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Speaker 1: I want to I want to circle back to what

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Speaker 1: you just said, that quick little story for everybody out there.

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Speaker 1: So Tooms gave me a CD of some beats when

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Speaker 1: I tell your new face it was like eight ten.

5
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Speaker 1: I mean I used to just ride around, you know,

6
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Speaker 1: going back he said, he released an instrument. I just

7
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Speaker 1: ride around him. So I had an artist at the

8
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Speaker 1: time signed to me. We had a so we went

9
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Speaker 1: in two track. We did like three or four of

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Speaker 1: the songs off of that take him a play from

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Speaker 1: tomb I was like, man, these ship's ready.

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Speaker 2: He looked at me.

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Speaker 1: He was like, I mean, it's cool, but now I

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Speaker 1: need them to come in so that I can like

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Speaker 1: what he was saying. And that's when I said, like,

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Speaker 1: I'm thinking, like we two tracked.

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Speaker 3: This ship like like it read the street thisg look.

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Speaker 1: He was like, Noah, no, no, no, no, let them

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Speaker 1: come in and let me do my thing around around it.

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Speaker 3: I wasn't doing that.

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Speaker 1: But what's so crazy is we did do one of

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Speaker 1: the songs and he put it's not a man. I

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Speaker 1: can't even explain it how different the song just had

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Speaker 1: the first version underneath with the drums and.

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Speaker 3: The kick, and it just man, I was like, oh, okay,

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Speaker 3: I'll never I'll never doubt to the producer.

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Speaker 1: Because it was it just it was like a whole

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Speaker 1: different song man. But look that that seems you keeping

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Speaker 1: a hundred though that open.

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Speaker 4: Gale could have been a way better song.

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Speaker 1: I like, I came out, Oh my god, I had

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Speaker 1: sent her to beat and they jumped on.

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Speaker 3: And yeah that was during COVID. So yeah, Tech never

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Speaker 3: did get back with me. And by the time I

35
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Speaker 3: holler back and he was like, oh, it's been mixed.

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Speaker 5: I was like, dude, and it's something about it originated

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Speaker 5: from bank, I think.

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Speaker 4: Right, yeah, yeah, okay, you know the story. We'll keep

39
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Speaker 4: it at a hundred always.

40
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Speaker 3: Change wasn't answering my phone.

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Speaker 4: Calls for a while. Man, he just wasn't answering my

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Speaker 4: phone calls.

43
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Speaker 3: I don't know.

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Speaker 4: He felt some type of way about it.

45
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Speaker 3: I don't know any underlying and him cool, but he

46
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Speaker 3: just wasn't askering my calls for about a good year. Yeah,

47
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Speaker 3: And so Bink happened to come to town, and I

48
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Speaker 3: guess he.

49
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Speaker 4: Was able to hook up with Change way faster than me.

50
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Speaker 3: Being from Atlanta, you know what I mean. You know,

51
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Speaker 3: he from the South Side about eight minutes from each other,

52
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Speaker 3: from me from been here to Old National, you know

53
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Speaker 3: what I mean. So I could never catch up with Change.

54
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Speaker 3: I used to hit him like boy, I got he

55
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Speaker 3: got heat. So it took for my nigga Bink to

56
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Speaker 3: come down here. They went in the studio over there

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Speaker 3: at All Street A x X. Bank went the playing beats.

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Speaker 3: You know, Bink got a few joints, so Changing like,

59
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Speaker 3: I liked that one. So me and Bank we end

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Speaker 3: up beating at one of the eight three seasons. Been

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Speaker 3: like brothers ever since. And so what it is, We

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Speaker 3: got each other songs in our play. So if I'm

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Speaker 3: going l a or whatever to kick it with a

64
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Speaker 3: certain artist, I might play some of my joints. But

65
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Speaker 3: I had vice versa, and I've been trying to start

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Speaker 3: this union to get soluses to do that ship because

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Speaker 3: everybody knows somebody that the other one don't know being

68
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Speaker 3: fucked around and went across this Oneoin.

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Speaker 2: No, no, no, no, no.

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Speaker 3: Change, Oh ship, what's that? He ain't safe to him yet?

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Speaker 3: He was just like, oh my god, yeah, put that

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Speaker 3: one to the side. I got something for that one already.

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Speaker 3: And being he hit me like, hey, you know your budget.

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Speaker 4: Out of here.

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Speaker 3: I said, don't even tell him who did it yet.

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Speaker 3: Let's just wait to see how.

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Speaker 2: Much Change found out.

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Speaker 3: It was you.

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Speaker 2: He did, he call you in.

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Speaker 3: I saw him at this day Chappelle thing that we

81
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Speaker 3: did that him and Tip cause Tip, Me and Tip

82
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Speaker 3: was hanging out.

83
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Speaker 5: Kevin Harden and Donna.

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Speaker 4: Rollin came in State Farm.

85
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Speaker 3: Yeah, it was at State Fall. It was like cound

86
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Speaker 3: of some undergrounds because it wasn't really even promoted. It

87
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Speaker 3: was like some Yeah, it wasn't really a lot of

88
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Speaker 3: people didn't know about it. Change or Farm, you know what.

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Speaker 3: I wasn't there Rollins with the uh yeah, but yeah,

90
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Speaker 3: it was performing it all two Chain that did like

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Speaker 3: three songs, Tip or Form but it Change saw me.

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Speaker 4: He was just like what's up.

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Speaker 3: And I'm like, yeah, what's up? And I'm looking at

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Speaker 3: him thinking about to Chain Man. He sold He like

95
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Speaker 3: love man Man. Yeah, but my whole thing you never

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Speaker 3: you never away here? What the pretendial is you? Well? Yeah,

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Speaker 3: I still don't know to this day. But right now

98
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Speaker 3: it's just like, hey, man, I got more joints. I

99
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Speaker 3: hit tech Like yo, man, I would really love to

100
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Speaker 3: sit in and really get in with Change I mean,

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Speaker 3: I know he got the album with Wayne, but I

102
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Speaker 3: know he may be working on the solo joint again soon.

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Speaker 3: Of course, I'm sure got at the same time. I'd

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Speaker 3: be one to let him know. I got the sample joints.

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Speaker 3: I got the boom Bap, I got the hip hop,

106
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Speaker 3: but then I got that young ignitantion it too. If

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Speaker 3: you want to tell the clubs up, I got all

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Speaker 3: the what you call young ignorant jumping around. Yeah, and

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Speaker 3: it's funny how it happened though, man, And you know

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Speaker 3: that's beautiful.

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Speaker 5: I love that process because it's not it's not a

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Speaker 5: me thing, it's us think and and Ship Bank still

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Speaker 5: gets the credit for that.

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Speaker 3: That's what should be doing.

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Speaker 5: That's what Yeah, that's done for committee like DJ Ship

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Speaker 5: you know, that's what the coalition.

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Speaker 4: DJ is a super friend.

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Speaker 5: That's yeah, play each other's records and we're sitting here

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Speaker 5: giving your flowers. Man, But growing up, who would be like,

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Speaker 5: you know, producers that you want to give flowers too?

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Speaker 5: Like that you look up to it inspired by motivated

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Speaker 5: years man, A good three or four.

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Speaker 3: Oh producers, I would say, Man, Magic, Mike definitely, so

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Speaker 3: once Magic is funny when around ninety ninety I say like,

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Speaker 3: look like I said, I'm like ninety see, no more

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Speaker 3: like ninety three, ninety three, ninety four. That's what magic,

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Speaker 3: you know. But we have we conversed a few times

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Speaker 3: out He understood that I really didn't understand all the

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Speaker 3: publishing and royalties and shit. Still I was still a student,

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Speaker 3: and he was like, hey, man, you're gonna have to

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Speaker 3: do better with your business man because all these records

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Speaker 3: you produced, especially with New Jack City.

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Speaker 4: You know that album like thre three.

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Speaker 3: Four million and all that that was fifteen hundred you

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Speaker 3: know what I mean. Yeah, I'm that New Jack City soundtrack.

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Speaker 3: So it's like I just didn't know a whole lot

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Speaker 3: of cats just didn't know. So even with the Luke

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Speaker 3: Skywalker to Shake It, you know, that song was huge shot.

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Speaker 4: He had worn a lawsuit from Luke got like one

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Speaker 4: point five.

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Speaker 3: I remember that.

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Speaker 4: I remember that he didn't take care of nobody.

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Speaker 3: Who produced it though, but you know, shout out the

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Speaker 3: shot that he were still cool. But around that time

145
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Speaker 3: about I was hot at him for about a good

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Speaker 3: five years. I remembering that time across Clifford Harris and

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Speaker 3: my mom told me, you know, because I was about

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Speaker 3: to take him the court and everything. My mom taught

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Speaker 3: me out of it.

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Speaker 4: She was like, yo, something gonna happen for you. And

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Speaker 4: next thing, you know, Clifford.

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Speaker 1: Harris, you intil history, you know, turned it up and

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Speaker 1: you're getting a piece at one point five man.

