REPLAY: Cool & Dre

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
R and B Money. We are.

Speaker 2 (00:07):
Take We are.

Speaker 3 (00:12):
The authorities.

Speaker 4 (00:15):
R and B.

Speaker 3 (00:18):
Ladies and gentlemen. My name is Tank Man.

Speaker 2 (00:21):
This Stormy Money podcast the authority on all things R
and B.

Speaker 3 (00:26):
This is there.

Speaker 2 (00:28):
There are there are records, and then there are hits.
They are placements, and then there are singles. On speak,
there are producers and then there are super producers.

Speaker 3 (00:43):
These are the lot of cooling the building.

Speaker 5 (00:45):
Y'all.

Speaker 6 (00:46):
Yeah, yeah, yeah, yeah, we're here.

Speaker 4 (00:51):
Y'all missed us harmonized, that's behind the scene act.

Speaker 7 (00:56):
They might have to catch a lot.

Speaker 1 (00:59):
We get it.

Speaker 8 (01:00):
Listen, cool, I don't lie to you.

Speaker 9 (01:05):
We gotta do a little harm and it would take it.

Speaker 3 (01:08):
Listen, he kids, or right now.

Speaker 1 (01:15):
We go see.

Speaker 4 (01:18):
Like come on now, First of all, man, you know
your brothers. This man absolutely amazing.

Speaker 3 (01:25):
Bro.

Speaker 2 (01:26):
You know this is coming from you know, a musician, singer,
song writer, the artist since he was dying hanging out
with Michael Jackson. Like we we are people who know
and understand what in the fuck you guys are and
it is it is awesome to have you brothers here, man,
Like we we we family, but we we value your

(01:49):
time man, and we value your gift.

Speaker 3 (01:51):
Man.

Speaker 4 (01:51):
So this is important that you pulled up man, very expensive,
very they got so many buildings, seventeen miles of ocean.

Speaker 9 (02:04):
People pull up.

Speaker 4 (02:05):
To the destination and you know, they want to meet
and greet two and you think you can come and
take some.

Speaker 8 (02:10):
Photos with me.

Speaker 2 (02:13):
Yo, I mean the longevity of it too is a thing. Right,
So I think maybe we just start at the very beginning,
because it's like to become cool and dre right, where
does that start? Does that process start with you doing
something over here and going crazy, and you doing something

(02:34):
over here and going crazy, and then like, man, you're
going crazy over there, I'm going crazy?

Speaker 3 (02:39):
What do you think about? Like, how does that even happen?

Speaker 1 (02:42):
That's a good question.

Speaker 7 (02:43):
I mean I think it started first, you know, cool
and I we met in high school and we met
in choir.

Speaker 3 (02:49):
So so this this singing thing is different. It's real.

Speaker 9 (02:53):
Oh no, not no, hold on on, you can't even
It wasn't choir. Let's not disrespect the class he was in.
This was vocal on sound.

Speaker 1 (03:00):
So yeah, we were.

Speaker 7 (03:06):
We were in vocal ensemble, performance, choir, and choir. Like
you know, like in my senior year, I had five
music classes, Like you.

Speaker 1 (03:13):
Know what I'm saying, going crazy with it.

Speaker 7 (03:15):
And we met in chorus and the teacher, our teacher,
miss A, she was. She left an impression on us,
like like a serious imprint on us because a lot
of the things we learned in class, we took that
with us, like, you know, along the way, you know,
from producing vocalists and whatnot, everything that she taught us

(03:37):
about breath control and sing from the diaphragm and your
head voice, your false set, all that shit reading music,
you know what I'm saying. So a lot of the well,
you know, we started an R and B group. That's
how we started making beats. We were in an R
and B group. We couldn't find any producers that would
do anything for us, and we couldn't afford it. So

(03:59):
me and Cool we just put some money together. And
one of the guys from the the group had started
like a T shirt company with one of our home boys,
and we were just like, man, these niggas starting they
own ship.

Speaker 1 (04:09):
They're not even inviting this.

Speaker 9 (04:10):
They ain't even asked to be part of your company.

Speaker 1 (04:12):
They got a little T shirt company.

