24.080 --> 2:28:25.800 take these home and let me know, you know, bring 2:28:25.879 --> 2:28:29.040 me back what you come up with in the meantime, 2:28:29.160 --> 2:28:31.280 Like you know, he'd had his Warning Shots mixtape out. 2:28:32.320 --> 2:28:36.560 He had literally like a a a crazy binder full 2:28:36.600 --> 2:28:39.240 of press and whatnot already. So I'm like, all right, 2:28:39.240 --> 2:28:41.320 I think, you know, the kid has some stuff popping. Uh, 2:28:42.160 --> 2:28:43.400 letsten to me. He comes back with. You know, in 2:28:43.520 --> 2:28:45.480 terms of the music music he brings back is not 2:28:45.680 --> 2:28:49.119 mind blowing, but it's good considering he just went home 2:28:49.280 --> 2:28:51.280 and one night wrote four songs and brought him right 2:28:51.360 --> 2:28:54.800 back to me. So I'm I'm still debating, like what 2:28:54.920 --> 2:28:56.240 we can do with this, If we can make it 2:28:56.320 --> 2:28:59.240 into something, he's coming around baseline more. I'll giving him 2:28:59.240 --> 2:29:03.920 more music. Within a week of that, word starts to 2:29:03.959 --> 2:29:09.240 spread that we are, you know, hanging out before we 2:29:09.360 --> 2:29:11.560 could even do the bidding war thing or anything like that. 2:29:11.680 --> 2:29:14.560 Atlantic comes right to the table, like, so we heard 2:29:14.600 --> 2:29:17.760 just plays working with a notice name Sagon and Ge 2:29:17.800 --> 2:29:20.320 is involved, and hip hop is involved. So we wanted 2:29:21.160 --> 2:29:24.280 didn't hear, didn't hear a song, didn't hear a demo, 2:29:24.920 --> 2:29:28.920 heard nothing. They just saw the names on paper, just plays, Sagon, 2:29:29.280 --> 2:29:35.200 Gem Robinson, hip Hop, Rockefeller. Go like, why why would 2:29:35.200 --> 2:29:37.000 we not a part of this? And because of the 2:29:37.040 --> 2:29:38.600 way his buzz was at the time, at least in 2:29:38.600 --> 2:29:41.320 the underground and throughout New York, I think they thought 2:29:41.360 --> 2:29:44.720 they were getting like the next fifty cent right, and 2:29:45.280 --> 2:29:50.040 it wasn't that His music wasn't that and so me, 2:29:50.480 --> 2:29:52.960 you know, being young in experience in that field, just 2:29:53.200 --> 2:29:56.120 was like, oh they hey, we don't even have to 2:29:56.160 --> 2:29:57.760 make a demo. They just wanna sign up because it 2:29:57.920 --> 2:30:00.400 was involved great looking back to my the worst things 2:30:00.400 --> 2:30:05.120 you could ever do. You already know that. And on 2:30:05.280 --> 2:30:09.040 top of that, G and hip hop are gonna be 2:30:09.080 --> 2:30:12.160 in the building at Atlantic. Now I kind of want 2:30:12.200 --> 2:30:13.760 to say that this might have been their entry point 2:30:13.800 --> 2:30:16.680 into Atlantic or this was like happened right after they 2:30:16.720 --> 2:30:19.600 made their way into Atlantic. So you have, you know, 2:30:19.720 --> 2:30:22.440 two of your very good friends now being the heads 2:30:22.440 --> 2:30:24.400 of A and R at the labels. Like it's a 2:30:24.480 --> 2:30:27.680 no brainer. You know, it's a win win for everybody. 2:30:28.760 --> 2:30:31.080 And as soon as we sent them the like so 2:30:31.200 --> 2:30:34.000 things are bubbling and I knew something was up, and 2:30:34.280 --> 2:30:37.879 like we gave them the first record was it Pain 2:30:37.959 --> 2:30:41.720 in My Life with Trey songs on it, which they 2:30:41.760 --> 2:30:43.320 didn't lift the finger to make it happen. We did it, 2:30:44.680 --> 2:30:47.800 got the record played or it's playing out seven, it's 2:30:47.800 --> 2:30:51.720 playing on a few other markets. Videos being played on 2:30:51.840 --> 2:30:58.080 b et. He uh was hosting rap City for a 2:30:58.120 --> 2:30:59.840 week or what. I don't know if he was on it, 2:31:00.080 --> 2:31:03.480 he had a regular series of like rotation like PSAs 2:31:03.480 --> 2:31:05.160 that he was doing on MTV, and I want to 2:31:05.160 --> 2:31:06.959 say he holds in Rahap City for like three days 2:31:07.080 --> 2:31:09.640 or something. All this is happening when Painting My Life drops. 2:31:10.000 --> 2:31:12.960 None of this is from Atlantic. This is either from 2:31:13.879 --> 2:31:17.200 pds or music directors whatever. Being a fan of him, 2:31:17.840 --> 2:31:20.600 a fan of the music. It wasn't me calling in favors. 2:31:20.600 --> 2:31:22.320 It wasn't us calling in favors. It was all happening 2:31:22.400 --> 2:31:24.640 very organically. So we're looking at the label like, hey, 2:31:24.720 --> 2:31:26.520 this is happening on his own without you guys lifting 2:31:26.520 --> 2:31:29.560 a finger. How about you lift a finger? 