December 18, 2024 • 59 mins
The Authority On All Things R&B !
In Episode 134 of the R&B Money Podcast, Tank and J. Valentine connect with multi-platinum producer OG Parker. With an impressive catalog of hits for artists like Migos, Chris Brown, and Summer Walker, Parker shares his journey from college dropout to in-demand hitmaker. He breaks down his creative process, his unique sound that bridges R&B and hip-hop, and the moments that defined his career. From studio stories to industry insights, this episode is a masterclass in production and perseverance.
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https://www.youtube.com/RnBMoneyPodcast
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Tank: @therealtank
J Valentine: @JValentine
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
R and B Money.
Speaker 2 (00:05):
We are.
Speaker 1 (00:07):
Thanks take We are the authority on all things R
and B. Ladies and gentlemen. My name is Tank and
this is the Army Money Podcast.
Speaker 3 (00:23):
Come on, the authority on all things R and B. Yeah,
you better produce you right?
Speaker 4 (00:28):
Are you?
Speaker 3 (00:29):
Can?
Speaker 5 (00:29):
You can?
Speaker 4 (00:31):
You?
Speaker 3 (00:31):
You're walking like you talking?
Speaker 2 (00:33):
That's here, No, a whole lot of them record.
Speaker 1 (00:37):
Yeah, I've been blessed to to to work this young man.
Speaker 3 (00:42):
Yeah.
Speaker 1 (00:42):
Uh now I'm finally seeing his face right here, sit
ten ft away in the building.
Speaker 4 (00:49):
Yes, now, I appreciate that. I appreciate that.
Speaker 3 (00:54):
Come on ahead of.
Speaker 5 (00:55):
The flesh deck.
Speaker 1 (00:58):
Come on, he must to talk to ship at the time.
Up on tequila, Come on, it get different. Heymen, told
you where you're from?
Speaker 6 (01:10):
Born and raised in Atlanta, Georgia, born and raised. Yes, sir,
how old are you man?
Speaker 4 (01:15):
I'm thirty one.
Speaker 3 (01:16):
You're thirty one.
Speaker 4 (01:17):
I just turned thirty one last week.
Speaker 3 (01:18):
You look sixteen? He was sixteen practically.
Speaker 1 (01:23):
Yeah, you young fellas you boy?
Speaker 3 (01:26):
You on my young talent the big.
Speaker 1 (01:32):
And first of all, thank you, because I had big
dreams for that remix. Oh, I had the biggest dreams.
Speaker 4 (01:43):
I needed that too.
Speaker 1 (01:44):
Hey, I had the video laid out at the casino.
Roy yall, I had all that ran out of budget, man,
after I paid for the song man.
Speaker 4 (02:02):
A budget, Yeah, I know how to ship go.
Speaker 1 (02:08):
Budget was gone.
Speaker 3 (02:09):
Man.
Speaker 1 (02:09):
So so thank you, uh dirty remix, Thank you for
the for the Dirty Remix, and and and and next.
The next record you give me it will have to
fix it, will have a movement, have fixing fix.
Speaker 4 (02:27):
We need the video. I needed to be in the video.
Speaker 3 (02:29):
I got you, I got you.
Speaker 1 (02:30):
Every time one of your songs has the fixings on it.
Ship go it's here.
Speaker 3 (02:36):
I appreciate that.
Speaker 1 (02:37):
So I have to I gotta, I gotta be part
of that. Thank you, brother.
Speaker 4 (02:41):
I appreciate you.
Speaker 3 (02:42):
Man.
Speaker 1 (02:43):
You know, I know we all the way out here
in l A. And I know that trip for you
is not an easy one. And we appreciate you giving
us your time so that we can talk through, talk
through a lot of.
Speaker 3 (02:54):
This work that you've done.
Speaker 1 (02:55):
My brother, I appreciate it. Yeah, let's be here. Let's
start at the beginning. Man, growing up in atl where
does your journey, where does your musical journey begin?
Speaker 6 (03:09):
So my grandfather, he taught piano in music at Morehouse College.
Speaker 4 (03:14):
Wow. Yeah, and he played in the church.
Speaker 6 (03:17):
So when I was like eight, he was like he
really made like all of us learn the basics of piano,
and then he made us all pick an instrument.
Speaker 4 (03:26):
So I picked the saxophone.
Speaker 6 (03:27):
So I was in the band, marching band all that,
and then I changed to the Uh. Then I always
tell Nick when drum line came out, I was like,
oh no, no more.
Speaker 4 (03:37):
He was yeah. So then I joined. You know what
I'm saying, I played sna get the girls. I was like, yeah,
I'm going that way.
Speaker 6 (03:47):
Yeah, So I did all throughout high school I did
snare and then one year I played drum set and
then you know, just was always in love with music
and it was just always making beats. I probably start
making beats about tenth grade, so about two thousand him.
Speaker 3 (04:00):
What were you making? Your what were you making? What
made you want to make beats?
Speaker 6 (04:06):
I just knew I wanted to be in music, and like,
you know, they make you go to them job fairs
and stuff, and like I was just looking around and
I was just like, I don't want to go to
the Army of the Navy, don't want to do this
that want to be a chef, Like I don't want
to do none of this.
Speaker 4 (04:20):
And I was just like, I just want to make music.
Speaker 6 (04:22):
So I was just like, it's really either be a
band director or a music teacher, or be a music producer.
I feel like those are really like the only avenues.
So I was like, I'm going to be a music producer.
So my homie gave me f L Studio on the
flash drive, and I don't think I ever stopped.
Speaker 4 (04:37):
I probably made beats every day since.
Speaker 3 (04:38):
Now.
Speaker 1 (04:39):
See that's like I'm just comparing it to to you know,
an analog you know, new digital guys, would you go
to hand you a production interface on you know, with.
Speaker 3 (04:53):
Everything you need you need right?
Speaker 1 (04:56):
And I remember dreaming as a child, a kid, young kid,
like looking at the NPC sixty like, man, I want
one of those. My guys had an SP twelve. I
was like, are you doing that? How are you making
the I want one of those?
Speaker 4 (05:12):
They were expensive making.
Speaker 1 (05:14):
Yeah, expensively yeah for what you gotta.
Speaker 2 (05:16):
Think one thousand absolutely, So imagine seeing that at fifteen,
sixteen years old, You're like, man, I don't what the
fuck am I get impossible?
Speaker 1 (05:23):
Yeah, I'm making twenty five dollars a Sunday at church
playing for the choir I have. I don't see two
thousand dollars nowhere.
Speaker 4 (05:34):
That's how much they pay. I thought they paid more
than that.
Speaker 1 (05:36):
Now they do, But that back then, they was getting
me with the Jesus thing. You know what I'm saying.
You know, you're doing this for the Lord. You know,
the Lord ain't got no money? Like what Lord are
we serving? I heard they got streets of gold up there,
like give me a brick, magg Like.
Speaker 3 (05:53):
This is crazy.
Speaker 1 (05:54):
So looking at that equipment back then, and looking at
the keyboards that was thirteen fifteen hundred, I'll never get there.
And you know it worked out to where, you know,
I finally get a little deal. And the first thing
I went to do is buy my equipment. I'm talking
about a mac a thirty two channel Mackie board, NPC
(06:17):
three thousand, XP eighty and I had my TV on
top and I got it all plugged in and my
Mama's unfinished basement and I'm making beats down.
Speaker 3 (06:27):
There, you know what I'm saying.
Speaker 1 (06:28):
And you just told me a guy handed you fl
on a flash.
Speaker 6 (06:33):
Drive, right, And then I begged my parents to buy
me some speakers, and then a little you know, a
little forty nine key.
Speaker 1 (06:41):
Little forty nine y and you were in business.
Speaker 6 (06:44):
That's all I need my laptop half a school and
I just used to be making beats as soon as
I got home, just making beats all night.
Speaker 1 (06:53):
And when you first started making beats, who were you
trying to be as a producer?
Speaker 3 (07:02):
For real?
Speaker 2 (07:04):
Everybody have the everybody got their person, got their person.
Speaker 3 (07:08):
Yeah, mom was timbling.
Speaker 4 (07:10):
It was really both. I ain't gonna care it was both,
you know what I'm saying.
Speaker 6 (07:12):
It's so different, it's different, but like those were definitely
like two of my favorite for reals.
Speaker 2 (07:19):
He just had a you shooting for the star, right,
And so did you know anybody? No, not really, even
being from Atlanta, you had never come across nobody that
you know, like, Okay, the homie brother is such and such.
Speaker 4 (07:38):
Producer, you know what I mean? Yeah, so, my it's crazy.
Speaker 6 (07:41):
Like one of my producers that I signed, now, he
was my best friend in high school and his dad's
mister DJ.
Speaker 4 (07:48):
You know he did like bombs over that back.
Speaker 3 (07:50):
Yeah.
Speaker 4 (07:52):
Yeah, so we used to go over to his house.
But you can ask him now.
Speaker 6 (07:55):
He never took a serious like he used to let
us see the studio and like show us his Grammys
and ship.
Speaker 4 (08:01):
Paying that ship in no mind, we used to be
in that motherfucker.
Speaker 6 (08:03):
He used to be like, don't break my fucking computer. Right, yeah,
we just in there. We're making noise to him, like
he like, man, you know what I'm saying. Like now
he takes a serious now, but like you know, back then,
he was just like, look, y'all can work in here,
but like, don't fuck my ship up.
Speaker 3 (08:18):
But he gave y'all a really cool space.
Speaker 1 (08:22):
Because I can imagine if he him, he's got a
proper setup.
Speaker 6 (08:27):
Man, he just has every record on Earth just in
bookshelves and just you know, he'd be sampling and doing
all you know what I'm saying. He did all them
crazy outcast songs, and he just used to tell us
a lot of stories. And then just seeing the Grammy,
like I was like, oh, yeah, this is what I'm doing.
Speaker 2 (08:46):
So it felt real to you, It felt it felt attainable, Yeah,
for sure, Because you know that's why that's why I asked,
you know, I mean, because some people come from places
where they don't know anybody, or they come from a
city where nobody from their city ever cracked off like that, right,
But being from a place like Atlanta, obviously that's why
I'm like, was there somebody, you know what I mean?
So that now that it makes perfect sense because for
(09:08):
that it just it's something that frees the mind, you
know what I mean. You don't have that blockage that
some people have from certain different places in the world
where they're like, bro, nobody's ever made it from such
and such, such.
Speaker 1 (09:20):
And such, so how.
Speaker 6 (09:22):
Do I even And then just seeing my grandfather because
he played the organ in church, you know, he played
funerals and like, you know, just you know what I'm saying,
all types of stuff. So I used to always see
him and I just was like, I'm seeing all these
producers that.
Speaker 4 (09:37):
Are millions, all this making all this money.
Speaker 6 (09:38):
I'm just like, okay, so the gig stuff, it's a
little slower money, you know.
Speaker 4 (09:43):
I know, you know, you probably did a lot of gigs.
You know, they call it gigging.
Speaker 6 (09:52):
Yeah, So it's like I was like, you know, like
that's cool too, Like I would love to do that,
but I wanted I knew I wanted to.
Speaker 1 (10:00):
And another part that's crazy is like even as a
as I'm a kid, and I got my keyboard, and
I'm making beats and all of these things. You know,
in the times that you come up in, you guys
are doing the math rather quickly like we weren't. I
wasn't doing them. I wasn't processing the math that fast.
I wasn't saying. I mean, of course, I'm in d C.
(10:22):
And it wasn't in Maryland. The market wasn't like robust
in terms of you know, the artist and entertainments and
people teaching it or giving the information. But I hadn't
done the math on Okay, the musician thing is cool,
but if I be a producer.
Speaker 3 (10:40):
Then I can really get to the back. I didn't.
Speaker 1 (10:42):
I didn't even I hadn't even processed that, you know
what I mean. And you calculating that at a very
young age was very wise of you, because, like you said,
as a musician, I've run myself into the ground.
Speaker 6 (10:59):
You gotta practice everything. You got to learn, all the songs.
You got Wednesday Bible study, you got Sunday service.
Speaker 4 (11:05):
Come on, I'm saying. You gotta know. You know what
I'm saying.
Speaker 6 (11:07):
Like I mean, I guess you could transpose if you want,
but if you want to just be able to just
I wasn't transposed.
Speaker 3 (11:11):
I was in every key.
Speaker 1 (11:13):
And then I'm carrying a double tears stand, two keyboards,
and a pv amp in one trip. I'm carrying it
up the stairs or whatever church we're going to. Let's
get it. Yeah, if I'd have known earlier, I could
(11:34):
just produce.
Speaker 3 (11:35):
Get this monkey off my back. I mean, we're where
we are for a reason.
Speaker 6 (11:41):
But yeah, that's why you're so talented. You know what
I'm saying. You can play in every key. You know
what I'm saying. That's what that's something that you use
to your advantage. You probably don't even realize how hard
it is for some people to even learn how to
do that, because you were already just doing it without
even thinking.
Speaker 1 (11:54):
I had we I played on the piano so in devotion.
When when you know a mother from the Mother's Boys
starts singing her song, you gotta meet her where she
at right?
Speaker 3 (12:06):
One?
Speaker 2 (12:06):
Three, Yeah, if that's an E or B or strange keys,
you gotta make it right.
Speaker 1 (12:14):
You gotta meet her. Let's go, and you ain't want
to be embarrassed, because if you got embarrassed and there
was another more capable musician behind you, he will scoot,
you scoot, you off that bench.
Speaker 4 (12:29):
You go to tambourine and.
Speaker 3 (12:34):
You don't.
Speaker 6 (12:41):
It's like the same in like band, in marching band,
like you mess up. Like they were like, oh yeah,
we're gonna let him play today. Like you go to
bass anybody, yeah, and he's gonna place there.
Speaker 1 (12:52):
So I went from trumpet, Well, I could always play drums.
I start playing drums at five, but I was like,
I don't want to play drums in the band. It's
just one drum. Like, but I'm went from trumpet then too.
I was like, you know, let me just do what
I do. So I went from trumpet to snare then
the set in band.
Speaker 3 (13:07):
Yeah, but I.
Speaker 1 (13:08):
Feel like, you know, I feel like drummers and DJs
are the best beat.
Speaker 4 (13:13):
Makers really yeah, because of tempo.
Speaker 1 (13:18):
They just understand rhythm differently. Yeah right, Like like take
a guy like Timberland who was the DJ doctor dre
Doctor dre Y. Yeah. When when I saw Beacos going
over to work with Jermaine in the beginning, he was like,
you need to learn how to DJ.
Speaker 3 (13:40):
Jamaine.
Speaker 1 (13:40):
I used to go watch be Cox sit on the
turntables for like three hours just trying to I was like,
what are you doing? I gotta just learning rhythms and DJ.
Speaker 4 (13:54):
Right, see what he is is an art of DJ.