Speaker 7 (04:15):
Me and you, let's let's let's produce man, let's teach
you let's teach you how to produce. So you know,
that's how it started, you know what I'm saying, And being.

Speaker 3 (04:24):
Part where you said y'all was an R and B group.

Speaker 1 (04:26):
Yeah we we We made a new people.

Speaker 6 (04:29):
Yeah.

Speaker 7 (04:29):
Nah, people don't and then when they find out shout
out seven Streets. She might not remember this, but she
tried to test my arms. She tried to test the
club group Basic Unity.

Speaker 9 (04:44):
There's five thousand promo shots of us wearing karc Andi
jackets somewhere in Miami, somebody's wall or somebody's.

Speaker 1 (04:54):
Just passing them joints out.

Speaker 7 (04:56):
We had a little team, you know what I'm saying,
And we were performing at all the high schools, and like,
we made a name for ourselves locally at the same
time with DJs too, so you know, we're doing all
the Pirate stations. That's where we met Caylin back in
ninety six, you know what I'm saying. So we were
making a name for ourselves as DJs too, you know
what I'm saying. So we just made a conscious decision

(05:19):
to take music serious, and part of that was us
becoming producers. And you know, I think with me and Cool,
we just we've been so tight for so long. We
know each other so well. We know when I know
when he's in the zone. Just let him cook, you
know what I'm saying. And if I hear something he's doing,
I get an idea, I'll tell him and he'd be like, well,

(05:41):
come come fuck with it, or like I hated I
love it, Like you know.

Speaker 4 (05:45):
We're going right into the hits. Yeah a choice, Yeah right,
it's just so many, you know, so like I hate it,
I love dogs on top.

Speaker 7 (05:55):
Like with that, you know, cool with leave whatever he
was working on on the NP. See, he would leave
it up and we were in his mom's garage.

Speaker 9 (06:03):
Shout out to the old.

Speaker 7 (06:06):
Yeah, yeah, I'm saying, you know what I'm saying. So
one day I'll pull up. He's not there, and I
go to our studio and I just pressed play on
NPC and it's the hate of the love It beat.

Speaker 1 (06:18):
But I heard it.

Speaker 7 (06:19):
I heard the flip, the sample flip a little different
than how Cool had it because I was just listening
to the Black album had just dropped, and that our
encore record was just like so special, just the way
that that John Legend was singing and flowing on that
the way that it was just you know, it was.

Speaker 1 (06:35):
I listened to it.

Speaker 7 (06:36):
For like an hour outside his mom's crib, so I
had that in my brain. So when I pressed play,
I was hearing that the way that I was listening
to our core. So I just chopped it up a
little bit. And then he came back. He was, Oh, yeah,
that's dope, and he put the high hat sample on it.
So sometimes it just happens that way. Sometimes Cool cook

(06:56):
the whole shit and and I'll just come in and
a reference like a single chorus, a single hook and
whatnot when we when we send the record out or
when we're working with artists.

Speaker 1 (07:07):
You know what I'm saying.

Speaker 9 (07:09):
And some things of magic. You know what I'm saying.
Some things of magic as well, Like like when Dre
started vibing out, I walked in and I was like,
you know, I used to I used to There was
this thing I used to like do. We always had
the turntables set up and we just had a wall
of records with samples and ship and I used to
always like to like put the put the turntables on

(07:29):
so we can hear them live, and while the beat
is going, I would drop the needle somewhere right just
randomly dropped the needle and then when the music the
sample would come in, it would come in on us
such a different timing that you don't even recognize, you
know what I'm saying, bring it back, but it's completely

(07:52):
you never recognize.

Speaker 1 (07:53):
That it's there, you know what I'm saying.

Speaker 9 (07:55):
So this particular time I dropped it and that the
signature I had came on, I said, y'all sample this,
and we put this the high hat in there, which
ended up being a signature.

Speaker 1 (08:05):
Yead give it that prove you know, I'm kids are listening.

Speaker 4 (08:10):
This is this is what you're doing right now is
a master class because people aren't thinking like that when
they're sampling records.