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Speaker 3: You said yeah, yeah, yeah, yeah, guy, gonna give it.

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Speaker 3: Keep that and we're still cool. Peter Jones, you know

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Speaker 3: what I.

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Speaker 6: Mean, you.

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Speaker 3: Still I read the credits. I know that. You know.

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Speaker 3: It's like, you know, it's a few situations that what

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Speaker 3: cats just didn't do me right when I was younger,

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Speaker 3: you know what I mean. So I was like a

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Speaker 3: little young young lad trying to come up and figure

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Speaker 3: it out. And Magic Mike he was the one who

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Speaker 3: just told me certain books to read. She learning about

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Speaker 3: the music business. And by the time I got into

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Speaker 3: my second book, Boom, here come a situation opportunity to

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Speaker 3: be on another soundtrack, Doctor Dolittle. Yeah, and I produced

168
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Speaker 3: this group. Edie came into Ville and that was pretty

169
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Speaker 3: But his dude name g Boy had brought the brother.

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Speaker 3: He brought the situation. But Tony Boy had a yeah

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Speaker 3: and so but Tourna Mercedes was the actual business guy

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Speaker 3: on that. So I ended up doing the business with Tournia,

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Speaker 3: Mercedes and Boom. Once I got that and it went straight. Man,

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Speaker 3: When I first saw a real roady checking my whole career,

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Speaker 3: that was in ninety six.

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Speaker 1: Was there any executives in any of these labels that

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Speaker 1: you look at and be like, whether it was early

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Speaker 1: when you didn't know, or later when you were seasoned,

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Speaker 1: where you'd be like, come on now, well they were

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Speaker 1: just slicking and fish pussy type like.

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Speaker 2: Come on, man, like, don't play me like that.

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Speaker 3: Yeah. Even with Luke, because I used to ask Luke

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Speaker 3: about our questions about that New Jack City soundtrack, he

184
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Speaker 3: never did really have a straight answer for me. I'm like, yo, man,

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Speaker 3: that sexs me up, took that ship.

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Speaker 4: To like four five million, Like where's our money?

187
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Speaker 6: Man?

188
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Speaker 4: Don't we supposed to man? Somewhere wrong with the sample?

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Speaker 3: It was a straight yeah. It's funny to this day, Luke,

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Speaker 3: he may still not have the answers to that. You know,

191
00:08:55,760 --> 00:08:59,960
Speaker 3: check somebody got a check? Yeah, we had the same guy.

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Speaker 3: I was saying, somebody got a check from that new

193
00:09:02,200 --> 00:09:04,880
Speaker 3: je No I didn't get that.

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Speaker 2: So you like, so you say to this that you

195
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Speaker 2: don't looking cool.

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Speaker 3: But yeah, it's cordial because and then I want to

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Speaker 3: tell you one thing what eases things up for me, man,

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Speaker 3: especially when I feel that somebody crossed me in the

199
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Speaker 3: path or whatever.

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Speaker 4: My whole thing is.

201
00:09:17,600 --> 00:09:19,920
Speaker 3: No matter how much work I put in, I still

202
00:09:19,920 --> 00:09:22,959
Speaker 3: can honestly say that wasn't meant for me. Yeah, at

203
00:09:22,960 --> 00:09:25,760
Speaker 3: that time, and what God has for you will be

204
00:09:26,559 --> 00:09:28,760
Speaker 3: in fall right in place, bro and think about it

205
00:09:28,880 --> 00:09:33,000
Speaker 3: and keeping it one hundred man, come on, man, hold

206
00:09:34,040 --> 00:09:38,680
Speaker 3: the like look like that, yes, man, around that time

207
00:09:38,720 --> 00:09:41,080
Speaker 3: in New Jazck City and what was that ninety two.

208
00:09:42,800 --> 00:09:43,400
Speaker 4: At that time?

209
00:09:43,520 --> 00:09:46,120
Speaker 3: Man, if I would have got like a check more

210
00:09:46,160 --> 00:09:48,319
Speaker 3: than like two hundred or whatever.

211
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Speaker 4: That ship would have went right back to the streets. Man,

212
00:09:49,920 --> 00:09:51,400
Speaker 4: I would have he's saying that.

213
00:09:51,720 --> 00:09:55,679
Speaker 3: Yeah, seed you from It kept me from putting both

214
00:09:55,720 --> 00:09:58,080
Speaker 3: feet out there in the streets because I definitely want.

215
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Speaker 4: It's like that term to say rejection protection.

216
00:10:03,960 --> 00:10:07,760
Speaker 3: Yeah, I would have invested some of that walk my

217
00:10:07,920 --> 00:10:10,959
Speaker 3: mind to my California people shout out y'all know who.

218
00:10:11,960 --> 00:10:13,280
Speaker 3: But it wasn't missing to get.

219
00:10:13,080 --> 00:10:15,040
Speaker 2: That kind of money and the line of things.

220
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Speaker 3: Man, That's why on trip, that's why I could see

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Speaker 3: shot didn't give them a full embrace and people Peter Jones,

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Speaker 3: you know what I'm saying things. I love everybody. Mike Fresh,

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Speaker 3: you know what I mean. You know I still give

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Speaker 3: him a hug and say what's happening? You know? But

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Speaker 3: like I said, the timing of it, it wasn't meant me

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Speaker 3: to have that at that time.

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Speaker 1: Who before we get out of here, you know, we

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Speaker 1: my bad and people I looked up to.

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Speaker 4: Man of course you.

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Speaker 3: Just come back to Yeah, come back to Lewis very

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Speaker 3: Smith ship man justus Egyptians don't want to see thee

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Speaker 3: Who I want to see the US?

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Speaker 2: Name your you want to see?

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Speaker 3: Go at it?

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Speaker 2: Who did you want to see? Go at it too?

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Speaker 3: Talking about hand because that's zone. He stays off again

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Speaker 3: over there, keep it story time later. Sometimes one first

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Speaker 3: to holler all this versus and all this ship like that.

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Speaker 3: It's like y'all gotta watch you, y'all put together because

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Speaker 3: one thing when people will be hollering at Jamaine and Puffy,

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Speaker 3: Jamaine is a hands on producer.

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Speaker 4: That man actually sit there and.

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Speaker 2: A machine and he might be doing it right now right.

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Speaker 1: Yeah, I've been in the studio with Jad digging through

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Speaker 1: crates sneezing and it is even just as great as

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Speaker 1: a song writer.

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Speaker 3: Yeah. So when it comes to hands own producers, man, shoot,

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Speaker 3: that's a's a it's a few of them. Man, I

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Speaker 3: may name something that cats may not know.

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Speaker 2: A beat? Battle, right, two people going at it?

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Speaker 4: Who the south side of Metro be a hell of

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Speaker 4: a battle. You know they kind of under.

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Speaker 3: The same roof and them two dudes right there, that'll

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Speaker 3: be sick.

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Speaker 4: Oh shoot, man? Who else? And it's some of them,

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Speaker 4: like you know, it's just can't.

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Speaker 1: You know who I want to see go up against you?

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Speaker 1: Who I would pay to sit there and watch y'all

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Speaker 1: go that?

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Speaker 4: You and many fresh Man man?

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Speaker 3: Yeah you know what? But you see before verses came

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Speaker 3: here Man and fresh did that ship before everybody? Yeah,

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Speaker 3: I remember, But I'm talking about just that real joint battling,

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Speaker 3: straight up battling.

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Speaker 4: Oh, that'd be crazy. DJ Quick Yeah and Quick would

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Speaker 4: have been something.

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Speaker 3: Yeah, they don't run. But see what about Eric Summon?

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Speaker 3: Every sermon is dope. But see but see, I'm gonna

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Speaker 3: tell you what it is, right is. And I'm not

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Speaker 3: trying to say I'm better than either one of them.

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Speaker 3: I definitely shout out to a battle cat and quick,

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Speaker 3: you know, like I say, hands on producers, Jelly Roll

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Speaker 3: and a few other ones out there, rants or fifteen

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Speaker 3: hundred and nothing, Mike and Keys. So but one thing

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Speaker 3: about it is, if it came down to a battle,

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Speaker 3: you have to have categories kind of like even a

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Speaker 3: DJ bat. Okay, let me hear you do something something

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Speaker 3: that will be for the east coast, something for the south.

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Speaker 4: Oh yeah, on the sea.

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Speaker 3: That's that's what. That's what the real bud would be

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Speaker 3: A see who they don't have that tight range And

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Speaker 3: that's how I That's what I truly say, and not

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Speaker 3: trying to like hunt my own horn, but I could

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Speaker 3: run rings around to say, hey, who can produce everybody

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Speaker 3: around this whole globe and shifting to that that producer.

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Speaker 3: I could do that.

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Speaker 1: So let's just in the trap space?

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Speaker 2: Who fuck with you?

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Speaker 4: In the trap space?

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Speaker 2: Whatever?

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Speaker 3: They have a beat man? Straight up, I would say,

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Speaker 3: boy is one of them? That's my dog I love.

