Dallas Austin Part 2

In part two of Dallas Austin's Atlanta sitdown with Questlove Supreme, the hit-making producer/songwriter revisits his time with Illegal, Highland Place Mobsters, and Michael Jackson. Dallas Austin is a storyteller extraordinaire, and this QLS episode has many memorable tales.

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Episode Transcript

Speaker 1 (00:00):
Quest Love Supreme is a production of I Heart Radio.
Hey everybody, it's like yeah, So we're back with part
two of our Quest Love Supreme in Atlanta with Dallas Austin. Now,
if you miss part one, that's when Dallas spoke about

(00:20):
growing up around some amazing musicians. He talked about his
earliest credits and making those big as hits with Boys
to Men and TLC. Make sure you check that out.
In the meantime, get ready for this amazing part two.
Enjoy yo, all right, look illegal, just stay on because

(00:53):
you remember the Snoop story and the source oh with
um when Jamal what was that? Because they had against everybody? Dude,
when I first so left, she she bought me these
kids one day to the studio and she was getting
ready to go in the road. So I got this group.

(01:13):
You gotta sign in the rowdy the dope. There's like
a little red Man, little tread. And so when they
came to the studio, they were finishing each other sentences.
They were like them dudes was like dope. They was
like yo, They throwing dice with each other, like these
dudes as bad as ship. She's like, well, keeping with you.
I gotta going to it, right. They stayed in the
studio with me a dark we have rooms in there, right,

(01:35):
So the kids of everybody's loving these kids, like Eric
Srmon Busta rhymes. Everybody that's it must be a work
diamond d everybody's working with me already. So the kids
come in and they're out wrapping everybody. They are rapping
and cussing and wrapping and cussing and you know, hit
a good what you wanted to hit a good pop up?
So nobody's ever seeing kids curse, like I forget when
they started. So then I took them to arresta so

(01:59):
claude him. They jump up on the damn conference smooth table,
kick off, kick off, everybody's coffee cups like, I'm like, okay,
original ruined this ship. But then after the class was
like amazing, amazing, that starts. I'm like cool, we started
to work on this record, right, And so Lisa goes
out of town the two of them. About three or

(02:21):
four days later, Malik comes up to me saidyo, man,
you got the blunt. I said, what I'm smoking? What
is by the way, And I'm not smoking with you?
I don't even know it was everybody still smoking papers.
He dumped the done out. He said, okay, he put
got his pocket on. It's gonna and his own. We
dumped it out and start rolling in front of me,
and I'm like, what's going on? Man, I got to
talk to you, he said. He said, this is Malie.

(02:42):
He said that motherfucker jrmal I don't know him. What wait,
what I said? Hold on? Hold on, hold on. We
started to we had just shot the head of the video,
and then they want to go solo because he's like, man,
he said, let me tell you something. I don't know
this motherfucker. I've made him the same day with left.
I said what he said? Yeah, he said, I'm gonna
trust that motherfucker. I have to sleep with one eye open.

(03:03):
He's twelve, by the way. So what I'm gonna do
is I'm gonna get my solo d I'm gonna get
my this So I'm not hold on, hold on. We
just spent y'all gotta do head of gut. We just
did the video. We did get busy, y'all gotta follow
this out. You can't go solo right now right so
check this out. The first promo tour started in l
A alright, there's five hundred thousand dollar promo to it.
They got because Clid Davis is going crazy about them. Right,

(03:24):
So they get to l A and they decide that
they're gonna stay with Dre and Snoop. Oh no, no, no,
not influence. The partents is on the way. They parts
are there the piment one day and they don't got
with Dre and Snoop and they death rowing. They there right.
So now arist is calling me like, yo, man, the

(03:45):
kids they won't leave l A. They're threatening the BMG
reps and everything else would hit them with hammers in
the head and you know they got Luke guns and
all this ship. So I'm like so, I'm like, all right,
So Clive calls Allas, this is crazy. You have to
go get the kids. To go get the kids from
where from death Row? You gotta go meet with Sugar.
That sentence don't sound uh how these little dudes. I'm

(04:09):
not going to that, Dallas. We have too much money
on the table. You have to go get the kids.
You're gonna get them, yeah, right there, So I definitely
me my man, k we else we go out to
death Row, get up in the elevator, get off the elevator.
It's just big dudes everywhere. Ain't no posters, ain't no plaques,
ain't no record stress. It's just like wood paneling walls. Right.

(04:30):
So walk into another room. It's a fold out table
and fold out chair. That's suppose we should that's got
a red carpet. That's a death row like a red
round thing. Right. But that's it. No nothing else right.
So we're walking there and say so she would come in, Man,
what's up demon? You know so good? You know, artists
and loyal man, you know how artists get. Man, I'm like,
here we go. So he's like, the boys got out

(04:52):
here with Dre and snoop Man, and you know they
just they just want to be on death row now,
you know, they just want to do that. I said,
I'll tell you what, just give me back when we spent.
You can have them. He said, no, no no, I was
thinking we could do them together, you know, rowdy death row.
I was like, man, I'm cool on it, Like you
can just just fly back with the spent you can
have them. I'm just trying to get out of here, right.
So he goes, well, man, what the kids want to

(05:13):
see you real quick? Man, they want to say, hey,
you know. So they come out of it. They come
out of the wall that looks like the wall the
cattle wall open up and these lit dudes, now they're
about thirteen fourteen. They still can't drive, right, thirteen fourteen.
So they're like highs. I don't know what man Dallas
ain't me, and here man ain't me, and shot niggas

(05:35):
ain't me, and they're high on shearm whatever it is.
So I was like, all right, I'm cool. We can
work this out later and just let me get out
of here. Right. So I get back to Atlanta. Two
days later, Malik shows up party. Oh yeah, He's like,
no, no no, I can, I can deal. Like day says,
let me tell you something, man, Jamark Grandma put some
routes on me. Huh yeah, you said, what a legal

(05:57):
story you're here? Jamal Grandma put some roots on me.
I said, what are you talking about? Man? He's like, man, well,
Le'm just tell you like this, man, my ship's frolled up.
And I said, so that's because you are there with
Death Road Charlie messing with them girls. Whatever he is,
how you talking to you know, I'm gonna virgin my
name and that is our clip for the Dallas episode.

(06:23):
The next check this out, he said. So I went
to the doctor Das and corrupted me. To the doctor,
he said, so. The doctor said they didn't know what
this was what happened to me. So then he said,
dads and said, we gotta take you to this lady
in the hood. Take it to the ladyhood. Ladyhood says,
oh yeah, yeah, somebody puts some one you need to
take a bath in this milk. But then the stuff
he gave me, he says, I did that. They went down.