Speaker 1 (13:58):
People don't understand, but no understanding those bp ms, understanding
how to move the crowd, understand like all that plays
a part in the beat making process. Now you know,
I have guys that can be lush on top of it.
But that beat, Yeah, d DJs?
Speaker 3 (14:18):
What's the mo? Other guy? Uh? Is it bongo? But bongo? Yeah?
Speaker 2 (14:24):
Producer drummer is bango drummer? Drums who makes sense for
his navy?
Speaker 3 (14:38):
You know what I'm saying.
Speaker 1 (14:39):
But I feel like that perspective, like you coming from
from band and being a drummer has that gives you
an insight that that a lot of producers don't have.
And it's it's about space along with time signature, like
being able to live in this space where since you
started with the fruity loops, how you understand the digital
(15:01):
space of it. But if you feel like getting natural
on these niggas, then you know where that where that
dance is too.
Speaker 4 (15:07):
Yeah, and I'll work with some outburg here too.
Speaker 3 (15:10):
You know what I'm saying.
Speaker 4 (15:10):
You got a Jupiter, I got a melotron.
Speaker 6 (15:12):
I got all types of stuff, you know what I'm saying, Like,
I'll get I.
Speaker 4 (15:17):
Get busy with it too, That's what I'm saying.
Speaker 6 (15:19):
Like I like to really just like to delve in
like and just like be able to create freely, so
I don't ever want to feel like I'm held in
the box.
Speaker 4 (15:26):
That's why I like to make all genres.
Speaker 6 (15:28):
Like you know what I'm saying, I'll do some medium
pop stuff like I just like to just feel free
as a creative.
Speaker 2 (15:33):
Yeah, what were your first beats? Where they were they
hip hop beats or what they like? Listen, listen to
the young to the young kids that's out there just
starting right now.
Speaker 3 (15:46):
Let them know like this is it starts somewhere.
Speaker 4 (15:48):
Yeah, yeah they're trash.
Speaker 3 (15:50):
Yeah.
Speaker 4 (15:50):
I was just making whatever.
Speaker 6 (15:52):
Like to be honest, I just another motherfucker just playing
chords and just trying to throw drums on it. I
didn't know how to mix. I wasn't even throwing stuff
in the mixer. No panemeric EQ, no reverb, no nothing,
and just and then I you know, you gotta do
the car test, so I play it in the car.
Speaker 4 (16:09):
I'd be like, this just sounds terrible.
Speaker 1 (16:11):
And you didn't know why it wasn't translating.
Speaker 4 (16:14):
But luckily, the advantage that we have, thank god, is YouTube.
Speaker 3 (16:19):
I was just about to say that.
Speaker 6 (16:20):
So I started taking advantage of YouTube and like how
to mix beats on fl studio. And then that's when
I really like started learning, like, oh, you gotta eq
this out, you gotta do this, you gotta do that,
And that's when my production started elevating.
Speaker 3 (16:38):
Y'all have so many advantages.
Speaker 1 (16:40):
Like I'm watching like our good friend Jason Joshua, I'm
watching him do YouTube tutorials, him and him and Pensada
of how to get that track from here to Heaven?
Speaker 3 (16:57):
Yeah, and you guys.
Speaker 1 (16:58):
Are got it.
Speaker 4 (17:00):
What's that? What's it called? What's his BST called?
Speaker 3 (17:04):
Charicle? Yeah?
Speaker 1 (17:05):
Yeah, It's like, I get a beat now, and I'm like,
don't touch.
Speaker 3 (17:14):
It, right, he's ready, Yeah, don't touch it.
Speaker 1 (17:18):
Sounds mixing messive, So let me sing mixed my vocals.
Speaker 3 (17:23):
We're done. Mhm.
Speaker 4 (17:25):
I got a lot of two track mixes out.
Speaker 1 (17:27):
Here, listen a lot of them. Did you said cardiac
earlier when we two track?
Speaker 6 (17:34):
Yeah, but I'm not gonna lie. I don't know what
that nigga cardiac? Does that sound like it sounds like
that ship is a fucking movie theater and you're like,
you got the speaking right next to you or some ship.
Speaker 4 (17:49):
I don't know what he do. He better keep that
ship to him.
Speaker 3 (17:53):
On YouTube. Down with you, yeah, because looking.
Speaker 6 (17:57):
For Yeah, that ship sounded made and every song he produced.
Speaker 1 (18:01):
Like it's two tracks get on my nerves. Yeah, I
should come through. And I got to a point to
where I just said, I don't care. I'm not going
to try to make my beat sound like that. I
don't care. Jason Joshua was gonna mix it anyway. I
don't care, because I was. I was losing my mind
(18:25):
trying to get my beat there. There's too many You
guys are too well versed in the out out for gear,
you know, into the presets and all these things. I don't.
I don't have that, and honestly, I don't have time
for it.
Speaker 4 (18:41):
I don't get too much money.
Speaker 3 (18:42):
I gotta go to the gym.
Speaker 1 (18:44):
Fact, I can't work on my pictorials.
Speaker 3 (18:46):
Okay, that's where I need to go.
Speaker 1 (18:54):
So when do you When do you go from as
man to beats that are like Nigga, that's hot?
Speaker 3 (19:07):
What's that? Who that for?
Speaker 7 (19:10):
Man?
Speaker 6 (19:11):
So I was working for a minute. I was just uh,
making beats, making beats. And then my senior year, my
parents were like, either get a job or go to school.
So I'm like, damn sure, I ain't trying to get
no job. So I was like, I'll go to school.
So I went to Georgia State for a year. So
I started meeting a lot of people there and then
(19:31):
ironically I ran into one of Ogi Maco's homies and
he was like, Yo, come to the house.
Speaker 4 (19:36):
We're about to work.
Speaker 6 (19:38):
So we pull up to the house, I meet Ogi
Maco and Key and then Ogi Maco drops that song
y'all remember bitch you guessed.
Speaker 1 (19:45):
It Nigga smash.
Speaker 6 (19:52):
Yeah right classic, I'm telling you.
Speaker 4 (19:55):
So he drops that ship.
Speaker 6 (19:57):
So then he called me one day He's like, yo,
coach KG just hit me up like they're trying to
sign me the QC. This is when the migos going
crazy hen and wealthy and all that ship. So I'm like, Nigga,
you better pull up right now. So he go up
there that Nigga signed the deal right then.
Speaker 3 (20:13):
On the spot.
Speaker 4 (20:15):
Of course, he signed on the spot.
Speaker 6 (20:18):
So he called me, he like I signed. I'm like, oh,
ship bet. So I'm in Georgia State, I'm walking into class.
I'm thinking, I'm I think I'm walking into like fucking
calculus or some ship that nigga's like, yeah, I signed.
I turned my eyes right back around. I said you
(20:38):
at the studio. I said, mat, I'm about to uber
uber right to the studio.
Speaker 3 (20:43):
Left school.
Speaker 4 (20:44):
Never went back. What I never went back.
Speaker 3 (20:49):
Not not to say by anything.
Speaker 6 (20:53):
I got a picture all my classes say in like
in incomplete inter ship.
Speaker 4 (20:59):
I didn't even talk your freshman year.
Speaker 2 (21:01):
This is my uh you already finished the freshman Yeah.
Speaker 4 (21:04):
It's like fake halfway sophomore year and ship.
Speaker 3 (21:08):
Yeah.
Speaker 6 (21:08):
So then I just start going to QC every day,
and I was working with like Rich the Kid and
Johnny Cinco and you know.
Speaker 3 (21:14):
Where you go or where they Yeah.
Speaker 4 (21:17):
Yeah they were way better.
Speaker 6 (21:17):
Now I was working with like my boy Dico, and
like I had learned way more about production and then
like I was starting to get placements with them and everything,
and then p and Coach K came to me and
they were like, shit, you here every day, we might
as well sign you. So I was like, I damn
did the same thing, sign and just signed. The ship
been history ever since.
Speaker 1 (21:40):
And that's like, like you gotta fucking believe bro. Like
that moment was so defining where it's like you can
just keep with this program or you can do something
absolutely crazy and walk out a calculus. So now I'm
(22:04):
going to the studio and whatever it is is what
it's going to be.
Speaker 6 (22:09):
But there was a time in between that too where
my parents made me have a job. So I worked
like random odd jobs like I worked at like Abricomy
and Fitch. I worked at Macy's, I worked at Forever
twenty one.
Speaker 2 (22:22):
So what the clothes was though, and where the girls
were yeah, yeah for sure retail, yes, yes, yes, yes.
Speaker 6 (22:34):
Yeah, Like I was the nigga at Africomy and Fitch
on Christmas ad to stand outside with the shutof.
Speaker 3 (22:39):
Give him some of that, yeah, give him some. Yeah
he was on that. I love that.
Speaker 4 (22:43):
Yeah, that was divided.
Speaker 6 (22:44):
So, like you know, I was like, it's just like
dumb shit. But like then I was like, man, I
don't want to be in the workforce no more. Like
I was like, I want to just make music. So
I was just like I was, but I was going
home and I didn't have a car, so I was
riding the train. I was riding the train to the
bus to the train station near my house and then
taking the bus to my house every day, every day
(23:07):
with your Okay, that was my routine. And I go
home and I make bets all.
Speaker 3 (23:10):
Night and then how far was the QC studio?
Speaker 4 (23:13):
I used to have to borrow my mom's car to
go there. That was on North Side Drive. Okay, so
like midtown.
Speaker 3 (23:20):
My mom was letting you, she was letting you rock.
Speaker 4 (23:23):
Mm hm, you stole the car.
Speaker 6 (23:28):
They I just think that, like I always tell people that, Like,
I think it's hard for like people to comprehend what
making the beat is.
Speaker 3 (23:36):
Mm hmmm.
Speaker 4 (23:37):
So like my parents weren't.
Speaker 6 (23:38):
Really comprehending the noise they were hearing in my bedroom.
They just hurt me just.
Speaker 3 (23:46):
It sounds like.
Speaker 6 (23:48):
Yeah, one time my dad was like, he texted me,
he said, son, turned that down.
Speaker 4 (23:55):
Some of us had real jobs.
Speaker 6 (24:08):
I would sign back up, probably signed I probably I
dropped out maybe like a year or two for.
Speaker 4 (24:15):
A year a year year.
Speaker 3 (24:17):
You just on your own time, on your own time.
Speaker 2 (24:21):
Ain't making no money with none of it yet, hell no,
just putting in your work, putting in your man hours.
Speaker 4 (24:28):
Nothing, just pulling up just every night.
Speaker 6 (24:30):
I was sleeping there two three days at a time,
not taking a shower and not brushing my teeth.
Speaker 2 (24:34):
Because like you said, you're not signed to them anything.
They just allowing you to be there.
Speaker 3 (24:38):
Yeah.
Speaker 4 (24:38):
I was like, ma free studio.
Speaker 6 (24:40):
Yeah, so it's like I should just stay there and
I just wake up and I just see Quavo on
their recording. I see Pee Wee long Way or I
see you know ran just random people just every day and.
Speaker 2 (24:50):
Would casts fuck with you or wayd They be like, ah.
Speaker 3 (24:54):
You know you know how that is. Yeah, that's that's
that's that's his long that's the home. Yeah.
Speaker 6 (25:00):
I would say like maybe like maybe if like Xethoven
was there some ship, they probably be like, uh, ship,
we ain't here with.
Speaker 4 (25:07):
Tig like you know what I'm saying, go in the
other room and cook up type shit.
Speaker 6 (25:11):
But like if it was just me and my boy Ico, nah,
they wanted some beats.
Speaker 4 (25:15):
Because they ain't have none.
Speaker 3 (25:16):
They wasn't tripping shit.
Speaker 6 (25:18):
It was really just me Dico, honorable Sino Zetoven. Metro
used to pull up some times like you know what
I'm saying, the young Atlantas, Yeah, yeah, just to you know,
what I'm saying the same niggas.
Speaker 3 (25:29):
So they was welcoming the cook up. Yeah, shit free beats?
Speaker 4 (25:33):
Who saying no the free beats? They fuck with it? Wow?
Speaker 2 (25:37):
So did anything land before you signed, like as far
as you're on some mixtape shit anything or so within
that time, No, you had you landed some placements.
Speaker 3 (25:46):
Yeah.
Speaker 6 (25:47):
I was on Migo's first album, Wire in m H,
a lot of stuff with Johnny Sinko. I did like
three on Rich the Kid first album, just like everybody
in QC to be honest, like what you need for.
Speaker 3 (25:59):
Your first beat? Would you charge? Did you even know
what to charge?
Speaker 4 (26:02):
I ain't charge. No, I ain't never charged me. I
ain't charged.
Speaker 3 (26:06):
It was like I'm here, y'all, let me use the studio,
y'all put me.
Speaker 6 (26:10):
On Nah, but I will say pee a real nigga.
He used to just like give me five thousand. He
used to be like, just here, five thousand.
Speaker 3 (26:19):
Just just on some random are just for when.
Speaker 4 (26:21):
You like keep pulling up and keep doing your thing.
Speaker 3 (26:24):
That's dope. Wow, that's dope. I love that. I love that.
Speaker 2 (26:28):
And it's before signing, before anything, before signing, that's dope.
Speaker 4 (26:33):
He gave me five thousand one day and I gave
like four of it.
Speaker 1 (26:38):
To my mama.
Speaker 6 (26:39):
You're older, bro, ship, you're older, so y'all stopped telling
me turn it down.
Speaker 2 (26:48):
I wonder I wonder how that felt for her, man,
for you to handle some bread like that, you know
what I mean?
Speaker 6 (26:54):
I think it made her realize, like, Okay, this could
be something. Okay, you know what I'm saying, Jack's opposed to, Like,
is my son just wasting his life? Yeah, because I know,
like I don't have kids, but I can see as
like as a parent, like how you can feel like
you want your son to be successful, and it's harder
(27:15):
when like the talent isn't like like, for instance, like
when your son is Lebron, it's easier to like see it.
Speaker 3 (27:23):
Yeah.
Speaker 6 (27:24):
Yeah, Jack's supposed to being a musician that's making beats
and you don't even know what it is.
Speaker 2 (27:30):
Right, what I'm saying, No, listen on the AA you circuit.
Everybody think they sound is Lebron.
Speaker 3 (27:38):
I thought I was Lebron. But it's so funny.
Speaker 2 (27:43):
It's it's a really interesting thing that now we're about
to have a conversation on because I'm an au father.
Speaker 3 (27:48):
You know what I'm saying, like, and I get to
see it.
Speaker 2 (27:50):
But I'm also a music executive, so I've seen like
the kid artists, I've seen the kid basketball players.
Speaker 3 (27:58):
And I'm the father that listen.
Speaker 2 (28:02):
If you don't want to hear what I got to say,
don't even start the conversation with me.
Speaker 4 (28:05):
Are you the coach?
Speaker 3 (28:06):
No, I'm not, but I'm the you know what I mean.