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Speaker 3: I got to get heart Trum a boy who else

294
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Speaker 3: in the in the trap space?

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Speaker 4: Shot the red pretty hard.

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Speaker 2: Yeah, we've had him on the show.

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Speaker 3: Shout him rich and them ship they pretty hard. But

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Speaker 3: he got a certain sound to where I could kind

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Speaker 3: of do some za shit if I feel like it.

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Speaker 3: But can he do some ship? You see what I mean?

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Speaker 3: Like like if you put me against doctor Dre, I

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Speaker 3: could run t ship. But then I be like.

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Speaker 2: Doctor Dre.

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Speaker 4: Yeah I again, Doctor Dre.

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Speaker 3: What brings around Doctor Drake physically just as producers sitting

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Speaker 3: in there creating music.

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Speaker 5: Hell yeah, Now do you consider him? Because I've heard

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Speaker 5: story is hands on? Really is Dre?

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Speaker 4: Because I've heard the man.

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Speaker 3: He's more of a guy who's on the mix. Dre

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Speaker 3: is more of a mixed guy. That's why I say.

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Speaker 3: But some people get yourself and too much credit, and

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Speaker 3: it's just way more credit than they deserve. Like Dre

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Speaker 3: Dope even you know, shout out to him and all

315
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Speaker 3: his accolades. But just like he said on Defiant Ones,

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Speaker 3: he got on that mixing board and said, hey, y'all,

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Speaker 3: overall this is really my instrument. Because we know Tony

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Speaker 3: I forgot this. He got a Latin last name. But yeah,

319
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Speaker 3: that super Dude and all the other big Alexando. Yeah,

320
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Speaker 3: come on, man, all that fifties that's Tony Alexandro. But

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Speaker 3: Dre is not the guy physically on that MP like, yeah,

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Speaker 3: that's why I like, not take nothing away from them.

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Speaker 3: I put Dre in the category of like the Polos

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Speaker 3: and the Pulse and them, Like you know, I've been

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Speaker 3: I've seen pot of beIN the studient with Poll. I've

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Speaker 3: seen Polo. But most of the.

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Speaker 2: Stuff that's out there, Okay, I got you, It's.

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Speaker 3: Okay, you know what I mean, bang out too, But

329
00:16:08,040 --> 00:16:10,520
Speaker 3: most of his stuff is really that that the collaborative

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Speaker 3: efforts on most of the Moore just like just like

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Speaker 3: if you think of throw them ds, everybody thought Polo

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Speaker 3: did it because Butter did that. Butter straight from Ben

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Speaker 3: See Once again, that's why I'm telling you not to

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Speaker 3: take anything from Polo that you know what artist and

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Speaker 3: Polo had a verse on there. But Polo put it

336
00:16:35,840 --> 00:16:39,440
Speaker 3: the little keyboards on it. But Butter did that actual track.

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Speaker 3: So not to take nothing away from Polo, but he just.

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Speaker 1: Got to get to you know, story time of legendary

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Speaker 1: j I just yeah, Butter did that track.

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Speaker 5: What I'm looking on Google and I see it sayss

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Speaker 5: a song you did and says co produced by Kanye West.

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Speaker 4: A collaborative both worked together on that.

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Speaker 3: Yeah, but but but but but when you see doctor

344
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Speaker 3: Dre and to only alas Undo.

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Speaker 2: You know Tony what you're saying, Tony, Tony did the.

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Speaker 3: Beast and Dre was on the mix. But that's why

347
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Speaker 3: I say, when by the time, when it comes to

348
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Speaker 3: the version, when you put me in a category with producers,

349
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Speaker 3: make sure you put me in the lineup with the

350
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Speaker 3: guys who.

351
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Speaker 2: You can actually own the on the MP physically.

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Speaker 3: You're gonna walk in and watch them. You can send

353
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Speaker 3: me in a black Yeah, it's only a few producers

354
00:17:23,280 --> 00:17:25,520
Speaker 3: who could do that. You can stick them in the room. Hey, man,

355
00:17:25,840 --> 00:17:28,280
Speaker 3: to get your rolling Phantom or Triton and your MP.

356
00:17:28,920 --> 00:17:30,879
Speaker 3: We're gonna give you fifteen minutes. Who could come out

357
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Speaker 3: of here with fifteen fifteen minutes?

358
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Speaker 2: I got my money onto him.

359
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Speaker 3: Brother, And because I've been against some of my biggest

360
00:17:39,080 --> 00:17:41,359
Speaker 3: names and witnesses, I've been in there with you if

361
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Speaker 3: it was a real true hands on battle like that.

362
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Speaker 3: But of course, you know, you got people who would say,

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Speaker 3: oh boy, that you did this. You know.

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Speaker 1: Okay, what I was saying was the mount your your

365
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Speaker 1: mount brushmore of of try. I don't want to posically

366
00:17:56,119 --> 00:17:59,400
Speaker 1: say trap producers, but no, your your mount rushmore.

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Speaker 3: I mean that's out there. I'm gonna go buy the

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Speaker 3: one that's out there because when I saw it wasn't

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Speaker 3: wrong at all. What the one is out there is

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Speaker 3: who me short read as Atove.

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Speaker 2: That's three were missing one man Rushmore, it's gotta.

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00:18:10,920 --> 00:18:14,280
Speaker 3: Be four and Joe my boy. Okay, so you agree

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00:18:14,320 --> 00:18:19,920
Speaker 3: with that, um hm, as far as our era, glass,

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00:18:20,600 --> 00:18:21,440
Speaker 3: as far as our era.

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Speaker 4: But then after that you got to get into the.

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Speaker 3: Mike Wills uh ship updated version Will Mike Will eight

377
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Speaker 3: eight mafia.

378
00:18:33,240 --> 00:18:36,600
Speaker 4: Because it's a few of them metro boomen.

379
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Speaker 3: And ship.

380
00:18:41,080 --> 00:18:41,959
Speaker 4: You got a few of them.

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Speaker 3: Man, what's my boy? Turbo Turbo Turbo, it's a few

382
00:18:44,760 --> 00:18:47,040
Speaker 3: of them cats. And what's the other dude did some

383
00:18:47,119 --> 00:18:48,359
Speaker 3: more little baby stuff?

384
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Speaker 6: Uh?

385
00:18:50,240 --> 00:18:52,880
Speaker 3: He's he was an engineer too, engineer slash producer, cause

386
00:18:52,920 --> 00:18:56,920
Speaker 3: turbo was an engineer introducer. Uh, it's turbo. And there's

387
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Speaker 3: another one around the time when turbo was popular. And

388
00:19:00,320 --> 00:19:03,000
Speaker 3: then you got ATF. Jacob. He came and Mason Noise

389
00:19:03,520 --> 00:19:06,040
Speaker 3: Jacob cool. I still I can't. I can't put him

390
00:19:06,160 --> 00:19:09,160
Speaker 3: up there yet. Jacob had like a cool little run

391
00:19:09,240 --> 00:19:11,280
Speaker 3: for like a year, but then it faded back out.

392
00:19:11,840 --> 00:19:13,879
Speaker 3: He did, but I'm waiting to hear more, though I

393
00:19:13,960 --> 00:19:16,399
Speaker 3: got to hear more. Yeah, he's dope, I say the songs.

394
00:19:16,440 --> 00:19:18,880
Speaker 3: He got a dope, but I still want to hear more.

395
00:19:19,000 --> 00:19:21,200
Speaker 5: Nobody had that run like Mike Will. Half of them

396
00:19:21,840 --> 00:19:24,879
Speaker 5: that run, man, Yes, And see that's the thing about it.

397
00:19:25,000 --> 00:19:28,119
Speaker 3: See, Mike Will is a hands on producer, and he

398
00:19:28,240 --> 00:19:30,280
Speaker 3: knows how to put the team together to like a polo.

399
00:19:30,480 --> 00:19:32,240
Speaker 3: You know, he hands on. But then at the same

400
00:19:32,320 --> 00:19:34,440
Speaker 3: time he could still round the round the round the

401
00:19:34,480 --> 00:19:37,679
Speaker 3: team up. And Mike was definitely Hella hella successful at

402
00:19:37,760 --> 00:19:40,080
Speaker 3: keeping the team together because I had a team. When

403
00:19:40,119 --> 00:19:42,159
Speaker 3: I got my first meal, I figured, like, and we

404
00:19:42,359 --> 00:19:45,280
Speaker 3: signed these producers. Everybody done tried you had you had

405
00:19:45,320 --> 00:19:48,560
Speaker 3: a couple of cats over there to everybody, every produ

406
00:19:49,520 --> 00:19:52,000
Speaker 3: really dope. It was a few of them, but every

407
00:19:52,040 --> 00:19:54,120
Speaker 3: producer who done got a hold of that bag. Done

408
00:19:54,200 --> 00:19:56,640
Speaker 3: tried to just round up and put other producers one.