(06:46):
I got my ask on the plane and here I am.
I'm here ready to do my solo record. Solo record. Now.
The other part about this is meanwhile they got a
record out, gets busy, they got a head of it out,
and and aristids just trying to do everything they can
to push the guys that they can't get a hold too.
It was the red tape we get all the way

(07:09):
through the hole down. They never went on a promo tour.
That all got kicked out, in wonder from them being
crazy or whatever. They staying on death rowed that long. Well,
we get to the Billboard Awards that year, right Clide
Davis is getting twenty some awards that he's getting all
the Whitney Houston's all. You know, he's just rapped. He's
just doing this thing. You know, so rap category come
up cool like that DIGB Planets, Hill Papa Rade. We

(07:37):
gets busy illegal people like okay, then when it is illegal,
we get busy stop it. You can see us looking
at each other. Now. If the kids did what they
were supposed to do, it have made sense, right because
they would have went on the promo tours the people
have got you know, they would have been blown up.
But Clive got to put his bids in. It was

(07:59):
almost embarrassing. You know, he wasn't as big as Digable
Planets because Jamal ended up getting the solo deal. Jamal,
both of them did so Malik ended up doing this
solo deal. We did that. Malik goes On did keep
It was the one that they were They were again
on that strike. They were right now on stuff. I

(08:20):
had the publishing company set up form as kids. I'm
afraid to ask that. Yeah, please, I want you to ask,
and I want to know to go ahead. Where are
they now? Oh my god, ain't something sweet? I see?
We see Jamal living now and then, but they have
had times with me before. They was like, man, we
sucked up. Sorry, man, we just let mean. They were

(08:42):
doing all kind of pistols and like you know, driving
cars in the people's houses, still in the engineer's cars,
sitting on pillows, driving the engineer cars to North Carolina,
like Lisa just chill. She told me. They were like
I feel like they everybody. Everybody just these the kids
instantly fall in love with them because they gamble. They're

(09:03):
like the coolest little dudes. They just it's cute if
you spend a little time with them, but not when
you'd invested five hundred thousand dollars. Man, that was cute. Damn,
I hate to ask about y'all. So stupid, You're also stupid.
Was cool because they were like you know then like
a fastide. They was like skateboarding and drawing and doing
graffiti and doing art and you know, and so h
two still does the same thing, still doing art and

(09:24):
drawing and how was was the King get out? That
was Yeah, they were cool because they were just out
of New York and it was just like you know,
Majesty was doing stuff, doing a lot of production back then,
and I think he was in juice or something back
then too. Yeah, it's not. I mean we're going down
there because I want to ask you about India Davenport.

(09:45):
But that's the way later. Okay, I didn't know what
we were doing, but we did skip Highland Place Mobsters. Well, yeah,
there's always the point where we asked, like if the
producers themselves get their own project out or whatever. But
I personally liked, let's get naked. The Highland Place Monsters
was crazy because the guy the Chip, who was the
lead singer who heard he actually would get naked. He

(10:06):
would get naked on stage. And uh then this at
the time where that was really cool like that right,
So like the first show we ever did, we did
here in Atlanta, and so let's get naked. And he's different,
this guy, he's very very different. I don't remember him.
They called the maniac in the group and he was
out on the street jacket. I would have said. They

(10:28):
were way crazier like what I wanted Joda See to be.
For fast songs, that's what Higland like besides getting up.
Jodacy never had the fast song that like engaged me.
So I saw but the bad Boy hy Daughters group
was highland place with mobsters and that ship should have

(10:48):
made it. Chip was like, he this is this is
what what kind of this is how the kind of
demise went down? So we did this show at the
b r E. Yeah, yes, And so I was telling
in him like, okay, on this show at the b
are E, you cannot take your overhauls down because he'll
snap the overhauls man. They just come down, and he
just but as naked with his socks on. You just

(11:10):
told because he had did this before at that one
show we did, and he when he did it in Atlanta,
I was fined. I had to be. I'm chasing around
the stage like trying to but he couldn't. So in
Atlanta he had jumped out on the rafters of the
you know how the light rafters be in front of
the stage too, so he's not here on the rafters
and he just naked. My mom, everybody's in the audience, kids,

(11:31):
and it's just you know, so it wouldn't It would
have crossed well on the sky pager back then because
everybody's talking about it. You see the how they place
Moster show. You seen how the place Moster show. So
there's like gifting the curse. Was like, Okay, now you
guys got to perform at b are E. I'm like,
I said, but that's Black Radio exclusive. That's gonna be
like crazy. They yeah, you got too, though. We need
to do it. So we go to do it, and
when we get there, the world. Yeah. So we get there,

(11:55):
the stage is like this, so it's not high enough.
So I'm telling him off the bat, yo, my man, Okay,
don't drink no ode to night, and do not take
your clothes off on the stage, like this is a
black radio people. He's, oh, man, I got it about it.
I go to the damn room. Right, we're doing an
interview with Synthal Horner. He doing an interview with her.

(12:16):
I look at him, he's licking. What is he doing?
He got eighty four ounce handcuffed to his hand of
old English, like a big apple juice jug o handcuffed
to his hand. Yes, because they had a little ring
and that's where he put the handcuff in and he
had the handcuff to his hand. He's like, I got
this ship, no way about it. I'm like, oh my god,

(12:37):
we're about to go on stage like this. So we
go to the stage and he got that damn thing
handcuffed through his hand, right, So if ially get get
the ode off film, saying, man, you can't jump around
this thing, gonna take it off. Okay. Now he's sayings
like don't cook at somebody like tip r like. So
we make it through one song and then we get

(12:59):
to let's Get naked. So he's jumping around the stage
on Let's get nick and I see him taking off
his damn things, so I gotta key tor on by
the way, so I'm just like he's footing on the
stage holding onto that damn thing, right. So he decides
that because you know I'm holding on him like that,
that he's gonna stage dive. Oh. He stage dive where

(13:20):
he still had to talk. He still had the bottom
part of the overalls on because I was doing this
when he staged. He stage dies and he jumps out
into the audience and lands on somebody stage is like
this toss. I told him, don't stage dive, it's not
high enough. Right. Well, we get to finished performance and
go upstairs. All of a sudden, like l and baby
Face come come running upstairs. Yo, shok knighting them downstairs

(13:46):
and they're looking for the boys with the blond hair.
Why well, he has a group called Pole Broken Lonely,
and he landed on the girl's neck and she's at
the hospital. So Sugar, Knight, Dr. Dre and everybody with
them is ready to kill all y'all. We're like, oh,
ship la baby face, we got a nothing I got

