April 16, 2025 • 48 mins
Listen to part 2 of our conversation with music mogul Jermaine Dupri. Known for his influential role in the music industry, Jermaine talks about his journey from a young music producer to a record label executive who has worked with some of the biggest names in music.
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Episode Transcript
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Speaker 1 (00:01):
R and be Money.
Speaker 2 (00:05):
We are.
Speaker 3 (00:12):
A party, and the mister Jermaine j P and this.
Speaker 4 (00:22):
My brother come on for intro. God damn.
Speaker 3 (00:26):
Got to be right.
Speaker 5 (00:27):
So they go back to the hip hop ship that
you wanted to do it Yeah, okay, okay with.
Speaker 4 (00:33):
It something like, Brian, I guess we gotta come up
with you know, we gotta do some up tempo fun.
This is what they want to do. Now I'm not
writing it either, so it's making it harder for me
because I can't use my ideas. Right, I know that
they write, So I gotta just come up with a
(00:55):
beat a track to sound like something. And I got
up old guitar at my house, out of key guitar,
and Brian started playing with it and fucking with it,
and I'm like, yo, we should use that. He's like
(01:15):
what this guitar. I'm saying like make it getting key
or whatever, and I'm a sample your licks and he
started playing with a party at Lix and the guitar
and I'm like, yeah, just it. I started making taking
the parts, making a beat, and then Jay come over
to the studio and they start singing and they start
(01:37):
going I'm like, oh yeah, this sounded like it, this
gonna be.
Speaker 1 (01:40):
It right here?
Speaker 4 (01:41):
Hey, where the party at. I'm like, dann, this song
needs something though it still ain't. It ain't all the
way there yet. And by the way, I never used
no artists outside of my artists to break to do
anything like that.
Speaker 1 (01:56):
Right.
Speaker 4 (01:56):
So, but they like, yo, get Nelly on the song
Nellie smoking hot at this time, I'm like, getting Nelly
on the song?
Speaker 1 (02:04):
You sure?
Speaker 4 (02:05):
It's like, yeah, that's your boy? What you thinking about?
Speaker 1 (02:06):
Call that?
Speaker 4 (02:07):
Nigga? I called Nelly universal two fifty.
Speaker 3 (02:19):
In a dumble bag.
Speaker 4 (02:21):
I said what I said?
Speaker 5 (02:23):
What ain't no trains, nothing that can't no bartery to fifty.
Speaker 4 (02:29):
I never had paid that type of money for a
million for a feature.
Speaker 1 (02:33):
Yeah yeah, yeah, Nelly's on top.
Speaker 6 (02:34):
Of the world.
Speaker 4 (02:35):
They said two fifty, You're a diamond nigga. I said, damn. Now,
I got to call Columbia because I'm like, listen, hey, hey, hey, listen.
So so but Colombia's they they stoked because they jagged
jagget the remix. Let's get married? Is Peak doing some shit?
Speaker 1 (02:53):
Yeah?
Speaker 4 (02:54):
They so they see now they see light with Jack.
They like you what you got? I'm like, I got
a song. I just got to put Nelly on it,
and I feel like we can we can follow up.
Let's get married with this song. You put Nelly on
the record, it's a go. He's like, all right, well,
what you wanna do? I said, we gotta give two fifty.
(03:14):
They said two fifty. What I said, you gotta send
them two hundred fifty thousand dollars. He gonna go in
the studio. Donniana's like, Okay, let's do it. Let's go ahead.
I feel like I feel like this, this is gonna
this is gonna do it for him. I say, yeah,
so you get the verse from Nelly. I think the
(03:35):
song is a hit. I go to back, I go
to New York play the song for Donniana and he
listened to the song. He's like, it's cool. It ain't
there yet. I'm like, what you got, Nelly? We got
all these different parts. It's going He's like something, it's
just ain't. Damn, it's something. Ain't. It's still missing something.
(03:59):
So I come back home. I call the guys to
the studio. I'm like, yo, he said, a song missing someth.
Speaker 1 (04:07):
Man.
Speaker 4 (04:08):
Fuck, we don't know what you talking about.
Speaker 1 (04:10):
You know what?
Speaker 4 (04:10):
I mean, so it's like all that. I'm like, man,
we gotta we gotta listen to him and say it's
missing something. We gotta figure out what is missing. And
then wingoes like, so we start having a conversation about
party things that happened at the party. What is the
thing that call him repeat that happens at a party,
(04:31):
that happens all the time at the party, right, put
your hands up, let's sad for your hand dude. My
lady's running this motherfuck us. And we start just bringing
all the ideas of like what happens at the party.
We put that on the song. So this is not
on the initial we put that part. We figured that
part out, put that on the song. I go back
to New York the next week, I play it for Donnie.
(04:53):
He's like, that's it, And I'm like, are you fucking serious?
Like this is eight bars to just us my east
side run this mother, He's like, that's it. You got it.
Y'all figured it out and where the party at gone?
Speaker 6 (05:12):
Gone?
Speaker 1 (05:13):
The art of making records, but it's also right.
Speaker 3 (05:17):
It's also.
Speaker 7 (05:20):
The respect of like listening to a guy say you're
close and taking all of your your producer ego and
writer ego.
Speaker 3 (05:33):
You're the things, the success that you've already had.
Speaker 7 (05:36):
But to that point, taking that out of the picture
and say, hey man, there's got to be another level
we can get to. This guy says, there's another level
we can get to. Let's let's let's fucking find it.
Speaker 3 (05:47):
Yeah.
Speaker 4 (05:47):
I mean, I'm always I'm determined to find it. I
hate when people tell me though it's not that, but
I I trusted they saying it for a reason. Right
fast forward two thousand. I think we we because we
from I think the last album at my house, my
mother's house, was jay E heartbreak Fast forward two thousand.
(06:10):
I built my studio south Side. The first record we
make in south Side is we start on Usher's first
second album, third album. Basically, the first song we write
when we move into that studio is you got it bad?
Speaker 1 (06:28):
So he's gonna pay for the studio.
Speaker 4 (06:36):
This so Brian. I heard him say this on when
he was here. He wanted to work with Usher is
so bad. He didn't know he was gonna get the
opportunity to work with Ushier. I called him like man,
he would do jacket desh. He ain't know if I
was gonna keep using him. He thought, you know, he
did jacket desh. He ain't know whatever. I called him.
I'm like, yo, I gotta start on this Usher record.
(06:59):
I need you come over. He come to south Side.
We started working and I'm like, we gotta do an
extension of Nice and Slow. I'm saying like Nice and
Slow was like about it. People love it. Brian was
in love with nice and Low. I was like, I
want this next song to sound like it's that. It's
(07:21):
right there, but it's a something else.
Speaker 1 (07:24):
Right.
Speaker 4 (07:24):
It sounded like something else. So we started writing you
Got It Bad, and we're making the music. I'm not
even I don't have the lyrics yet. And then Usher
come to the studio and Usher got a girl. Matter
of fact, we had another song.
Speaker 1 (07:38):
I think we had.
Speaker 4 (07:39):
We was working on another song. Matter of fact. That's
how we got to it. Was working on another song.
He was in the studio, so the girl called him
on the phone. He hang up. They're going at it.
I'm like, what's wrong, man? Can we get this fucking song?
You know I'm watching the through that. I'm like, can
we get the song?
Speaker 1 (07:55):
Guy?
Speaker 4 (07:56):
He like shit, i'ma I'll be back right in the middle.
Of the session. So the girl got him fucked up right,
And all I could sit there and think about was
this nigga got it bad, like you've got you got it,
you got it bad, you got it bad. And I
just start putting every pieces that I saw him do.
I started writing them, and I started thinking like and
(08:19):
I called him when he left, I said, come back,
I got it. He came back. I had this song.
Speaker 1 (08:28):
I ain't got what you call right back?
Speaker 7 (08:31):
You hate I hate this. This nigga is so good.
Speaker 5 (08:37):
But you know the other part that I've noticed, your
humility in all of it is what makes it, in
my opinion, just from the outside looking in, is what
makes it work because you're never above the song, You're
never above the situation. In all of these hit records,
(08:57):
you keep saying I was a pressure, all right, nigga,
I didn't know you know what I'm saying it was.
It's not you know, because you understand we've been in
music forever. We've done it one hundred and fifty interviews.
You see when certain niggas is like, the humility may
not be there, right, And that's cool, that's fine, iever
(09:21):
that works for you. But what I've found in talking
to you, is that you get out of the way
of of all the bullshit and just fucking write a
great song. Just write the record, even if you got
a tweak it, even if you got like all of
(09:41):
these things that sometimes as we become successful, you do
people do less and less self auditing. What you mean,
what you mean, nigga, go buy somebody else record.
Speaker 1 (09:53):
Then you're saying no, no, no, no, I'm gonna figure this.
Speaker 4 (09:57):
Out because that does None of that worked for me.
It worked for me. Is your reaction. If I play
a song you don't react, I know it ain't no hit.
Speaker 1 (10:06):
That's it.
Speaker 4 (10:07):
I'm not even gonna argue with I might think it's
a hit, I'm still not gonna argue with it, because
I'm saying that reaction is what. That's what, that's what.
That's all I got, that's all I know. If you
and I'll keep going till I find that reaction, till
you give me that reaction, I'm not gonna stop on
every project. That's what I have to get. I have
to have that reaction, the same reaction that I got
(10:27):
on every record. It got to be the same thing.
Somebody gotta come from the back somebody gotta jump in.
Somebody gotta do something. If they don't, If they don't
do that, that song is not coming out. It ain't that.
Ain't that ain't the song. Nope, that ain't it. I
don't care how niggas jumping around in the studio. That ain't.
I got to see somebody, somebody else, got to show
(10:47):
me the natural reaction. They gotta show me a natural
reaction before I actually believe. It's a goal still to
this day, still to this day. So so where y'all
want to go next? I'm guy ready to tell y'all
got no La was here and I saw LA, but
(11:09):
I was gonna say that what you said about I mean,
oh you both of y'all saying about me, not like
really cared about what people you know what I mean,
I always get knocked down, So I'm already it's not
like JD.
Speaker 3 (11:27):
We believe you.
Speaker 4 (11:28):
It's almost like my success. They used my success against
me to be like you can't eat I bet you
can't do that shit again. You think you got.
Speaker 1 (11:36):
Another one of them?
Speaker 4 (11:37):
You think you got another one of.
Speaker 1 (11:38):
Them in there? Yeah?
Speaker 4 (11:39):
Right, So I'm always mentally I'm going into the studio
already thinking like these niggas don't believe we could do
it again. We gotta do it, we gotta find it,
we gotta do it. That's all that mattered to me.