I'm at every game.
Speaker 2 (28:10):
And if we start talking and you start talking about
these dreams of grandeur.
Speaker 3 (28:15):
I'm like, you know that nigga can't shoot?
Speaker 4 (28:17):
Right, I'm that father you say that to your son?
Speaker 2 (28:21):
No, no, my son should shut out the ball. But
are you talking about to the other kids? No, not
to the kid, but to the other fathers. Are the
mama that's like, oh, well, you know, I was like,
my son needs more shots. I'm like, you know, he
just missed five in a row. Right, I'm that father.
I'm not think, yeah, the coach be tripping. Hey man,
y'all probably find a shoot coach. You know what I'm
saying or whatever it is, it's it's constructive, but it's
(28:45):
very real. I'm not that nigga, but I'm like that
in music, and I see. But I feel like in
music we can identify a little different from younger, like
the younger artists to me, I mean, I don't know
if you agree with this, but like if I see
a certain artist, I know there's certain things that maybe
might might need some tweaking and can fix he or
fix or fix that. But like with sports, it's like,
(29:09):
man that na get hurt next week, maybe if he
was six five instead of five ten, maybe, if you
know what I'm saying, there's so many other little things
that make it unsure.
Speaker 6 (29:23):
I think it might all be unsure because look, you
could have you could have the look, but you might
not be able to sing all the way, or you
might not take like constructive constructive criticism, and like you
know what I'm saying, people can't work with you in
the studio.
Speaker 4 (29:40):
It's kind of the.
Speaker 6 (29:40):
Same with a basketball player because like let's say you
six two, you can shoot. You know what I'm saying,
You got good defense, but you got an attitude, right,
I know you've seen that shit on Netflix. What's that
shit called last? You know what I'm saying, dude, is
talented attitude. Like there's a lot of things that I
think and goes into everything.
Speaker 3 (30:01):
To everything for sure, for sure.
Speaker 1 (30:02):
But we're also in a space where with basketball, as
we're talking about the sport, with basketball, you need the
infrastructure of basketball. With music, now, wild West, you don't
need the infrastructure of music. Yes, Random, it's a hundred percent.
Speaker 2 (30:23):
Right you And you've seen it up close to where
someone literally gets something going and it's it's and it's cracking.
Like you said, Maco getting on changed your life. Yeah,
think about that.
Speaker 4 (30:39):
The only reason I'm here.
Speaker 2 (30:40):
Yeah, I didn't even put together the whole Ogi Maco
O G. I hadn't even connected that until you just
talked about it. But that instance just right there where
music like nigga, I know niggas that was the number
one tenth grader in basketball, the number one twelfth grader
still didn't make the league.
Speaker 6 (31:00):
I literally is about to say this exactly, and this
the polar opposite. I know niggas, that colde on the keys, guitar, bass,
can sing, make samples, do drums.
Speaker 4 (31:10):
They made a hit song. It's the same.
Speaker 2 (31:14):
Shit, but they got action at it though. Because there
are hit songs available. You gotta be you gotta tell yourself,
I'll go get me one and this is the thing,
this is the thing that separates the music and the sports.
In music, if you hear that motherfucker, you bet if
you got a chance to get it, you better rap
(31:34):
it or sing it.
Speaker 3 (31:35):
Yeah, I'm all fuck. If you hear it and you
see some ship moment, you say.
Speaker 2 (31:41):
Oh, maybe if I did a verse, Maybe if I
asked him, can I feature on this motherfucker?
Speaker 3 (31:48):
Listen? Because hit records are out here.
Speaker 2 (31:50):
Hit records are out here, right, you get what I'm saying, Like,
you can go get that hit record.
Speaker 3 (31:56):
You can't just enter the NBA draft. You can't enter
the NBA drap. You can bet it fresh out of
the penitentiary.
Speaker 2 (32:04):
That was the Michael Jordan of such and such but
had to go through two years and now into the
NBA drap. No, my brother, it's not going to happen
as as good as you are. But in music, bro,
and listen, I just look at it like I don't
I'm not their manager, I'm not that executive. But I
see artists and I'm like, oh, if they just wouldn't
got that song, they straight.
Speaker 3 (32:28):
And it's really because this ship is based around what
you do make music. This ship is not listen artists.
I love y'all. I am an artist, but it's not
based around artists. It's based around songs.
Speaker 4 (32:43):
A hit song change.
Speaker 2 (32:44):
Hit songs change everything. You don't have to be the
best singer. You don't have to be the best dancer,
you don't have to be the best rapper. You might
not even have to be able to keep the beat.
But if that song is jamming you and the people
around you, lives change immediately.
Speaker 4 (33:05):
I sing with my own eyes.
Speaker 6 (33:07):
City girls make act up, blow up, yachty mate co
like Minnesota, blow up, little Baby, make my dog blow
up like I'm talking about. I've seen them in the studio,
just chilling every day, just making songs, making songs. Make
one song. I come back to the studio. Nigga and
the Lamborghini.
Speaker 4 (33:26):
They got eight chains on. I'm like, Nigga, what the fuck.
Speaker 2 (33:29):
It's not possible for anything else. We see it all
the time. This is the closest thing to the lottery,
the lottery. This is the closest thing we'll ever get
to the lottery.
Speaker 4 (33:41):
Me meeting og Maco on.
Speaker 6 (33:43):
The side of the road changed my whole life, and
my whole I pay my families for it.
Speaker 3 (33:48):
Said, y'all to even go to Georgia State together.
Speaker 4 (33:50):
Though I met his homie.
Speaker 6 (33:52):
His homie was like, come to the crib Ogi Maco
there because he knew like niggas at Gegia State, no
I make beats. He's like, oh shit, I'm going to
the studio. Oji Maco and Key they were doing that.
Give him help the EP his name THEO and he
was like, shit, come to the studio tonight. And I
went to the studio and I met Oji Maco and
we locked in and that changed my whole family's life.
Speaker 3 (34:15):
Well that's part of it.
Speaker 6 (34:19):
Yeah, I will say hard work too, and also you
always got to say even if that didn't happen, maybe
it could have happened too.
Speaker 1 (34:25):
It's a couple of things, you number one being ready
hm and you saying yeah.
Speaker 3 (34:35):
Every day, let's do it.
Speaker 1 (34:38):
That's it again. That's a different level of belief and commitment.
That a different level of sacrifice that you have to
have in order to do this ship.
Speaker 4 (34:50):
I would have put up to anything. I would have
pulled up if a if Taco Bell called.
Speaker 3 (34:53):
Me, come on.
Speaker 2 (34:58):
Your camera's right there, cameras right in front of you,
right because I am sometimes I am considered the hard ass,
the guy who, oh, you don't give no grace to this,
that and the other, because there is no grace in
this if.
Speaker 3 (35:16):
You really want it.
Speaker 2 (35:18):
In anything you want to be successful at, you have
to be willing to show up, do your job until
you reach your.
Speaker 1 (35:30):
Goals, until you are valuable.
Speaker 2 (35:32):
Until it And as my brother Jasper said on here,
be of service service, like you said, when other producers
wasn't there, the bigger producers, they was like, what you got,
and be prepared to give them that beat, to give
them that beat because you're just like listen, I just
got to get on or a lot of people and
(35:53):
let's you know, because we really highlighted.
Speaker 3 (35:55):
Bro, I'll say it. You doing that deal, just just
doing the deal.
Speaker 2 (36:01):
It's probably not the smartest thing, right, but it was
probably the best thing.
Speaker 4 (36:10):
Happen.
Speaker 2 (36:10):
It had to happen because sometimes you gotta go clean
up the house later. Yeah, Niggas be thinking like oh
nig yeah, bro. By the time you by time the
lawyers start.
Speaker 4 (36:24):
Lawyering, they're just gonna cut you off.
Speaker 3 (36:27):
Niggas like, hey man, who up next? Who up next?
Speaker 2 (36:31):
All you say to yourself, you know what my gift
gonna get me through it. My hard work gonna get
me through it. Okay, listen, you know what the deal
is gonna probably be lopsided in the beginning because I
don't really have nothing to offer.
Speaker 6 (36:47):
There's no value, not like I have a huge hit
song or nothing. It's not like it's a crazy deal.
And if I say no, the niggas gonna be like,
forget that gate code.
Speaker 2 (36:55):
Let you know, if I hear I got a pet pee, Bro,
if I hear one more nigga mentioned a three sixty
that they know nothing about.
Speaker 4 (37:05):
They don't even know that means.
Speaker 3 (37:07):
You don't even know what it means. You just heard
about it.
Speaker 1 (37:10):
You you don't come take a shot on that.
Speaker 3 (37:13):
You don't hate that ship, Bro, They don't even.
Speaker 1 (37:16):
Know what it means. Listen, three sixty the master's do you.
Speaker 3 (37:22):
Even know how to license your masters? Masters? They don't know.
Speaker 2 (37:30):
Talking to talk because they heard somebody said in an
interview or rap about it in a song. And the
nigga that you probably heard rap about it in the
song probably doesn't own his masters because he doesn't know
how to license them at all. If we gonna really
have a real conversation, Oh.
Speaker 3 (37:49):
Like, Bro, there's a means to an end.
Speaker 2 (37:53):
When you're trying to get somewhere and you're trying to
change your life, and there are people in front of
you that are life changers, you just have to make
the decision for yourself.
Speaker 3 (38:06):
If it's worth it or not.
Speaker 2 (38:08):
I've never judged the next person's deal, because we all here, we.
Speaker 3 (38:13):
All be into music.
Speaker 2 (38:14):
But oh, you know they got five million? Okay, well,
what are the terms? Do you know the terms? Do
you know what they signed four to get the five million?
Do you know if that deal was in perpetuity? Do
you know if they're ever getting anything back? Or did
they sign their life away for five minutes? Did I
just jump in a deal that maybe I didn't get
a whole bunch of money, but I got the opportunity
(38:36):
and I can work my way out of it.
Speaker 4 (38:39):
I'm gonna sign for thirty five albums.
Speaker 6 (38:41):
Nigga like, then he'll know what the buddies are for.
Speaker 1 (38:46):
Hey, my first deal could have been that. I was
just like you white guys. Showed me that paperwork. I said, this,
this is good. He said, yeah, that's good.
Speaker 3 (38:53):
That's cool.
Speaker 6 (38:57):
With y'll. I'm telling you that just wasn't even optional.
My parents were like, you don't want to get a lawyer.
I was like, yep, I'm the lawyer.
Speaker 3 (39:08):
Had nothing resembling a lawyer, were.
Speaker 1 (39:17):
You know, good lord, the good lord lawyer.
Speaker 3 (39:23):
Don't get a lawyer.
Speaker 4 (39:25):
Get a lawyer.
Speaker 1 (39:26):
We have good lawyers, don't. Yeah, but I'm just sharing that.
I'm just sharing that. We share that. Like, I just
felt like I gotta get to it.
Speaker 3 (39:39):
Yeah, yeah, forward progress. I gotta get to it.
Speaker 1 (39:43):
And and if if this contract is going to help
me get to it, whatever is in it, I'll whatever
is in it that needs to be cleaned up, I'll
get to that.
Speaker 4 (39:54):
Yeah, we'll figure out.
Speaker 1 (39:55):
But right now I need to get cracked and I
need to get off this bench.
Speaker 3 (39:58):
And in the game I make enough money to get
somebody else to clean it.
Speaker 1 (40:02):
Come on, come on now, somebody thought me out of
this thing.
Speaker 6 (40:09):
Somebody give me out the facts and it worked out.
Speaker 3 (40:14):
Bro.
Speaker 1 (40:15):
I'm looking at this list here, brow, it's it's too many.
Speaker 3 (40:20):
You've been going crazy. You have been going crazy. Bro, Okay,
you have.
Speaker 1 (40:26):
You have a few songs listed here, but I kind
of want to go in order. What's your first hit record?
Speaker 6 (40:33):
The first song I ever heard in the car on
the radio was uh one hundred by K Camp and
Fetty Walk. That's the first one I cracked for you.
That's like the first year I signed the QC.
Speaker 3 (40:45):
And that and they're not even through QC, neither K
Camp or wasn't. So how did you I think?
Speaker 6 (40:52):
He pulled up to work with Cebo and I was
just like, let me see some beats. He got his
number and sent him to his.
Speaker 3 (40:56):
Phone, still hustling. M hmm, just hustle. I love that.
Speaker 4 (41:01):
I just to be chilling, you know what I'm saying.
Speaker 1 (41:03):
I know a lot of you look like you be chilling,
but you be plotting.
Speaker 3 (41:08):
Okay, so you okay back to the night talk though.
Speaker 2 (41:11):
So now this is your first, you know, one of
your first runs that crack off. At this point, what
are you charging anybody outside of QC because you're signing
QC and you got your deal with them, but like,
what is your like was you doing the three hundred
for the beat? Was you doing the five hundred? Did
you jump fifteen off the off the porch?
Speaker 4 (41:27):
Like?
Speaker 1 (41:28):
Hell?
Speaker 6 (41:28):
No, I was doing one hundred and fifty dollars leases
and then three hundred dollars exclusive leases.
Speaker 3 (41:34):
Nigga do you remember the first time you heard about that.
That shit blew my mind. Yes, it blew my mind.
I was like, wait, wait, wait, wait wait.
Speaker 2 (41:41):
So they could sell it a couple of times to
a couple of different artis, but if they want the
exclusive one, yes, a little more.
Speaker 4 (41:46):
Yes, that's how I got to.
Speaker 3 (41:50):
Nigga. Listen.
Speaker 1 (41:50):
Shit, they dove deeper into music business than we've ever.
Speaker 4 (41:57):
Thought to go.
Speaker 3 (41:58):
Early, early, early.
Speaker 1 (42:00):
You're leasing a beat and you're gonna possibly use it
multiple times on multiple artists.
Speaker 3 (42:07):
It's contracted, but if you want the exclusive.
Speaker 2 (42:10):
It's Did any of those ever catch heat like the
ones you were leasing?
Speaker 3 (42:14):
Hell no, No.
Speaker 4 (42:16):
It was just random hood niggas.
Speaker 6 (42:18):
I would come across or like somebody would be like,
my boy make beats and like or like niggas at
Georgia State. I used to still like pull up to
Georgia State and hoop and shit like and like niggas
in gym, you know, saying direct. They're still trying to
rap and ship. I'll be like, shit, I got some
beats for you and fifty.
Speaker 1 (42:34):
But they were smart too with the economics. If I
can move one hundred these one fifties, yeah, fifteen thousands.
Speaker 4 (42:42):
I never made nothing like that though, But.
Speaker 2 (42:46):
Fifteen thousand, hell no, I have like six sh.
Speaker 1 (42:53):
See that sings had to be cracking nigga crystals for everybody.
Speaker 4 (42:56):
Nigga. I thought I was rich.