Speaker 9 (08:16):
Nah, when you sample, you know you're going through this.
This is like drop the needle. Wear it drops. Sometimes
you get magic, sometimes you don't. But I used to
be like drop and then it will be a segment of.

Speaker 1 (08:28):
Vocal oh yo.

Speaker 9 (08:32):
But it's not like we're searching the random the randomizer,
you know what I'm saying, Let's see what Let's see
what happens. But I used to I used to love
doing that because we'll have beats playing and then you're not.
You're gonna get always gonna get something different when you
drop it. Sometimes you getting you ain't getting that, but
you know how you're searching for us for a certain songs.

Speaker 2 (08:52):
It's a different kind of inspiration when it's out of
that random, magic, calculated.

Speaker 9 (08:58):
And when it comes in on key it's really crazy. Yeah,
it's meant slided in there, you know what I'm saying.
Or we would use it as inspiration for like a hook,
you know what I'm saying, and then enjoy be like, yo,
let me let me pop a hook on there, and
at that point you just it inspired to create an
original element, you know what I mean.

Speaker 2 (09:16):
So so take us from basic unity having to do
your own beats. Now you're DJs making a name for
yourselves as DJs.

Speaker 3 (09:26):
You're killing all the parties.

Speaker 2 (09:28):
How do you get to a point to where anybody
in that professional space recognizes that y'all got some shit
going on and they need to be a part.

Speaker 7 (09:36):
Of I think our first sign was when we were
still in the group, when we went to Atlanta, UH
to try to get in front of La Read. At
that time, the Face Records was you know the dream
if you're an artist musician, producer. The Face Records is

(09:57):
that's the destination. You know what I'm saying. I don't
care what you're doing, singing, rapping whatever. They had Goodie
Mob outcast, Tony Braxton, Usher, you know what I'm saying.
They had as yet, you know what I'm saying, And
they had they had Babyface over there.

Speaker 9 (10:18):
Writing songs right and Babyface office was on one end
of the building.

Speaker 7 (10:23):
And so I found out, like, you know, somebody in
my family worked at Face and she had like a
big position. So we we just went up there on
faith Man. We went to Atlanta and just started hustling
and finally got in contact with her and she had
us come up to the office and we just pressed

(10:45):
play on the music we was recording, and we sang
live for and she was like, you know who you
need to sing for. You need to sing for Organized Noise,
Rico Wade, So Me and Cool was just like ecstatic
because it was their music that really gave us the
confidence to really believe in what we was doing. Because
we were using a lot of live elements along with

(11:07):
samples Cool was cutting.

Speaker 1 (11:09):
They were doing everything that we felt hip hop should
sound like.

Speaker 7 (11:15):
So to get the opportunity to sing in front of
him was like, oh shit, here we go. So we
did that and I'll never forget every beat, every record
he heard. He kept saying who did the beat? And
me and cool like, yeah, we did it, and then
after that who did the beat? So at the end
he was like, man, y'all good and just and that
he goes, y'all niggas stek to do what y'all? Keep

(11:35):
doing what y'all doing? You know what I'm saying, That
shit gonna work out for y'all. So that was like
a huge indication because you know, like to be able
to like the people you idolize give you that fucking
that thumbs up, like yo, y'all doing the right thing,
don't stop. Was our first indication that and it was
a big one for us. Now we worshiped Dungeon family.

(11:59):
Anything that niggas but out, even if it was not hitting,
we didn't care, like we was champion and they ship.
So we took that energy, came back home and went
even harder. And plus we had made a name for
ourselves with the beats here locally with like all the
independent record companies, right, so you know, Papa oh Man man.

Speaker 9 (12:19):
That's not just the song.

Speaker 5 (12:22):
Man.

Speaker 1 (12:22):
Let me tell you something, oh man.

Speaker 9 (12:24):
With the original brown paper bag boy.

Speaker 7 (12:27):
So like you know, young nineteen twenty years old got
the condo of Biscay Bay where I was getting to
it now the way the Miami Heat players lived. You know,
we in there these niggas is like, who are these
guys records?

Speaker 1 (12:43):
No, you have no replacements.

