1 00:00:00,560 --> 00:00:02,280 Speaker 1: And I just think that at the end of the day, 2 00:00:02,720 --> 00:00:05,439 Speaker 1: make sure that you got everybody head bobbing. As a producer, 3 00:00:05,640 --> 00:00:07,360 Speaker 1: if they hear it ain't bobbing and people go into 4 00:00:07,360 --> 00:00:10,399 Speaker 1: the bathroom, niggas going order chicks fil a man going 5 00:00:10,480 --> 00:00:12,080 Speaker 1: to get up out of there and start that thing over, 6 00:00:12,160 --> 00:00:13,960 Speaker 1: start something new, you know what I mean? 7 00:00:14,080 --> 00:00:15,319 Speaker 2: So I just try to make sure. 8 00:00:15,360 --> 00:00:16,919 Speaker 1: Man, if I ain't got your head, if my head 9 00:00:16,960 --> 00:00:19,000 Speaker 1: ain't bobbing and yours ain't bobbing too, then I done 10 00:00:19,040 --> 00:00:19,800 Speaker 1: make the wrong beat. 11 00:00:20,400 --> 00:00:22,680 Speaker 2: We gotta throw that thing over here and make something else, man. 12 00:00:22,760 --> 00:00:25,040 Speaker 1: So I just think as a producer, man, it's no 13 00:00:25,120 --> 00:00:27,520 Speaker 1: limit to what you can and can't do. Just do 14 00:00:27,600 --> 00:00:32,280 Speaker 1: your best as a producer, you know what I mean. 15 00:00:34,120 --> 00:00:36,479 Speaker 3: Here, everybody, welcome to another episode of Butter Nomice Tommy Host, 16 00:00:36,520 --> 00:00:39,919 Speaker 3: Brandon Butler, FINANCYO of Butter atl And today we got 17 00:00:39,960 --> 00:00:43,440 Speaker 3: somebody special in the building, man, the one the only 18 00:00:44,000 --> 00:00:45,960 Speaker 3: nitty beats pulled up. Man, How you doing bro. 19 00:00:46,040 --> 00:00:47,879 Speaker 1: Hey Man, it's a pleasure man to be here. Man, 20 00:00:47,920 --> 00:00:49,360 Speaker 1: I finally get a chance to meet you. 21 00:00:49,440 --> 00:00:49,599 Speaker 3: Man. 22 00:00:49,640 --> 00:00:51,599 Speaker 1: I've been hearing about you for years. Man, so it's 23 00:00:51,680 --> 00:00:53,440 Speaker 1: kind of like you done popped up. Now I see you. 24 00:00:53,520 --> 00:00:55,400 Speaker 3: Now, hey, man, I appreciate it. Look, we was in 25 00:00:55,400 --> 00:00:57,400 Speaker 3: there connecting. We're talking about the east Side. You know, 26 00:00:57,400 --> 00:00:59,960 Speaker 3: we got we got a lot of connecting points in here. 27 00:01:00,000 --> 00:01:01,480 Speaker 4: You know what I'm saying. Yeah, of course you know, 28 00:01:01,520 --> 00:01:02,120 Speaker 4: east Side folks. 29 00:01:02,160 --> 00:01:03,720 Speaker 2: We do it right, man, But you have to only 30 00:01:03,760 --> 00:01:04,479 Speaker 2: one way to do it. 31 00:01:05,120 --> 00:01:07,080 Speaker 3: Look, bro, you've been You've been doing this thing forever. 32 00:01:07,840 --> 00:01:10,800 Speaker 3: You've been killing it. Man. Just just don't know, man, Like, 33 00:01:10,800 --> 00:01:12,880 Speaker 3: how did you even first get involved in the music business? 34 00:01:12,920 --> 00:01:13,040 Speaker 2: Bro? 35 00:01:13,480 --> 00:01:16,120 Speaker 1: Man, I would have to say, Man, my mother, We'll 36 00:01:16,200 --> 00:01:18,600 Speaker 1: start right there. Man, my mother, she was a gospel 37 00:01:18,600 --> 00:01:22,800 Speaker 1: program director in Atlanta, Georgia for like twenty years. So 38 00:01:22,840 --> 00:01:26,479 Speaker 1: she was on a station called WYZ Radio located right 39 00:01:26,480 --> 00:01:30,280 Speaker 1: by the zoo, and she did gospel radio. Man, So 40 00:01:30,319 --> 00:01:32,160 Speaker 1: she pretty much I would go with her to the 41 00:01:32,160 --> 00:01:35,520 Speaker 1: gospel concerts, to State Farm, Marena, whatever it be, concerts 42 00:01:35,560 --> 00:01:39,440 Speaker 1: and stuff. And I just noticed, you know that she 43 00:01:39,680 --> 00:01:41,400 Speaker 1: was a music head, and I was like, I want 44 00:01:41,440 --> 00:01:43,120 Speaker 1: to be that. And I would go to work with 45 00:01:43,200 --> 00:01:45,360 Speaker 1: us sometimes to the radio stations, man, and just sitting 46 00:01:45,400 --> 00:01:47,480 Speaker 1: in the radio station in the pre production room and 47 00:01:48,240 --> 00:01:50,520 Speaker 1: mess with the records and stuff and try to record 48 00:01:50,560 --> 00:01:53,080 Speaker 1: my voice. So you know, she motivated me, man to 49 00:01:53,080 --> 00:01:55,640 Speaker 1: get into the music business, and you know, I just 50 00:01:55,840 --> 00:01:56,360 Speaker 1: kept going. 51 00:01:56,400 --> 00:01:58,800 Speaker 3: Man, that's interesting, man. I mean it was funny for me, 52 00:01:58,880 --> 00:02:01,040 Speaker 3: the same thing I grew up wanting to be in radio. 53 00:02:01,320 --> 00:02:03,360 Speaker 3: You know, Ryan Cameron and somebody I looked up to 54 00:02:03,400 --> 00:02:04,880 Speaker 3: growing up in the radio space. He's actually been on 55 00:02:04,920 --> 00:02:07,200 Speaker 3: the podcast. I'm happy to say. You know, me and him, 56 00:02:07,200 --> 00:02:08,239 Speaker 3: we go out and we kick it every once in 57 00:02:08,280 --> 00:02:08,519 Speaker 3: a while. 58 00:02:08,520 --> 00:02:09,200 Speaker 2: Shout to Ryan. 59 00:02:09,600 --> 00:02:10,919 Speaker 3: But it's kind of the same thing, right, I think 60 00:02:10,919 --> 00:02:12,839 Speaker 3: for a lot of people, like radios kind of pulled 61 00:02:12,880 --> 00:02:15,480 Speaker 3: everybody in because, especially growing up, it was a very 62 00:02:15,680 --> 00:02:17,399 Speaker 3: magical thing radio, right, Yeah. 63 00:02:17,480 --> 00:02:18,920 Speaker 1: It was like, you know, I had a lot of 64 00:02:18,919 --> 00:02:20,400 Speaker 1: friends and stuff. You know, we would call to the 65 00:02:20,480 --> 00:02:22,440 Speaker 1: radio station early morning so that you could hear ourselves 66 00:02:22,480 --> 00:02:24,480 Speaker 1: on the radio. My mama she put us on the 67 00:02:24,480 --> 00:02:26,400 Speaker 1: air man, and that's how a lot of people started 68 00:02:26,440 --> 00:02:28,720 Speaker 1: knowing me. It was like, yeah, that's that's that's Chad. 69 00:02:28,760 --> 00:02:30,480 Speaker 1: His mother's on the radio, you know what I mean. So, 70 00:02:31,040 --> 00:02:33,320 Speaker 1: you know, just seeing that whole process of how it 71 00:02:33,400 --> 00:02:35,480 Speaker 1: goes and seeing the artists that I would see on 72 00:02:35,520 --> 00:02:38,400 Speaker 1: TV or healing the radio come to the city and 73 00:02:38,440 --> 00:02:40,560 Speaker 1: they would actually have a conversation with my mother at 74 00:02:40,560 --> 00:02:42,959 Speaker 1: the radio station. So you know, I remember I met 75 00:02:42,960 --> 00:02:45,120 Speaker 1: Al Green one day at the radio station and I 76 00:02:45,200 --> 00:02:46,239 Speaker 1: was like, that's the guy. 77 00:02:46,120 --> 00:02:47,440 Speaker 2: From Soul thing, you know what I mean. 78 00:02:47,560 --> 00:02:49,760 Speaker 1: So, you know, I thought it was just real dope 79 00:02:49,800 --> 00:02:51,600 Speaker 1: man to see you know, a black woman, and which 80 00:02:51,639 --> 00:02:54,320 Speaker 1: happened to me my mother you know actually you know, 81 00:02:54,600 --> 00:02:57,440 Speaker 1: talk to people across the airwaves, and so I thought 82 00:02:57,440 --> 00:03:01,639 Speaker 1: that was dopere. 83 00:02:59,760 --> 00:03:01,480 Speaker 3: The USIC part start coming in, like how did how 84 00:03:01,480 --> 00:03:04,280 Speaker 3: did it go from radio and your mom to start 85 00:03:04,320 --> 00:03:06,040 Speaker 3: actually getting like making music. 86 00:03:06,600 --> 00:03:10,000 Speaker 1: Yeah, as a kid man, you know, my whole family 87 00:03:10,000 --> 00:03:15,680 Speaker 1: played music. My grandmother and granddaddy was a singer. My 88 00:03:15,800 --> 00:03:19,280 Speaker 1: uncles and stuff, a lot of those quartet singers. So 89 00:03:19,560 --> 00:03:22,560 Speaker 1: my dad was a guitar player. So it was like 90 00:03:23,200 --> 00:03:24,800 Speaker 1: when I was a little growing up, as far as 91 00:03:24,800 --> 00:03:27,480 Speaker 1: I can remember, a lot of times during Christmas time, 92 00:03:27,560 --> 00:03:29,519 Speaker 1: my birthdays, a lot of people get tours. I would 93 00:03:29,520 --> 00:03:32,040 Speaker 1: get instruments. Every year I get a guitar. So I 94 00:03:32,080 --> 00:03:35,880 Speaker 1: did that growing up, man, And it was like I 95 00:03:35,920 --> 00:03:38,720 Speaker 1: was kind of bad, I would say back then, and 96 00:03:39,000 --> 00:03:41,160 Speaker 1: I woul get in trouble a lot. So I spent 97 00:03:41,280 --> 00:03:43,720 Speaker 1: a lot of time in my room on punishment. So 98 00:03:43,760 --> 00:03:45,240 Speaker 1: while I'm in there, I would say, Okay, let me 99 00:03:45,240 --> 00:03:46,640 Speaker 1: see what I can mess with. I'm always want to 100 00:03:46,640 --> 00:03:48,640 Speaker 1: mess with some Let mess with something. So I pick 101 00:03:48,720 --> 00:03:52,240 Speaker 1: up guitars and start plucking, start picking up keyboard, start plucking, 102 00:03:52,280 --> 00:03:54,320 Speaker 1: and I would play the drums real loud to try 103 00:03:54,360 --> 00:03:57,080 Speaker 1: to irritate my mother and my sister. So I just 104 00:03:57,200 --> 00:03:59,320 Speaker 1: ended up playing a lot of instruments and stuff. Man, 105 00:03:59,360 --> 00:04:02,400 Speaker 1: and I started figuring out, you know what I'm playing, 106 00:04:02,440 --> 00:04:04,480 Speaker 1: I'm making sounds like the records and the music that 107 00:04:04,480 --> 00:04:06,040 Speaker 1: I hear, you know what I mean. So I just 108 00:04:06,120 --> 00:04:10,080 Speaker 1: kept on messing with music from the age of four. 109 00:04:10,560 --> 00:04:13,960 Speaker 1: All the way up, I played drums in church. A 110 00:04:13,960 --> 00:04:16,919 Speaker 1: lot of churches around Atlanta. Played drums in the churches 111 00:04:16,960 --> 00:04:20,520 Speaker 1: and a lot of I met a lot of people. 112 00:04:20,760 --> 00:04:23,920 Speaker 1: So when you start playing drums and churches across Atlanta 113 00:04:24,040 --> 00:04:27,080 Speaker 1: back then, Atlanta church scenes real big yep. So you know, 114 00:04:27,120 --> 00:04:28,800 Speaker 1: I grew up playing for a lot of choirs. We 115 00:04:28,839 --> 00:04:32,160 Speaker 1: had to pay sisters. We had a lot of quartets 116 00:04:32,200 --> 00:04:33,720 Speaker 1: in Atlanta, you know what I mean. So I would 117 00:04:33,720 --> 00:04:36,120 Speaker 1: go to these concerts and see how they would put them, 118 00:04:36,200 --> 00:04:38,679 Speaker 1: how to they prepare, how they would perform on stage. 119 00:04:38,680 --> 00:04:39,840 Speaker 1: So I was like, you know what, I like this, 120 00:04:39,960 --> 00:04:42,960 Speaker 1: And then I got more into I was always nosy, 121 00:04:43,080 --> 00:04:44,920 Speaker 1: so I would always read when I'm at the radio 122 00:04:45,000 --> 00:04:47,120 Speaker 1: station and I read the back of the credits, and 123 00:04:47,160 --> 00:04:49,320 Speaker 1: I'm like, well, what does a producer do? What does 124 00:04:49,360 --> 00:04:52,520 Speaker 1: a guitar player do? What does executive producer do? You 125 00:04:52,560 --> 00:04:55,839 Speaker 1: know what I mean? So then I started, you know, 126 00:04:55,920 --> 00:04:58,520 Speaker 1: just start picking up books, reading, and I was like, 127 00:04:58,560 --> 00:05:00,480 Speaker 1: you know what, I think I want to go in 128 00:05:00,560 --> 00:05:02,479 Speaker 1: this direction, you know what I mean? So I just 129 00:05:02,520 --> 00:05:06,159 Speaker 1: always played music by ear. I played seven different instruments. 130 00:05:06,640 --> 00:05:09,560 Speaker 1: I don't read music, but you know I can get 131 00:05:09,600 --> 00:05:11,840 Speaker 1: in with any band and play whatever I wanted to 132 00:05:11,880 --> 00:05:13,839 Speaker 1: play with them, you know what I mean. So you know, 133 00:05:13,880 --> 00:05:17,000 Speaker 1: I always just what's the type of person. I love music. 134 00:05:18,279 --> 00:05:20,120 Speaker 1: I like to create a lot of original music. I 135 00:05:20,120 --> 00:05:23,160 Speaker 1: don't like to sample too much. But I just think 136 00:05:23,200 --> 00:05:24,960 Speaker 1: it's like drawing a picture, you know what I mean. 137 00:05:25,040 --> 00:05:28,600 Speaker 1: So I just I was it would relieve a lot 138 00:05:28,640 --> 00:05:31,200 Speaker 1: of stress too growing up, you know what I mean. 139 00:05:31,520 --> 00:05:33,840 Speaker 1: I didn't have a father growing up, so you know, 140 00:05:34,000 --> 00:05:36,120 Speaker 1: as a black male. You grow up sometimes with this 141 00:05:36,240 --> 00:05:39,400 Speaker 1: anger in you. My mother did everything that she could do, 142 00:05:39,440 --> 00:05:44,039 Speaker 1: but sometimes you need advice from another male that you know, 143 00:05:44,120 --> 00:05:44,839 Speaker 1: you can respect. 144 00:05:45,200 --> 00:05:46,600 Speaker 2: So I didn't have that growing up, man, you know 145 00:05:46,600 --> 00:05:46,920 Speaker 2: what I mean. 146 00:05:47,000 --> 00:05:49,400 Speaker 1: So, but the music was just one of those ways 147 00:05:49,440 --> 00:05:52,080 Speaker 1: that I just let out steam, you know what I mean. 148 00:05:52,200 --> 00:05:54,599 Speaker 1: And I just got to the point people started saying, Hey, 149 00:05:54,640 --> 00:05:56,000 Speaker 1: I like that, I like this, I like that. 150 00:05:56,320 --> 00:05:57,280 Speaker 2: So that's what happened, man. 151 00:05:57,279 --> 00:06:01,400 Speaker 1: And got into high school and to meeting other people 152 00:06:01,440 --> 00:06:03,520 Speaker 1: that went to school with me, and I went to 153 00:06:03,560 --> 00:06:07,720 Speaker 1: a performing arts school, Avenuel at high school, and I 154 00:06:07,760 --> 00:06:08,360 Speaker 1: just kept going. 155 00:06:08,360 --> 00:06:11,000 Speaker 2: Bro, just one thing led to another, you know. Yeah. 156 00:06:11,040 --> 00:06:12,359 Speaker 4: Man, Look we were talking about offline man. 157 00:06:12,400 --> 00:06:14,560 Speaker 3: I mean, look, Avondale, that was the spot I would 158 00:06:14,600 --> 00:06:16,480 Speaker 3: do so many so many legends have come out that spot. 159 00:06:16,520 --> 00:06:17,839 Speaker 3: We was talking about it before you got on here 160 00:06:17,880 --> 00:06:20,520 Speaker 3: from you know, the Donald Glovers, people like yourselves, right, 161 00:06:20,600 --> 00:06:21,800 Speaker 3: Like what was it like at that time? 162 00:06:21,839 --> 00:06:24,560 Speaker 4: Like did you you know, did you kind of like see. 163 00:06:24,160 --> 00:06:25,920 Speaker 3: A vibe, like the energy that was kind of coming 164 00:06:25,920 --> 00:06:27,159 Speaker 3: out of there, did you like not this is a 165 00:06:27,160 --> 00:06:27,799 Speaker 3: special place? 