2:31:31.320 --> 2:31:32.000 Do you know? How about it? 2:31:32.560 --> 2:31:34.120 Like they were like, well, how do we do this? 2:31:34.160 --> 2:31:35.720 How do we sell this? And this is right when 2:31:35.760 --> 2:31:37.520 they're starting to This was that same year that they 2:31:37.560 --> 2:31:39.360 made all that money selling ring tones for the first time, 2:31:40.400 --> 2:31:42.119 So they're looking at this like how do we sell 2:31:42.320 --> 2:31:45.560 ring tones of this music? This is socially conscious, actual 2:31:45.640 --> 2:31:47.640 like real hip hop, how do we sell this? And 2:31:47.760 --> 2:31:49.640 I'm like, well, you know, you guys are a label. 2:31:50.959 --> 2:31:53.400 You've been selling records for you know, one hundred years now, 2:31:54.400 --> 2:31:55.960 and that's no slight to them. That's just really what 2:31:56.040 --> 2:31:58.800 my attitude was, like we've if I can't, if the 2:31:58.920 --> 2:32:02.199 music can organically find its way to MTV b et 2:32:03.000 --> 2:32:05.760 ninety seven, most of the other with the exception of it, 2:32:05.840 --> 2:32:07.480 like we were get was getting played in Boston, was 2:32:07.480 --> 2:32:11.199 getting played in Miami, it was getting played in Chicago. 2:32:11.440 --> 2:32:15.240 All this is happening without any of us calling it 2:32:15.320 --> 2:32:18.320 any heavy favors. And with that, you guys, they were 2:32:18.560 --> 2:32:20.600 not lifting your finger. Imagine what can happen if you 2:32:20.640 --> 2:32:23.520 guys did. And they just never did. And then they 2:32:24.600 --> 2:32:26.600 it started eventually became a parent. They just didn't know 2:32:26.640 --> 2:32:28.840 what to do with it. So at that point, I'm 2:32:28.840 --> 2:32:30.280 looking at it, all right, let's figure out to get 2:32:30.280 --> 2:32:34.640 out of this contract. But to Craig Coleman's credit, Craig 2:32:34.840 --> 2:32:38.680 was Craig admitted that and was still trying to find 2:32:38.720 --> 2:32:41.800 ways to make it work. He still, like it came 2:32:41.879 --> 2:32:44.640 time to be forecast budget, he was still, you know, 2:32:44.800 --> 2:32:47.800 going letting it happen. We needed a Jay Giles band 2:32:47.840 --> 2:32:50.440 sample cleared, which nobody had never really sampled Jay Giles. 2:32:51.160 --> 2:32:53.680 You know, he personally made the phone call to like 2:32:53.720 --> 2:32:56.039 the manager. Then you go to sample clearance house. They 2:32:56.320 --> 2:32:59.560 he personally called a manager made it happen, you know, 2:33:01.000 --> 2:33:05.400 and while he's trying to put his best foot forward, 2:33:05.840 --> 2:33:08.320 size getting frustrated at the delays and things. So he 2:33:08.520 --> 2:33:11.720 started to speak out against the label and then he 2:33:11.920 --> 2:33:15.760 was like doing things like five page my MySpace posts 2:33:16.240 --> 2:33:19.000 rentingas Atlantic. I'm like, dude, I'm trying to get these 2:33:19.040 --> 2:33:21.440 guys to either put up more money speaking finishes, to 2:33:21.440 --> 2:33:24.480 feel way to do it, or let us go. You 2:33:24.640 --> 2:33:27.560 keep doing this, You're pissing them off, Like it's gonna 2:33:27.560 --> 2:33:29.600 make my job harder. Would you either get the album 2:33:29.640 --> 2:33:34.280 finished or get out of there? And at that time, 2:33:34.360 --> 2:33:36.720 there was so much transitional stuff happening at Atlantic, which 2:33:36.840 --> 2:33:40.440 are you already know all about that? Just the process 2:33:40.480 --> 2:33:42.600 of getting out, even after they agreed to do it, 2:33:43.240 --> 2:33:44.480 just took god knows how long. 2:33:44.760 --> 2:33:46.000 I mean, we were able to get out of our 2:33:46.080 --> 2:33:49.320 stuff like quick, but like Apathy was that at the 2:33:49.360 --> 2:33:49.720 same time. 2:33:49.920 --> 2:33:50.960 It shit took like three years. 2:33:51.280 --> 2:33:52.840 I remember trying to Apathy. He was over there too, 2:33:53.400 --> 2:33:54.640 And you know, I think with us they had it. 2:33:54.720 --> 2:33:57.160 They had they hadn't They invested a good amount of money. 2:33:57.200 --> 2:33:59.000 Like what I did. The first thing, one of the 2:33:59.040 --> 2:34:02.200 first things that I did was all the producers that 2:34:02.440 --> 2:34:05.000 had been helping him and supporting him, like guys like 2:34:05.080 --> 2:34:07.120 Scram and Alchemists and stuff like that. I went back 2:34:07.200 --> 2:34:09.119 right to those dudes and was like, I can't pay 2:34:09.160 --> 2:34:11.280 you for your old beats, but I'm gonna give you 2:34:11.280 --> 2:34:13.920 all you guys song deals. So I'm paying Scram Jones 2:34:13.959 --> 2:34:15.480 for three beats up front before he's even made them. 2:34:15.520 --> 2:34:17.120 I'm coming to Alchemists and said, I'm paying you for 2:34:17.200 --> 2:34:19.440 two beats, like the same guys that helped develop that sound. 