Joe and Jada - Jermaine Dupri on Kris Kross & Da Brat, dating Janet Jackson, Usher’s Confessions & Mariah Carey - The Herd with Colin Cowherd

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
The volume. All my mind was that I'm gonna make
this record with jay Z. That's all I was thinking about.
I'm gonna make this record with jay Z. I ain't
know what the record's gonna be, but I'm like, I'm
gonna make this record with jay Z. And long story short,
he came to Atlanta and I went to pick him up.
And when I'm when I'm driving to the airport to
pick him up, I'm listening to he Can't Knocked the Hustle.

(00:22):
And when he say deep in the South kicking up
top game, I'm like, he's talking about me? Who is
he talking about? I'm rying, I'm thinking he talking about me.
And he says, switching frow lane. I'm switching them. By
the way, I'm in a I'm in a Bentley. So
as soon as he come out of the airport, I say, oh,
I'm a sample this part. This is gonna be our song.

Speaker 2 (00:40):
And he was like, all right, it's Joe Crack the
motherfucking Dawn shr boy kiss you know what it is?

Speaker 3 (00:50):
Did Joe and Jada show this is a special edition
right here?

Speaker 1 (00:54):
He got an historic.

Speaker 3 (00:56):
Legendary hip hop pillar in the building with no further
ado ladies and gentlemen, make some noise for my brother
Jermaine Duprix.

Speaker 4 (01:09):
Hold up, hold up, because this ain't a regular show, guys.
This is royalty. This is not even this. This this
is a fucking pyramid. You know what I'm saying. It's
a whole pyramid of Egypt sitting. I'm telling you the truth.
I ain't say one night. I couldn't sleep last night,
you know what I'm saying because I was so excited.

(01:30):
I mean, we love all our guests, but this is
a different He's got the blue Lee roy gloss.

Speaker 1 (01:37):
This is royalty. This is royalty right here.

Speaker 4 (01:40):
So you know, JD, it's an honor to have you
on the Joe and Jadas show taking the chance with
our little podcast. You know, we the rookies of the
year most likely to succeed. But thank you for coming up.

Speaker 3 (01:53):
Shit, my brother, you already know we we're gonna We're
gonna give a little We're gonna go on a little
time cat absolution for the people that might not know,
because you know, were living in a time where you
have knowledge right in your hand. But some people prefer
to look up shoes and look up some bullshit instead
of getting some knowledge from now you stopped attending school

(02:14):
in middle school to go on tour, Just talk a
little bit about what that experience was like for some
people that might not know what going on tour is
and for just a young ass kid stop in middle
school to go on toll what what was that even like.

Speaker 1 (02:31):
I mean, i't actually know that's what was happening. Let
me just just was going like I was dancing. So,
you know, the fresh Fest was the first time they
ever had a fresh Fest anywhere. That was in Atlanta,
and they had run DMC and all of them. This
is the first shows on Atlanta. Shout out to Ricky Walker.

(02:52):
He was a person who actually created the fresh fan.
Fresh Fest is obviously that boys Wi Curtis Blow, Grandma
Aster Flash.

Speaker 4 (03:02):
This was the first rap to appearance the Goldens. It
has never been an error better than this, according to me.
But I mean, just my opinion. I always feel like,
you know, when people start these debates, I'll be like, yo,
that is it.

Speaker 1 (03:16):
Those are the pioneers there. But Dad, you you was
a dancing you made it on tour. Yeah, so they
had they also had a you know, the Dynamic Breakers,
the New York City breakers. They had all these breaking
crews on there as well, so it's like dancing and rapping.
But they needed an opener. This was at a time
when you know they need an opener. You don't get

(03:37):
no money. You just go out and waist and spurning
the time off. It was still like that in ninety three.
Ahead that's so so I'm like cool, I ain't tripping.
I'm like, I'm twelve years old, so I don't care.
I'm going on stage. This is the first time I
ever seen this many people in the arena. They gave
me opportunity to go out there and do like probably
had like three minutes just me dancing. That's a long time,

(04:00):
by the way, dancing. You ain't got no routine.

Speaker 4 (04:02):
You just like I can't believe they had cameras back then,
Like they got you dancing in some of them ships,
like on the camera.

Speaker 1 (04:08):
You know how fight who that ship is right now? BC,
I've seen you.

Speaker 4 (04:14):
Dancing, I've seen you personally. But hip hop? How would
you get hip hop in Atlanta? Because he in New
York it was it was only not even it was
it was regular once a week and missed the magic
and then awesome too.

Speaker 1 (04:29):
Overnight.

Speaker 4 (04:30):
How do you get the new ship? How did you
get the new music, the new hip hop that was
coming down? How did it get to the atl Well, it.

Speaker 1 (04:38):
Wasn't there when I said this was this was this
was prey all at you know what I mean. So
how you dancing? Like how you know them? I mean
breaking anywhere? Yeah? Breaking was, well, you're watching Breaking, You're
watching you know, B Street streeting these movies. But I
was doing talent shows, you know what I mean. So
I started doing talent shows. I was doing Michael Jackson
and the talent shows. So Michael Jackson routine be like

(04:59):
two men that you could do two man of Michael
Jacksonville team. I started doing Michael Jackson and then I
started paying attention to hip hop and I seen like,
oh I can add this, I can add this. I
just started learning things, but I still won't like great.
I just was good because I was twelve, right, you know,
little kids, they get away with it past right, the

(05:19):
go ahead, He's like a clown at the circus, you
know what I mean, Like, go ahead and do what
you gotta do. So I was winning talent shows and
that's what happens. So I started winning all these little
talent shows around my you know, around Atlanta, or I
come in second place or whatever it is. And so
they was like, you know, it's like yo, let him.
Let him go out there and do what you gotta do.
So I went up on the stage and I did

(05:40):
my perfect little time. I got off. I wasn't tripping,
you know what I mean. They made him hit their time,
and they was like, you know what, we need to
keep somebody to do this, and I'm like, you know
what I mean? And I wasn't even paying attention to
everything they came with it because I didn't I didn't
know nothing about me getting out of school and all this.
I tried to do the right way, but this was
so early in life. Atlanta had never had an artist

(06:04):
that would go on tour at twelve years old, so
we didn't even have a school system thing that was
set up where they could take my grades and while
I was on the road and count them as credits.
I mean, I did all the work, and I had
a tutor, and we tried to do it. But when
I came back, they was like, we can't accept this.
You gotta do it. You got to do that grade again.
I'm like, oh nah no. And after that I had

(06:26):
already been to fifty cities at twelve, so I was like,
oh no, I'm done. I'm done. I got I gotta
figure this out. I gotta figure it out. So then
the second year I wasn't in the Fresh festal three years,
eighty forty five and eighty six and then eighty six
is when I started rapping. I added a rapping to it.
And by then it was a guy in a Lanta
named Shadi who was actually from the Bronx, who was

(06:48):
actually he came to Atlanta.

Speaker 4 (06:50):
He started bringing he's got mad. Every time they mention
the Bronx on the show. He might be a slight
it might be a slight.

Speaker 3 (06:58):
Hand, just anything for the bro stool was from the Bronx.

Speaker 1 (07:02):
And you guys, what do you want me to do?
Was from the Bronx. Yes, so he you know, so
so shot. He came. He started, you know, he introduced
me to what the Zulu Nation was, all of this,
you know hip hop, right, but I couldn't wrap. I
still couldn't do it. But he's taught me how to
like write my rap. So he wrote my first rap
when I was on the on the fresh face, and

(07:24):
I started doing the rap and performing, you know, performing
a rap. And then that's when the you know the
rest of the guys, who Denny and all of them,
they start seeing that I was more into that than dancing.
So then Jamster J taught me how to DJ like real,
like really hands on. You heard that, Yeah, And then
m Grandmaster D starts showing me tricks, and I just

(07:45):
started learning from the best, like, you know, jam Master J. Man,
he taught me a lot, you know.

Speaker 4 (07:50):
And when I was coming up and you know, I
had a little flow Joor, I ain't never want to
lead the Bronx, And he kept talking to me, Yo,
you ever been to Detroit?

Speaker 1 (08:00):
You ever been in Chicago? You ever been?

Speaker 4 (08:02):
He was trying to tell you need to get out
there at Jose. You only want to be in the
Bronx and so rest in peace. Yeah, man's the Jay.
So I wanted to get back to this one thing
when hip hop came to Atlanta.

Speaker 1 (08:16):
How did he get to Atlanta?

Speaker 4 (08:18):
The migration the migration of Almos from Texas, and Premo
said his cousins used to drive over there with take
to mister Magic and Red Alurn I'm just trying.

Speaker 1 (08:28):
To it's not so Yeah. Basically, it was like the
migration of a lot of New Yorkers start coming to Atlanta.
Like I said, Shadias from New York. So it seemed
like more and more New Yorkers start coming to Atlanta.
And then you start seeing like little parties and these
pop up that was like, oh, this is hip hop.
But then it was also like the artist was coming, right,
the artists were coming. More and more artists was coming

(08:49):
to Atlanta. Then they had a dance show in Atlanta
that was only our local dance show, right, and it
just you know how it was coming in. And we
still only had a radio station, which was V one
of three days only.

Speaker 3 (09:00):
Rapped there Jack the Rap. That's the first time I
ever been in any ship like that.

Speaker 1 (09:06):
So we have, you know, once the station they only
play hip hop on Friday night for an hour. Yeah
that's how I go So on that Friday night and
that hour, I was right there.

Speaker 4 (09:15):
Like they don't understand. They got the ship on their
phone like like water.

Speaker 1 (09:19):
You used to have to stay up, you used to
have to be on point there rap. I'll never forget
how Cali dropped Wow. Wow, wow.

Speaker 4 (09:26):
On the Thursday Friday, I was like in Paris somewhere
at the show and they threw that ship on in
the whole crowd.

Speaker 1 (09:32):
I was like wow, wow, Wow.

Speaker 4 (09:34):
I was like, you know, it makes you think about
what you only heard hip hop on a Friday and Saturday.

Speaker 1 (09:39):
And I was like, ship, this ship across the world
in one day.

Speaker 3 (09:43):
But at that time we have to look for it, right,
the tissue and the tape over the cassette.

Speaker 1 (09:50):
Oh then.

Speaker 4 (09:53):
You know me, You know, I grew up in the
Bronx and so you know my guys man, you know
my guys. We had like a public phone in front
of the building, and they used to break the public
phone and use electricity to put the boombox. So the
bigger guys shout out to a j GP Craig o
rest in peace, my brother. They used to put the

(10:14):
boom box up and then they played an awesome two
that was at four in the morning.

Speaker 1 (10:18):
Ship like that.

Speaker 4 (10:19):
So I would be a kid out the window listening
to the ship overnight. Like they would play whole other
kind of music, underground music that they wouldn't played with
Red Alert. So they was like mister before yes, they
were Yes, they were.

Speaker 1 (10:36):
And then so see I so in eighty six I
met Chad Elliott. Chad Elliott was part of Charles Steller cruise.
And when when when the Fat Boys won that contest
and Crush Groove, Chad came in second place. Yep, he
came in second place, right, So they put so Chad
st I mean, Chad Steller was like, we need to

(10:58):
put this kid on the two of y'all, Jermaine on
the tour, right, So then they worked out for Chad
to get on the tour as well. So then me
and Chad met and we you know what I mean,
we hit it off and then we started hanging out.
And then I moved to Brooklyn with him and stayed
at his house on Eastern Parkway. And that's when I started,
like the page caught.

Speaker 4 (11:20):
You know, I was a kid, Uh, I never forget
I was a kid. And my aunt, my grand my godmother,
she lived in Brooklyn on the East New York and Summit.
She had a little house. But I remember the kids.
I used to spend all summers in Brooklyn and the
kids was like, yo, come and we went to the projects.

Speaker 1 (11:39):
And they had a jam and they played this record
and I guess I grew up. I just didn't know, right.