166 00:06:28,000 --> 00:06:28,880 Speaker 2: Yeah? I did, man. 167 00:06:29,279 --> 00:06:32,479 Speaker 1: It was like a lot of the students that I 168 00:06:32,480 --> 00:06:36,480 Speaker 1: think a lot of us met in the performing arts department, 169 00:06:37,560 --> 00:06:40,599 Speaker 1: and I wasn't technically signed up for performing arts. I 170 00:06:40,640 --> 00:06:43,159 Speaker 1: was sneaking in there. I was skipping classes. So it 171 00:06:43,240 --> 00:06:45,720 Speaker 1: was a guy me and a guy named Leonardo. We 172 00:06:45,760 --> 00:06:49,400 Speaker 1: played drums for the gospel choir. And that gospel choir 173 00:06:49,480 --> 00:06:52,960 Speaker 1: man like they were like to be some kids. They 174 00:06:53,000 --> 00:06:55,080 Speaker 1: were dope, you know what I mean. So it was 175 00:06:55,160 --> 00:06:58,400 Speaker 1: like doing that, just seeing that, you know, we sounded 176 00:06:58,480 --> 00:07:01,799 Speaker 1: good together, getting recognized and stuff. And then it became 177 00:07:01,839 --> 00:07:04,040 Speaker 1: one of those things where hip hop was taken off 178 00:07:04,040 --> 00:07:05,440 Speaker 1: in Atlanta at that time, you know what I mean. 179 00:07:05,520 --> 00:07:07,800 Speaker 1: So once the hip hop started taking off, then we 180 00:07:07,839 --> 00:07:11,160 Speaker 1: started hearing about people like TLC getting deals. Then we 181 00:07:11,200 --> 00:07:14,000 Speaker 1: started hearing about these other rappers. Then we heard about outcasts. 182 00:07:14,000 --> 00:07:15,760 Speaker 1: Then we heard about Dungeon family, you know what I mean. 183 00:07:15,840 --> 00:07:18,320 Speaker 1: So you know that motivated us that we can do 184 00:07:18,360 --> 00:07:20,640 Speaker 1: it too, you know what I mean. So I just 185 00:07:20,760 --> 00:07:22,480 Speaker 1: was like, you know what, now, I ain't gonna lie. 186 00:07:22,560 --> 00:07:24,760 Speaker 1: It was hard to get in the door. It was 187 00:07:24,800 --> 00:07:26,440 Speaker 1: hard as hell, man, you know what I mean, because 188 00:07:27,080 --> 00:07:29,720 Speaker 1: I'm all the way out of Decatur. But then we 189 00:07:29,800 --> 00:07:33,360 Speaker 1: had this other side of town called Swats right, man, 190 00:07:33,400 --> 00:07:36,160 Speaker 1: I'm swats boy. They were like the mafia. They wouldn't 191 00:07:36,200 --> 00:07:38,720 Speaker 1: if you ain't even they click. If you weren't Dungeon 192 00:07:38,760 --> 00:07:41,560 Speaker 1: family or none of that, you ain't getting in no circle, 193 00:07:41,920 --> 00:07:44,080 Speaker 1: you know what I mean. So after about twenty years 194 00:07:44,160 --> 00:07:47,760 Speaker 1: and after bottom Me records later, they finally said, hey, 195 00:07:47,760 --> 00:07:50,080 Speaker 1: what's up, Nitty, but shout out to the. 196 00:07:50,080 --> 00:07:50,960 Speaker 2: Whole Dungeon family. 197 00:07:51,000 --> 00:07:51,160 Speaker 3: Man. 198 00:07:51,400 --> 00:07:54,480 Speaker 1: Those boys they're pioneers, man, and I'm always respect them 199 00:07:54,480 --> 00:07:55,120 Speaker 1: and salute them. 200 00:07:55,200 --> 00:07:57,200 Speaker 4: Yeah, man, I got to do it. It's funny. 201 00:07:57,200 --> 00:07:59,840 Speaker 3: About two three years ago, I did an interview with 202 00:07:59,880 --> 00:08:04,400 Speaker 3: the It was me Jocelyn Wilson. She does music. She's 203 00:08:04,440 --> 00:08:06,200 Speaker 3: one of the music and culture teachers at Georgia tex 204 00:08:06,200 --> 00:08:09,440 Speaker 3: She's a professor. And we did an interview with Rico, 205 00:08:10,800 --> 00:08:13,040 Speaker 3: Sleepy and the rest of them. Man Like, it was 206 00:08:13,200 --> 00:08:14,800 Speaker 3: you know, rp Rico, man Like, it was just we 207 00:08:14,840 --> 00:08:17,000 Speaker 3: did it at the Dungeon. You know what I'm saying. 208 00:08:17,600 --> 00:08:18,720 Speaker 3: It was just, you know, it was. It was an 209 00:08:18,760 --> 00:08:21,360 Speaker 3: amazing experience, especially me growing up as an outcast fan. Yeah, 210 00:08:21,520 --> 00:08:23,400 Speaker 3: I mean, I was like, outcast is number one. Me 211 00:08:23,440 --> 00:08:25,120 Speaker 3: and Big Boy do some stuff together. Me and Killing 212 00:08:25,160 --> 00:08:26,800 Speaker 3: Mike have done some stuff together, you know what I'm saying. 213 00:08:26,840 --> 00:08:29,480 Speaker 3: But like to be invited to the Dungeon. Yeah, I 214 00:08:29,520 --> 00:08:31,720 Speaker 3: think it was for like the twenty fifth anniversary of 215 00:08:31,680 --> 00:08:34,520 Speaker 3: at Aliens or something like that. Yeah, like interview those 216 00:08:34,520 --> 00:08:36,360 Speaker 3: guys right there where that stuff happened. Man, it was 217 00:08:36,400 --> 00:08:38,320 Speaker 3: an amazing time, bro. Like what do you remember about 218 00:08:38,360 --> 00:08:40,440 Speaker 3: like the Atlanta music scene kind of in that because 219 00:08:40,520 --> 00:08:42,360 Speaker 3: I think about it too, right, you just think about. 220 00:08:42,120 --> 00:08:43,960 Speaker 4: Them the kinds of mid nineties, you know. 221 00:08:43,960 --> 00:08:46,880 Speaker 3: I remember when Hot when it was NIGHTE seventy five 222 00:08:46,920 --> 00:08:49,600 Speaker 3: first came on and they just played straight hip hop 223 00:08:49,640 --> 00:08:51,360 Speaker 3: all day long. You know, that was before they even 224 00:08:51,400 --> 00:08:53,719 Speaker 3: had radio DJs, like you know, before Chris Love of Love, 225 00:08:54,320 --> 00:08:56,680 Speaker 3: Ludacris and Poon Daddy and everything else. Like what do 226 00:08:56,679 --> 00:08:59,160 Speaker 3: you remember about that time? You know, like the mid 227 00:08:59,240 --> 00:09:01,520 Speaker 3: nineties early two thousands of music in Atlanta. 228 00:09:01,960 --> 00:09:03,040 Speaker 2: I just remember back. 229 00:09:02,920 --> 00:09:06,880 Speaker 1: In the mid nineties, man, you know, we was always 230 00:09:07,040 --> 00:09:09,600 Speaker 1: going to a lot of talent shows and stuff like that. 231 00:09:10,280 --> 00:09:12,480 Speaker 1: I think the dancing and stuff that came out around 232 00:09:12,480 --> 00:09:15,040 Speaker 1: that time, a lot of the bass music. So we 233 00:09:15,120 --> 00:09:18,719 Speaker 1: had to show a club called Sharon Showcase Indicator. So 234 00:09:18,760 --> 00:09:20,880 Speaker 1: we would go to Sharon Showcase, Man, and you know, 235 00:09:21,000 --> 00:09:23,000 Speaker 1: you got to go with a bunch of people because 236 00:09:23,040 --> 00:09:24,480 Speaker 1: you know, it was kind of like the East Side 237 00:09:24,480 --> 00:09:26,800 Speaker 1: meets the West Side right there. So of course it 238 00:09:26,920 --> 00:09:28,360 Speaker 1: was a lot of tension and stuff, you know what 239 00:09:28,360 --> 00:09:31,000 Speaker 1: I mean. But I remember back then, man, like the 240 00:09:31,040 --> 00:09:33,240 Speaker 1: whole base thing was real big back then. 241 00:09:33,960 --> 00:09:35,520 Speaker 2: Kelo Yeah was. 242 00:09:35,559 --> 00:09:38,680 Speaker 1: Like the one that was popping back that Kelo versus raheem. 243 00:09:38,760 --> 00:09:41,080 Speaker 1: Then we had a little bit of Sam and Sam 244 00:09:41,080 --> 00:09:43,679 Speaker 1: in there, man, But the Kelo I think he was 245 00:09:43,720 --> 00:09:46,520 Speaker 1: the one that put Atlanta really really. 246 00:09:46,640 --> 00:09:48,959 Speaker 2: Into that position to work. They was like, what's next. 247 00:09:49,320 --> 00:09:51,880 Speaker 2: We see Keylo, but what's next? And by the time 248 00:09:52,320 --> 00:09:54,640 Speaker 2: Outcast came, it was a rap yeah you know what 249 00:09:54,679 --> 00:09:56,679 Speaker 2: I mean. So we was like, oh, yeah, we owned something. 250 00:09:56,920 --> 00:10:00,439 Speaker 2: Yeah you know. So then we had Edward J. 251 00:10:00,800 --> 00:10:01,040 Speaker 3: Yeah. 252 00:10:01,120 --> 00:10:03,959 Speaker 1: So Edward J was like the record label before the 253 00:10:04,040 --> 00:10:07,360 Speaker 1: place came. You know, he was putting out the mixtapes 254 00:10:07,400 --> 00:10:07,800 Speaker 1: and stuff. 255 00:10:07,840 --> 00:10:08,040 Speaker 3: Man. 256 00:10:08,160 --> 00:10:11,600 Speaker 1: You know, he had the whole J teen, Smurf, Kizzie 257 00:10:11,679 --> 00:10:13,959 Speaker 1: Puncho Bonet and all them boys, you know what I mean. 258 00:10:14,000 --> 00:10:16,720 Speaker 1: So you know, we grew up, you know, going to 259 00:10:16,880 --> 00:10:18,839 Speaker 1: edw with J tape when we get when we get paid, 260 00:10:19,320 --> 00:10:20,920 Speaker 1: you know, what I mean. So every Friday we going 261 00:10:20,960 --> 00:10:22,839 Speaker 1: up to the J shop kender Roll, you know what 262 00:10:22,840 --> 00:10:24,839 Speaker 1: I mean. So I grew up in that era, man, 263 00:10:24,880 --> 00:10:27,440 Speaker 1: and you know, I was like, you know what, I think, 264 00:10:27,440 --> 00:10:29,720 Speaker 1: it's a place for me to be. I didn't know 265 00:10:29,720 --> 00:10:31,880 Speaker 1: what I was going to do, but I did know 266 00:10:32,120 --> 00:10:34,439 Speaker 1: that I love music. And a lot of people thought 267 00:10:34,520 --> 00:10:37,600 Speaker 1: that when I started making beats. They thought that I 268 00:10:37,640 --> 00:10:39,320 Speaker 1: started doing it at that time. They didn't know that 269 00:10:39,400 --> 00:10:41,240 Speaker 1: I had been doing it since a litlegit, you know 270 00:10:41,280 --> 00:10:44,280 Speaker 1: what I mean. So I always knew music, man, and 271 00:10:44,559 --> 00:10:46,120 Speaker 1: a lot of people don't know what I knew. 272 00:10:46,120 --> 00:10:47,520 Speaker 2: Gospel music better than hip hop. 273 00:10:47,920 --> 00:10:49,360 Speaker 3: Yeah, I mean, I mean, I think for a lot 274 00:10:49,400 --> 00:10:50,640 Speaker 3: of us, I mean the same way. Man, I grew 275 00:10:50,679 --> 00:10:52,800 Speaker 3: up kind of in that same space. Like my look, 276 00:10:53,559 --> 00:10:55,320 Speaker 3: he was a young thing. He was either at church 277 00:10:55,320 --> 00:10:57,040 Speaker 3: all the time with your mom and them. And I 278 00:10:57,040 --> 00:10:58,280 Speaker 3: know I was at church all the time. 279 00:10:58,520 --> 00:10:58,760 Speaker 4: Mom. 280 00:10:58,920 --> 00:11:00,960 Speaker 3: I didn't play any instruments, you know what I'm saying. 281 00:11:00,960 --> 00:11:02,120 Speaker 3: But I was there all the time. And I see 282 00:11:02,160 --> 00:11:03,440 Speaker 3: a lot I see a lot of people though that 283 00:11:03,480 --> 00:11:05,040 Speaker 3: have again kind of came up through that same way. 284 00:11:05,080 --> 00:11:07,080 Speaker 4: To your point, they were playing in the band, they 285 00:11:07,120 --> 00:11:07,920 Speaker 4: were playing the drums. 286 00:11:07,920 --> 00:11:09,599 Speaker 3: They were doing different things because that was that was 287 00:11:09,840 --> 00:11:11,720 Speaker 3: You got so much practice in there too, right, like 288 00:11:11,720 --> 00:11:13,920 Speaker 3: you just because it's interesting. Like I have kids now, 289 00:11:13,960 --> 00:11:16,400 Speaker 3: and like I was telling my daughter because she's in 290 00:11:16,480 --> 00:11:18,520 Speaker 3: school and I was telling her. I was like, yeah, 291 00:11:18,559 --> 00:11:20,120 Speaker 3: like she was like, I want to get she plays 292 00:11:20,120 --> 00:11:22,760 Speaker 3: the drums actually, and she was saying, you know, I 293 00:11:22,800 --> 00:11:24,520 Speaker 3: want to get drum lessons. I said, baby, Look, I 294 00:11:24,520 --> 00:11:26,400 Speaker 3: said what I was up. You learned to play drums 295 00:11:26,400 --> 00:11:28,720 Speaker 3: at school and the band are at church. So before 296 00:11:28,760 --> 00:11:30,440 Speaker 3: you get me out here and go, pay somebody to 297 00:11:30,440 --> 00:11:32,080 Speaker 3: teach you how to do it. Yeah, there you go. 298 00:11:32,200 --> 00:11:35,640 Speaker 3: You go, son, you go either in school or we 299 00:11:35,679 --> 00:11:38,000 Speaker 3: can take you to church. You can involved in that band. 300 00:11:38,040 --> 00:11:39,199 Speaker 3: You know what I'm saying, because that was how a 301 00:11:39,240 --> 00:11:40,480 Speaker 3: lot of folks learn back in the day. 302 00:11:40,480 --> 00:11:40,640 Speaker 4: Man. 303 00:11:40,800 --> 00:11:43,319 Speaker 1: Yeah, man, it was like that was the college. Yeah, 304 00:11:43,440 --> 00:11:44,280 Speaker 1: that was the way to go. 305 00:11:44,360 --> 00:11:44,560 Speaker 2: Man. 306 00:11:44,600 --> 00:11:46,560 Speaker 1: I remember one time, me and my mom we laugh 307 00:11:46,600 --> 00:11:48,760 Speaker 1: a lot. Man, just had a birthday two days ago. 308 00:11:49,200 --> 00:11:49,920 Speaker 1: We laugh a lot. 309 00:11:50,000 --> 00:11:50,160 Speaker 2: Man. 310 00:11:50,240 --> 00:11:52,079 Speaker 1: It was a It was a Now I want you 311 00:11:52,080 --> 00:11:53,640 Speaker 1: to go back and google this guy. His name was 312 00:11:53,720 --> 00:11:56,400 Speaker 1: Raymond Miles. He was out of New Orleans. He was 313 00:11:56,440 --> 00:12:01,000 Speaker 1: a musician, big gospel musician back in the eighties, and 314 00:12:01,880 --> 00:12:02,800 Speaker 1: rest in peace to him. 315 00:12:02,840 --> 00:12:03,040 Speaker 2: Man. 316 00:12:03,040 --> 00:12:06,240 Speaker 1: But Raymond Miles would come to Atlanta and he would 317 00:12:06,280 --> 00:12:09,520 Speaker 1: come play at our church sometimes. And he came one 318 00:12:09,600 --> 00:12:11,120 Speaker 1: day and I was like, you know, I thought I 319 00:12:11,200 --> 00:12:12,680 Speaker 1: was a bad I thought I was cold. 320 00:12:13,400 --> 00:12:13,640 Speaker 2: Man. 321 00:12:13,760 --> 00:12:16,040 Speaker 1: Listen, Raymond Miles came to the church and I done 322 00:12:16,120 --> 00:12:17,080 Speaker 1: hopped up on the drums. 