Speaker 9 (12:49):
This is called you know, artists finding our beat CD
and in one of their friends cars, and just like yo,
we used to put the beats and we used to
put our number on there so that be like, man,
what is that? Let me get some who beats? Who's beats?

Speaker 1 (13:03):
Then?

Speaker 7 (13:04):
And then we had like consistent clientele, like guys that
was in the street doing their thing, you know what
I'm saying.

Speaker 1 (13:12):
Would would would? You know?

Speaker 7 (13:14):
That's how we learned business too. You know a lot
of bad habits, but good you know, good game. We
picked up from you know.

Speaker 1 (13:20):
Just selling y'all street beats for.

Speaker 7 (13:22):
Like back then it was like five hundred and seven
hundred thousand, you know what I'm saying.

Speaker 4 (13:26):
But we was offering them bitches moving theuers and that's
when them btds had thirty two tracks.

Speaker 3 (13:34):
I don't know what time I got the bag right.

Speaker 1 (13:40):
Here, he's ty thousand for thirty two.

Speaker 7 (13:43):
So we was doing our thing, but you know, we
were blessed. I think what what took us to the
next level?

Speaker 1 (13:48):
Uh.

Speaker 7 (13:49):
We have a mutual friend with Fat Joe, our man
Rob and and he was like, Yo, Joe's working on
a new album and he's looking for some down South beats.
And I told him, Yo, I know some guys that
you know they are fire in Miami. So he was like, Yo,
don't give him none of the hip hop shit. You
know that y'all be doing. Give him some down South shit.
So it was how many beats on there?

Speaker 9 (14:09):
Thirty thirty two, So that used to be my lucky number.
Everything gets thirty two.

Speaker 1 (14:12):
So thirty two.

Speaker 7 (14:13):
We put thirty one straight down South type beats for
what it sounded like back then.

Speaker 1 (14:22):
And we's like, yeah, we got puke one one hardcore
like the shit, you know what I'm saying.

Speaker 7 (14:27):
So the very last beat was like some straight East
Coast you know what I'm saying, New York type shit.
So the story is Joe's on his tour bus and
they're listening in their car in Orlando and he's going
through the CD and he's just skipping, skipping, skipping, skipping,
and the last beat comes on and he's like, there's

(14:48):
no way the same niggas who did the right It's impossible.
I gotta go meet them niggas because this is my
favorite beat of all time.

Speaker 3 (14:57):
Yeah.

Speaker 1 (14:57):
So he comes down and we.

Speaker 9 (15:00):
I remember that we got the call first, so our
man was like, Yojoe wants to speak to y'all. So
Joe gets on the phone and it's like, y'all, this
is my favorite beat of all time. Gosh, this beat
on here is my favorite beat I've ever heard in
my life. We're He's like, in fact, it's it's such

(15:21):
an amazing meat that I want to record it in Miami.
I want you to come to the studio because that's
I want to meet y'all. I want to meet the
guys who did this beat. And then he and that
we were already doing mad shit with call it, you
know what I'm saying, like underground radio. And Joe comes
in the studio and we come in and you know,
we meet Joe for the first time, and Cali walks in.
He goes, these are my guys cool and Dre I've

(15:43):
been telling you about, you know, just like.

Speaker 1 (15:48):
The immediate family.

Speaker 7 (15:49):
When he's seeing the connection with us and Cal, he's
like he was like you know that, and he's like,
what do you mean?

Speaker 1 (15:53):
These are my guy?

Speaker 7 (15:54):
In fact, they was the only niggas not hating on
me when I came out here. They actually like gave
me opportunity, you know what I mean. So it worked
out like super perfect. And then from there I think
we got even closer.

Speaker 1 (16:07):
He he had.

Speaker 7 (16:08):
An R and B artist, Tony Sunshine at the time,
and shout out to Tony I talking him today and
he was like, yo, your niggas know how to do
R and B and We're like, yeo.

Speaker 1 (16:17):
He was R and B singers, right, yeah, singer. So
we were like, yeah, we could do that.