2:34:19.480 --> 2:34:21.920 I want you guys to be the bulk of this album. 2:34:22.200 --> 2:34:24.400 Buck while same thing. So I'm giving dudes checks before 2:34:24.440 --> 2:34:28.280 I'm even hearing beats. And for the most part, all 2:34:28.320 --> 2:34:30.720 that worked out. But that said Atlantic had put out 2:34:30.760 --> 2:34:33.000 so much put up so much money, they weren't about 2:34:33.000 --> 2:34:37.680 to just relinquish it without having their right exactly. So 2:34:37.680 --> 2:34:39.720 by the time they worked out to return and everything else, 2:34:40.040 --> 2:34:42.840 now we had a position where his buzzes died. So 2:34:43.000 --> 2:34:45.080 it's like, all right, now we're freedom. We have freedom. 2:34:45.360 --> 2:34:48.119 We can put the record out how to who wants 2:34:48.160 --> 2:34:49.840 to buy it now? So we kind of had to 2:34:50.520 --> 2:34:52.440 get him back in the habit of putting on material. 2:34:52.640 --> 2:34:54.879 Mace tam s getting him on the road, finding any 2:34:54.920 --> 2:34:58.560 distributed for the project, for the project, making sure that 2:34:58.680 --> 2:35:01.080 all those sample clearances, the things that Atlantic had set 2:35:01.160 --> 2:35:03.080 up in good faith, were being transferred over to the 2:35:03.120 --> 2:35:05.880 new situation. I have to, like Jay had given me 2:35:05.920 --> 2:35:07.280 a feature for the album, and now I have to 2:35:07.480 --> 2:35:08.840 you know, hit Jay and be like, hey, it's still 2:35:08.879 --> 2:35:10.440 coming out. I want to make sure we're still good, 2:35:11.160 --> 2:35:14.440 you know, and all the guys, like all the talent 2:35:14.520 --> 2:35:16.720 that was on the album, like just like Fat minus 2:35:16.720 --> 2:35:19.360 Scoop doing the intro misinfo, doing skids, screen learning and 2:35:19.440 --> 2:35:21.240 doing skits like because it was kind of set up 2:35:21.240 --> 2:35:23.760 like a radio broadcast, getting on touched with all these 2:35:23.760 --> 2:35:25.600 people are making sure that like hey it's been five 2:35:25.680 --> 2:35:29.360 years or four years, but you know, I make sure 2:35:29.360 --> 2:35:31.400 that we're still good on our clearances. So a lot 2:35:31.440 --> 2:35:32.880 of that was really the lay of doing it, and 2:35:33.000 --> 2:35:34.920 at the same time him, you know, getting his buzz 2:35:35.000 --> 2:35:38.480 back up. It was definitely a learning experience, I think, 2:35:38.560 --> 2:35:40.000 one that you know, you kind of have to go 2:35:40.120 --> 2:35:42.520 through to know what mistakes not to do or to 2:35:42.640 --> 2:35:45.000 make over things that I go for the next time around. 2:35:45.080 --> 2:35:47.720 So it was five years later, like we started that out, 2:35:47.800 --> 2:35:52.160 I met SI, I took over, like officially officially took 2:35:52.160 --> 2:35:54.840 over baseline and O three, I want to say, side 2:35:54.879 --> 2:35:57.720 came around, uh by and I mess. 2:35:57.560 --> 2:35:59.840 Sicamore n O three the same year that I bought. 2:35:59.879 --> 2:36:02.080 But so I want to say, ci I had to 2:36:02.120 --> 2:36:06.000 start coming around in oh four, middle four, and we 2:36:06.120 --> 2:36:09.480 were working and like the deal probably happened by late 2:36:09.560 --> 2:36:12.360 O four early oh five came out in two thousand eleven, 2:36:12.360 --> 2:36:13.200 So that's six years later. 2:36:13.440 --> 2:36:19.920 So let's talk about another frustrating project. JA Electrolysis elects. 2:36:22.240 --> 2:36:23.600 His train is running on schedule? 2:36:24.080 --> 2:36:25.840 What what schedule? 2:36:25.920 --> 2:36:29.000 That's his favorite saying my train is running on schedule. 2:36:29.160 --> 2:36:31.720 Was the last time you had a conversation. 2:36:31.280 --> 2:36:34.840 With him, a real, real, real conversation, or like that, 2:36:34.920 --> 2:36:39.080 we had contact, a real conversation. It's been a while, 2:36:40.720 --> 2:36:43.520 Like when when Carrie Fisher died, we had a conversation. 2:36:44.879 --> 2:36:47.840 It wasn't about music. It was about carry Fisher. 