323 00:12:17,080 --> 00:12:19,520 Speaker 2: Wasn't nobody there to play but me. Man, I hop 324 00:12:19,600 --> 00:12:20,200 Speaker 2: on the drums. 325 00:12:20,280 --> 00:12:23,040 Speaker 1: I might have got off beat real quick, and Raymond 326 00:12:23,320 --> 00:12:26,600 Speaker 1: stopped the organ, got up, stood up and looked at 327 00:12:26,640 --> 00:12:29,440 Speaker 1: me and started clapping his hands like get on beat, 328 00:12:29,520 --> 00:12:32,920 Speaker 1: young nigga. And I was so embarrassed to see all 329 00:12:32,960 --> 00:12:35,120 Speaker 1: them little old ladies with them wigs on, and the 330 00:12:35,240 --> 00:12:37,720 Speaker 1: deacon board looking at me, the pastor tempting his head 331 00:12:37,760 --> 00:12:40,000 Speaker 1: real quick. And I had to get on beat in 332 00:12:40,000 --> 00:12:42,960 Speaker 1: front of everybody. So that right there was a breaking 333 00:12:43,000 --> 00:12:45,560 Speaker 1: point to me that in this life I'll never get 334 00:12:45,600 --> 00:12:47,320 Speaker 1: embarrassed like that again, you know what I mean. So 335 00:12:47,720 --> 00:12:49,520 Speaker 1: that's what taught me, you know what I mean. So 336 00:12:50,000 --> 00:12:52,200 Speaker 1: shout out to Raymond meles Son, you know what I mean. 337 00:12:52,240 --> 00:12:55,240 Speaker 1: But that was something that I learned, man, And from 338 00:12:55,320 --> 00:12:57,160 Speaker 1: that day on, I was like, I got to make 339 00:12:57,200 --> 00:13:00,559 Speaker 1: sure that my music is almost as close to perfection 340 00:13:01,000 --> 00:13:01,959 Speaker 1: as possible. 341 00:13:01,840 --> 00:13:03,599 Speaker 2: You know what I mean. So yeah, I had to 342 00:13:03,679 --> 00:13:04,760 Speaker 2: learn it the hard way, man. 343 00:13:16,559 --> 00:13:17,800 Speaker 3: And so how does that how did that start to 344 00:13:17,840 --> 00:13:21,640 Speaker 3: transition from from playing the drums to nitty beats and 345 00:13:22,000 --> 00:13:24,000 Speaker 3: actual like making Like what do you remember about that first? Like, 346 00:13:24,080 --> 00:13:26,360 Speaker 3: because I feel like everybody wants me to jump to 347 00:13:26,440 --> 00:13:27,800 Speaker 3: like it's going down, you know what I mean. 348 00:13:28,280 --> 00:13:29,600 Speaker 4: I'm like, but I feel like there was some stuff 349 00:13:29,600 --> 00:13:30,000 Speaker 4: that happened. 350 00:13:30,040 --> 00:13:32,760 Speaker 1: Yeah, there was a whole lot, man. I mean, like 351 00:13:32,800 --> 00:13:35,360 Speaker 1: I said, I started in high school. I started making 352 00:13:35,480 --> 00:13:37,560 Speaker 1: local beats. It was a guy that went to school 353 00:13:37,600 --> 00:13:40,400 Speaker 1: with me by the name of mister Coop bro Born Threat, 354 00:13:40,520 --> 00:13:43,240 Speaker 1: Born Threat. Let me tell you something, Let me tell 355 00:13:43,280 --> 00:13:46,880 Speaker 1: you something. Born Threat my homeboy, shout out DJ Wally Sparks. 356 00:13:46,920 --> 00:13:49,719 Speaker 1: You know, anytime I see him, he know Brandon is 357 00:13:49,760 --> 00:13:52,120 Speaker 1: one song you gotta play, and he playing for me 358 00:13:52,200 --> 00:13:54,400 Speaker 1: every time I see him. He played Born Threat and 359 00:13:54,440 --> 00:13:59,440 Speaker 1: that is my song. Listen, no, no, no, let me 360 00:13:59,440 --> 00:14:00,920 Speaker 1: tell you that. Let me tell you you really want 361 00:14:00,920 --> 00:14:03,280 Speaker 1: to know the start of what really got me into it. 362 00:14:04,240 --> 00:14:07,240 Speaker 1: I used to have a bunch of my partners at 363 00:14:07,240 --> 00:14:09,360 Speaker 1: the house. I stayed right by a city cous Scott 364 00:14:09,440 --> 00:14:12,200 Speaker 1: Dam mister cool with the avenue there with. 365 00:14:12,080 --> 00:14:16,160 Speaker 2: Me, and I used to cut his hair, okay, And 366 00:14:16,800 --> 00:14:17,920 Speaker 2: he all of a. 367 00:14:17,920 --> 00:14:21,040 Speaker 1: Sudden went to the studio one day and made this 368 00:14:21,160 --> 00:14:24,880 Speaker 1: song called born Threat, your lives in danger, killing this society, 369 00:14:25,840 --> 00:14:29,080 Speaker 1: and man, he set the whole city on fire. 370 00:14:29,560 --> 00:14:30,840 Speaker 2: And I was like, you know what. 371 00:14:31,440 --> 00:14:34,080 Speaker 1: I seen the attention that he was getting, and I 372 00:14:34,120 --> 00:14:35,760 Speaker 1: was like, you know what, I can do it too, 373 00:14:36,360 --> 00:14:38,400 Speaker 1: you know what I mean? Until this day we still cool, man. 374 00:14:38,480 --> 00:14:40,920 Speaker 1: But I was like, when he made born Threat, that 375 00:14:41,040 --> 00:14:42,960 Speaker 1: made me start making beats. So the first beat I 376 00:14:43,000 --> 00:14:46,320 Speaker 1: ever made in my life was the Indicator remix for 377 00:14:46,360 --> 00:14:49,640 Speaker 1: Get on Mafia. Okay, So I went back and replayed 378 00:14:50,120 --> 00:14:52,840 Speaker 1: I Can't High Love by earth wind Fire and I 379 00:14:52,920 --> 00:14:55,360 Speaker 1: replayed that ooh, and we went and got Silk to 380 00:14:55,360 --> 00:14:56,040 Speaker 1: sing on the hook. 381 00:14:57,160 --> 00:14:59,800 Speaker 2: So that was the first beat that I made. 382 00:15:00,440 --> 00:15:04,520 Speaker 1: And from that point, I would say, I started working 383 00:15:04,520 --> 00:15:09,040 Speaker 1: with some other local artists. By the time I got 384 00:15:09,080 --> 00:15:12,040 Speaker 1: to I say, I went into this mode where I 385 00:15:12,120 --> 00:15:14,880 Speaker 1: started producing and learning how to work equipment and stuff. 386 00:15:15,800 --> 00:15:19,440 Speaker 1: That's when we was going from tape to digital. So 387 00:15:19,640 --> 00:15:22,720 Speaker 1: I learned, and by the time ninety nine two thousand came, 388 00:15:23,160 --> 00:15:25,640 Speaker 1: I had a homegirl named Jazz out of Memphis, Tennessee. 389 00:15:27,280 --> 00:15:29,960 Speaker 2: She introduced me to eight Ball. 390 00:15:30,080 --> 00:15:32,320 Speaker 1: So I had been going up to the face record 391 00:15:32,360 --> 00:15:37,160 Speaker 1: shout out to it was my homeboy kp and Kate Phillips. 392 00:15:38,000 --> 00:15:39,680 Speaker 1: I would go up to the Face. I would get 393 00:15:39,680 --> 00:15:42,120 Speaker 1: a ride up there my girlfriend at the time. We'd 394 00:15:42,160 --> 00:15:44,480 Speaker 1: be fussing, like hell going up there. Man, I'm tired 395 00:15:44,520 --> 00:15:46,600 Speaker 1: of taking you up here. You ain't doing nothing. I 396 00:15:46,640 --> 00:15:48,160 Speaker 1: was like, NA, just keep taking me. So I would 397 00:15:48,120 --> 00:15:51,240 Speaker 1: go up there every Friday. K One Kate Phllips would 398 00:15:51,240 --> 00:15:54,320 Speaker 1: take my meetings. I would try to submit to get remixed, 399 00:15:54,320 --> 00:15:55,720 Speaker 1: because I know I ain't no way I'm gonna get 400 00:15:55,760 --> 00:15:56,960 Speaker 1: on no pink album or outfit. 401 00:15:57,040 --> 00:15:58,880 Speaker 2: I already knew I wasn't gonna get that. I just 402 00:15:58,880 --> 00:15:59,640 Speaker 2: want to get in the game. 403 00:16:00,160 --> 00:16:01,680 Speaker 1: So I would go up there all the time, man, 404 00:16:01,720 --> 00:16:04,760 Speaker 1: and they listen to my beats and never got a 405 00:16:04,800 --> 00:16:11,160 Speaker 1: placement up there. But I would say around about two 406 00:16:11,240 --> 00:16:15,040 Speaker 1: thousand I met eight Ball Ball. I met him at 407 00:16:15,080 --> 00:16:18,320 Speaker 1: Magic City parking lot. He can't he pulled up because 408 00:16:18,400 --> 00:16:21,120 Speaker 1: you know, back then that's when eight Ball and MJG 409 00:16:21,320 --> 00:16:23,880 Speaker 1: they had it on lock Affall. 410 00:16:23,960 --> 00:16:24,120 Speaker 3: Man. 411 00:16:24,200 --> 00:16:26,440 Speaker 1: You know, that was like the Atlanta Bible still to 412 00:16:26,480 --> 00:16:28,360 Speaker 1: this day. You know what I mean, you play lay 413 00:16:28,400 --> 00:16:31,240 Speaker 1: it down, man, it's popping off. So yeah, So when 414 00:16:31,240 --> 00:16:34,080 Speaker 1: out by the time I met balling them make a 415 00:16:34,080 --> 00:16:36,240 Speaker 1: long story short, mit Ball, I gave him a CD 416 00:16:36,320 --> 00:16:39,560 Speaker 1: with like thirty two beats. He called me the next 417 00:16:39,600 --> 00:16:41,960 Speaker 1: day he started wrapping beats in my ear and wrapping 418 00:16:42,000 --> 00:16:46,600 Speaker 1: records that he wrote to my beats, And from that point, 419 00:16:46,720 --> 00:16:49,640 Speaker 1: I think Ball ended up buying eight beats. I sold 420 00:16:49,640 --> 00:16:52,080 Speaker 1: eight beats for like thirty two thousand, and that was 421 00:16:52,120 --> 00:16:54,120 Speaker 1: my first time I quit work. I was like, I 422 00:16:54,160 --> 00:16:57,080 Speaker 1: ain't never had thirty two thousand liquid cash in my hand. 423 00:16:57,480 --> 00:16:59,880 Speaker 1: So I was like, you know, I'm let me try something. 424 00:17:00,200 --> 00:17:01,560 Speaker 1: So I said, you know what, let me take a 425 00:17:01,560 --> 00:17:05,159 Speaker 1: break from working the nine to five and let me 426 00:17:05,280 --> 00:17:07,320 Speaker 1: just see how this goes. And that was the start 427 00:17:07,320 --> 00:17:11,080 Speaker 1: of me launching Playmaker, you know, And you know, back then, 428 00:17:11,200 --> 00:17:13,439 Speaker 1: you know, I was like, you know, I started off 429 00:17:13,520 --> 00:17:16,600 Speaker 1: another company, and of course I had some partners and 430 00:17:16,720 --> 00:17:20,000 Speaker 1: you know how that goes sometime, but Playmaker was like 431 00:17:20,480 --> 00:17:23,040 Speaker 1: solely my company, and I wanted to start it just 432 00:17:23,040 --> 00:17:25,040 Speaker 1: to make it a production company, you know what I mean. 433 00:17:25,119 --> 00:17:28,240 Speaker 1: So with the Playmaker, we ended up doing the album. 434 00:17:28,800 --> 00:17:33,359 Speaker 1: It's called the single Stop Playing Games featuring Diddy Oh 435 00:17:34,920 --> 00:17:36,800 Speaker 1: the eight Ball record second. 436 00:17:36,600 --> 00:17:38,080 Speaker 4: Solo, Yeah, I Stop Playing Game. 437 00:17:38,240 --> 00:17:38,919 Speaker 2: Yeah. OK. 438 00:17:39,119 --> 00:17:41,399 Speaker 1: So I produced that and that's how I met Puff, 439 00:17:41,880 --> 00:17:44,120 Speaker 1: you know what I mean. So the album went goal. 440 00:17:44,720 --> 00:17:48,000 Speaker 1: I produced seven records on the album, and we think 441 00:17:48,000 --> 00:17:50,360 Speaker 1: we put Ludacris on the album back then, Carl Thomas 442 00:17:50,359 --> 00:17:52,720 Speaker 1: and more people and stuff. So after we did that album, 443 00:17:52,800 --> 00:17:55,399 Speaker 1: then I just kind of started building my relationship with 444 00:17:55,440 --> 00:17:58,840 Speaker 1: different people in the industry. So it went from you know, 445 00:17:58,880 --> 00:18:03,199 Speaker 1: to stop playing games to just doing a lot of 446 00:18:03,440 --> 00:18:06,600 Speaker 1: production for people. By the time we get to two 447 00:18:06,640 --> 00:18:10,440 Speaker 1: thousand and four, two thousand and five, me and my 448 00:18:10,480 --> 00:18:14,040 Speaker 1: homie Block, Block used to always come up to the studio. 449 00:18:14,080 --> 00:18:15,760 Speaker 1: We had a studio on cant Road, so he had 450 00:18:15,760 --> 00:18:17,800 Speaker 1: always come up there. Man, we just be talking and 451 00:18:17,880 --> 00:18:19,520 Speaker 1: kicking it, you know what I mean. That's always been 452 00:18:19,560 --> 00:18:22,399 Speaker 1: to Homie a long time. And Block was like, man, 453 00:18:22,440 --> 00:18:24,840 Speaker 1: you know what, Man, I want to put together a group, 454 00:18:25,200 --> 00:18:27,560 Speaker 1: and I want to say first he wanted to put 455 00:18:27,600 --> 00:18:30,600 Speaker 1: Trick Daddy and some more people all together, but that 456 00:18:30,640 --> 00:18:32,360 Speaker 1: didn't work out. So then he was like, we know what, 457 00:18:32,680 --> 00:18:34,280 Speaker 1: I'm gonna put Boys in the Hood. I'm gonna get 458 00:18:34,280 --> 00:18:38,719 Speaker 1: people nobody know. And by the time I was like, 459 00:18:38,760 --> 00:18:40,760 Speaker 1: you know what, that might be something hot, So I 460 00:18:40,760 --> 00:18:42,960 Speaker 1: gave him some beats. Next thing, you know, we put 461 00:18:43,520 --> 00:18:46,320 Speaker 1: the whole Boys in the Hood project together, and I 462 00:18:46,359 --> 00:18:48,600 Speaker 1: think I produced bout three on there, and then Boys 463 00:18:48,680 --> 00:18:51,080 Speaker 1: ended up being a single, and then that's how I 464 00:18:51,080 --> 00:18:54,399 Speaker 1: met Jeez and we put GZ on the take it 465 00:18:54,480 --> 00:18:57,160 Speaker 1: too long to lock up all that. Then after that 466 00:18:57,240 --> 00:19:01,280 Speaker 1: we ended up puff, we up doing some more business together, 467 00:19:01,840 --> 00:19:04,080 Speaker 1: and the next year after that, two thousand and six, 468 00:19:04,160 --> 00:19:07,320 Speaker 1: we came right back with Block and we did the 469 00:19:08,240 --> 00:19:11,000 Speaker 1: Young Job project, you know what I mean. So I 470 00:19:11,080 --> 00:19:13,280 Speaker 1: co executive produced that album. Man ended up with a 471 00:19:13,320 --> 00:19:17,480 Speaker 1: single which was just going down, and I just kept working. Man, 472 00:19:17,520 --> 00:19:19,680 Speaker 1: it's branding myself and stand out of trouble, you know 473 00:19:19,720 --> 00:19:21,800 Speaker 1: what I mean. So it was like, you know, Atlanta's 474 00:19:21,840 --> 00:19:23,760 Speaker 1: one of them cities, man. You know, if you're not careful, 475 00:19:24,359 --> 00:19:26,760 Speaker 1: you're getting some trouble real quick. Yeah, you know, And 476 00:19:26,800 --> 00:19:28,920 Speaker 1: that's you know, I think, what's going on right now 477 00:19:28,920 --> 00:19:30,840 Speaker 1: it's real easy to get into, man. But I just 478 00:19:30,840 --> 00:19:33,680 Speaker 1: tell everybody coming up, stay focused and just keep doing 479 00:19:33,680 --> 00:19:34,240 Speaker 1: what you're doing. 