Speaker 7 (16:23):
So we started working with Tony Sunshine and then we
did this one record that was dedicated to Big Pun
and it felt like I believe I could fly. It
was that chord structure. It felt like you know, that
chamber and you know, we we recorded our saying the
whole ship and then we sent it to Joe and
he was just it just like blew him away.

Speaker 1 (16:45):
He's like, I didn't know you niggas could do all
of this. Yeah, I gotta come to New York.

Speaker 7 (16:50):
So he flew us up to New York and then
we spent a good four years, like you know, tussling.
What we would do is we would we would we.
We had to be in the studio with Joe about
seven o'clock, so all day, all morning, all day, we
would cook up, cook up, cook up, cook up, cook up,
cook up. Go see Joe play like twenty new beats

(17:14):
whatever he wasn't fucking with the next morning, we was
hitting every studio, every record company, boom boom bom, boom boom,
passing out the shit he didn't picked, cooking up another
twenty new beats, going to the studio the next night
with twenty more new beats, like we just kept We
was just not the only shiit we was doing was
probably playing GTA and fucking cooking up like non stop

(17:37):
and that ship. You know, the volume of betsu was
doing and the fact that we was from Miami making
them type of beats, we made a name for ourselves,
Like in the city, even before we had a hit
or anything, people were like, yo coolan Dre's the next
this and the next that, this and that, this.

Speaker 1 (17:52):
And that, so.

Speaker 3 (17:56):
That type of.

Speaker 2 (17:59):
You know what I'm saying, man like that the footwork
hustle is different than than the thumb than the.

Speaker 3 (18:06):
Thumb hustle email.

Speaker 2 (18:09):
It's so different because you had to have a different
type of hunger, fire and desire to cook up twenty.
Go play the twenty. Okay, cool, we still got fifteen left.
You only pick five. Go hustle the fifteen. Make another
twenty nigga like every.

Speaker 1 (18:27):
Day four years straight.

Speaker 9 (18:28):
And remember this is like so so if we had
an eight o'clock session, me and Dre would be like, yo,
we want to get in earlier to cook up.

Speaker 1 (18:34):
So we get we did.

Speaker 9 (18:35):
We did at one o'clock. Cause you know it's not
like now you just pull up your laptop and make
ten beats. No, this is like we had an equipment
set up, our MPCAH, the keyboard. We had to go
to the studio to produce these these these beats. So
we was getting there ahead of time, cooking up for hours,

(18:56):
food coming back. Joe gets there, were playing the vibes.
Joe's like that one, that one, that one. The rest.
The next day, like Jay said, we hustling them up like, Yo,
all the A and R's we're pulling up, Like we
went from A and R's. We met A and rs
they were like cooling who and then and then a
couple of weeks later, Yo, where y'all I need I
need a batch?

Speaker 1 (19:16):
So what's your first placement do you remember?

Speaker 3 (19:19):
Yeah?

Speaker 9 (19:19):
It was, it was. It was a combination. It was
nineteen and then nineteen ninety nine it was Fat Joe
King of New York featuring Boujiamon Tyan and then we
had the two JT Money.

Speaker 1 (19:28):
Yeah, we had place.

Speaker 9 (19:34):
So we had two on the JT Money album.

Speaker 1 (19:37):
Was he on Atlantic? We had that big song?

Speaker 3 (19:40):
Yeah, it just came off.

Speaker 9 (19:43):
So we had two records on the album called Blood
Sweating Blood Sweating Years or something like that, and we
did two records.

Speaker 1 (19:49):
We grew up listening to JT Money. Yeah, so it was.
It was a big deal for us to work with them.

Speaker 9 (19:54):
Absolutely, so simultaneous go three placements that Joe. I remember
we went in New York when the album dropped, and
I remember phone Flex. Remember when your phone Flex playing.
It was the first. We always say, yo, if you
got the album opener, it's a big deal because you
set in the tone the rest of the album, that opener,
that middle record, and then that outro you're setting you

(20:16):
know what I'm saying, Like those are important records. And
I remember us being in a car and from Master
Flex dropping bombs on that there. It was like, you
know it.

Speaker 1 (20:25):
Was charging at this point. Oh no, it was.

Speaker 9 (20:27):
It was it was still for the law, but we
were just appreciative.

