Fat Joe

On this week's episode of The R&B Money Podcast, Tank and J Valentine welcome the legendary rapper, entrepreneur and businessman, Fat Joe. You won't believe the gems he drops as he shares his incredible journey from the streets of the Bronx to becoming a hip-hop icon. From his early days working with the late great Big Pun, to his unforgettable collaborations with R. Kelly, Ashanti, Chris Brown and more, Fat Joe holds nothing back. He even reveals the surprising story behind one of his most famous lyrics. Along the way, he shares priceless wisdom on music, business, and life, and explains how he's been able to stay relevant for over 30 years in the game. Fat Joe also gives his take on why R&B artists seem to be "every man for himself," and tells a hilarious story about working with Kanye West. You'll never guess which R&B legend Fat Joe says is a must-have at all his birthday parties. Through it all, Fat Joe keeps it 100, with the same humor, hustle and heart he's always been known for. Fat Joe is Now on The R&B Money Podcast!

 

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Episode Transcript

Speaker 1 (00:01):
R and B money.

Speaker 2 (00:05):
We are.

Speaker 1 (00:07):
Take Malachi. We are the authority on R and B
Ladies and gentlemen. My name is Tank Valentine. This the
all N B money buck eyes Yeah, real R and B.
The authority told them the ship. Well all things R

(00:32):
and B fighties and gentlemen. Today we have a guy
my friends. Uh, it's in his blood, in his blood,
that sen his blood. Every every birthday, every birthday.

Speaker 3 (00:48):
I fight time when you can we wind the time
because hello, Sally's that's.

Speaker 1 (00:58):
Why fight the time when you you can readwind?

Speaker 3 (01:01):
Why look brand new?

Speaker 1 (01:04):
Bro? Let me say something every every time I've before, now,
before we've gotten into business together, every time I've ever
seen you and met you, it's always been about inclusion.
It's always been about putting your arms around and making
sure that everybody feels welcome, that you are giving the

(01:24):
greetings and giving the love. And I've never seen anything different.

Speaker 3 (01:30):
That's just who I am, you know what I'm saying.
So I'm I'm I like being happy and I want
to make sure my people happy. Yeah, And so that's
what it's all about. And so the days of you know,
we can talk about a lot of shit. We going
there now off rip. I never liked the major label
record companies. I never liked how they did our artists

(01:53):
from the past. I remember they used to they used
to put Old School at Noon tours together and they
have guys twenty two, twenty one, twenty three on tour
calling them old School at Noon. So if you get
dropped off a major label, they automatically call you old
School at Noon. But you're only twenty three. Yeah, you know,
you got these guys and I don't want to say

(02:14):
their names because really they're really legendary to me, but
they would have them on Old School at Noon tours
and shit like that. So I made a note of it.
I say, yo, listen, they gonna do me the same way.
So I got to make sure to diversify and make
sure I get to it. And I love seeing my
fellow artists look good like you look good.

Speaker 1 (02:36):
You know.

Speaker 3 (02:36):
I was in Beverly Hill's and you know, I'm good
friends with Johnny Gill and he pulled up in the
boys boy yard back. I was like, you know, I
want all my guys looking good, making money getting there.
That's what it's all about for me. It's never been
about just me. You know when the kid plays, he'd
be like, my boy, my boy never been like that

(02:57):
with me. Had been about everybody eating. Inclusion is all
all I'm about.

Speaker 1 (03:02):
Bro, You've navigated thirty plus successful.

Speaker 3 (03:07):
Years in this shit pretty crazy.

Speaker 1 (03:11):
Really crazy. It doesn't happen right, and like it's not.
It's not. You're at the thirtieth year and we're we're
seeing some fall off. No, you know, you're you're you're
in a thirtieth year looking like Lebron as I would
like to say, yeah, Lebron and it's twenty first.

Speaker 3 (03:30):
You know that's Lebron amazes me. You know, to be
in that shape, still be competitive, but you're in that shape. Yeah,
I don't want a better shape. Well, you know, God
is pushing me through it. And so what people got
to know is that I put my hands in God.
You know, when people try to, you know, say cancel
me or or start some shit, I don't even worry.

(03:52):
I just know God is going to push me through
because you know where my heart is. Everything, everything's the journey.
You know, it can't faster for certain people, came slower
for certain people. But it really is, like Nipsey said,
this this career thing is really a marathon. And so
it just keep going and keep going, and who knows,
something leads to something, something leads to something, you know,

(04:16):
and then you know it used to be when we started,
it was about, you know, I used to be with
Biggie Smalls every day recipes b ig twenty seven years
and we never took pictures because that was considered sucker
shit at that time, right, And now I take pictures
of anything, like I'll be sitting parking the car, like, yo,

(04:36):
take a pic because we got to capture the moment.
But when I came up, it was all about if
you win the club. You would see Fat Joe. You
would think, yo, I can't talk to this guy. Yeah,
you know, I got the gangsters around me. I'm standing
there like, don't look. Because that's what the wave was
at the time. And so during COVID, everybody stuck home.

(05:01):
They allowed me to turn on the IG Live and
show people my real person nine because they knew lean back,
they knew the songs, they didn't really know Fat Joe
the personality. And even at that time when we would
go do interviews, it was like we had to be
real guarded. You know, you got the the Wendy Williams,
the Miss Jones ebro at one time where they're all

(05:24):
trying to jam you up. You know, no disrespect y'all,
but you know that's where that's where our interviews was.
So all of us had to put up those little
invisible bars. So during the COVID it was like, all right,
everybody the fuck out anyway, laugh Joe, Joe jokes, play
the Jones girls, you know what I'm saying. You know,

(05:46):
I'm starting to ship with the Jones girls every every
day and to try to on to check it to
everybody like oh shit, I ain't No. Fat Joe was
like this. But and so you never know where this
journey gonna take you because it just opened so many
different doors, you know what I'm saying. Like I never

(06:07):
thought when I was hustling on the block, I'd be
selling men's hair grooming products all over the world. But
we're doing it with trapping.

Speaker 1 (06:16):
Trapped.

Speaker 3 (06:16):
It's scary out here.

Speaker 1 (06:24):
Let's go back there, uh, Fat Joe to the to
the Bronx sho did Little Joe desire to be a
rapper a mobile in that sense and entertained?

Speaker 3 (06:38):
Let me tell you a story I told a million times,
but I'm gonna tell you I remember being taught. First
of all, it wasn't for young people. There was no Instagram,
the biggest we could think of with Sanford and Son
and George Jefferson. We ain't see nobody else that look
like us. And I'm in the Bronx and I hate

(07:00):
to tell y'all, but it was like a war zone.
It was like Ukraine. Pronce was fucked up. It wasn't
no real buildings or nothing, no playgrounds. And I remember
sitting out there with my boy Louis one day, twelve
years old, and I was like, Yo, this broke shit.
This ain't for me. He was looking at me like
what I was like, Yo, bro I'm not gonna be broke,

(07:20):
you know. And so I always remember that moment where
it was in my DNA that I knew there was
more for me out there. I didn't know what it was.
So I was out in the street getting a bunch
of money, you know. He tried to kill me maybe
thirty forty times, literally, like the bullet had my name
on it, shooting at Fat Joey. And so my man

(07:42):
Diamond D from d TC stepped to me and said yo, Joe, man,
you gotta you gotta change your life and they're gonna
kill you out.

Speaker 1 (07:49):
Are you rapping at this point? You're not right? But
this is your guys.