Speaker 1 (42:58):
We ure what hey in Atlanta? Six hundred used to
go a long way. I'll tell you what I was.
Speaker 3 (43:05):
You still stand at.
Speaker 4 (43:05):
The crib right, Oh? Yeah, was in my mom's crib.
Speaker 6 (43:08):
So then after kkm one hundred, I had like some
Johnny Sinco ships, some richer kids ship and then I
remember I got my first ASKAP check for seven thousand.
Speaker 4 (43:19):
That ship came to the house. I fucking saw that check. Nigga.
I went directly to the bank and I told my mom.
I was like, let me use your car.
Speaker 6 (43:28):
Requick went to the bank, I drove to the first
apartment complex I saw and got an apartment.
Speaker 3 (43:34):
He's like, I'm gone, first one you saw? What? Not
even something you knew about it at all?
Speaker 6 (43:39):
No, it's the first nice like the first like not
like just no hooshier, but like the first like nice
one I saw.
Speaker 4 (43:45):
It is like winning that motherfucker. I called my homie.
I was like, bro, you're trying to be roommates. The dude.
Speaker 6 (43:50):
I was making like a lot of my beats with
my boy and he was like, hell yeah, cause he
got the same check because we made one hunded together,
so he had got like the same day type shit too.
Speaker 4 (43:59):
And we was like, he was like, hell yeah, we
met up there, grab that ship.
Speaker 5 (44:06):
What you did?
Speaker 3 (44:08):
Yeah?
Speaker 4 (44:09):
My mom was like you moving up? I was like, yep, and.
Speaker 2 (44:12):
How at this point like twenty twenty one, say twenty one?
Speaker 3 (44:18):
Yeah, yeah, I know, I know y'all went up.
Speaker 6 (44:23):
That's when I started getting introduced to the I was
drinking Jack Dames back then.
Speaker 3 (44:27):
Hallelujah.
Speaker 6 (44:30):
I got a bottle and I was like, oh yeah, lit,
I love those people too.
Speaker 4 (44:38):
Making beats happy as hell.
Speaker 3 (44:41):
Okay, so you got your first one on the radio.
You make it? You gotta check mm hmm. When does
the smash slippery?
Speaker 4 (44:50):
My migos, that's when.
Speaker 2 (44:59):
So what was the feeling when you walked into the
club and hurt slippery that?
Speaker 4 (45:05):
It was crazy.
Speaker 2 (45:07):
I had to be like, because at this point you've
been making bets, what five six years at this point
and now.
Speaker 4 (45:15):
Twenty fourteen, twenty fifteen, but.
Speaker 3 (45:17):
What is what is? What is? Uh?
Speaker 1 (45:19):
What is p and Coach saying that, like, like, what
energy you're getting from them?
Speaker 3 (45:23):
Now you got one, you got one on one on
the staple ark. Yeah, exactly. Yeah.
Speaker 4 (45:29):
We went to the bt A Wars together and all that.
Speaker 3 (45:31):
Oh you oh you rode the car.
Speaker 4 (45:33):
Yeah, took it. Took you on the trip about the
hotel and the flight.
Speaker 3 (45:38):
They were like, okay, yeah, we.
Speaker 4 (45:39):
Did it, we did it.
Speaker 3 (45:40):
You were up. Come on, yeah guys.
Speaker 4 (45:44):
Yeah, we were like, we're outside.
Speaker 2 (45:56):
I've been in the music business longer than thirty about
to say this is crazy.
Speaker 3 (46:02):
Ship.
Speaker 1 (46:04):
Hey, listen sometimes listen, you gotta pop that back bottle
of sham.
Speaker 2 (46:07):
Yeah, man, it's not for real, bro, Celebrate, celebrate what
you've done.
Speaker 3 (46:11):
Man, don't let nobody tell you that.
Speaker 6 (46:13):
Na.
Speaker 2 (46:13):
Man, you don't. You don't rest on your lords, you
don't wrest listen. It ain't about that. But I don't
want to look up at seventy or eighty and be like, yeah, nigga,
I did something.
Speaker 8 (46:22):
Nigga.
Speaker 3 (46:22):
You look up every day like I'm doing Ship, I'm cracking.
You're young.
Speaker 1 (46:26):
You're hanging that plaque on the wall that six times
plack yes sir, and get.
Speaker 3 (46:31):
The five, get the foe, get the three. Because everyone.
Speaker 2 (46:35):
Everyone counts, everyone counts, and it's all accomplishments.
Speaker 3 (46:38):
Bro, I wish you nigga will walk in my house
and be like, you know you got too of the
same two plaques for the same record, right, so well
where your where yours?
Speaker 4 (46:47):
Shut up?
Speaker 3 (46:47):
Big Yeah, I got the gold and in the double.
That's what they say online. Shut up, nigga.
Speaker 1 (46:54):
It don't matter what you're saying. It's always somebody that's
gonna be in the comedy. Shut up, nigga.
Speaker 2 (46:59):
Hey, nigga, get all motherfuckers, brom get all over them.
Speaker 3 (47:02):
Now.
Speaker 4 (47:02):
I'm going to for Shure.
Speaker 3 (47:04):
And get more and get more houses and studios to
put him in.
Speaker 4 (47:07):
Yeah, I need to get some real estate.
Speaker 3 (47:09):
Man, what you got for chief? Oh cheap Parker.
Speaker 2 (47:18):
Beat you guess man, that's where your career started.
Speaker 3 (47:22):
Bro, got what the odds of that? Ship Man's brother
O G Brother G.
Speaker 1 (47:35):
A lot of songs have come in the history of
song making, as you've seen in the crates.
Speaker 3 (47:49):
Down in Atlanta. We like Atlanta.
Speaker 2 (47:52):
We like Atlanta, especially on Monday night, especially on my day.
Speaker 3 (47:58):
Yeah, shout out, imagine.
Speaker 1 (48:00):
The culture is rich and we know that your musical wealth.
It's an all time high. The people want to know,
but they want to know yet, brother o jeez, m.
Speaker 3 (48:19):
H top fun.
Speaker 1 (48:24):
Yeah, your top five, top five.
Speaker 3 (48:34):
Your top five.
Speaker 5 (48:36):
Easing are the so.
Speaker 4 (48:43):
We got to know.
Speaker 3 (48:45):
They know you go you're on the.
Speaker 1 (48:49):
Don't know you gotta come on. Yeah, your.
Speaker 8 (49:07):
Top five, Yeah.
Speaker 1 (49:23):
It's beautiful play so fine on shoot Grid Brollo, g
your top five R and B singers.
Speaker 4 (49:37):
C B Party Bryson Yea's all right, I'm just doing
young niggers.
Speaker 3 (49:48):
He's doing.
Speaker 1 (49:51):
C B Party Okay, okay, cooking uh.
Speaker 3 (50:00):
Eric Bellinger Mmmm.
Speaker 1 (50:04):
Like that exquisite votes like that?
Speaker 3 (50:06):
Yeah, yeah, singing like that you said.
Speaker 1 (50:10):
Jeremiah, Yeah, I'm going like yeah, like.
Speaker 4 (50:15):
Thirty five under you.
Speaker 1 (50:18):
I just had a uh, I had a little way moment.
He's a they Gucci number five. Shout out to my nigga,
Shout out to my nigga, Jerema. Hey, you're talking about
a song writing motherfucking fool. I wanted to fight that nigga.
(50:44):
Fight that nigga, Jeremiah, that nigga cold.
Speaker 4 (50:48):
He's a cold one.
Speaker 1 (50:51):
You don't write me a song too. I'm not gonna
let him off the hook until he writes me one. Okay.
Top five R and B songs.
Speaker 3 (51:00):
That's hard. Yeah, I know, I know.
Speaker 1 (51:03):
Going to your phone, He's like me, see what songs
I produced.
Speaker 4 (51:12):
Because like favorite is so relative, because like.
Speaker 1 (51:15):
Just say that for today it's yours.
Speaker 4 (51:18):
Well, I'm listening to my favorite songs right now. Yeah, today,
missing you queen.
Speaker 3 (51:23):
Come on. I love that.
Speaker 4 (51:26):
Uh? I like uh.
Speaker 3 (51:36):
Mm hmmmmm.
Speaker 4 (51:41):
Made for me money long.
Speaker 1 (51:42):
M Yes, you can do that, yes sir, Yes, sir,
I'm with that.
Speaker 4 (51:48):
Uh huh, I ain't gonna lie.
Speaker 6 (51:50):
Tims gets to Bernie Joint Love Love Burning and Me
and you.
Speaker 3 (51:58):
Yeah.
Speaker 7 (51:59):
Yeah, the fifth one going chill by Party mm hmm.
Speaker 4 (52:11):
Yeah, that's my favorite right now.
Speaker 3 (52:14):
We had a real young nigga here for real.
Speaker 4 (52:16):
For that's an ideal, my young niggah.
Speaker 1 (52:22):
Yeah, I mean you're on You're like a shouted down hoodio.
You're on your young.
Speaker 4 (52:28):
Am about to go to the tower right now and
get drunk.
Speaker 1 (52:30):
Hey, celebrating these head someone celebrating their life.
Speaker 3 (52:36):
Yeah, as you should.
Speaker 5 (52:38):
Know, we eighty times platting around his motherfucker.
Speaker 4 (52:41):
Man. Everybody, take a shop. Let's kill a bottle.
Speaker 1 (52:47):
I ain't saying no names, hey, I ain't saying no names.
I ain't saying no names. Ain't saying no names. He was.
Speaker 3 (52:56):
What you did. Don't see ship.
Speaker 5 (53:02):
You know, a't say yeah yeah.
Speaker 2 (53:12):
We had a very very special part of the show.
Right now, Will you tell us a story funny or
fucked up? Are funny and fucked up? The only rulee
to the game. You can't say no names.
Speaker 1 (53:25):
Only room?
Speaker 4 (53:26):
Uh huh, it's only room. Uh sure. One time I
went to the studio.
Speaker 1 (53:35):
And I was, we'll get the mic, make sure the
mike give me.
Speaker 6 (53:40):
One time I was in the studio and uh it
was that QC and I was playing some beats for
some people and I just did wilding Out, So I
had on the wilding Out shirt.
Speaker 3 (53:55):
I got your name.
Speaker 4 (53:57):
I just came from there, came straight.
Speaker 6 (54:00):
I had left my book back there on purpose that
I had beat because I knew niggas was gonna be
there night that night, and it was like hell of
people in there. And when I tell you, I played
every beat on my fucking computer. I'm talking about I'm going.
Speaker 4 (54:16):
From folder to folder that goddamn I'm going to my email.
Speaker 6 (54:19):
I'm like, wait, I sent this to this person, Wait
wait they might fuck with this, this and this. I
got to like that thirtieth beat. They were like, hey, bro,
just let that shit go. Then my homie came shout
out my boy quake global, he came, Oh damn my.
Speaker 4 (54:41):
Path he came.
Speaker 6 (54:43):
He came through this. Nigga played one beat hits on.
I won't say this all just lean on name.
Speaker 4 (54:53):
You played one beat after you played thirty thirty clip sweating.
Speaker 3 (54:58):
You didn't hit nobody. Sweat you didn't hit nobody, but
none of the thirty. Oh, Nigga, that's Gashit hilarious, a
third piece. That's how the ship goes sometimes.
Speaker 2 (55:12):
And you said the beat that that he played ended
up being a hit too.
Speaker 4 (55:16):
HiT's on Top twenty five Urban radio.
Speaker 3 (55:19):
Off the shows.
Speaker 6 (55:23):
I'm talking, I'm playing my best ship. I was excited
to apply just say wilding out.
Speaker 4 (55:27):
I'm like, oh yeah, I'm lit.
Speaker 3 (55:29):
No, they told you to let that ship go.
Speaker 6 (55:33):
One of the artists said, oh no, you wading out
for real. Oh I'm gonna tell you off camera.
Speaker 2 (55:41):
People don't know that. People don't know that this is
how the ship goes though. I mean, like, Nigga, no
matter what.
Speaker 1 (55:46):
The first time, it's time, right, it's a tough audition.
Speaker 2 (55:50):
Right, and you just came off of a TV show.
That means you're already cracking. You already got hit record.
And the nigga still like this.
Speaker 4 (55:57):
Is like way letter recently.
Speaker 2 (55:59):
Yeah, niggah, nigga, Wi.
Speaker 1 (56:02):
Nigga used your shirt against you.
Speaker 4 (56:06):
I thought you my brother, you have to do that.
Speaker 3 (56:09):
Nigga got damn.
Speaker 1 (56:11):
That's crazy. I get it crazy, but I get.
Speaker 3 (56:14):
It's a real, real studio story. This is how this
ship goes. I want this ship, man. Yeah, And it
was just thirty.
Speaker 2 (56:23):
They needed to hear thirty one and you you just
play thirty and he played the one and you know.
Speaker 3 (56:26):
I mean at it like that. You broke them down.
You broke him down. Yeah, broke them down. It's like
it's like the number machine. This machine was hot.
Speaker 1 (56:36):
She was hot.
Speaker 4 (56:37):
You better when you get curved, my girl.
Speaker 3 (56:40):
Hey, that's what is it? Anyway? Like I saw that
cute man. It's gonna make you spend so much money, man, niggas.
Speaker 1 (56:49):
She ain't a real one dog last week with two niggas,
ain't that nigga?
Speaker 3 (56:55):
And then you fucking around and have a here record.
Speaker 1 (57:00):
That's the word. God does everything for a reason. That's
that's what you get that let the God does everything for.
Speaker 4 (57:09):
Bro.
Speaker 3 (57:10):
You're killing man. Yeah, man, congratulations man.
Speaker 1 (57:15):
And and and keep that same hunger, bro, keep that
same hunger, keep that same you.
Speaker 3 (57:23):
Know, as they would say, keep that same energy, Keep
that same energy. Bro. Yeah, have that thirty, Have that thirty.
Speaker 4 (57:31):
Ready every time. He always sometimes.
Speaker 3 (57:36):
Work because it only takes one.
Speaker 2 (57:39):
I mean you saw that with the hommy. You take one.
It's crazy so soon. It only takes one. Cardis cardiac
and send me you know Cardiac's in the pack.
Speaker 1 (57:58):
No, but this that one, you know, news we brother,
that one. I appreciate. That's what we pray for. Continued
even more.
Speaker 4 (58:13):
More. Why not trying to keep it going?
Speaker 1 (58:16):
Why not ships? Keep us partying, brother, keep us partying,
you know, and keep and keep keep the women. Keep
the ladies slippy, keep the ladies on it. Yeah, on
a slip, Yeah, the ladies.
Speaker 3 (58:35):
We do all this, Thanks gentle. My name is Take
I'll shave balance.
Speaker 1 (58:42):
And this is the Harvey Money Podcast, the authority on
all things all.
Speaker 3 (58:47):
Be It's our young nigga right here.