480 00:19:34,720 --> 00:19:36,680 Speaker 2: And you know, if you're getting in, if you're in jail, 481 00:19:36,720 --> 00:19:38,240 Speaker 2: you can't work, you know what I mean. 482 00:19:38,280 --> 00:19:40,160 Speaker 1: So that's why I always was like, let me stay 483 00:19:40,160 --> 00:19:42,520 Speaker 1: out the way, let me not get into too much, 484 00:19:42,720 --> 00:19:44,880 Speaker 1: you know, politics of the music entertainment game. 485 00:19:45,000 --> 00:19:46,440 Speaker 2: So and then we're here right now. 486 00:19:46,840 --> 00:19:48,360 Speaker 3: So look, so let me ask you, mancas No, I'd 487 00:19:48,400 --> 00:19:51,280 Speaker 3: love that rundown bro again, you dropped mister Coop in here. 488 00:19:51,320 --> 00:19:52,879 Speaker 3: So I'm just saying, Bro, a lot of people don't know. 489 00:19:53,040 --> 00:19:55,600 Speaker 3: I tell people threat to your point, that's what we 490 00:19:55,640 --> 00:19:59,959 Speaker 3: used to ride around the East Side, coming out hard, 491 00:20:02,000 --> 00:20:03,520 Speaker 3: all that, all that and all that. 492 00:20:03,880 --> 00:20:04,520 Speaker 4: You know what I'm saying. 493 00:20:04,560 --> 00:20:07,040 Speaker 3: But then like like we'll talk about the young jock 494 00:20:07,080 --> 00:20:08,240 Speaker 3: in the second, but I want to know because I 495 00:20:08,480 --> 00:20:11,320 Speaker 3: remember that whole you know, the boys in the hood 496 00:20:11,400 --> 00:20:13,800 Speaker 3: and you know Blockie and Tea and all the kind 497 00:20:13,800 --> 00:20:15,800 Speaker 3: of stuff they were doing. Like, yeah, when did you 498 00:20:15,880 --> 00:20:18,040 Speaker 3: start kind of branding, just like where the name nitty 499 00:20:18,040 --> 00:20:19,680 Speaker 3: Beats come from. 500 00:20:19,720 --> 00:20:23,240 Speaker 1: The nitty Be's thing came. Man, when I met Jermaine 501 00:20:23,280 --> 00:20:25,800 Speaker 1: du Prix. Jermaine the Prix came to me in two 502 00:20:25,800 --> 00:20:29,480 Speaker 1: thousand and four gave me on production situation. So I 503 00:20:29,480 --> 00:20:32,119 Speaker 1: did a production situation to joint venture with JD to 504 00:20:32,160 --> 00:20:35,800 Speaker 1: where I would sign acts and produce records and the 505 00:20:35,840 --> 00:20:38,040 Speaker 1: whole nitty Beast thing. Man was one of those things 506 00:20:38,080 --> 00:20:42,360 Speaker 1: were it was a joke, you know, got a little 507 00:20:42,440 --> 00:20:44,000 Speaker 1: kid to get on there. I was like, say, my name, 508 00:20:44,480 --> 00:20:47,639 Speaker 1: Nity Beat, this knity beat. So I was like, you 509 00:20:47,680 --> 00:20:49,520 Speaker 1: know what. And at the time, JD was working on 510 00:20:49,520 --> 00:20:51,480 Speaker 1: a little compilation, so I started putting it on these 511 00:20:51,480 --> 00:20:53,920 Speaker 1: little records and stuff. I think it was called Young 512 00:20:53,960 --> 00:20:54,760 Speaker 1: Flying Flashy. 513 00:20:55,200 --> 00:20:55,640 Speaker 2: Yeah. 514 00:20:55,840 --> 00:20:58,480 Speaker 1: So by the time we did that, I put it 515 00:20:58,520 --> 00:21:01,359 Speaker 1: on some records, and then by the time people started 516 00:21:01,359 --> 00:21:03,840 Speaker 1: hearing it popping up a lot, I was like. 517 00:21:04,600 --> 00:21:05,639 Speaker 2: I might be on something. 518 00:21:06,160 --> 00:21:09,560 Speaker 1: So then someone it might have been might have been 519 00:21:09,600 --> 00:21:11,119 Speaker 1: I don't know who it was, someone said, you know what, 520 00:21:11,119 --> 00:21:13,639 Speaker 1: you should put that on all your records. I'm like, 521 00:21:13,840 --> 00:21:15,199 Speaker 1: I don't know why, but let me try it. 522 00:21:15,640 --> 00:21:18,040 Speaker 2: So then I kept doing it, man, and then the 523 00:21:18,119 --> 00:21:18,840 Speaker 2: more I did. 524 00:21:18,680 --> 00:21:20,880 Speaker 1: It, the more people would look forward to hearing what's 525 00:21:20,880 --> 00:21:22,440 Speaker 1: gonna drop after the nitty Beat tag? 526 00:21:23,000 --> 00:21:23,520 Speaker 2: You know, what I mean. 527 00:21:23,560 --> 00:21:26,080 Speaker 1: So I just always said, well, you know, I'm gonna 528 00:21:26,119 --> 00:21:28,120 Speaker 1: put this on a record. I got to make sure 529 00:21:28,119 --> 00:21:29,680 Speaker 1: I come with some heat after that thing, you know 530 00:21:29,720 --> 00:21:31,720 Speaker 1: what I mean. So I just always put it on 531 00:21:31,760 --> 00:21:32,359 Speaker 1: a lot of records. 532 00:21:32,359 --> 00:21:32,479 Speaker 2: Man. 533 00:21:32,480 --> 00:21:34,240 Speaker 1: Then I just started branding the whole nitty beach thing. 534 00:21:34,800 --> 00:21:37,320 Speaker 1: And by the time I got with JD, you know, 535 00:21:37,440 --> 00:21:39,440 Speaker 1: just to be real, when I did to deal with him, 536 00:21:39,560 --> 00:21:41,280 Speaker 1: I was like, well, JD got a name, but my 537 00:21:41,359 --> 00:21:43,560 Speaker 1: name ain't big as his. So I learned a lot 538 00:21:43,560 --> 00:21:47,040 Speaker 1: of the game from JD. And then I would say, 539 00:21:47,200 --> 00:21:49,119 Speaker 1: in the four years, I might have spent about a 540 00:21:49,200 --> 00:21:52,119 Speaker 1: half a million dollars just branding my name, you know, 541 00:21:52,680 --> 00:21:55,360 Speaker 1: club and parties and all that type of stuff. So 542 00:21:55,760 --> 00:21:58,040 Speaker 1: I knew the importance of branding because you know, he 543 00:21:58,119 --> 00:22:00,399 Speaker 1: taught me the importance of that too. I mean, so 544 00:22:00,440 --> 00:22:03,120 Speaker 1: we would go out of the country in the country 545 00:22:03,240 --> 00:22:05,040 Speaker 1: and he was like, nitdy, you gotta do this, nitty 546 00:22:05,080 --> 00:22:06,320 Speaker 1: you got to do that. You got to do that. 547 00:22:06,480 --> 00:22:08,560 Speaker 1: So I learned a lot from him, and then Puff 548 00:22:08,560 --> 00:22:10,720 Speaker 1: taught me a lot too. I can't say, you know, 549 00:22:10,920 --> 00:22:12,520 Speaker 1: I know, you know, he you know, he went through 550 00:22:12,520 --> 00:22:14,080 Speaker 1: a lot of stuff, you know, in the last whatever. 551 00:22:14,160 --> 00:22:15,439 Speaker 1: But at the end of the day, I learned a 552 00:22:15,440 --> 00:22:17,479 Speaker 1: lot of game from Puff just teaching me how to 553 00:22:18,000 --> 00:22:19,960 Speaker 1: He was the first person that told me I was 554 00:22:20,000 --> 00:22:22,800 Speaker 1: a producer, you know, because by the time I met him, 555 00:22:22,800 --> 00:22:25,159 Speaker 1: he was like, you got to tell me what to 556 00:22:25,200 --> 00:22:28,080 Speaker 1: do in the booth and I was like, nigga, I can't. 557 00:22:27,840 --> 00:22:29,399 Speaker 2: Tell you what to do, you Puff, you know what 558 00:22:29,440 --> 00:22:29,800 Speaker 2: I mean. 559 00:22:29,920 --> 00:22:32,600 Speaker 1: So for him to tell me that, I was like, 560 00:22:32,720 --> 00:22:35,159 Speaker 1: you know what, that's a big statement, and you know 561 00:22:35,160 --> 00:22:37,040 Speaker 1: what I mean. So and he told me again he 562 00:22:37,320 --> 00:22:39,720 Speaker 1: was always a fan of my work, so you know, 563 00:22:39,920 --> 00:22:42,040 Speaker 1: for him at that status, and you know, that was 564 00:22:42,080 --> 00:22:43,680 Speaker 1: the height of bad boy, you know what I mean. 565 00:22:43,760 --> 00:22:46,560 Speaker 1: So I was like, I was I was honored, you 566 00:22:46,560 --> 00:22:48,960 Speaker 1: know what I mean. So just being people telling you 567 00:22:48,960 --> 00:22:51,880 Speaker 1: people don't understand, just small words like that can take 568 00:22:51,880 --> 00:22:54,679 Speaker 1: a person a long way, and it motivated me to 569 00:22:54,720 --> 00:22:57,320 Speaker 1: want to do so much more. And you know, I 570 00:22:57,359 --> 00:22:59,720 Speaker 1: was like, you know what, that's something that I needed 571 00:22:59,760 --> 00:23:02,240 Speaker 1: in my life life because I knew what I was doing. 572 00:23:02,520 --> 00:23:04,160 Speaker 2: But when you're doing music. 573 00:23:03,840 --> 00:23:06,280 Speaker 1: And stuff, sometimes you spend a lot of time isolated, 574 00:23:07,040 --> 00:23:09,480 Speaker 1: so you don't really know the effect that you're having 575 00:23:09,560 --> 00:23:10,000 Speaker 1: on people. 576 00:23:10,200 --> 00:23:10,760 Speaker 2: You know what I mean. 577 00:23:10,840 --> 00:23:13,120 Speaker 1: So, like I told Ball when I first met him, 578 00:23:13,119 --> 00:23:15,560 Speaker 1: I said, man, you guys don't know how many nights 579 00:23:15,560 --> 00:23:18,720 Speaker 1: we would just listen to y'all's music and we would 580 00:23:18,800 --> 00:23:21,120 Speaker 1: just go to sleep. We sit in the car and 581 00:23:21,280 --> 00:23:24,480 Speaker 1: play it back to back to back, and you know, 582 00:23:24,560 --> 00:23:25,400 Speaker 1: you guys told. 583 00:23:25,240 --> 00:23:26,840 Speaker 2: Us, you guys kind of raised Atlanta. 584 00:23:27,200 --> 00:23:28,440 Speaker 1: Yeah, you know what I mean, a lot of people 585 00:23:28,440 --> 00:23:29,840 Speaker 1: don't want to give it to him, but I'm gonna 586 00:23:29,880 --> 00:23:31,280 Speaker 1: tell them, Yeah, y'all raised Atlanta. 587 00:23:31,320 --> 00:23:31,480 Speaker 3: Man. 588 00:23:31,520 --> 00:23:35,240 Speaker 1: We didn't we we was we was growing up early. 589 00:23:35,359 --> 00:23:37,240 Speaker 1: It was early, man. Yeah, so it was just one 590 00:23:37,240 --> 00:23:38,679 Speaker 1: of those things, man. So I'm appreciative. 591 00:23:39,160 --> 00:23:39,320 Speaker 4: Man. 592 00:23:39,359 --> 00:23:41,840 Speaker 3: Look, I'll be the first one to argue at anybody 593 00:23:41,840 --> 00:23:43,680 Speaker 3: and tell them space Age Pimping is a love song 594 00:23:44,000 --> 00:23:44,280 Speaker 3: and you. 595 00:23:44,240 --> 00:23:45,760 Speaker 4: Can't change my mind. I don't care when nobody. 596 00:23:46,280 --> 00:23:48,840 Speaker 1: If I get married, man, they gonna play Space Age 597 00:23:48,840 --> 00:23:50,520 Speaker 1: Pimping at my wedding. 598 00:23:50,600 --> 00:23:50,719 Speaker 2: Man. 599 00:23:50,800 --> 00:23:53,280 Speaker 1: My mama she heard space Age Pimping one day and 600 00:23:53,720 --> 00:23:55,600 Speaker 1: because I was trying to tell how I was like, listen, 601 00:23:56,040 --> 00:23:58,520 Speaker 1: I said, everything that you hear on records, don't take 602 00:23:58,520 --> 00:24:00,320 Speaker 1: it serious. Look at it like you gonna have a 603 00:24:00,320 --> 00:24:04,000 Speaker 1: Denzel movie or something. It's acting, it's entertainment. So bo 604 00:24:04,160 --> 00:24:06,240 Speaker 1: she heard. She said I couldn't listen to that though, 605 00:24:06,320 --> 00:24:08,560 Speaker 1: but I told her, I said, Man, Space pimping. They 606 00:24:08,600 --> 00:24:11,919 Speaker 1: should play it at church every Sunday. Man, that's a 607 00:24:11,960 --> 00:24:12,520 Speaker 1: love song. 608 00:24:12,440 --> 00:24:14,680 Speaker 4: Right, can't convince me any differentness. 609 00:24:14,760 --> 00:24:16,920 Speaker 2: That's a love song. Man, shout out the ball in 610 00:24:17,040 --> 00:24:17,800 Speaker 2: g tho man. 611 00:24:29,480 --> 00:24:29,720 Speaker 4: Bok. 612 00:24:29,760 --> 00:24:31,600 Speaker 3: There was definitely a time again where like so much 613 00:24:31,600 --> 00:24:34,159 Speaker 3: of the Atlanta sound was like emerging, like it was 614 00:24:34,200 --> 00:24:35,879 Speaker 3: still kind of starting to figure yourself out because it 615 00:24:35,960 --> 00:24:38,320 Speaker 3: had a lot of that Miami based influence and it's 616 00:24:38,320 --> 00:24:41,280 Speaker 3: still and like you know, Outcasts and Dungeon Family was 617 00:24:41,320 --> 00:24:42,679 Speaker 3: kind of just starting to pop up. But yeah, man, 618 00:24:42,680 --> 00:24:46,280 Speaker 3: we had hit Man, Sammy, Sam Camp, you know, Smurf, 619 00:24:47,200 --> 00:24:49,119 Speaker 3: all them guys, JD and everything. Like I think the 620 00:24:49,200 --> 00:24:50,600 Speaker 3: Lamb was kind of trying to like figure it out 621 00:24:50,600 --> 00:24:53,000 Speaker 3: a little bit and figure out like what our sound was. 622 00:24:53,400 --> 00:24:55,240 Speaker 3: And so to your point, like, yeah, man, I remember 623 00:24:55,240 --> 00:24:59,280 Speaker 3: growing up bro all that stuff, that stuff, every scene. 624 00:24:59,359 --> 00:25:00,399 Speaker 4: I still don't words of not. 625 00:25:02,359 --> 00:25:06,320 Speaker 1: Hey you put that nine milimeter on man. I mean, man, listen, bru, 626 00:25:06,440 --> 00:25:08,919 Speaker 1: you gonna hear like that's it touched your soul. I 627 00:25:08,920 --> 00:25:11,719 Speaker 1: can't even explain to you sound crazy, man, But if 628 00:25:11,720 --> 00:25:13,359 Speaker 1: you ain't grow up in Atlanta around that era, man, 629 00:25:13,400 --> 00:25:15,600 Speaker 1: you won't even understand where we're coming from right now. Man, 630 00:25:15,640 --> 00:25:19,040 Speaker 1: But that's like history, man, like, and you know, it's 631 00:25:19,080 --> 00:25:21,960 Speaker 1: like to this day. That's why I'm real concerned with 632 00:25:22,000 --> 00:25:24,040 Speaker 1: a lot of the new artists that are coming out, 633 00:25:24,480 --> 00:25:27,600 Speaker 1: and I'm trying to explain to them, Hey, you want 634 00:25:27,600 --> 00:25:29,879 Speaker 1: to make records that are gonna be here, that are 635 00:25:29,880 --> 00:25:33,080 Speaker 1: gonna impact real hard. Don't make microwave temporary music. It's 636 00:25:33,119 --> 00:25:35,560 Speaker 1: cool to do it sometimes, but think about, you know, 637 00:25:35,600 --> 00:25:38,600 Speaker 1: the quality. Think about and that's something that you know 638 00:25:38,600 --> 00:25:39,919 Speaker 1: we're gonna touch on a little bit later on. 639 00:25:40,000 --> 00:25:40,480 Speaker 2: Yeah, you know. 640 00:25:40,520 --> 00:25:43,159 Speaker 1: But yeah, that's why I was always like, you know, 641 00:25:43,200 --> 00:25:45,800 Speaker 1: my mixes back then would cost three four thousand dollars 642 00:25:45,840 --> 00:25:48,080 Speaker 1: because I was like, I want them to sound a 643 00:25:48,080 --> 00:25:50,199 Speaker 1: certain way, because I got to compete with you know, 644 00:25:50,240 --> 00:25:52,560 Speaker 1: Puff told me, hey, listen, you want to be a producer, 645 00:25:52,600 --> 00:25:54,680 Speaker 1: you got to compete with the other producers that I hear. 646 00:25:55,160 --> 00:25:57,960 Speaker 1: You got to compete with anybody's ever produced the record 647 00:25:58,040 --> 00:26:00,399 Speaker 1: prior to you. So I'm like, okay, well I got 648 00:26:00,440 --> 00:26:02,240 Speaker 1: to go and find the best engineers. I got to 649 00:26:02,240 --> 00:26:04,760 Speaker 1: go get the best musicians and all that type of stuff. 