Speaker 4 (11:47):
But but they played this record where I actually walked
up to the DJ and what and it was so
os man, it.

Speaker 1 (11:53):
Was baby, we can do it. It's a good time.

Speaker 4 (11:56):
And I was just like that ship must have hit
every endorphin and those like I was like a kid,
but I was like, yo, what the fuck is this?
Like this ship is crazy. I felt like it was
only a Brooklyn thing, right, But you and Brooklyn, you
caught everything.

Speaker 1 (12:16):
You was here, you called it and I learned. I learned,
like what was the difference between where I where I,
you know, in Atlanta and New York. Immediately they was
breaking me with everything I had on you know what
I mean. They was telling me I was looking like
a country boone. There was you know, niggas in East
New York. Was saying, well, they don't care, and I
was going to do the same way. They don't give

(12:36):
a fuck. They talk about your mom's walking in and
I got chased by theseptics and all that. So you
was outside outside. He was fast too. If you have
to get away from.

Speaker 4 (12:47):
The thing, yeah, at what point, uh it goes down?
Because me personally, right this is something I'm gonna go
to my my deathbed with.

Speaker 1 (12:58):
Uh.

Speaker 4 (12:59):
Twenty something years ago, I moved to Miami right and
every time I go to ATL I argue with myself
that I make the right thing. Should I have moved
to the ATL. I feel so at home in the atl.

Speaker 1 (13:14):
They mus got a lot of restaurants.

Speaker 4 (13:16):
Nah, we love the restaurants. It's just, you know, I
love black people. I love the entrepreneurism. I love that
they all just help each other. The vibe is great,
you know, the weather's everything. Just every time I go
to Ato, I argue with.

Speaker 1 (13:36):
Myself, like I just be like, damn, I was off
for me here. Huh, it's hard for you. I keep
it standing in my stage at me when I forever.

Speaker 3 (13:44):
You see what I'm saying, too more ags, you need
too more as That makes me think I should fucking
got a outeam.

Speaker 1 (13:52):
What's up? Y'all? Was going down?

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Speaker 3 (15:17):
Soaked Up Hip Bob, You've seen the difference in the
demographics of New York hip hop and atl then you
went back. Youre still young. At seventeen, you discovered Chris Cruis.
I was did you think it was gonna work?

Speaker 1 (15:30):
What was you? Was you rolling the dice or how
was what was you going through at that week? I mean, well,
Chris Cross actually was like a the works of me
getting to that spot. So I had I had a
group prior that was called Silk Times Leather that was
these two girls. It was called White Silk Times Leather,
Silk Times Level, Silk Times Leather. Yeah. They actually were

(15:52):
the girlfriends of Houdini that I met on tour, right, So,
so I met them when we was on tour and
they was like, we're from Atlanta and I'm like from Atlanta.
So I was young, and I'm like, shit, y'all can
come pick me up, you know what I mean, Like
whatever whatever, y'all could come drive around. I'm like, oh,
I got some girls that I can hang out with

(16:13):
now Atlanta. You know, That's what I'm thinking in my mind.
And then I think Herbie had just put out Salt
and Pepper, so this was like girls that was paying
attention to this, and some kind of way, we start
having a conversation and I never produced a record in
my life, and the girls was like, you know, we
want to do what Salt and Pepper doing, and I'm like,

(16:34):
you should let me produce you. I never did it.
I don't know why I even said it, but as you,
but just was paying attention to what Herbie was doing
and it seemed interesting. So I started really paying attention
to what he was doing. I'm like, oh, he writing
the raps, he making the beats, all of this, and
I'm like, I could do it. So I started trying
to do it, and I did it good enough where
I got them a deal. They got signed to Geffing Records. Right,

(16:57):
so they actually was the first rap group in Atlanta
to have a real major record deal.

Speaker 4 (17:01):
Wow, you pulled that off. And then you and then
you go into Chris Cross.

Speaker 1 (17:06):
Yeah, so Chris. So we didn't really have a lot
of success, but we had enough success where I got
you know, I got fifteen thousand dollars so I could
get some real equipment and I had a dolphin. So
when I got my real equipment, that's when I started
making better beats and start getting more and more into it.
Then one day me and the DJ, it was a

(17:27):
female named Dola Mix, We went to Green Brown Mall
and they had an article and Jet magazine about the
female rappers at that particular point in time, and one
of the Christians seen one of the Christi's moms saw
Dolar Mix and was like, I know that girl. I
just read about her, right, But I seen the kids

(17:48):
and they was walking around the mall and people was
paying attention to them, and I'm like me, I'm like,
why don't I don't know these niggas. I'm thinking they like,
you know, they must be on the Disney Channel or
something like like why is people acting like this? So
I keep watching them move around, moving around, they going
in foot locker, They're going to foot action, they doing
all the rap shit. I'm like, who is this? And

(18:09):
girls is giving them free cookies at the cooking company
and I'm telling you, I'm walking around watching them before
I'm in there. So I'm like finally walk up to him.
I'm like, Yo, who are y'all? And I was like,
what do y'all do? They like, we don't do nothing.
I'm like, why y'all? Get why they're giving y'all ship
and listen tomorrow? They like cause we're fresh. And I'm like,
oh wait, what what? I'm like, do y'all rap? And

(18:31):
they was like rap? They said that to me, like
when raped. That's how they said it. To me, and
I'm like, and my mind just start going crazy, Like
if these niggas rap based on what they got going on,
it's over with right. So then I got their number
and luckily they mom vouched because she's like, he's somebody

(18:54):
because I know that girl that's with him, right. She didn't,
she hadn't put it all together, but she you know
what I'm saying. She had one of the New Jack's
City moments with dudes like YO, I know that dude, right,
So that's what she was doing. She was like, I
know him. So I got the number and I started
calling him like Yo, y'all, come over my house. We're
gonna start making music. There was like come over your house,

(19:15):
you know what I'm saying. So they was really on
some you know little hood boys. That was like, we
ain't going over this nigga house, like while we going
over his house. So I had to get I had
to convince them. So I had to go pick them
up from school every day and like become their homie
like and let them see like I'm really fucking with y'all,
like you know what I mean. So we start kicking
it and I start like driving watching them in the

(19:37):
back seat and I'll play records and I'll play a
record like ice Cube. But someone was crazy at the time,
and they was back there rapping the lyrics like they
wrote them. They know this shit. They ain't never seen
the lyrics before. They know it. They like rapping it,
like they really rapping it. And I'm thinking, like, damn
if I write a song for them and it sounds
good like they think it was ice Cube and they
learned it like this, they got just gotta work right.

(20:00):
So I just start trying to figure out how that
was going to happen. You know. I wrote so many
songs that they hated and I never got that reaction.
I just had to keep going, keep going, keep going,
keep going. And then I wrote this song called Little
Boys in the Hood and they liked it because of
this concept, like I finally got to where they wanted. Okay,
now you're talking about we want to talk about So

(20:22):
I was trying to do like kiddy shit at first,
and I was like, and they started telling me about
how they you know, and they school kids twelve years
old walking around with these socks, and these socks was
doubled up because they had cracking them something you know
what I mean. So I started hearing all these stories
about these little kids in the hood. So I'm like,
you know what, when they be doing the news, they
don't never talk about what the kids have to go through,

(20:43):
what they see, right, So I start trying to write
about that based on what I was hearing them say,
and from the deal that I had with Silk Tom's Leather.
I had met this engineer named Joe the Butcher who
actually owned rough House Records in Philly. Right, So that's
the only person I knew in the music industry that

(21:05):
I could call and be like, I got a project, right.
So I did The Little Boys in the Hood, and
I sent it to Joe and he was like, yeah,
I want to sign him. And I'm like, oh shit,
we going you know what I mean, I got it right,
So he gave us a development deal. It wasn't a
real record deal. It was a development deal to see
if we can make some better records. And like the
night before we had to go to Philly to do

(21:26):
like record these songs I wrote jump. I knew it
when I like in the first twenty nine to thirty seconds,
I'm like, if they pulled us off, this old. Yeah.

Speaker 4 (21:35):
Second, you know you hear that shit? You just like, yo,
this shit is this shit jumping? Whose idea wasn't for
them to wear that close backwards mine? Because, like left
I was living at my house at the time.

Speaker 1 (21:50):
This is what I want to talk about. This is
what I want to talk Like left I had came
to my house as a as a rapper from Philly,
and she was from Philly originally, Yeah, she's from Philly.
And she met this guy named Ian Burt. And Ian
was like the only guy in Atlanta that I knew
that was like moving around. He was like an an
R manager slash. He was everything right. And if you

(22:13):
knew Ian, Ian connect you to somebody else. So then
Ian called me one day he was like, Yo, I
met this girl from Philly. She rapped. She a young girl.
I'm gonna bring it to your house. He brought her
to my house. I liked the way she rapped, but
I was trying to do the crisscross thing. But I
was like, Yo, I'm gonna fuck with you when I
get through this. I ain't have no deal. But I
had all these people believing that I was gonna do it.

(22:33):
So left I was staying at my house without my
mom even knowing left. I was like living in my
closet because she ain't really had no place to stay,
so she was staying over there. And one of the
songs I did for Crisscross, I sampled Michael Jackson and
Paul McCart uh the Girl is Mine right, And I
was thinking, like I could make a song about y'all
arguing about Lisa, and that Lisa was gonna rap about

(22:56):
shit right, and that idea I had, but it never
came to life. I kept getting I couldn't you know
what I mean? But I never couldn't figure it out,
and my writing was terrible at that time.

Speaker 4 (23:07):
Question I have for you, who's an artist that you
slept on and became a big boy or big girl
in the game that you you wasn't ready or things
wasn't right. They tried, like, you know, Eminem gave me
his demo six times, and you know, we ain't never
seen no white boy pop off like that, so I
guess I was sleeping, you know. After he blew up,

(23:29):
I went to dinner with him. He was like, you know,
I gave you my demo six times, and I was
like what, And he told me everywhere. He gave it
to me at who's an artist that you could have signed?
And you was like, damn, or you wish you.

Speaker 1 (23:43):
Could have signed? Well, I mean I tried to sign Ludicris,
but I had I had an office full of employees, right,
and at this point in time, I was feeling like
my office felt like I was controlling everything. So I
went there one day and try to have an an
arm and I asked him about Luthera Chris and they
all said no. And I try to go with what

(24:05):
my office was saying. You know what I'm saying. I try.
I'm thinking, this is what you're supposed to do. This
is you got to let the people in the office work.
They was like, nah, JD, don't sign him, and I'm like, well,
you know what, they probably slept on him because he
started in the radio. Nah. But I had already I
did something for Madden. So the first Madden game with music,

(24:27):
I did it right, and they called me and they
was asking me. They asked me flex with the silence on.
They asked me for somebody to rap on it that
was animated, right, And I'm like, well, I'm not animated
like this. But Chris was doing these radio things, right,
and I heard him. I kept hearing him do these

(24:48):
radio commercials. He was really really animated, right, And I said, Chris,
come do this Madden, this little Madden thing I'm doing
for the video game. And that was the first time
me and Chris worked together. But he wanted me to
and I wanted to sign him. You know, you know
what's crazy. There's this guy who does commercials, but he
don't wrap. You don't be hearing them. He'll be like
one eight hundred, you crash your car, top dog, y'all.

(25:10):
I love this guy.

Speaker 4 (25:11):
Man, I don't have no clue of who is.

Speaker 1 (25:15):
Commercial.

Speaker 4 (25:15):
I turn it up like, I'll be hearing you crashed
your gun. You girl like your leg is sideways top
one hundred to get you here, I'll be like, Yo,
this dude is crazy. So I know what you're saying.
Saluda Chris.

Speaker 1 (25:34):
Right.

Speaker 4 (25:35):
At what point it turned from hip hop to R
and B to theft.

Speaker 1 (25:40):
Right after no Right, we got right after Chris Crush,
the explosion of Chris Crush. Right.