Speaker 1 (58:50):
Yeah, him, the beast, the banker. Ah oh Shay Park Yeah.
Speaker 5 (59:01):
R and B Money.
Speaker 2 (59:04):
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
Jyvalentine and at the Real Tank. For the extended episode,
(59:25):
subscribe to YouTube dot com, Forward, slash r, and b
Money
R and B Money.
Speaker 2 (00:05):
We are.
Speaker 1 (00:07):
Thanks take We are the authority on all things R
and B. Ladies and gentlemen. My name is Tank and
this is the Army Money Podcast.
Speaker 3 (00:23):
Come on, the authority on all things R and B. Yeah,
you better produce you right?
Speaker 4 (00:28):
Are you?
Speaker 3 (00:29):
Can?
Speaker 5 (00:29):
You can?
Speaker 4 (00:31):
You?
Speaker 3 (00:31):
You're walking like you talking?
Speaker 2 (00:33):
That's here, No, a whole lot of them record.
Speaker 1 (00:37):
Yeah, I've been blessed to to to work this young man.
Speaker 3 (00:42):
Yeah.
Speaker 1 (00:42):
Uh now I'm finally seeing his face right here, sit
ten ft away in the building.
Speaker 4 (00:49):
Yes, now, I appreciate that. I appreciate that.
Speaker 3 (00:54):
Come on ahead of.
Speaker 5 (00:55):
The flesh deck.
Speaker 1 (00:58):
Come on, he must to talk to ship at the time.
Up on tequila, Come on, it get different. Heymen, told
you where you're from?
Speaker 6 (01:10):
Born and raised in Atlanta, Georgia, born and raised. Yes, sir,
how old are you man?
Speaker 4 (01:15):
I'm thirty one.
Speaker 3 (01:16):
You're thirty one.
Speaker 4 (01:17):
I just turned thirty one last week.
Speaker 3 (01:18):
You look sixteen? He was sixteen practically.
Speaker 1 (01:23):
Yeah, you young fellas you boy?
Speaker 3 (01:26):
You on my young talent the big.
Speaker 1 (01:32):
And first of all, thank you, because I had big
dreams for that remix. Oh, I had the biggest dreams.
Speaker 4 (01:43):
I needed that too.
Speaker 1 (01:44):
Hey, I had the video laid out at the casino.
Roy yall, I had all that ran out of budget, man,
after I paid for the song man.
Speaker 4 (02:02):
A budget, Yeah, I know how to ship go.
Speaker 1 (02:08):
Budget was gone.
Speaker 3 (02:09):
Man.
Speaker 1 (02:09):
So so thank you, uh dirty remix, Thank you for
the for the Dirty Remix, and and and and next.
The next record you give me it will have to
fix it, will have a movement, have fixing fix.
Speaker 4 (02:27):
We need the video. I needed to be in the video.
Speaker 3 (02:29):
I got you, I got you.
Speaker 1 (02:30):
Every time one of your songs has the fixings on it.
Ship go it's here.
Speaker 3 (02:36):
I appreciate that.
Speaker 1 (02:37):
So I have to I gotta, I gotta be part
of that. Thank you, brother.
Speaker 4 (02:41):
I appreciate you.
Speaker 3 (02:42):
Man.
Speaker 1 (02:43):
You know, I know we all the way out here
in l A. And I know that trip for you
is not an easy one. And we appreciate you giving
us your time so that we can talk through, talk
through a lot of.
Speaker 3 (02:54):
This work that you've done.
Speaker 1 (02:55):
My brother, I appreciate it. Yeah, let's be here. Let's
start at the beginning. Man, growing up in atl where
does your journey, where does your musical journey begin?
Speaker 6 (03:09):
So my grandfather, he taught piano in music at Morehouse College.
Speaker 4 (03:14):
Wow. Yeah, and he played in the church.
Speaker 6 (03:17):
So when I was like eight, he was like he
really made like all of us learn the basics of piano,
and then he made us all pick an instrument.
Speaker 4 (03:26):
So I picked the saxophone.
Speaker 6 (03:27):
So I was in the band, marching band all that,
and then I changed to the Uh. Then I always
tell Nick when drum line came out, I was like,
oh no, no more.
Speaker 4 (03:37):
He was yeah. So then I joined. You know what
I'm saying, I played sna get the girls. I was like, yeah,
I'm going that way.
Speaker 6 (03:47):
Yeah, So I did all throughout high school I did
snare and then one year I played drum set and
then you know, just was always in love with music
and it was just always making beats. I probably start
making beats about tenth grade, so about two thousand him.
Speaker 3 (04:00):
What were you making? Your what were you making? What
made you want to make beats?
Speaker 6 (04:06):
I just knew I wanted to be in music, and like,
you know, they make you go to them job fairs
and stuff, and like I was just looking around and
I was just like, I don't want to go to
the Army of the Navy, don't want to do this
that want to be a chef, Like I don't want
to do none of this.
Speaker 4 (04:20):
And I was just like, I just want to make music.
Speaker 6 (04:22):
So I was just like, it's really either be a
band director or a music teacher, or be a music producer.
I feel like those are really like the only avenues.
So I was like, I'm going to be a music producer.
So my homie gave me f L Studio on the
flash drive, and I don't think I ever stopped.
Speaker 4 (04:37):
I probably made beats every day since.
Speaker 3 (04:38):
Now.
Speaker 1 (04:39):
See that's like I'm just comparing it to to you know,
an analog you know, new digital guys, would you go
to hand you a production interface on you know, with.
Speaker 3 (04:53):
Everything you need you need right?
Speaker 1 (04:56):
And I remember dreaming as a child, a kid, young kid,
like looking at the NPC sixty like, man, I want
one of those. My guys had an SP twelve. I
was like, are you doing that? How are you making
the I want one of those?
Speaker 4 (05:12):
They were expensive making.
Speaker 1 (05:14):
Yeah, expensively yeah for what you gotta.
Speaker 2 (05:16):
Think one thousand absolutely, So imagine seeing that at fifteen,
sixteen years old, You're like, man, I don't what the
fuck am I get impossible?
Speaker 1 (05:23):
Yeah, I'm making twenty five dollars a Sunday at church
playing for the choir I have. I don't see two
thousand dollars nowhere.
Speaker 4 (05:34):
That's how much they pay. I thought they paid more
than that.
Speaker 1 (05:36):
Now they do, But that back then, they was getting
me with the Jesus thing. You know what I'm saying.
You know, you're doing this for the Lord. You know,
the Lord ain't got no money? Like what Lord are
we serving? I heard they got streets of gold up there,
like give me a brick, magg Like.
Speaker 3 (05:53):
This is crazy.
Speaker 1 (05:54):
So looking at that equipment back then, and looking at
the keyboards that was thirteen fifteen hundred, I'll never get there.
And you know it worked out to where, you know,
I finally get a little deal. And the first thing
I went to do is buy my equipment. I'm talking
about a mac a thirty two channel Mackie board, NPC
(06:17):
three thousand, XP eighty and I had my TV on
top and I got it all plugged in and my
Mama's unfinished basement and I'm making beats down.
Speaker 3 (06:27):
There, you know what I'm saying.
Speaker 1 (06:28):
And you just told me a guy handed you fl
on a flash.
Speaker 6 (06:33):
Drive, right, And then I begged my parents to buy
me some speakers, and then a little you know, a
little forty nine key.
Speaker 1 (06:41):
Little forty nine y and you were in business.
Speaker 6 (06:44):
That's all I need my laptop half a school and
I just used to be making beats as soon as
I got home, just making beats all night.
Speaker 1 (06:53):
And when you first started making beats, who were you
trying to be as a producer?
Speaker 3 (07:02):
For real?
Speaker 2 (07:04):
Everybody have the everybody got their person, got their person.
Speaker 3 (07:08):
Yeah, mom was timbling.
Speaker 4 (07:10):
It was really both. I ain't gonna care it was both,
you know what I'm saying.
Speaker 6 (07:12):
It's so different, it's different, but like those were definitely
like two of my favorite for reals.
Speaker 2 (07:19):
He just had a you shooting for the star, right,
And so did you know anybody? No, not really, even
being from Atlanta, you had never come across nobody that
you know, like, Okay, the homie brother is such and such.
Speaker 4 (07:38):
Producer, you know what I mean? Yeah, so, my it's crazy.
Speaker 6 (07:41):
Like one of my producers that I signed, now, he
was my best friend in high school and his dad's
mister DJ.
Speaker 4 (07:48):
You know he did like bombs over that back.
Speaker 3 (07:50):
Yeah.
Speaker 4 (07:52):
Yeah, so we used to go over to his house.
But you can ask him now.
Speaker 6 (07:55):
He never took a serious like he used to let
us see the studio and like show us his Grammys
and ship.
Speaker 4 (08:01):
Paying that ship in no mind, we used to be
in that motherfucker.
Speaker 6 (08:03):
He used to be like, don't break my fucking computer. Right, yeah,
we just in there. We're making noise to him, like
he like, man, you know what I'm saying. Like now
he takes a serious now, but like you know, back then,
he was just like, look, y'all can work in here,
but like, don't fuck my ship up.
Speaker 3 (08:18):
But he gave y'all a really cool space.
Speaker 1 (08:22):
Because I can imagine if he him, he's got a
proper setup.
Speaker 6 (08:27):
Man, he just has every record on Earth just in
bookshelves and just you know, he'd be sampling and doing
all you know what I'm saying. He did all them
crazy outcast songs, and he just used to tell us
a lot of stories. And then just seeing the Grammy,
like I was like, oh, yeah, this is what I'm doing.
Speaker 2 (08:46):
So it felt real to you, It felt it felt attainable, Yeah,
for sure, Because you know that's why that's why I asked,
you know, I mean, because some people come from places
where they don't know anybody, or they come from a
city where nobody from their city ever cracked off like that, right,
But being from a place like Atlanta, obviously that's why
I'm like, was there somebody, you know what I mean?
So that now that it makes perfect sense because for
(09:08):
that it just it's something that frees the mind, you
know what I mean. You don't have that blockage that
some people have from certain different places in the world
where they're like, bro, nobody's ever made it from such
and such, such.
Speaker 1 (09:20):
And such, so how.
Speaker 6 (09:22):
Do I even And then just seeing my grandfather because
he played the organ in church, you know, he played
funerals and like, you know, just you know what I'm saying,
all types of stuff. So I used to always see
him and I just was like, I'm seeing all these
producers that.
Speaker 4 (09:37):
Are millions, all this making all this money.
Speaker 6 (09:38):
I'm just like, okay, so the gig stuff, it's a
little slower money, you know.
Speaker 4 (09:43):
I know, you know, you probably did a lot of gigs.
You know, they call it gigging.
Speaker 6 (09:52):
Yeah, So it's like I was like, you know, like
that's cool too, Like I would love to do that,
but I wanted I knew I wanted to.
Speaker 1 (10:00):
And another part that's crazy is like even as a
as I'm a kid, and I got my keyboard, and
I'm making beats and all of these things. You know,
in the times that you come up in, you guys
are doing the math rather quickly like we weren't. I
wasn't doing them. I wasn't processing the math that fast.
I wasn't saying. I mean, of course, I'm in d C.
(10:22):
And it wasn't in Maryland. The market wasn't like robust
in terms of you know, the artist and entertainments and
people teaching it or giving the information. But I hadn't
done the math on Okay, the musician thing is cool,
but if I be a producer.
Speaker 3 (10:40):
Then I can really get to the back. I didn't.
Speaker 1 (10:42):
I didn't even I hadn't even processed that, you know
what I mean. And you calculating that at a very
young age was very wise of you, because, like you said,
as a musician, I've run myself into the ground.
Speaker 6 (10:59):
You gotta practice everything. You got to learn, all the songs.
You got Wednesday Bible study, you got Sunday service.
Speaker 4 (11:05):
Come on, I'm saying. You gotta know. You know what
I'm saying.
Speaker 6 (11:07):
Like I mean, I guess you could transpose if you want,
but if you want to just be able to just
I wasn't transposed.
Speaker 3 (11:11):
I was in every key.
Speaker 1 (11:13):
And then I'm carrying a double tears stand, two keyboards,
and a pv amp in one trip. I'm carrying it
up the stairs or whatever church we're going to. Let's
get it. Yeah, if I'd have known earlier, I could
(11:34):
just produce.
Speaker 3 (11:35):
Get this monkey off my back. I mean, we're where
we are for a reason.
Speaker 6 (11:41):
But yeah, that's why you're so talented. You know what
I'm saying. You can play in every key. You know
what I'm saying. That's what that's something that you use
to your advantage. You probably don't even realize how hard
it is for some people to even learn how to
do that, because you were already just doing it without
even thinking.
Speaker 1 (11:54):
I had we I played on the piano so in devotion.
When when you know a mother from the Mother's Boys
starts singing her song, you gotta meet her where she
at right?
Speaker 3 (12:06):
One?
Speaker 2 (12:06):
Three, Yeah, if that's an E or B or strange keys,
you gotta make it right.
Speaker 1 (12:14):
You gotta meet her. Let's go, and you ain't want
to be embarrassed, because if you got embarrassed and there
was another more capable musician behind you, he will scoot,
you scoot, you off that bench.
Speaker 4 (12:29):
You go to tambourine and.
Speaker 3 (12:34):
You don't.
Speaker 6 (12:41):
It's like the same in like band, in marching band,
like you mess up. Like they were like, oh yeah,
we're gonna let him play today. Like you go to
bass anybody, yeah, and he's gonna place there.
Speaker 1 (12:52):
So I went from trumpet, Well, I could always play drums.
I start playing drums at five, but I was like,
I don't want to play drums in the band. It's
just one drum. Like, but I'm went from trumpet then too.
I was like, you know, let me just do what
I do. So I went from trumpet to snare then
the set in band.
Speaker 3 (13:07):
Yeah, but I.
Speaker 1 (13:08):
Feel like, you know, I feel like drummers and DJs
are the best beat.
Speaker 4 (13:13):
Makers really yeah, because of tempo.
Speaker 1 (13:18):
They just understand rhythm differently. Yeah right, Like like take
a guy like Timberland who was the DJ doctor dre
Doctor dre Y. Yeah. When when I saw Beacos going
over to work with Jermaine in the beginning, he was like,
you need to learn how to DJ.
Speaker 3 (13:40):
Jamaine.
Speaker 1 (13:40):
I used to go watch be Cox sit on the
turntables for like three hours just trying to I was like,
what are you doing? I gotta just learning rhythms and DJ.
Speaker 4 (13:54):
Right, see what he is is an art of DJ.
Speaker 1 (13:58):
People don't understand, but no understanding those bp ms, understanding
how to move the crowd, understand like all that plays
a part in the beat making process. Now you know,
I have guys that can be lush on top of it.
But that beat, Yeah, d DJs?
Speaker 3 (14:18):
What's the mo? Other guy? Uh? Is it bongo? But bongo? Yeah?