650 00:26:04,840 --> 00:26:07,320 Speaker 1: So that's why I learned, man, and I'm still learning, 651 00:26:07,440 --> 00:26:09,159 Speaker 1: you know what I mean. So it's just one of 652 00:26:09,200 --> 00:26:11,240 Speaker 1: those things where I'm just appreciated that I'm in Atlanta, 653 00:26:11,280 --> 00:26:13,240 Speaker 1: because Atlanta's one of those cities where you could bump 654 00:26:13,240 --> 00:26:16,320 Speaker 1: into I remember when I first met Jazzy Fade. 655 00:26:16,320 --> 00:26:19,159 Speaker 2: He was in the atrium. 656 00:26:19,240 --> 00:26:21,399 Speaker 1: Yeah, he was using the bathroom and I ran up 657 00:26:21,440 --> 00:26:23,680 Speaker 1: on him and tapped him on the shoulder. He turned 658 00:26:23,680 --> 00:26:26,879 Speaker 1: around like, man, let me get through PN Man. I'm like, no, 659 00:26:27,040 --> 00:26:28,640 Speaker 1: you got to meet me, you know what I mean. 660 00:26:28,800 --> 00:26:32,000 Speaker 1: So I met Jazzy Man and Jazzy was one of 661 00:26:32,000 --> 00:26:34,520 Speaker 1: the ones that he was over at noontime at that time, 662 00:26:35,240 --> 00:26:38,520 Speaker 1: and noontime was popping man, and I want to be 663 00:26:38,520 --> 00:26:40,040 Speaker 1: a noontime producer. 664 00:26:39,680 --> 00:26:41,520 Speaker 2: So bad Man shout out to Terry Ross. 665 00:26:41,560 --> 00:26:43,239 Speaker 1: He took a couple of meetings with me Man, and 666 00:26:44,160 --> 00:26:47,520 Speaker 1: I think I actually could have got into that situation, 667 00:26:47,640 --> 00:26:51,320 Speaker 1: but I think I started getting a little bit more like, 668 00:26:51,359 --> 00:26:52,440 Speaker 1: you know what, I think, I want to be a 669 00:26:52,440 --> 00:26:55,360 Speaker 1: little bit more independent. And at the time they had 670 00:26:55,359 --> 00:26:58,119 Speaker 1: Brian Michael Cox over there. They had Teddy Bishop, they 671 00:26:58,119 --> 00:27:01,359 Speaker 1: had Anthony denty Ate up, they had a lot of 672 00:27:01,359 --> 00:27:04,120 Speaker 1: producers over there, so I'm always studying producers and stuff, man. 673 00:27:04,160 --> 00:27:07,159 Speaker 1: But I was like, you know what, let me just 674 00:27:07,240 --> 00:27:10,880 Speaker 1: try to network and get to know people and hopefully 675 00:27:10,920 --> 00:27:13,800 Speaker 1: they'll like my music and respect it one day. And 676 00:27:13,880 --> 00:27:15,240 Speaker 1: you know, but like I said, I would try to 677 00:27:15,240 --> 00:27:17,040 Speaker 1: get on with a lot of people in Atlanta, but 678 00:27:17,560 --> 00:27:21,640 Speaker 1: I couldn't get inside those buildings and stuff until I 679 00:27:21,720 --> 00:27:23,800 Speaker 1: made a name for myself and then I came back 680 00:27:23,840 --> 00:27:24,399 Speaker 1: to the city. 681 00:27:24,640 --> 00:27:26,320 Speaker 2: Yeah, you know, so that's what it was. Man. 682 00:27:26,800 --> 00:27:28,840 Speaker 1: It was no malice behind it where I had hater. 683 00:27:29,400 --> 00:27:31,119 Speaker 1: I'm glad that they did me like that, you know 684 00:27:31,119 --> 00:27:32,760 Speaker 1: what I mean, because I was like, Okay, y'all made 685 00:27:32,760 --> 00:27:35,400 Speaker 1: me work to make y'all speak to me. I appreciate 686 00:27:35,440 --> 00:27:37,480 Speaker 1: it because if that's what I had to do, I 687 00:27:37,600 --> 00:27:38,000 Speaker 1: take that. 688 00:27:38,200 --> 00:27:40,359 Speaker 4: Yeah, and you built it up and you made it happen, 689 00:27:40,359 --> 00:27:42,240 Speaker 4: and I mean I got to ask them. So now 690 00:27:42,240 --> 00:27:43,280 Speaker 4: we're now we're to that point. 691 00:27:43,480 --> 00:27:45,280 Speaker 3: Yeah, man, I got to ask about this going down 692 00:27:45,320 --> 00:27:46,960 Speaker 3: because even to this day, man, you know, like we 693 00:27:47,000 --> 00:27:49,480 Speaker 3: actually just we were talking about again off before we 694 00:27:49,480 --> 00:27:52,760 Speaker 3: started recording with like four or four days, an event 695 00:27:52,800 --> 00:27:55,080 Speaker 3: that we do with Butter and Trapman's Museum and aie 696 00:27:55,200 --> 00:27:55,800 Speaker 3: and finished first. 697 00:27:55,800 --> 00:27:57,440 Speaker 2: We do this big thing every year and so actually 698 00:27:57,440 --> 00:27:58,080 Speaker 2: even this year. 699 00:27:59,680 --> 00:28:01,359 Speaker 3: We we do an event every year at the city 700 00:28:01,359 --> 00:28:05,040 Speaker 3: at City Hall, and so this year they honored young 701 00:28:05,160 --> 00:28:07,359 Speaker 3: Jack along with some other people. I was on stage, 702 00:28:07,760 --> 00:28:09,440 Speaker 3: he was on stage, and then he kind of performed 703 00:28:09,480 --> 00:28:11,720 Speaker 3: like he performed us going down, and again you got 704 00:28:11,760 --> 00:28:14,119 Speaker 3: everybody in the audience just said, like, what do you 705 00:28:14,160 --> 00:28:16,280 Speaker 3: remember about that that time, that moment, you know what 706 00:28:16,280 --> 00:28:16,800 Speaker 3: I'm saying. 707 00:28:17,000 --> 00:28:18,600 Speaker 2: I mean, it was a good moment, man. 708 00:28:18,680 --> 00:28:21,280 Speaker 1: Like you know, I've had to tell the story a 709 00:28:21,280 --> 00:28:24,080 Speaker 1: couple of times, and you know, I try to get 710 00:28:24,119 --> 00:28:25,240 Speaker 1: right to the point because I know a lot of 711 00:28:25,240 --> 00:28:27,280 Speaker 1: people want to know about it, and a lot of 712 00:28:27,280 --> 00:28:29,840 Speaker 1: people thought that, you know, me and Jacques we had 713 00:28:29,880 --> 00:28:33,160 Speaker 1: this big riff thing or something. Me and Jock never 714 00:28:33,240 --> 00:28:35,520 Speaker 1: had an argument in life, you know what I mean. 715 00:28:36,640 --> 00:28:39,040 Speaker 1: I think at the time when Jock, when I met him, 716 00:28:39,040 --> 00:28:40,400 Speaker 1: I met him through a guy named Chino. 717 00:28:41,200 --> 00:28:43,240 Speaker 2: So. Chino was a guy from he used to be 718 00:28:43,240 --> 00:28:43,720 Speaker 2: in the East Side. 719 00:28:43,720 --> 00:28:46,760 Speaker 1: He had a wingstand and I met him through some 720 00:28:46,840 --> 00:28:49,040 Speaker 1: mutual friends and stuff, and he was like, Man. At 721 00:28:49,040 --> 00:28:51,600 Speaker 1: the time, I had a female artist whom Jock was 722 00:28:51,600 --> 00:28:54,760 Speaker 1: cool with, and Jock ended up coming on the road 723 00:28:54,800 --> 00:28:56,240 Speaker 1: with her as her hype man. 724 00:28:56,640 --> 00:28:59,520 Speaker 2: Her name was ms B. So by the. 725 00:28:59,480 --> 00:29:03,240 Speaker 1: Time when I met when I met Job, I was like, 726 00:29:03,360 --> 00:29:04,920 Speaker 1: he was like, man, listen, then I just want you 727 00:29:04,960 --> 00:29:06,840 Speaker 1: to work with him. So it took me about three 728 00:29:06,840 --> 00:29:08,760 Speaker 1: months before I actually worked and went took him in 729 00:29:08,800 --> 00:29:11,520 Speaker 1: the studio, and I was like, let me just think 730 00:29:11,520 --> 00:29:13,680 Speaker 1: about it, you know, because I'm like this guy, you know, 731 00:29:13,720 --> 00:29:15,920 Speaker 1: he he dressed a little different he was when Hi 732 00:29:15,960 --> 00:29:18,360 Speaker 1: was Sachi type stuff back then, so you know, he 733 00:29:18,440 --> 00:29:20,000 Speaker 1: was a real flamboyant type guy. 734 00:29:20,040 --> 00:29:21,520 Speaker 2: So I didn't know what to do with him. 735 00:29:21,920 --> 00:29:23,960 Speaker 1: But I was like, listen, I don't want to mess 736 00:29:23,960 --> 00:29:26,360 Speaker 1: with him as an artist, I said, but as a producer, 737 00:29:26,840 --> 00:29:29,480 Speaker 1: let me brainstorm and see if I can come up 738 00:29:29,480 --> 00:29:32,800 Speaker 1: with a record that would match his image all that 739 00:29:32,840 --> 00:29:35,280 Speaker 1: type of stuff. So make a long story short. Man, 740 00:29:36,160 --> 00:29:39,480 Speaker 1: you know, said, hey, just do it one time for me. 741 00:29:39,520 --> 00:29:41,320 Speaker 1: I said, okay, I said, just pay for the studio time, 742 00:29:41,360 --> 00:29:42,640 Speaker 1: you know, so I can you know, take care of 743 00:29:42,720 --> 00:29:45,040 Speaker 1: enginey and whatever whatever I said, And then we come 744 00:29:45,080 --> 00:29:46,840 Speaker 1: up with a head then we'll go from there. I 745 00:29:46,840 --> 00:29:49,960 Speaker 1: took him in the studio, made the beat about five minutes, 746 00:29:50,760 --> 00:29:55,280 Speaker 1: and he wasn't as much of a writer back then, 747 00:29:55,680 --> 00:29:59,400 Speaker 1: so we co wrote It's going Down together also, just 748 00:29:59,400 --> 00:30:01,440 Speaker 1: me and Job. And once we went in there and 749 00:30:01,480 --> 00:30:05,360 Speaker 1: recorded it, he had this hook on there and going down. 750 00:30:05,440 --> 00:30:08,160 Speaker 1: When it loops on the hook that wasn't the hook. 751 00:30:08,360 --> 00:30:10,320 Speaker 1: He had another part of the hook say somethingbody, we 752 00:30:10,360 --> 00:30:13,720 Speaker 1: can do it, do it, do it, And I took 753 00:30:13,800 --> 00:30:16,520 Speaker 1: that off and loop that is going down Now. 754 00:30:16,520 --> 00:30:18,920 Speaker 2: He got mad about that. He was like, man, why 755 00:30:18,920 --> 00:30:21,000 Speaker 2: did you take it off? Blah blah blah. I was like, listen, 756 00:30:21,840 --> 00:30:22,400 Speaker 2: I started to say. 757 00:30:22,480 --> 00:30:24,800 Speaker 1: Puff told me, I'm the producer, you the artist, So 758 00:30:24,880 --> 00:30:26,680 Speaker 1: you the artist can't tell the producer what to do, 759 00:30:26,880 --> 00:30:27,360 Speaker 1: you know what I mean. 760 00:30:27,600 --> 00:30:29,360 Speaker 2: So yeah, we ended up doing that record. Man, we 761 00:30:29,440 --> 00:30:29,960 Speaker 2: leaked it out. 762 00:30:30,360 --> 00:30:32,760 Speaker 1: A couple of DJs got the record and stuff, and 763 00:30:33,640 --> 00:30:35,760 Speaker 1: I'll never forget the day Block caught me and said, hey, 764 00:30:36,600 --> 00:30:38,480 Speaker 1: Jock and Chino over here, they want to They trying 765 00:30:38,480 --> 00:30:40,360 Speaker 1: to get me. They want me to sign Because you know, 766 00:30:40,360 --> 00:30:42,760 Speaker 1: he knew kim Port at the time, Like he said, 767 00:30:42,760 --> 00:30:44,240 Speaker 1: you're not trying to sign him? I said, no, I said, 768 00:30:44,240 --> 00:30:46,200 Speaker 1: go ahead and sign I said, I'm just the producer. 769 00:30:46,600 --> 00:30:48,360 Speaker 1: I said, well sign him that way, at least we 770 00:30:48,440 --> 00:30:50,760 Speaker 1: know it's in Atlanta. Yeah, and I think at the 771 00:30:50,760 --> 00:30:53,120 Speaker 1: time JD wanted to sign him too, But it was 772 00:30:53,200 --> 00:30:56,240 Speaker 1: like back then, you know, I didn't understand the way 773 00:30:56,280 --> 00:30:58,920 Speaker 1: the game go. You know, I didn't understand about the 774 00:30:59,360 --> 00:31:01,920 Speaker 1: meetings that go and you're not there. So I didn't 775 00:31:01,920 --> 00:31:04,080 Speaker 1: didn't care because I knew that I had read so 776 00:31:04,160 --> 00:31:06,800 Speaker 1: much about as long as you know that you own 777 00:31:06,880 --> 00:31:09,880 Speaker 1: the beat and all this stuff you business contain. So anyway, 778 00:31:09,920 --> 00:31:12,120 Speaker 1: we ended up doing the record, the record get out, 779 00:31:12,200 --> 00:31:14,400 Speaker 1: and next thing you know, everybody's starting to do the 780 00:31:14,400 --> 00:31:17,400 Speaker 1: little motorcycle dance and it just went crazy, man. 781 00:31:17,440 --> 00:31:19,120 Speaker 2: And that was one of those things. 782 00:31:19,440 --> 00:31:23,600 Speaker 1: Shout out to Kevin Loves because at the time, you know, 783 00:31:23,640 --> 00:31:25,320 Speaker 1: I think all of us had a little bit of 784 00:31:25,880 --> 00:31:28,040 Speaker 1: we all thought we had to say so on the 785 00:31:28,080 --> 00:31:31,000 Speaker 1: record and blah blah blah blah blah. So Kevin Loves 786 00:31:31,040 --> 00:31:33,000 Speaker 1: was the guy that got me to clear that record. 787 00:31:33,680 --> 00:31:37,400 Speaker 1: And just to be honest, Kevin Lows gave me I 788 00:31:37,440 --> 00:31:39,360 Speaker 1: think I told him at one hundred thousand dollars for 789 00:31:39,440 --> 00:31:43,520 Speaker 1: the beat. He gave me seventy five thousand, and I 790 00:31:43,640 --> 00:31:46,800 Speaker 1: co executive produced that album and the rest was history. 791 00:31:46,840 --> 00:31:47,000 Speaker 2: Man. 792 00:31:47,040 --> 00:31:49,080 Speaker 1: And like I said, all us to this day, you know, 793 00:31:49,120 --> 00:31:52,280 Speaker 1: I've seen Jock, seen Block. We all you know, have 794 00:31:52,560 --> 00:31:55,640 Speaker 1: cool relationships and stuff. It's no never being any type 795 00:31:55,640 --> 00:31:58,160 Speaker 1: of bad energy or anything like that. So that record 796 00:31:58,160 --> 00:32:00,720 Speaker 1: was a blessing to the city. And I think the coach, yeah, 797 00:32:00,720 --> 00:32:02,360 Speaker 1: you know what I mean. So I would just appreciate 798 00:32:02,640 --> 00:32:04,360 Speaker 1: that I was a part of that record man, to 799 00:32:04,400 --> 00:32:05,800 Speaker 1: be honest, yeah, I think. 