I'm not thinking about nothing else, none of that use,
none of that shit matter, even to the song go
No One Cool. It went number one. They want to
(12:00):
know if we could do it again, right, so you
got it bad came out eighty seven oh one, popping
whatever whatever, And then it's time to make USh a
new album, right, which confessions and me and us should
go to LA's house and we pull up to la
house and we have I think we did. We started,
(12:22):
we made a song and we go in there and
play the song for him and he's like, nah, this
ain't it. And he was like He's like, Usha, you're
not You're not interesting enough. Like people, they don't care
about you till your album come out. And when your
album come out, that's when people care about you. Then
(12:43):
when the songs go away, you go away. Y'all need
to write something that's interesting that make people want to
think about you. Things like you need to get a
girlfriend or something. He said, all kind of wold shit.
I'm just sitting there listening, like, damn, the man I
just told this nigga he not interesting. He just sold
like five million records. Cool, But I also understand what
(13:04):
he's saying. I also understand, like, Yo, you know, you
make a record, the promotion got you popping, But that
it's that in between ship. People don't know who USh is.
People don't they don't, they don't. They don't connect with
you as like doing some regular ship and this you
know rappers is coming out. You see the rappers doing.
(13:24):
It's more reality type of thing, and we go back
to the studio. We both like fucked up. I'm like,
this man just told us, man to his face, you're
not interesting enough. And when I heard him saying, my
mind start trying to figure out what can I write
to make this nigga interesting? What can I do to
make him interest? How do we make this nigga interesting
(13:46):
through music? So I'm on more like it's like, yo,
you should get it. You should you know, start dating
the hot girl, find it.
Speaker 3 (13:53):
You know.
Speaker 4 (13:53):
I mean to do some ship that's like more internet driven.
I'm not thinking about the music. There's no way in hell, right,
So we start trying to work on the records, and
then he tells me that the girl that he was
dating it's over with, but it's feels like it's burning
(14:13):
his soul. Like, man, feels like it's burning me burning.
It's like it's like a burning feeling that I have.
And I'm like, what I'm thinking, like nigga burning.
Speaker 7 (14:22):
Like, yeah, I come through, bring your penicilin wherever your need.
Speaker 4 (14:31):
So he's saying this, that's the first thing coming to
my mind. I'm like burning. He's like, yeah, man, make
something that got that burning in there. Say something about
me burning or something like this. And I'm thinking, like,
I don't even know where this nigga at with this ship.
I don't know what we're at with this. I can't.
I can't. I ain't never felt the burning feeling, right,
I'm not. I can't get into them that space. He like,
(14:54):
I gotta go say, he runs out the studio. He
left me with the burn an idea, and I'm saying, like,
I'm trying to flip the word to me and many things.
I'm writing sentences to see what make it sound like
it's cool, like burn. I don't know how this was
(15:18):
gonna work. And then it just hit me I was like,
let it burn, let it burn, Like right, so I
start I get it. I'm like, yeah, I got it,
I got it. He come back to the studio, he listened.
(15:41):
He's like, yeah, yeah, that's exactly what I was talking about.
And I'm like, okay, cool. We were on a rail
to this new album.
Speaker 1 (15:52):
Yea.
Speaker 4 (15:53):
Then the next day he comes and say, man, you know,
I don't think we should work in Atlanta. And I'm
superstitious about leaving Alana, right right, and I just got
my studio, just the new studio. We just got the
new stud You want to go somewhere else. He's like, yeah, man,
we should go to La. Man, y'all should come out
to La and we should do it. I'm like, nah,
(16:14):
I'm like, we just got lety Bron. Let's let's go. Nah,
I'm too distracted in Atlanta. I'm like, all right, cool,
I come out here, me and Brian comes here us.
Should we meet him at Brandon's Way? And we don't
(16:36):
really know what we're doing, right? We just in there
rush once again. He come in, he say whatever, he say,
he got ideas. Whatever he leaves, I'm like, ship Broun,
we got La told his nigga. He wasn't he wasn't interesting.
We got to start trying to make some music that
that feel like. We gotta make him interesting.
Speaker 1 (16:59):
Yeah.
Speaker 4 (17:00):
I don't know how what that's supposed to sound like,
but I'm just like, we gotta make something. This gotta
feel like. People got to you gotta have some kind
of little drumma to it.
Speaker 3 (17:07):
Right.
Speaker 4 (17:09):
So my homeboy used to be saying all bad. He
was like, man, that's all bad. This ship all bad,
everything all bad. So I'm like, all bad. Everything that
I've been doing is all bad. I got a chick
on the side with the crib and the ride. I've
(17:30):
been telling you so many lives ain't nothing good. It's
all bad. I just want to confess I've been doing
it so long. They put the beat up, let's go
till Brian started playing the chords. I'm like, I got it.
You start doing everything it's all bad. I got a
chick on the side of the crib and the rider
telling you so many lines ain't nothing good, It's all bad.
(17:51):
I got the hook, and then I wanted to be
a writer, so I said I write his block. You
know that's bullshit, rights block to some bush but niggas
that right, they said, just as like a way to
get away from the song. You't you don't really have
writers you right, You can just write about anything you
(18:13):
want to. It might not sound good, but you still
can write, right. You don't just have complete block. Right,
So I said, I have writer's block. I'm like, Brian,
just give me, give me the burn the CD. I
got my Lamborghini out here in l A. Right, I'm
like ship, I'm gonna get ready, I'm standing, I'm staying
(18:33):
a malleable. Yeah, I'm good. I get I get to get.
I put the CD in the in the car and
I'm going down Beverly and I'm thinking about Kais. I
(18:55):
don't know why I'm thinking about k but I'm thinking
about k And I'm thinking about the movie Usual Suspects.
And Kazoose was in the when he went to the jail.
He looked around the room and he made a story
up of everything he saw. It was on the wall,
and he made all the shit just go. He figured
out how to make everything that he saw in that
(19:17):
room work to his story. And I'm driving and I'm like, shit,
I might try to do that. Let me shot this.
Let's try this kizosose shit and I stop it to
light and I'm like, every time I was in La,
I'm with my ex girlfriend. Every time you call up
to your baby, I'm running. No, I was not doing
(19:38):
my work. Oh think about you getting hurt. I was
hand in hand in the Beverly Center. It's right there.
Speaker 1 (19:45):
Damn yes, yeah, yeah.
Speaker 4 (19:48):
Oh. If I wouldn't have been here, none of them
words would have been in that song. I would have
never been in La. I was here in La. I'm
writing the song as I'm seeing what's going on, you
know what I mean? And this verse, this verse goes
to all bad. This this, this verse goes to the
all bad song. It's not even Confessions yet. This is
you know what I mean. So I'm writing this to
(20:09):
everything that I've been doing this all bad. This is
the first verse of all Bad. I told them niggas
I had writer's block. But by the time I passed
the Beverly Center, I had the whole verse doing. I
was ready to go back to the studio. They had left.
So I'm like, God, damn, now I gotta wait till
tomorrow to try to cut the ship. But I'm singing
this ship all the way down. P. H, I'm I'm
(20:30):
I'm writing the whole song all the way down. P
I'm flying, but I'm listening and I'm saying, I got
it this ship right here, so come back tell us
hear it? Yeah, we're fucking with it? Cool, all right?
Speaker 1 (20:49):
All right?
Speaker 4 (20:51):
But what happened after that? That's what he say. I'm like,
what do you mean, woul happened after that?
Speaker 1 (20:57):
In the movie?
Speaker 4 (20:58):
Yeah, like, what's gonna happened after you? You know, you
got to check on the side what happened with it?
And just so happened that my real life, my real life,
this is happening.
Speaker 1 (21:14):
You know.
Speaker 4 (21:15):
I got a girl pregnant, and I had to tell
my girlfriend that I had a girl at the time.
I had to tell my girlfriend at the time that
I got a girl pregnant that I barely even knew, right,
And I called my homeboy and I'm like, Yo, how
(21:35):
do I tell my girl this? He's like, you gotta
call her and tell her. I'm like, shit, now, I'm
gonna just lead on answer machine. I'm calling. I'm gonna
just call and leave it on answer machine. So I
called her. I left a message on answer ma sin
she called me back. She wanted to know all the
information about it. What, how, what? And I'm just like,
(22:01):
I'm fucked up. I'm actually not even thinking about the
song no more. I'm just asking I'm in this real life.
So then Usher and Mark come to the studio and
they're like, man, we gotta make part two of this.
It's gotta what's gonna happen? The girl gotta get pregnant.
And I'm like, oh, I know this too well, this
is too this is too easy, Like this story. You
(22:23):
really want me to say this? It's like, yeah, what
is the story? And I'm like, okay, these are my confession.
Just when I thought I said all like I said,
the chick on the side say she got one on
the way. Man, I'm throwing and I don't know what
to do. I guess I gotta give y'all part two, My.
Speaker 7 (22:43):
Confessions, part two because they asked for a part too.
Speaker 4 (22:47):
Because they asked for a part two, Yep, we wouldn't
even made that that song. Confessions would have never came
out if they didn't ask for a part two. The
song was all bad, that's what then? What the song was?
I mean, it's on that's what's on the album It's
All Bad, which but I say, I confess I've been
(23:08):
doing you so wrong. I say it in that song.
So that's how it became. Like that's when I start
connecting it, like these are my confessions. I just took
that part from that song and put it into that.
But it was like this was and by the way,
this is a remix of All Bad basically of a
song that nobody ever heard. It never worked, like these
records never came out.
Speaker 1 (23:28):
We just made were already on the part two.
Speaker 4 (23:31):
Yeah, we made part two before the song even came out.
Speaker 5 (23:35):
And that's how you get the number one on be
a Record of the Century. That's how you get that
because congratulations on that too.
Speaker 6 (23:45):
I'm thinking give me yeah.
Speaker 3 (23:56):
But it's the life in the song.
Speaker 5 (23:58):
Yeah, it's like you gotta live writer, You gotta gotta
live writer.
Speaker 3 (24:03):
It's not gonna.
Speaker 7 (24:03):
Always be pretty. That's always my advice. Just write your life.
There's gotta be something going on. Don't make it too
hard on yourself.
Speaker 4 (24:10):
And going on, get something something that you're not interesting
lining up. I mean, it's a bunch of things that
went into Confessions. Him telling us that usher, telling me
about the burning thing we getting to l A like
I said, it was just like and then them asking
for part two of All Bad, like, what's the continuation
(24:32):
of this song? We gotta make a continuation of this song.
I was like, all right, well, I know this story
pretty fast. Let's just start coming out like this like
clock like super you're talking that. I think I wrote
that song in like five minutes.