Speaker 2 (14:24):
Producer drummer is bango drummer? Drums who makes sense for
his navy?
Speaker 3 (14:38):
You know what I'm saying.
Speaker 1 (14:39):
But I feel like that perspective, like you coming from
from band and being a drummer has that gives you
an insight that that a lot of producers don't have.
And it's it's about space along with time signature, like
being able to live in this space where since you
started with the fruity loops, how you understand the digital
(15:01):
space of it. But if you feel like getting natural
on these niggas, then you know where that where that
dance is too.
Speaker 4 (15:07):
Yeah, and I'll work with some outburg here too.
Speaker 3 (15:10):
You know what I'm saying.
Speaker 4 (15:10):
You got a Jupiter, I got a melotron.
Speaker 6 (15:12):
I got all types of stuff, you know what I'm saying, Like,
I'll get I.
Speaker 4 (15:17):
Get busy with it too, That's what I'm saying.
Speaker 6 (15:19):
Like I like to really just like to delve in
like and just like be able to create freely, so
I don't ever want to feel like I'm held in
the box.
Speaker 4 (15:26):
That's why I like to make all genres.
Speaker 6 (15:28):
Like you know what I'm saying, I'll do some medium
pop stuff like I just like to just feel free
as a creative.
Speaker 2 (15:33):
Yeah, what were your first beats? Where they were they
hip hop beats or what they like? Listen, listen to
the young to the young kids that's out there just
starting right now.
Speaker 3 (15:46):
Let them know like this is it starts somewhere.
Speaker 4 (15:48):
Yeah, yeah they're trash.
Speaker 3 (15:50):
Yeah.
Speaker 4 (15:50):
I was just making whatever.
Speaker 6 (15:52):
Like to be honest, I just another motherfucker just playing
chords and just trying to throw drums on it. I
didn't know how to mix. I wasn't even throwing stuff
in the mixer. No panemeric EQ, no reverb, no nothing,
and just and then I you know, you gotta do
the car test, so I play it in the car.
Speaker 4 (16:09):
I'd be like, this just sounds terrible.
Speaker 1 (16:11):
And you didn't know why it wasn't translating.
Speaker 4 (16:14):
But luckily, the advantage that we have, thank god, is YouTube.
Speaker 3 (16:19):
I was just about to say that.
Speaker 6 (16:20):
So I started taking advantage of YouTube and like how
to mix beats on fl studio. And then that's when
I really like started learning, like, oh, you gotta eq
this out, you gotta do this, you gotta do that,
And that's when my production started elevating.
Speaker 3 (16:38):
Y'all have so many advantages.
Speaker 1 (16:40):
Like I'm watching like our good friend Jason Joshua, I'm
watching him do YouTube tutorials, him and him and Pensada
of how to get that track from here to Heaven?
Speaker 3 (16:57):
Yeah, and you guys.
Speaker 1 (16:58):
Are got it.
Speaker 4 (17:00):
What's that? What's it called? What's his BST called?
Speaker 3 (17:04):
Charicle? Yeah?
Speaker 1 (17:05):
Yeah, It's like, I get a beat now, and I'm like,
don't touch.
Speaker 3 (17:14):
It, right, he's ready, Yeah, don't touch it.
Speaker 1 (17:18):
Sounds mixing messive, So let me sing mixed my vocals.
Speaker 3 (17:23):
We're done. Mhm.
Speaker 4 (17:25):
I got a lot of two track mixes out.
Speaker 1 (17:27):
Here, listen a lot of them. Did you said cardiac
earlier when we two track?
Speaker 6 (17:34):
Yeah, but I'm not gonna lie. I don't know what
that nigga cardiac? Does that sound like it sounds like
that ship is a fucking movie theater and you're like,
you got the speaking right next to you or some ship.
Speaker 4 (17:49):
I don't know what he do. He better keep that
ship to him.
Speaker 3 (17:53):
On YouTube. Down with you, yeah, because looking.
Speaker 6 (17:57):
For Yeah, that ship sounded made and every song he produced.
Speaker 1 (18:01):
Like it's two tracks get on my nerves. Yeah, I
should come through. And I got to a point to
where I just said, I don't care. I'm not going
to try to make my beat sound like that. I
don't care. Jason Joshua was gonna mix it anyway. I
don't care, because I was. I was losing my mind
(18:25):
trying to get my beat there. There's too many You
guys are too well versed in the out out for gear,
you know, into the presets and all these things. I don't.
I don't have that, and honestly, I don't have time
for it.
Speaker 4 (18:41):
I don't get too much money.
Speaker 3 (18:42):
I gotta go to the gym.
Speaker 1 (18:44):
Fact, I can't work on my pictorials.
Speaker 3 (18:46):
Okay, that's where I need to go.
Speaker 1 (18:54):
So when do you When do you go from as
man to beats that are like Nigga, that's hot?
Speaker 3 (19:07):
What's that? Who that for?
Speaker 7 (19:10):
Man?
Speaker 6 (19:11):
So I was working for a minute. I was just uh,
making beats, making beats. And then my senior year, my
parents were like, either get a job or go to school.
So I'm like, damn sure, I ain't trying to get
no job. So I was like, I'll go to school.
So I went to Georgia State for a year. So
I started meeting a lot of people there and then
(19:31):
ironically I ran into one of Ogi Maco's homies and
he was like, Yo, come to the house.
Speaker 4 (19:36):
We're about to work.
Speaker 6 (19:38):
So we pull up to the house, I meet Ogi
Maco and Key and then Ogi Maco drops that song
y'all remember bitch you guessed.
Speaker 1 (19:45):
It Nigga smash.
Speaker 6 (19:52):
Yeah right classic, I'm telling you.
Speaker 4 (19:55):
So he drops that ship.
Speaker 6 (19:57):
So then he called me one day He's like, yo,
coach KG just hit me up like they're trying to
sign me the QC. This is when the migos going
crazy hen and wealthy and all that ship. So I'm like, Nigga,
you better pull up right now. So he go up
there that Nigga signed the deal right then.
Speaker 3 (20:13):
On the spot.
Speaker 4 (20:15):
Of course, he signed on the spot.
Speaker 6 (20:18):
So he called me, he like I signed. I'm like, oh,
ship bet. So I'm in Georgia State, I'm walking into class.
I'm thinking, I'm I think I'm walking into like fucking
calculus or some ship that nigga's like, yeah, I signed.
I turned my eyes right back around. I said you
(20:38):
at the studio. I said, mat, I'm about to uber
uber right to the studio.
Speaker 3 (20:43):
Left school.
Speaker 4 (20:44):
Never went back. What I never went back.
Speaker 3 (20:49):
Not not to say by anything.
Speaker 6 (20:53):
I got a picture all my classes say in like
in incomplete inter ship.
Speaker 4 (20:59):
I didn't even talk your freshman year.
Speaker 2 (21:01):
This is my uh you already finished the freshman Yeah.
Speaker 4 (21:04):
It's like fake halfway sophomore year and ship.
Speaker 3 (21:08):
Yeah.
Speaker 6 (21:08):
So then I just start going to QC every day,
and I was working with like Rich the Kid and
Johnny Cinco and you know.
Speaker 3 (21:14):
Where you go or where they Yeah.
Speaker 4 (21:17):
Yeah they were way better.
Speaker 6 (21:17):
Now I was working with like my boy Dico, and
like I had learned way more about production and then
like I was starting to get placements with them and everything,
and then p and Coach K came to me and
they were like, shit, you here every day, we might
as well sign you. So I was like, I damn
did the same thing, sign and just signed. The ship
been history ever since.
Speaker 1 (21:40):
And that's like, like you gotta fucking believe bro. Like
that moment was so defining where it's like you can
just keep with this program or you can do something
absolutely crazy and walk out a calculus. So now I'm
(22:04):
going to the studio and whatever it is is what
it's going to be.
Speaker 6 (22:09):
But there was a time in between that too where
my parents made me have a job. So I worked
like random odd jobs like I worked at like Abricomy
and Fitch. I worked at Macy's, I worked at Forever
twenty one.
Speaker 2 (22:22):
So what the clothes was though, and where the girls
were yeah, yeah for sure retail, yes, yes, yes, yes.
Speaker 6 (22:34):
Yeah, Like I was the nigga at Africomy and Fitch
on Christmas ad to stand outside with the shutof.
Speaker 3 (22:39):
Give him some of that, yeah, give him some. Yeah
he was on that. I love that.
Speaker 4 (22:43):
Yeah, that was divided.
Speaker 6 (22:44):
So, like you know, I was like, it's just like
dumb shit. But like then I was like, man, I
don't want to be in the workforce no more. Like
I was like, I want to just make music. So
I was just like I was, but I was going
home and I didn't have a car, so I was
riding the train. I was riding the train to the
bus to the train station near my house and then
taking the bus to my house every day, every day
(23:07):
with your Okay, that was my routine. And I go
home and I make bets all.
Speaker 3 (23:10):
Night and then how far was the QC studio?
Speaker 4 (23:13):
I used to have to borrow my mom's car to
go there. That was on North Side Drive. Okay, so
like midtown.
Speaker 3 (23:20):
My mom was letting you, she was letting you rock.
Speaker 4 (23:23):
Mm hm, you stole the car.
Speaker 6 (23:28):
They I just think that, like I always tell people that, Like,
I think it's hard for like people to comprehend what
making the beat is.
Speaker 3 (23:36):
Mm hmmm.
Speaker 4 (23:37):
So like my parents weren't.
Speaker 6 (23:38):
Really comprehending the noise they were hearing in my bedroom.
They just hurt me just.
Speaker 3 (23:46):
It sounds like.
Speaker 6 (23:48):
Yeah, one time my dad was like, he texted me,
he said, son, turned that down.
Speaker 4 (23:55):
Some of us had real jobs.
Speaker 6 (24:08):
I would sign back up, probably signed I probably I
dropped out maybe like a year or two for.
Speaker 4 (24:15):
A year a year year.
Speaker 3 (24:17):
You just on your own time, on your own time.
Speaker 2 (24:21):
Ain't making no money with none of it yet, hell no,
just putting in your work, putting in your man hours.
Speaker 4 (24:28):
Nothing, just pulling up just every night.
Speaker 6 (24:30):
I was sleeping there two three days at a time,
not taking a shower and not brushing my teeth.
Speaker 2 (24:34):
Because like you said, you're not signed to them anything.
They just allowing you to be there.
Speaker 3 (24:38):
Yeah.
Speaker 4 (24:38):
I was like, ma free studio.
Speaker 6 (24:40):
Yeah, so it's like I should just stay there and
I just wake up and I just see Quavo on
their recording. I see Pee Wee long Way or I
see you know ran just random people just every day and.
Speaker 2 (24:50):
Would casts fuck with you or wayd They be like, ah.
Speaker 3 (24:54):
You know you know how that is. Yeah, that's that's
that's that's his long that's the home. Yeah.
Speaker 6 (25:00):
I would say like maybe like maybe if like Xethoven
was there some ship, they probably be like, uh, ship,
we ain't here with.
Speaker 4 (25:07):
Tig like you know what I'm saying, go in the
other room and cook up type shit.
Speaker 6 (25:11):
But like if it was just me and my boy Ico, nah,
they wanted some beats.
Speaker 4 (25:15):
Because they ain't have none.
Speaker 3 (25:16):
They wasn't tripping shit.
Speaker 6 (25:18):
It was really just me Dico, honorable Sino Zetoven. Metro
used to pull up some times like you know what
I'm saying, the young Atlantas, Yeah, yeah, just to you know,
what I'm saying the same niggas.
Speaker 3 (25:29):
So they was welcoming the cook up. Yeah, shit free beats?
Speaker 4 (25:33):
Who saying no the free beats? They fuck with it? Wow?
Speaker 2 (25:37):
So did anything land before you signed, like as far
as you're on some mixtape shit anything or so within
that time, No, you had you landed some placements.
Speaker 3 (25:46):
Yeah.
Speaker 6 (25:47):
I was on Migo's first album, Wire in m H,
a lot of stuff with Johnny Sinko. I did like
three on Rich the Kid first album, just like everybody
in QC to be honest, like what you need for.
Speaker 3 (25:59):
Your first beat? Would you charge? Did you even know
what to charge?
Speaker 4 (26:02):
I ain't charge. No, I ain't never charged me. I
ain't charged.
Speaker 3 (26:06):
It was like I'm here, y'all, let me use the studio,
y'all put me.
Speaker 6 (26:10):
On Nah, but I will say pee a real nigga.
He used to just like give me five thousand. He
used to be like, just here, five thousand.
Speaker 3 (26:19):
Just just on some random are just for when.
Speaker 4 (26:21):
You like keep pulling up and keep doing your thing.
Speaker 3 (26:24):
That's dope. Wow, that's dope. I love that. I love that.
Speaker 2 (26:28):
And it's before signing, before anything, before signing, that's dope.
Speaker 4 (26:33):
He gave me five thousand one day and I gave
like four of it.
Speaker 1 (26:38):
To my mama.
Speaker 6 (26:39):
You're older, bro, ship, you're older, so y'all stopped telling
me turn it down.
Speaker 2 (26:48):
I wonder I wonder how that felt for her, man,
for you to handle some bread like that, you know
what I mean?
Speaker 6 (26:54):
I think it made her realize, like, Okay, this could
be something. Okay, you know what I'm saying, Jack's opposed to, Like,
is my son just wasting his life? Yeah, because I know,
like I don't have kids, but I can see as
like as a parent, like how you can feel like
you want your son to be successful, and it's harder
(27:15):
when like the talent isn't like like, for instance, like
when your son is Lebron, it's easier to like see it.
Speaker 3 (27:23):
Yeah.
Speaker 6 (27:24):
Yeah, Jack's supposed to being a musician that's making beats
and you don't even know what it is.
Speaker 2 (27:30):
Right, what I'm saying, No, listen on the AA you circuit.
Everybody think they sound is Lebron.
Speaker 3 (27:38):
I thought I was Lebron. But it's so funny.
Speaker 2 (27:43):
It's it's a really interesting thing that now we're about
to have a conversation on because I'm an au father.
Speaker 3 (27:48):
You know what I'm saying, like, and I get to
see it.
Speaker 2 (27:50):
But I'm also a music executive, so I've seen like
the kid artists, I've seen the kid basketball players.
Speaker 3 (27:58):
And I'm the father that listen.
Speaker 2 (28:02):
If you don't want to hear what I got to say,
don't even start the conversation with me.
Speaker 4 (28:05):
Are you the coach?
Speaker 3 (28:06):
No, I'm not, but I'm the you know what I mean.
I'm at every game.
Speaker 2 (28:10):
And if we start talking and you start talking about
these dreams of grandeur.
Speaker 3 (28:15):
I'm like, you know that nigga can't shoot?
Speaker 4 (28:17):
Right, I'm that father you say that to your son?