Speaker 4 (25:44):
I was just like, well, we got the Brat, we
got Chris crossed, we got bow Wow, we got rush Yer,
we got Mariah, we got Boom Crushing, We got me listen.

Speaker 1 (25:54):
So after after Chris Crushed, I didn't want to be
labeled as a one producer, right, So I was like,
I got to do an R and B project after
Chris Crust success. I didn't know if it was gonna work.
This's the first time I ever did it, but I
just knew that that's what I wanted to do. I
didn't want to be put in the box. So Escape

(26:14):
Project was the first album R and B record that
I had ever written, a producer or anything. And brought
them girls to my house and yard down to the Escape.
Yeah you hear something, just yo, bro. You know I
used to be scared to fly. So I used to

(26:35):
drive everywhere to Miami, to everywhere.

Speaker 4 (26:37):
And so I got a certain kind of like respect
for certain groups because you know, it get hard on
that Non five around South Carolina. When you start seeing
Padro and Ship, they'd be like Paidro and you gotta escape.

Speaker 1 (26:52):
Man. They got me through a lot of drives. That
Escape was different. So you so escape you wrote on
that shit? Yeah, so I'm saying I was taking still
from hip hop, like kick off you Shoes and relation feet.
That was run DM c line. I just was doing
what I thought. I mean, you ever wrote you ever?
You ever wrote an R and B song? No?

Speaker 4 (27:14):
I never wrote an R and B song. I never
like I never.

Speaker 1 (27:17):
Had I he just he just doro it down. I
can do. Sometimes.

Speaker 4 (27:23):
Beyonce has some witty lyrics where I'd be like, yo,
Jay must have been writing that studio and gave all
bar Like I hear it all the time in her
music where I'm just like she's talking that ship.

Speaker 1 (27:34):
I said, oh whole must have been in that studio,
gave her a bar. You know.

Speaker 4 (27:39):
It's just you know, but it's something I always wanted
to do because I'm a lover, not a fighter.

Speaker 1 (27:44):
Be I mean, like I said, if you take it,
if you just listen to it, it's the same thing. Ultimately,
you just have to figure out the melody. But other
than the melody, writing rap and writing a song is
pretty much the same.

Speaker 4 (27:57):
You know, the face goes down to the at Oh right,
they're not from there, right like Babyfaces where from Indiana,
and but they set up Shot they fell in love
with atl but they let everybody work with the artists
they signed, you know, even go to you go to
Rico Wade go to Dallas, Austin. Right, and so what

(28:25):
are some of the songs you wrote for TLC? Another
artist that wasn't actually your artist, but.

Speaker 1 (28:32):
CLC was my group first before they even signed in
the face another one like you know you remember Left,
I was at my house, right, I brought I brought
Ti on to my house and then they met at
my house and they was called Second Nature before they
was called TLC. And I would have Now, this is

(28:55):
what I do regret. I regret my mind not moving
fast enough because if I could have had to see
and Chris Crutch at the same time. But I ain't.
I ain't. I was too young to know to learning
the game. I ain't know. I know what I'm saying.

Speaker 4 (29:09):
And I was God's timing too, to believe it or not.
It was like it wasn't for you like that. You
know what I'm saying. It was God's timing.

Speaker 1 (29:16):
I had so much energy for the guys. I wasn't
giving the girls a lot of energy. And they went
and had that conversation with Pebbles and they was like,
you know, they had a meeting. So if you see
the TLC movie on VAH one, when Left, I make
this phone call. She called me in that movie. I
saw that. Yeah they cut me out, but they no, no, no.
But I saw that movie. Yeah, she called me to

(29:37):
be like JD, they want to sign us, what you
want to do? And when she said that, I could
have been like, nah, I got y'all, let's do this,
but I was I started thinking like a producer. I
start thinking like, shit, if they get signed, I could
do a bunch of songs on their album, right instead
of just trying to hold them and be like, let
them sign on my label. So I was like, go ahead,
do the deal. So they first album, I did a

(29:58):
song called I Could Do Bad by Myself. On the
second album is when I did more and more work
with TLC than I ever did. But really, really a
lot of that me working with the Face came from
Usher's second album, My Way album. I did the whole
album basically another one, and so Usher was up here.

(30:19):
So I remember when he was all around New York
as a kid. They snuck him in the clubs, everything
that but a ship with I forget what what was
out choice chose? But they also had like hip hop
I think was it Black Rob's Woe is it too.
That was.

Speaker 4 (30:39):
Because I'm trying to tell you there's only very few
records like Black Rob's Woe or Balling by Jim Jones.
There was very few records when I was in the
club that just everybody lost their mind. And I remember
meeting Usher for the first time as a kid at
the club here and they had something out there that
was stupid, and I remember it in I was like, damn.

Speaker 1 (31:02):
And that was But any case, this was party in
bullshit days back then. This was he's going back before
you talking about I know, I know, I know.

Speaker 4 (31:12):
I'm just like I remember USh as a kid out
here in New York is seeing them morning over. Yeah,
but this guy show the second album. So you sit
down with Usher and and and you said, y'all, I'm
gonna make a classic.

Speaker 1 (31:28):
No, no, I don't say that. What you said, I
don't know what's gonna happen. You're gonna make some music. Actually,
I actually don't know what's gonna happen. I just know that,
you know. I think they tried to make an album
with Dallas. They tried to make an album with Puff
and and the album that they wanted for his second record.
It didn't work. So they actually tell me that they
was they was on the verge of dropping him if

(31:49):
it didn't work with me. Right, I ain't know this though.
I start hearing this after the fact, so you know.
But there was like, you know, we want you to
do what you did with Chris Cross with us. We
want you to take him to your house, you know
what I mean, make him your artist. And I was like,
all right, I never did this before with the R
and B. I never produced nobody male R and B.
So I don't know what the song's gonna sound like.

(32:10):
I did his skate, but I ain't never do it
with a mail artist, So I ain't know what the
song is gonna sound like. So he came, we start kicking,
I start talking, and I start figuring out, Okay, he
just like Chriss Krust, almost like he pick up instantly.
If he love it, he really get it, you know
what I'm saying. So I'm like, okay, if I write
songs to him that he loved, he gonna sing it.

(32:33):
He gonna sing it. Was all right, But I still
was writing songs like raps seven o'clock on the blot,
only my drop top cruise in the streets theesu is
rap lyrics in the streets when you're talking about all these.

Speaker 4 (32:58):
Kids stars, like something that keeps maybe because it's you,
but something that keeps popping up to me is Monica.

Speaker 1 (33:05):
She was just a young girl out there and she saying,
like the bread.

Speaker 4 (33:11):
I'm not saying we got the Brad, we got too
much shop to talk about, but I'm just she quitch,
do you.

Speaker 1 (33:16):
Want to go and.

Speaker 3 (33:19):
Go ahead about the Brad, go ahead with the mony.

Speaker 4 (33:24):
I'm just saying Monica was a little girl with a
big voice, and she became a superstar just like that.

Speaker 1 (33:31):
First did you know, like when when you she was
Dallas artist, I know, yeah, yeah, I was breaking a
lot of bread down there. I knew, I knew she
was hot. I knew she had it, and she was
like she was a ghetto girl that Dallas was trying
to take into the Whitney Houston space, and she had
the voice to go into that space. Not I don't
nobody take it wrong.

Speaker 4 (33:52):
No, no, no, she was she had the voice to
go there.

Speaker 1 (33:56):
Yeah, there's no question about that. But I never I
never thought I would work with her either. I didn't
have no idea I ever worked with one what joints
you did for Monica? I did the first night. That
was the first time I ever did the first night, y'all.

Speaker 4 (34:10):
Let me tell you something, boy, this this at l
Royalty is that Let's go to the Brat.

Speaker 1 (34:15):
I love the Brat. That's my sister.

Speaker 4 (34:18):
Let's go to the brat. Let's go to the brat.
First female to sell a million records?

Speaker 1 (34:23):
Wrap up?

Speaker 4 (34:24):
So the Brat situation, how do you find the brat
from Chicago?

Speaker 1 (34:29):
Yeah? Yeah, So Brat Brat met Chris Crouss when they
was on their second tour. They was on there was
on another tour after they went on to Michael Jackson.
It was on another tour, right, So they went on.
They went on a tour and they had like what's
his name ed Lover and from another raps doctor Love,

(34:52):
like the host of the tour, and they call people
up on the stage a rap as an intermission between
you know, uh, I think MC light and Chris CRUs Us, right,
because they had to put em light at the opening
for them, and my mom's just passed away. I love
you like looking legend. Brat came on the stage and
rap and I wasn't there, and they called me right

(35:16):
after lights because I remember, like yesterday he called me
like yo's female rapper, she went crazy in Chicago, And
I'm like, I don't care about no female rappers, Like,
don't nobody like female rappers. Just what I'm saying, like
this one, no female rappers popping off beside salt and pepper,
like and then like street fashion of us driving around,

(35:36):
we want to listen to those female rappers on our cars.
Like that just wasn't what's happening. So I just like nah,
And I thought like me messing with the female rapper
was gonna be the first time that my little success
story was gonna go wrong, because I was like, I
just yeah, I just did Chris Cruz, I did escape,
and I was you know what I'm saying. I was

(35:56):
moving and I was just like, nah, female rapp I
can't do it. So but I but he kept pushing me,
and I was like, all right, tell her to come
to Atlanta. She came to Atlanta and she told me
to come to the hotel and meet her. I went
to the hotel like the meetera and like to have
a conversation with her, and I'm like, I'm gonna take
you to my house, and that's what my studio was.
So I'm driving her from downtown Atlanta the College Park

(36:20):
and I stopped and get gas. And I stopp and
get gas. I go on the gas station. I come back.
She put her tape in the car while I was
inside the gas station place paying. I came back, turned
the car and the tape start going and I'm like,
what the fuck is who is this rapping? And it
was her? And I was like, wait, wait, who is

(36:42):
this rapping? And the way she was rapping on the tape,
I was like, oh shit, she was not playing. No,
she wasn't playing. She was really rapping, like coming for
This wasn't the type of rap I thought. This was. Like,
she was really rapping, like really Chicago style, like Twister
and all of that, like that type of sh and
I'm like, that's you.

Speaker 4 (36:59):
And she's like, also, you was producing like West Coast
sounding beats for the Brat.

Speaker 1 (37:04):
Yeah. But I hadn't started what he was about. I
don't know what I was gonna be. Yeah, I didn't
know what I was gonna do. So I took it
in my house. I'm like, I like you, I'm gonna
sign you and honestly, Brat project was like the hardest
project for me because I couldn't I couldn't find that
thing yet I couldn't find and make a song. And
I played for people and that was like yeah, whatever, whatever,

(37:27):
And then I just started paying attention to who she was.
Like she would be outside my house and like it
was cold, so we're like take all the like all
the water out of the swim pool, and she would
go down in the swim pool and smoke weed because
she couldn't smoke in my house. She is down in
the pool smoking and I started realizing like, oh, she

(37:47):
like she a female, like like a little snoop dog,
Like she smoked reed like chain smoking anybody, like really
by herself. And I'm like, we should put this into music.
And I just start seeing like this was what was happening.
It's you know, and I mean, I'm influenced by what's
going on in hip hop, so it ain't you know
what I mean. And I saw, you know, I'm listening

(38:09):
to Dre, I'm listening to what's going on, and I'm
listening to Snoop Snoopers doing this thing, and it was
kind of like it wasn't like because because the first
song we came out with wasn't funk. It was more
or less like it was the Isley Brothers, and I
just flipped sleeping in my I mean between the sheets.
But what I did was I start realizing that if

(38:31):
you play the sample over, it gave you a different
texture to the music. So you start playing the music over.
That's when people start thinking it was like West Coast music,
but that wasn't. It wasn't West Coast. It was just
in between the sheets, right, because if we had I
remember we had in between the sheets. And then Biggie
them had Big Popper, right, and Big used to come
to me all the time be like, man, what did

(38:51):
you do to your beat? That's different than my beat?
And he just had a sample. I had more, you
know what I mean? I almost had like more, yeah,
different things. I could take the base, I could do
whatever I wanted to do because we played it over right,
And I think that's where people start, you know, it
was we ran with it because it was song was
called funct the five, but it wasn't. It was an
Izi Brothers record that did so funk. Yeah, And that's

(39:16):
the first time I started rapping on as far as
people first time hearing me, and that's because I was
in there writing the raps and I was in there
writing and I was just playing around like I was
playing around, like I'm gonna say this, and you say this,
and it started going and it was like back and forth,
back and forth, and everybody was around. It was like,
y'all should do that, and I'm like, no, I don't
want to rap, right, I'm still trying to stick to

(39:37):
just I'm produce something. I'm going I'm doing good. I'm
not getting ready to start doing this. We're not going
to mess this up, right.