Speaker 5 (24:48):
I never forget coming to Atlanta, flying in to go
see my partners care, going up to hit Cole him
playing me Byron and I'm like.
Speaker 1 (25:00):
Nigga, what the fuck is this?
Speaker 5 (25:04):
Like yeah, nigga, this is this that ship Nigga, Nigga jad
and that's your back here, nigga.
Speaker 4 (25:10):
You know it's that ship all the time telling you nigga.
Speaker 1 (25:13):
I'm like, so, when are you coming out? He's like yeah,
this ain't the single though, I said, what what what?
What are you talking about?
Speaker 3 (25:19):
Nigga?
Speaker 1 (25:20):
I've heard everything I need to hear. You're out of here.
Speaker 4 (25:23):
I thought that was a single too, by the way,
I'm like, yeah, this is the single. L A l
As like, Nah, that ain't a single. I'm like, man,
this nigga's different. This niggas different.
Speaker 5 (25:36):
But it's it's continuous chess is y'all. He's he's setting
the chess board in a certain way. He because as
an executive, you have to be able to see something
that the creatives maybe don't fully see yet.
Speaker 4 (25:52):
Yeah, I mean, listen, it ain't my label. So I
just start falling back like this your label. I just
making music. You do what you want to do it
that's what you feel like, then cool. When I saw
the track listing for for Confessions, he took All Bad
off the album.
Speaker 1 (26:12):
So then I'm like, how did it make sense?
Speaker 4 (26:15):
I'm like, people don't even gonna know about the first
part of the song. I don't care about the first
part of the song. This is the song. So then
they shot the video for it, and they put the
first verse from All Bad at the beginning of part
two video. So then they made the song go like this,
(26:40):
that verse is not in that song.
Speaker 1 (26:42):
No, No, it's not.
Speaker 4 (26:44):
You know what I mean.
Speaker 7 (26:48):
Don't say that man put that on something, put that
on something.
Speaker 1 (26:52):
He was in full Michael Muther.
Speaker 4 (26:55):
Yeah, so that whole we did all that here in
LA call and oh that's a real phone call. Oh
and yeah, l A scraped LA didn't put all bad
on the first release of Confessions, so all people heard
was Confessions Too. And I thought that was crazy because
(27:15):
I'm like, we sang in the song I'm gonna give
you Part two, we have part one, but it didn't
make it.
Speaker 7 (27:25):
Is it accidental genius that you end up having to
circle back to it and and that is now new
interest in a re release or even in the video
for that matter.
Speaker 1 (27:39):
Yeah, that's crazy to think of it like that.
Speaker 3 (27:41):
Yeah, you know what I'm saying.
Speaker 1 (27:43):
And it worked work.
Speaker 4 (27:45):
It worked like the Star Wars thing, like the Star Wars,
like the way they wrote Star Wars backwards backwards, right,
So it's like the same type of mentality.
Speaker 7 (27:53):
And well, the first was that on you don't you
don't have to call what the first single from that one.
Speaker 4 (27:58):
No, you don't have to call Yeah, yeah yeah, yeah,
yeah yeah yeah yeah yeah yeah.
Speaker 5 (28:04):
I always called to me, I always called that sugar
on the vegetables. Right, It's like when you have kids.
We all got kids, how do you get your kids
to eat vegetables?
Speaker 3 (28:15):
Something?
Speaker 1 (28:15):
You gotta give them something sweeter.
Speaker 5 (28:17):
You got to give them something with it that makes
them take in the ship that they need. And that's
how I looked at the body of work of Confessions.
Was the ship that the world needed from an R
and B artist? I felt like, yeah, it was the Yeah,
it was.
Speaker 1 (28:33):
The dangling carrot.
Speaker 5 (28:35):
I want the world to come in and now y'all
getting this ship though, Yeah, you get what I'm saying.
Speaker 1 (28:42):
That was the only thing like that on the album.
Speaker 5 (28:44):
Yeah, it actually doesn't matter the album.
Speaker 3 (28:48):
But it's was a hell of a commercial.
Speaker 1 (28:52):
It made everybody.
Speaker 3 (28:54):
Yeah, it's like a super Bowl times an.
Speaker 1 (28:57):
Amazing record, amazing record, but it does not the album.
Speaker 4 (29:01):
Yeah, I mean what it does, but it don't.
Speaker 1 (29:03):
No, I don't know, had nothing.
Speaker 4 (29:04):
To do with the confession.
Speaker 7 (29:05):
Yeah, because the rest of that is like, is that
like the party after I get done?
Speaker 1 (29:10):
It's core R and B.
Speaker 3 (29:13):
Yes, not core R and B.
Speaker 4 (29:15):
Yes, new R and B.
Speaker 3 (29:16):
Everything else is core.
Speaker 5 (29:18):
R from the records that you did, the records that
Draanva Dow did, Jimmy Jim Taylor, Like, this is an
R and B R and B album and yeah, it's
like what the fuck? Yeah, like you said, it's the commercial.
Let's bringing everybody in. It's the shock value.
Speaker 4 (29:33):
It's definitely shock value on a hold on left.
Speaker 7 (29:37):
I'm so angry whatever you was, because it's like SnO competing.
I had done my little Dirty South record with cash money.
I was like R and B Dirty South collapse. I'm
about to kill him. Ship out to go.
Speaker 4 (29:51):
Crazy, dud, he said, dud, dud get himself.
Speaker 7 (30:04):
Like Paul, You like a thug, drinks up in the
sky like thugs.
Speaker 2 (30:08):
No sparkle, no sparkle, spark nobody ain't nobody run from
That's what problem problem.
Speaker 1 (30:18):
Fresh told me.
Speaker 3 (30:19):
I was sweet, though, Fresh, like you have fun?
Speaker 1 (30:22):
Do you that ship?
Speaker 4 (30:23):
Nigga?
Speaker 3 (30:23):
You're killing that ship. The baby came around, so I said, nigga,
you can't tell.
Speaker 1 (30:27):
Me the same.
Speaker 7 (30:28):
That wasn't that I needed you, j What were you say?
Speaker 4 (30:33):
I went to call and say, did anybody look like
they liked that song?
Speaker 7 (30:39):
And then that song came out and I'm in the
I'm in the club on the Breer in Hollywood? What
did they call that club? Then eating my Heart?
Speaker 8 (30:49):
Okay boom, yeah, yeah, yeah.
Speaker 1 (30:59):
I.
Speaker 7 (31:02):
Don't think I had a good time that night. Fucking
ever for everybody, nigga, yeah, everybody. Sorry, there's too much.
There's too much. How do you feel about because you're
like you're always you the cool nigga that people that
(31:25):
you guys see it. It's always you. It's never too high,
it's never too low. Nigga come like nigga, got no
more record. That's that's that's that, that's dope. Thank you
appreciate it. It's this, how do you feel about being?
First of all, you're one of two in the Hall
of Fame, But what's you're what you've accomplished in music?
(31:47):
You're you're one of you were one of one. How
do you feel about that? Do you feel like you
can bang on your chest at times and appreciate yourself?
Speaker 3 (32:02):
No?
Speaker 4 (32:04):
Because the people that idolized they did more with less.
Speaker 1 (32:08):
Hm m hmm.
Speaker 4 (32:10):
Explain that Motown, you know what I mean? Barry took
with eight hundred dollars from a bank and made more
Town eight hundred dollars.
Speaker 1 (32:24):
I mean, that's the equivalent to.
Speaker 4 (32:26):
A lot, even eight hundred dollars. There's a lot of thousand,
eight hundred dollars, borrow money, borrow money, put all of
these writers and people inside this house, has mother cooking
the food, and made everybody sitting there. And he made
Molte Town records with.
Speaker 1 (32:49):
Things that were just connected to his block too.
Speaker 7 (32:50):
Though, Yeah, I don't disagree with that.
Speaker 3 (32:54):
I don't.
Speaker 1 (32:54):
I'm not gonna argue with it.
Speaker 7 (32:55):
I'm not even gonna say, but I just want to say,
you wrote and produced and then performed Breg Gordy did
with Breg Gordy? Did you my friend? Were you were
Smokey Robinson, you were also whatever band he called in
(33:21):
to do the instrumentation, and then you were also Barry Gordy. Again,
I respect, I respect your answer, but only you. No,
(33:42):
not just rap.
Speaker 5 (33:42):
And rmy and army and pop and pop bro, like
the things that you've done in this in this business.
Once again, you've been the first to us. You know, listen,
I'm I'm all.
Speaker 1 (33:59):
I'm with all this.
Speaker 5 (34:00):
I'm with all our arguments. Axon argue all they want to.
You can't argue with me about Jermaine Dupris. That's why
we want you on this show so bad, bro, because
you are that important to us, and it bothers me.
Speaker 1 (34:17):
That you don't get as much credit as you deserve.
I don't care if you care about it or not.
Speaker 5 (34:21):
I'm talking about me caring about it and somebody who
love this shit that we all do, that we give
our lives.
Speaker 4 (34:26):
To yeah, I mean I have I have come to
the realization of why that is.
Speaker 6 (34:31):
Though.
Speaker 4 (34:34):
When you don't have a two then the people don't
have no conversation about it. Right, So it's not like
you just said, it's not another Jermaine Dupre in the
music industry, not today, and it wasn't you know before.
(34:59):
So then when people like try to you, you know,
like everybody always tried to pit me against Puff. That's
the person that they thought was the closest to me. Right,
I've been telling niggas the whole time. Me and Puff
is not alike. Like, you know, he don't write songs.
I write songs. He don't do He don't make the beats.
He don't do half of the shit that I do.
He's a great producer in the mentality of how he
(35:20):
here music. But that's the only person that people have
ever pitted against me.
Speaker 1 (35:27):
Right.
Speaker 4 (35:27):
They ain't never put Rodney Jerkins against me, They ain't
never put none of these other guys. Puff is the
guy that they said JD trying to be like Puff,
you know what I mean, they try to put us
against each other, and I just start realizing, like if
it's if you only got one person and they ain't
really no other person that they can compare to. Then
they not even gonna have the conversation. They're just gonna start.
(35:48):
They gonna just like not even talk about you, you
know what I mean, Like I've seen what y'all did
with la he had him and Face Jimmy Terry. Right,
it's one and two, like you get go here, you
go there, you can go here, go there. When you
come see me, whatever you get after that ain't gonna
be like what you get from me. It just ain't.
(36:10):
It ain't gonna be like that. And I think that's
what I think. That's why people people have It's not
a lot of that going on in the world where
you only have one. And I just that's just what
it is. And I realized this when I went into
the Hall of Fame, because the Hall of Fame is
a writers for the last forty years or even longer,
(36:31):
maybe fifty years of writing. And I'm looking at all
these writers and I'm like, you know what, I'm different.