Speaker 2 (28:21):
No, no, my son should shut out the ball. But
are you talking about to the other kids? No, not
to the kid, but to the other fathers. Are the
mama that's like, oh, well, you know, I was like,
my son needs more shots. I'm like, you know, he
just missed five in a row. Right, I'm that father.
I'm not think, yeah, the coach be tripping. Hey man,
y'all probably find a shoot coach. You know what I'm
saying or whatever it is, it's it's constructive, but it's
(28:45):
very real. I'm not that nigga, but I'm like that
in music, and I see. But I feel like in
music we can identify a little different from younger, like
the younger artists to me, I mean, I don't know
if you agree with this, but like if I see
a certain artist, I know there's certain things that maybe
might might need some tweaking and can fix he or
fix or fix that. But like with sports, it's like,
(29:09):
man that na get hurt next week, maybe if he
was six five instead of five ten, maybe, if you
know what I'm saying, there's so many other little things
that make it unsure.
Speaker 6 (29:23):
I think it might all be unsure because look, you
could have you could have the look, but you might
not be able to sing all the way, or you
might not take like constructive constructive criticism, and like you
know what I'm saying, people can't work with you in
the studio.
Speaker 4 (29:40):
It's kind of the.
Speaker 6 (29:40):
Same with a basketball player because like let's say you
six two, you can shoot. You know what I'm saying,
You got good defense, but you got an attitude, right,
I know you've seen that shit on Netflix. What's that
shit called last? You know what I'm saying, dude, is
talented attitude. Like there's a lot of things that I
think and goes into everything.
Speaker 3 (30:01):
To everything for sure, for sure.
Speaker 1 (30:02):
But we're also in a space where with basketball, as
we're talking about the sport, with basketball, you need the
infrastructure of basketball. With music, now, wild West, you don't
need the infrastructure of music. Yes, Random, it's a hundred percent.
Speaker 2 (30:23):
Right you And you've seen it up close to where
someone literally gets something going and it's it's and it's cracking.
Like you said, Maco getting on changed your life. Yeah,
think about that.
Speaker 4 (30:39):
The only reason I'm here.
Speaker 2 (30:40):
Yeah, I didn't even put together the whole Ogi Maco
O G. I hadn't even connected that until you just
talked about it. But that instance just right there where
music like nigga, I know niggas that was the number
one tenth grader in basketball, the number one twelfth grader
still didn't make the league.
Speaker 6 (31:00):
I literally is about to say this exactly, and this
the polar opposite. I know niggas, that colde on the keys, guitar, bass,
can sing, make samples, do drums.
Speaker 4 (31:10):
They made a hit song. It's the same.
Speaker 2 (31:14):
Shit, but they got action at it though. Because there
are hit songs available. You gotta be you gotta tell yourself,
I'll go get me one and this is the thing,
this is the thing that separates the music and the sports.
In music, if you hear that motherfucker, you bet if
you got a chance to get it, you better rap
(31:34):
it or sing it.
Speaker 3 (31:35):
Yeah, I'm all fuck. If you hear it and you
see some ship moment, you say.
Speaker 2 (31:41):
Oh, maybe if I did a verse, Maybe if I
asked him, can I feature on this motherfucker?
Speaker 3 (31:48):
Listen? Because hit records are out here.
Speaker 2 (31:50):
Hit records are out here, right, you get what I'm saying, Like,
you can go get that hit record.
Speaker 3 (31:56):
You can't just enter the NBA draft. You can't enter
the NBA drap. You can bet it fresh out of
the penitentiary.
Speaker 2 (32:04):
That was the Michael Jordan of such and such but
had to go through two years and now into the
NBA drap. No, my brother, it's not going to happen
as as good as you are. But in music, bro,
and listen, I just look at it like I don't
I'm not their manager, I'm not that executive. But I
see artists and I'm like, oh, if they just wouldn't
got that song, they straight.
Speaker 3 (32:28):
And it's really because this ship is based around what
you do make music. This ship is not listen artists.
I love y'all. I am an artist, but it's not
based around artists. It's based around songs.
Speaker 4 (32:43):
A hit song change.
Speaker 2 (32:44):
Hit songs change everything. You don't have to be the
best singer. You don't have to be the best dancer,
you don't have to be the best rapper. You might
not even have to be able to keep the beat.
But if that song is jamming you and the people
around you, lives change immediately.
Speaker 4 (33:05):
I sing with my own eyes.
Speaker 6 (33:07):
City girls make act up, blow up, yachty mate co
like Minnesota, blow up, little Baby, make my dog blow
up like I'm talking about. I've seen them in the studio,
just chilling every day, just making songs, making songs. Make
one song. I come back to the studio. Nigga and
the Lamborghini.
Speaker 4 (33:26):
They got eight chains on. I'm like, Nigga, what the fuck.
Speaker 2 (33:29):
It's not possible for anything else. We see it all
the time. This is the closest thing to the lottery,
the lottery. This is the closest thing we'll ever get
to the lottery.
Speaker 4 (33:41):
Me meeting og Maco on.
Speaker 6 (33:43):
The side of the road changed my whole life, and
my whole I pay my families for it.
Speaker 3 (33:48):
Said, y'all to even go to Georgia State together.
Speaker 4 (33:50):
Though I met his homie.
Speaker 6 (33:52):
His homie was like, come to the crib Ogi Maco
there because he knew like niggas at Gegia State, no
I make beats. He's like, oh shit, I'm going to
the studio. Oji Maco and Key they were doing that.
Give him help the EP his name THEO and he
was like, shit, come to the studio tonight. And I
went to the studio and I met Oji Maco and
we locked in and that changed my whole family's life.
Speaker 3 (34:15):
Well that's part of it.
Speaker 6 (34:19):
Yeah, I will say hard work too, and also you
always got to say even if that didn't happen, maybe
it could have happened too.
Speaker 1 (34:25):
It's a couple of things, you number one being ready
hm and you saying yeah.
Speaker 3 (34:35):
Every day, let's do it.
Speaker 1 (34:38):
That's it again. That's a different level of belief and commitment.
That a different level of sacrifice that you have to
have in order to do this ship.
Speaker 4 (34:50):
I would have put up to anything. I would have
pulled up if a if Taco Bell called.
Speaker 3 (34:53):
Me, come on.
Speaker 2 (34:58):
Your camera's right there, cameras right in front of you,
right because I am sometimes I am considered the hard ass,
the guy who, oh, you don't give no grace to this,
that and the other, because there is no grace in
this if.
Speaker 3 (35:16):
You really want it.
Speaker 2 (35:18):
In anything you want to be successful at, you have
to be willing to show up, do your job until
you reach your.
Speaker 1 (35:30):
Goals, until you are valuable.
Speaker 2 (35:32):
Until it And as my brother Jasper said on here,
be of service service, like you said, when other producers
wasn't there, the bigger producers, they was like, what you got,
and be prepared to give them that beat, to give
them that beat because you're just like listen, I just
got to get on or a lot of people and
(35:53):
let's you know, because we really highlighted.
Speaker 3 (35:55):
Bro, I'll say it. You doing that deal, just just
doing the deal.
Speaker 2 (36:01):
It's probably not the smartest thing, right, but it was
probably the best thing.
Speaker 4 (36:10):
Happen.
Speaker 2 (36:10):
It had to happen because sometimes you gotta go clean
up the house later. Yeah, Niggas be thinking like oh
nig yeah, bro. By the time you by time the
lawyers start.
Speaker 4 (36:24):
Lawyering, they're just gonna cut you off.
Speaker 3 (36:27):
Niggas like, hey man, who up next? Who up next?
Speaker 2 (36:31):
All you say to yourself, you know what my gift
gonna get me through it. My hard work gonna get
me through it. Okay, listen, you know what the deal
is gonna probably be lopsided in the beginning because I
don't really have nothing to offer.
Speaker 6 (36:47):
There's no value, not like I have a huge hit
song or nothing. It's not like it's a crazy deal.
And if I say no, the niggas gonna be like,
forget that gate code.
Speaker 2 (36:55):
Let you know, if I hear I got a pet pee, Bro,
if I hear one more nigga mentioned a three sixty
that they know nothing about.
Speaker 4 (37:05):
They don't even know that means.
Speaker 3 (37:07):
You don't even know what it means. You just heard
about it.
Speaker 1 (37:10):
You you don't come take a shot on that.
Speaker 3 (37:13):
You don't hate that ship, Bro, They don't even.
Speaker 1 (37:16):
Know what it means. Listen, three sixty the master's do you.
Speaker 3 (37:22):
Even know how to license your masters? Masters? They don't know.
Speaker 2 (37:30):
Talking to talk because they heard somebody said in an
interview or rap about it in a song. And the
nigga that you probably heard rap about it in the
song probably doesn't own his masters because he doesn't know
how to license them at all. If we gonna really
have a real conversation, Oh.
Speaker 3 (37:49):
Like, Bro, there's a means to an end.
Speaker 2 (37:53):
When you're trying to get somewhere and you're trying to
change your life, and there are people in front of
you that are life changers, you just have to make
the decision for yourself.
Speaker 3 (38:06):
If it's worth it or not.
Speaker 2 (38:08):
I've never judged the next person's deal, because we all here, we.
Speaker 3 (38:13):
All be into music.
Speaker 2 (38:14):
But oh, you know they got five million? Okay, well,
what are the terms? Do you know the terms? Do
you know what they signed four to get the five million?
Do you know if that deal was in perpetuity? Do
you know if they're ever getting anything back? Or did
they sign their life away for five minutes? Did I
just jump in a deal that maybe I didn't get
a whole bunch of money, but I got the opportunity
(38:36):
and I can work my way out of it.
Speaker 4 (38:39):
I'm gonna sign for thirty five albums.
Speaker 6 (38:41):
Nigga like, then he'll know what the buddies are for.
Speaker 1 (38:46):
Hey, my first deal could have been that. I was
just like you white guys. Showed me that paperwork. I said, this,
this is good. He said, yeah, that's good.
Speaker 3 (38:53):
That's cool.
Speaker 6 (38:57):
With y'll. I'm telling you that just wasn't even optional.
My parents were like, you don't want to get a lawyer.
I was like, yep, I'm the lawyer.
Speaker 3 (39:08):
Had nothing resembling a lawyer, were.
Speaker 1 (39:17):
You know, good lord, the good lord lawyer.
Speaker 3 (39:23):
Don't get a lawyer.
Speaker 4 (39:25):
Get a lawyer.
Speaker 1 (39:26):
We have good lawyers, don't. Yeah, but I'm just sharing that.
I'm just sharing that. We share that. Like, I just
felt like I gotta get to it.
Speaker 3 (39:39):
Yeah, yeah, forward progress. I gotta get to it.
Speaker 1 (39:43):
And and if if this contract is going to help
me get to it, whatever is in it, I'll whatever
is in it that needs to be cleaned up, I'll
get to that.
Speaker 4 (39:54):
Yeah, we'll figure out.
Speaker 1 (39:55):
But right now I need to get cracked and I
need to get off this bench.
Speaker 3 (39:58):
And in the game I make enough money to get
somebody else to clean it.
Speaker 1 (40:02):
Come on, come on now, somebody thought me out of
this thing.
Speaker 6 (40:09):
Somebody give me out the facts and it worked out.
Speaker 3 (40:14):
Bro.
Speaker 1 (40:15):
I'm looking at this list here, brow, it's it's too many.
Speaker 3 (40:20):
You've been going crazy. You have been going crazy. Bro, Okay,
you have.
Speaker 1 (40:26):
You have a few songs listed here, but I kind
of want to go in order. What's your first hit record?
Speaker 6 (40:33):
The first song I ever heard in the car on
the radio was uh one hundred by K Camp and
Fetty Walk. That's the first one I cracked for you.
That's like the first year I signed the QC.
Speaker 3 (40:45):
And that and they're not even through QC, neither K
Camp or wasn't. So how did you I think?
Speaker 6 (40:52):
He pulled up to work with Cebo and I was
just like, let me see some beats. He got his
number and sent him to his.
Speaker 3 (40:56):
Phone, still hustling. M hmm, just hustle. I love that.
Speaker 4 (41:01):
I just to be chilling, you know what I'm saying.
Speaker 1 (41:03):
I know a lot of you look like you be chilling,
but you be plotting.
Speaker 3 (41:08):
Okay, so you okay back to the night talk though.
Speaker 2 (41:11):
So now this is your first, you know, one of
your first runs that crack off. At this point, what
are you charging anybody outside of QC because you're signing
QC and you got your deal with them, but like,
what is your like was you doing the three hundred
for the beat? Was you doing the five hundred? Did
you jump fifteen off the off the porch?
Speaker 4 (41:27):
Like?
Speaker 1 (41:28):
Hell?
Speaker 6 (41:28):
No, I was doing one hundred and fifty dollars leases
and then three hundred dollars exclusive leases.
Speaker 3 (41:34):
Nigga do you remember the first time you heard about that.
That shit blew my mind. Yes, it blew my mind.
I was like, wait, wait, wait, wait wait.
Speaker 2 (41:41):
So they could sell it a couple of times to
a couple of different artis, but if they want the
exclusive one, yes, a little more.
Speaker 4 (41:46):
Yes, that's how I got to.
Speaker 3 (41:50):
Nigga. Listen.
Speaker 1 (41:50):
Shit, they dove deeper into music business than we've ever.
Speaker 4 (41:57):
Thought to go.
Speaker 3 (41:58):
Early, early, early.
Speaker 1 (42:00):
You're leasing a beat and you're gonna possibly use it
multiple times on multiple artists.
Speaker 3 (42:07):
It's contracted, but if you want the exclusive.
Speaker 2 (42:10):
It's Did any of those ever catch heat like the
ones you were leasing?
Speaker 3 (42:14):
Hell no, No.
Speaker 4 (42:16):
It was just random hood niggas.
Speaker 6 (42:18):
I would come across or like somebody would be like,
my boy make beats and like or like niggas at
Georgia State. I used to still like pull up to
Georgia State and hoop and shit like and like niggas
in gym, you know, saying direct. They're still trying to
rap and ship. I'll be like, shit, I got some
beats for you and fifty.
Speaker 1 (42:34):
But they were smart too with the economics. If I
can move one hundred these one fifties, yeah, fifteen thousands.
Speaker 4 (42:42):
I never made nothing like that though, But.
Speaker 2 (42:46):
Fifteen thousand, hell no, I have like six sh.
Speaker 1 (42:53):
See that sings had to be cracking nigga crystals for everybody.
Speaker 4 (42:56):
Nigga. I thought I was rich.
Speaker 1 (42:58):
We ure what hey in Atlanta? Six hundred used to
go a long way. I'll tell you what I was.
Speaker 3 (43:05):
You still stand at.
Speaker 4 (43:05):
The crib right, Oh? Yeah, was in my mom's crib.
Speaker 6 (43:08):
So then after kkm one hundred, I had like some
Johnny Sinco ships, some richer kids ship and then I
remember I got my first ASKAP check for seven thousand.