Speaker 3 (07:54):
You really have to understand. Fat Joe was born. So
you know the Muslims they go to Saudi Arabia to
go to mech Yeah. I literally there's just just no
way a line, there's no way to doing it. I
literally was born in the birth place of hip hop. No,
not on the West Side, not on the East Side,
not on this Grandmaster Flash was out my window DJ

(08:16):
and every day Melle Mail was playing pickup games of basketball.
Ruby d the first Latino I MC, Shot Rock the
first female MC. They af from a hood, my hood,
like the inception of hip hop. You know, first time
somebody probably broke dance or this. That's my hood, right,
so I'm watching it. So I've been to hip hop

(08:37):
since I was born. I did everything from MC to
break dance to graffiti, right, I did the whole culture.
Thing only thing I could never do good was DJ.
It's the only thing I could never DJ. Wright and
I used to try, but and so it was either
hustle or hip hop. So my man Diamond d was
on already Lort and That's was on and Diamond was like, Yo,

(09:00):
let's go to the studio. I'll pay Joe.

Speaker 1 (09:02):
So we went in there.

Speaker 3 (09:02):
We made a demo that became my first single, flow Joe,
that went number one in America, single song.

Speaker 1 (09:09):
Recorded first, So.

Speaker 3 (09:13):
Yeah, it went out the park.

Speaker 1 (09:14):
That's crazy.

Speaker 3 (09:15):
It went out the park number one in America. Our cio.

Speaker 1 (09:22):
Out the project, not even first out in the project.

Speaker 3 (09:25):
I'm still in the project, you know. I moved out
the projects because I was getting money before I rapped.
But I was in the project to about my second album,
and when it's when I realized, all righty, you you're
rap star now and they starting to view you a
little different. So for me, I would have still been

(09:46):
in the projects right now, you know. But it got
to where it was a lot of jealousy. It was,
you know, I got up in the project showing them
I ain't changed. I'm still fat Joe. And then it
just got to the point where I realized, I was like, damn,
you know, we one day we had a riot in
the project because of me, right, So I basically I

(10:07):
used to run the projects like you know, King of Zamonga,
you know what I'm saying. And then I became a rapper,
so now they're seeing me on TV and all that,
so they started to looking at me like I changed.
I went soft. I'm a rapper. I can't punch you
in your face. I can't.

Speaker 1 (10:23):
You know, you know I'm aper.

Speaker 3 (10:26):
No, no, no, I'm a rapper. Of course I can't
punch you in like you know, you know what I'm saying.
So it's like it got to that point. And then
one day we had like half the projects fight half
the projects because some dude told me, like, Yo, the
fuck you think you're doing that? I smacked his cheek
off real quick.

Speaker 1 (10:46):
Bomb.

Speaker 3 (10:47):
I didn't even think about it. I left, you know it.
It was just a normal currence to me. I left,
I came back. Then there was a dude there that
I grew up with his kindergarten and he was angry
and I don't even say his name. I said, Yo, Pito,
what's up? PTOs that he was the name fat Pito,
Fat Joe, Fatito. We grew up since kindergarten. What you mean,
what's up, nigga?

Speaker 1 (11:09):
What's up?

Speaker 3 (11:11):
You snapped? That was my brother in law. You slap,
and he swung on me and that's not suggested right,
and so swung on me. Miss I almost let him
get away with it. I almost let him get away
with it. I backed up. I went in the car.
I never forget I tell you this story, Rich, I

(11:32):
never forget. My brother full Flex stopped me and said, Yo, Joe,
I know it's speed though, but you know if you
walk away right now, they ain't gonna respect you like
that in the hood no more. I said, damn, but
it's Peto. He said, Yo, bro, it's up to you.
I know it's feet though. He was telling me, like,
I know you don't want to do nothing to Beto.
You know what I'm saying. Someone in the trunk. I

(11:54):
pulled out the shots. You remember they used to add
the yellow shots, the big Michellan shit.

Speaker 1 (11:59):
Yeah, I know, exact household it.

Speaker 3 (12:00):
I started beating beat though up with the Michelan shit,
and then the whole whoever was jealous of Fat Joe
Fort Fat Joe that day, whoever was my real brothers
in the projects Fort dumb So it was half of
the projects again, I mean, fifty guys a getting like
everybody going up. Brothers was fighting brothers and my brother

(12:22):
Hard Power. Oh he was fighting my brother Gizmo, who
started TS. TS went with Gizmo went with the other side.
So it was like all our life we knew each other.
We all had like a big riot because they was
defending me. They was like, fuck that, Joey, Joey'll brother,
you know what I'm saying. Then the other half it
was a little bit jealous.

Speaker 1 (12:41):
We had to we did.

Speaker 3 (12:43):
We won for sure, you know what I'm saying. And
then and then you know, but that taught me like, man,
you can't really get out of here like that. On Man,
these guys are seeing you on TV, and so it's
not your perception of dumb changes a lot of times,
you know, as an artist, people's perception if you change,
and so you can still be the same person. You

(13:05):
the same you know, we all kids at heart, but
they start looking at you different, and so you know,
you know, that's that's what happens.

Speaker 1 (13:13):
Wow, is I'm sure there's a moment. I'm sure there's
that moment in other moments where it's like you are
graduating to a place of success on a different side,
but there's this urge to maintain the street credibility, the
street credibility.

Speaker 3 (13:32):
Did that we put it down in this game, like
in this in this rap game without saying no names,
because I'm cool with a lot of people, not even
cool brothers, but we we smashed anybody who tried to
fuck with us, like literally everybody who try to fuck
with us.

Speaker 1 (13:47):
And this is all yeah, yeah, none of this can
be used none of all what I'm saying, none of
this can use against.

Speaker 3 (14:04):
It's been so it was like, you gotta understand hip hop.
They ain't no PhD, they ain't no bachelorists degree. It's
like you got a bunch of guys that could rap.
They probably normally wouldn't even have a career on a
job if they didn't know how to rap. They aunt
to Rogers, everybody who just came home from jail. Everybody

(14:26):
think they tough. Everybody did so every now and then
you gotta like reassure them that this is what happens.

Speaker 2 (14:34):
It's interesting for me because me growing up in the
Bay Area, I always I watched I watched you as
a kid, and I watched your career and it was
very parallel to e forties for me. I think on
the East Coast forty because I know him so well,
that's my guy, and I'm watching you on the whole
other side of the country.

Speaker 1 (14:55):
I'm like, this is very familiar to me. Yeah, it
is very familiar to me.

Speaker 2 (15:00):
Like and it was funny because and even and even
how it's how it's uh come to life now later
in your career, businessman, business life. But you guys were
always independent. You guys always had your wife with you.
It was also it was it was watching a man
do business right, because we have a lot of little

(15:21):
boys in this industry. It's very few men who are
handling their business and who are approaching everything as a man.

Speaker 1 (15:30):
First, all we asked is men is respect. We're not
trying to say nobody, We're not trying to disrespect nobody.

Speaker 3 (15:36):
This is what this is about. Yeah, So the only
reason I come to do a podcast, so I do
my own talk show or whatever the case may be,
is transparency. Yes, you know, we got people who look
up to us, whether they're R and B, whether they're rappers,
and they got to hear these type of stories. They
gotta hear these business moves, they gotta hear how fat

(15:57):
you'oin fifty are friends now brothers when they was trying
to kill each other.

Speaker 1 (16:01):
They got here.