2:36:48.400 --> 2:36:50.400 You cite you too are Star Wars. 2:36:50.560 --> 2:36:53.160 We was just like sci fi guys in general, you know, 2:36:53.640 --> 2:36:57.760 so so uh that was a conversation. It wasn't a 2:36:57.840 --> 2:36:59.920 lengthy conversation, but it was a real conversation about so 2:37:00.080 --> 2:37:02.120 real stuff. Just about life in general and things like that. 2:37:03.200 --> 2:37:07.760 I want to say after after being Swiss, did did 2:37:07.840 --> 2:37:11.879 the back and forth thing he d m me super 2:37:11.959 --> 2:37:12.840 hyped wanting to work. 2:37:13.600 --> 2:37:15.120 Where is he in the world right now? 2:37:15.280 --> 2:37:19.600 I don't know he's I want to say, if I 2:37:19.680 --> 2:37:21.879 remember correctly, though, one of the last times we did 2:37:21.959 --> 2:37:24.240 have a real lengthy conversation, he had told me that 2:37:24.320 --> 2:37:26.440 he had bought a house. It was either in New 2:37:26.560 --> 2:37:28.800 Orleans or in Texas. It might have been in Texas, 2:37:28.840 --> 2:37:32.040 maybe so he'd be closer to his daughter. Maybe it 2:37:32.080 --> 2:37:33.560 wasn't like New York and it wasn't in LA. I 2:37:33.640 --> 2:37:35.279 want to say that. If it wasn't in New Orleans, 2:37:35.920 --> 2:37:39.760 it was I think maybe in Texas. You know, Jay's 2:37:39.760 --> 2:37:41.560 always been a nomad. Like it's funny enough, you know, 2:37:42.040 --> 2:37:44.959 actually how I know James through Shot. It's funny how 2:37:45.000 --> 2:37:47.959 many things Shot is randomly behind. But yeah, so het 2:37:48.200 --> 2:37:53.040 y'all got this kid. He's amazing lyricist, great artist, doesn't 2:37:53.080 --> 2:37:55.600 know a thing about the business, doesn't know how any 2:37:55.640 --> 2:37:57.560 of this works. You need somebody to take him under 2:37:57.640 --> 2:38:01.879 his wing. I'm not that guy, you know. I wanted 2:38:01.879 --> 2:38:04.680 to bring him to you. In the meantime, something and 2:38:04.760 --> 2:38:06.200 me and this has been in the game days when 2:38:06.200 --> 2:38:09.440 you ahould talk on a Yeah, somehow Jay ended up 2:38:09.480 --> 2:38:13.000 stealing my am screen name from Shad Yo Okay. 2:38:13.200 --> 2:38:16.000 I was thinking as you were talking about this, I 2:38:16.160 --> 2:38:18.520 was like, I wonder if I should share this story 2:38:18.560 --> 2:38:21.920 about the time when Jay okay, So he's legendary for 2:38:22.000 --> 2:38:24.240 this ship. Yeah, you tell you his first so no, 2:38:24.320 --> 2:38:25.240 I mean it's it's to. 2:38:25.240 --> 2:38:26.800 Be honest, It wasn't that much of a story, like 2:38:27.080 --> 2:38:28.720 because I was already aware of him from the shot, 2:38:28.720 --> 2:38:31.880 because we shot had already prefaced the conversation, and me 2:38:31.959 --> 2:38:34.400 and Mashad had spoken about him a few times. I 2:38:34.520 --> 2:38:37.120 wasn't necessarily surprised when I heard from him, But then 2:38:37.160 --> 2:38:43.000 I realized he didn't like he was just looking Overhad's 2:38:43.000 --> 2:38:45.920 shoulder or at his computer when when was didn stole 2:38:46.280 --> 2:38:48.160 my screen And I always figured if he stole probably 2:38:49.320 --> 2:38:52.000 I doubt that Whi's for shot? Are we talking about? 2:38:54.080 --> 2:38:58.400 He's done Biggie's woman chance? Uh. He was kind of 2:38:58.440 --> 2:39:01.680 the he was the gutter of of the of Puff's 2:39:01.720 --> 2:39:03.840 hip men. He did all I mean, I mean he 2:39:03.920 --> 2:39:09.280 did do one try. Yeah, I mean he did it like. 2:39:09.520 --> 2:39:11.840 He's one of those guys that could bounce around like. 2:39:12.240 --> 2:39:15.920 He'll do Ladies Night for Little Kim, but then he'll 2:39:16.000 --> 2:39:19.160 do dreams for Biggie, you know what I mean. So, 2:39:20.320 --> 2:39:22.080 but wait real quick. 2:39:22.200 --> 2:39:27.640 So during the eight uh campaign and period for Obama, 2:39:28.000 --> 2:39:30.360 like when all of us were going heavy doing all 2:39:30.400 --> 2:39:34.840 that stuff, one of the greatest pranks I was ever 2:39:34.959 --> 2:39:39.840 part of because Jay and I got cool one day 2:39:39.879 --> 2:39:43.200 he just aimed me two got my aim and we 2:39:43.480 --> 2:39:50.200 became fast friends that way. And he convinced me two 2:39:51.920 --> 2:39:54.959 kind of go to my celebrity room to play pranks. 2:39:56.240 --> 2:39:59.120 And I don't know if I should reveal this, you 2:39:59.160 --> 2:40:07.600 should absolutely he he uh somehow managed to get Obama's 2:40:09.080 --> 2:40:13.360 aim name before Obama thought to you know, like back 2:40:13.400 --> 2:40:15.360 in two thousand and eight, you weren't thinking of okay, 2:40:15.560 --> 2:40:18.119 let me get my Gmail name, my AOL name. 2:40:18.200 --> 2:40:21.640 My son Obama on a name he got. 2:40:21.720 --> 2:40:25.320 He got it on Aim and uh brilliant. 