(14:09):
to do. We should came l a baby face, ran
the bathroom. What's going what's going on? What's going on?
Should got the door? Like, yo, open the door. We
try to get to the blood. Open the door, try
to get the blood, dude. So now Chip, who's nobody
to be he's crazy too, he's out of his mind,

(14:29):
machine guns and he's crazy karate all this. So first
he turned into let's go check it out man, to
see the girls. All right, No, you don't want to
go out there. They trying to kill the blood. Ude.
We're bringing the motherfucker's here here there, let's go no, no, no,
So we gotta calm this down. Well, at this point
the police then came up and took j and Sugar.
You know, sa, y'all gotta get out of hallways because
it was being on the doors and stuff. I was

(14:51):
been waiting a lot before to come downstairs. Police came
in and said, look, we got a problem. It's about
two hundred people and Red down there wait waiting on y'all.
So we're gonna need you all to leave, and we're
gonna take y'all down through the kitchen and put you
all on the bus and y'all go in Atlanta. So
they had you walk out as police lined up all
down the hallways. Right, we get on the bus, take off,

(15:13):
get to Atlanta, I mean take off to get out
of there. And then that was the only if you
remember this, but they got into a riot in that
br the time in the hotel room, and I mean
in the hotel lobby, and they bought the horses in
and they had people that were hitting them with the
sticks and stuff to get them out of there's a
big as Luke related. Yep, okay, I remember Luke telling
the story. So that distracted them. That was all, yeah,

(15:35):
all that was going on. So after that the Hollo
Place monsters. I heard that same man Eric Rose, and
he was at that event. He told verbatim story. So dude, like, okay,
so this answers my question, Like we were beg to

(15:57):
go to these Jack the rappers how can to be
down event and the label would never let us go.
And now get the sneaky suspicion that that was orchestrated
because they were scared for you. It was. It wasn't
always like that, but look it started to get like
you know, as as time went on, the music started
to change, we started to get a little more like

(16:18):
that because you're gonna have the gangster showing up and
you know they're not showing no bodyself. They're gonna bring
the whole airplane. Everybody speaking of gangsters. Uh, your relationship
or dealing with Haitian Jack Jack? Yeah? Wait, how do
you know he knows? He talks about it on this
in the documentary. Time in Atlanta? Yeah, Jack, Yeah, I

(16:40):
didn't watch that ship. It was good. It's like it's thorough.
I didn't know. But when I first met him, he
was down. You know, he was down in Atlanta. He
at his eight fifty and I think they was like
they were notorious. It wasn't really dope boys, just like
getting the dope bo or whatever. There was taking the money.
So there was in Atlanta and man got cool, like
everybody kind of liked me, you know, because I don't
are you crazy magnets? Like how do you not? Like

(17:04):
literally everyone that you work with has a level of edge. Yeah,
that voice. The men they just they just like, you know,
they feels safe for any music business, something cool and
they like with no you know, it's like they want
to protect you. You know, that's my man kind of thing. So,

(17:26):
like I was in New York with Jack for the
first time when I when I met at him in
New York, and uh, he was like, man, you don't
want to take you to uh what was it? The
supper club? Okay, So we go there and we're standing
outside in the line and Jack trying to you know,
say that the guys, hey, you know, I got my
guests there, got Dallas, were getting the table, the events,
and I'm here whatever, right, a guy ain't coming. This

(17:47):
is why really, So so to realize who this was.
The guy's not showing up. So Jack said, Yo, did
you tell e Vince? And I'm out here He's like yeah, yeah, man, Jack,
you said hold up. He's all right, I'll tell you
what you tell him. I'm coming back and I'm shutting
this motherfucker now. Everybody is everybody in the line that
was standing outside. They just started to leave and I

(18:08):
was like, okay, okay, I didn't do you can run
up Jack Jack Jack Jack coming up, So I'm like,
who then is this dude? You know? Um? And then
as I started working with Madonna people like that, then
Jack Jack started to be around me and that, and
you know, I know that wait what hatian Jack mcdonna?

(18:29):
Is the word? Well, it came from me first, and
then I was ready to ask, yeah, because we're kind
of friends. But I feel like, you know, the edgy
or Madonna. Yeah, I got he was hanging out a
little bit first friendly or Madonna trying to but then
it was after as rob Man and Jack and Tupac

(18:49):
all that wasn't the same kind of little circle where
she's trying to have a little edge at the time
she was trying to be in the streets. Gave the
first taste brown, then brown, but then Jack out of
hole too. I mean it was This is a funny story.
So after I finished working on the album, Madonna took
the record and mixed it with Nellie. But I was
supposed to go out and mixing on that day, so

(19:10):
it's like, all just twenty if we mixing the record,
come to l A. All right, it's very cool. And
when I'm going there, she's like, well, already mixed it
already with Nelly and it's coming down and here it is.
Sent it to me. So I was like, what are
you gonna take my stuff and makes it? You know?
So I'm piste off. I don't want to talk to
you no more. You don't take my joint and honest.
So then I'm in New York and I'm riding with Jack.
He goes, h that's the fun. Yeah, yeah, I'm with Dallas.

(19:31):
He's right here. Hey, but Donna want you to come
buy and hit the album. Man, She says, she really
wants you to come by the house. Man, she really
wants you to come here. I said, I'm trying to
go over there. He said, you don't want to talk
about it? She said, please, man, just come back. I said,
why am I talking to you to talk to on
the phone? Right? So we're getting up going over the
house to listen to the record. I was like, uh,

(19:51):
it was just weird because I'm see the listening to us.
So I said, well, you know what you did just
mess up my mixes. You messed up everybody mixes, So
I feel all right. And then I was just gonna say,
are you allowed to be honest? Uh? Yeah? And I
was piste off and this is what record is? This
human nature, this is a secret, this is survival. Like
we did all these songs together and it just started
going south, you know. But at the end of the day,

(20:13):
you know, like we ended up making up because it
was just like firing. At one point, I wish I
still had a letter that she wrote me this mission
up museum. She wrote me a letter going off, how
strung I should understand her struggle because it's the same
as like a black man, and that's another boy. I've
got fired back you another. Right. So then after about

(20:34):
but after a few years, it was like, you know what,
I don't have no bad energy with nobody on the planet,
and I don't want none. And so one day I
called it, She's doing like a vita or something. I
just called out of blue and I was like, hey,
She's like, oh, what did I do to deserve this call? Now?
I'm like, nope, is your record? You know what I'm saying.
I learned a lot from you as long as it
turned out the way you wanted it to be, I