Speaker 3 (16:04):
I was there, I was going, but not they even
dwell on that. But I'm just saying they got to
see the growth so they can know, you know, like
even Fat Joe, I'm a dreamer, I'm a believer. But
if somebody does it. You know, I used to go
to puff Daddy's house and just stare at the walls,
to the ceilings and the marble and be like, yo,

(16:26):
we could get ship like this, you know, or someone
I hear a deal. You know, fifty cent just closed
this TV show man. We could do that. And so
I've always looked at everything like I got to see
it to believe it, and from a lens of not jealousy,
but inspiration. And so that's what's so important about outlets

(16:46):
like this. It's like we got to share that information
with the youth. Has somebody broke down to me when
I was a young kid wilding in the industry and
all like, yo, bro, this ain't good for business. Somebody,
I really rest of the known out of switch right there.
I would it would have saved me a bunch of
paying bells, paying rents, you know, you know, I was

(17:08):
going MTV Awards that that year, not even that all
them year awards. I had bet for fifty, so I
have to fly in with fifty guys. I had to
put fifty guys in fifty old towels. You know, we
popped in fifty bottles, hundred bottles. You know that's that's
a big purse. You the boss, sit down there. The

(17:30):
wars real because the last thing you want is to
get caught off point. So you got to be right
so that all that ship costs. So it's for the
the youth to understand. Don't get involved in that.

Speaker 1 (17:44):
You know what I'm saying.

Speaker 3 (17:44):
We get we we we pray to God right. First
of all, God is everything to meet. God is everything right,
and so we pray to God to get us out
of these terrible situations. And then once you're there, everybody
race to see how they how they asshole? You ever
watched them? How many you want a ward? Shows? You watch?

(18:07):
And whoever's hot at the time, it's their chance to
act like an asshole while they getting their ward. It's
like yeah, yah, yeah, I'm like, yo, bro, just be humble,
be happy, you know. And with R and B, you
got a lot of complicated, Like you met a lot
of R and B singers that're like mentally complicated, right, Like.

Speaker 1 (18:28):
Well, it's just that like with R and B. You know,
for the most part, R and B is a very
much solo venture, right, and so it's not like it's
not like cruise or where you like, where there's an
accountability system in a sense, right, you always have your
one guy that's like, hey man, we shouldn't like I
have my guy right here. It's like that, ain't it.

(18:49):
We need to be on that or we shouldn't do this.
There's a crew, there's a sense of brotherhood, sense of family,
camaraderie as R and B artists is just.

Speaker 3 (18:58):
Used like everybody for themselves.

Speaker 2 (19:00):
It is is I equate it to it being we're
all in high school. It's the one girl that everybody
likes and everybody's their friend. As soon as one guy
gets her, he tucks her and says, you better not
talk to none of these motherfuckers again.

Speaker 1 (19:14):
That's what it is. That's what R and B music
is exactly. I got the girl. So whoever is whoever
is the top R and B guy? I got the girl?

Speaker 3 (19:21):
Well you talk to you talking in the sense of executives.

Speaker 1 (19:24):
No, I'm talking in the.

Speaker 2 (19:25):
Sense of artists. I'm talking about the artists. You gotta
think about it like this. We can go back to
the history of R and B music and point out
that probably and you know a lot of niggas gonna
get mad at me about this. Keith Sweat is one
of the last artists to actually put other R and
B artists on silk and too many raptors that do

(19:47):
that too, Keith Sweat, But it's more, it's more round.

Speaker 3 (19:50):
You're not selfish like baby Face wrote all of Bobby
Brown's all that ship. You wrote a bunch of shit, yo, Bro.
That's very giving, absolutely, because everybody's like, you know, like,
oh I got to hit. I'm not giving this to nobody.
Give somebody a hit. It's crazy. But so in a sense,
Keith Sweat definitely put a bunch of them on.

Speaker 1 (20:11):
A bunch of people on You want talk.

Speaker 3 (20:13):
About Keith Sweat, you know what I'm saying. Keith Sweat.
All right, Let's go back to fat yo, when all
the gangsters was getting money. And it's weird because they
put them all in jail. They all died. But I
grew up at a time where you turn the corner,
it looked like it was bombed up, and then you
bump into ten benzes and beamers and little kids are

(20:33):
playing basketball with big rope chains with plates like you know,
the dudes is sitting in the corner dapping dan doubt
like I grew up in a fly time where guys
was out there stunting crazy like that. That's that's the
time I come from, right and so. But even though
these guys were selling massive drugs, shooting people every day,

(20:55):
every time you went into the most notorious guy's car,
when he pressed plate, it was Keith Sweat. It's just
nowhere around. There was nowhere around playing laying drives in

(21:23):
the ship. No, it's a fat ye. That's why you say.
You say, Yo, Joe man, you always get Keith Sweat
at your birthday, fucking right, because my guys somemi ever,
they know what the is. When he did singing, they're like, yo,
he got Keith Sweat up in this motherfucker. Like you know,
Keith Sweat man, I don't. I try to tell him

(21:45):
all the time. I don't think he knows what he
meant to the gangsters in the hallm in the Bronx
and around America. You know Keith Sweat, I don't know
he was singing love ballance, but that was some they
had that.

Speaker 2 (21:57):
Base under the ship. It was just it was a
different it was a different vibe to his music. It
was a different vibe to his music, like he sang. Really,
Keith Sweat might have been the first trap so, I
mean he might have hit so hard like the music
hits so hard, like it was low rider music on
the West Coast.

Speaker 1 (22:18):
You know what I'm saying today, Man, I ain't want
to no soft ship. Man, wan't sing on top of those.
You got to give me some hot ship that she
gotta be jumping pumping to speaker his baby and and
to to parallel that. That's really what Keith Sweat is. Yeah,
it's really being played by the cases key Sweat. This
is a game.

Speaker 3 (22:35):
Absolutely absolutely Keth Sweat man, he's something else.

Speaker 1 (22:39):
Man.

Speaker 3 (22:39):
One year I did my birthday party. I had to
move the whole party around for his day. So we
did it on Sunday because he was booked Monday, Tuesday, Wednesday,
Thursday for he was love playboy. I see you on
my birthday to night he said, Yo, Man, the twenty
six is open. I said the parties on Keith Sweat.
We don't hem about last year he was gonna I

(23:00):
don't know if people know, but you know it's house
caught a fire.

Speaker 1 (23:03):
Do you know that?

Speaker 3 (23:04):
Yes, that was the day of my birthday. He was
supposed to fly in last year and last year. We
try to get you like two years tank we got
last last year, Babyface came, Stephanie Mills came. You know,
Mary Jay come all the time.

Speaker 1 (23:18):
She early.

Speaker 3 (23:20):
I'm gonna tell you early because I tried.

Speaker 1 (23:22):
To No, no, no, we're gonna stop this trying to
get call.

Speaker 3 (23:28):
You have to tell me okay, okay earlier Joe when
we're doing that that Joe party. I got a new thing.
You know they say, don't talk to dudes wives. I
think that's the only way to get it done now
was talking to dudes wives.

Speaker 1 (23:43):
I swear to.

Speaker 3 (23:46):
No, No, that's how I get shit done.

Speaker 1 (23:48):
To come, no, I need it.

Speaker 3 (23:49):
I needed baby Face to pet me something. I have
to hit this girl up, like yo, yay, Joe, we love.

Speaker 1 (23:55):
It y.

Speaker 3 (23:57):
You know what I'm saying. That's what's doing this ship lately,
pushing the shutout. That's who I gotta find your wife
would be like, Yo, check this out. I need him there.

Speaker 1 (24:08):
She messed up when she's gonna calls at you right
now so I can talk to him.

Speaker 3 (24:18):
People know, you know, I'm more of an R and
B guy, absolutely hip hop Richie, Like, Yo, why you
wan't to always want to play that on b ship
man all that.

Speaker 1 (24:38):
It's a little too intimate for you.

Speaker 2 (24:40):
You're playing blue Magic and deal Phonics.

Speaker 3 (24:43):
I play that, Yeah, that's I play. I got the
super old school mix for on the plane. I'm scared
to fly, so I listen to all that delphonic stylistics,
the blue notes, everything, Man, I listen to all that
calms me down.