Speaker 4 (39:45):
That's around the time they're off. Sure Knight was like,
you wann't producers in your video rapping.

Speaker 1 (39:52):
This was before that. It was almost that much. This
was before that. So yeah, so so we get from
the five from the five car and this Brat record,
Go Crazy Funk, the five record, Go Crazy Too Crazy
and Brat album. She became the first female solo artist
to have a platinum album. It was crazy Man, shout

(40:14):
out to the Brat White y'all co wrote that, Yeah,
so that's when I saw you know what I mean.
I start I was, I was writing, but then I
started remembering, like you rap, I already knew what you
know what I'm saying. So we just start figuring out
out back and forth motion right, and I write one
part and then she'll grab it and understand where I'm
going and this should just take it.

Speaker 4 (40:33):
You know, tipt On me uh tiny Rode Uh scrubs.

Speaker 1 (40:38):
Yeah, the scrub is hun Candy.

Speaker 4 (40:43):
He said he was on the passages side. Though, I'm sure,
sure that's crazy. Gag kiss, gag. I know I'm jumping
all you know, I got.

Speaker 1 (40:56):
Some beautiful conversations. This is very knowledge. I'm with you, brother,
I'm with So then like I'm running around now with
Brat and I'm rapping Functifies big song, performing with her everywhere.
But we go right and I'm like, I still don't
want to rap, but I'm writing more raps now because
I'm hearing myself on the radio and I'm rapping. I'm

(41:17):
starting rapping. And then all my friends like, jad, you
should make yo, you should make an album, and I'm like, no,
I don't want to make no album. I'm just gonna
keep doing what I'm doing. But I start making like
fake songs in the studio, like I'll be writing a
song and I'm thinking I'm gonna give it to somebody else,
but I damn near finished the song and my friends
start listening to it in the car and they're like, yo,
you should make this a real song. One thing led

(41:38):
to the next, to the next of the next, and
then I did my first album Life in fourteen seventy two.

Speaker 4 (41:42):
You want to know what's crazy is there's something going
on Damn the other side of town.

Speaker 1 (41:48):
You got the goodie wrong? Not yet, not yet? You
know what I'm gonna let you control, Dad get.

Speaker 4 (41:55):
You asked questions, man like yeah, yeah, ahead of the
time they're off.

Speaker 1 (42:03):
Yet this all like, you know, how do I know this?
You older in me? It seemed like that by a
couple of can it seems like that's what it Wasn't
like that. It's an argument about that now, Like people
don't understand Chriss Cross came out before Outcast Facts.

Speaker 4 (42:22):
I know that, but I didn't know. I didn't know
that Goodie Bob and Rico Wait and the family. He
wasn't cooking up.

Speaker 1 (42:29):
But That's what I'm saying. You got to think about it.
Like here's New York. Chris Crust came out before outcasts,
So you got to think about where the stretch was, right,
It's like this crisscrossed the outcast, so outcast came. I mean,
Goodie Mob came out after outcast after outcast.

Speaker 4 (42:42):
Success know that, No, no, no, always thought the goodie Mob.
That's why we learned it. And I always thought the
good people. Think I'm signed a big punt, you understand,
not there is I'm telling you.

Speaker 1 (42:55):
They asked me, I'm thinking Goodie Mob. Birth casts cast
came out first, that what free? Outcasts came out first,
then Goodie Mob. Wow, that's amazing. But that's after the
game good time table. He was, yes, I you know.
So we went into the space of me started rapping,

(43:18):
and me and Bratt start doing like going back and
forth doing things this and the third and we did
the Sleeping in My Bed remix right that ship she
did the Sleeping in My Bed remix. This was like
the first song that New York have really ever, really
really embraced that I did. Now, you gotta think from
this whole time when I was staying in New York,

(43:39):
I had some times Leven I took, I took them
to see Red, I took I took the record the
Red Alert and Chuck Chill Out and Chuck Chill I
was like, nah, no, I can't take that country ship
back shuck still like that. So so I always had
this thing where I kept trying to treat my rest
plate in.

Speaker 4 (43:58):
New York the radio twenty twenty, still be doing there. Yes, listen, yeah,
I like curse like that changed.

Speaker 1 (44:08):
Yeah, but by the way, that made me want that
just made me just like, I gotta get a record
in New York. Like I gotta get a record in
New York. So I just kept I wasn't thinking about
Sleeping in my Bed being that record, but I was
always wanted a record that When I got to New York,
I turned on Hot ninety seven. I hear my music, right,
So Sleeping in my Bed became like one of the
hottest records in New York. Flex was playing at the

(44:28):
tunnel was an R and B record. They weren't playing
on R and B at the tunnel, right. He was
playing this. He's like, Jad, you gotta come to a
party at the tunnel. Sleeping in my Bed is going crazy, right,
So Sleeping in my Bed going crazy. And then we
had the photo shoot the Great Day in Hall did
all the rappers.

Speaker 4 (44:48):
Looking like a baby on the on the fucking picture
that's in my store right now when the Bronx, you're
looking like a baby out there.

Speaker 1 (44:55):
Yeah, so this so we we we come to New
York and go to Harlem do this. And then that's
when I I met Hole right and on my way
to the shoot, I'm listening to the clue tape and
Hove took the sleeping in my bed beat and he
took my cat and said, y'all want to dance, I'm
gonna make it dance. He took all of that and
did a freestyle. So then I'm in the car like, oh,

(45:17):
this nigga knows me. Yeah, he fuck with you. I'm like,
you really know me? Then paid attention to my whole shit.
So I wasn't thinking like when I seen him, I'm
gonna say, let's make a record. But somewhere in my
mind that's what happened, right, So when I seen him
out there, I'm like, y'all heard you just do my
whole little flow on that clue tape. You need to
come to Atlanta, we make a record, And he's like

(45:38):
all right, he gave me his number, so I went
back home. All my mind was that I'm gonna make
this record with jay Z. That's all I was thinking about.
I'm gonna make this record jay Z. I ain't know
what the record's gonna be, but I'm like, i'mnna make
this record with jay Z. And long story short, he
came to Atlanta and I went and picked him up.
And when I'm when I'm driving to the airport pick

(46:00):
him up, I'm listening to he Can't Knocked the Hustle.
And when he say deep in the South, kicking up
top game, I'm like, he's talking about me. Who is
he talking about? I'm riding. I'm thinking he talking about me,
And he say, switching froll lane. I'm switching, by the way,
I'm in I'm in a Bentley. Oh you can't up
by that. Yeah, I'm in the Continental Tea, by the way,
not just a Bentley, you know what I mean. I'm

(46:22):
in the Continental Tea going to the airport to pick
him up, and I'm all out the window. I'm driving
like this, I'm doing everything he's saying in there and
switching froll lanes, screaming through the sum room, went anything.
I'm like, this is me. I'm definitely telling you. That's
all I'm saying. He talking about me. So as soon
as he comes out of the airport, I say, yo,
I'm a sample this part. This is gonna be our song.

(46:44):
And he's like, all right, he's thinking about what I
was saying. And then all the way down the street
to my house, down Old National to my house, he
just got quiet, and I guess he's zoned in on
his verse. He ain't even hit a beat. I ain't
playing no beef for my I had a idea. We
got to my house, I hit the beat and I said,
this is what we're gonna wrap over. He's like, all right,

(47:06):
let's go. I'm ready. And I was like, what that's
crazy how this worked? And I thought the ship was
gonna be trashed. Jada would have moved into your house. Jada,
take his time.

Speaker 4 (47:16):
He'd have moved into your house for a month before
he gave you that verse.

Speaker 1 (47:20):
You're crazy, Jada take his time. There you go cap.

Speaker 3 (47:23):
It now, how it flew to Atlanta for other ship
and went in studio and gave him verses.

Speaker 4 (47:31):
That in fact or not, Yes, I gotta fuck with
the god.

Speaker 1 (47:36):
But my thing is he is he's the one that
could catch me. Come over, kisching Money dropped it for
the brat. Money ain't the thing up here.

Speaker 4 (47:46):
It felt like that was the mergence of down South
in New York, like like it was, you know, it
felt like that was the ship it was. And y'all
was talking that ship legendary. You know, whose idea was
the video and all that. The video was crazy.

Speaker 1 (48:06):
Everything about that with me hoole and free shout out
the free Maid and uh yeah, we was just like
we was trying to just figure out how to do
the dumbest ship we could possibly do at that particular
point in time, you know what I mean. And we
were supposed to we were supposed to have a horse race.
Well we both was riding a horse, but it was

(48:27):
like I ain't riding no horse, and I'm like, I'm
gonna ride the horse. You can put you put your
girl on the horse, our racer. And the way we
start talking to each other, that's how the video was like,
all right, a better one hundred thousand niggas, let's go right.
So then everything was just like let's let's let's let's
do it. Let's go over top. So yeah, we wreckoned
portions and everything at the video shoot real life.

Speaker 4 (48:49):
Yeah yeah, so y'all was just jumping out.

Speaker 1 (48:58):
So at one point do you hear Outcasts, well, Outcasts out.
At this point, Outcast is out, like Outcasts came out.
They Outcast was out. Like I said, Outcasts came out
right after Chris Crust. They actually was like bratt Outcast
and that they in that little era. All of that
came out around the same time, like ninety four. Chris

(49:18):
Crust came out in ninety two. So Outcasts, I think
like they came out and that's when they won. They
won the award at the Source Awards in ninety four.
I was there. That was that night. I was dead brother.

Speaker 4 (49:30):
I was sitting right behind Outcast, right in front of
the Outcasts was the sixty nine boys.

Speaker 1 (49:36):
NaNs was sitting right in front of me.

Speaker 4 (49:38):
You really remember, I'm at the I'm strapping the fucking
sauce of wars like not keep it real with you.
I got the HANDI moves with me. I'm up in there,
you know what I'm saying. So I saw where Outcasts
won that that award and they just got up and
I wasn't. I was up on outcasts. But I didn't
think they were the Kings, right, So I I knew

(50:00):
they was nice. I knew they was wrapping that at L,
but I ain't when they won who they won against
Wu Tang. They wan't won against some serious people up there.
That was a new Artist award through right.

Speaker 1 (50:14):
Yeah, but it was.

Speaker 4 (50:15):
It was around the same time. But when they go,
I remember them getting up. They did like a little
one two step they went because they didn't think they
were gonna win in New York. They so when they
won it, that was a major. That was like Biggie
on stage going Brooklyn.

Speaker 1 (50:32):
We did it.

Speaker 4 (50:33):
We made it right. It's like when outcast one. If
you wasn't there you were in the at L. You
seen when they won that on TV. I was there
or you was there. So what that must have been
like in the whole entire South or they like the
South got something to say. I mean, for me, I
didn't feel it like that because I had already said
what I had to say. I had already been saying

(50:55):
what the South got the same right, But this was
more or less like you know, like what niggas don't understand.