And that's the first time it dawned on me that
I was different. Because Babyface don't got no number one
rap song. Jimmy Jamey Terry Lewis don't have no number
one rap song, La REI don't have no number one
(36:54):
rap song, right. I have number one rap songs right,
not alone these R and B records. I got number
one rap songs that Quincy never had. Quincy, you know,
he never had number one rap song, like you said,
Berry Gordy never had no they never had number one
(37:16):
rap song. So that's what That's the day that I realized, Oh,
I'm not I'm trying to be like them, but I'm
actually different. Right, That's the first time it hit me.
So it took a long time for me to even
realize that, you know what I mean, Like because I
just put all of it together. I never paid no
attention to it. But like you know, he ain't got
(37:36):
no pulling me back. He ain't got you know, that's
a number one record with Chingy and Tyrese, right, they
don't got them songs. That's why I kept saying, like
when niggas was like me doing versus, I'm like y'all, niggas,
I get it, y'all think that y'all know what's going on.
But I'm saying I'm gonna start pulling out records that
you ain't even you're not even really bringing it too,
you know, you're not even thinking about it. No talk shit,
(38:03):
it's not like that. It's just like people leave it out.
It's like you just leaving the stuff out, you know
what I mean.
Speaker 1 (38:07):
Like that's what this space is for.
Speaker 4 (38:08):
What they're talking ship.
Speaker 7 (38:09):
This space is to let motherfuckers know. In case you
didn't know, y'all must have forgotten y'all.
Speaker 1 (38:16):
Now y'all know what it is.
Speaker 4 (38:17):
Yes, now y'all know what it is. Yeah, No, for real,
It's like it's not It's not a bunch of people
that first one hundred writers talk right, and then writing
the whole concept of song, then producing the song. That's
just not happening.
Speaker 1 (38:33):
It's not happening. So back to my one of one.
Speaker 3 (38:38):
I take that.
Speaker 4 (38:39):
I take it.
Speaker 1 (38:49):
That isn't here are your money? We write is what
it is.
Speaker 5 (38:56):
It's always happen before we had this platform. You know
that studios niggas started talking about this.
Speaker 1 (39:05):
Hey man, you made the pre dog.
Speaker 4 (39:07):
By the way, you got it bad. I told the
story before you got it bad. It was like a
battle between me and Rodney Jerkins because I think I
don't know Rodney and Michael was in the studio during
Your Rock My World and me and Usher was Usher
and Brown. I mean, yeah, he's doing you got it bad?
And Michael called to the studio or something like that.
(39:29):
They called to the studio and they was like, what
y'all over there doing?
Speaker 1 (39:31):
Michael called to the studio and that's what y'all doing?
Speaker 4 (39:35):
Yeah, Him and Rodney Jerkins, they was on the phone
like some had some kind of way this happened. I
don't know why it happened, but he called. They called
the studio. Yeah, and I put on a speakerphone right
because Usher was there so you could hear it. And Uh,
(39:56):
Rodney was like, what y'all over there working on? Michael's like, yeah,
what y'all working on? And uh I said, I'm sure.
I said, I'm doing Usher and the nigga Michael said, who?
Usher's on the speaker for him, And I'm like, oh,
this niggas thirty. This nigga just said who? You know
(40:18):
the fuck Usher is?
Speaker 1 (40:19):
Nigga? Right right?
Speaker 4 (40:20):
Mike knew everything that was going and he's like, yeah,
He's like who, And I'm like, did he just say?
Speaker 6 (40:26):
Who?
Speaker 1 (40:27):
Said?
Speaker 4 (40:27):
I got mad? I'm mad as a month I'm mad
for usher, right, I'm like right, he man, fuck this ship.
We got a song right now that's better than your
whole album. Yeah, I'm just I just shot my gun.
But you got it bad as I'm sitting on you
got it bad? Yeah, and you know I was. I
(40:50):
was that that. That's what fueled me that day, Like, man,
I gotta that's all. I'm just fueled by, like the competition.
You know, social death is created because you death. But
I'm so so much definitely, that's how the company, that's
(41:11):
where the name comes from. It's like, it's about the competition.
Speaker 1 (41:16):
I like that. I love it. I love it. I
like that a lot.
Speaker 4 (41:21):
It's just about I'm just about competition. I'm into the
competitive nature of making music and the fight of it.
Like let's go, let's see what, let's get in, let's
do it, let's get in the ring.
Speaker 5 (41:34):
Then you've had all the success, right, And I mean
I know the answer to it because you said it's
the competitive nature. But for you then to say, you
know what, I'm gonna make some new R and B
for y'all too. I'm gonna go in with our Lennox.
(41:54):
I'm gonna make this pressure after I going with our Lennox,
I'm gonna go in with money loan, and I'm gonna
make this made for me. Like, the ship does not stop.
Bro Like, when people say, oh, well a person can
only do this for so long, they were not talking
about Germaine Dupris at all, especially in urban music.
Speaker 1 (42:18):
You know this.
Speaker 5 (42:21):
It started off with you being too young but at
a certain at a certain stage, and this business is, oh,
this is you can't do it, way too old, and
you proved them wrong in both spaces. You did not
stop making hit records, bro Like, you have current records
right now made for me.
Speaker 1 (42:44):
It just literally held the year in the choo.
Speaker 4 (42:50):
Yeah we won that Grammy too, Yes, yes, yes.
Speaker 5 (42:55):
Come on, bro Like, and and what's that thirty years
since your first hit?
Speaker 1 (43:02):
Yeah? Insane, insane, insane.
Speaker 4 (43:08):
But I mean, like I said, I just I just
don't get into the I don't get into I understand
that one hit record only pushes people to ask you
if you could do it again, So therefore I never
get into the success of records. I just get into
the Okay, let's go.
Speaker 1 (43:29):
You know how many hit records you have? No?
Speaker 4 (43:37):
No, I mean, and like I said, this year. This
is the year that I've really just been paying more
attention to it. So when I DJ, I've been trying
to like when I do these R and B parties,
and so I have a different set than anybody. I
don't do it just because I'm trying to be cocky.
I just be like, you know, you got a bunch
of DJ's doing sets. You be trying to figure out like, oh,
this nigga just played the record. I was gonna play
(43:58):
God damn, so now you got to you don't right
back there trying to figure out my playlist because this
nigga just played the record. I wanted to play my
first set, right, So I started saying, Man, fuck the ship.
I'm gonna just play my music. It's all R and B.
I could do R and B records for the whole hour, right,
we could do. I could do my own R and
B records for a whole hour. And I just tell
the DJ, don't play no Jermaine the pre records. That's
(44:20):
gonna be my records. You can play everything else R
and B you want to, just don't touch my my
my little ship.
Speaker 1 (44:26):
And I still have a full set.
Speaker 4 (44:28):
And then I come out and I just play all
my records.
Speaker 1 (44:30):
I was there. Turn that my fuck up. Played all
his records. They all work, They all work.
Speaker 5 (44:40):
Congratulations, Thank you, congratulations mans.
Speaker 1 (44:45):
I had him him up in the back of the kitchen.
My week man, I need my week man.
Speaker 4 (44:52):
Man, come on, you gotta see he gotta really, you
gotta come.
Speaker 1 (44:58):
You got you gotta come to it. You ain't welcome
to Atlanta, man.
Speaker 4 (45:02):
You want to come do it.
Speaker 3 (45:03):
You ain't got to convince me.
Speaker 1 (45:04):
I don't do it.
Speaker 4 (45:05):
I say, you know, I know, I know, but I'm saying,
you know, you know he you know he he are.
Speaker 5 (45:11):
You're thespian now though you know what I'm saying like
he's on Broadway now, congratulations.
Speaker 1 (45:18):
This is my hand shake.
Speaker 7 (45:22):
Got to grab think that's your new that's my new one.
That's my Broadway.
Speaker 2 (45:27):
No, he bro, if we learned anything from Maine to Prie,
stay on, bro, don't give nobody the double as hand
shake to me earlier he gave you.
Speaker 1 (45:40):
He walked in. He ain't to me. What is this bullship?
Speaker 4 (45:45):
Great? That's what you're doing.
Speaker 1 (45:46):
What is it? Hell's kitchen? Alicia ke Alicia Ki sh
what's up? Incredible? Ye incredible?
Speaker 5 (45:54):
I'm brother on Broadway Man every day huh, I wanted
three times a week.
Speaker 7 (45:58):
No, every day, every day e stuff on Monday, eight
shows a week.
Speaker 4 (46:04):
Yeah them vocals? Right?
Speaker 1 (46:07):
What you went? What is it? Emmy or Tony? Okay?
Speaker 7 (46:10):
Yeah yeah yeah the least to work on Award nominees
and the director Tony Award Like it's a thing.
Speaker 1 (46:19):
Wow, it's a real thing. Have you seen it?
Speaker 4 (46:22):
Nah? I didn't even think about that. Like right now
with you back to your question that you asked me about,
do I ever think about And I'm like no. Last
night I was watching the Oscars and they was playing
all Quincy music, as you know, all the songs that
was in the Oscars was all Quincy's the soundtrack of
Quincy Jones. And I was just thinking to myself, like
(46:45):
I don't think. I don't think I hit that mark yet.
Like if I passed, they ain't gonna do that for me.
So my my challenging life now is to try to
get to that space. I don't know about that, brother,
not the Oscars, the Oscars soul training towards Maybe.
Speaker 1 (47:02):
Grammy's better do it.
Speaker 4 (47:04):
Grammy might give me a little they might give me.
They might give me a little space. But I'm saying
I want right now, I want. I'm saying that Oscar
look to just be like but he also scored movies too,
Yeah he did, he did. That's what I'm saying that
this is what I'm talking about, final front tier for
j D. I gotta get to it. So that's what
(47:26):
I'm saying. It's not I still I still see so
much stuff that I haven't done that I need to do.
That's all I'm thinking about.
Speaker 5 (47:33):
Hey, Ryan Coogler, Uh, come on now, you from the
crib area, niggas man listen taping with JD.
Speaker 4 (47:39):
Bro Let me do the whole soundtrack.
Speaker 1 (47:41):
Come on, man, watch ship.
Speaker 5 (47:45):
You know you got the movie Theater with the with
the Rose Royce Uh yeah and all that.
Speaker 4 (47:52):
Yeah, let me do it. Let me do I promise
you I get it right. I never did it because but.
Speaker 2 (47:59):
Everything I ever cand me, if you've never done it before,
it's gonna be great.
Speaker 6 (48:04):
Yeah.