Speaker 1 (25:01):
I gotta ask a question, yes, Switch or the barge?

Speaker 3 (25:05):
The Barge's incredible? Yeah, oh Bobby, Yeah, because they're big man.
You know Bobby's Bobby. But you know Switch. Most people
you could have tried to jam me up right now
because most people don't even know Switch unless you really
know arm that barge is.

Speaker 1 (25:25):
That's like saying that's the Little Brother and Little Sisters.

Speaker 3 (25:27):
Yeah, that's like saying, you know Michael Jackson, LaToya or
some ship like that, even though don't get it fucked up.
Switch was the ship. Switch is the ship but the
barge that's superstardom.

Speaker 1 (25:40):
Yeah, that's fair. That's it. Let's let's talk music. What
do you think if if we're giving a secret, if
we're giving a blueprint in terms of sting, relevant sting,
active sting on the charts, being able to do high
level collaborate rations. You started that a long time ago.

Speaker 3 (26:05):
Well, you know what happened to me was after Pun
died Rest in peace, Big Pun. I went to All
Star Weekend in d C. And it was even Philly
of DC. I want to say DC. That's crazy because
I remember so I think it was DC, and I

(26:30):
was walking into the game and R Kelly was standing
up on the wall and I've seen him, and so
at this time R Kelly had only collaborated with like
Biggie or not even jay Z. Yet it was Biggie
and nas right, and so he was number one in
the universe. And so when he sees me, say, your

(26:51):
fat Joe was up and like you said, every man
for himself, Like that's the only reason why Ward chosen
All that is dope because you go to parties and
you get to see people in this love. But we
never see these people unless we see him at a
concert or something. She was like, Yo, man, I'm a
fat yo fan bro. I'm like Kelly, like serious, this
guy was God at the top and he was like, Yo, man, yo,

(27:15):
rest in peace. Big pun I grew up with the
Puerto Ricans, which shoe in Chicago. He was like, Yo, man,
I want to do a song with you. Now at
this point, I'm still really street like, really really street like,
like I didn't know no better, right, so I to
grab all Kelly by the chart said Yo, I'm not
the guy you say you want to do it somewhere

(27:36):
and then you can just zero nah for.

Speaker 4 (27:42):
Yo yo no, no, Thank god, I said it myself
because I said, Yo, listen, yo, take I'm that ghetto
that's still street now that Joe be like, oh wow,
that'd be a you know, an honor what you know.

Speaker 3 (27:57):
Then I was like, yo, my man, no, be like,
I ain't the one. I ain't the guy you want
to talk to like that. She's like, nah, I'm gonna
be in Orlando, come down there. We do a song
this this that Magically DJ bron G hits me up.
I never even knew he made beats he was like, yo, Joe, man,
I want I made a beat for you. So I

(28:18):
knew all these producers that made hits, but every time
I asked him for beats, say track Masters or whatever,
they had all the hits, but they would send me
they hard ship. So like, if I would go to Tank,
it writs hits, and I'd be like, yo, Tank, I
want to joint. I was so street. Tank would think
of his one hardcourt joined be like, yo Joe, I
got one for you. No, I want to fucking hit.

(28:40):
I want the barge, not Switch. You understand what I'm saying.
So I'm just saying I'm trying to tell you I
want no yo switch. I love you. You know I
held the barge, one of my favorite ever. But you
know I held the barges. That's my guy. But listen,
so he go like this, So Bron, we go by him.

(29:01):
It gives us the beat. We play the ship. We
start running around the fucking truck because it's the beat.
Till we dug it, We're like, oh, somebody gave us
a hit something at least it sounded like a hit,
like because everybody else was just giving us shoot him up.
They ain't that shit to marb deeper rap to or
mop or you know. So I'm like, because that's what

(29:22):
I was coming out the gate. So we dancing. So
I do my verses. We drive down to Orlando. Right
ll Kelly's laying on the couch. I walk up in there.
Funny shit is the track masters was there too. They
was doing his music and so when I walked in,
I'm like, Yo, what's up, cows? Yo's up?

Speaker 1 (29:42):
Yo this.

Speaker 3 (29:43):
He was just sitting on the couch and he said,
he said, Yo, you got the song. I said, yeah,
I got the song. And it's funny because he tried
to talk. He talked to you like real light and
shit like yo's cows. You know what I'm saying that,
you know, I actually I never heard him talk with bass.
He always talked like smooth and shit. Right. So I'll
give him the CD and he plays it and immediately

(30:06):
he rolls off the couch and he grabs this recorder
like a like a caller and goes, ooh he does
like the inch. I don't know what he doing, but
he thinking of the hook. But he's singing the ship right.
He was like, Yo, this ship is ha Yo, you
the fire whatever it was then he started mumbling some

(30:26):
shit in the hook. Then he turned the ship off
and he was like, and the track masters looking at
me like, yo, Joe, I ain't know you can rhyme
like that. I ain't know you can make hits like that.
I was like, y'all, I've been telling you to give
me the ship. Ba y'all, y'all keep thinking I'm fat
Joe against it, right, So funny shit is he does that.
So I'm thinking, you know, all, Kelly's gonna sing the hook,

(30:46):
We're gonna do it. And he goes, yeah, yeah, you
know him, I got a two fake. I'm like, huh.
He's like it was like two in the morning. He
was like, y'all, I got a two fake. You know
what I'm saying. So you gotta, you know, go chill,
We'll figure it out.

Speaker 1 (31:02):
This this that.

Speaker 3 (31:03):
I'm like, I drove twenty hours at the time.

Speaker 1 (31:05):
I was kidding you.

Speaker 3 (31:07):
I drove down there too, So I'm like, yo, caws.
He was like a two fake, this this that, so
out of nowhere, he disappears and walks out the room
to a door through a door. So it's like ten
minutes twenty thirty forty minutes. Like, I'm telling you I'm
really impulsive. I'm like, really really street. At this point,
I don't know how to explained, so I said, man,
fuck that, man, I go to the door. I opened

(31:28):
the door. I opened the door. He dad ass got
a dentist giving him novercan on a chair in real life,
in the fucking studio, like two in the morning. I
felt so yo. Yeah yeah, heck yo, tex. I felt
so bad. I'm sitting there like this. I'm like, oh shit,
he really got a tooth. Fake. I go because I

(31:50):
noticed one record gonna change my life. Yeah, this is
a hit. Hit you know you got to hit with
al Kelly at that time. It's just.

Speaker 1 (32:00):
Right.

Speaker 3 (32:01):
So long story short, the man don't call me for
like two days, and I'm staying in like a motel
and you know, Orlando, I'm writing, I'm working on my album,
and then we're about to be I'm like, man, fuck him, man,
we're going back up to the boss man. So we
in the truck ready and out of no way. The
phone ring. He's like, yo, what's Upclscals said, what's up? Kels,

(32:25):
You're too good? Everything good. He's liked, hold up and
he pressed playing you here, we eat Doug and roll
and yeah and so off and then and that's what happened, man,
and uh and so that ship.

Speaker 1 (32:44):
And that's your first R and B collaboration, my first hit,
like my first R and B hit, you know what
I'm saying.

Speaker 3 (32:51):
I never forget. We used to throw parties out here
in Miami. We used to every Memorial Weekend. I used
to throw all the parties in all the clubs. And
we had a Terror squad Pool party. I never forget.
That was the biggest shit out here. So you had
cam on every fab, every you know, all the usual suspects,
everybody in the building. AI's in there.

Speaker 1 (33:09):
Yeah.