Speaker 1 (51:01):
I ushered them, young niggas and rap. When I brought
Criscruss in the game, it was no young people rapping.
Young people didn't even want to rap, right, it was
all old niggas. So old niggas would never give young
niggas no credit. Criscross came out, they first album. They
sold eight million records. Niggas don't ever be like really
like talking about this, like they want to give all

(51:24):
Criscross credit to somebody else. They sold eight million records
at twelve years old. That's a lot of records. Man,
they sold four million jumps. Hold on that.

Speaker 4 (51:39):
You know his studio, he got a war with nothing
but platinum dinond shit.

Speaker 1 (51:44):
The studio, I call it it. Museum are the exhibit?

Speaker 4 (51:48):
You walked up in there and you know you you
step in this shit? How many millions niggas kissed one?
Let me ask you that, like he said, you got it.
But it's a lot of millions.

Speaker 1 (52:06):
I mean it was one time it was at like
four hundred five hundred million, but that's that was like
ten years ago. Now that we got this streaming ship,
I know it's way more than the Confessions.

Speaker 3 (52:16):
I even get to my riot, how what was you?
And the staff shout out to be cock shout out
to everybody, what was what kind of zoom? What did
y'all set out to do? Cause if y'all just say,
you know, we're about to cook up some ship and
go diamond and take over the whole every piast of
the world.

Speaker 1 (52:35):
Accomplished that to the t, I don't think that's what
y'all did. No, No, I mean you got so. We
had eighty seven o one first before professionals, right after
definitely Yeah, so eighty seven o one we wrote, we
wrote you Got It Bad real, so you got It Bad.
The success that You Got It Bad was just like

(52:56):
it's the beginning of it. Like it was like, okay, listen,
we make after after you Got It Bad success, We
went back in the studio for Confessions. The mentality was
that we had to finish off what we thought You
Got It Bad did, right so us She was talking
about the song like he felt like his relationship was
going through the situation. He wanted it to burn out,
like just let it burn out, and we have to

(53:17):
go through the pain. And he was telling me this
and I couldn't really grasp what he was saying because
I went I had gone through that type of situation.
But I was trying to and I was trying to
figure it out, and he told me this, and then
he left and I sat there for a minute. I
except thinking about him, like let it burn, let it burn,
And I kept saying like, oh, okay, I want the

(53:38):
feeling everybody, you know. I started trying to figure out
what the lords were and then I got it and
I called him back. I said, I got it, I
got it, I got the hook. So he came back
to the studio and we did let it burn first,
like we did let it burn first. And then he

(53:59):
starts saying was going through this thing where he couldn't
really work in Atlanta. Let's go to LA And I'm like, nah,
here we go. This is the bullshit I thought we
was just everybody go through a phase.

Speaker 4 (54:09):
You think he gonna block his own blessings, right, I'm like.

Speaker 1 (54:13):
Here we go. I'm thinking about me because I'm I'm
I'm like, I want to be where I can grab
all the records that I need, any ideas, It's all
in my studio right for me as far as being creative,
I don't want to go nowhere because I know I'm
gonna forget something I'm gonna leave someone. I can't find
something that yeah, right, So he like, let's go to
LA and I'm like, shit, cool, I'm going we go.

(54:35):
We go to Brandon's Way and we get out there
and my man that was with me. He was talking
to me about girls inside girls and relationships and this,
that and the third, and I just kept saying, that's you.
That's all bad, Like everything you're talking about is all bad.
And Usher came to the studio and we started talking

(54:57):
about some things, but then he left, and all I
kept remember he was like, Yo, let's let's let's come
back tomorrow. And I was like, Manna, I can't let
LA beat me. I get like a writer's block. I
feel like I got a writer's block basically, And you know,
it's really really bothered me because I already felt like
it was gonna happen when I got to LA. So

(55:17):
I have to cut you off. That happens to me
in La. I needed.

Speaker 3 (55:22):
I can't just go there and go straight to the studio.
I gotta I gotta cry, I gotta be, I gotta.

Speaker 1 (55:29):
Some ship gota happen. I can't.

Speaker 3 (55:31):
I don't got the same fluidity in the studio in
la that I got anywhere else, and I don't know
what he I don't know what it is. It takes
a while for me to get I can't just go
there and be kissed off the brip.

Speaker 4 (55:44):
So I never really successfully wrote in l A. Never
me myself, never hit one out the park in l
l A. Like you know, I wrote ship there, but
it wasn't.

Speaker 1 (55:55):
Blackout was recorded in l A. X album this is it.
That's probably no. He was recording out there. I'm talking
about for me, one of X album is the best
I was able. So yeah, So I'm I'm going through
this thing and I'm struggling. So I'm like, I told

(56:15):
the engineer give me a copy of the beat because
I made we made a beat man because he made
the beat. And I think I know I know the beat, right,
I just don't. I ain't got the words. I can't
figure it out. And I and I'm thinking about saying
stuff that I don't think USh is gonna want to say, right,
So I'm thinking like that he ain't gonna want to
do this because this ain't what his life is, right,
he ain't going through this. So I'm like, but that's

(56:37):
what I want to say, but I'm thinking, like this
ain't gonna work. So I take the beat and I
get in the car. And I'm getting in the car,
I'm riding down Melrose and I'm thinking, like where I
knew n. I'm thinking, I'm thinking like shit, I ain't
got the words. I can't. So I started thinking about
usual suspect right was in the jail. He ain't had

(57:03):
the words for the story. He just started looking for
the words on the board and try to create the story.
So I'm like, I'm gonna try this, and that's what
I've started doing. I'm looking at signs on mail Rose.
It's all kind of shit going, right. So I get
to the light I think on third and the Beverly
Center's in front of me. And that's when I say
every time I was in La, I was with my
ex girlfriend. Every time she called me and told him Gravey,

(57:25):
I'm working. No, I was not doing my work. I
was handed handing the Beverly Center like man, not giving
the damn. Who sees me? And I'm thinking like, oh,
and I'm just grabbing this everything I see. I would
have never said the Beverly Son in that song. If
the Beverly Center wasn't in front of me. I'm trying
to do the kisise shit right. So as I get
through that verse, I'm like, I'm like, I got it,

(57:48):
and so everything is everything. Everything I've been doing is
all bad. I got a chick on the side of
the crib and the ride up and telling you to
minize ain't looking good. It's all bad. I just want
to confess. And that's where confessions came from, with me saying,
I just want to confess all of this ship that
I've been doing is bad. We ain't have confessions that
if I want to say that, I want to confess
to you everything that I've been doing is bad. It's

(58:09):
like my time. I'm saying, this is gonna be the
first R and B record with a nigga actually tell
a girl he fuck it, Yeah, you ain't got even asked. Yeah,
I'm fucking her. Just what I'm doing. I got a
crib on the side, chick on the side with a
crib on the ride up and telling you so many
lines ain't nothing good. It's all bad. I ain't always
going I just felt like.

Speaker 4 (58:29):
Day that song feels so good to this day.

Speaker 1 (58:33):
So that was the beginning, right, that was the beginning.
I had to drive all the way to Malibu because
everybody had left the studio and I couldn't record. I
had to remember, I had to memorize all of this. Yeah,
I had to keep going right. So the next day
it's like, we got to hurry and get to the studio.
So I put it down. You ain't write it down,
you know. I'm right, I'm driving and writing in my head.
I forget too much. So so we get back, we

(58:56):
do this, we do all bad and then Mark pitch like, well,
what happen? And after, you know, after this situation, what
happened with the chick on the side. Then it hit
me it's like, oh damn, she got pregnant. This is
like my real life, right, the chick on the side
get pregnant. I know this story, Like I really know
this story. I ain't even gonna write this right. So

(59:18):
that's when we're like, okay, I'm like, ship, it's gonna
be part two. And part two became these on my
confession and you if we would ever got to that,
if we went and did we So we did a
part two of a song that never even came out.

Speaker 4 (59:32):
Wow, so that was part two. That was the response. Yeah,
and you ain't even do the first one. Well, we
did it, but it didn't come out. LA didn't put
all Bad on the first He didn't put it on
the album. He put it on the you know me
on the repackage. You know you name it some big names, right,
So you're saying l A Read, You're saying Mark Pitts,
who the sides?

Speaker 1 (59:52):
What comes on the album? LA Read on the faith?
I mean you know at that time, Ariston, you know
that was that he'd be like, I want this, I
want that shot. That's his job, that's what he's thinking.
And that was his face, like La, you know, putting
the albums in space saw.

Speaker 4 (01:00:08):
Like a like an old interview with all Kelly and
he said he would do like a hundred songs and
listen to all of them and pick out the twelve
on the album, Like you know how hard that ship
had to be to like, here's probably some gems left
on the floor, right.

Speaker 1 (01:00:28):
But that's what I'm saying, Like, I never I never
even understood why LA didn't even put both versions. He
didn't want he ain't put all bad And I'm like,
you know, what's crazy is that people gonna listen to
this and they're hearing the second story. They don't even
know where it came from. But I couldn't figure I
couldn't figure out how it was genius. Yeah it was.
It was like crazy genie shit. So so that was

(01:00:49):
the beginning of confessionals. I think Big Pun.

Speaker 3 (01:00:52):
Even think about it, do JD. That's how movies sometimes
they make you watch the movie back.

Speaker 4 (01:00:58):
That's the track, and it was ill. He said he
did the kad his soul said yeah, right his block
and you're looking at signs.

Speaker 1 (01:01:04):
It was like, but you care you ain't got it,
you know what I mean, Like, if you want the pressure.
That's that's all I remember about that movie is that
dude was in there, you know what I mean, in
the jail, the dude asking him questions and he's underpressure.
The whole story with it. He just looking at stuff
and he's like, Oh, that's crazy. If you could put
it together and make it sound good, that's what I

(01:01:25):
started trying to do. That was that's crazy.

Speaker 4 (01:01:27):
So I got to ask you think Big Pun because
it's his biggest question in the world.

Speaker 1 (01:01:31):
Was Janet Jackson? You got Janet Jackson now prime was
it a problem? She was six packed up and all that.

Speaker 4 (01:01:42):
Was there was a Janet that went crazy at one
point that she just became the baddest.

Speaker 1 (01:01:47):
I know that it's good time.

Speaker 4 (01:01:49):
Can I say right that you caught high at the
time she went crazy?

Speaker 1 (01:01:56):
Right? And so?

Speaker 4 (01:01:57):
And I don't know, let me ask you before that,
Let me ask you question you went crazy before that?
It was enough to make you say it was Let
me holler right, the confidence to holler at Janet's well,
I don't know, because.

Speaker 1 (01:02:13):
He did what he said he did till twelve.

Speaker 4 (01:02:18):
No, no, I understand that said it's Jannet Jackson nos
talking about Penny. Okay, well you got the confidence I
ain't got. Now, let me ask you a question you
ever got shocked by? Can I say something joke? I'll
tell you he's on his ship, on his city.

Speaker 1 (01:02:34):
I can't let you get away with this ship. This
ain't that and that ain't this cracking kisss.

Speaker 4 (01:02:41):
Michael Jackson never pulled you on the side and say, yo,
you're dating my sister.

Speaker 1 (01:02:45):
You know that? You so?

Speaker 4 (01:02:46):
He never he don't get involved in his sister's love
life now.

Speaker 1 (01:02:50):
But but Jackie, I think Jackie did and then where Jackie,
Jackie want to smoke. They just let me know. I
mean somebody.

Speaker 4 (01:02:59):
But at the same fucking with your sister, you might
you know what I'm saying. I used to sit in
front of my sister with a baseball bat.

Speaker 1 (01:03:05):
She hated me. My whole life. Guy come to visit hunting.

Speaker 4 (01:03:08):
I'm sitting right in forest projects with a baseball back
looking at the dude like.

Speaker 1 (01:03:13):
They had no time anything. You even met him. I
don't give a fuck. At that time.

Speaker 4 (01:03:20):
I was one of them crazy Puerto Ricans. Then you
was like, yo, I'm dating this. Check there's a crazy
Puerto Rican nigga with a baseball.