800 00:32:05,680 --> 00:32:08,840 Speaker 3: You know, I think in everybody's career there's, like I say, 801 00:32:08,920 --> 00:32:12,920 Speaker 3: like moments and inflection points, and I feel like that 802 00:32:13,040 --> 00:32:15,520 Speaker 3: was definitely kind of a moment and an inflection point 803 00:32:15,560 --> 00:32:17,680 Speaker 3: for you, right, because that's that was a huge album, 804 00:32:18,320 --> 00:32:20,680 Speaker 3: you know, a yeah, everybody's doing the dance and again 805 00:32:20,800 --> 00:32:23,600 Speaker 3: it was huge even outside of Atlanta, right, And I 806 00:32:23,600 --> 00:32:25,160 Speaker 3: think for a lot of times too, people kind of 807 00:32:25,200 --> 00:32:27,400 Speaker 3: like people don't understand how like regional music used to be, 808 00:32:27,920 --> 00:32:29,640 Speaker 3: you know what I'm saying, and like, you know, kind 809 00:32:29,640 --> 00:32:31,200 Speaker 3: of geting respect. But it like popped off. Like my 810 00:32:31,360 --> 00:32:34,560 Speaker 3: question for you is what changed after that album blew up? 811 00:32:34,560 --> 00:32:35,840 Speaker 3: Because it just for the just for the record. That 812 00:32:35,880 --> 00:32:38,280 Speaker 3: album is how many times platinum now, like roughly. 813 00:32:38,040 --> 00:32:40,280 Speaker 2: It's a lot, man, you know, I mean it did 814 00:32:40,400 --> 00:32:41,120 Speaker 2: real good man. 815 00:32:42,120 --> 00:32:45,920 Speaker 1: I could just say that that's a record that just 816 00:32:46,040 --> 00:32:49,880 Speaker 1: watching how it keeps going and it won't die. But 817 00:32:49,960 --> 00:32:51,960 Speaker 1: like I said, it's it's it's up there man, it's 818 00:32:52,000 --> 00:32:55,120 Speaker 1: multi platinum. Yeah, man, Like I said, I knew that 819 00:32:55,400 --> 00:32:58,280 Speaker 1: I wanted to make a record that could go on 820 00:32:58,320 --> 00:33:01,080 Speaker 1: the in the South and the no in the West coast, 821 00:33:01,400 --> 00:33:03,560 Speaker 1: in the Midwest. So that was my plan. So I 822 00:33:03,600 --> 00:33:05,320 Speaker 1: was trying to make a universal beat. That's why I 823 00:33:05,320 --> 00:33:07,200 Speaker 1: try to tell a lot of producers and artists, don't 824 00:33:07,240 --> 00:33:10,960 Speaker 1: make songs just for your area. Shoot for the world, 825 00:33:11,000 --> 00:33:12,760 Speaker 1: because it's a bigger world than just Georgia. 826 00:33:13,040 --> 00:33:13,360 Speaker 2: Yeah. 827 00:33:13,960 --> 00:33:17,200 Speaker 1: So we just it did with it dead man, and 828 00:33:18,040 --> 00:33:20,120 Speaker 1: you know, like I said, you know, it got so 829 00:33:20,280 --> 00:33:24,400 Speaker 1: big and it was so it was so much going on. 830 00:33:24,480 --> 00:33:26,360 Speaker 1: I wish that we could have did more records at 831 00:33:26,360 --> 00:33:29,960 Speaker 1: that time, but because you know, Jack and Chino and 832 00:33:30,000 --> 00:33:32,480 Speaker 1: everybody being new to the business, because they wasn't in 833 00:33:32,520 --> 00:33:35,560 Speaker 1: the business at the time. And I've seen a lot 834 00:33:35,560 --> 00:33:37,920 Speaker 1: of artists make those mistakes, like no disrespect to them, 835 00:33:37,920 --> 00:33:42,720 Speaker 1: but I think that sometimes you know us as you know, 836 00:33:42,880 --> 00:33:45,440 Speaker 1: just people in the entertainment business. When you're new to it, 837 00:33:45,440 --> 00:33:47,840 Speaker 1: you think that, oh, I got it now, I don't 838 00:33:47,880 --> 00:33:49,360 Speaker 1: need to go back and see rich Keller. 839 00:33:49,640 --> 00:33:51,280 Speaker 2: I don't know to go back and see Leslie. 840 00:33:51,800 --> 00:33:54,560 Speaker 1: That the engineers to mix these records, they don't realize 841 00:33:54,560 --> 00:33:58,040 Speaker 1: that the ingredients that we bring, that different people bring 842 00:33:58,040 --> 00:34:01,680 Speaker 1: to the table sometimes need that, you know what I mean. 843 00:34:01,760 --> 00:34:04,720 Speaker 2: So, same thing that happened with rachromy Korn. 844 00:34:04,960 --> 00:34:08,279 Speaker 1: I hate to this day that I only did one 845 00:34:08,360 --> 00:34:10,319 Speaker 1: record with rachrom m Korn. I produced that and it 846 00:34:10,400 --> 00:34:13,400 Speaker 1: was called Flex. I did that with my homie DJ Spins. 847 00:34:13,840 --> 00:34:16,359 Speaker 1: We did that record together and that was the first 848 00:34:16,440 --> 00:34:18,680 Speaker 1: and last record that I did, and it ended up 849 00:34:18,800 --> 00:34:21,800 Speaker 1: being the biggest record of richrom m Korn's career according 850 00:34:21,880 --> 00:34:26,919 Speaker 1: to you know, the numbers. So I think that sometimes, 851 00:34:27,080 --> 00:34:30,520 Speaker 1: you know, you have to remember that if you made 852 00:34:30,600 --> 00:34:33,239 Speaker 1: this product with these ingredients, sometimes you have to go 853 00:34:33,320 --> 00:34:36,760 Speaker 1: back to those ingredients, man, you know, because I remember, 854 00:34:36,920 --> 00:34:39,799 Speaker 1: I remember when when even when the Job album came out, 855 00:34:40,000 --> 00:34:42,080 Speaker 1: you know, I went and I think they went and 856 00:34:42,160 --> 00:34:43,360 Speaker 1: did a record with Pharrell. 857 00:34:43,520 --> 00:34:45,680 Speaker 2: They went and did a record with this person that person. 858 00:34:45,800 --> 00:34:49,200 Speaker 1: I was like to myself, I was like, well, Forrell 859 00:34:49,280 --> 00:34:51,200 Speaker 1: didn't give you it's going down, why would you go? 860 00:34:51,800 --> 00:34:54,600 Speaker 1: And I know Forrell was busting Yeah, he was busting 861 00:34:54,640 --> 00:34:56,319 Speaker 1: heads at that time, you know what I mean. But 862 00:34:56,560 --> 00:35:00,000 Speaker 1: sometimes you know, people you know, go through those situations, 863 00:35:00,000 --> 00:35:02,000 Speaker 1: but where you have to learn that. You know what, 864 00:35:02,080 --> 00:35:04,480 Speaker 1: We wasted a quarter million dollars paying for real for 865 00:35:04,520 --> 00:35:06,799 Speaker 1: a beat, you know what I mean. So it's a 866 00:35:06,840 --> 00:35:08,760 Speaker 1: learning process. But I think it was a learning process 867 00:35:08,760 --> 00:35:10,200 Speaker 1: for all of us. But I think we all had 868 00:35:10,239 --> 00:35:12,680 Speaker 1: little little bits of egos back then because the record 869 00:35:12,719 --> 00:35:14,319 Speaker 1: got so big so quick, you know what I mean. 870 00:35:14,400 --> 00:35:16,920 Speaker 1: So you know it was a learning process, man. But 871 00:35:16,960 --> 00:35:19,440 Speaker 1: like I said, the record still lives and hopefully to 872 00:35:19,520 --> 00:35:22,040 Speaker 1: keep living forever. Man, And you know we could maybe 873 00:35:22,040 --> 00:35:22,839 Speaker 1: one day do some more. 874 00:35:22,880 --> 00:35:23,319 Speaker 2: Who knows. 875 00:35:23,440 --> 00:35:25,000 Speaker 3: Yeah, And you know it's in too when you talk 876 00:35:25,000 --> 00:35:27,040 Speaker 3: about like quality and the ingredients you know we had 877 00:35:27,800 --> 00:35:30,120 Speaker 3: you know Curtis from patchworking here, Yeah, you know, and 878 00:35:30,239 --> 00:35:31,799 Speaker 3: that was a big thing he even talked about. It's 879 00:35:31,840 --> 00:35:33,160 Speaker 3: just like, you know, I want to make sure that 880 00:35:33,719 --> 00:35:35,480 Speaker 3: there's a certain kind of sound that comes out of 881 00:35:35,480 --> 00:35:37,360 Speaker 3: patchworks people coming here, you know what I mean? Like 882 00:35:37,440 --> 00:35:39,960 Speaker 3: people will recourse of other places, but like it ain't 883 00:35:39,960 --> 00:35:41,680 Speaker 3: gonna just hit like that. Or he talked about, you know, 884 00:35:41,680 --> 00:35:43,680 Speaker 3: when he was working with Gez and just like this 885 00:35:43,960 --> 00:35:45,440 Speaker 3: base is gonna hit a certain kind of way when 886 00:35:45,480 --> 00:35:47,360 Speaker 3: it comes to just quality and sound, Like, what advice 887 00:35:47,360 --> 00:35:51,200 Speaker 3: would you give to producers and engineers because now it 888 00:35:51,239 --> 00:35:53,239 Speaker 3: seems like the bearer entry is kind of low you 889 00:35:53,280 --> 00:35:54,719 Speaker 3: know what I mean by that? Like, no disrespect, A 890 00:35:54,719 --> 00:35:56,080 Speaker 3: lot of hits come out a lot different places, right, 891 00:35:56,120 --> 00:35:57,239 Speaker 3: But like if a lot of folks they can just 892 00:35:57,239 --> 00:35:59,040 Speaker 3: make it on the computer, they can do something really quick, 893 00:35:59,400 --> 00:36:01,000 Speaker 3: you know what I mean, And like they don't necessarily 894 00:36:01,040 --> 00:36:03,680 Speaker 3: and they might not necessarily have the music training and 895 00:36:03,719 --> 00:36:06,080 Speaker 3: the music backgrounds. Like when you talked about quality and 896 00:36:06,120 --> 00:36:08,480 Speaker 3: just the ingredients, what advice would you give the kind 897 00:36:08,480 --> 00:36:10,640 Speaker 3: of up andcoming producers that are making music now to 898 00:36:10,680 --> 00:36:13,160 Speaker 3: make sure they're approaching the same way as you all did. 899 00:36:13,600 --> 00:36:15,440 Speaker 1: I mean, I would tell them, you know, go back 900 00:36:15,440 --> 00:36:17,480 Speaker 1: and listen to some of the albums that you see 901 00:36:17,520 --> 00:36:20,839 Speaker 1: that sol Platinum are better. I used to go back 902 00:36:20,840 --> 00:36:22,800 Speaker 1: and listen to a lot of the Quincy Jones production 903 00:36:24,040 --> 00:36:26,120 Speaker 1: where he would bring in guys like Rod Temperton and 904 00:36:26,160 --> 00:36:28,280 Speaker 1: Greg Philler gangs and stuff. And when he made Thriller, 905 00:36:28,880 --> 00:36:30,799 Speaker 1: he went and got brothers Johnson and he went and 906 00:36:30,840 --> 00:36:33,440 Speaker 1: got those guys to play all the bass instruments and stuff. 907 00:36:33,480 --> 00:36:35,880 Speaker 1: So I would listen and see, Okay, well let me 908 00:36:35,920 --> 00:36:37,840 Speaker 1: read and see who mixed this, who mastered it, you 909 00:36:37,880 --> 00:36:40,560 Speaker 1: know what I mean. So I think being a producer, yeah, 910 00:36:40,560 --> 00:36:43,319 Speaker 1: we can make beachs real quick, but the mixing and 911 00:36:43,360 --> 00:36:45,279 Speaker 1: the quality of how people hear it when they hear 912 00:36:45,320 --> 00:36:49,319 Speaker 1: it is what really matters. So I tell people it's 913 00:36:49,360 --> 00:36:51,560 Speaker 1: all about the quality of the music, because you can 914 00:36:51,600 --> 00:36:53,279 Speaker 1: have a hit record, but if that mix come out 915 00:36:53,360 --> 00:36:56,280 Speaker 1: or that master's not right. I was listening to Quincy 916 00:36:56,360 --> 00:36:59,640 Speaker 1: Jones talking about when they made Thriller, and when they 917 00:36:59,680 --> 00:37:02,480 Speaker 1: made that album, he was saying that one song they 918 00:37:02,480 --> 00:37:05,320 Speaker 1: had up to like sixty different mixes of one song, 919 00:37:06,239 --> 00:37:09,680 Speaker 1: you know what I mean. So it was like, I 920 00:37:09,680 --> 00:37:12,719 Speaker 1: think the quality is the key to anything. Because you 921 00:37:12,760 --> 00:37:14,839 Speaker 1: can have some of my records, man, I might have 922 00:37:14,880 --> 00:37:18,240 Speaker 1: three sounds in them. I actually did a record called 923 00:37:18,440 --> 00:37:21,320 Speaker 1: go Ahead with Gucci Man. We did that a patchwork 924 00:37:21,719 --> 00:37:24,080 Speaker 1: shout out to Kurt, you know what I mean? That 925 00:37:24,200 --> 00:37:27,319 Speaker 1: record I put one sound on the some drums, and 926 00:37:27,440 --> 00:37:29,919 Speaker 1: Gucci came on the shout and got her his on Hud. 927 00:37:30,440 --> 00:37:34,160 Speaker 2: I'm like, okay, we're done, no more sounds. 928 00:37:34,400 --> 00:37:36,799 Speaker 1: And Kirk he made sure, you know we had their 929 00:37:36,800 --> 00:37:38,360 Speaker 1: base hitting so hard and stuff. 930 00:37:38,360 --> 00:37:40,800 Speaker 2: Man, And I think Mike was engineering or something. 931 00:37:41,239 --> 00:37:43,000 Speaker 1: And I just think that at the end of the day, 932 00:37:44,640 --> 00:37:47,400 Speaker 1: make sure that you got everybody head bobbing. As a producer, 933 00:37:47,600 --> 00:37:49,920 Speaker 1: if they head ain't bobbing, if people go into the bathroom, 934 00:37:50,000 --> 00:37:52,440 Speaker 1: niggas going to order Chick fil A, man going and 935 00:37:52,480 --> 00:37:54,040 Speaker 1: get up out of there and start that thing over, 936 00:37:54,120 --> 00:37:55,919 Speaker 1: start something new, you know what I mean. 937 00:37:56,040 --> 00:37:57,239 Speaker 2: So I just try to make sure. 938 00:37:57,320 --> 00:37:58,879 Speaker 1: Man, if I ain't got your head, if my head 939 00:37:58,880 --> 00:38:00,960 Speaker 1: ain't bobbing and yours ain't bobin too, then I done 940 00:38:01,000 --> 00:38:03,440 Speaker 1: made the wrong beat. We gotta throw that thing over 941 00:38:03,480 --> 00:38:05,759 Speaker 1: here and make something else, man. So I just think, 942 00:38:05,800 --> 00:38:07,880 Speaker 1: you know, producing this stuff, man, like you know, I 943 00:38:07,920 --> 00:38:09,919 Speaker 1: can produce forever, you know what I mean. I got 944 00:38:09,920 --> 00:38:12,239 Speaker 1: a record. I hate to talk about it right now, 945 00:38:12,280 --> 00:38:13,880 Speaker 1: but I'm gonna go on and drop it. But I 946 00:38:13,880 --> 00:38:17,080 Speaker 1: got a record that there's nothing but comedians on there. 947 00:38:17,320 --> 00:38:17,640 Speaker 2: Okay. 948 00:38:19,080 --> 00:38:20,879 Speaker 1: I just talked to I was with Daisy Banks last 949 00:38:20,920 --> 00:38:23,080 Speaker 1: weekend and he heard the record. He wants to get 950 00:38:23,120 --> 00:38:26,960 Speaker 1: on the record, but I got it's it's gonna be 951 00:38:27,040 --> 00:38:28,799 Speaker 1: a record that's gonna I think people are gonna talk 952 00:38:28,800 --> 00:38:30,120 Speaker 1: about it, you know what I mean. So I just 953 00:38:30,160 --> 00:38:32,200 Speaker 1: think as a producer man, there's no limit to what 954 00:38:32,239 --> 00:38:34,680 Speaker 1: you can and can't do. Just do your best as 955 00:38:34,680 --> 00:38:45,759 Speaker 1: a producer, you know what I mean. 956 00:38:47,560 --> 00:38:49,440 Speaker 3: You know it's funny you say this stuff too. And 957 00:38:49,600 --> 00:38:51,440 Speaker 3: you know, we've had some other folks on here that have, 958 00:38:51,520 --> 00:38:53,359 Speaker 3: you know, done music. Mister Hanky is a good friend 959 00:38:53,400 --> 00:38:54,719 Speaker 3: of our you know what I'm saying. He actually made that. 960 00:38:54,760 --> 00:38:58,360 Speaker 3: He actually made the beat for the Buttonmic song, you know, Congress. 