409
00:19:56,880 --> 00:19:58,760
Speaker 3: And like I say, but I didn't have no problem

410
00:19:59,200 --> 00:20:01,320
Speaker 3: rounding up a team because I know still I could

411
00:20:01,359 --> 00:20:03,439
Speaker 3: physically if I want to do some shit by myself,

412
00:20:03,520 --> 00:20:05,679
Speaker 3: it could be done. But I knew, like, okay, if

413
00:20:05,680 --> 00:20:07,320
Speaker 3: I get a guy who could do some R and B.

414
00:20:07,440 --> 00:20:07,680
Speaker 4: Shit.

415
00:20:08,040 --> 00:20:11,000
Speaker 3: This guy here from d C he got this, this style,

416
00:20:11,080 --> 00:20:13,560
Speaker 3: and this guy here from Indiana he got this and

417
00:20:13,760 --> 00:20:15,959
Speaker 3: all of them bring something different. Ain't know telling if

418
00:20:16,000 --> 00:20:17,840
Speaker 3: we would have just locked in on the project, how

419
00:20:18,040 --> 00:20:21,320
Speaker 3: it came and so you know, and that's that's dope.

420
00:20:21,560 --> 00:20:22,920
Speaker 3: I got to give a shout out Mike and the

421
00:20:22,960 --> 00:20:26,240
Speaker 3: Ear Drummers, man, because they still banging. Even people slept

422
00:20:26,280 --> 00:20:28,480
Speaker 3: on that last Alicia Keys album. That shit was incredible

423
00:20:28,480 --> 00:20:30,639
Speaker 3: that I was. Yeah, that was Ear Drummers.

424
00:20:30,800 --> 00:20:33,239
Speaker 2: Yeah, hey man, look, I want to say this to him.

425
00:20:33,280 --> 00:20:35,320
Speaker 1: We could sit here for hours and hours, not just

426
00:20:35,400 --> 00:20:38,800
Speaker 1: from my history, but just just because new face of

427
00:20:40,240 --> 00:20:42,080
Speaker 1: anybody that's ever come across to me.

428
00:20:42,200 --> 00:20:44,359
Speaker 2: Just just what you see is what you get.

429
00:20:44,680 --> 00:20:45,199
Speaker 3: That's me, man.

430
00:20:46,160 --> 00:20:47,399
Speaker 2: We're just here for hours, man.

431
00:20:47,440 --> 00:20:49,120
Speaker 1: And once again, I just want to tell you, man,

432
00:20:49,240 --> 00:20:51,280
Speaker 1: I appreciate you for what you've done for me. We

433
00:20:51,440 --> 00:20:53,520
Speaker 1: have like I said, he pick up the phone if

434
00:20:53,560 --> 00:20:55,520
Speaker 1: he got to check me about some ship. You know

435
00:20:55,520 --> 00:20:57,520
Speaker 1: what I mean, even though we need that different foreign as,

436
00:20:57,640 --> 00:21:01,040
Speaker 1: still got to have somebody that you know, keep it

437
00:21:01,119 --> 00:21:04,680
Speaker 1: one thousand with you and he will do that. And then, man,

438
00:21:04,920 --> 00:21:06,800
Speaker 1: like I said, I've just watched him and then what

439
00:21:06,920 --> 00:21:08,240
Speaker 1: he's done for me, Like I said, to be in

440
00:21:08,280 --> 00:21:09,720
Speaker 1: the show. So I just want to say, and I

441
00:21:09,840 --> 00:21:14,399
Speaker 1: appreciate you, Jerry Man. This dude too right here, and

442
00:21:14,440 --> 00:21:16,760
Speaker 1: he said, you said you got an instrumental album coming out.

443
00:21:16,840 --> 00:21:19,320
Speaker 3: It's working on it. Yeah. Yeah, I used to ride

444
00:21:19,320 --> 00:21:23,000
Speaker 3: around honestly listening to and I'm even trying to get

445
00:21:23,480 --> 00:21:26,440
Speaker 3: trying to really lock in the increments of how I'm

446
00:21:26,560 --> 00:21:29,399
Speaker 3: even gonna release him, because I got so much music

447
00:21:29,520 --> 00:21:31,440
Speaker 3: bro to where I thought about.

448
00:21:31,280 --> 00:21:35,280
Speaker 4: Either doing it every quarter, they'll do errors like you know, yeah,

449
00:21:35,359 --> 00:21:38,080
Speaker 4: because it's a crazy concept.

450
00:21:38,320 --> 00:21:43,240
Speaker 3: It's basically like me kidnapping your favorite artists and what

451
00:21:43,359 --> 00:21:45,000
Speaker 3: I would play for them if I had them locked

452
00:21:45,040 --> 00:21:45,600
Speaker 3: in the studio.

453
00:21:45,720 --> 00:21:46,960
Speaker 4: And that's gonna be a part of some of that

454
00:21:47,080 --> 00:21:47,800
Speaker 4: AI work too.

455
00:21:47,880 --> 00:21:50,200
Speaker 3: You'll see me like saying in front of the mixing board,

456
00:21:50,440 --> 00:21:52,080
Speaker 3: and you might see jay Z tied up in the

457
00:21:52,160 --> 00:21:55,600
Speaker 3: back like okay, this what he would do for Carter.

458
00:21:55,880 --> 00:21:59,840
Speaker 3: Then put another another version, you know, another volume Volume

459
00:21:59,840 --> 00:22:02,840
Speaker 3: three might be I might have Snoop tied up so boom,

460
00:22:02,880 --> 00:22:05,080
Speaker 3: you're gonna hear the West Coast side when I get

461
00:22:05,160 --> 00:22:08,879
Speaker 3: my West Coast bag I'm I go, hmn crazy bro.

462
00:22:09,720 --> 00:22:12,240
Speaker 2: Man, y'all hear this, man, this is this is DJ

463
00:22:12,440 --> 00:22:12,880
Speaker 2: jump Man.

464
00:22:13,240 --> 00:22:15,159
Speaker 3: You might say you might have somebody like come and

465
00:22:15,359 --> 00:22:17,680
Speaker 3: tied up in the studio. You were hearing the whole

466
00:22:19,040 --> 00:22:21,960
Speaker 3: crazy earthy ship like yeah, and some of the others.

467
00:22:22,000 --> 00:22:22,479
Speaker 3: You know what I mean.

468
00:22:22,600 --> 00:22:23,760
Speaker 4: So that's my whole concept.

469
00:22:24,080 --> 00:22:28,080
Speaker 1: Man, Hey, Man again, I appreciate you, Jerry Clark a

470
00:22:28,200 --> 00:22:30,800
Speaker 1: k A. D legendary Jerry newface. But one last thing

471
00:22:30,880 --> 00:22:32,159
Speaker 1: before we're about to say.

472
00:22:32,080 --> 00:22:34,040
Speaker 3: Man, it's good to see you got it's got this

473
00:22:34,119 --> 00:22:34,639
Speaker 3: guy right here.

474
00:22:35,480 --> 00:22:38,320
Speaker 1: Make sure man, we love you your new face man

475
00:22:38,400 --> 00:22:41,480
Speaker 1: for the culture. Two very love guys on one platform.

476
00:22:41,680 --> 00:22:42,080
Speaker 3: I love it.

477
00:22:42,160 --> 00:22:43,960
Speaker 2: Man, Man, Well thank you man.

478
00:22:44,080 --> 00:22:46,080
Speaker 1: Thanks, But we're really I just wanted to say where

479
00:22:46,080 --> 00:22:48,200
Speaker 1: we get off. It kind of hurt me to hear

480
00:22:48,800 --> 00:22:50,600
Speaker 1: that they had to stop you. They say you used

481
00:22:50,640 --> 00:22:51,920
Speaker 1: to be rollerblading around.

482
00:22:52,040 --> 00:22:56,679
Speaker 2: My coming somebody around the corner. They say you had

483
00:22:56,760 --> 00:22:58,280
Speaker 2: like a T shirt tied up in the front.

484
00:22:58,320 --> 00:22:58,480
Speaker 3: Man.

485
00:22:58,560 --> 00:23:00,920
Speaker 2: When I heard about it, man, like Tom, I mean.

486
00:23:00,840 --> 00:23:01,639
Speaker 3: That ship, it hurt me.

487
00:23:01,680 --> 00:23:01,800
Speaker 7: Bro.

488
00:23:01,920 --> 00:23:03,680
Speaker 3: They say a PD had to stop you from so

489
00:23:03,760 --> 00:23:05,720
Speaker 3: I did before we signed off. What they had to

490
00:23:05,720 --> 00:23:07,800
Speaker 3: stop me from doing They say, you brother, They said

491
00:23:07,840 --> 00:23:09,520
Speaker 3: it was just you had the back the shorts on on.

492
00:23:09,920 --> 00:23:10,920
Speaker 3: They tell that.

493
00:23:14,440 --> 00:23:17,560
Speaker 1: No, I don't want to put all the get lost

494
00:23:17,640 --> 00:23:19,400
Speaker 1: something rolling, bro, they said it was all the stuff.