Speaker 1 (01:03:28):
Bat staring at me. No.

Speaker 4 (01:03:29):
No, at the house, you know, yo, miss can I
come visit your daughter? I'm sitting there with the baseball.
My sister never got over that from me, you know
what I'm saying, because it was whacked.

Speaker 1 (01:03:41):
It was whacked. So he never stepped to you like nah,
But in the house you have to pick a side though,
between Michael and Channel and that I was. He had
to pick a side, like if you was on the
Michael side or you was on the Channels side. So
there was family competition. Yeah, just six Jermaine Dupriz ship

(01:04:06):
fucking Lanta up. That ship was like to draw. So
like Jackie with me and Jackie we hit it off.
Jackie told me he was like, you know, we're the
first niggas in LA with Ferraris And I'm like, what
you have to think about that or that's where he said,
just think or that's a fact though now. But I'm

(01:04:26):
just saying, you can't niggas in LA that haven't had
with Jackson. Bro.

Speaker 4 (01:04:32):
Yeah, the first alien in the living room. Bro, these
guys you leave it to us. Anything they did, we
we believe.

Speaker 1 (01:04:41):
Yeah for sure. So I mean you have to you know,
he's just breaking it down for me, like you know
what I mean, And you didn't know that now.

Speaker 4 (01:04:47):
That's why I'm telling you it took a lot of
cohets to step the Janet Jackson when not world heard
Jermaine Duprix was Dayton. Janet was like this, you know
how many motherfuckers? Was like, oh, I wish I had
the heart to talk.

Speaker 1 (01:05:02):
To her, yo.

Speaker 4 (01:05:03):
I you know, you know, you know Raoul Recipes always
told me Jalo gave.

Speaker 1 (01:05:09):
Him a look.

Speaker 4 (01:05:10):
One time we're shooting the video with Jenna he would
tell me all the time, like shut.

Speaker 1 (01:05:14):
The fuck up.

Speaker 4 (01:05:15):
She ain't look at you the fucking line. But by
the way, that's all looked at me. That's all I'm
telling you. I respect it because of you. I said, Chlo.

Speaker 1 (01:05:25):
Did not look at you.

Speaker 4 (01:05:26):
Raoul.

Speaker 1 (01:05:27):
He really he went to his grave with that story.
Really believed that ship. It's probably true. Why I say
the money and thing. She looks, she goes, it's it's
bye bye. She looks, she goes, for sure, But you
ain't got to say no more. I mean, damn as,
I still live. I live by that today. She looks,

(01:05:48):
she go sick. That's what it is. She looks, she goes,
it's a.

Speaker 3 (01:05:52):
Wrap now after you now confessions because I got a
deal on the journeyist sagas he keeping it on.

Speaker 1 (01:05:59):
You been asking I want to stay on seching you
all about time. I'm right. I'm with you. Maria, how y'all.

Speaker 3 (01:06:11):
The MC you just seem to hit everything out of
the park with everything you create for herd and with us,
I mean.

Speaker 1 (01:06:22):
With the Mariahs ship was like the first record I
did for Mariah was always be My Baby Right, And
I fucking loved that song. You always feed my Baby. Oh,
so that's the first song I did for and and
she she came to me like she told Tommy like,

(01:06:44):
I want to work with him because she liked just
kicking it. She liked this Kate. She wanted the song
and felt like that, And that's what that was my
attempt to give her, like just kicking it was was
always be my baby, right, And then that's where we
formed our relationship. Shit when we just started working, working, working,
And then when La signed to The Death Jam, he

(01:07:05):
started working on the Masciplation of Me Me and I
wasn't on it and he called me and he was like, oh.
He told her his favorite song, his favorite Mariah Carey
record was always beat my Baby, and she was like,
with JD did that song? And he was like, well,
you need to go to Atlanta and see j D.
And he sent her to Atlanta and the first record

(01:07:26):
we did was is like that and No, the first
record we did was can I Get Your Number? And
I'm singing on the record because I was gonna I
wanted her to do the part, but when she heard it,
she was like, oh, I'm not doing that. You stay
on the record, and I'm like I don't want I'm
not singing on the record. She's like, you know, stay
on the record. So I ended up staying on this
song can I Get your number? And then me and

(01:07:48):
be Cox we did shake it off. So we did
Can't I Get your number? And shake it off in
the same little like two days. So they went back
and she came back to New York. She played these
two songs for l A and he was like, oh bye,
He's like, hold up this this, this, this feels like
where we need to go. You need to go back,
go back to Atlanta one more time. So then they
called me. It's like she's coming back, and he was like, JD,

(01:08:09):
you still ain't always be my baby? And I'm like,
I don't. I can't do that again. I don't know.
I don't think I can do that again. So he
came and I knowing that he wants this record that
feel like always be my baby, So immediately I'm like,
we gotta make a ballot. That's what he looking for.
He looking for a ballot, and we made we Belong
together on the gav I to sleep at night, and

(01:08:33):
then we did It's like that too, that same little session,
but we belong together as the record you know What's
Crazy is my favorite singer of all time is Luther
Van jews rest the piece.

Speaker 4 (01:08:42):
And this morning I woke up and I played the
performance of Luther in London with Mariah. Now I've seen
videos of Luther singing with with Whitney Houston where he
had to encourage her, like yo, Whitney km on, like
he was giving a pep talk collute the different. But

(01:09:05):
a young Mariah Carey went over there and went toe
to toe like a Muhammad al Leave fighting.

Speaker 1 (01:09:12):
In that performance. And it was just like yo, and
like she wasn't scared in Luther. She was a young girl,
a care That's what carry man.

Speaker 4 (01:09:25):
She she different, you know What's crazy? Before the world
was being mess it was so so Deaths. Yeah, and
so I remember going land, Yo, it's so so Atlanta, right,
and then it turned into b m F.

Speaker 1 (01:09:41):
But they got to sign across from me, across on
the other side. They got to sign across the other side.
Ain't no, I'm just saying. The signs was like a
lot of people think encouragement for them. A lot of
people think that they we switched sign my son right there.
They was like like that was like, un the author
us to be honest.

Speaker 4 (01:10:00):
Well, we knew we was gonna he is kind of
Worzel Choppo, Like, motherfucker, gotta be kidding me, right, I
used to think they was police is something. At first
They'd be like, y'all get with them. I'd be like, what, Yeah,
they're paying crazy money for features and this. I'd be like,
I see them in the clubs and all I'll say, Yo,
this is just no way.

Speaker 1 (01:10:21):
These guys are doing it.

Speaker 4 (01:10:24):
Like they thought they were legally selling drugs or something, right,
And so no, no, I'm telling you. They come to
Miami twenty white cars, Lamborghini, white, Ferrari white colored in white,
this white truck like this Tuesday sky blues were offan
of sky blues for robbers.

Speaker 1 (01:10:44):
They was just doing different colors.

Speaker 4 (01:10:45):
And they had a birthday party where they was they
had tigers in the club bro full fledged.

Speaker 1 (01:10:51):
They was doing ship the first time I ever seen
them at one hundred and seventy five homers. That magic.
Let me say that Atlanta. Atlanta allows you to do that,
Like Atlanta is the only city in America where you
can go to and you're gonna see black people with
money that don't sell dope. I'm talking my money. I'm
with that. I'm saying so ultimately, when you get the cryptic,

(01:11:15):
so ultimately, what Meat was doing blended in so well
that it didn't feel like what you're talking about to us,
because because me coming from the Bronx, Yeah, that's what
I'm saying, I feel like I knew there were some
indictments coming SNYE see that what I'm saying, It didn't
feel like I fucking knew it like the back of
my head. It ain't feel like that to us because saying,
if you pull up the Linux Square right now, I'm

(01:11:35):
mad rich black people, Atlantic Square looked like they looked
just like what you're talking about.

Speaker 4 (01:11:40):
That's probably the only bag I never took like. They
was like, yo, we's got the bag. He want features,
And I was like.

Speaker 1 (01:11:49):
I took that. It's beautiful. I was telling you, what's
so with this Magic City album and doc all right,
so the Magic City album, But initially we did a
Magic City documentary and I didn't have had I got
a new deal with Hide a Social Depth Hide, but
I didn't have my deal right, and I was just

(01:12:10):
doing a documentary as an executive producer, and then I
signed my deal in between us putting this doc out,
and I was just like, it's crazy that we ain't
doing something with the music, right. So I had conversation
with School and I'm like, I think my first project
should be a soundtrack from this Magic City documentary and
he was like, yeah, that's yeah, let's do that. And
we called stars and we was like, Yo, we're going

(01:12:32):
to do a documentary soundtrack. And it was like, we
don't really do soundtracks like that. And I'm like what,
And I'm like, this is this is what the club
is about. The club thrives off the music. The music
moves the club, so you got to make it go.
And they weren't really like soul on doing the music right,
but I'm sold on it. At this point, I'm going,
I'm going, I'm starting to call artists. I'm trying to

(01:12:53):
do what I gotta do. So then I was just like,
you know what I thought about when I was working
on American Gangster the songs that an American gangster ain't
in the movie, right, So American Gangst the album, it
says jay Z American Gangst I mean inspired by American
Gangster the movie but the songs that's in there is
not in the in the movie. So then I was like, Ship,

(01:13:15):
we could do this. We could just make a Jermaine
the pre album inspired by the Magic City documentary. So
that's basically what that's what we're at right now.

Speaker 4 (01:13:21):
So I got to ask you a question, though Jada
hates giving it to you. Top five dances of all
time in Magic City? White Chocolate at the top shot.

Speaker 1 (01:13:32):
I gotta write these down because I got to google
these people. But in the documentary all in the documentary,
I don't know. Top five too many, man, it was
a girl named Sugar. It was a girl named sugar
in then yeah Sugar, he told was a girl that

(01:13:53):
live boy Sugar Sugar, Yeah sugar, man, none of them did.
So more's magic that Magic's had. It's it's the time, Like, yeah, yes,
it's this, But but white Chocolate, I feel like it's
all time, is all time at the number one, she

(01:14:15):
the one all time?

Speaker 4 (01:14:16):
So they don't they done threw the most money at
white Chocolate every Yeah yeah, because you know the.

Speaker 1 (01:14:22):
Cribs is affordable them girls was probably buying acres and ship. No,
I'm telling you the truth. I know you are like
he was out there, this ship was I mean, I
spent ten thousand dollars every Monday for twenty years straight
and nigga, easy take this off. Now it's.

Speaker 4 (01:14:46):
Way I made this song, make it rain. I didn't
go to the strip club for about three years until
it got plaid out.

Speaker 1 (01:14:52):
Got old.

Speaker 4 (01:14:53):
They was killing me, like every time I walking to
be like, dang, don't played the Superman's song Light to
Come On and missed thee. I'm like, and it was
never enough. Because you may make it rain, they want
you to keep it. I was like, yo, guess what.
It's not good for me to go in the strip
club because they get they're putting major peer pressure on me.

Speaker 1 (01:15:17):
But see this way, you gotta walk. You gotta walk
from you gotta walk from the v P section and
you gotta go holler at the DJ. You gotta get away.
You know what I mean. You can't stay in that light.
You can get stuck. So when we're stuck in that light,
everybody watching you. Magic City gotta get out of that
fish fall. No, magically, ain't got no second floor. Had
a second floor. Oh now they got a little step up.

Speaker 4 (01:15:38):
That's where I met JIZI for the first time to
live a little step up that was as far that that's.