Speaker 3 (33:10):
And I go to DJ and I say, yo, press player,
niggas like yo, brand new Fat Joe Nigga play that ship.
When they heard that, all Kelly go we Doug and y'o.
I seen. I actually got to see every rapper's face.
They all was like.

Speaker 1 (33:24):
Because they had never heard a record like that from
you either.

Speaker 3 (33:26):
Who gives a fuck? He got a smash with all
Kelly at that time, they looking around like, oh shit,
this motherfucker lit like this was like the ultimate collaboration
at the time. You know what I'm saying, and the
ship was a hit, and so we followed that up
with Wes Love with a shan Tee Earth gott He

(33:48):
that was another ill story too. You know, I didn't
really know IRV Gotti. I met him like two three
days before Pun died and we talked for like hours,
and then Pun died and and then you know, that's
where I met a Jarul. I was sitting in the
funeral crying and then I look up and it was
Ja Ru. He was like, Yo, sorry about your brother,

(34:09):
and like I said, I let God push me through.
At that moment, I said to myself, oh, this is
my God, you know, because I don't cry. So when
I finally broke down and cried out of nowhere, it
was Ja Ru standing over me. I said, oh, God,
let me know. This is my God. So I told
him thank you, and then out of no way. I
was sleeping in the crib with my wife and phone

(34:31):
ring when you still had the house phone. Shit, like
three in the morning, is Irve Gody, Yojoe, we made
a joint for you. Come down. I'm like, who's this?
Deserve Gotti? So I go down there, they press plays
What's Love what's not.

Speaker 1 (34:45):
God to do?

Speaker 3 (34:46):
They gave me a smash when the niggas was rocket.
I'm saying, that's why I always stayed loyal to them.

Speaker 1 (34:52):
You ask a question about that, the aggression that you
start the record with.

Speaker 3 (34:58):
Put that fucking I was still in this. Please.

Speaker 1 (35:01):
The song is called What's Love.

Speaker 3 (35:05):
Put the fucking beat on, put the fucking mic on.

Speaker 1 (35:08):
It was like.

Speaker 3 (35:12):
I was supreme, beaan ghetto.

Speaker 1 (35:14):
Still.

Speaker 3 (35:15):
I don't know how to explain this shit to you.
Fu you. Nobody told me it was gonna be like
you know, yo, you You're gonna be doing stadiums after that.
It was like white people discover Fat Joe. After What's Love,
I couldn't perform for black people or Spanish people for
like two years straight. I was doing all them jingle balls,
every white Katie Perry, whoever, the white guys. Vegas at

(35:38):
that point, fuck Vegas, like it was the whole place
was white. It was it was like, who's the white
Like if so say it was right now? What's Love
was right now. I'd be on tour with Billie Eilish
ship like yes, it's just nowhere around so they hear.
Because you know, you can't do one song. So when
they hit the other five songs, him and fuck you

(36:01):
suck my big Bitch, this, that, that, that and then
one stuff, they like confused, like, yo, I thought, he's
like a fucking commercial god right, So I was doing
the hardcore ship theyn't doing it now.

Speaker 1 (36:13):
It was crazy, man, now that I know what I know,
you know for being this a little different way different,
So you hadn't settled into that being a formula. You
were just like he had two of them great records
that are what they are.

Speaker 3 (36:28):
Fun started with the he's still not a player, still
not a player. So when I met when I met Pun,
I told him I wanted him to be the Spanish Biggie.
And you know he's into lyrics, hardcore beats this that
he love.

Speaker 1 (36:43):
R and B.

Speaker 3 (36:44):
Janet Jackson was his favorite. But his favorite record of
all time was Fire and Desire. So he be driving
through the Bronx Fire and Esi like he was a
big R and B had two but he preferred to
rap hardcore and so I was like, yo, we gotta
do something for the girls. We got it, did and
that he did the joint with Joe the singer. You know,

(37:06):
thank God for Joe and key Dark Massenberg because you know,
Joe had just sold five hundred thousand records his first week.
Joe was the biggest he's he was doing trake numbers. Yeah,
literally half a million first week Trake ship. And we
stepped to him and Keydall was like, you know, yo, Joe,

(37:29):
I sent him to the studio. He shows up, he
does the song with us. Like, think about the artist
you never met before, you never heard of? You just
so FI hundred thousand and you to get on it. Yeah, Joe,
that ship took off. So shout out to Joe for
being the real one.

Speaker 1 (37:45):
For Evan Keid, do you also feel like that the
legend of fat Joe also played a part in people
understanding how serious you were as a person. Yes, and
you make a request, It's like, oh, fat Joe.

Speaker 3 (38:01):
You want to know what's crazy is the first time
I worked with Kanye. Right, we throw the beat up
and I pulled out the pending in the pad and
he said, he said, what's that. I was like, no,
I'm about to write. He was like, you're right. I
thought you was the Don Colion. They just come bring
the ship to you. I said, no, motherfuck, I'm a

(38:24):
rapper MC swear to God. Kanye said he thought I
was the John. They just bring the ship to me.
I was like, are you fucking crazy? I write my ship.
That was the craziest ship. He really dead ass thought
it was like.

Speaker 1 (38:45):
Somebody right done?

Speaker 3 (38:48):
It wraps up here. I was like, na, man, I write.
And then we did the joint on Pride and Joy,
which very underrated song I did with Kanye. We had that.
Everybody on there who was on that jade the bus
the most depth this everybody. Even if you all about
the money, I don't really care. O Cay. That shit

(39:08):
cost me a lot of money. That was about to
be my next question.

Speaker 1 (39:11):
That sounds like a very He charged me nothing.

Speaker 3 (39:14):
He charged me. Nobody charged me. He charged me nothing.
Shout out the bank. He charged me nothing. But he said,
when we shoot the video, I gotta hire Hype Williams.
Oh you know what that is? Then I gotta pay
for the wardrobe. He literally had seven what was it,

(39:36):
seven eight thousand dollars tank tops from France, tang tops.
I'm looking at this sit like a hole in my head.

Speaker 1 (39:43):
Man.

Speaker 3 (39:44):
I'm like, when I went through the show, say yo,
what we spent eighty thousand on clothes and when I
was looking at shit was tang tops sweatpants for fifteen thousand.
I mean, we understand that shit now, but at the time,
I guess I ain't have it like that. That was
coming right.

Speaker 1 (40:00):
I don't think we were in tune with.

Speaker 3 (40:03):
Shi it cost that much, no way, But that was
right after another round. Had just had another round with
Chris Brown, and that was the gift that kept giving.

Speaker 1 (40:13):
And so you got a very aggressive line in that
record too, which.

Speaker 3 (40:16):
You want to fuck you with the mask on Halloween, pussy. Yeah,
that was a matter of bed. He tells me all
the time and in the day that don't go. You
know how I do that that that line, it was

(40:38):
coming at the single day I go on Twitter, somebody
like this nigga said fuck you with your mask on
holiday Halloween, pussy. But let me tell you that story.
I'm in, I'm in I'm in Africa. So for a
long time I've been to more places in Africa than
most artists have been everywhere Africa. And so it was

(41:01):
a time where American artists were either scared to go
to Africa or didn't want to go to Africa. So
I was doing I've been to Kenya. I've been to Somali.
I've been to Zimbabwe. I've been to South Africa. I've
been to Luanda. I've been to Rwanda. I've been to Angola.
I damn there, lived in ain't Goola, Equatorial Guinea. I've

(41:24):
been to Morocco. I've been Yo Bro. I went to
Nigeria a million times. I went to a place called Jabooty.
I'm doing all of Africa right, So I did everything
in Africa. And then one show I had had Timberland
Chris Brown seattra. It was finally I seen some Americans.