(20:55):
should be happy with that, because it ain't this this
up to you, it's your record. I'm working for you
on that. So I want to squash this energy and
let's just be cool. And then from that point was good.
Do you think that was? Like, was that the first
time you learned that lesson as a producer of just
learning just to let things go. Yeah, well, the Boys
the Man when they put out the rough mixes, I
had to let that one because I wudn't even listen
to it. I understand record. For years, I was selling

(21:16):
millions of records, and then just like my mom was
working at this is a barbecue too, So I was
like in bad contracts. So I really wanted my stuff
to be like what Teddy's was sounding like what some
of what you know, the other records I would hear
sound like. And when they put that out, I was
just like, that's one. So they ben't working with her?
Was another one. I had a lot of humbling experiences
because when you come from being a creator and then

(21:37):
you get to the label side, you have to look
at it both ways, you know. So even Motown Philly
was a rough mix. Rough mix. I mean you kind
of acknowledge now like it's effective in the banger, but
the version in your mind was way bigger. Or yeah,
it was like, you know, I had drums still on
four tracks instead of having them on separate Okay, yeah,

(21:59):
it's our to say goodbody yesterday. Was that always an
acapella or did you initially have music behind it and
stripped it? It was always acapella. I just did put
it like a bass and um and the snaps to
it and kind of let the ooze and stuff be
the music to it. Okay, oh man, one of the producers,
you still wrong? Spearhead X? Oh yeah, what's up with?
That's what just called me? When they called me? Maybe
went off? What's a coalition DJ? Is that the biggest

(22:24):
DJ group? So you got records that you need to
get placed and played the strip clubs whatever? That's X
And he was he was my n R for like
all that. Y'all so stupid because he did the legal
legal record, yeah record. Can we talk joy trying to

(22:44):
re enjoy? Yeah? Yeah, Ngelin Vibe don't say nothing. It's
like it's like snoop now, Penelo Vibe go in. Yeah,
it was. It was cool because during that time, you know,
I was DiAngelo Enjoy and like it was just that
phase of what they started to call Neil Soul, that
was coming out of a yanang out here, a cafe,

(23:07):
had everybody in there, just like that's when I think music.
That's before they actually started to come out as Nio.
So when you have nd I, re Enjoy and Erica
and everybody's kind of playing in yen Yang. Yeah, and
we did the Sunshine and the Rain record or just
the whole record. It was such a different record for
what I was working on at the time. I didn't
want to go do the same I never wanted to

(23:28):
do the same thing on anybody. I kind of couldn't.
I didn't know how to do it. So I would
just go do whatever that person was. I would produce
that person. And Enjoy was just like full on. She
bought so much knowledge of stuff I didn't know, the table,
like the Betty Davis is and stuff and like and
just being her own element that it just it was amazing.
And she's just one of those artists that somebody's gonna

(23:48):
keep it real. They canna keep it on on the ground.
They don't care. Fish Bone was the same way, you
know I had. I talked to Fishbone one time and say, uh,
I wanted them to do Spirits of the Material World
over right, A wow. I was like, we had Arista, Bro,
all right, we gotta deal at Arasta. We can do
the whole punk album, we could do Alcoholics, we can
do everything, but just give me Spirits and Material World

(24:09):
sort of Clive and they can take it and do
something with it. Like, man, that's crazy. He's like, no, man,
that's the police. That ain't real, scar Bro. And I'm like,
we ain't selling out. I'm like, but I know, but
we had Ariston. Now, you just did all the plus
of last year with Swim and you were huge with
that record, so let's keep going your Fishbone. Nobody cares
if you're sing a goth Brooks record, You're still Fishball.
So they wouldn't do it. And then um ran in

(24:31):
the fleet and they just did roller Coaster, right, and
I said uh, And we all the studio and said, yo, man,
so did y'all feel like you'll sold out the roller Coaster?
He's like, no, man, we had fun. MTV wanted it.
It was cool, and I'm trying to get fishbone to
get because we do alternative. And I understand it because
I grew up an alternative to the max. I was
just like I didn't I was that guy. But I

(24:51):
also grew up watching alternative turn big and become the mainstream,
and the turn with the Chili Peppers. The difference in
them doing the George Clinton records and doing really you know,
I'll turn you to went to another spot. And that's
why even with even with Joy's and I think a
lot of artists that you know, they have a certain
kind of integrity, they just don't want to cross over
into doing anything that they compromise themselves feel like they

(25:14):
compromise themselves. What was the deal with her second album,
The Beaver Cleanson Syndrome kind of the same we you know,
because they never got officially released. We never got officially
released because in between that time, you know and then
E M I run the same time starts to say, okay,
now we you know stuff is happening, we have now
we need more of this. You know that when you
start to say that to an artist, they just be like,

(25:36):
especially the artists like Joy because she feels like she
was a spearhead of a lot of it, you know,
so it's kind of hard to take tell her to
go back and do something, you know that she didn't
want to, that she didn't feel like doing. Time to Smile.
That was my one on that record, a lot of smile.
You know, you worked with back when he was still
Terence Strength Derbys Sananda Montreal. Yet ye know, it just

(26:01):
hit me that you literally have every eccentric artist every
because next I'm going to Michael Jackson. But what was
it like working with him? That was the trip because
he so he he had just turned himself into Sananda,
so he was in that middle kind of thing. You know,
he had a dream when the angel came and told
him they needed to change his name, and he he

(26:21):
did it and so but his as soon as you
hear him sing, yeah, it's like when you hear that voice,
it's like when I was working with Duran Duran, as
soon as you hear that voice, like the sob and
you're like, oh man, that just resonates instantly to you
and you're like, and he was amazing. He's like I
think he was still one of the artists that at
that time when we worked together. You know, coming off

(26:42):
with all the success, when you get in that r
when you got a lot, a lot, a lot of
success like that, some people just start hating it. You know,
the same thing with Kurt Cobain and them, people that
started hating the success and then they didn't want to
Sometimes when they do that, they don't want to make
the best record sun. There's a lot of self savoteur
and all that, But who is your ideal subject that

(27:03):
you work with? They take your constructive criticism good and
who can't you tell anything to Nope, I'm doing one
take or whatever. Like Jenna Jackson was the easiest one. Okay,
she's the easiest person ever worked with. Yes, Dallas, what
do you Dallas? I mean not one throwback on nothing

(27:24):
and then task man. The hardest one I probably worked
was Mazy Gay based on what I mean, I'm not
trying to be reductive, but it was. She was just
in a to me of a mazy moment. I think
you know it was insane, but it was. You know,