Speaker 1 (01:15:42):
As low as you could go up there in that motherfucker.
You know what I'm saying, little step up? What made
you what you want to do? The rap me? Like
when Spike we'll say I want to get some kids
with the rap game. It wasn't with him my idea.
It was. It was an idea that that I think,
like Flavor Unit, they had the idea before, but I

(01:16:06):
just was the person that had produced kids before and
they didn't know nobody else that they thought could pull
off that part. So the idea they had, they already
had the idea when they came to me. That's when
I started flushing it out, telling them like, this is
what we're gonna do, and then my reach about getting
the artists and all of this. I just took over
the show from that point and once I, you know,

(01:16:27):
after we got through the first season, I realized what
we was doing and I was like, oh, I got this.
I'm getting ready run this up because I seen that,
you know, I seen how many people was paying attention
to it, and I also saw like once again it
was like an opportunity for the young the younger generation
to step forward and be a part of hip hop
in a way that they weren't ever. You know, when

(01:16:47):
I was a kid, it wasn't happening or even somebody else,
even like bow bow Wow coming in the game. At
the time when bow Wow came in, it still won
no kid rappers, you know what I mean. When he
came in, was still want nobody else out. That was
at twelve years all doing he was doing. So it's
like bow Wow to me was like llo woja the kid.
You know what I'm saying. Fact. And the third album

(01:17:10):
when I wrote like You, that's what I was trying
to get to, like you know, that was when I'm
alone in Me. Yeah, I was trying to get to that.
Like you know, he was Dan Sierra. So I was
just like, we gotta make all these songs for the girls,
all these songs out of my system, like you all
of these records. I just you know, him and Chris Brown,

(01:17:32):
so they're like mine. I just start making all of
these songs about the girl was crazy, like certified, like nuts.
So yeah, yo, I'm telling you, I'm all told with him,
and they sat me everywhere we went, they had like
me in one on one one O two.

Speaker 4 (01:17:50):
I don't know why they gave me Badwow. He randomly
just knocked on my door and I'll be like, Yo,
bad Wow, what's up? And he started reading scriptures that
he certified. You can't I met some crazy. He's like
Keith Murray crazy.

Speaker 1 (01:18:04):
I'm telling you, Wow. He ain't Keith Bury Murray crazy.

Speaker 4 (01:18:11):
I'm telling you baw Wow. Some of the ship he
sayd private. I'm just like, no, no, it is private.
I ain't saying what he's said. I'm just telling you,
by the way, I don't know how many times I
said it right bow Wow. I was like Yoda, he's seven,
Like I turned around like Yoda stuy like.

Speaker 1 (01:18:32):
Ignorance is bliss with bow Wow. What's interesting about bow Wow?
Bow is a real rapper? Yes, he like literally, I'm
saying literally. He was on He was on AR Senior
when he was six years old. He has the longest
rap crew in rap than anybody. Don't nobody paying on.

(01:18:56):
He's been rapping longer than anybody, and he's still on
radio and still got songs playing in the club. He's
been rapping longer than anybody else. That's in rap, right,
and it's crazy. I signed him when he was eleven superstar.

Speaker 4 (01:19:10):
I always thought you Snoop Dogg Son and some ship
on that basically was yeah because he was like a
little bad.

Speaker 1 (01:19:16):
Wow, you just don't know you know that ship, y'all, cass,
you gotta kiss. I got a question. So I got
a question for you because I know I've been I'm
making this Magic City album and I have to ask
people prior to me making the records if they beefing
with somebody or whatever whatever, because I and I only

(01:19:36):
do this, and I only do this because I didn't
do this with you, right. They did a good thing.
I mean you you kind of like fixed it before
we fixed it with that song. So I did Hate
Your Blood, right. I did the song Hating Your Blood,
and I put kiss in Freeway on the same record
in a minute in the middle of the heat without

(01:20:00):
speaking to them, right, And I wanted the record to
be just me and Kiss. I didn't want Freeway to wrap.
I just wanted Freeway to do the hook. That's what
I heard in my head. So I had got kissed verse.
I had Freeway come to the studio and he was
like I'm get to put my verse on here, and
I was like, Nah, I just want you to do

(01:20:20):
the hook. I wasn't really paying no attention to me
telling him, nah and his man and his You know,
it's a verse going that.

Speaker 4 (01:20:32):
That beef was nuclear Jada, you and and and Beanie
and Free Way and all. I'm going back and forth
like that that that might have been one of the
greatest lyrical beefs of all time.

Speaker 1 (01:20:44):
So somebody, I know, somebody had to say something about
this that serious. No, no, no, it was the crew.
I'm somebody somebody and the crew had to say something.
Somebody and crew said something about crazy song was knocking
so and then and then really bothered me and beef.
It wasn't he had love. It started with love. So

(01:21:08):
it wasn't It wasn't one of them things like that.
It wasn't a big wasn't one of them. We could
have died, you know what I'm saying. It wasn't like
that on this. My trust was in you with the song.

Speaker 5 (01:21:22):
I know you.

Speaker 1 (01:21:23):
You got the fucking billion dollars. So if you hear me,
you don't cling really like that. Now I got I
got to I got to kiss who I have to
ask now that I'm making these, now you gotta do it.

Speaker 4 (01:21:39):
But you know, I think I'm gonna add a little segment.
It's called the Lousion the records to lose. Yeah, because
your lady like, should he like that?

Speaker 2 (01:21:48):
No?

Speaker 1 (01:21:48):
No, this ship you definitely need. I definitelyn't need. You
definitely need to do that because I was trying to
think of like, like I said, I've been doing this record,
this this Magic City album, and I'm only using artists
from Atlanta, right, I'm only I'm only doing records with
artists that's from Atlanta. It's the whole soundtrack. So the
first single is with t I, two Chains and UH

(01:22:11):
and drou. I never had records with any of them, like,
never had records with them, right, And it's crazy as
the energy keeps going with this, I keep seeing people
say JD bringing the city back, this what the city needs,
blah blah blah. And what ultimately hurt Atlanta music scene
because people talk about why the music scene ain't like
it used to be. Well, ultimately hurt Atlanta's music scene

(01:22:33):
is delusional records, Right, and break that down for me
and and and the and the independent mindset huh to
fund with? You know, I said so so So from
my side, it's the independent mindset because all the artists
that all the people in Atlanta love, they're not independent
and they ain't not paying no attention to it. So

(01:22:54):
they delusional to believe that they gonna be like these people.
It ain't will never happen like that, It's not gonna happen.
It's the biggest delusion going, right, And everybody keep trying
to pump like like I see. I was talking to
myself before I came over here to his interview, and
I was saying, like, you know, like if you look
at Beyonce, right, my dad signed destly shot of Columbia.

(01:23:15):
He was the President's who. So my dad used to
work in Columbia Records. This was one of the things
that he know, this is one of his This is
one of his puts. Right there, he shot out the
O G Yeah, shout out my dad. But I say
this to say that Beyonce has been signed to Columbia
Records for twenty five years, right, longer that right? But

(01:23:40):
Steve Stout got a record company that's independent, and Stout
and Hove his partners, right, you would think that if
it's so green on the other side, while would Beyonce
get out of her deal and go sign with Stout
or anybody else for that matter, Right, And a delusion

(01:24:00):
is that it's a delusion in there. And whatever your
delusion is, it's a delusion in there. And that's what
I'm saying. All these artists, Lil Wayne, Drake, Kendrick, I
don't care who you're talking about. They on that list,
they signed to a major and you can talk about
they got a better deal. And that's the that's the

(01:24:20):
part I'll be trying to make people understand, Like we
got out of the space of like being, we got
into this entrepreneur space and we got out of making
deal space. Like you can make a deal. You ain't
You ain't gotta you don't have, you ain't gotta own it.
You can go in there and make a deal. You
can tell niggas exactly what you want. If they fuck
with you, they gonna take it. If they don't, you
just keep walking right like this this when when I

(01:24:44):
just heard you talking about you getting paid to talk,
you can't believe that, right, That's what I'm saying. But
you you doing, you got what you wanted.

Speaker 4 (01:24:51):
Yes, that's a fact, exactly what we got what we want.
What I'm saying, y'all got what y'all wanted. You know,
you don't get what you asked for. You get what
you negotiate.

Speaker 1 (01:25:00):
Gotta you got to negotiate, And that's that's that's what
has hurt Atlanta. Atlanta's spirit was that if Dallas Austin
Winner got a deal, then Kevin Wells will go get
a deal, Then Divine Stevens will get a deal, and
then Polo to Done get a deal. And it was
like niggas was going out here finding big, big, big,
big bags. And then it got to a point where

(01:25:20):
niggas like, oh, we fuck them, We're gonna do this
ship by ourself. Yeah, all right, I like to see
it to lose your raft and dal who put me on.
He was one of the first to move down to
Atlanta from New York. Diamond d Keith Sweat went down
there by bo Yeah, your man went down there.

Speaker 4 (01:25:42):
A lot of guys moved down there. But the part
of my delusion is right, so Aaron Hor's brother.

Speaker 1 (01:25:50):
Yo't even gotta say it, you gotta say it. I
think I'm gonna get lower Yo, your kids. Yo. I'm
just saying when the Brother the.

Speaker 4 (01:26:05):
Jamie and the Hall, you know what the fuck I'm
talking about. He said God was the greatest group.

Speaker 1 (01:26:13):
Of all time. Now God, just say you feel like that.
What's the greatest group of all time? New Addition? Hello?
Can you stand the ring? But can you hello? Now?
You gotta be delusional to think you're going up the
group saying, Hive, you want to know what's crazy.

Speaker 4 (01:26:36):
Two days ago we in my pool right friends, family,
I brought this up and everyone set New Audition. That
wasn't even a brainiact a thing because you know, my
my favorite group of all time is Boys to Men.

Speaker 1 (01:26:51):
But still everybody set New Addition. Now, I mean, let
me say this on the show right now, New Audition
is the greatest group in music here, history, period. They're
the greatest group to ever come out white black, I
don't care what it is. They're the greatest group to
ever come out. Reason being everybody went solo and went platinum. Everybody, everybody.

(01:27:14):
This ain't happening with the Jackson's, This ain't happening with
the Four Tops, This ain't having with Temptations, This ain't
happened with the Backstreet Boys. This ain't happening with insant
New Addition. They got BBD, they went platinum, raph Treadsphant
went platinum, Bobby Brown Records, nobody and their crew didn't

(01:27:36):
he and they all went solo, and they all came back.

Speaker 4 (01:27:39):
Because they got real cool with him. We're still cool,
but we got cool for a time. And I love that,
you know, I love seeing my O g's doing great.
You know, I'm waiting for a man the Waldorf in
l A and the man pull up and the Bentley
come out with the boat, take a bag with the.

Speaker 5 (01:27:56):
Sweet Johnny Gil. That's how I like to see my
old g's. I don't like to see my old g's,
you know, a hip hop. A lot of the old
g's fucked up in the pockets. But I love to
see Johnny Gil pull up with that ship on doing fun.

Speaker 1 (01:28:14):
What happened? He stretching now. But they the greatest, the
greatest group. We gotta we should treat New Addition betterment.
New Addition is the greatest musical group to ever come out.
I'm talking about all of these groups. I'm talking about
the I'm talking about the rolling songs. I'm talking about

(01:28:37):
all of these artists. If you go, I'm talking about
all of these bands, you can say the Rolling Stones,
you can say all of them. None of them need
to have all their artists. They hold about the Beatles.
Everybody weed it. Who you know.

Speaker 4 (01:28:50):
When white people get something, they hold on to it,
whoever d white. When white people get something, they hold lunch.

Speaker 1 (01:28:57):
Well, we need to do the same thing.

Speaker 4 (01:28:58):
No audition is that they still are outside of Elvis
House right now. He said, they're still in the Elvis
House right now, taking tours right now. I'll tell you
some white people they won't let that ship go.

Speaker 1 (01:29:12):
But we need to do the same. Shoot now, we
need to do that with I'm telling you because you're
talking about boys and men. Boys and men came from vivins,
Yes they did. When your favorite god and then think

(01:29:35):
about that.

Speaker 4 (01:29:36):
Oh no, I'm they ain't honest with you. I'm I'm
I'm I'm a new audition worshiper. I'm just saying, you know, vocally,
man that boys to man, man, that's hard. That's that's
that's that's a hard one. They voice and they.