Speaker 7 (20:31):
Yeah, I'm saying at the end of the day, it
was I remember it was we we got fifteen hundred
dollars for that beat, right, And when we started working
with Tony Sunshine, Joe was like, YO, so how much
y'all charging now? And it's like whatever, you know what
I'm saying, Like, it's whatever, Joe, He's like, all right,
y'all charge fifteen thousand now. We called our attorney, call

(20:53):
our manager and said, yo, new price alert because back then,
you know, when a major artist, and you know, Joe's
a major artist. Once the label paid that fifteen thousand,
that's the going fifteen bands. Like you know what I'm saying,
So you know, got a credit Joe too for that.

(21:16):
You know what I'm saying, what you was this that's
O one, O.

Speaker 1 (21:18):
Two two, thousand and two.

Speaker 3 (21:21):
That's a good number for that time.

Speaker 7 (21:23):
Well, you know, that's why you gotta that's why you
gotta salute. You gotta salute the icons, you know what
I'm saying. I was having a conversation with some some
young producers at the studio the other night, and I
was like, Man, it's a different it's a different game now,
like you know, coming up for me and cool. If
you would have had two or three consecutive hits back

(21:48):
to back to back, you could go make some real money,
real money because you could go That's what happened.

Speaker 3 (21:55):
We run.

Speaker 7 (21:56):
Yeah, we had New York for job Rule and then
for later Hated, I Love It and the whole the
whole energy surrounded all the artists involved on those records
and what it did. That's it's a historic you know
what I'm saying. It's a it's a moment in the culture.
So we're blessed to even be a part of that.

Speaker 1 (22:17):
Right. So we were able to take that.

Speaker 7 (22:20):
Energy and go hard and make a lot of hit
records and a lot of great album records and put
ourselves in a position to get seventy five.

Speaker 1 (22:30):
Thousand dollars for a beat. You know what I'm saying.

Speaker 7 (22:32):
Sometimes you catch the motherfucker for a hundred because you
don't even know where they are. They're big pop artists.
They want you to do a remakes or something because
we on fire. Let see if you get a hundred.
But that only could happen because Timberland was getting to fifty.

Speaker 1 (22:45):
So you know, in your place.

Speaker 7 (22:59):
Yeah, And no matter how big, and no matter how
hot we get or whatnot, you know, we respect the icons,
you know what I'm saying. And you know that's why
you sit down and you say thank you for real
for getting two hundred and fifty thousand a beat or
whatever at that time, you know, because it allows us
to say, yo, shit.

Speaker 1 (23:18):
You giving them that. You know what I'm saying, We
mad at seventy five.

Speaker 7 (23:22):
You get four for what you're paying for one.

Speaker 3 (23:23):
You know, used to be.

Speaker 7 (23:25):
Getting four or five records on albums at a time
because that was the jug, right So you know. So
I'm telling these young guys at the studio, I'm just like, man,
it's different for y'all, you know, because nowadays, when you
look at the credit the credits, it's twelve thirteen names

(23:46):
in that producer section, Bro and it's like, man, it's
hard to shine and collaboration is amazing. I love it,
you know what I'm saying. I think collaboration is great.
We've collaborated, what I'm saying, in the past five seven years,
we've collaborated with producers more than we ever had. You know,
we come from you know, we come from an era

(24:11):
where the guys that were at the top we're still
talking about today. Like you know what I'm saying, these
guys are like different, Like you know, when the Neptunes
went on their run, it was a different type of run,
like you've never seen nothing like that. Like, you know,
I can remember me cool, just like we had to
come up when in two thousand and one when fucking

(24:36):
Pharrell had Britney Spare, well, let me respect the Neptunes
had Britney Spears. I'm a slave with an in sync
fucking girlfriend record and the Nori.

Speaker 1 (24:50):
Super Dog.

Speaker 7 (24:54):
Like it's just it's just like, you know, if that's
if that's the person that's set in the standards and
you respect the craft and you're trying to be great,
you got to really work hard to even you know,
get into that same space. You know what I'm saying
and so but these kids now, man, it's like it's
ten motherfuckers on the record. I ain't saying nothing wrong

(25:14):
with it, you know what I'm saying. It is what
it is.