495
00:23:19,960 --> 00:23:25,000
Speaker 1: I'm trying to keep it looking. I'm trying because using Jerry,

496
00:23:26,200 --> 00:23:28,600
Speaker 1: but listens don't want to hear the story. People tuning,

497
00:23:28,640 --> 00:23:30,560
Speaker 1: they don't want to hit all the extually. I just said, man,

498
00:23:31,680 --> 00:23:33,560
Speaker 1: so new fan, We're gonna leave it at that before we.

499
00:23:34,119 --> 00:23:35,520
Speaker 3: See how you see how you're trying to leave it

500
00:23:35,560 --> 00:23:37,800
Speaker 3: A band, I could have got them, but I'm gonna

501
00:23:37,840 --> 00:23:39,560
Speaker 3: lettle sign. Know what I'm saying.

502
00:23:39,640 --> 00:23:41,560
Speaker 7: We've been doing this for years and I love his

503
00:23:41,720 --> 00:23:50,200
Speaker 7: brother with Bikers ninety four with this is how we

504
00:23:50,320 --> 00:23:55,679
Speaker 7: do it. Daddy Backward Skate two.

505
00:23:59,200 --> 00:24:01,320
Speaker 6: That it was.

506
00:24:03,160 --> 00:24:12,600
Speaker 3: That's the way it came over. But anyway, Yeah, everybody

507
00:24:12,640 --> 00:24:15,440
Speaker 3: your social media before we get out of here, get

508
00:24:15,520 --> 00:24:18,800
Speaker 3: your social media handles. DJ Underscore too, I am d

509
00:24:18,920 --> 00:24:22,200
Speaker 3: J tomp is the fake one. DJ Underscore TMP is

510
00:24:22,240 --> 00:24:26,320
Speaker 3: the real one. And for the up and coming instrumental albums,

511
00:24:26,400 --> 00:24:29,600
Speaker 3: d J toomp music dot com would be the platform

512
00:24:29,680 --> 00:24:30,240
Speaker 3: to go. Get that.

513
00:24:30,520 --> 00:24:32,520
Speaker 4: So right now, it's just if you pull up DJ

514
00:24:32,680 --> 00:24:33,680
Speaker 4: toop music dot Com.

515
00:24:33,960 --> 00:24:36,200
Speaker 3: It's just gonna say coming soon and you'll see my

516
00:24:36,280 --> 00:24:39,879
Speaker 3: logo in the upper left hand corner to thinking out

517
00:24:39,920 --> 00:24:44,240
Speaker 3: our main process. Purpose process was one thing, but thinking

518
00:24:44,280 --> 00:24:46,200
Speaker 3: out our main purpose is the one I locked in on.

519
00:24:46,400 --> 00:24:50,000
Speaker 3: So look out for you, boy Man music on the way.

520
00:24:50,040 --> 00:24:56,680
Speaker 1: Look New Face Jerry Clark, K Legendary Jay. Make sure

521
00:24:56,720 --> 00:25:01,720
Speaker 1: y'all go subscribe. Check out the podcast every Wednesday on

522
00:25:02,080 --> 00:25:06,440
Speaker 1: any iHeart the iHeart Radio Media app all that shit

523
00:25:06,800 --> 00:25:12,240
Speaker 1: like Subscribe YouTube. Make sure you subscribe once again. Jerry Clark,

524
00:25:12,320 --> 00:25:15,959
Speaker 1: DJ to New Face. We sign it off out ju

525
00:25:16,040 --> 00:25:36,240
Speaker 1: Yo story time with Legendary Jerry. I am Jerry Clark.

526
00:25:37,040 --> 00:25:39,080
Speaker 1: We're sitting here with DJ Toop and we have the

527
00:25:39,160 --> 00:25:41,080
Speaker 1: special segment every week.

528
00:25:41,600 --> 00:25:44,280
Speaker 2: New Face, New Face was there. I'm gonna let him

529
00:25:44,359 --> 00:25:45,000
Speaker 2: jump in and.

530
00:25:45,080 --> 00:25:45,639
Speaker 3: Do what he do.

531
00:25:46,040 --> 00:25:48,440
Speaker 5: Got New Face back here with the one and only.

532
00:25:48,480 --> 00:25:51,800
Speaker 5: I'm on stage with two legends man, DJ Toop Man, thank.

533
00:25:51,640 --> 00:25:52,800
Speaker 4: You for joining us.

534
00:25:52,920 --> 00:25:55,880
Speaker 5: Man. You know we're celebrating fifty years of hip hop man,

535
00:25:57,080 --> 00:25:58,560
Speaker 5: fifty years as went by Man?

536
00:25:58,720 --> 00:25:59,680
Speaker 2: Did you ever think of it?

537
00:25:59,720 --> 00:26:02,959
Speaker 3: Go this fine? Man? You know with my parents used

538
00:26:02,960 --> 00:26:05,720
Speaker 3: to be like, oh that rappo that is gonna be

539
00:26:05,760 --> 00:26:09,640
Speaker 3: around like bring New got the first pair of ponies, Yeah,

540
00:26:09,680 --> 00:26:13,360
Speaker 3: to bring them back man and George Hard But yeah, man,

541
00:26:13,840 --> 00:26:19,359
Speaker 3: actually when let me see, because it came out around

542
00:26:19,359 --> 00:26:23,399
Speaker 3: say around seventy eight, seventy nine rappers did like around

543
00:26:23,560 --> 00:26:28,640
Speaker 3: like eighty four when it just started becoming so many

544
00:26:28,680 --> 00:26:31,360
Speaker 3: different type of styles and of hip hop.

545
00:26:31,440 --> 00:26:33,080
Speaker 4: Man, That's what I knew it was gonna be around

546
00:26:33,119 --> 00:26:33,719
Speaker 4: for around now.

547
00:26:33,840 --> 00:26:37,760
Speaker 5: Yeah, and most recently, NAS Steve Stole put together a

548
00:26:37,880 --> 00:26:40,640
Speaker 5: program man and they honored and gave Scarface and rock

549
00:26:40,720 --> 00:26:44,159
Speaker 5: Kim the flowers two hundred and fifty thousand dollars. And

550
00:26:44,240 --> 00:26:46,440
Speaker 5: the question I'd like to ask artists and legends like

551
00:26:46,480 --> 00:26:49,000
Speaker 5: yourself if they were to ask DJ too, you know

552
00:26:49,080 --> 00:26:52,000
Speaker 5: we're getting ready for twenty twenty four is edition. Can

553
00:26:52,080 --> 00:26:54,200
Speaker 5: you suggest two names that you would want to give

554
00:26:54,280 --> 00:26:56,639
Speaker 5: that honor to? You know, Ice Cube brought up Scarface

555
00:26:56,720 --> 00:26:58,840
Speaker 5: and honored him, gave him his flowers. NAS did the

556
00:26:58,880 --> 00:27:01,719
Speaker 5: same thing for Rock Kim. In your perspective, who are

557
00:27:01,800 --> 00:27:04,359
Speaker 5: two things people that are deserving it that honor? In

558
00:27:04,400 --> 00:27:06,040
Speaker 5: your perspective, who would you suggest?

559
00:27:07,440 --> 00:27:11,440
Speaker 4: Would it matter as far as the being an artist

560
00:27:11,720 --> 00:27:16,400
Speaker 4: just overall the artists CEO definitely, Luke Luke.

561
00:27:16,800 --> 00:27:21,360
Speaker 3: Yeah, I got to give it to Luke and Luke. Yeah, yeah,

562
00:27:21,560 --> 00:27:32,600
Speaker 3: Luke and hmmm he said ice Cube gave it a

563
00:27:32,600 --> 00:27:34,399
Speaker 3: Scott faced ship. I give it to ice Cube.

564
00:27:34,520 --> 00:27:37,359
Speaker 4: Ice Cube A still big fan of ice Cube.

565
00:27:38,080 --> 00:27:39,439
Speaker 3: Yeah, I'm a huge ice.

566
00:27:39,359 --> 00:27:41,200
Speaker 2: Cube Mega to damn Mega.

567
00:27:41,440 --> 00:27:45,880
Speaker 5: And like we said, fifty years of hip hop, what's

568
00:27:46,040 --> 00:27:48,640
Speaker 5: one positive thing and negative thing of hip hop over

569
00:27:48,680 --> 00:27:50,280
Speaker 5: the years that you can attribute to it?

570
00:27:51,880 --> 00:27:56,240
Speaker 4: Positive things is that, first of all we've gotten this far.

571
00:28:02,080 --> 00:28:05,040
Speaker 3: The negative we don't have any type of pension or

572
00:28:05,080 --> 00:28:09,400
Speaker 3: retirement plan, man, that that should be something aligned for that, man,

573
00:28:09,600 --> 00:28:11,520
Speaker 3: for the amount of work we've put in that way,

574
00:28:11,600 --> 00:28:12,879
Speaker 3: the old school could be covered.

575
00:28:13,400 --> 00:28:14,960
Speaker 4: You know, it's a lot of things, man.