(41:44):
I'm in Africa and Chris Brown sitting there and he
talking with me, said, Yo, crack man, let's do a song.
It's time. How look at Chris Brown said like that, Chris,
I'm kind of kind of fucked up right now too.
I needed to hit hit. You know, when you go
through one of them sluts where you got a little

(42:06):
three four years where you ain't putt one out the park,
that's that's. Look when you're used to putting out number
ones and you get a slump where you almost can't
see the number. I was putting out so many number ones.
They was like a joke to me. I was giving
away number ones like to other artists. My friends, Yo,
take that, it's the number one, yo. Don't worry about this.

(42:28):
I thought they just come to everybody like that. When
I went in that drout and your ma and Chris
Brown said he gonna give me a life preserver, I said, now, Chris, now, Chris, please,
I'm an Africa with you. You probably He's like, nah, nah,
send the song. I do it. So I went right

(42:50):
back to the studio with Cooling Dre shout out Cooling Dre,
and they monsters in the game. And and so I
said with Dre and that that actually was like three
different hooks that we did in another round. So I
had one song where they had when on You, and
that was on one song. Then we had to we

(43:12):
broke that whole hook down three. It was actually three
hooks like on records I had. And then we just
made it one hook and send the best part to
send it to Chris, and he sent the back he
shat and so and so when we wrote I want
it on you, I want to fuck you, and you

(43:33):
know what inspired that little part right there? And I
hope I don't get sued was when when Lil Wayne
had that record. I used to go to live and
he'd be sitting on the couch and saying, I just
want to fuck every girl in the world. I just
want to fuck every girl in the world. And I'll
be looking at him and he'd be like, I just
want to and he pointing a round. And so that's
how I came up with that part of the hook

(43:55):
that won you. And you never know what inspires. So
he did it, and that ship just rangle off crazy.

Speaker 1 (44:06):
You know.

Speaker 3 (44:07):
The only problem with that song, I would say, was
that I wasn't on fire like so if I was
on fire, so that ship would have been the biggest
ship in the universe. But the fact that I had
to dig myself out of hole, you know, all the
way up was similar to you know all the way up.
It was a couple of years before I dropped the
Big Boy, so it stalled. You know, people were asking,

(44:31):
you think, you know these guys, you know, there's a
real bandwagon ship. Anybody got to jump on some ship
this and that. Social media wasn't out yet like that,
and so and and and all the way up. So
a couple of DJs just like yo, should I sound
like a lean Back? And then the ship just took

(44:51):
off and went flying.

Speaker 1 (44:52):
You know, did you skip over?

Speaker 3 (44:55):
Lean Back was out of here? Lean Back was monster
different type of dang. Shout out to scotts if.

Speaker 1 (45:02):
I had no question, are you are you independent?

Speaker 3 (45:05):
With no no, no, no, no no no, I'm signing
Steve Rifkin. At the time, that was just like.

Speaker 1 (45:11):
But it's still under you though, on the squad because
and we'll.

Speaker 3 (45:15):
Go to everything's under right, And that's what stories I
want to talk about. That the stories I'm trying to
tell you. It's like, look, I was signing Relativity Records,
low low budget record label. Thank god they put me on.
That's why I'm so close with Common. Me and him
started on the same label, m P the beat Nuts,
Chi Ali and so we we had this little label

(45:40):
that was independent, but we I didn't own ship. I
was just an artist. And then Bee Smalls blows up.
So I gave Biggie Smalls his first show ever. So
I was rapping and promoting shows at the same time.
Like I told you, I was promoting out here. So
we was tight tight. So Biggie said, y'all, let's make

(46:02):
an album. Together. He was on the time. He had
all a beef for Tupac and this and this and
that and so, long story short, we recorded a couple
of records. Immediately Atlantic Records heard that I was working
with Biggie and you know how they do the divide
and conquer. They came right over shout out my brother
rob Reef Tuloh, thank god you did that. So he

(46:25):
came over and said, Yo, you're working with Biggie on
the album. I was saying yeah, so boom, he said, nah,
we want to give you your own record label. We
wanted this, this, that, and so I didn't even deserve
my own record label. You know what I'm saying. I
didn't even deserve my own record label because I was
just on a bum fuck record label and I ain't

(46:46):
really sell no records or nothing like that. Because they heard,
they said, Yo, anything Puff touching anything, Biggie touching anybody
touching like that, getting that the ship about to go
get them.

Speaker 1 (46:57):
So we want to get a label and millions, and
you had a label deal. Off of a tall conversation.

Speaker 3 (47:05):
We heard Nigga's talking Yo, Joe and Biggie working on
something social social currency at the time. It wasn't social media,
it wasn't not like that, but they heard the hype
and it was like boom. And I remember I showed
Poff Daddy the contract and he read it. He said, oh,
play boy, you got to sign that. I ain't ain't.

(47:26):
I'm not giving you nothing like that, playboy. Let me
tell you some of the greatest South Sus single of
all time. His name is Hector Loveo. That movie O
Conte Jalo and Mark Anthony. That was his life and

(47:50):
he's my favorite souths single of all time. And he
got live songs where he's talking so much ship tank
and I feel like I'm there. When I'm there, he says,
the only singer that sings underwater, the only singer that
when he opens his mouth, fire comes out. This this
that I know you see a lot of singers in
here and then fucking with me tonight like he was.

(48:13):
And they were there and and and and so think
Marvin Gay Stevie wondered this, but this and that. He
was talking that ship with them there, so he's talking
that SELLI cruises here, the biggest was there. He was like,
ain't can't nobody fuck with me? I am the best
and I'm like, wow, what you know? I never seen
him live. I'm like, what it would have been to Besy?

Speaker 1 (48:35):
Yeah?

Speaker 3 (48:37):
Now my favorite song of all time?

Speaker 1 (48:40):
Hold on Speed Speed, Yeah. I introduced these kind of things,
songs for these kind of things.

Speaker 3 (48:52):
Joe, you have songs for the introduction.

Speaker 1 (48:55):
Joe, this is crazy, gotta dream, hold on, let me
get the dream dream. There we go, Joe, we have
a song for this. Who's the song? Tell him what song?

(49:16):
Top F.

Speaker 3 (49:21):
You're to lie.

Speaker 1 (49:26):
F your top fat ob singer?

Speaker 3 (49:34):
What else?

Speaker 1 (49:35):
R and B songs?

Speaker 3 (49:39):
We got a new that's this that Joe? We know
how you room? What do we? You aren't know your top.

Speaker 2 (49:51):
And yes, rare.

Speaker 3 (49:55):
Pow top far.

Speaker 1 (50:03):
Jo.

Speaker 5 (50:03):
Okay, I'm gonna give you my top five.

Speaker 3 (50:17):
Luther Evangels the greatest of all time, just my opinion.
You know, some people say Teddy, some people say Stevie,
some people say.

Speaker 1 (50:29):
People say Donnie. They say that, but I got their faithorite.

Speaker 3 (50:31):
We say everybody? So my guy is Luther Evangels the
greatest of all time. I used to go to see
him and he'd be this small because I was up
a deck with a cheap three piece suit on. Like
the cheap shit one n eighty dollars three piece suit
up with my wife, with my wife, with my wife.

(50:53):
The second one would be Babyface, And so anything Babyface
is uh, Babyface is like uh, I know every ad, live,
every lyric, every everything too. I could be a background
singer for Babyface and so so many times baby Face
performing people want to throw me out the show because

(51:14):
you know, decent people go see Babyface.

Speaker 1 (51:18):
And I'm sitting in there.

Speaker 3 (51:19):
I'm standing in the front roads. You know, tell me where.

Speaker 1 (51:24):
You know?