(27:45):
it's because also she's a she's an own artist with
her own like you know, you're show up to the studio,
we're supposed to be there at three. She already there
one with musicians that's been sitting around forever like just
like and then they're doing their own things. They hold
on wait and then the labels busy on Dallas get
control of everything, and I'm like, oh, I thought I
had it. I know that, but you know, I've never
really worked with anybody that. I try to try to

(28:08):
source that out before, you know, like if we're gonna
have good energy or not, because sitting in the room
with people like that, No, that's not what we do
it for. You know, I don't. I don't do this.
We haven't draw my trouble. I try to make the
best music we can make with somebody who gets it.
And you know, so I've never really had a bad
bad one, you know. Deon Sanders must be the money
where you I keep going back to s Night my stories,

(28:33):
don't it? So yeah, So exactly the studio and we're
working on Deon is working on being on death Row right,
because we went to death Roll right. So she'll comes
studio and he goes, yo, man, Dion Sanders really wants

(28:54):
to do this record must be the music over its
must be the money. Oh no, man, that's probably not
a good idea. You know. He's like, well you felt
comfortable saying now, well, I just said that probably is
not a good idea. That's so. Then he had a book,
a photo album full of cars. He opened it up.
The Lamborghinis, it's Rose Royces, it's Ferrari's. It's like said,

(29:15):
pick one, So good man, you know what I'm saying.
I don't want to take a car. You know, I
don't be indebted, you know, something like that. I understand.
He's all right, all right, I catch I got what.
He gets on the phone, and I'm thinking myself, I
just want this to be over with. So then he
gets record when he comes back, then he goes, man, look,

(29:36):
Din wants you to do the record. He really wants
to do the record. By that time, I was about
to just say, okay, right, let me pick it out.
But he goes, so what if I do this? Man,
I get two d fifty dollars right now. I said,
to do must be the music over He said, yeah,
I got that record in the back. We can do this. Now,
let's get to it. We wanted to night. It is

(29:57):
the fastest record ever did with the fastest boy ever
made the most money I ever made on any song.
He's like like, wow, he was happy with it, and
I was happy with it and everybody happy. Yeah it didn't.
First of all, I didn't even know you, you know,
but yeah, it wasn't. That was one of those things

(30:18):
where I don't think anyone was expecting Dion to like
bar up, you know what I mean. So to us,
it was just funny to us, you know what I mean,
Like we'd be seeing it because he had to rant
at the end, they say, money ain't gonna change me.
It's gonna change me. It's gonna change my address, it's
gonna change my bank account, it's gonna change my shoes

(30:39):
that gators like I had? Are you telling a shout out?
And okay real Yeah, let's go to it. Michael. Oh yeah, Now,
how many songs did you do for history? Don't bled

(31:00):
on the dance floor? They don't care about us too
bad this time around. Uh, probably a couple of other ones,
but I mean the ones that are somewhere in the vaults,
Like it's a couple of them the vaults just tracks.
Yeah really, But what's crazy is I got him. I
still got his beatboxing because he would beat box into
the thing. To show you what he wanted to sample that,

(31:25):
so I got his Now, okay, I'm so glad that
the cameras are here. But here's the deal. Now. At
the time, it's probably the first time that I'm a
little lukewarm on a Michael record, because every album of
Michael Jackson's like goddamn event. You know, I'm a die
hard fan to the end. But you know, I also

(31:45):
understand that he's probably been working on for some time.
And Too Bad just I finally warmed up to it
maybe three years ago, because I initially thought jam and
Lewis did it. But the thing that I always killed, like,
I know Michael's a dancer, and I know he wants

(32:08):
an audio accountability about neever his bones move. So the
particular rhythm and Too Bad was just like I cant
that tell you. Don't tell you that he didn't want
the same thing, right, I want to do something different.

(32:29):
And so the thing is is that history is not
a bad record. And this is and this is why
I applaud what Beyonce did because you know, I heard
a record in the car, I heard her record on
the headphones, on my computer whatever. But when I went
to the nightclub, and they played it three times. The

(32:49):
second time I was like, let me not stand next
to them and go on the other side and see
how people reacted to it. They played the entire record
and she achieved something that I know that Michael has
been dying to do, which is, can I put a
record one that's high adrenaline that last from beginning to end.
She managed to do it because she managed the highs

(33:09):
and the lowest part, which for Michael Jackson always felt
like every song has to be adrenaline, has to be adrenaline.
So yeah, by the time you get to the seventh song,
you're already worn out because it's not like anything's executed
bad or whatever, but just in one full setting, it's
like four a ground, like he's stuffing you with And

(33:29):
by the time I got you know, I just heard
too bad on its own. And but the thing is
is that the rhythm of that song can only be
for a person that walks like Michael Danner. How do
you crab something with Michael Jackson if you're not a
band playing it like like he does all that, He'll

(33:53):
be in there with what you're doing. The this is
I wanted to feel with this I wanted to and
he said, amos sticks, amos, stistick it. But he's his
you know, I think like anything else though. His um
when I first put with Michael was like with Bruce
Swedeen and them. And then I said, well, you know what,
this is really my vibe. So I left. I went
back home. When I came back, you allowed, that's the

(34:14):
one person he walked away from. Yeah. I was just
like it was too much going. Like you know, Bruce
Withdeen and Renee Moore was working with him and it
was kind of yeah, and they had all little things
going on, you know, the projects huge, so they got
their own little side. Energy was not not good, you know.
So I left my home. Michael called me back and like, Dallas,
why did you leave? I was like, well, you know,

(34:35):
I was a studio with those guys and I'm not
really going to be a part of what's going on
over there. And he's, oh, no, no, we'll come back
and work over here with me at this studio. I'm
at a studio here, and then Jimmy jamm and I
was here. Oh yeah, that's why I wanted to be.
So I come back and I walked in the room
and Jimmy jam is in there and he's playing uh,
and I see him and I just fanned out. I
was just like, man, you know what I said, what

(34:58):
if you wanted how to play keyboards? Was the first
time I had seen him like before, Like the first
time it was at flight Time when they when they
had Rhythm Nation um the Rhythm Nation premiere of it,
and I got to the press. I don't want to
kill myself. I was like, I went to Flight Time
they had was showing the knowledge videos and the whole
Rhythm Nation eighteen fourteen thing, and I was just outside,
just like crying, like I'm never gonna be this good.