576
00:28:15,080 --> 00:28:19,680
Speaker 3: You know, it should be some type of insurance all that,

577
00:28:19,920 --> 00:28:22,440
Speaker 3: you know, for all the money that Yeah, some type

578
00:28:22,440 --> 00:28:26,200
Speaker 3: of health insurance from the money we've generated for these labels.

579
00:28:26,840 --> 00:28:30,160
Speaker 4: And the thing about it, you know, it shouldn't expect

580
00:28:30,200 --> 00:28:31,000
Speaker 4: the label to do that.

581
00:28:31,160 --> 00:28:33,959
Speaker 3: Which if they if we assigned under you guys as

582
00:28:34,000 --> 00:28:36,440
Speaker 3: a corporation, it should be some type of Yeah, the

583
00:28:36,440 --> 00:28:38,280
Speaker 3: same way if you work, yeah, if you work for

584
00:28:38,400 --> 00:28:41,800
Speaker 3: Coca Cola, boom. It's it's it's you under the insurance

585
00:28:41,800 --> 00:28:44,080
Speaker 3: and it's a pension plan with that. So I think, well,

586
00:28:44,240 --> 00:28:46,320
Speaker 3: from us working with labels, it's kind of like not

587
00:28:46,440 --> 00:28:49,160
Speaker 3: too far from being an employee. It should be some

588
00:28:49,600 --> 00:28:51,680
Speaker 3: some type of benefits lined up, you know, after a

589
00:28:51,760 --> 00:28:53,560
Speaker 3: certain age. You know, hey, you know you're gonna make

590
00:28:53,560 --> 00:28:57,240
Speaker 3: sure you get this every year. Like I say, for

591
00:28:57,360 --> 00:28:59,560
Speaker 3: the amount of money that hip hop has made and

592
00:28:59,640 --> 00:29:02,719
Speaker 3: the part that we just played in the society period,

593
00:29:03,080 --> 00:29:05,680
Speaker 3: you know, you can never watch a football game or

594
00:29:05,760 --> 00:29:08,280
Speaker 3: championship and not hear some type of hip hop involved.

595
00:29:08,360 --> 00:29:10,800
Speaker 2: That's a period, you know what I mean, commercial.

596
00:29:10,440 --> 00:29:12,440
Speaker 4: Commercials, everything, man, hip hop?

597
00:29:12,560 --> 00:29:15,440
Speaker 3: So and like I said, you only name two people

598
00:29:15,440 --> 00:29:18,000
Speaker 3: who would deserve their flowers on that It's a long list, man,

599
00:29:18,040 --> 00:29:19,800
Speaker 3: But that was just I could come up with it

600
00:29:20,040 --> 00:29:20,680
Speaker 3: at that time, you.

601
00:29:20,720 --> 00:29:25,440
Speaker 5: Know, and hip hop again, what's the lyric that lives

602
00:29:25,480 --> 00:29:27,120
Speaker 5: in your head that you can probably recite at the

603
00:29:27,200 --> 00:29:30,200
Speaker 5: drop of a diamon that sticks out that you can

604
00:29:30,280 --> 00:29:33,440
Speaker 5: recite right here on Storytime with Legend Dave Jerry, Any

605
00:29:33,520 --> 00:29:34,480
Speaker 5: hip hop, any gump?

606
00:29:35,200 --> 00:29:35,880
Speaker 4: Any artists?

607
00:29:39,640 --> 00:29:42,400
Speaker 3: How you like me? Now I'm getting busy and double

608
00:29:42,440 --> 00:29:45,040
Speaker 3: platinum watching you get dizzy. Check out the way I

609
00:29:45,160 --> 00:29:47,600
Speaker 3: say my just play my bay play my J on

610
00:29:47,680 --> 00:29:50,200
Speaker 3: the back behind the coop without the a y like

611
00:29:51,000 --> 00:29:54,560
Speaker 3: ll dog God. Matter of fact, I said ice cube,

612
00:29:54,600 --> 00:29:56,360
Speaker 3: but I got to throw LLL in that tube. Bro,

613
00:29:56,560 --> 00:30:00,280
Speaker 3: come on bro LLL cool J and one think I

614
00:30:00,400 --> 00:30:03,000
Speaker 3: must say too, man, and I'm a jay Z fan,

615
00:30:03,720 --> 00:30:06,000
Speaker 3: but jay Z left us hanging for twenty twenty three

616
00:30:06,080 --> 00:30:07,560
Speaker 3: for some reason when it came to hip hop.

617
00:30:07,640 --> 00:30:10,200
Speaker 4: I don't know why he didn't involve himself and and

618
00:30:10,280 --> 00:30:10,760
Speaker 4: I don't.

619
00:30:10,560 --> 00:30:11,360
Speaker 2: Know none of that.

620
00:30:11,960 --> 00:30:16,720
Speaker 3: He's too involved in a big win in New York.

621
00:30:16,880 --> 00:30:19,840
Speaker 2: No, it was NAS and.

622
00:30:20,080 --> 00:30:23,920
Speaker 3: LLL had the tour, but jay Z just got ghost

623
00:30:24,040 --> 00:30:27,480
Speaker 3: on us, bro Sean Cotter, what happened? Were you busy

624
00:30:27,640 --> 00:30:30,120
Speaker 3: or you with the family? Because you Beyonce around that

625
00:30:30,200 --> 00:30:33,240
Speaker 3: time too, But that still shouldn't he had? Yeah, it

626
00:30:33,320 --> 00:30:35,800
Speaker 3: didn't take you away from just not being involved in

627
00:30:35,880 --> 00:30:37,480
Speaker 3: our culture for twenty twenty three.

628
00:30:37,600 --> 00:30:40,720
Speaker 4: What the hell were you shunned? And that's my dude. Yeah,

629
00:30:40,760 --> 00:30:42,760
Speaker 4: I would love to know what happened with that.

630
00:30:42,840 --> 00:30:47,479
Speaker 5: We celebrated fifty years of hip hop but celebrated recently

631
00:30:47,680 --> 00:30:50,680
Speaker 5: trap music. You damn right, didn't feel to see the

632
00:30:50,760 --> 00:30:54,240
Speaker 5: symphony orchestra playing music that came your think.

633
00:30:54,240 --> 00:30:57,959
Speaker 3: Man, amazing that she was thinking Thursday and Friday night

634
00:30:57,960 --> 00:30:59,920
Speaker 3: because originally it was just supposed to have been Friday.

635
00:31:00,640 --> 00:31:02,480
Speaker 3: And uh oh yeah, I love it man.

636
00:31:02,560 --> 00:31:05,400
Speaker 4: Twenty years Yeah, a real album cover. I need some

637
00:31:05,520 --> 00:31:05,960
Speaker 4: more of those.

638
00:31:06,040 --> 00:31:09,280
Speaker 3: I need those and just dope, man, just because I

639
00:31:09,360 --> 00:31:12,120
Speaker 3: always have, you know, used like orchestra, symphony sounds and

640
00:31:12,160 --> 00:31:14,920
Speaker 3: a lot of my production. But to hear those actual

641
00:31:15,960 --> 00:31:18,920
Speaker 3: instruments being used as far as the performance, that was incredible.

642
00:31:19,000 --> 00:31:19,080
Speaker 7: Bro.

643
00:31:19,640 --> 00:31:20,960
Speaker 4: To the point I had to catch.

644
00:31:20,800 --> 00:31:23,680
Speaker 3: Thursday and Friday about the instrumentation.

645
00:31:25,280 --> 00:31:27,280
Speaker 4: Classic. What do you know about this one right then?

646
00:31:27,360 --> 00:31:27,520
Speaker 6: Now?

647
00:31:30,080 --> 00:31:32,200
Speaker 3: With Trouble Phone, Yeah, I remember they did do the

648
00:31:32,240 --> 00:31:33,520
Speaker 3: album with Trouble Folk in them.

649
00:31:34,560 --> 00:31:38,640
Speaker 5: Bro, you remember that, so you working with them early

650
00:31:38,760 --> 00:31:40,680
Speaker 5: before that. But so what do you remember about this

651
00:31:40,840 --> 00:31:41,680
Speaker 5: young Clifford here.

652
00:31:41,880 --> 00:31:44,000
Speaker 3: Young Clifford Man. We had, We got him out of

653
00:31:44,080 --> 00:31:46,440
Speaker 3: jail a few times. Man, he kept getting in trouble Man.

654
00:31:46,520 --> 00:31:48,760
Speaker 3: That's he's a little end up naming his album trouble

655
00:31:48,840 --> 00:31:53,960
Speaker 3: Man later on, Little Clifford Man had a lot to prove.

656
00:31:54,160 --> 00:31:56,320
Speaker 3: I was running around like thumping the sack like I

657
00:31:56,400 --> 00:31:59,560
Speaker 3: had the new product man, because he was out rapping

658
00:31:59,600 --> 00:32:00,480
Speaker 3: a lot of the these cats.

659
00:32:00,520 --> 00:32:00,720
Speaker 1: Man.