Speaker 4 (48:04):
I won't try to figure it out.
Speaker 1 (48:05):
I won't figure it out.
R and be Money.
Speaker 2 (00:05):
We are.
Speaker 3 (00:12):
A party, and the mister Jermaine j P and this.
Speaker 4 (00:22):
My brother come on for intro. God damn.
Speaker 3 (00:26):
Got to be right.
Speaker 5 (00:27):
So they go back to the hip hop ship that
you wanted to do it Yeah, okay, okay with.
Speaker 4 (00:33):
It something like, Brian, I guess we gotta come up
with you know, we gotta do some up tempo fun.
This is what they want to do. Now I'm not
writing it either, so it's making it harder for me
because I can't use my ideas. Right, I know that
they write, So I gotta just come up with a
(00:55):
beat a track to sound like something. And I got
up old guitar at my house, out of key guitar,
and Brian started playing with it and fucking with it,
and I'm like, yo, we should use that. He's like
(01:15):
what this guitar. I'm saying like make it getting key
or whatever, and I'm a sample your licks and he
started playing with a party at Lix and the guitar
and I'm like, yeah, just it. I started making taking
the parts, making a beat, and then Jay come over
to the studio and they start singing and they start
(01:37):
going I'm like, oh yeah, this sounded like it, this
gonna be.
Speaker 1 (01:40):
It right here?
Speaker 4 (01:41):
Hey, where the party at. I'm like, dann, this song
needs something though it still ain't. It ain't all the
way there yet. And by the way, I never used
no artists outside of my artists to break to do
anything like that.
Speaker 1 (01:56):
Right.
Speaker 4 (01:56):
So, but they like, yo, get Nelly on the song
Nellie smoking hot at this time, I'm like, getting Nelly
on the song?
Speaker 1 (02:04):
You sure?
Speaker 4 (02:05):
It's like, yeah, that's your boy? What you thinking about?
Speaker 1 (02:06):
Call that?
Speaker 4 (02:07):
Nigga? I called Nelly universal two fifty.
Speaker 3 (02:19):
In a dumble bag.
Speaker 4 (02:21):
I said what I said?
Speaker 5 (02:23):
What ain't no trains, nothing that can't no bartery to fifty.
Speaker 4 (02:29):
I never had paid that type of money for a
million for a feature.
Speaker 1 (02:33):
Yeah yeah, yeah, Nelly's on top.
Speaker 6 (02:34):
Of the world.
Speaker 4 (02:35):
They said two fifty, You're a diamond nigga. I said, damn. Now,
I got to call Columbia because I'm like, listen, hey, hey, hey, listen.
So so but Colombia's they they stoked because they jagged
jagget the remix. Let's get married? Is Peak doing some shit?
Speaker 1 (02:53):
Yeah?
Speaker 4 (02:54):
They so they see now they see light with Jack.
They like you what you got? I'm like, I got
a song. I just got to put Nelly on it,
and I feel like we can we can follow up.
Let's get married with this song. You put Nelly on
the record, it's a go. He's like, all right, well,
what you wanna do? I said, we gotta give two fifty.
(03:14):
They said two fifty. What I said, you gotta send
them two hundred fifty thousand dollars. He gonna go in
the studio. Donniana's like, Okay, let's do it. Let's go ahead.
I feel like I feel like this, this is gonna
this is gonna do it for him. I say, yeah,
so you get the verse from Nelly. I think the
(03:35):
song is a hit. I go to back, I go
to New York play the song for Donniana and he
listened to the song. He's like, it's cool. It ain't
there yet. I'm like, what you got, Nelly? We got
all these different parts. It's going He's like something, it's
just ain't. Damn, it's something. Ain't. It's still missing something.
(03:59):
So I come back home. I call the guys to
the studio. I'm like, yo, he said, a song missing someth.
Speaker 1 (04:07):
Man.
Speaker 4 (04:08):
Fuck, we don't know what you talking about.
Speaker 1 (04:10):
You know what?
Speaker 4 (04:10):
I mean, so it's like all that. I'm like, man,
we gotta we gotta listen to him and say it's
missing something. We gotta figure out what is missing. And
then wingoes like, so we start having a conversation about
party things that happened at the party. What is the
thing that call him repeat that happens at a party,
(04:31):
that happens all the time at the party, right, put
your hands up, let's sad for your hand dude. My
lady's running this motherfuck us. And we start just bringing
all the ideas of like what happens at the party.
We put that on the song. So this is not
on the initial we put that part. We figured that
part out, put that on the song. I go back
to New York the next week, I play it for Donnie.
(04:53):
He's like, that's it, And I'm like, are you fucking serious?
Like this is eight bars to just us my east
side run this mother, He's like, that's it. You got it.
Y'all figured it out and where the party at gone?
Speaker 6 (05:12):
Gone?
Speaker 1 (05:13):
The art of making records, but it's also right.
Speaker 3 (05:17):
It's also.
Speaker 7 (05:20):
The respect of like listening to a guy say you're
close and taking all of your your producer ego and
writer ego.
Speaker 3 (05:33):
You're the things, the success that you've already had.
Speaker 7 (05:36):
But to that point, taking that out of the picture
and say, hey man, there's got to be another level
we can get to. This guy says, there's another level
we can get to. Let's let's let's fucking find it.
Speaker 3 (05:47):
Yeah.
Speaker 4 (05:47):
I mean, I'm always I'm determined to find it. I
hate when people tell me though it's not that, but
I I trusted they saying it for a reason. Right
fast forward two thousand. I think we we because we
from I think the last album at my house, my
mother's house, was jay E heartbreak Fast forward two thousand.
(06:10):
I built my studio south Side. The first record we
make in south Side is we start on Usher's first
second album, third album. Basically, the first song we write
when we move into that studio is you got it bad?
Speaker 1 (06:28):
So he's gonna pay for the studio.
Speaker 4 (06:36):
This so Brian. I heard him say this on when
he was here. He wanted to work with Usher is
so bad. He didn't know he was gonna get the
opportunity to work with Ushier. I called him like man,
he would do jacket desh. He ain't know if I
was gonna keep using him. He thought, you know, he
did jacket desh. He ain't know whatever. I called him.
I'm like, yo, I gotta start on this Usher record.
(06:59):
I need you come over. He come to south Side.
We started working and I'm like, we gotta do an
extension of Nice and Slow. I'm saying like Nice and
Slow was like about it. People love it. Brian was
in love with nice and Low. I was like, I
want this next song to sound like it's that. It's
(07:21):
right there, but it's a something else.
Speaker 1 (07:24):
Right.
Speaker 4 (07:24):
It sounded like something else. So we started writing you
Got It Bad, and we're making the music. I'm not
even I don't have the lyrics yet. And then Usher
come to the studio and Usher got a girl. Matter
of fact, we had another song.
Speaker 1 (07:38):
I think we had.
Speaker 4 (07:39):
We was working on another song. Matter of fact. That's
how we got to it. Was working on another song.
He was in the studio, so the girl called him
on the phone. He hang up. They're going at it.
I'm like, what's wrong, man? Can we get this fucking song?
You know I'm watching the through that. I'm like, can
we get the song?
Speaker 1 (07:55):
Guy?
Speaker 4 (07:56):
He like shit, i'ma I'll be back right in the middle.
Of the session. So the girl got him fucked up right,
And all I could sit there and think about was
this nigga got it bad, like you've got you got it,
you got it bad, you got it bad. And I
just start putting every pieces that I saw him do.
I started writing them, and I started thinking like and
(08:19):
I called him when he left, I said, come back,
I got it. He came back. I had this song.
Speaker 1 (08:28):
I ain't got what you call right back?
Speaker 7 (08:31):
You hate I hate this. This nigga is so good.
Speaker 5 (08:37):
But you know the other part that I've noticed, your
humility in all of it is what makes it, in
my opinion, just from the outside looking in, is what
makes it work because you're never above the song, You're
never above the situation. In all of these hit records,
(08:57):
you keep saying I was a pressure, all right, nigga,
I didn't know you know what I'm saying it was.
It's not you know, because you understand we've been in
music forever. We've done it one hundred and fifty interviews.
You see when certain niggas is like, the humility may
not be there, right, And that's cool, that's fine, iever
(09:21):
that works for you. But what I've found in talking
to you, is that you get out of the way
of of all the bullshit and just fucking write a
great song. Just write the record, even if you got
a tweak it, even if you got like all of
(09:41):
these things that sometimes as we become successful, you do
people do less and less self auditing. What you mean,
what you mean, nigga, go buy somebody else record.
Speaker 1 (09:53):
Then you're saying no, no, no, no, I'm gonna figure this.
Speaker 4 (09:57):
Out because that does None of that worked for me.
It worked for me. Is your reaction. If I play
a song you don't react, I know it ain't no hit.
Speaker 1 (10:06):
That's it.
Speaker 4 (10:07):
I'm not even gonna argue with I might think it's
a hit, I'm still not gonna argue with it, because
I'm saying that reaction is what. That's what, that's what.
That's all I got, that's all I know. If you
and I'll keep going till I find that reaction, till
you give me that reaction, I'm not gonna stop on
every project. That's what I have to get. I have
to have that reaction, the same reaction that I got
(10:27):
on every record. It got to be the same thing.
Somebody gotta come from the back somebody gotta jump in.
Somebody gotta do something. If they don't, If they don't
do that, that song is not coming out. It ain't that.
Ain't that ain't the song. Nope, that ain't it. I
don't care how niggas jumping around in the studio. That ain't.
I got to see somebody, somebody else, got to show
(10:47):
me the natural reaction. They gotta show me a natural
reaction before I actually believe. It's a goal still to
this day, still to this day. So so where y'all
want to go next? I'm guy ready to tell y'all
got no La was here and I saw LA, but
(11:09):
I was gonna say that what you said about I mean,
oh you both of y'all saying about me, not like
really cared about what people you know what I mean,
I always get knocked down, So I'm already it's not
like JD.
Speaker 3 (11:27):
We believe you.
Speaker 4 (11:28):
It's almost like my success. They used my success against
me to be like you can't eat I bet you
can't do that shit again. You think you got.
Speaker 1 (11:36):
Another one of them?
Speaker 4 (11:37):
You think you got another one of.
Speaker 1 (11:38):
Them in there? Yeah?
Speaker 4 (11:39):
Right, So I'm always mentally I'm going into the studio
already thinking like these niggas don't believe we could do
it again. We gotta do it, we gotta find it,
we gotta do it. That's all that mattered to me.