(35:20):
This is awful, Like I don't know. That's that's when
I did that. I want to tell records. I gotta
make it where you can see it. It's a little
more vivid, you know. So when I saw him with Michael,
I was just like yo, man, but he had to
be like this is Michael. I was like Michael ay Man,
Jimmy Jam so and I felt like Michael didn't get
enough energy from me that time, so he uh. And

(35:42):
then he played scream and I was just like, yeah,
I go again, God damn, what out just here. He's like,
and I was like, Okay, now, how am I gonna
What am I gonna do? Now? Like because this ship
that sounds crazy, you know. And then it's Jimmy Jammer
tylor Lewis doing Michael Jackson. So I was like, I
was just a lost for it. So then he took me,
took us in his room after while, and like, you know,

(36:03):
the room where you have all your like Teddy Bears
and your you know, if you're gonna be in the
studio for a long time, it's like your room. You're allowed,
and it's dude to start putting in tapes like it's
like so, so this is when I was like, you know,
there's three hundred thousand people outside and three people inside,
and you know, and and so you see him Michael
Michael hold on after he took that out, and he's like,

(36:24):
oh ship, that's he put in another one. And this
is when boom, you're looking at it and it's African
Michael Michael. That's all they could say. And he's I
was building hospitals and this is me with Charlie Chap
So every time he's sticking another table, I stopped being
scared to look at him because I'm like, that's stepmother,
you know just what I'm saying. And the last one
he put in was I don't know if you've seen

(36:45):
this before, but it was him sitting at the piano
and he's singing I'll be there and he has a
tanktop on and it's like doing the remember the time
kind of phase, right, um, And then he keeps saying
a little Michael saying I'll be there, and he's in
the doorway. He looks back and little Michael who's in
the the Pepsi commercial. Pepsi commercial, but at that time
he shot it as a like he would shoot commercials
like that as demos and then wouldn't even use them,

(37:08):
like he shot that on his zone and sold it
to Pepsi. Wow. And I said something like it's good
to be great or something on it. Doing the project.
He was just so, you know, adamant about being parent.
He was paranoid in a different way, because that's the
history record, you know. I was gonna ask about they
don't care about us. And also this time around, were
you there for when they tracked big vocals? Yeah, man,

(37:30):
biggest sitting in the car outside larabi Um I called
puff and I was like, yo, First I asked Michael,
he said, what don't rapping for this song and somebody
that's really street? You know what about not by nature?
I need somebody harder, Okay. So I said, all right, well,
well Biggie yeah as yeah, you know you know him
and said yeah for a car off, I said, just

(37:53):
bigg out to work with his Michael Jackson record with me,
like yeah, yeah, now so big, and he comes out.
I made him sitting the car smoking and playing a
song over and over again. He's just like, yo, I
can't believe him sitting in the car with you bro
righting on. So Michael Jackson said, this is crazy. It's
just like you know. And so he's writing a rhyme
and so after finished, he says it to me and
I'm like, I don't know, that might be too hard,

(38:14):
like making a profit you I'm gonna kill the motherfucker.
I ain't joking. Didn't those smoke that token like? So
I was like, all right, well, let's just go play
it for him. But I don't know, Mike, you about
tone down something I don't know. Right, as soon as
he played it for Michael's like, I love it. That's
exactly what I wanted to say. Exactly what I want

(38:38):
to know is because you know, at the time, you
know Tom Snetten was on it was it on his ass,
So I know that Mike was was riding the razor
of to just situation, you know, changing his name around
and all that ship. I mean, was there anyone that
was in the room that's sort of like a dog
you shouldn't talk about the well, dude, you gottaize this.

(39:03):
During that time, he was the most you know, sought
after person on the planet. Remember, the plane kept landing
in different places, so he said, he said, it's a Dallas.
This was horrible, you know, they you know, he said,
the plane was landing in different places and taking off,
and they're looking for me, and I'm sitting in the
hotel room in Russia looking at it. The Russian government

(39:24):
hit him and that's when Hero Stranger Moscow. He's watching
it on TV. The planes keep taking off and landing.
He and but he's in the KGB is after me,
he's writing, so watching this happening with the whole world
is looking for him, and Russia's hiding him right. So
by the time he comes up from all of this.
His history record was too like show everybody. So the

(39:46):
first thing he did was he when he got the
whole Brazilian army. So when you look at the history
trail again and I was wondering why he told us
to do this. He sent us to the Museum with Tolerance.
You ever been there on on Pico and the places
sucked up? So because you go in there and it's
the Museum of Tolerance, it tells you, you know, when
you walk through, when you first get in and start

(40:06):
calling your names like big nigger, white boy. Yeah, and
then it shows you what happened like all these different races,
like you know kids and Africa kids and and um,
you know Atlanta where the spreading the kids with the
water hoss and stuff like that. So you're going through
this whole place and at the end that you're in
the um in the gas chamber of the Holocaust. And

(40:28):
by the time you get out of that place, you're
just like everybody's looking at each other sun up because
you didn't know that this race did it that people
are crying, you know. So I'm like, why did he
make us go see that? So I get back and
he's take the film that this showing there is the
is the Hitler film. And he's got the army and
they're marching past these like these pillars, and then you
see a little dog and then you see the army

(40:48):
marching more and then when Hitler gets to the top,
the flags come down. Right, So Michael may make the
same film History, right. So if you look at the
History trailer, now he got the whole Brazilian army. He
went to just say, hey, can we shoot the thing?
But the whole resilient army goes, yeah, we'll be in
your trailer for your new album. So they're marching, and

(41:09):
they're marching. They got a little dog come around, just
like the thing, and then the flags come down. It's
the same thing. Then he had the silver statue with
the helicopters flaming right, so yeaheah. So when when he
started going at Tommy right and started going at Sony
and all that, the first thing they said was, okay,

(41:31):
well you said kaip me, and they don't care about us.
Take those records off the show. So they took all
the History records off the show. Remember that, right, because
he said kaike me. But then it wouldn't just kaike me.
He had the whole He did the whole Hitler thing
where he mimic the Hitler video, so they started coming

(41:51):
to him hard. Then go on, you know, and for
him for a reference in case audience is a little confused,
like he's basically going down the list of everyone in
history that's been disparaged and spin on or whatever. But
again taking out of context. Uh, you know, he never
saw that one coming here, because that's versions of the

(42:12):
records where both references are on. But yeah, I feel
like the blackballing of him started really when it started them,
And it started with the war with him and like
Saul and then a TV and then it just started
that whole. Remember he's going down there, he's going down
to New York City with Al Sharpton and the red busses,
and the videos of him with the fo I coming

(42:34):
out in the video with him when he said, you know,
I had to help Mariah out a little bit, remember
that a press conference. She had to come crowd my
shoulder a little. He turned, I'm sorry, no body rolling
and and and his voice got deeper when he said yeah, yeah, yeah,