660
00:32:00,800 --> 00:32:03,720
Speaker 3: You know, he was a real warrior when it came

661
00:32:03,800 --> 00:32:06,920
Speaker 3: to that mic. I'll be trying to get back into the.

662
00:32:07,680 --> 00:32:11,760
Speaker 1: Freestyles really from a lyricy standpoint, from a lyrical standpoint

663
00:32:12,760 --> 00:32:13,480
Speaker 1: them all.

664
00:32:13,600 --> 00:32:15,360
Speaker 3: I would love to see him just drop some shit

665
00:32:15,440 --> 00:32:17,200
Speaker 3: on Sway one day and just let folks know that

666
00:32:17,280 --> 00:32:21,880
Speaker 3: he's mile or rapping ass guy. And that ROBERTA Flat Man.

667
00:32:21,920 --> 00:32:23,920
Speaker 3: You might have kept him with that King album A

668
00:32:24,000 --> 00:32:26,960
Speaker 3: bird of Flag sample man. Yeah. Wow.

669
00:32:27,160 --> 00:32:29,520
Speaker 5: And then one of my favorite stories, whom tells about

670
00:32:29,600 --> 00:32:31,400
Speaker 5: what it's sampling. You know, a lot of his said

671
00:32:31,480 --> 00:32:34,000
Speaker 5: producers they get that first three to five seconds.

672
00:32:34,600 --> 00:32:37,640
Speaker 3: Yeah, because I actually tried to look that ROBERTA Flat

673
00:32:37,760 --> 00:32:41,640
Speaker 3: Gone away man, but it wouldn't lock into the as

674
00:32:41,640 --> 00:32:43,400
Speaker 3: a sample. It wouldn't lock in, So I end up

675
00:32:43,400 --> 00:32:46,560
Speaker 3: really replaying it. Me and this guy wonder real. He

676
00:32:46,640 --> 00:32:48,360
Speaker 3: showed me how to work reason and I just end

677
00:32:48,440 --> 00:32:50,920
Speaker 3: up building everything around it. And yeah, but that what

678
00:32:51,080 --> 00:32:53,320
Speaker 3: you know, man, we just because I always have loved

679
00:32:53,360 --> 00:32:56,120
Speaker 3: that song going Away since I was a kid. And

680
00:32:56,160 --> 00:32:57,240
Speaker 3: I don't know if you know it's a lot of

681
00:32:57,280 --> 00:32:59,920
Speaker 3: time when I do sample or do interpolations over so

682
00:33:00,200 --> 00:33:03,360
Speaker 3: used to be the end part, you know from Mariah

683
00:33:03,440 --> 00:33:06,280
Speaker 3: All the Way to Good Life, that's the end of

684
00:33:06,400 --> 00:33:08,640
Speaker 3: p y T. Yeah, so the end part be the

685
00:33:08,800 --> 00:33:11,520
Speaker 3: most juiciest parts of the record. The sample A lot

686
00:33:11,600 --> 00:33:13,720
Speaker 3: of times when I'm making myself let face, I gotta

687
00:33:13,880 --> 00:33:16,040
Speaker 3: I know this is your segment, but I got to

688
00:33:16,120 --> 00:33:18,640
Speaker 3: jump in and just ask you to h right, Well,

689
00:33:19,000 --> 00:33:20,800
Speaker 3: we're looking at all the tip stuff, and we had

690
00:33:20,840 --> 00:33:24,080
Speaker 3: tip on the episode of Storytime with Legendary Jerry, and

691
00:33:24,920 --> 00:33:27,920
Speaker 3: we disagreed on something. What's that South?

692
00:33:28,720 --> 00:33:29,160
Speaker 2: The South?

693
00:33:30,280 --> 00:33:34,000
Speaker 1: I feel in this fact that the South has controlled

694
00:33:34,040 --> 00:33:37,520
Speaker 1: the narrative for half, at least half of the fifty

695
00:33:37,600 --> 00:33:41,200
Speaker 1: years of hip hop. I say yes, Clifford said no,

696
00:33:41,840 --> 00:33:43,800
Speaker 1: and I couldn't believe it. I was really kind of shocked.

697
00:33:44,000 --> 00:33:45,680
Speaker 1: But you know, everybody you know, I was.

698
00:33:45,920 --> 00:33:47,240
Speaker 3: You know, let's say.

699
00:33:49,200 --> 00:33:52,200
Speaker 1: For half the for half the South, Atlanta and the

700
00:33:52,320 --> 00:33:55,320
Speaker 1: South has controlled this and the narrative of.

701
00:33:56,800 --> 00:33:58,280
Speaker 2: Fifty years and for half of it.

702
00:33:58,400 --> 00:34:00,080
Speaker 4: I'm trying to do some quick math because I.

703
00:34:00,080 --> 00:34:04,880
Speaker 1: Think nineteen ninety nine is twenty five years, and if

704
00:34:04,920 --> 00:34:06,880
Speaker 1: you look at the artists that have come out to South.

705
00:34:07,360 --> 00:34:09,959
Speaker 3: We talk about New Orles, come about before ninety nine, right.

706
00:34:10,440 --> 00:34:13,879
Speaker 1: Ninety No, I'm talking about since regardless, twenty five years

707
00:34:14,160 --> 00:34:16,840
Speaker 1: of this, fifty years have been us down here in

708
00:34:16,920 --> 00:34:17,560
Speaker 1: the man.

709
00:34:17,640 --> 00:34:19,640
Speaker 3: Yeah, South damn So yeah, yeah we coming half of that.

710
00:34:19,920 --> 00:34:20,959
Speaker 3: Yeah yeah, say it again.

711
00:34:21,040 --> 00:34:22,600
Speaker 2: Look at the camera said hell yeah.

712
00:34:22,560 --> 00:34:23,320
Speaker 4: South has covered that.

713
00:34:23,480 --> 00:34:26,040
Speaker 2: Yeah, twenty five carried twenty five years.

714
00:34:26,239 --> 00:34:28,239
Speaker 1: When you want to talk about New Orleans with master

715
00:34:28,360 --> 00:34:31,360
Speaker 1: p and cash money in them, to Memphis to Miami

716
00:34:31,640 --> 00:34:31,959
Speaker 1: and then.

717
00:34:32,800 --> 00:34:35,279
Speaker 3: And you said and just think now you said ninety nine,

718
00:34:35,920 --> 00:34:36,719
Speaker 3: think about.

719
00:34:37,200 --> 00:34:41,440
Speaker 2: Out cast goodie mob. Yeah, forty JG.

720
00:34:41,800 --> 00:34:44,680
Speaker 1: Yeah, bro, yeah, yeah, we've been carrying it, bro, Man, Tim,

721
00:34:44,800 --> 00:34:47,120
Speaker 1: I love you, bro. But this show got right here too.

722
00:34:47,760 --> 00:34:51,120
Speaker 3: We're both from Greer to South has definitely has definitely

723
00:34:51,239 --> 00:34:53,520
Speaker 3: and then one thing always had to remind people too,

724
00:34:54,719 --> 00:34:57,320
Speaker 3: that's when it comes to the South. Most of the

725
00:34:57,440 --> 00:34:59,560
Speaker 3: hip hop records that were sampled in New York and

726
00:34:59,840 --> 00:35:02,680
Speaker 3: LA it came from the South. So South has always

727
00:35:02,840 --> 00:35:08,200
Speaker 3: been the found the blueprint and soul and everything, even

728
00:35:08,320 --> 00:35:10,759
Speaker 3: from the young Richard to the James Brown to the

729
00:35:10,840 --> 00:35:13,880
Speaker 3: oldest reading Hamilton boat handing, and we go down the

730
00:35:13,960 --> 00:35:17,440
Speaker 3: long List, Gladys Knight and the Pips, Curtis may Curtis Mayfield,

731
00:35:17,680 --> 00:35:21,640
Speaker 3: Cameo Brick, all that South and all that South seat.

732
00:35:21,800 --> 00:35:24,200
Speaker 6: It ain't just story, it ain't just legend. There Jerry say,

733
00:35:24,800 --> 00:35:29,600
Speaker 6: this is to the South is fast. South has even

734
00:35:29,680 --> 00:35:34,080
Speaker 6: before the South was for hip hop. We were there

735
00:35:34,480 --> 00:35:37,520
Speaker 6: because our records were being sample. The meters were straight

736
00:35:37,560 --> 00:35:39,279
Speaker 6: from Louisiana, you know.

737
00:35:39,239 --> 00:35:39,640
Speaker 3: What I mean.

738
00:35:40,040 --> 00:35:43,319
Speaker 4: So, yes, the South has been. They just never had

739
00:35:43,400 --> 00:35:47,080
Speaker 4: the major You know, I thought I had a lad

740
00:35:47,160 --> 00:35:47,600
Speaker 4: to stand on.

741
00:35:49,320 --> 00:35:51,360
Speaker 3: Want glad you brought that up.

742
00:35:51,360 --> 00:35:52,200
Speaker 2: I just want to jump.

743
00:35:58,120 --> 00:35:58,319
Speaker 6: Fake.