I'm not thinking about nothing else, none of that use,
none of that shit matter, even to the song go
No One Cool. It went number one. They want to
(12:00):
know if we could do it again, right, so you
got it bad came out eighty seven oh one, popping
whatever whatever, And then it's time to make USh a
new album, right, which confessions and me and us should
go to LA's house and we pull up to la
house and we have I think we did. We started,
(12:22):
we made a song and we go in there and
play the song for him and he's like, nah, this
ain't it. And he was like He's like, Usha, you're
not You're not interesting enough. Like people, they don't care
about you till your album come out. And when your
album come out, that's when people care about you. Then
(12:43):
when the songs go away, you go away. Y'all need
to write something that's interesting that make people want to
think about you. Things like you need to get a
girlfriend or something. He said, all kind of wold shit.
I'm just sitting there listening, like, damn, the man I
just told this nigga he not interesting. He just sold
like five million records. Cool, But I also understand what
(13:04):
he's saying. I also understand, like, Yo, you know, you
make a record, the promotion got you popping, But that
it's that in between ship. People don't know who USh is.
People don't they don't, they don't. They don't connect with
you as like doing some regular ship and this you
know rappers is coming out. You see the rappers doing.
(13:24):
It's more reality type of thing, and we go back
to the studio. We both like fucked up. I'm like,
this man just told us, man to his face, you're
not interesting enough. And when I heard him saying, my
mind start trying to figure out what can I write
to make this nigga interesting? What can I do to
make him interest? How do we make this nigga interesting
(13:46):
through music? So I'm on more like it's like, yo,
you should get it. You should you know, start dating
the hot girl, find it.
Speaker 3 (13:53):
You know.
Speaker 4 (13:53):
I mean to do some ship that's like more internet driven.
I'm not thinking about the music. There's no way in hell, right,
So we start trying to work on the records, and
then he tells me that the girl that he was
dating it's over with, but it's feels like it's burning
(14:13):
his soul. Like, man, feels like it's burning me burning.
It's like it's like a burning feeling that I have.
And I'm like, what I'm thinking, like nigga burning.
Speaker 7 (14:22):
Like, yeah, I come through, bring your penicilin wherever your need.
Speaker 4 (14:31):
So he's saying this, that's the first thing coming to
my mind. I'm like burning. He's like, yeah, man, make
something that got that burning in there. Say something about
me burning or something like this. And I'm thinking, like,
I don't even know where this nigga at with this ship.
I don't know what we're at with this. I can't.
I can't. I ain't never felt the burning feeling, right,
I'm not. I can't get into them that space. He like,
(14:54):
I gotta go say, he runs out the studio. He
left me with the burn an idea, and I'm saying, like,
I'm trying to flip the word to me and many things.
I'm writing sentences to see what make it sound like
it's cool, like burn. I don't know how this was
(15:18):
gonna work. And then it just hit me I was like,
let it burn, let it burn, Like right, so I
start I get it. I'm like, yeah, I got it,
I got it. He come back to the studio, he listened.
(15:41):
He's like, yeah, yeah, that's exactly what I was talking about.
And I'm like, okay, cool. We were on a rail
to this new album.
Speaker 1 (15:52):
Yea.
Speaker 4 (15:53):
Then the next day he comes and say, man, you know,
I don't think we should work in Atlanta. And I'm
superstitious about leaving Alana, right right, and I just got
my studio, just the new studio. We just got the
new stud You want to go somewhere else. He's like, yeah, man,
we should go to La. Man, y'all should come out
to La and we should do it. I'm like, nah,
(16:14):
I'm like, we just got lety Bron. Let's let's go. Nah,
I'm too distracted in Atlanta. I'm like, all right, cool,
I come out here, me and Brian comes here us.
Should we meet him at Brandon's Way? And we don't
(16:36):
really know what we're doing, right? We just in there
rush once again. He come in, he say whatever, he say,
he got ideas. Whatever he leaves, I'm like, ship Broun,
we got La told his nigga. He wasn't he wasn't interesting.
We got to start trying to make some music that
that feel like. We gotta make him interesting.
Speaker 1 (16:59):
Yeah.
Speaker 4 (17:00):
I don't know how what that's supposed to sound like,
but I'm just like, we gotta make something. This gotta
feel like. People got to you gotta have some kind
of little drumma to it.
Speaker 3 (17:07):
Right.
Speaker 4 (17:09):
So my homeboy used to be saying all bad. He
was like, man, that's all bad. This ship all bad,
everything all bad. So I'm like, all bad. Everything that
I've been doing is all bad. I got a chick
on the side with the crib and the ride. I've
(17:30):
been telling you so many lives ain't nothing good. It's
all bad. I just want to confess I've been doing
it so long. They put the beat up, let's go
till Brian started playing the chords. I'm like, I got it.
You start doing everything it's all bad. I got a
chick on the side of the crib and the rider
telling you so many lines ain't nothing good, It's all bad.
(17:51):
I got the hook, and then I wanted to be
a writer, so I said I write his block. You
know that's bullshit, rights block to some bush but niggas
that right, they said, just as like a way to
get away from the song. You't you don't really have
writers you right, You can just write about anything you
(18:13):
want to. It might not sound good, but you still
can write, right. You don't just have complete block. Right,
So I said, I have writer's block. I'm like, Brian,
just give me, give me the burn the CD. I
got my Lamborghini out here in l A. Right, I'm
like ship, I'm gonna get ready, I'm standing, I'm staying
(18:33):
a malleable. Yeah, I'm good. I get I get to get.
I put the CD in the in the car and
I'm going down Beverly and I'm thinking about Kais. I
(18:55):
don't know why I'm thinking about k but I'm thinking
about k And I'm thinking about the movie Usual Suspects.
And Kazoose was in the when he went to the jail.
He looked around the room and he made a story
up of everything he saw. It was on the wall,
and he made all the shit just go. He figured
out how to make everything that he saw in that
(19:17):
room work to his story. And I'm driving and I'm like, shit,
I might try to do that. Let me shot this.
Let's try this kizosose shit and I stop it to
light and I'm like, every time I was in La,
I'm with my ex girlfriend. Every time you call up
to your baby, I'm running. No, I was not doing
(19:38):
my work. Oh think about you getting hurt. I was
hand in hand in the Beverly Center. It's right there.
Speaker 1 (19:45):
Damn yes, yeah, yeah.
Speaker 4 (19:48):
Oh. If I wouldn't have been here, none of them
words would have been in that song. I would have
never been in La. I was here in La. I'm
writing the song as I'm seeing what's going on, you
know what I mean? And this verse, this verse goes
to all bad. This this, this verse goes to the
all bad song. It's not even Confessions yet. This is
you know what I mean. So I'm writing this to
(20:09):
everything that I've been doing this all bad. This is
the first verse of all Bad. I told them niggas
I had writer's block. But by the time I passed
the Beverly Center, I had the whole verse doing. I
was ready to go back to the studio. They had left.
So I'm like, God, damn, now I gotta wait till
tomorrow to try to cut the ship. But I'm singing
this ship all the way down. P. H, I'm I'm
(20:30):
I'm writing the whole song all the way down. P
I'm flying, but I'm listening and I'm saying, I got
it this ship right here, so come back tell us
hear it? Yeah, we're fucking with it? Cool, all right?
Speaker 1 (20:49):
All right?
Speaker 4 (20:51):
But what happened after that? That's what he say. I'm like,
what do you mean, woul happened after that?
Speaker 1 (20:57):
In the movie?
Speaker 4 (20:58):
Yeah, like, what's gonna happened after you? You know, you
got to check on the side what happened with it?
And just so happened that my real life, my real life,
this is happening.
Speaker 1 (21:14):
You know.
Speaker 4 (21:15):
I got a girl pregnant, and I had to tell
my girlfriend that I had a girl at the time.
I had to tell my girlfriend at the time that
I got a girl pregnant that I barely even knew, right,
And I called my homeboy and I'm like, Yo, how
(21:35):
do I tell my girl this? He's like, you gotta
call her and tell her. I'm like, shit, now, I'm
gonna just lead on answer machine. I'm calling. I'm gonna
just call and leave it on answer machine. So I
called her. I left a message on answer ma sin
she called me back. She wanted to know all the
information about it. What, how, what? And I'm just like,
(22:01):
I'm fucked up. I'm actually not even thinking about the
song no more. I'm just asking I'm in this real life.
So then Usher and Mark come to the studio and
they're like, man, we gotta make part two of this.
It's gotta what's gonna happen? The girl gotta get pregnant.
And I'm like, oh, I know this too well, this
is too this is too easy, Like this story. You
(22:23):
really want me to say this? It's like, yeah, what
is the story? And I'm like, okay, these are my confession.
Just when I thought I said all like I said,
the chick on the side say she got one on
the way. Man, I'm throwing and I don't know what
to do. I guess I gotta give y'all part two, My.
Speaker 7 (22:43):
Confessions, part two because they asked for a part too.
Speaker 4 (22:47):
Because they asked for a part two, Yep, we wouldn't
even made that that song. Confessions would have never came
out if they didn't ask for a part two. The
song was all bad, that's what then? What the song was?
I mean, it's on that's what's on the album It's
All Bad, which but I say, I confess I've been
(23:08):
doing you so wrong. I say it in that song.
So that's how it became. Like that's when I start
connecting it, like these are my confessions. I just took
that part from that song and put it into that.
But it was like this was and by the way,
this is a remix of All Bad basically of a
song that nobody ever heard. It never worked, like these
records never came out.
Speaker 1 (23:28):
We just made were already on the part two.
Speaker 4 (23:31):
Yeah, we made part two before the song even came out.
Speaker 5 (23:35):
And that's how you get the number one on be
a Record of the Century. That's how you get that
because congratulations on that too.
Speaker 6 (23:45):
I'm thinking give me yeah.
Speaker 3 (23:56):
But it's the life in the song.
Speaker 5 (23:58):
Yeah, it's like you gotta live writer, You gotta gotta
live writer.
Speaker 3 (24:03):
It's not gonna.
Speaker 7 (24:03):
Always be pretty. That's always my advice. Just write your life.
There's gotta be something going on. Don't make it too
hard on yourself.
Speaker 4 (24:10):
And going on, get something something that you're not interesting
lining up. I mean, it's a bunch of things that
went into Confessions. Him telling us that usher, telling me
about the burning thing we getting to l A like
I said, it was just like and then them asking
for part two of All Bad, like, what's the continuation
(24:32):
of this song? We gotta make a continuation of this song.
I was like, all right, well, I know this story
pretty fast. Let's just start coming out like this like
clock like super you're talking that. I think I wrote
that song in like five minutes.
Speaker 5 (24:48):
I never forget coming to Atlanta, flying in to go
see my partners care, going up to hit Cole him
playing me Byron and I'm like.