(42:58):
he's from in the end and he was Indiana at
that point. But what's crazy is he would say, like
you know, he would broadcast itself like you know when
he when he had the shirt on, he broadcast itself
the red shirt and he said, I've been humiliated. I've
been they you know, they checked my house, they checked
my private parts. All this. He took a satellite to
Netherlands and broadcasted that hisself and then said, Okay, y'all

(43:21):
can tap into this. He's like, so because he was
in Dallas, if I go to their networks and do it,
they're gonna cut up my words and they're gonna make
it say what they want me to say. So he
told him to anybody want to know what I gotta say,
y'all seven o'clock, you can come into my satellite. And
that's what. He had relationships with people that the most

(43:44):
countries didn't have. Like you can go into any country
and they're gonna love Michael Jackson. They might hate our president,
they might hate the government. So all different presidents all
around the world love him. And when we were at
the studio one day, he said, Dallas, I did a
hospital in Africa, but the United States did they put
on the Governor Michael Jackson thinks Africa stinks because he's
holding his nose and he said, this is what I'm

(44:07):
talking about. This is what I'm talking about. Look at this. Well,
so people are gonna come by the day from the
studio just to think me whatever, dude, it looked like
coming to America. They came in with the rose pedals.
They came in with a giant lion heads and gold,
and it was a keen queen of some point that
Africa's coming to thank him for the hospitals and what
he had done. And you know, so when you have
that kind of like influence around everybody's when you get

(44:28):
on somebody's bastide, then it just you gotta watch out
for everybody. You don't know who's coming at you that
kind of power. No one, no, no, He's the last
of that one. Okay, just just as a fan and
as a as a person who had an immense crush
dog man, what happened with? For real? I love they

(44:52):
was so dopey wait side story. So maybe the second
time I went to to l a Uh, I was
supposed to meet them for beautiful Sisters. They all had
a close croping, right, sexiest um. They couldn't make it,
and I happened to be across the street at a

(45:13):
restaurant like the health food thing, and that's how I
met the jazzy fat nasties. Just then wound up moving
in my crib and all that stuff. But my intention
was like to sort of bring for real into like
a couple of different bodies that came out like you
produced this doing it like straight sixties on the Amy
wine House tip and all that stuff, and like I

(45:34):
do it love you. They all had short they were
like the original like before. Yeah, no, no, they always different.
I remember this, but it's weird, Like it's weird because
like I was looking to like team up with them.

(45:54):
There there was a group call for Real. There was
another group called I Think step Brother, I'll be you
know around like they they were like the singing far side.
Like I thought, okay, let me collect them and then
I would make a crew whatever. But step child, step child,
step but yeah for real. Uh. She end up marrying
David Gates, who was my right here man at Rowdy

(46:16):
all those years, and they ain't even up having children
and then just going on with life. I remember seeing
some of their names on like Stevie Wonder Records, so
like he would occasionally have them sing background. But I
always wanted to know what happened with them, man, Like,
what was the reason for you too late? You had
rowdy and you had um limp rowdy or like limp yeah,

(46:36):
limp at e mr just because it was supposed to
be like the things that were slightly different. So yeah,
and then claud was giving me junk about rowdy at
the time, you know, because I wanted to keep it
rowdy and not. I didn't even I didn't want to
sign act like Monica. I didn't think it was rowdy. Um,
but I had Why wasn't she on row but she
was saying but I had to remember seeing on face
or you know, she was on rowdy. But but I

(46:57):
had to end up signing her because of all the
other debt, so Fishbone and other stuff like that, you know,
and so so let me just go do what I
know to do. And so we're upside Monica there. But
it was always the kind of offset, you know, having
a different brand of different places of the type of
music making. Is she one of your artists that you're
always making music? Monica's like my daughter. She's always been

(47:20):
my like, yeah, she's she's got the same team around
her that's been around her since we signed her. Okay,
so when we come back, we can get her because
she's the same Melinda and mom and she's the most
you know. Thing about Moa is that she grew into
the songs that she got older because the songs were
so grown so singing will I Love You So Much?
Now makes sense and it's like you hear people singing
it in the audience, You're like, and when she sings

(47:41):
it now, it's like, yeah, she feeling it different. Yeah, yeah,
that's a whole different story. Now she sounds so great still.
What was the for um for just one of them days?
Backseat l Yeah, dude, that's what me and Clive got
into it about. That's when I was gonna leave Arista
because I turned in, don't take it personal, and he's
just like, oh, man needs a bridge. I was like, no, no, no,
it's she's fourteen. She's singing a backseat of the just

(48:05):
one of them Days. Don't take it personal. It's ignorant.
It's supposed to be like that because they was trying
to say them days, and I'm like did you know
how we would affiliate that with something biological or or
didn't you just it's just one of them days. You
know it's gonna be, you know, for her the first
when I first saw Mona, because she would always come

(48:25):
in and said, a little green bar gold range on
and a little sweatsuit with a bunch of little bitty
chains on, like you know the ghetto girls look and
back then, and she would come in and she was
seeing the greatest love of all and she like, okay,
am I done? And then she's gone out of business,
and I'm like, damn, this attitude is bigger than a thing,
and it's crazy. So I kept telling Clive, and then

(48:46):
they kept trying to come with these dying warren and
all that said, not yet, it's not time. You got
to sell this attitude. Like she's d from what's happening.
She's always in grown folks business and she's always like yeah,
he was like, I gonna take a personal money. I'm
so proud of what she's grown into this as a
mother in a person period, you know, she she gotta
always had a head on straight, always been just like

(49:08):
the best. Is there anything that you have yet to do?
Is there anything left from the bucket list? Yeah. I
mean what I'm doing now is having my own distribution
company d A D. And over the course of the pandemic,
I just dove really hard into my distribution company because
I want to make a difference in the way stuff

(49:28):
is distributed, because you're making the money. So luckily blockchain
came along, and now I have a protocol that launched November,
will allow you to choose your own streaming rates. So
you can choose your own streaming right on music. You
stream for ten dollars ten cent to cents, you can
stream for a year, five months, forever, it's up to you.
You can sell it as an artist as hardest for
all your content, and um, I'm implementing that not just

(49:50):
on my platform, but in other platforms, like like I
want everybody to use it, because that's how we're gonna
change the course of how the industry is at this point.
You know, Spotify and all those blanket license and the
blanking license trip is over. That was a band aid
in the first place, Like, you can't blanket license all
of us because that means that nobody's gonna make no money.
So you got people well I can see people with
three or four five million streams, ten main strengs, and

(50:11):
you're still not really making no money. So you know,
the next step is when we launched this is too,
you know, and it's this I saw Meek Mell tweet
about it one day. He's like, man, as soon somebody
make this direct consumer to artists. You know that we
already got it. Its launched and you can go to
your for your Apple, pay your Google, pay up the
fifty contracts on one song. So yeah, and it comes
to you instantly to everybody. What's crazy is my auntie

(50:34):
brain was like, you know, when you hear distribution, it
was such it used to be such a physical word, right,
physic nothing about it. No more. User generated content killed that.
Soldier boy killed that off because demand that you can
make it intermat and then distributed to you my space,
on Facebook or whatever it was that was that ended
up being distributions. So it took away all the trucks
and machines and breaking mortar stores and warehouses and all that.