2:40:26.080 --> 2:40:30.120 First he pranked a Dallas Maverick person to thinking that 2:40:30.280 --> 2:40:31.280 he was Barack Obama. 2:40:31.680 --> 2:40:31.920 Wow. 2:40:33.560 --> 2:40:37.640 Then it sounds like then we got Jonah Hill, which 2:40:37.760 --> 2:40:40.400 to this day I'm not sure Jonah Hills forgiven me for. 2:40:41.800 --> 2:40:43.279 But the best one of all. 2:40:46.200 --> 2:40:50.720 Was not wet. You're reminded me of hold on, hold 2:40:50.760 --> 2:40:53.320 on finished. 2:40:53.720 --> 2:40:57.240 I can only imagine with oh my god, I mean, 2:40:58.240 --> 2:41:03.720 you know, to this, to this, to his credit, that's 2:41:03.800 --> 2:41:09.199 when I knew. Actually, I think that's also what subsequently 2:41:10.000 --> 2:41:11.480 ended my days of being on AIM. 2:41:11.680 --> 2:41:12.760 I used to always be on AIM. 2:41:13.280 --> 2:41:16.120 I remember they kind of punk me out of it, 2:41:16.320 --> 2:41:19.640 like I stay inside the solitary confinement, I don't go 2:41:19.680 --> 2:41:20.400 out to the general. 2:41:20.480 --> 2:41:24.560 I remember he tried that with me one time, proposing 2:41:24.720 --> 2:41:27.120 as Scarlett Johanson. 2:41:28.080 --> 2:41:32.280 Genius. I got about this his genius level finess. 2:41:32.800 --> 2:41:36.880 I'm telling you, he had nods, nods, engaged so convincingly. 2:41:39.120 --> 2:41:41.000 It was the most vulnerable I've seen him. 2:41:41.200 --> 2:41:42.920 He said something prolific, didn't he said, like. 2:41:43.000 --> 2:41:44.800 I mean he was just like he was so touched 2:41:44.879 --> 2:41:47.440 and for that the and it was and it was 2:41:47.640 --> 2:41:49.560 and the way the way that he did it. 2:41:50.160 --> 2:41:52.480 I was also like, oh, j might be a sociopath, 2:41:52.640 --> 2:41:57.320 like like this is some this is some uh what's 2:41:57.400 --> 2:42:02.560 the will Smith six degrees? Since it was the level 2:42:02.920 --> 2:42:05.960 I've seen him in situations, just switched characters where he 2:42:06.080 --> 2:42:11.200 can talk the whitest of the rothschild white and the 2:42:11.320 --> 2:42:13.120 g of the gutter and. 2:42:13.160 --> 2:42:15.640 Then all of a sudden that so very quickly. Now 2:42:15.760 --> 2:42:17.640 one thing I say about Jakes, He's a social engineer. 2:42:18.560 --> 2:42:20.960 It was it was at that moment where I realized 2:42:21.240 --> 2:42:23.400 that the way that his brain works is just on 2:42:23.560 --> 2:42:24.280 some next level. 2:42:24.480 --> 2:42:25.680 So what's going on with him? Man? 2:42:25.760 --> 2:42:31.440 Like? What the exhibit any fun fact exhibit DE was 2:42:31.520 --> 2:42:35.000 sponsored by Guitar Center. We have a Guitar Center thing. 2:42:35.360 --> 2:42:41.200 He all, I went to Guitar Center, I see Apple Store, 2:42:41.280 --> 2:42:43.119 make it the music Like, that's just real. 2:42:43.440 --> 2:42:46.280 What happened was, uh, you know, they do their catalog 2:42:46.320 --> 2:42:49.160 of their circulars whatever, like once every season. Mm hmm. 2:42:50.320 --> 2:42:53.160 So it was a twofold thing. They wanted to have 2:42:54.360 --> 2:42:57.800 myself and an engineer and an artist on the cover 2:42:58.680 --> 2:43:05.040 of that particular season's catalog. My homie, Mike, Mike Chev 2:43:05.200 --> 2:43:10.800 who was uh yeah, he was so Chev had some 2:43:10.920 --> 2:43:13.000 kind of insights the Guitar Center, so he hooks up, 2:43:13.000 --> 2:43:16.440 where's going to be me and him on the cover. 2:43:17.200 --> 2:43:19.959 And then obviously Jay's are connection. I know Shave through 2:43:20.040 --> 2:43:24.160 jaz No, I know Shat through ja Electronica. Yeah. Like 2:43:24.200 --> 2:43:26.039 so when I said I'm saying, I'm tking about electronica, 2:43:26.040 --> 2:43:32.720 I'm talking about Hope, I'm talking about so long story short. 2:43:32.800 --> 2:43:35.680 Guitar Center, UH does this thing once a year where 2:43:36.200 --> 2:43:39.119 obviously most of their employees are aspiring musicians or whatever, 2:43:40.000 --> 2:43:42.760 DJ's producers, whatever, they are songwriters. So they do a 2:43:42.840 --> 2:43:48.720 compilation every year of their employee's best music to contest. 