Speaker 1 (25:00):
Nigga, what the fuck is this?
Speaker 5 (25:04):
Like yeah, nigga, this is this that ship Nigga, Nigga jad
and that's your back here, nigga.
Speaker 4 (25:10):
You know it's that ship all the time telling you nigga.
Speaker 1 (25:13):
I'm like, so, when are you coming out? He's like yeah,
this ain't the single though, I said, what what what?
What are you talking about?
Speaker 3 (25:19):
Nigga?
Speaker 1 (25:20):
I've heard everything I need to hear. You're out of here.
Speaker 4 (25:23):
I thought that was a single too, by the way,
I'm like, yeah, this is the single. L A l
As like, Nah, that ain't a single. I'm like, man,
this nigga's different. This niggas different.
Speaker 5 (25:36):
But it's it's continuous chess is y'all. He's he's setting
the chess board in a certain way. He because as
an executive, you have to be able to see something
that the creatives maybe don't fully see yet.
Speaker 4 (25:52):
Yeah, I mean, listen, it ain't my label. So I
just start falling back like this your label. I just
making music. You do what you want to do it
that's what you feel like, then cool. When I saw
the track listing for for Confessions, he took All Bad
off the album.
Speaker 1 (26:12):
So then I'm like, how did it make sense?
Speaker 4 (26:15):
I'm like, people don't even gonna know about the first
part of the song. I don't care about the first
part of the song. This is the song. So then
they shot the video for it, and they put the
first verse from All Bad at the beginning of part
two video. So then they made the song go like this,
(26:40):
that verse is not in that song.
Speaker 1 (26:42):
No, No, it's not.
Speaker 4 (26:44):
You know what I mean.
Speaker 7 (26:48):
Don't say that man put that on something, put that
on something.
Speaker 1 (26:52):
He was in full Michael Muther.
Speaker 4 (26:55):
Yeah, so that whole we did all that here in
LA call and oh that's a real phone call. Oh
and yeah, l A scraped LA didn't put all bad
on the first release of Confessions, so all people heard
was Confessions Too. And I thought that was crazy because
(27:15):
I'm like, we sang in the song I'm gonna give
you Part two, we have part one, but it didn't
make it.
Speaker 7 (27:25):
Is it accidental genius that you end up having to
circle back to it and and that is now new
interest in a re release or even in the video
for that matter.
Speaker 1 (27:39):
Yeah, that's crazy to think of it like that.
Speaker 3 (27:41):
Yeah, you know what I'm saying.
Speaker 1 (27:43):
And it worked work.
Speaker 4 (27:45):
It worked like the Star Wars thing, like the Star Wars,
like the way they wrote Star Wars backwards backwards, right,
So it's like the same type of mentality.
Speaker 7 (27:53):
And well, the first was that on you don't you
don't have to call what the first single from that one.
Speaker 4 (27:58):
No, you don't have to call Yeah, yeah yeah, yeah,
yeah yeah yeah yeah yeah yeah.
Speaker 5 (28:04):
I always called to me, I always called that sugar
on the vegetables. Right, It's like when you have kids.
We all got kids, how do you get your kids
to eat vegetables?
Speaker 3 (28:15):
Something?
Speaker 1 (28:15):
You gotta give them something sweeter.
Speaker 5 (28:17):
You got to give them something with it that makes
them take in the ship that they need. And that's
how I looked at the body of work of Confessions.
Was the ship that the world needed from an R
and B artist? I felt like, yeah, it was the Yeah,
it was.
Speaker 1 (28:33):
The dangling carrot.
Speaker 5 (28:35):
I want the world to come in and now y'all
getting this ship though, Yeah, you get what I'm saying.
Speaker 1 (28:42):
That was the only thing like that on the album.
Speaker 5 (28:44):
Yeah, it actually doesn't matter the album.
Speaker 3 (28:48):
But it's was a hell of a commercial.
Speaker 1 (28:52):
It made everybody.
Speaker 3 (28:54):
Yeah, it's like a super Bowl times an.
Speaker 1 (28:57):
Amazing record, amazing record, but it does not the album.
Speaker 4 (29:01):
Yeah, I mean what it does, but it don't.
Speaker 1 (29:03):
No, I don't know, had nothing.
Speaker 4 (29:04):
To do with the confession.
Speaker 7 (29:05):
Yeah, because the rest of that is like, is that
like the party after I get done?
Speaker 1 (29:10):
It's core R and B.
Speaker 3 (29:13):
Yes, not core R and B.
Speaker 4 (29:15):
Yes, new R and B.
Speaker 3 (29:16):
Everything else is core.
Speaker 5 (29:18):
R from the records that you did, the records that
Draanva Dow did, Jimmy Jim Taylor, Like, this is an
R and B R and B album and yeah, it's
like what the fuck? Yeah, like you said, it's the commercial.
Let's bringing everybody in. It's the shock value.
Speaker 4 (29:33):
It's definitely shock value on a hold on left.
Speaker 7 (29:37):
I'm so angry whatever you was, because it's like SnO competing.
I had done my little Dirty South record with cash money.
I was like R and B Dirty South collapse. I'm
about to kill him. Ship out to go.
Speaker 4 (29:51):
Crazy, dud, he said, dud, dud get himself.
Speaker 7 (30:04):
Like Paul, You like a thug, drinks up in the
sky like thugs.
Speaker 2 (30:08):
No sparkle, no sparkle, spark nobody ain't nobody run from
That's what problem problem.
Speaker 1 (30:18):
Fresh told me.
Speaker 3 (30:19):
I was sweet, though, Fresh, like you have fun?
Speaker 1 (30:22):
Do you that ship?
Speaker 4 (30:23):
Nigga?
Speaker 3 (30:23):
You're killing that ship. The baby came around, so I said, nigga,
you can't tell.
Speaker 1 (30:27):
Me the same.
Speaker 7 (30:28):
That wasn't that I needed you, j What were you say?
Speaker 4 (30:33):
I went to call and say, did anybody look like
they liked that song?
Speaker 7 (30:39):
And then that song came out and I'm in the
I'm in the club on the Breer in Hollywood? What
did they call that club? Then eating my Heart?
Speaker 8 (30:49):
Okay boom, yeah, yeah, yeah.
Speaker 1 (30:59):
I.
Speaker 7 (31:02):
Don't think I had a good time that night. Fucking
ever for everybody, nigga, yeah, everybody. Sorry, there's too much.
There's too much. How do you feel about because you're
like you're always you the cool nigga that people that
(31:25):
you guys see it. It's always you. It's never too high,
it's never too low. Nigga come like nigga, got no
more record. That's that's that's that, that's dope. Thank you
appreciate it. It's this, how do you feel about being?
First of all, you're one of two in the Hall
of Fame, But what's you're what you've accomplished in music?
(31:47):
You're you're one of you were one of one. How
do you feel about that? Do you feel like you
can bang on your chest at times and appreciate yourself?
Speaker 3 (32:02):
No?
Speaker 4 (32:04):
Because the people that idolized they did more with less.
Speaker 1 (32:08):
Hm m hmm.
Speaker 4 (32:10):
Explain that Motown, you know what I mean? Barry took
with eight hundred dollars from a bank and made more
Town eight hundred dollars.
Speaker 1 (32:24):
I mean, that's the equivalent to.
Speaker 4 (32:26):
A lot, even eight hundred dollars. There's a lot of thousand,
eight hundred dollars, borrow money, borrow money, put all of
these writers and people inside this house, has mother cooking
the food, and made everybody sitting there. And he made
Molte Town records with.
Speaker 1 (32:49):
Things that were just connected to his block too.
Speaker 7 (32:50):
Though, Yeah, I don't disagree with that.
Speaker 3 (32:54):
I don't.
Speaker 1 (32:54):
I'm not gonna argue with it.
Speaker 7 (32:55):
I'm not even gonna say, but I just want to say,
you wrote and produced and then performed Breg Gordy did
with Breg Gordy? Did you my friend? Were you were
Smokey Robinson, you were also whatever band he called in
(33:21):
to do the instrumentation, and then you were also Barry Gordy. Again,
I respect, I respect your answer, but only you. No,
(33:42):
not just rap.
Speaker 5 (33:42):
And rmy and army and pop and pop bro, like
the things that you've done in this in this business.
Once again, you've been the first to us. You know, listen,
I'm I'm all.
Speaker 1 (33:59):
I'm with all this.
Speaker 5 (34:00):
I'm with all our arguments. Axon argue all they want to.
You can't argue with me about Jermaine Dupris. That's why
we want you on this show so bad, bro, because
you are that important to us, and it bothers me.
Speaker 1 (34:17):
That you don't get as much credit as you deserve.
I don't care if you care about it or not.
Speaker 5 (34:21):
I'm talking about me caring about it and somebody who
love this shit that we all do, that we give
our lives.
Speaker 4 (34:26):
To yeah, I mean I have I have come to
the realization of why that is.
Speaker 6 (34:31):
Though.
Speaker 4 (34:34):
When you don't have a two then the people don't
have no conversation about it. Right, So it's not like
you just said, it's not another Jermaine Dupre in the
music industry, not today, and it wasn't you know before.
(34:59):
So then when people like try to you, you know,
like everybody always tried to pit me against Puff. That's
the person that they thought was the closest to me. Right,
I've been telling niggas the whole time. Me and Puff
is not alike. Like, you know, he don't write songs.
I write songs. He don't do He don't make the beats.
He don't do half of the shit that I do.
He's a great producer in the mentality of how he
(35:20):
here music. But that's the only person that people have
ever pitted against me.
Speaker 1 (35:27):
Right.
Speaker 4 (35:27):
They ain't never put Rodney Jerkins against me, They ain't
never put none of these other guys. Puff is the
guy that they said JD trying to be like Puff,
you know what I mean, they try to put us
against each other, and I just start realizing, like if
it's if you only got one person and they ain't
really no other person that they can compare to. Then
they not even gonna have the conversation. They're just gonna start.
(35:48):
They gonna just like not even talk about you, you
know what I mean, Like I've seen what y'all did
with la he had him and Face Jimmy Terry. Right,
it's one and two, like you get go here, you
go there, you can go here, go there. When you
come see me, whatever you get after that ain't gonna
be like what you get from me. It just ain't.
(36:10):
It ain't gonna be like that. And I think that's
what I think. That's why people people have It's not
a lot of that going on in the world where
you only have one. And I just that's just what
it is. And I realized this when I went into
the Hall of Fame, because the Hall of Fame is
a writers for the last forty years or even longer,
(36:31):
maybe fifty years of writing. And I'm looking at all
these writers and I'm like, you know what, I'm different.