(50:59):
And you know, we distributed over two DSPs. So like
because back in the day, a person, a person like
you saying I have a distribution company that it was
no such thing. Yeah, this is the dream. This is
why people went to labels because they had no distribution.
So I'm just like, yeah, I love it because I
see people signed up from around the world, Children's books,
Cube of Canada, everywhere, just all kinds of stuff. And

(51:20):
so because I'm a music person, I don't really the
volume is one thing, and most distribution companies about how
much volume can we get because that's how they make money,
and I'm about, like, no, who's really dope. So I'm like,
you see me on Sundays just scrolling through my backside
looking at labels, looking at what they got clicking there.
Who is this? What music is it? And I have
to say, we don't. I haven't seen a lot of
badass like music that would come through that, Like it's

(51:41):
a d I y you can live up at home.
But I think they're trying to live up to the
standard of my song right now, my brand in a way,
and it's really good music they come. So I'm like,
we got to help these people out. Are you pissing
off the labels? Not yet? Okay, comes we're gonna disrupt
that process. That process is old. You have to thank
for the future and you can't think of how they

(52:02):
did it, have done and all that it's just done already,
you know. One of that one last question about just
two songwriters that I've never really talked to anyone that
like new Anod Hittings, Oh yeah, and this is crazy
asked for everybody to just calling my phone O word
that was outside like and also Devil Killings that was

(52:24):
like the best kept Atlanta's secret um. She sung on
every song I've ever done from like all the backgrounds
on Creep, but what about your friends or like all
the outcast records, And she's an amazing bass her bass
player like he didn't cupe it, he did cute it
once whatever, but he also did to take our time.
I thought that was you for the longest on the
hit is adult Man. It's like one of the things

(52:47):
I did when I came in the game is like
I bought producers together to try to give them the
opportunity I wish I had, you know, instead of me
getting ripped off and work for higher contracts or whatever.
I was like, well, let me just find people that
are dope and then give them the same opportunity, but
make it ware they're gonna make their money, you know,
so on him and Zimbob would want to be you
know yeah bro, so we just love music like that

(53:08):
and I just want to make it where I feel
bad when I'm feel glad that I came up in
an area we made money, but now it's just you know,
it's the shady. It's sixty records going out there, and
it's not enough. It's just not enough money in that
blanket license to pay everybody. Okay, why didn't silly hope
like I wanted it just because I'm serious, because it

(53:32):
was like it should have had a video. It sounded
so industrial, like I felt like Rhythm Nation meets like
Yes and and all that ship yeah fat meals on
my favorite albums. I did because it was just the
concept along. Lisa first came in when she goes, yeah,
I got a concept. It's called fan mail, and we
can put all the artists names on the back that

(53:54):
that that sentence letters from the fire and all this.
I was like, oh, yeah, that's brilliant. I can hear
that already, I know what to do. And then she
goes yeah, and then the rest of it's called fan
to c dot com and said what is that, well,
you know, we can be playing with ourselves and doing this.
And what's interesting is the first only fans. It was
only fans is now back then, of course me and

(54:15):
all the rest of the girls like are you crazy?
You know, she's like looking, I'm doing it, and this
person doing you gotta be like And so then because
me and the girls were like, uh no, we can't
come off waterfalls and you guys are having you know people,
pay play with yourself and get the money. And then
she goes up, Okay, well I quit. That's when she quit.
That's what she quit the second time. So she quit

(54:35):
right at the beginning the fan mail, and so then
I had to, like all the created virtual Vicky, I
had to go to my computer and take the voices,
sample each word and make them wrap that. You know,
you can't get with this one. Not you just go
and bust finding hole to give it up. You can
have no rhythm, So you had to put it on
the keys to make it a rhythm. Because she quit
and we have a rappers. Us were a rapper and

(54:56):
we created the virtual Vicky character right so at the beginning,
she goes welcome, we did a he did this album
to everybody sent us from mill that's computer talking just
like you. I get lonely too. That's computer. Silly hole
rap all the way up to the whole room. First,
I'm a sucker, asked that question. Yeah, she wasn't, And
so we did silly Hole. We had we had the

(55:18):
album done, but we didn't have no scrubs, and so
I heard I went over to Tricky and Shakespeare because
I had them working on I had Shake and Tricky
working on the JT money stuff for me at the time,
like who that. So when I wouldn't check on that,
they played me no scrubs and it was for Candy
and Tiny, and I was like, give me that song
for TLC. I'll make it a single, silly Hole. It
just rolled out as like a pre It was like

(55:39):
all that gangster but like, if you give me that song, um,
I'll put Chilly on the verses, which we haven't done before,
and then this will be the single. Listen to guarantee.
That's I guarantee you give me that song with making
a single. And so then because no Struve came in
last like that, so wait Tiny and lower Half to
get Candy, Tiny and Candy not pissed at all, did
they understanding? No, No, it was happy because they wrote it.

(56:02):
That's what I'm saying that they didn't have to sing.
They wrote it, and then that took That's what made
Candy take off. After no Scrubs, then Bugaboo and Destiny,
all that stuff started cominghund in Shakespeare. So that was like,
you know, it is trying doing anything musically. Now was
doing music. He's doing his own How is he now?

(56:23):
I can't even imagine trying to keep trying. Oh he's dog.
We've been waiting for this. This is way beyond we expected.
I don't think you're going to come with stories and
oh man, I'm walking stories all my life. Bro I
worked with so I've been blessed to work with so
many people that the next movies will be just saying dollars.

(56:46):
I got a couple of them coming up now, Okay,
well yeah from Sugar Stephen like and find take a
little and unpaid bill the Great Dallas Austin. Thank you
you music man. I appreciate it. He's awesome and uh,
we will see you next time of cours. Love Supreme
check you all later. M h M. West. Love Supreme

(57:15):
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