961 00:38:58,400 --> 00:39:00,480 Speaker 3: And you know, my dad was in the business a 962 00:39:00,480 --> 00:39:03,200 Speaker 3: little bit, and I remember growing up and it's kind 963 00:39:03,200 --> 00:39:05,799 Speaker 3: of a funny story, but I remember we're talking to 964 00:39:05,840 --> 00:39:08,160 Speaker 3: Barry Gordy, okay, and I remember Barry Gordy said something 965 00:39:08,160 --> 00:39:10,200 Speaker 3: to me that I never forget. He was like, the 966 00:39:10,239 --> 00:39:13,640 Speaker 3: best songs are the ones where the hook is a 967 00:39:13,640 --> 00:39:17,000 Speaker 3: complete thought. And I don't know why he told me that, 968 00:39:17,040 --> 00:39:18,880 Speaker 3: bro I was like ten years old. Probably I have 969 00:39:18,960 --> 00:39:20,279 Speaker 3: no idea why he said that, But it's just well, 970 00:39:20,320 --> 00:39:22,160 Speaker 3: you know those things like it sticks with you. And 971 00:39:22,200 --> 00:39:23,919 Speaker 3: so it's funny like as you kind of talk about 972 00:39:23,960 --> 00:39:26,040 Speaker 3: different songs, I always kind of think back to that, 973 00:39:26,480 --> 00:39:28,000 Speaker 3: and then I even think about like some of the 974 00:39:28,080 --> 00:39:31,080 Speaker 3: music that kind of comes out today where it's like 975 00:39:31,200 --> 00:39:33,600 Speaker 3: yeah like that, Like it's like yeah, like all these songs, 976 00:39:33,680 --> 00:39:37,920 Speaker 3: like the chorus was like a complete thought, and I 977 00:39:37,920 --> 00:39:39,760 Speaker 3: think a lot of the stuff that comes out now 978 00:39:40,239 --> 00:39:41,520 Speaker 3: is just like just words, you know what I mean, 979 00:39:41,520 --> 00:39:42,880 Speaker 3: they just kind of throw it together. Like I don't know, 980 00:39:43,160 --> 00:39:44,640 Speaker 3: like have you ever seen any kind of advice or 981 00:39:44,640 --> 00:39:45,520 Speaker 3: anything similar like that? 982 00:39:45,840 --> 00:39:49,960 Speaker 1: Yeah, I mean, I it might sound crazy. Man, like 983 00:39:50,080 --> 00:39:52,480 Speaker 1: this guy. When I met this guy, my cousin brought 984 00:39:52,520 --> 00:39:56,520 Speaker 1: him to my studio. His name was Sugarfoot. He At 985 00:39:56,520 --> 00:39:58,880 Speaker 1: the time, I didn't know who the hell Sugarfoot was, 986 00:39:59,480 --> 00:40:02,440 Speaker 1: but come to find out, Sugarfoot was a guy that 987 00:40:02,520 --> 00:40:04,319 Speaker 1: was in a big group from the seventies called the 988 00:40:04,360 --> 00:40:05,720 Speaker 1: Ohio Players. 989 00:40:06,080 --> 00:40:07,520 Speaker 2: So he came to the studio one day. 990 00:40:07,560 --> 00:40:09,279 Speaker 1: He came in there with some you know, he just 991 00:40:09,320 --> 00:40:11,080 Speaker 1: came in there and he was talking and he said 992 00:40:11,120 --> 00:40:11,800 Speaker 1: he seen a guitar. 993 00:40:11,840 --> 00:40:14,239 Speaker 2: He said, can you play it? He said, I can't 994 00:40:14,239 --> 00:40:15,040 Speaker 2: play it. That good. 995 00:40:15,880 --> 00:40:18,359 Speaker 1: And he looked at me and said, shut up. I said, 996 00:40:18,360 --> 00:40:20,840 Speaker 1: what you mean? He said, don't never tell nobody you 997 00:40:20,880 --> 00:40:23,239 Speaker 1: can't play a guitar instrument. He said, you play what 998 00:40:23,280 --> 00:40:24,960 Speaker 1: you gonna play, and ask them did they like what 999 00:40:25,000 --> 00:40:29,359 Speaker 1: they hear? And from that point I can say that 1000 00:40:29,960 --> 00:40:33,440 Speaker 1: he made me say it might not sound good to me, 1001 00:40:33,520 --> 00:40:36,520 Speaker 1: but do I got ten out of twenty heads bobbing 1002 00:40:36,520 --> 00:40:36,799 Speaker 1: in here? 1003 00:40:37,680 --> 00:40:39,560 Speaker 2: Do they like it? That's what matters. 1004 00:40:39,600 --> 00:40:41,960 Speaker 1: So we make music for other people, not for us. 1005 00:40:42,200 --> 00:40:44,120 Speaker 1: And that's what I had to realize as a composer 1006 00:40:44,120 --> 00:40:46,719 Speaker 1: and producer. I was like, it ain't about me. I 1007 00:40:46,760 --> 00:40:48,719 Speaker 1: got as satisfied the people that got to listen to it. 1008 00:40:49,000 --> 00:40:50,840 Speaker 1: I'm not gonna I don't even like going to clubs 1009 00:40:50,880 --> 00:40:52,839 Speaker 1: that much, you know what I mean. So I just 1010 00:40:52,880 --> 00:40:54,920 Speaker 1: think that something like that was something that I can 1011 00:40:54,960 --> 00:40:57,319 Speaker 1: say that I can remember someone told me, you know, 1012 00:40:57,360 --> 00:40:59,200 Speaker 1: and then like I said, puff, he always told me 1013 00:40:59,200 --> 00:41:01,399 Speaker 1: to work with a artist that I thought could sell 1014 00:41:01,480 --> 00:41:04,360 Speaker 1: the record. Don't just work with my cousin. Don't just 1015 00:41:04,400 --> 00:41:06,440 Speaker 1: work with my homeboy, because that's my homeboy and I 1016 00:41:06,480 --> 00:41:08,080 Speaker 1: grew up with him and he always had a life 1017 00:41:08,160 --> 00:41:10,279 Speaker 1: dream of rapping, you know, what I mean. So you're 1018 00:41:10,360 --> 00:41:11,920 Speaker 1: to treat it like a business man, you know what 1019 00:41:11,960 --> 00:41:14,040 Speaker 1: I mean. So now I ain't gonna lie. I've had 1020 00:41:14,080 --> 00:41:18,040 Speaker 1: some people get mad at me about that, even now 1021 00:41:18,200 --> 00:41:20,600 Speaker 1: when you know I want up with my production company. 1022 00:41:20,640 --> 00:41:24,879 Speaker 1: I signed a lot of artists. Some artists did better 1023 00:41:24,960 --> 00:41:27,920 Speaker 1: than others. And the one thing that I've seen in 1024 00:41:28,040 --> 00:41:31,440 Speaker 1: common is when any artist that you ever mess with, 1025 00:41:31,480 --> 00:41:34,359 Speaker 1: when they're going into a decline as far as the popularity, 1026 00:41:35,400 --> 00:41:38,200 Speaker 1: it's like it's like a cat in a corner, you 1027 00:41:38,280 --> 00:41:40,600 Speaker 1: know what I mean, Because and it's a sad sight 1028 00:41:40,719 --> 00:41:43,200 Speaker 1: to see because you know, you see him when they 1029 00:41:43,480 --> 00:41:47,040 Speaker 1: getting you know, ten shows a month, but then they 1030 00:41:47,040 --> 00:41:51,400 Speaker 1: don't understand that your attitude, your demeanor, all that place. 1031 00:41:52,280 --> 00:41:55,239 Speaker 1: It goes a long way, and once they're going down 1032 00:41:55,280 --> 00:41:58,480 Speaker 1: that heel from being up there on top. It's a 1033 00:41:58,480 --> 00:42:00,719 Speaker 1: bad sight to see, man, So I try not to. 1034 00:42:02,440 --> 00:42:04,360 Speaker 1: I don't like the witness that, to be honest, you 1035 00:42:04,400 --> 00:42:06,120 Speaker 1: know what I mean. I try to keep it business 1036 00:42:06,120 --> 00:42:08,839 Speaker 1: with anybody I do business with, and you know that 1037 00:42:08,880 --> 00:42:10,960 Speaker 1: way because sometimes I can give you advice but you 1038 00:42:11,040 --> 00:42:13,640 Speaker 1: might not agree with it. And as a grown person, 1039 00:42:13,680 --> 00:42:15,600 Speaker 1: you don't ever have to take my advice. But I 1040 00:42:15,600 --> 00:42:20,120 Speaker 1: can tell you this. A lot of producers, songwriters, artists 1041 00:42:20,120 --> 00:42:22,359 Speaker 1: that I worked with, I know, when they lay down 1042 00:42:22,360 --> 00:42:25,600 Speaker 1: at night, they could say, you know what, Needy was 1043 00:42:25,680 --> 00:42:27,279 Speaker 1: right about a lot of stuff that he told me. 1044 00:42:27,600 --> 00:42:30,000 Speaker 1: And you know, they might have had lashes out and say, man, 1045 00:42:30,040 --> 00:42:31,920 Speaker 1: I don't like niddy ohy bye bye blae bye. But 1046 00:42:32,000 --> 00:42:33,799 Speaker 1: the end of the day, they know that the only 1047 00:42:33,840 --> 00:42:36,360 Speaker 1: thing I did with their lives was change their lives, 1048 00:42:37,000 --> 00:42:40,040 Speaker 1: and you know, I try to make sure that they can, 1049 00:42:40,200 --> 00:42:42,400 Speaker 1: you know, at least try to fulfill their dream, you 1050 00:42:42,400 --> 00:42:44,520 Speaker 1: know what I mean. And you know when I first 1051 00:42:44,520 --> 00:42:46,560 Speaker 1: got hurt one song on the radio, I was happy. 1052 00:42:47,040 --> 00:42:48,960 Speaker 1: I didn't care if I made another record at all, 1053 00:42:49,040 --> 00:42:50,520 Speaker 1: you know what I mean. Shout out to Greg Street. 1054 00:42:51,400 --> 00:42:53,480 Speaker 1: But I just was at that point to word like, 1055 00:42:53,480 --> 00:42:55,440 Speaker 1: as long as I can, my dream is done. I 1056 00:42:55,480 --> 00:42:58,400 Speaker 1: always want to help other people through my production and stuff. 1057 00:42:58,400 --> 00:42:59,960 Speaker 1: So that's it, man, that's all I want to keep doing. 1058 00:43:00,440 --> 00:43:03,200 Speaker 3: If you if you kind of put it's going down 1059 00:43:03,239 --> 00:43:06,960 Speaker 3: over here in the side for a second, not the dishability, 1060 00:43:07,000 --> 00:43:08,960 Speaker 3: and that's that's such a huge hit and everybody knows it. 1061 00:43:09,040 --> 00:43:11,479 Speaker 3: Like my question was would have been some of your 1062 00:43:11,719 --> 00:43:13,880 Speaker 3: other favorites, like if you had if there's another, is 1063 00:43:13,880 --> 00:43:16,440 Speaker 3: there another beaching in another another song you made that 1064 00:43:16,480 --> 00:43:19,040 Speaker 3: you produced. It's like I just whether again whether it 1065 00:43:19,080 --> 00:43:21,000 Speaker 3: blew up on Crazy nightm I just like that was that? 1066 00:43:21,160 --> 00:43:22,919 Speaker 4: Was it right there? Like is there anything like that? 1067 00:43:23,400 --> 00:43:23,640 Speaker 2: Man? 1068 00:43:23,719 --> 00:43:26,000 Speaker 1: I think yeah, it was a it was a couple 1069 00:43:26,080 --> 00:43:30,160 Speaker 1: of them, man, because I think that a record that 1070 00:43:30,480 --> 00:43:34,600 Speaker 1: I liked, and it wasn't the biggest record, but I 1071 00:43:34,680 --> 00:43:36,440 Speaker 1: would think it could have been. 1072 00:43:39,960 --> 00:43:41,359 Speaker 2: Could have been a record like. 1073 00:43:43,320 --> 00:43:46,400 Speaker 1: Probably the Rich Only Korn Man, because it was like 1074 00:43:47,360 --> 00:43:49,760 Speaker 1: that record it took off so quick. 1075 00:43:49,960 --> 00:43:51,840 Speaker 2: That was one of the records that took off the quickest. 1076 00:43:51,880 --> 00:43:56,200 Speaker 1: I think I liked that record because it went, it 1077 00:43:56,200 --> 00:44:00,479 Speaker 1: went nationwide, and I think that with Kan, he knew 1078 00:44:00,480 --> 00:44:02,799 Speaker 1: exactly how to sell the record, you know what I mean. 1079 00:44:03,040 --> 00:44:05,800 Speaker 1: But then I had other records like you know, the 1080 00:44:05,920 --> 00:44:09,480 Speaker 1: the Gucci Man's those records, and I had records that 1081 00:44:09,600 --> 00:44:12,799 Speaker 1: came out that I put out, like the Micro Montana's 1082 00:44:12,840 --> 00:44:15,480 Speaker 1: and stuff to do It all that type of stuff, 1083 00:44:15,520 --> 00:44:18,840 Speaker 1: and I just was trying to keep Atlanta going, you know, 1084 00:44:19,440 --> 00:44:21,360 Speaker 1: the Atlanta culture going at that time. So I was 1085 00:44:21,360 --> 00:44:24,360 Speaker 1: signing different acts. The first act that I ever signed 1086 00:44:24,480 --> 00:44:26,440 Speaker 1: was a little guy from the East Side the k 1087 00:44:26,680 --> 00:44:29,560 Speaker 1: named Ray Rai. His name was Jan Kapone when I 1088 00:44:29,600 --> 00:44:32,920 Speaker 1: signed him. Yeah, so when I signed Jan Kapone, he 1089 00:44:33,040 --> 00:44:35,440 Speaker 1: was like fifteen years old. I took him over there 1090 00:44:35,480 --> 00:44:39,279 Speaker 1: to my situation I had with Soso death, and you know, 1091 00:44:39,880 --> 00:44:41,600 Speaker 1: it was a lot of politics going on at the time. 1092 00:44:41,640 --> 00:44:43,359 Speaker 1: And you know, at that time, we just couldn't really 1093 00:44:43,400 --> 00:44:46,000 Speaker 1: get the hit record that we needed. 1094 00:44:45,800 --> 00:44:46,719 Speaker 2: To go nationwide. 1095 00:44:47,239 --> 00:44:49,440 Speaker 1: But that taught me a lot about the business at 1096 00:44:49,440 --> 00:44:51,240 Speaker 1: that time, because I didn't really know about the business. 1097 00:44:51,239 --> 00:44:54,600 Speaker 1: I knew that, Okay, I made beats and I can 1098 00:44:54,640 --> 00:44:56,239 Speaker 1: go in there and get them sounding good, but I 1099 00:44:56,239 --> 00:44:56,680 Speaker 1: didn't know. 1100 00:44:56,960 --> 00:44:59,000 Speaker 2: Marketing and all that type of stuff. 1101 00:44:59,080 --> 00:45:01,279 Speaker 1: Radio promo. Didn't understand all of that stuff, you know 1102 00:45:01,320 --> 00:45:06,840 Speaker 1: what I mean. So, but I did learn that everybody's 1103 00:45:06,840 --> 00:45:09,440 Speaker 1: not gonna have the same outlook on things like I do. 1104 00:45:10,520 --> 00:45:12,960 Speaker 1: I look at people and I think of longevity. How 1105 00:45:12,960 --> 00:45:14,600 Speaker 1: can I make this artist be here for the next 1106 00:45:14,640 --> 00:45:18,000 Speaker 1: ten to fifteen years. Some artists think about I just 1107 00:45:18,040 --> 00:45:20,560 Speaker 1: want to be here to Christmas and get some money. 1108 00:45:21,400 --> 00:45:24,000 Speaker 1: Give me that advance, go on the coup that check 1109 00:45:24,000 --> 00:45:27,600 Speaker 1: for one hundred thousand or whatever, and I'm good, you 1110 00:45:27,600 --> 00:45:28,040 Speaker 1: know what I mean. 1111 00:45:28,120 --> 00:45:30,120 Speaker 2: So I've had some artists, man I signed. I had 1112 00:45:30,120 --> 00:45:30,520 Speaker 2: one artis. 