744
00:35:59,680 --> 00:36:02,520
Speaker 5: And we recently did the Museum Underground Atlanta, and you know,

745
00:36:02,680 --> 00:36:03,879
Speaker 5: but I got the original one.

746
00:36:04,000 --> 00:36:08,120
Speaker 3: Hey man, you got about eighteen years old, young and

747
00:36:08,160 --> 00:36:10,799
Speaker 3: wearing the twenty four carrots man Simpson Road.

748
00:36:11,239 --> 00:36:13,520
Speaker 4: Yeah, yeah, well Simpson Road. Yeah.

749
00:36:13,640 --> 00:36:19,080
Speaker 3: We got about just about to say somebody, oh man,

750
00:36:22,200 --> 00:36:29,320
Speaker 3: I'm done. Famous Crush Magazine shout out to Bezino and

751
00:36:29,600 --> 00:36:33,719
Speaker 3: what's his partner the name? But yeah, yeah, man, that

752
00:36:33,800 --> 00:36:37,400
Speaker 3: was can. We talked about George Joyce to CEO to

753
00:36:37,760 --> 00:36:42,880
Speaker 3: George saying, man, we got that zone. Listen man, entertainment.

754
00:36:43,600 --> 00:36:47,000
Speaker 3: It's a label that I I put together Man and

755
00:36:47,120 --> 00:36:49,840
Speaker 3: cruck up the Zone. Bard Productions is the production company,

756
00:36:49,920 --> 00:36:53,480
Speaker 3: but end Zone Entertainment was the label I started and

757
00:36:53,840 --> 00:36:54,920
Speaker 3: I signed Sugar Sugar.

758
00:36:55,320 --> 00:36:56,680
Speaker 4: I don't know if y'all heard the song do It

759
00:36:56,719 --> 00:36:59,240
Speaker 4: with No Hands. We made the first with no hands record.

760
00:36:59,800 --> 00:37:02,160
Speaker 3: That song. Everybody wants to start talking about doing.

761
00:37:02,040 --> 00:37:04,480
Speaker 4: Stuff with no hands and it was I.

762
00:37:04,520 --> 00:37:06,960
Speaker 2: Remember that tone. Yeah, that was the first one doing

763
00:37:07,040 --> 00:37:07,720
Speaker 2: with no hands.

764
00:37:07,960 --> 00:37:11,520
Speaker 3: Had Jack Boner you know what I mean, Uh, Peach

765
00:37:11,600 --> 00:37:13,800
Speaker 3: State Pressure. You'll see him on Instagram. He got some

766
00:37:13,920 --> 00:37:15,000
Speaker 3: of the best urge ever.

767
00:37:15,160 --> 00:37:15,319
Speaker 7: Yeah.

768
00:37:15,600 --> 00:37:21,800
Speaker 3: Flowers ceo too, Yeah, man, yeah, ceo me and Bernard

769
00:37:21,880 --> 00:37:22,879
Speaker 3: parks Man. Yeah. Yeah.

770
00:37:22,880 --> 00:37:24,760
Speaker 4: This was my label and outside producers.

771
00:37:24,800 --> 00:37:28,040
Speaker 3: I had sat El Young Set Young is a great producer,

772
00:37:28,160 --> 00:37:31,600
Speaker 3: still doing his thing right now. Producer slash artist Ton

773
00:37:31,680 --> 00:37:34,320
Speaker 3: p who did a lot of work with while A

774
00:37:35,320 --> 00:37:37,600
Speaker 3: who I had J Mack j Max was signed on

775
00:37:37,760 --> 00:37:39,360
Speaker 3: me too. He played some of the instruments on the

776
00:37:39,480 --> 00:37:43,440
Speaker 3: NAS record, and a few other joints. Who else I

777
00:37:43,560 --> 00:37:46,239
Speaker 3: had signed over there? Yeah, artists and producers, man, yeah,

778
00:37:46,239 --> 00:37:48,000
Speaker 3: I was. I was doing a damn thing. I'm trying

779
00:37:48,000 --> 00:37:54,319
Speaker 3: to get it rolling. Yeah, gotta be to greatest.

780
00:37:54,040 --> 00:37:55,000
Speaker 4: Hits greatest hits.

781
00:37:55,120 --> 00:37:57,360
Speaker 5: Man, you can't go nowhere without being the podcast.

782
00:37:58,200 --> 00:37:59,399
Speaker 2: When you look at that, how you feel?

783
00:37:59,480 --> 00:38:00,799
Speaker 3: Man? That's good? Man?

784
00:38:00,880 --> 00:38:02,400
Speaker 4: Just you know I played a major part with her,

785
00:38:02,440 --> 00:38:04,920
Speaker 4: you know, in the South, not just him, but in

786
00:38:04,960 --> 00:38:05,720
Speaker 4: the South period.

787
00:38:05,840 --> 00:38:09,239
Speaker 5: Yeah, I'm looking at the discographer, you seeing Ross and Lula.

788
00:38:09,120 --> 00:38:13,200
Speaker 3: Two chains, Yeah, sitting here with a legend and d Yeah.

789
00:38:13,239 --> 00:38:14,399
Speaker 4: Man, it's still saying.

790
00:38:14,400 --> 00:38:16,600
Speaker 3: It's still fun man producing all these cats, you know,

791
00:38:16,719 --> 00:38:19,480
Speaker 3: and it's definitely a story behind all of them. Man.

792
00:38:19,920 --> 00:38:22,120
Speaker 4: The boy got that success in effect, and they ride

793
00:38:22,160 --> 00:38:23,480
Speaker 4: with the five five point oh with.

794
00:38:23,520 --> 00:38:26,160
Speaker 3: No datings on it. Yeah, and I did you gotta

795
00:38:26,200 --> 00:38:28,640
Speaker 3: put days on? Yeah? Boy had the five point over

796
00:38:28,680 --> 00:38:34,520
Speaker 3: before they got and the last lead all I got

797
00:38:34,680 --> 00:38:37,359
Speaker 3: is just your produced sample. So before we get out

798
00:38:37,360 --> 00:38:38,600
Speaker 3: of here, after we get out of here.

799
00:38:38,560 --> 00:38:40,480
Speaker 5: Man, I definitely wanted to get your autograph on his

800
00:38:40,640 --> 00:38:43,879
Speaker 5: twenty folds. That which song is that telling?

801
00:38:44,000 --> 00:38:45,120
Speaker 3: With that? That bezel right there?

802
00:38:45,200 --> 00:38:47,680
Speaker 4: Man, bezel Wow? I ain't know that was pressed out

803
00:38:47,719 --> 00:38:49,680
Speaker 4: and g get out of here.

804
00:38:51,960 --> 00:38:53,000
Speaker 3: To watch man.

805
00:38:53,160 --> 00:38:55,640
Speaker 4: And I actually sampled that from a song called I'm

806
00:38:55,680 --> 00:38:57,040
Speaker 4: So Tired with t.

807
00:38:57,160 --> 00:39:02,440
Speaker 3: I featured in Jazzy Fake I'm So tired, remember, and

808
00:39:02,560 --> 00:39:05,600
Speaker 3: I took that off. Ever since I met, I couldn't

809
00:39:05,640 --> 00:39:07,759
Speaker 3: get all my cross. She saw the jop top and

810
00:39:07,880 --> 00:39:10,840
Speaker 3: liked the biz. So when I took that and slowed.

811
00:39:10,600 --> 00:39:16,520
Speaker 5: It down, man, well thank you mans.

812
00:39:16,600 --> 00:39:21,759
Speaker 2: Always new face Jerry Clark a k EV Legendary Jerry.

813
00:39:22,160 --> 00:39:24,719
Speaker 1: He'll signing off. Make sure every Wednesday you check us out.

814
00:39:24,880 --> 00:39:27,160
Speaker 1: Story Time with the Legendary Jerry.

815
00:39:27,480 --> 00:39:28,600
Speaker 3: Were out of here we out.

816
00:39:34,440 --> 00:39:36,840
Speaker 1: Story Time with the Legendary Jerry is hosted by me,

817
00:39:37,640 --> 00:39:42,520
Speaker 1: the One and Only Jerry Clark. Music has been provided

818
00:39:42,600 --> 00:39:48,080
Speaker 1: by July, the Producer. If you haven't already, please please

819
00:39:48,200 --> 00:39:50,920
Speaker 1: make sure you subscribe to story Time with the Legendary

820
00:39:51,000 --> 00:39:54,920
Speaker 1: Jerry on YouTube and wherever you listen to podcasts, and

821
00:39:55,080 --> 00:39:58,239
Speaker 1: make sure you follow us on all social media platforms

822
00:39:58,719 --> 00:40:02,880
Speaker 1: at the Legendary jer Podcasts. For more podcasts from iHeartMedia,

823
00:40:02,960 --> 00:40:05,759
Speaker 1: visit the iHeartRadio app, Apple Podcasts, or wherever you listen

824
00:40:05,800 --> 00:40:06,800
Speaker 1: to your favorite shows