Speaker 3 (51:24):
You tell me who you know. That's when you turn around,
love you like you don't. You don't want to go
to a Mary Jay's show with your wife there. You
don't want to go cause you probably get stabbed in
your back about forty times by mad women. Right, But Babyface,
you could turn to your wife and go, but where
where you go? And tell me who who? Who's gonna

(51:46):
live your baby where that I do not tell you where?

Speaker 1 (51:50):
No, baby Face is the conversation.

Speaker 3 (51:52):
Where you go, Where where you go? And tell me
who's gotta you know that's your babyface. There would be
a Needa Baker. Now, I listen to Anita Baker every
single day of my life. The only problem I got
with Anita Baker still when I go to her shows,
she don't sing the song. You know, she she kills

(52:14):
it so much. She's so tired of singing these songs.
So if you come to my song, you're gonna hear me.
Go my show, you're gonna hear me say lean back,
lean back, ain't hey, Hey, I'm trying to sing along
with us, but she's killing it so much that I can't.
Lauren Hill do that too. She get like they just
like I guess, they want to change the song. Tired

(52:36):
of singing the ship. They freak it a whole different way,
you know what I'm saying. So, but Anita Baker, she's
uh top three. So I got Luther, Babyface and Needa
Baker Forth you know where I had to keep sweat.
I have yeah, keep sweating. Oh you know step on stage.

(52:58):
Girl screamed like I'm chief. He's just amazing to me. Man,
I watched this man be a superstar my whole life.
Yeah no, yeah, watch this man in real life be
a superstar my whole life. When he used to have
the show in Madison, squat Gardener, when he come out
in the bed, they pushed the bed out and he

(53:21):
got the He's still the biggest so Keith sweat Man.
He's definitely a role model to me, somebody I look
up to. And another way, Uh, and last is Stephanie
Mills for sure, and so is you know, because Stephanie
brings my moms and my aunts into it, you know.

(53:44):
And when they was cleaning the saturdays, you know what
I mean, they playing that Stephanie top and I'm just like,
you know, losing my mind with Stephanie and every time
I hear her music it makes me feel the same way. Yeah,
and she's also touring.

Speaker 1 (54:00):
Uh. You know. R and B.

Speaker 3 (54:01):
I think their fans support more than hip hop fans
do because you can have hip hop guys slip through
the cracks, but R and B, if you're not getting high,
you show up, you can sing good still because some
people that is sad. I've went to see some R
and B singers that they lost their voice, and so

(54:28):
it's crazy because I know they got to pay their bills,
but I'd rather listen to the record how I know them,
how they really was putting it down. They go to
a show and they can't do it right. So that's
my top five. Luther Vangels grew up like three blocks
from me. Luther Vanels was born in the Lower East

(54:48):
Side but came up to the Bronx, but literally three
so that's it's safe to say. Luther grew up where
hip hop was born.

Speaker 1 (54:55):
He lived.

Speaker 3 (54:58):
Five foot steps, you know, five blocks from me, so
I didn't know tell our sampled the Luther's on to
the Sunshine and his family. They cleared it so fast
and they was like, Yo, we love you fat Joey
from five blocks away. And then when I went to
YouTube and started singing, I was like, Yo, fucking Luther
from five blocks that's crazy. Luther van Jos everything to me.

(55:20):
You know what I'm saying. He's uh, he's my idel man.
He's special. I don't think nobody can sing like him.
I think he can hear any kind of note in
the world. He was just crazy. I remember I used
to go to shows. He walked past, and you know,
Luther about to get him some shit. So every now
and then I go on YouTube and I'd be like,

(55:40):
all right, Luther BT Award Luther, American Music Award, Luther
Tribute to Dion Warwick, and she on some shit. Like
he's sitting there.

Speaker 1 (55:49):
You're ready.

Speaker 3 (55:50):
The whole crowd is laughing me for you. He started
to sing because they already know, all right, Luther about
to be on some shit. So that's why guy gave
you the songs. I'll tell you a funny story about
all right. And of course Michael Jackson Trump's everything. You know,
Michael Jackson is Michael Jackson. He's an alien, right, and

(56:10):
so to anything Michael Jackson.

Speaker 1 (56:13):
Right.

Speaker 3 (56:13):
But I mentioned a crazy story is I was in
the studio with Rico Love, good friend of mine, brother,
and he was working this one. He was writing every
hit for Usher. I was there when he was writing
all them hits for Usher, like hanging out with them,
and Usher was dead. That's funny bout Usher. So so
we up there one day, Usher begs me to take

(56:34):
them to the club, right, and I'm like, y, usher Man,
you know you don't want to go to no club,
you know, because us likes I don't want the responsibility
of having to hold down these fucking superstars, right, because
I become security, you know, I can never let nothing
happen to us. Ship now telling me take him to
where all the Spanish chicks is that's usually in the

(56:56):
hood out here. So he's like, Yo, I want to
see this the Spanish chicks, let's go. I'm like, y'all
should stay here. He was in a safe studio, fucking
Jay Valentine Candles. We walk in the club and he
starts dancing and I'm looking at him and the man
is floating in one spot. He was doing some ship

(57:18):
where he was floating. I'm looking at him. Everybody's looking
at him, like, yo, fucking Usher floating in one spot.
I don't know what the fuck he was doing. I
was like, yo, the Scott he's not on his feet,
he's like floating, right, Usher. But I was there for
when we go rode all of them. And then I
actually had to convince Kelly Rowland to do that song Motivation,

(57:42):
and so she wasn't sure about it, and I was like, yo, Kelly,
because she had just had a hit that was one
of them sat Ship, so she was thinking about and
I'm like, yo, bro, you know you Destiny's child. You
know that ship is this man. The man just wrote
thirty million hits for us, like you catching them. That's

(58:05):
another thing you know as a writer now, I know, right,
Like so I did four songs with Scott Storch. Each
one of them went number one on the Billboard one hundred.
Had I known that, I would have did twenty songs
at the time. You know, when you're gun hot. Yeah,
when you got a pen in your gun hot, you
gotta go.

Speaker 1 (58:25):
You know what I'm saying.

Speaker 3 (58:26):
So I'm like, yo, his gun hot right now? You
know she did it, and look that was a big
hit for her. You know what I'm saying.

Speaker 1 (58:33):
Let's build your super R and B artists, Joe, right now,
how do we do that? Show you? I'm goin to
show you. This is called voltron, right, So you have
to pick an R and B artist, dead or alive
that you would get the vocal from, that you would
get the performance style from, that you would get the
styling from, and that you would get the passion from.

(58:56):
So out of all the R and B artists that
you know and love, did her alive? To make your
super R and B artists, who would you get the
vocal from?

Speaker 3 (59:05):
Michael Jackson? Nobody got that. Nobody got that tone, any
kind of record, any record, nobody.

Speaker 1 (59:16):
We've said he had had four voices overtime, He's had
four different voices Ala.

Speaker 3 (59:25):
Michael Jackson performance, I get Chris Brown. So I got
an m J and a Chris Brown absolutely absolutely on
the summer.

Speaker 1 (59:39):
All right Will Records. So who's the styling of the
artists the drip? Who got the fly sh it on?

Speaker 3 (59:49):
If I could pick, if it could be a female,
it could be a female. And I really think about this,
but I think I go Aliyah.

Speaker 1 (01:00:00):
The stylis fly.

Speaker 3 (01:00:01):
You know what I'm saying. That was that little tomboy
look showing her little six pack. You know what I'm saying.
I think she was a big trendsetter. Yeah, yeah, yeah,
So I would go vocally m J performance, Chris Brown
styling the Leah.

Speaker 1 (01:00:18):
Passion, passion.