And that's the first time it dawned on me that
I was different. Because Babyface don't got no number one
rap song. Jimmy Jamey Terry Lewis don't have no number
one rap song, La REI don't have no number one
(36:54):
rap song, right. I have number one rap songs right,
not alone these R and B records. I got number
one rap songs that Quincy never had. Quincy, you know,
he never had number one rap song, like you said,
Berry Gordy never had no they never had number one
(37:16):
rap song. So that's what That's the day that I realized, Oh,
I'm not I'm trying to be like them, but I'm
actually different. Right, That's the first time it hit me.
So it took a long time for me to even
realize that, you know what I mean, Like because I
just put all of it together. I never paid no
attention to it. But like you know, he ain't got
(37:36):
no pulling me back. He ain't got you know, that's
a number one record with Chingy and Tyrese, right, they
don't got them songs. That's why I kept saying, like
when niggas was like me doing versus, I'm like y'all, niggas,
I get it, y'all think that y'all know what's going on.
But I'm saying I'm gonna start pulling out records that
you ain't even you're not even really bringing it too,
you know, you're not even thinking about it. No talk shit,
(38:03):
it's not like that. It's just like people leave it out.
It's like you just leaving the stuff out, you know
what I mean.
Speaker 1 (38:07):
Like that's what this space is for.
Speaker 4 (38:08):
What they're talking ship.
Speaker 7 (38:09):
This space is to let motherfuckers know. In case you
didn't know, y'all must have forgotten y'all.
Speaker 1 (38:16):
Now y'all know what it is.
Speaker 4 (38:17):
Yes, now y'all know what it is. Yeah, No, for real,
It's like it's not It's not a bunch of people
that first one hundred writers talk right, and then writing
the whole concept of song, then producing the song. That's
just not happening.
Speaker 1 (38:33):
It's not happening. So back to my one of one.
Speaker 3 (38:38):
I take that.
Speaker 4 (38:39):
I take it.
Speaker 1 (38:49):
That isn't here are your money? We write is what
it is.
Speaker 5 (38:56):
It's always happen before we had this platform. You know
that studios niggas started talking about this.
Speaker 1 (39:05):
Hey man, you made the pre dog.
Speaker 4 (39:07):
By the way, you got it bad. I told the
story before you got it bad. It was like a
battle between me and Rodney Jerkins because I think I
don't know Rodney and Michael was in the studio during
Your Rock My World and me and Usher was Usher
and Brown. I mean, yeah, he's doing you got it bad?
And Michael called to the studio or something like that.
(39:29):
They called to the studio and they was like, what
y'all over there doing?
Speaker 1 (39:31):
Michael called to the studio and that's what y'all doing?
Speaker 4 (39:35):
Yeah, Him and Rodney Jerkins, they was on the phone
like some had some kind of way this happened. I
don't know why it happened, but he called. They called
the studio. Yeah, and I put on a speakerphone right
because Usher was there so you could hear it. And Uh,
(39:56):
Rodney was like, what y'all over there working on? Michael's like, yeah,
what y'all working on? And uh I said, I'm sure.
I said, I'm doing Usher and the nigga Michael said, who?
Usher's on the speaker for him, And I'm like, oh,
this niggas thirty. This nigga just said who? You know
(40:18):
the fuck Usher is?
Speaker 1 (40:19):
Nigga? Right right?
Speaker 4 (40:20):
Mike knew everything that was going and he's like, yeah,
He's like who, And I'm like, did he just say?
Speaker 6 (40:26):
Who?
Speaker 1 (40:27):
Said?
Speaker 4 (40:27):
I got mad? I'm mad as a month I'm mad
for usher, right, I'm like right, he man, fuck this ship.
We got a song right now that's better than your
whole album. Yeah, I'm just I just shot my gun.
But you got it bad as I'm sitting on you
got it bad? Yeah, and you know I was. I
(40:50):
was that that. That's what fueled me that day, Like, man,
I gotta that's all. I'm just fueled by, like the competition.
You know, social death is created because you death. But
I'm so so much definitely, that's how the company, that's
(41:11):
where the name comes from. It's like, it's about the competition.
Speaker 1 (41:16):
I like that. I love it. I love it. I
like that a lot.
Speaker 4 (41:21):
It's just about I'm just about competition. I'm into the
competitive nature of making music and the fight of it.
Like let's go, let's see what, let's get in, let's
do it, let's get in the ring.
Speaker 5 (41:34):
Then you've had all the success, right, And I mean
I know the answer to it because you said it's
the competitive nature. But for you then to say, you
know what, I'm gonna make some new R and B
for y'all too. I'm gonna go in with our Lennox.
(41:54):
I'm gonna make this pressure after I going with our Lennox,
I'm gonna go in with money loan, and I'm gonna
make this made for me. Like, the ship does not stop.
Bro Like, when people say, oh, well a person can
only do this for so long, they were not talking
about Germaine Dupris at all, especially in urban music.
Speaker 1 (42:18):
You know this.
Speaker 5 (42:21):
It started off with you being too young but at
a certain at a certain stage, and this business is, oh,
this is you can't do it, way too old, and
you proved them wrong in both spaces. You did not
stop making hit records, bro Like, you have current records
right now made for me.
Speaker 1 (42:44):
It just literally held the year in the choo.
Speaker 4 (42:50):
Yeah we won that Grammy too, Yes, yes, yes.
Speaker 5 (42:55):
Come on, bro Like, and and what's that thirty years
since your first hit?
Speaker 1 (43:02):
Yeah? Insane, insane, insane.
Speaker 4 (43:08):
But I mean, like I said, I just I just
don't get into the I don't get into I understand
that one hit record only pushes people to ask you
if you could do it again, So therefore I never
get into the success of records. I just get into
the Okay, let's go.
Speaker 1 (43:29):
You know how many hit records you have? No?
Speaker 4 (43:37):
No, I mean, and like I said, this year. This
is the year that I've really just been paying more
attention to it. So when I DJ, I've been trying
to like when I do these R and B parties,
and so I have a different set than anybody. I
don't do it just because I'm trying to be cocky.
I just be like, you know, you got a bunch
of DJ's doing sets. You be trying to figure out like, oh,
this nigga just played the record. I was gonna play
(43:58):
God damn, so now you got to you don't right
back there trying to figure out my playlist because this
nigga just played the record. I wanted to play my
first set, right, So I started saying, Man, fuck the ship.
I'm gonna just play my music. It's all R and B.
I could do R and B records for the whole hour, right,
we could do. I could do my own R and
B records for a whole hour. And I just tell
the DJ, don't play no Jermaine the pre records. That's
(44:20):
gonna be my records. You can play everything else R
and B you want to, just don't touch my my
my little ship.
Speaker 1 (44:26):
And I still have a full set.
Speaker 4 (44:28):
And then I come out and I just play all
my records.
Speaker 1 (44:30):
I was there. Turn that my fuck up. Played all
his records. They all work, They all work.
Speaker 5 (44:40):
Congratulations, Thank you, congratulations mans.
Speaker 1 (44:45):
I had him him up in the back of the kitchen.
My week man, I need my week man.
Speaker 4 (44:52):
Man, come on, you gotta see he gotta really, you
gotta come.
Speaker 1 (44:58):
You got you gotta come to it. You ain't welcome
to Atlanta, man.
Speaker 4 (45:02):
You want to come do it.
Speaker 3 (45:03):
You ain't got to convince me.
Speaker 1 (45:04):
I don't do it.
Speaker 4 (45:05):
I say, you know, I know, I know, but I'm saying,
you know, you know he you know he he are.
Speaker 5 (45:11):
You're thespian now though you know what I'm saying like
he's on Broadway now, congratulations.
Speaker 1 (45:18):
This is my hand shake.
Speaker 7 (45:22):
Got to grab think that's your new that's my new one.
That's my Broadway.
Speaker 2 (45:27):
No, he bro, if we learned anything from Maine to Prie,
stay on, bro, don't give nobody the double as hand
shake to me earlier he gave you.
Speaker 1 (45:40):
He walked in. He ain't to me. What is this bullship?
Speaker 4 (45:45):
Great? That's what you're doing.
Speaker 1 (45:46):
What is it? Hell's kitchen? Alicia ke Alicia Ki sh
what's up? Incredible? Ye incredible?
Speaker 5 (45:54):
I'm brother on Broadway Man every day huh, I wanted
three times a week.
Speaker 7 (45:58):
No, every day, every day e stuff on Monday, eight
shows a week.
Speaker 4 (46:04):
Yeah them vocals? Right?
Speaker 1 (46:07):
What you went? What is it? Emmy or Tony? Okay?
Speaker 7 (46:10):
Yeah yeah yeah the least to work on Award nominees
and the director Tony Award Like it's a thing.
Speaker 1 (46:19):
Wow, it's a real thing. Have you seen it?
Speaker 4 (46:22):
Nah? I didn't even think about that. Like right now
with you back to your question that you asked me about,
do I ever think about And I'm like no. Last
night I was watching the Oscars and they was playing
all Quincy music, as you know, all the songs that
was in the Oscars was all Quincy's the soundtrack of
Quincy Jones. And I was just thinking to myself, like
(46:45):
I don't think. I don't think I hit that mark yet.
Like if I passed, they ain't gonna do that for me.
So my my challenging life now is to try to
get to that space. I don't know about that, brother,
not the Oscars, the Oscars soul training towards Maybe.
Speaker 1 (47:02):
Grammy's better do it.
Speaker 4 (47:04):
Grammy might give me a little they might give me.
They might give me a little space. But I'm saying
I want right now, I want. I'm saying that Oscar
look to just be like but he also scored movies too,
Yeah he did, he did. That's what I'm saying that
this is what I'm talking about, final front tier for
j D. I gotta get to it. So that's what
(47:26):
I'm saying. It's not I still I still see so
much stuff that I haven't done that I need to do.
That's all I'm thinking about.
Speaker 5 (47:33):
Hey, Ryan Coogler, Uh, come on now, you from the
crib area, niggas man listen taping with JD.
Speaker 4 (47:39):
Bro Let me do the whole soundtrack.
Speaker 1 (47:41):
Come on, man, watch ship.
Speaker 5 (47:45):
You know you got the movie Theater with the with
the Rose Royce Uh yeah and all that.
Speaker 4 (47:52):
Yeah, let me do it. Let me do I promise
you I get it right. I never did it because but.
Speaker 2 (47:59):
Everything I ever cand me, if you've never done it before,
it's gonna be great.
Speaker 6 (48:04):
Yeah.
Speaker 4 (48:04):
I won't try to figure it out.
Speaker 1 (48:05):
I won't figure it out.
Hosts And Creators
Tank
J. Valentine
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