2:43:49.160 --> 2:43:53.400 Whoever makes the best fifteen songs makes the compilation. And 2:43:53.520 --> 2:43:56.400 this year they wanted to feature something from an established artist, 2:43:57.040 --> 2:44:04.000 that artist being me. So the idea was, Okay, we'll 2:44:04.080 --> 2:44:07.640 make a song that'll be you mean Jelec trying to 2:44:07.680 --> 2:44:09.240 call make a record that will we featured on the 2:44:09.280 --> 2:44:14.119 Guitar Center compilation. So they bring Rolling into the mix, 2:44:14.760 --> 2:44:17.000 and Rolling basically says we want to sponsor the making 2:44:17.040 --> 2:44:21.040 of this record. So they basically just opened the vault 2:44:21.080 --> 2:44:22.720 and said pick whenever you want. There's no limit to 2:44:22.800 --> 2:44:24.720 what you want. So I got about the yead of 2:44:24.720 --> 2:44:26.199 the things. There was not much that I really needed 2:44:26.200 --> 2:44:28.560 it from Rolling, but like the new June that, like 2:44:28.600 --> 2:44:30.280 every keyboard they had that was coming out that year, 2:44:31.040 --> 2:44:34.959 like the guitar synth that they made, like anything they 2:44:35.000 --> 2:44:37.000 had that was hot. At that point, I was just like, 2:44:37.200 --> 2:44:39.600 I want one of everything, and within a week we 2:44:39.640 --> 2:44:40.880 had an all to the studio. None of it was 2:44:40.920 --> 2:44:43.680 really needed, but it was just all right, cool, appreciate 2:44:43.720 --> 2:44:45.320 it rolling. So I'm gonna say what it was all 2:44:45.320 --> 2:44:47.160 sudden done was probably about thirty five forty grand worth 2:44:47.160 --> 2:44:51.760 a year that they sent over. So we do the 2:44:51.840 --> 2:44:55.520 cover of the guitar set of Circular. It's already been shot, 2:44:55.520 --> 2:44:57.879 it's about to come out. I'm trying to find Jason. 2:44:57.879 --> 2:45:00.400 We could do Exibit A. I can't find him. I 2:45:00.480 --> 2:45:02.960 filed to Detroit because I knew he was gonna be 2:45:02.959 --> 2:45:07.000 in Detroit, went to shaves Crib, tracked him down, and 2:45:07.040 --> 2:45:10.320 we ended up doing Exhibit say in chavs Attic Wow. 2:45:10.720 --> 2:45:12.440 And a week later you could walk into this is 2:45:12.480 --> 2:45:14.680 before anybody really knew who he was yet, you could 2:45:14.680 --> 2:45:16.600 walk into the Guitar Center and get a physical copy 2:45:16.680 --> 2:45:19.600 of Exhibit A for free, just for walking into Guitar 2:45:19.720 --> 2:45:22.959 Center with like artbreak and everything. 2:45:23.959 --> 2:45:25.400 So we do that. 2:45:27.920 --> 2:45:30.160 With you know, there were a lot of different conversations 2:45:30.200 --> 2:45:33.360 about what we could do, you know, whether we like 2:45:33.400 --> 2:45:35.240 at one point that the idea was for me and 2:45:35.360 --> 2:45:37.560 him to kind of like be a group. You know, 2:45:37.720 --> 2:45:40.400 I'm I'm primo he's guru, you know that kind of thing, 2:45:40.480 --> 2:45:42.960 like an actual duo. I went through a lot of 2:45:42.959 --> 2:45:47.000 different phases and then uh, he would come in baseline 2:45:47.040 --> 2:45:49.840 just hang out. It was funny, actually, Sagon actually kind 2:45:49.879 --> 2:45:53.200 of felt a little bit of a way when Jay 2:45:53.240 --> 2:45:56.880 first came around, right like and his thing was kind 2:45:56.920 --> 2:45:58.680 of like, yo, who is this guy? Like all of 2:45:58.720 --> 2:46:01.480 a sudden, you know you you know, like we're trying 2:46:01.480 --> 2:46:04.960 to get my project right and and this guy just 2:46:05.000 --> 2:46:07.040 comes down of nowhere and now the intentions on it, 2:46:07.320 --> 2:46:09.560 it wasn't like the tension was ever away from side. 2:46:10.040 --> 2:46:11.280 I just think he kind of looked at it like, 2:46:11.680 --> 2:46:12.560 can we get my thing? 2:46:12.680 --> 2:46:14.680 You're no longer the bill of the bar or he ring, 2:46:15.080 --> 2:46:15.920 and and it wasn't And. 2:46:15.920 --> 2:46:17.360 That wasn't the case that oh Jay was just coming 2:46:17.400 --> 2:46:19.280 by like all some hanging out and eventually they ended 2:46:19.320 --> 2:46:21.960 up becoming friends and you know, they're good. You know 2:46:22.040 --> 2:46:23.440 that That was just kind of the first couple of 2:46:23.520 --> 2:46:25.840 days of just like yo, who right, just trying to 2:46:25.840 --> 2:46:29.800 figure out who to dude is. So that was also 2:46:29.840 --> 2:46:31.320 just kind of the process of me and Ja yetting 2:46:31.360 --> 2:46:33.039 to know each other as or you can know each 2:46:33.040 --> 2:46:35.160 other as people in general cause up unt to this point, 2:46:35.160 --> 2:46:38.080 a lot of our community, you know, keeping we would 2:46:38.600 --> 2:46:41.280 speak a lot for a week or two, then he 2:46:41.320 --> 2:46:43.560 would disappear, or I'd get busy or whatever. So this 2:46:43.640 --> 2:46:44.800 is the first time that we were in each other's 2:46:44.800 --> 2:46:47.360 company on a regular basis, NonStop for quite a while. 