1113 00:45:30,520 --> 00:45:32,839 Speaker 1: They're gonna call it the name out, but I might 1114 00:45:32,880 --> 00:45:37,560 Speaker 1: have invested a quick thirty forty thousand and SOIL got 1115 00:45:37,600 --> 00:45:39,799 Speaker 1: them to their first show and they told me they 1116 00:45:39,800 --> 00:45:43,879 Speaker 1: don't they scared the crowds, and I'm like, we done 1117 00:45:43,960 --> 00:45:46,680 Speaker 1: did a whole mixtape and all that type of stuff, 1118 00:45:47,000 --> 00:45:48,920 Speaker 1: and I was like, man, you know what, I couldn't 1119 00:45:48,920 --> 00:45:51,799 Speaker 1: even get mad. So at that point, I was like, 1120 00:45:51,840 --> 00:45:53,760 Speaker 1: you know what, let me just treat all this stuff 1121 00:45:53,800 --> 00:45:56,560 Speaker 1: like business and let me make sure I know what 1122 00:45:56,600 --> 00:45:59,400 Speaker 1: they're doing and know that they're ready to become an artist, 1123 00:45:59,440 --> 00:46:02,560 Speaker 1: because being artist, man, you know, it takes a lot 1124 00:46:02,600 --> 00:46:06,279 Speaker 1: of energy and you got to be special to be 1125 00:46:06,320 --> 00:46:08,560 Speaker 1: a star. I can tell you that when people see 1126 00:46:08,560 --> 00:46:12,279 Speaker 1: the Beyonces and the Chris Brown's shot out, Chris brown 1127 00:46:12,360 --> 00:46:14,600 Speaker 1: Man and his whole team, they showed me love when 1128 00:46:14,600 --> 00:46:19,160 Speaker 1: they came to Atlanta and just watching that guy on stage, 1129 00:46:19,239 --> 00:46:23,640 Speaker 1: I was like, you know what this guy is. He's 1130 00:46:23,680 --> 00:46:26,000 Speaker 1: the closest thing we got to Michael Jackson. And I'm 1131 00:46:26,040 --> 00:46:27,879 Speaker 1: telling you that, you know what I mean, I don't 1132 00:46:27,920 --> 00:46:29,839 Speaker 1: care what nobody says, you know what I mean. So 1133 00:46:30,280 --> 00:46:32,680 Speaker 1: I think when we see the artists like that, you 1134 00:46:32,680 --> 00:46:34,799 Speaker 1: know what I mean, it makes me say, well, it's 1135 00:46:34,840 --> 00:46:36,640 Speaker 1: got to be some more of those. Maybe it's some 1136 00:46:36,719 --> 00:46:38,759 Speaker 1: more in Atlanta, you know what I mean. So I'm 1137 00:46:38,800 --> 00:46:41,000 Speaker 1: always looking, man. People say you're looking for a new artist. Yeah, 1138 00:46:41,400 --> 00:46:43,400 Speaker 1: all the time, you know what I mean. But make 1139 00:46:43,440 --> 00:46:45,440 Speaker 1: sure you want to be an artist. Make sure you 1140 00:46:45,440 --> 00:46:47,520 Speaker 1: got your business together, make sure you got a team together, 1141 00:46:48,000 --> 00:46:49,640 Speaker 1: make sure you got an attorney, you know what I mean, 1142 00:46:49,680 --> 00:46:50,480 Speaker 1: all that good stuff. 1143 00:46:50,520 --> 00:46:50,719 Speaker 2: Man. 1144 00:46:50,800 --> 00:46:54,120 Speaker 1: So I just try to just keep my name clean, 1145 00:46:54,200 --> 00:46:57,360 Speaker 1: stay out the way, and just keep doing. 1146 00:46:57,160 --> 00:46:59,480 Speaker 2: What I do, man. And I don't plan on stopping 1147 00:46:59,480 --> 00:47:00,480 Speaker 2: no time. So you know. 1148 00:47:00,800 --> 00:47:04,719 Speaker 3: Yeah, man, Look, Lenna's a very small, big city. Yeah, 1149 00:47:04,880 --> 00:47:07,000 Speaker 3: and you know, relationships matter. And again, once you start 1150 00:47:07,040 --> 00:47:09,759 Speaker 3: moving in certain circles, everybody knows each other, has something 1151 00:47:09,760 --> 00:47:11,440 Speaker 3: to say about it. And so you know, your reputation, 1152 00:47:11,560 --> 00:47:13,880 Speaker 3: your name just gonna go in those rooms. 1153 00:47:13,719 --> 00:47:14,239 Speaker 4: Before you do. 1154 00:47:14,400 --> 00:47:15,879 Speaker 2: Oh yeah, yeah, yeah, no it is man. 1155 00:47:16,000 --> 00:47:17,759 Speaker 1: And I've learned, man, you know, because I have a 1156 00:47:17,760 --> 00:47:20,360 Speaker 1: lot of people say, well, you know, and now the 1157 00:47:20,400 --> 00:47:23,319 Speaker 1: hardest part about it, because I'm a man. First is 1158 00:47:23,360 --> 00:47:26,280 Speaker 1: to hear someone speak on your name and say stuff, 1159 00:47:26,560 --> 00:47:29,520 Speaker 1: because my first initial reaction is to do something else. 1160 00:47:30,160 --> 00:47:31,840 Speaker 1: But I said, you know what, I don't want to 1161 00:47:31,880 --> 00:47:35,879 Speaker 1: scare corporate America either, because they gonna I'm gonna be here, 1162 00:47:35,920 --> 00:47:38,040 Speaker 1: and those people who said something about me, they're not 1163 00:47:38,160 --> 00:47:41,200 Speaker 1: gonna be even relevant, you know. So I just had 1164 00:47:41,239 --> 00:47:43,200 Speaker 1: to learn how to separate it too and say, hey, 1165 00:47:43,719 --> 00:47:46,280 Speaker 1: everybody's not gonna like you in this world, but whatever 1166 00:47:46,320 --> 00:47:48,960 Speaker 1: reason is, and they have that right. But as long 1167 00:47:49,000 --> 00:47:52,600 Speaker 1: as we respect each other and we can be professional 1168 00:47:52,680 --> 00:47:54,759 Speaker 1: whenever we do see each other, you know, we just 1169 00:47:54,840 --> 00:47:56,680 Speaker 1: keep it moving, you know what I mean. And that's 1170 00:47:56,760 --> 00:47:59,000 Speaker 1: just you know, you know, my thing right now is 1171 00:47:59,040 --> 00:48:01,520 Speaker 1: just to do more stuff for you know, the city 1172 00:48:01,560 --> 00:48:05,319 Speaker 1: and the culture. And I think that there's so much 1173 00:48:05,360 --> 00:48:07,919 Speaker 1: more that has to be done that I think that 1174 00:48:08,000 --> 00:48:10,160 Speaker 1: some of the ones that may have came before me 1175 00:48:10,680 --> 00:48:12,759 Speaker 1: may not have done for whatever reason. 1176 00:48:12,800 --> 00:48:14,520 Speaker 2: I think it's a lot of work to do in Atlanta. 1177 00:48:14,680 --> 00:48:16,080 Speaker 3: Yeah, No, there's definitely a lot of work to do. 1178 00:48:16,120 --> 00:48:18,600 Speaker 3: I think, you know, it's interesting. No one will go 1179 00:48:18,719 --> 00:48:20,320 Speaker 3: to down trying to wrap the hole. But me and 1180 00:48:20,400 --> 00:48:22,400 Speaker 3: my friends talk about it especially like in the political 1181 00:48:22,400 --> 00:48:25,200 Speaker 3: space you know you had there was a time when 1182 00:48:25,760 --> 00:48:27,439 Speaker 3: you know, people who were making a difference, they also 1183 00:48:27,640 --> 00:48:30,080 Speaker 3: made sure to kind of pull up and bring up 1184 00:48:30,320 --> 00:48:32,320 Speaker 3: and kind of train the next group of people. And 1185 00:48:32,360 --> 00:48:34,680 Speaker 3: so we even talk about now from like a cultural standpoint, right, 1186 00:48:34,680 --> 00:48:36,400 Speaker 3: it's like, you know, you've got people that made it, 1187 00:48:36,440 --> 00:48:38,600 Speaker 3: that made their money, that made their name, but you 1188 00:48:38,640 --> 00:48:40,560 Speaker 3: know that they really kind of like groom and start 1189 00:48:40,600 --> 00:48:42,800 Speaker 3: to like build and bring in the next group. And 1190 00:48:42,840 --> 00:48:44,400 Speaker 3: that's where you kind of see starting to disconnect to 1191 00:48:44,400 --> 00:48:46,319 Speaker 3: come in. So I mean, I think Atlanta definitely needs that. 1192 00:48:46,400 --> 00:48:48,239 Speaker 3: But man, look, this is this is this is a 1193 00:48:48,239 --> 00:48:50,080 Speaker 3: good conversation. Man, We're gonna get ready to wrap this up. 1194 00:48:50,080 --> 00:48:52,120 Speaker 3: But I gotta ask you though, like if you were 1195 00:48:52,120 --> 00:48:55,200 Speaker 3: coming out today and you you know, it was getting 1196 00:48:55,200 --> 00:48:58,120 Speaker 3: this whole thing started over, Like what what would you 1197 00:48:58,560 --> 00:49:01,319 Speaker 3: approach how would you approach break into business? Differently if 1198 00:49:01,320 --> 00:49:02,480 Speaker 3: you were coming out today. 1199 00:49:02,840 --> 00:49:05,680 Speaker 1: Coming out today, I would just make sure that my team. 1200 00:49:05,760 --> 00:49:07,720 Speaker 1: I have a good team. You can't do any everything 1201 00:49:07,760 --> 00:49:11,560 Speaker 1: by yourself. And that leads to word, you know what 1202 00:49:11,560 --> 00:49:16,480 Speaker 1: I'm about to do October eighth. I have a thing 1203 00:49:16,600 --> 00:49:19,440 Speaker 1: called create the perfect song and what that is is 1204 00:49:19,480 --> 00:49:21,840 Speaker 1: basically one of those things where I'm gonna show the 1205 00:49:21,880 --> 00:49:24,040 Speaker 1: people that have those questions like that, like what do 1206 00:49:24,080 --> 00:49:24,879 Speaker 1: I do? 1207 00:49:24,960 --> 00:49:25,960 Speaker 2: How do I make it work? 1208 00:49:26,360 --> 00:49:28,120 Speaker 1: And I'm just gonna show them like the stuff that 1209 00:49:28,160 --> 00:49:30,640 Speaker 1: I went through because some people think that the only 1210 00:49:30,640 --> 00:49:31,759 Speaker 1: way you can make it is if you go to 1211 00:49:31,800 --> 00:49:33,839 Speaker 1: college and you go to music school and you go to. 1212 00:49:33,880 --> 00:49:36,040 Speaker 2: I'm like, that ain't how I did it, you know 1213 00:49:36,040 --> 00:49:36,399 Speaker 2: what I mean. 1214 00:49:36,440 --> 00:49:38,200 Speaker 1: And no disrespect to the people that went to those 1215 00:49:38,200 --> 00:49:40,399 Speaker 1: schools and stuff, but a lot of them that I've 1216 00:49:40,440 --> 00:49:42,799 Speaker 1: talked to, they tell me, hey, school didn't really do 1217 00:49:42,840 --> 00:49:44,480 Speaker 1: nothing for me like that, you know what I mean. 1218 00:49:44,520 --> 00:49:46,279 Speaker 1: So I want people to understand that it's a new 1219 00:49:46,320 --> 00:49:49,560 Speaker 1: world now and you got to do different ways of 1220 00:49:49,719 --> 00:49:52,719 Speaker 1: getting things done now. So I think that as long 1221 00:49:52,760 --> 00:49:55,399 Speaker 1: as you just do the best music, get keep good 1222 00:49:55,440 --> 00:49:58,439 Speaker 1: positive people around you, and I think if you stick 1223 00:49:58,480 --> 00:50:01,040 Speaker 1: to those you know things right there, I think you'll 1224 00:50:01,040 --> 00:50:02,560 Speaker 1: be all right, man, because you know, it's it's a 1225 00:50:02,640 --> 00:50:05,400 Speaker 1: lot of talent and you never know who's gonna be 1226 00:50:05,400 --> 00:50:07,839 Speaker 1: that next star, you know what I mean. So and 1227 00:50:07,920 --> 00:50:09,960 Speaker 1: you know, like I said, I'm fine with signings. Some 1228 00:50:10,000 --> 00:50:12,120 Speaker 1: one hit wonders. I don't care, you know what I mean, Like, 1229 00:50:12,160 --> 00:50:15,000 Speaker 1: as long as we'd impacted the culture some type of way, 1230 00:50:15,520 --> 00:50:17,160 Speaker 1: that's what makes me happy, you know what I mean. 1231 00:50:17,280 --> 00:50:19,800 Speaker 1: So I think that we just gotta as the producers, 1232 00:50:19,840 --> 00:50:21,279 Speaker 1: I think we got to just make sure that we 1233 00:50:21,400 --> 00:50:23,520 Speaker 1: work with the people that you know, can have that 1234 00:50:23,640 --> 00:50:24,839 Speaker 1: impact and longevity. 1235 00:50:25,120 --> 00:50:26,200 Speaker 4: Okay, Yeah, So. 1236 00:50:26,200 --> 00:50:28,000 Speaker 3: What y'all hearing is is gonna be a butter atl 1237 00:50:28,120 --> 00:50:31,080 Speaker 3: mixtape coming out. Oh yeah, produced by Nity all day. Man, 1238 00:50:31,080 --> 00:50:33,120 Speaker 3: we're gonna get it done, man, done right. 1239 00:50:32,960 --> 00:50:35,239 Speaker 2: Inside before a four day. It's gonna be the bet. 1240 00:50:35,320 --> 00:50:36,080 Speaker 2: We're gonna get it done. 1241 00:50:36,120 --> 00:50:37,600 Speaker 4: Brother, No man, but yo, niddy man. 1242 00:50:37,600 --> 00:50:39,760 Speaker 3: I appreciate you pulling up man like you know again, 1243 00:50:40,160 --> 00:50:42,400 Speaker 3: it's always interesting. You know, I didn't grow up in 1244 00:50:42,400 --> 00:50:45,520 Speaker 3: the music business. I grew up you know, consuming getting 1245 00:50:45,600 --> 00:50:49,160 Speaker 3: appreciative of it, and so meeting and connecting people like yourself, 1246 00:50:49,200 --> 00:50:51,040 Speaker 3: they really like, you know, did things I think are 1247 00:50:51,120 --> 00:50:53,760 Speaker 3: just foundational to the culture. That bringing that the moments 1248 00:50:53,800 --> 00:50:56,040 Speaker 3: I had growing up, bring my friends back is always amazing. 1249 00:50:56,080 --> 00:50:56,239 Speaker 2: Man. 1250 00:50:56,280 --> 00:50:59,080 Speaker 3: So we appreciate your contributions to the culture, all the 1251 00:50:59,080 --> 00:51:00,960 Speaker 3: stuff you do, and man, can't wait to see what 1252 00:51:01,000 --> 00:51:03,040 Speaker 3: happens next as you continue to do this thing up 1253 00:51:03,080 --> 00:51:04,520 Speaker 3: for the next twenty thirty years. 1254 00:51:04,520 --> 00:51:07,120 Speaker 2: Brother, I appreciate you. Brother. Yeah, man, definitely man. But 1255 00:51:07,160 --> 00:51:07,440 Speaker 2: that s it. 1256 00:51:08,040 --> 00:51:08,799 Speaker 4: That's the pot of we out. 1257 00:51:08,880 --> 00:51:09,359 Speaker 2: Y'all. Peace. 1258 00:51:10,320 --> 00:51:12,200 Speaker 3: You've been listening to buttteron Nomics and I'm your hosts 1259 00:51:12,200 --> 00:51:15,399 Speaker 3: Brandon Butler. Got comments, feedback? Want to be on the show? 1260 00:51:15,600 --> 00:51:18,760 Speaker 3: Send us an email today at Hello at butternomics dot com. 1261 00:51:18,960 --> 00:51:22,000 Speaker 3: Butter Nomics is produced in Atlanta, Georgia at iHeartMedia by 1262 00:51:22,080 --> 00:51:24,840 Speaker 3: Ksey Pegram, with marketing support from Queen and Nikki. 1263 00:51:25,200 --> 00:51:26,640 Speaker 4: Music provided by mister Hanky. 1264 00:51:27,000 --> 00:51:29,279 Speaker 3: If you haven't already, hit that subscribe button and never 1265 00:51:29,320 --> 00:51:31,400 Speaker 3: miss an episode, and be sure to follow us on 1266 00:51:31,440 --> 00:51:34,759 Speaker 3: all our social platforms at butter dot atl Listen to 1267 00:51:34,800 --> 00:51:37,840 Speaker 3: button Nomics on the iHeartRadio app, Apple Podcasts, or wherever 1268 00:51:37,880 --> 00:51:39,120 Speaker 3: you get your podcasts.