Speaker 1 (01:29:54):
They got, they got they do just with new audition.

Speaker 4 (01:29:58):
No new audition put them on. So there's no question,
I'm agreeing. I'm just saying, Damian Hall, shout out to
Damien listen, we had Jim Jones or no, we had
Jim Jones where that shit started out?

Speaker 1 (01:30:15):
Just let him keep talking. You see what he said. Kiss,
he's on my side. You let him keep talking. What
do you wanted to do? Stop him? I try to
stop him. The man kept talking. We try try, Like Josh,
let me tell you something.

Speaker 4 (01:30:35):
I realized that man was determined to do that, and
he waited for And if we would have said Serena
Williams of Venus, he would have.

Speaker 1 (01:30:43):
Said, yo, better than nos, like he just was waiting
for that. That them odds. You pulled up the little
guy that did compare.

Speaker 4 (01:30:52):
And what I would have said about what I would
have said was, hey, it's an honor to be compared
with the God.

Speaker 1 (01:31:00):
Ain'ty normal person said? It's nothing about with that little.

Speaker 4 (01:31:04):
We have a whole new segment called Delution Records out here,
and we're gonna this ship out of control out here
like you God, like you, you've been there since the
fresh Fast. You got Instagram. You see some of this
ship sometimes and you just like, yo, this ship.

Speaker 1 (01:31:23):
I mean it happened to me every day because it's
like a lot of the things that I lived through
as a child, whatever, it ain't around no more. So
it's hard for people to even grasp what I'm talking about. Right,
It's like it's a poster. It's as shows like this
is very like it's a post in my studio that's
a Cris Crush poster and it says, you know, on

(01:31:44):
tour Michael Jackson and people coming there and they like,
I ain't know that happening. Chris Crush went on tour
Michael Jackson, like like I wrote it up there like
I did, like this actually happened.

Speaker 4 (01:31:57):
You want to know what's crazy is I think if
they did a movie of anybody who had interactions of
any kind of Michael Jackson, I would tune in every day,
like you know what I'm saying. I'm so intrigued by MJ.
That's why I asked you if he said that you
got any hille stories with MJ.

Speaker 1 (01:32:15):
He was Michael Jackson at all time. Though at all times,
Michael Jackson was Michael Jackson at all times, even behind
the scenes, one no one, no one on tour with
that he wanted them on tour with them. He wanted,
he wanted. I mean, you know he's all on Sony,
but you know Jump was Jump was huge, right, it
was just a big record. And Mike liked he liked Rapp.

(01:32:38):
But people ain't you know what I mean, They wasn't
really fine. They didn't know that that's what he was into.
And he was like that song. Them kids they got it.
Ain't took them on tour. And we was having this
argument about it because I don't think it's nobody else
that rap that's ever opened for Michael Jackson besides Chris Krusz.

Speaker 4 (01:32:55):
No, No, I remember heavy D with Chan Jackson, Remember
a biggie at the joint with Mike, But nobody did that.

Speaker 1 (01:33:06):
You know, I got a crazy story.

Speaker 4 (01:33:07):
I don't know if it's mine to tell, but my
man five thousand and one, guy five thousand and one.

Speaker 1 (01:33:13):
He got that budget for that, some kind of crazy
budget and it never came out as God five thousand
and one.

Speaker 4 (01:33:20):
Rodnee Jerkins calls him, shout out to Rodney Jerkins, the
game legend, all that Brandy, all that. Uh So he
tells him, Yo, come to the studio. I got an
important customer for you. I can't tell you who. So
guy goes to Sony's studio or something. He got his

(01:33:41):
little notebook with him here, about to take the measurements.
It could have been anybody, he said. He went to
the bathroom and he told Poppy. You know, Poppy cut
up all the shit, right, So he told Poppy, Poppy,
we're gonna be somebody famous. It's like chef if I
would have told you, but I don't know. He was like,
we're gonna beat somebody famous. Calm down, Poppy, don't get

(01:34:01):
too excited. He didn't know who. So he said he
went to use the bathroom and he was about to
piss and the biggest guys opened the bathroom door and
was like they looked and all the shit.

Speaker 1 (01:34:12):
They was like, all right, you can come in. It's safe.
And Michael Jackson walked there, got five thousand and one
pissed on him, he said, pissed on him, and he
had the fucking pad in his hands, not trying to cover.

Speaker 4 (01:34:27):
He was like, Poppy, let's go, Poppy, let's go. He
never got the measure MJ and Noney pissed on himself.

Speaker 1 (01:34:33):
And fucking ran out of there. Poppy, Poppy, let's go.
Poppy was like, Yo, what what happened? I thought, we
gotta go.

Speaker 4 (01:34:41):
I don't know what the fuck out of did if
I met Michael Jackson, like, I'm not gonna lie to you.

Speaker 1 (01:34:46):
I don't know.

Speaker 4 (01:34:47):
What I can tell you is Michael Jackson. The day
he died, I had to pull the truck over. I
was in the Bronx and I started crying for like
an hour.

Speaker 3 (01:34:56):
You know, do you remember if you remember vaguely, it
did Madge ship when Mike died his storm ring.

Speaker 1 (01:35:03):
Hell, or he was on my block under the thing
it did.

Speaker 3 (01:35:08):
It's like he was talking to thee.

Speaker 4 (01:35:12):
I'll tell you a cap story right now, and nobody's
gonna believe me if you wasn't ton there.

Speaker 1 (01:35:17):
The Taliban took a day off for MJ. I'm telling you.

Speaker 4 (01:35:24):
If he's on seeing that, I'm trying to tell y'all, Yo, yo,
I'll tell you.

Speaker 1 (01:35:33):
Oh my god, let me hear this. I got to
hear you out.

Speaker 4 (01:35:40):
I'm just trying to tell you because I'm not sure
if everybody I'm seeing that head whether they lied and
it was propaganda or whatever it was. When MJ died,
they said that the Taliban took a day off and
they had them dancing around a boombox in the mountains.
The Taliban was in there trying to do to Michael Jackson.

(01:36:03):
Yo Yo Yo Jay was the biggest ship in the world.

Speaker 1 (01:36:08):
I have created. Yo Oh, Jesus Christ. The talent ben
taking day off. It's great. She and that said.

Speaker 4 (01:36:16):
The Talerman took a day off and they had them
dancing around the box. I'm telling you, I.

Speaker 1 (01:36:25):
Will say this though, I when I when I talk
about like being on tour, Michael, It's hard for me
to even have a conversation with people because they don't
actually even want to believe what I saw. Right, Like
you know, like Chris Brown, right, they he got the
thing where he like he's on the thing, he's flying
over flying through the Yeah, Michael had a jet pack

(01:36:45):
that he used to put on at the end of
Billy Jean and he flew out the stadium and left
no cat. You saw it. You saw it something.

Speaker 6 (01:36:59):
I believe me, man, I'm not gonna lie seeing it.
They got ship to men my Dominican man. My brother
O Meg got there. The man O Megha was the biggest,
Like regular, I'm telling you, he showed me it. He
came in the studio in Miami. Omega was big, but

(01:37:19):
he did the Dominican government. They don't let him come
over here no more. He came us. He thought he
was the first guy to say I'm never going back.
So he used to come in my studio all the time.
Lamborghinis for ri.

Speaker 4 (01:37:31):
Omega is the first big Like I don't want to
say it, but he was like a bad bunny at
that time, right selling out Madison Square Guard. So he
came one day and showed me that ship on YouTube
or something, and he said he was gonna do it.
He said, I'm doing the stadium. I'm gonna fly out
the stadium. He said, you see Michael Jackson, He's flying

(01:37:52):
out the stadium. He showed me the ship.

Speaker 1 (01:37:57):
He went back. It went back to the backstairs and
the car was back there the way they was gone.
Who fuck told him how to do this? I actually
don't believe it was him, you know what I mean.

Speaker 4 (01:38:07):
I'm like, this is which, this is a little dangerous,
but every show Mike going over.

Speaker 1 (01:38:13):
I'm not gonna lie to you.

Speaker 4 (01:38:15):
God bless Chris Brown's trying to die on that thing.
He's not just flying in the air. He's like you
ever seen like little kids diving in the pool trying
to crack they head Like, dude, you like like every
time this guy's fwind in the air doing flip like
one hundred miles to our Chris Brown.

Speaker 1 (01:38:35):
Like he believe in them wires or whatever he doing
on that ship because he test the speed.

Speaker 4 (01:38:40):
I dare you test the speed of him and anybody
else who did that ship. Chris Brown is doing it
on like I swear to God, I look at it
and I'll.

Speaker 1 (01:38:49):
Be like yo. But he has to go that fast
to get across this The stadium is too big, man.
I ain't doing none of that ship.

Speaker 3 (01:38:58):
Before we get out of here. You can't let you
go without talking about health and wellness. You turned vegan
some years ago, got products, ice cream, drinks and hold
us about that.

Speaker 1 (01:39:07):
Yeah, so, I mean I've been vegan almost almost twenty
five years, twenty three years now. No chicken, No none
of that chicken, No beef.

Speaker 5 (01:39:17):
You know what it is.

Speaker 4 (01:39:20):
No pisketeer, no, no, none of that clip Scott wanted
to live alone and I actually I actually went vegan.
I was at Quincy Jones House and Ray Charles's Ray CHARLDS.
So he was talking to Ray Charles and Ray Charles,
just Ray Charles on his death Ray Charles, Ray Charles

(01:39:42):
on his deathbed and Quincy was paying all his bills
and the doctor bills, and Ray Charles called him from
the from the hospital.

Speaker 1 (01:39:49):
Ray was like, Quincy, I'm done. I'm gonna just gone
and die and Q was like, no, you're not. I'm
paying for the best doctors and all this to come
over here. And they was having this crazy ass conversation
on the phone and Ray Charl's like, nah, nah, we
done fucked all the girls. We didn't. We didn't ate
all the steaks we coul possibly do. He was really like,

(01:40:11):
he was like I'm ready. I'm tired. I ain't gonna
keep going through this. And Q was like, man, C
j D. That's why you gotta take care of your health.
Don't be doing no drugs. And and he when he
told me that, it just was like click, I gotta
I gotta kick in, because you know what I mean.
I felt really really I felt bad because it was
Ray Charles basically saying he was done. Q was trying

(01:40:34):
to keep him alive. He was doing all he could do,
but Ray Charles. You know, he was on heroin. He
just whatever he was feeling. He was ready to go.
But I but it made me say, ship, I ain't
ready to you know, I ain't ready to go. Then
I sit in the studio so many hours and we
eat waffle House and this, that and the third and
all this ship. That shit ain't good for you. It ain't.
It ain't good for you if you're sitting around and

(01:40:55):
you ain't doing no exercise, being if I can't eat
his steak and no ship like that, check me out,
rock up. I don't want anything. Motherfucker.

Speaker 4 (01:41:11):
Styles Fee His brother took me to some ship in
Miami and he was like, this is sho. I ran
out of there, ate peanut butter crunch so fast in
the house. He said, look at you. You're walking in
like you're mad. I must have walked in with the
ice girl was like Steves, my brother. He was like,
look at this.

Speaker 1 (01:41:32):
You come because Spotsy.

Speaker 4 (01:41:34):
I was like, I'm getting the fuck out of here
to that pet come with confette so fucking fast. Oh
my god, I've been able to do a lot of things.
I really don't, you know, I don't smoke. I don't
really I can't do eat.

Speaker 1 (01:41:51):
He can't eat vegan. Man. I gotta, I gotta, I
gotta taste that ship. That being said, Oh my god,
this ain't that. That ain't this. Yeah, it's cracking. Kiss one,
thank I guess, Jermaine. The three Flowing on the Joke

(01:42:12):
Royalty Royalty the volume

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Joe and Jada - Jermaine Dupri on Kris Kross & Da Brat, dating Janet Jackson, Usher’s Confessions & Mariah Carey

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