2:46:47.959 --> 2:46:50.920 So out of that comes Exhibit See, which has many 2:46:50.959 --> 2:46:53.440 people who were listening to this probably or another story 2:46:53.520 --> 2:46:56.080 like that was actually we were trying to take it 2:46:56.120 --> 2:46:57.640 back to the days of when dudes would do promos 2:46:57.680 --> 2:47:00.959 for DJs. So exam was supposed to be a promo 2:47:01.080 --> 2:47:01.480 for Angela. 2:47:01.560 --> 2:47:05.800 Ye, oh my god, what's up with all these women classics? 2:47:08.320 --> 2:47:13.280 Yeah, so that's actually that the exact same kind of things. 2:47:13.280 --> 2:47:15.240 So that's why if you listen, Angelae used to have 2:47:15.280 --> 2:47:17.760 a show call of the Morning After. That's why the 2:47:17.879 --> 2:47:20.640 end of Exhibit See, I say the Morning After World premiere. 2:47:21.440 --> 2:47:23.440 I thought that was gonna even title that out right, 2:47:23.600 --> 2:47:24.119 So now. 2:47:24.160 --> 2:47:25.960 So we did the record of the idea was do 2:47:26.080 --> 2:47:29.400 the record take it to the Morning after the next 2:47:29.480 --> 2:47:36.760 morning and just premiering on there. Jay fell asleep. He 2:47:36.800 --> 2:47:39.200 fell asleep in the studio. I wasn't one hundred percent 2:47:39.240 --> 2:47:43.039 in love with the mixed yet and it ended up 2:47:43.080 --> 2:47:44.680 going from being like I think it was supposed to 2:47:44.680 --> 2:47:47.280 be a minute long to a now a five minute song. 2:47:50.040 --> 2:47:51.800 So we just decided to let go of the uh 2:47:52.440 --> 2:47:55.480 that idea of it being a promo for Angelo, and 2:47:55.560 --> 2:47:57.240 the record just kind of sat around for a while, 2:47:57.520 --> 2:47:59.040 you know, my hard drove. So I was going to 2:48:00.280 --> 2:48:04.119 Tony Touch I Shaved forty five and I'm like, yeah, 2:48:04.120 --> 2:48:06.960 I can play, like all right, my usual you know 2:48:07.040 --> 2:48:08.840 everybody you know, it was like I did this record, 2:48:08.879 --> 2:48:10.080 did that record? I don't want to do that again 2:48:10.680 --> 2:48:12.600 instead of play a bunch of records I've never played before. 2:48:13.240 --> 2:48:15.360 It was one of those records. And as soon as 2:48:15.400 --> 2:48:18.560 I played it, like the phone lines lit up. PD's 2:48:18.600 --> 2:48:22.119 calling into the room like what is this song? People 2:48:22.160 --> 2:48:25.120 from other stations in the building are walking into Shave 2:48:25.160 --> 2:48:26.560 forty five, like yo, what is this? And it just 2:48:26.640 --> 2:48:29.560 became kind of became a thing. Had I never played 2:48:29.600 --> 2:48:31.640 Tony Touched the show that night that record, but I might. 2:48:33.200 --> 2:48:34.080 Guitar Center. 2:48:36.720 --> 2:48:40.320 We're talking about, I might have never even played any Worlds, 2:48:41.160 --> 2:48:44.800 you know. So I play it, you know, it does 2:48:44.879 --> 2:48:46.840 what it does, and it becomes like the first time 2:48:46.879 --> 2:48:49.920 in years that you're carrying real hip hop at three 2:48:49.920 --> 2:48:53.720 o'clock in the afternoon on New York Radio. It was 2:48:53.720 --> 2:48:55.039 anything that hadn't happened in a while. 2:48:57.160 --> 2:48:58.440 So I mean, it's. 2:49:00.200 --> 2:49:00.760 What is. 2:49:03.560 --> 2:49:06.360 What do you think it's gonna take or at this 2:49:06.480 --> 2:49:07.280 point it's just too far. 2:49:07.440 --> 2:49:09.600 I don't know. Like here's like Jay, like he's an 2:49:09.600 --> 2:49:11.320 ideas guy, like I will point him a most proably 2:49:11.320 --> 2:49:23.320 gonna be a group. So I had I had, so 2:49:23.640 --> 2:49:26.160 I have three jen trying to come most death records. 2:49:26.480 --> 2:49:29.600 They did three records. I had them. But it's like 2:49:29.680 --> 2:49:31.600 then that was then it was another another idea that 2:49:31.680 --> 2:49:33.119 it was a different idea. There was a different idea. 2:49:33.560 --> 2:49:36.520 Then j comes a law or Hope comes along. Was 2:49:36.560 --> 2:49:39.200 to do the deal and was kind of like I 2:49:39.280 --> 2:49:45.400 guess his thought process initially was if I bring Jay 2:49:45.480 --> 2:49:49.280 and then just place comes with that mm hmmm, because 2:49:49.320 --> 2:49:52.160 people were looking at us, you know, as being affiliated, 2:49:52.200 --> 2:49:54.640 which I can't understand why he would think that. But 2:49:54.760 --> 2:49:56.879 that wasn't necessarily you know, it's like it doesn't kind 2:49:56.879 --> 2:49:58.880 of work like that. That's that's like somebody assuming that 2:49:58.920 --> 2:50:01.280 they signed you, they bring you into work on a movie, 2:50:01.320 --> 2:50:03.400 and you know, like and I come along with them, 2:50:03.560 --> 2:50:06.879 you know what I mean, Like it's we're still to right. 