Speaker 4 (43:19):
That ship came to the house. I fucking saw that check. Nigga.
I went directly to the bank and I told my mom.
I was like, let me use your car.
Speaker 6 (43:28):
Requick went to the bank, I drove to the first
apartment complex I saw and got an apartment.
Speaker 3 (43:34):
He's like, I'm gone, first one you saw? What? Not
even something you knew about it at all?
Speaker 6 (43:39):
No, it's the first nice like the first like not
like just no hooshier, but like the first like nice
one I saw.
Speaker 4 (43:45):
It is like winning that motherfucker. I called my homie.
I was like, bro, you're trying to be roommates. The dude.
Speaker 6 (43:50):
I was making like a lot of my beats with
my boy and he was like, hell yeah, cause he
got the same check because we made one hunded together,
so he had got like the same day type shit too.
Speaker 4 (43:59):
And we was like, he was like, hell yeah, we
met up there, grab that ship.
Speaker 5 (44:06):
What you did?
Speaker 3 (44:08):
Yeah?
Speaker 4 (44:09):
My mom was like you moving up? I was like, yep, and.
Speaker 2 (44:12):
How at this point like twenty twenty one, say twenty one?
Speaker 3 (44:18):
Yeah, yeah, I know, I know y'all went up.
Speaker 6 (44:23):
That's when I started getting introduced to the I was
drinking Jack Dames back then.
Speaker 3 (44:27):
Hallelujah.
Speaker 6 (44:30):
I got a bottle and I was like, oh yeah, lit,
I love those people too.
Speaker 4 (44:38):
Making beats happy as hell.
Speaker 3 (44:41):
Okay, so you got your first one on the radio.
You make it? You gotta check mm hmm. When does
the smash slippery?
Speaker 4 (44:50):
My migos, that's when.
Speaker 2 (44:59):
So what was the feeling when you walked into the
club and hurt slippery that?
Speaker 4 (45:05):
It was crazy.
Speaker 2 (45:07):
I had to be like, because at this point you've
been making bets, what five six years at this point
and now.
Speaker 4 (45:15):
Twenty fourteen, twenty fifteen, but.
Speaker 3 (45:17):
What is what is? What is? Uh?
Speaker 1 (45:19):
What is p and Coach saying that, like, like, what
energy you're getting from them?
Speaker 3 (45:23):
Now you got one, you got one on one on
the staple ark. Yeah, exactly. Yeah.
Speaker 4 (45:29):
We went to the bt A Wars together and all that.
Speaker 3 (45:31):
Oh you oh you rode the car.
Speaker 4 (45:33):
Yeah, took it. Took you on the trip about the
hotel and the flight.
Speaker 3 (45:38):
They were like, okay, yeah, we.
Speaker 4 (45:39):
Did it, we did it.
Speaker 3 (45:40):
You were up. Come on, yeah guys.
Speaker 4 (45:44):
Yeah, we were like, we're outside.
Speaker 2 (45:56):
I've been in the music business longer than thirty about
to say this is crazy.
Speaker 3 (46:02):
Ship.
Speaker 1 (46:04):
Hey, listen sometimes listen, you gotta pop that back bottle
of sham.
Speaker 2 (46:07):
Yeah, man, it's not for real, bro, Celebrate, celebrate what
you've done.
Speaker 3 (46:11):
Man, don't let nobody tell you that.
Speaker 6 (46:13):
Na.
Speaker 2 (46:13):
Man, you don't. You don't rest on your lords, you
don't wrest listen. It ain't about that. But I don't
want to look up at seventy or eighty and be like, yeah, nigga,
I did something.
Speaker 8 (46:22):
Nigga.
Speaker 3 (46:22):
You look up every day like I'm doing Ship, I'm cracking.
You're young.
Speaker 1 (46:26):
You're hanging that plaque on the wall that six times
plack yes sir, and get.
Speaker 3 (46:31):
The five, get the foe, get the three. Because everyone.
Speaker 2 (46:35):
Everyone counts, everyone counts, and it's all accomplishments.
Speaker 3 (46:38):
Bro, I wish you nigga will walk in my house
and be like, you know you got too of the
same two plaques for the same record, right, so well
where your where yours?
Speaker 4 (46:47):
Shut up?
Speaker 3 (46:47):
Big Yeah, I got the gold and in the double.
That's what they say online. Shut up, nigga.
Speaker 1 (46:54):
It don't matter what you're saying. It's always somebody that's
gonna be in the comedy. Shut up, nigga.
Speaker 2 (46:59):
Hey, nigga, get all motherfuckers, brom get all over them.
Speaker 3 (47:02):
Now.
Speaker 4 (47:02):
I'm going to for Shure.
Speaker 3 (47:04):
And get more and get more houses and studios to
put him in.
Speaker 4 (47:07):
Yeah, I need to get some real estate.
Speaker 3 (47:09):
Man, what you got for chief? Oh cheap Parker.
Speaker 2 (47:18):
Beat you guess man, that's where your career started.
Speaker 3 (47:22):
Bro, got what the odds of that? Ship Man's brother
O G Brother G.
Speaker 1 (47:35):
A lot of songs have come in the history of
song making, as you've seen in the crates.
Speaker 3 (47:49):
Down in Atlanta. We like Atlanta.
Speaker 2 (47:52):
We like Atlanta, especially on Monday night, especially on my day.
Speaker 3 (47:58):
Yeah, shout out, imagine.
Speaker 1 (48:00):
The culture is rich and we know that your musical wealth.
It's an all time high. The people want to know,
but they want to know yet, brother o jeez, m.
Speaker 3 (48:19):
H top fun.
Speaker 1 (48:24):
Yeah, your top five, top five.
Speaker 3 (48:34):
Your top five.
Speaker 5 (48:36):
Easing are the so.
Speaker 4 (48:43):
We got to know.
Speaker 3 (48:45):
They know you go you're on the.
Speaker 1 (48:49):
Don't know you gotta come on. Yeah, your.
Speaker 8 (49:07):
Top five, Yeah.
Speaker 1 (49:23):
It's beautiful play so fine on shoot Grid Brollo, g
your top five R and B singers.
Speaker 4 (49:37):
C B Party Bryson Yea's all right, I'm just doing
young niggers.
Speaker 3 (49:48):
He's doing.
Speaker 1 (49:51):
C B Party Okay, okay, cooking uh.
Speaker 3 (50:00):
Eric Bellinger Mmmm.
Speaker 1 (50:04):
Like that exquisite votes like that?
Speaker 3 (50:06):
Yeah, yeah, singing like that you said.
Speaker 1 (50:10):
Jeremiah, Yeah, I'm going like yeah, like.
Speaker 4 (50:15):
Thirty five under you.
Speaker 1 (50:18):
I just had a uh, I had a little way moment.
He's a they Gucci number five. Shout out to my nigga,
Shout out to my nigga, Jerema. Hey, you're talking about
a song writing motherfucking fool. I wanted to fight that nigga.
(50:44):
Fight that nigga, Jeremiah, that nigga cold.
Speaker 4 (50:48):
He's a cold one.
Speaker 1 (50:51):
You don't write me a song too. I'm not gonna
let him off the hook until he writes me one. Okay.
Top five R and B songs.
Speaker 3 (51:00):
That's hard. Yeah, I know, I know.
Speaker 1 (51:03):
Going to your phone, He's like me, see what songs
I produced.
Speaker 4 (51:12):
Because like favorite is so relative, because like.
Speaker 1 (51:15):
Just say that for today it's yours.
Speaker 4 (51:18):
Well, I'm listening to my favorite songs right now. Yeah, today,
missing you queen.
Speaker 3 (51:23):
Come on. I love that.
Speaker 4 (51:26):
Uh? I like uh.
Speaker 3 (51:36):
Mm hmmmmm.
Speaker 4 (51:41):
Made for me money long.
Speaker 1 (51:42):
M Yes, you can do that, yes sir, Yes, sir,
I'm with that.
Speaker 4 (51:48):
Uh huh, I ain't gonna lie.
Speaker 6 (51:50):
Tims gets to Bernie Joint Love Love Burning and Me
and you.
Speaker 3 (51:58):
Yeah.
Speaker 7 (51:59):
Yeah, the fifth one going chill by Party mm hmm.
Speaker 4 (52:11):
Yeah, that's my favorite right now.
Speaker 3 (52:14):
We had a real young nigga here for real.
Speaker 4 (52:16):
For that's an ideal, my young niggah.
Speaker 1 (52:22):
Yeah, I mean you're on You're like a shouted down hoodio.
You're on your young.
Speaker 4 (52:28):
Am about to go to the tower right now and
get drunk.
Speaker 1 (52:30):
Hey, celebrating these head someone celebrating their life.
Speaker 3 (52:36):
Yeah, as you should.
Speaker 5 (52:38):
Know, we eighty times platting around his motherfucker.
Speaker 4 (52:41):
Man. Everybody, take a shop. Let's kill a bottle.
Speaker 1 (52:47):
I ain't saying no names, hey, I ain't saying no names.
I ain't saying no names. Ain't saying no names. He was.
Speaker 3 (52:56):
What you did. Don't see ship.
Speaker 5 (53:02):
You know, a't say yeah yeah.
Speaker 2 (53:12):
We had a very very special part of the show.
Right now, Will you tell us a story funny or
fucked up? Are funny and fucked up? The only rulee
to the game. You can't say no names.
Speaker 1 (53:25):
Only room?
Speaker 4 (53:26):
Uh huh, it's only room. Uh sure. One time I
went to the studio.
Speaker 1 (53:35):
And I was, we'll get the mic, make sure the
mike give me.
Speaker 6 (53:40):
One time I was in the studio and uh it
was that QC and I was playing some beats for
some people and I just did wilding Out, So I
had on the wilding Out shirt.
Speaker 3 (53:55):
I got your name.
Speaker 4 (53:57):
I just came from there, came straight.
Speaker 6 (54:00):
I had left my book back there on purpose that
I had beat because I knew niggas was gonna be
there night that night, and it was like hell of
people in there. And when I tell you, I played
every beat on my fucking computer. I'm talking about I'm going.
Speaker 4 (54:16):
From folder to folder that goddamn I'm going to my email.
Speaker 6 (54:19):
I'm like, wait, I sent this to this person, Wait
wait they might fuck with this, this and this. I
got to like that thirtieth beat. They were like, hey, bro,
just let that shit go. Then my homie came shout
out my boy quake global, he came, Oh damn my.
Speaker 4 (54:41):
Path he came.
Speaker 6 (54:43):
He came through this. Nigga played one beat hits on.
I won't say this all just lean on name.
Speaker 4 (54:53):
You played one beat after you played thirty thirty clip sweating.
Speaker 3 (54:58):
You didn't hit nobody. Sweat you didn't hit nobody, but
none of the thirty. Oh, Nigga, that's Gashit hilarious, a
third piece. That's how the ship goes sometimes.
Speaker 2 (55:12):
And you said the beat that that he played ended
up being a hit too.
Speaker 4 (55:16):
HiT's on Top twenty five Urban radio.
Speaker 3 (55:19):
Off the shows.
Speaker 6 (55:23):
I'm talking, I'm playing my best ship. I was excited
to apply just say wilding out.
Speaker 4 (55:27):
I'm like, oh yeah, I'm lit.
Speaker 3 (55:29):
No, they told you to let that ship go.
Speaker 6 (55:33):
One of the artists said, oh no, you wading out
for real. Oh I'm gonna tell you off camera.
Speaker 2 (55:41):
People don't know that. People don't know that this is
how the ship goes though. I mean, like, Nigga, no
matter what.
Speaker 1 (55:46):
The first time, it's time, right, it's a tough audition.
Speaker 2 (55:50):
Right, and you just came off of a TV show.
That means you're already cracking. You already got hit record.
And the nigga still like this.
Speaker 4 (55:57):
Is like way letter recently.
Speaker 2 (55:59):
Yeah, niggah, nigga, Wi.
Speaker 1 (56:02):
Nigga used your shirt against you.
Speaker 4 (56:06):
I thought you my brother, you have to do that.
Speaker 3 (56:09):
Nigga got damn.
Speaker 1 (56:11):
That's crazy. I get it crazy, but I get.
Speaker 3 (56:14):
It's a real, real studio story. This is how this
ship goes. I want this ship, man. Yeah, And it
was just thirty.
Speaker 2 (56:23):
They needed to hear thirty one and you you just
play thirty and he played the one and you know.
Speaker 3 (56:26):
I mean at it like that. You broke them down.
You broke him down. Yeah, broke them down. It's like
it's like the number machine. This machine was hot.
Speaker 1 (56:36):
She was hot.
Speaker 4 (56:37):
You better when you get curved, my girl.
Speaker 3 (56:40):
Hey, that's what is it? Anyway? Like I saw that
cute man. It's gonna make you spend so much money, man, niggas.
Speaker 1 (56:49):
She ain't a real one dog last week with two niggas,
ain't that nigga?
Speaker 3 (56:55):
And then you fucking around and have a here record.
Speaker 1 (57:00):
That's the word. God does everything for a reason. That's
that's what you get that let the God does everything for.
Speaker 4 (57:09):
Bro.
Speaker 3 (57:10):
You're killing man. Yeah, man, congratulations man.
Speaker 1 (57:15):
And and and keep that same hunger, bro, keep that
same hunger, keep that same you.
Speaker 3 (57:23):
Know, as they would say, keep that same energy, Keep
that same energy. Bro. Yeah, have that thirty, Have that thirty.
Speaker 4 (57:31):
Ready every time. He always sometimes.
Speaker 3 (57:36):
Work because it only takes one.
Speaker 2 (57:39):
I mean you saw that with the hommy. You take one.
It's crazy so soon. It only takes one. Cardis cardiac
and send me you know Cardiac's in the pack.
Speaker 1 (57:58):
No, but this that one, you know, news we brother,
that one. I appreciate. That's what we pray for. Continued
even more.
Speaker 4 (58:13):
More. Why not trying to keep it going?
Speaker 1 (58:16):
Why not ships? Keep us partying, brother, keep us partying,
you know, and keep and keep keep the women. Keep
the ladies slippy, keep the ladies on it. Yeah, on
a slip, Yeah, the ladies.
Speaker 3 (58:35):
We do all this, Thanks gentle. My name is Take
I'll shave balance.
Speaker 1 (58:42):
And this is the Harvey Money Podcast, the authority on
all things all.
Speaker 3 (58:47):
Be It's our young nigga right here.
Speaker 1 (58:50):
Yeah, him, the beast, the banker. Ah oh Shay Park Yeah.
Speaker 5 (59:01):
R and B Money.
Speaker 2 (59:04):
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
Jyvalentine and at the Real Tank. For the extended episode,
(59:25):
subscribe to YouTube dot com, Forward, slash r, and b
Money
Hosts And Creators
Tank
J. Valentine
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