Speaker 3 (01:00:25):
That's a lot of passion, but passion. I'm torn between two.
One I really know which is Maxwell.

Speaker 1 (01:00:40):
Right.

Speaker 3 (01:00:41):
Yeah. Every time I see Maxwell, I stop him. I
make him sing that ship to he can be drunk
at a part. Yeah yeah, yeah, yeah yeah, every time
sing the song man, Yeah yeah, sing the song. Max.
We could be in the club popping. I'll be like, yo,
you gotta be like yo, Joe, you got so you

(01:01:01):
need passion to hit that note. And somebody I don't
really know all her music like that, but just from
seeing her perform so many times throughout my whole life,
I'll say, you Alounder Adams because when she's singing, she's shinging.

Speaker 1 (01:01:20):
She's not playing.

Speaker 3 (01:01:21):
You know, yeah, she's not playing with these people, you
know what I'm saying. And we get throw Patty in
there too, Patty LaBelle, but you know those are like,
you know what I'm saying, passion. So I got vocally
nobody better than MJ with the his tones is like
it's unreal. Like every time I listen to Michael. Matter

(01:01:44):
of fact, I'm gonna listen to him now when I
leave here and go in the car. Vocally nobody, performance wise,
nobody like Chris Brown. I don't watch Chris Brown jump
off the balcony and land on one finger the ship
like yo, bro, this guy here, I'm not exaggerating. I'm

(01:02:07):
not exaggerating.

Speaker 1 (01:02:07):
I didn't know where he.

Speaker 3 (01:02:08):
Was gonna say, Yo, he flipped off the bunton. He
laying on one finger and then opening humbrother and like yo, brother,
like the man unreal, like we gotta stop but this but.

Speaker 1 (01:02:26):
This ship is true too. That's what makes me. Man.

Speaker 3 (01:02:28):
It's unreal. Then he'll go playing game of basketball and
dropped sixty on it. Yo, He's unreal. Swag I said it,
lib yeah, yeah, and passion. I gave you a couple
of Jews from Yolanda Adams, Patty Down and uh and Maxwell.

(01:02:51):
It's just Maxwell. He did it.

Speaker 1 (01:02:53):
He did.

Speaker 3 (01:02:54):
You know Nas. You know Nas never had the rhyme
outside of Illmatic. He created such a classic, the album Illmatic.
If he never rhymed again, he'd be a legend, the
icon on the Mount Rushmore forever. Yeah, right, because if
you think about it, on Dred three thousand ain't really rapping,
like fifteen years, we still got him on Mount Rushmore.
So your man Nis were ill matter. He was done.

(01:03:16):
He did some ship that goes into in the Museum
of Natural History, right, and so Max man with that.
I ain't never had the saying of a song swimming
through the concrete and ship. You remember the video. You
remember the video You're swimming through the you know what
I'm saying. So you know, I'm good with what my choices.

Speaker 1 (01:03:39):
Were all before we let you, before we let you
out of here, brother Joe. Yeah, we got a very
very very special part of this show. We keep themed songs.
Ready here, Okay, that's my that's my job. This one is.
I ain't saying no names. I ain't saying no names.
Ain't saying no names. I ain't saying no name.

Speaker 3 (01:03:58):
Where you were, what you did? You don't say she.

Speaker 1 (01:04:06):
I ain't saying nobody.

Speaker 3 (01:04:16):
And that's all we want to We don't want nobody
to say no names.

Speaker 1 (01:04:21):
So this is no man, very very very special segment.

Speaker 3 (01:04:26):
Thank you so much. Man, it was an honor to
be You got you got to. You're not done yet.
Oh I'm not done.

Speaker 2 (01:04:31):
You're not done. You got one more thing. Okay, it's
the part of the show is called I ain't saying
no names. Will you tell us a story? Funny or
fucked up? Are funny and fucked up? The only rule
to the game is you can't say no names.

Speaker 3 (01:04:46):
Okay, what comes to mind?

Speaker 1 (01:04:53):
Man?

Speaker 3 (01:04:53):
I got too many stories. Oh it was an artist
right that, Uh, an R and B artist who was
very sexual, very uh you know, write songs for the
ladies and this and that and.

Speaker 1 (01:05:13):
Uh.

Speaker 3 (01:05:15):
He would have women butt naked like if it was
like like art, like you know how you statue like
a statue like art. And he would write his hit
records looking at butt naked women. That was like his art,
you know how he got this and then and then

(01:05:37):
another red Bone to come and another one and they
was they was older. I don't want nobody thinking, no
crazy shit. But I ain't saying no names. But let
me tell you something that that I never forget. I
never forgot that session. But I was just like they
was just coming poles about an hour coming poles, but
naked on the stool thing. My walk out the room,

(01:06:01):
another one come in and the dude just be writing
here records about girls. I ain't saying no names. Wow.

Speaker 1 (01:06:11):
I like that.

Speaker 3 (01:06:16):
That's a legendary. I never gave nobody that one.

Speaker 1 (01:06:20):
That's a legend to that. Wow.

Speaker 3 (01:06:23):
Yeah yeah yeah.

Speaker 1 (01:06:24):
You never know what people's inspiration is that. Okay, this
is is a question. Is that is that? Is that cheating?
I'm just writing a song. It's not it's not cheating, right.

Speaker 3 (01:06:35):
No, it's not cheating. No, no, no, it's not cheating.

Speaker 1 (01:06:39):
It's not cheating.

Speaker 3 (01:06:42):
Okay, with that, I didn't see the girls flirting. They
weren't even looking at us. They were there minding their
business like they posing like I don't get yeah, yeah, yeah,
but I ain't saying no names.

Speaker 1 (01:06:58):
Wow, wow, other fat Joe. We are. I mean, family
goes without saying, but we are.

Speaker 3 (01:07:05):
We are.

Speaker 1 (01:07:05):
I think we are all inspired and and we are
all better because of what you've done and how you
do it, man, And we appreciate we appreciate you a
thousand times over. I appreciate you giving me the call.
As I said, you've always been inclusively, You've always wrapped
your hands and arms around everyone. And you give me
a call and say, hey, man, you want you want

(01:07:28):
to be part of this. Yeah, it wasn't a do
you want to be part of this? It was you
want to be part of.

Speaker 3 (01:07:36):
You get money right? Think of Tyson back for right,
one of the most handsome men in the world. You've
been a runway model forever. We found a way for
people who love him to support and he get paid
now office his looks so every night somebody, every day

(01:08:00):
he ain't somebody buying the box. You know, we finally
found the right system for Tyson Beckford to get his
just due, get his flowers right. And so you know,
it's the beginning of a lot of stuff we're gonna do.
You know, shout out to jay Z. He going for
the casino up in New York Times Square, and so
I wanted to get it because then fifteen thousand people

(01:08:22):
that look like us to get jobs and Times Square
and so I just every time I hear amazing things
from people you know, I look up to or who
I love or what they're doing, you know, and inspires me.

Speaker 1 (01:08:34):
Well, you inspire his brother in that absolutely, that is
the blueprint, man. How can we continue to push it
forward or pay it forward? You know what I mean?
That's it. I'm Tank, this podcast authority on all things
R and B and this has been all things fat yup, Yeah,

(01:09:00):
R and B Money.

Speaker 2 (01:09:02):
R and B Money is a production of the Black
Effect podcast Network. For more podcasts from iHeartRadio, visit the
iHeartRadio app, Apple Podcasts, or wherever you listen to your
favorite shows. Don't forget to subscribe to and rate our show,
and you can connect with us on social media at
j Valentine and at the Real Tank. For the extended episode,

(01:09:24):
subscribe to YouTube dot com or slash R and B
Money