2:50:07.200 --> 2:50:11.560 So Jay's at this point now in London a lot 2:50:11.640 --> 2:50:14.480 he's working on the album, and you know, I get 2:50:14.520 --> 2:50:16.240 to court like from you know, from like come by 2:50:16.280 --> 2:50:18.959 the house. So go by the house. We square every away, 2:50:19.000 --> 2:50:21.920 everything that we need to square away in terms of 2:50:22.040 --> 2:50:24.880 my involvement with the album. So I fly out to London, 2:50:25.760 --> 2:50:28.320 We get a I'm speaking to a lot of stuff, 2:50:28.680 --> 2:50:30.680 but you know, we get a good amount of the 2:50:30.760 --> 2:50:34.720 Corley album. He had demo ideas already, so I took 2:50:34.760 --> 2:50:37.480 those touchdows up, worked on a few new records, didn't 2:50:37.480 --> 2:50:41.400 exhibit g I think, and h maybe like two more 2:50:43.440 --> 2:50:45.640 and kind of just got the album to a certain 2:50:45.680 --> 2:50:49.880 point and that was it. I don't know what happened. 2:50:49.920 --> 2:50:51.360 And ago. 2:50:53.920 --> 2:50:58.240 In twenty seventeen. Now this was maybe twenty twelve. 2:50:58.760 --> 2:50:59.959 Yeah, damn, get me wrong. 2:51:00.040 --> 2:51:03.280 I could be wrong. Way Yeah it might. It might 2:51:03.360 --> 2:51:04.000 have been thirteen. 2:51:04.640 --> 2:51:10.720 There was a large professor record the Angelo by the album. 2:51:12.840 --> 2:51:15.200 From Let me think about this. I'm trying to see, 2:51:15.320 --> 2:51:17.400 like I'm trying to figure out what else was happening. 2:51:17.560 --> 2:51:19.640 You still feel like you're waiting for a doctor. Dre record, 2:51:19.720 --> 2:51:20.760 even though it came out. 2:51:21.800 --> 2:51:23.560 That record is not doing but that record is not 2:51:23.760 --> 2:51:28.920 that's not that's not the one that happened. I remember 2:51:28.920 --> 2:51:30.680 when I started getting calls like for them for me 2:51:30.760 --> 2:51:32.200 to come out and work on that record, and I'm like, 2:51:32.840 --> 2:51:35.400 but they're like, this is a whole different thing. Like 2:51:35.800 --> 2:51:39.160 I've heard. I would to say probably the first a 2:51:39.200 --> 2:51:41.160 little bit of the very first Detox because that was 2:51:41.160 --> 2:51:42.440 one of the first people he called and he was 2:51:43.040 --> 2:51:45.120 doing it, so I heard a little bit of that. 2:51:45.959 --> 2:51:47.160 Then he went and wiped all the. 2:51:47.200 --> 2:51:54.880 Tapes, like literally literally literally, word has it. 2:51:54.959 --> 2:51:59.840 There is one debt that is in a location, yeah. 2:52:00.200 --> 2:52:02.000 Just in case, like he passes one. 2:52:02.200 --> 2:52:03.640 No, he doesn't even he doesn't even want that. I 2:52:03.720 --> 2:52:08.240 think there's another person who has this. Dad. I could 2:52:08.280 --> 2:52:10.880 be wrong, I could. I know there is there is 2:52:10.959 --> 2:52:12.760 a remnant of something. I don't know who has it. 2:52:13.280 --> 2:52:15.480 He put it that way, it's an engineer. 2:52:15.480 --> 2:52:15.840 But I do. 2:52:16.120 --> 2:52:18.720 But the word is. I remember hearing those songs early on, 2:52:19.080 --> 2:52:21.240 like Usher's Throwback was supposed to be a Detox record. 2:52:22.680 --> 2:52:24.560 It was supposed to be about him leaving the game. 2:52:24.720 --> 2:52:27.360 Oh you're gonna want me man? That was the whole thing. 2:52:28.160 --> 2:52:30.240 Oh wow, what. 2:52:32.200 --> 2:52:32.920 That was a detox? 2:52:33.040 --> 2:52:33.160 Right? 2:52:33.240 --> 2:52:36.000 Look, we can get just lost in these stories forever. 2:52:36.120 --> 2:52:38.280 We got to stop the show. We're going over her 2:52:38.520 --> 2:52:41.040 a lot of time. Thank you very much. 2:52:41.120 --> 2:52:41.760 Just players give it. 2:52:44.200 --> 2:52:47.840 I won't be having fon take at Lah myself lost 2:52:48.040 --> 2:52:51.240 and unpaid Bill and Sugar Steve paid Bill. 2:52:51.760 --> 2:52:56.160 Yes, but he's the richest of all of us. Just 2:52:56.240 --> 2:53:03.840 look at him us his question signing off, what Love Supreme? 2:53:04.040 --> 2:53:11.560 See all in the next go Rep West. 2:53:11.600 --> 2:53:15.520 Love Supreme is a production of iHeartRadio. This classic episode 2:53:15.640 --> 2:53:21.640 was produced by the team at Bendora. For more podcasts 2:53:21.640 --> 2:53:26.000 from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, or wherever 2:53:26.040 --> 2:53:27.320 you listen to your favorite shows.