Speaker 10 (25:16):
But you don't you don't really know who to call
in fact much you know, it's so much and and
but there's more, there's more avenues now because you know,
as a producer you can go really put together, craft
the album and create your artist page on Spotify and
go hard, you know what I'm saying.

Speaker 7 (25:34):
And there's there's guys like today that that like, you know,
like I appreciate what they're doing in in the culture,
Like I really appreciate what someone like a Metro Booming
is doing, Like I that is very that feels very
what's the word like? I know what that feels like me?

(25:56):
Like when I watch that, I'm like I can resonate
with what he's doing. That feels like it comes from
the lineage, you know what I'm saying. Just in today's time,
he's doing everything possible to touch the culture, you know,
and doing it in a creative way, you know what
I mean. So not to say that there aren't producers

(26:17):
that's you know, really killing shit, you know what I mean,
Because there are it's just a different time.

Speaker 2 (26:22):
It's just like you guys came up in a time
where we all came up in a time where identity
was a thing, right, and so you wanted to be
identified as a certain thing so that people knew exactly
who to call for what sure, and we all love
the collaborations. And I say the same thing the artists,

(26:43):
right when artists are like, man, I got this joint.
I'm telling you, if I get Drake on, this is over.
And I'm like, well, if you get Drake on it,
it's no longer your song. And every time you come
out on stage, they're going to be looking for Drake.
I said, But if you can just sustain ablish your
identity first first, even if it's mid don't matter. You're

(27:05):
can establish you.

Speaker 4 (27:07):
That that like the young kid right now that got
the record four bats, you know what I'm saying. They
got the record and Drake ended up hopping on a remix,
but that record was already established as a four best record,
you know what I'm saying. And the record is incredible,
and now Drake's on it. Cool, Now it takes it.
Now we go to the level, the next level. But
he established that record by himself. He didn't wait hoping

(27:28):
he'd get a feature.

Speaker 9 (27:31):
Right, feature king to him, I'm jumping on that.

Speaker 3 (27:34):
One he was building.

Speaker 2 (27:36):
They saw him building a house that man, I want
a room in there, you know, I need a floor
in there?

Speaker 3 (27:40):
Can I can? I get involved?

Speaker 2 (27:42):
And so it's like we still have to maintain, we
still have to maintain that conversation with these young artists
and these young producers and this listen, build your thing
so that they have to come to you to get
that that They got to come to that in.

Speaker 4 (27:59):
The visuality as well though, And it's carving out your
space right. It's like it's like anything, you know, people
send us music, people send you guys music all the time.
I don't want to hear what I've already heard. I
just don't I get that from them. And that's cool
that you sound like such and such, But what about

(28:20):
sounding like you?

Speaker 1 (28:22):
Even if that sound.

Speaker 4 (28:24):
People may frown upon it at one point, you know
what I mean, But establish who you are. Like I
love when someone comes with a refreshing new voice.

Speaker 1 (28:32):
Oh give you on Friday, you know what.

Speaker 4 (28:38):
I'm saying, Like Daniel Caesar like those guys sound like
themselves through you know what I'm saying, Khalid, You.

Speaker 1 (28:47):
Know what I mean?

Speaker 4 (28:47):
Like these these guys sound like themselves, Like I don't
want to hear fifty seven Chris Brown's, y'all not him.

Speaker 1 (28:56):
Bro can't flip from the top rope. That's different.

Speaker 4 (29:00):
But they all want to because they think he's the
cheat code and that's cool, And I'm sure I'm going
to ask them next time.

Speaker 1 (29:08):
I'm like, you're tired of this.

Speaker 8 (29:08):
Ship, a little bit.

Speaker 4 (29:11):
Tired this shit, man, Don't have me just be out
here thinking like I'm just the one, only one tired
of here.

Speaker 1 (29:15):
Fake Chris Brown. But it's great reference.

Speaker 4 (29:21):
It's become a it's become like an epidemic of it.
Like it's like, Bro, like be you, because as you
get people to buy into you, they continue to push
you up because they tell somebody about you, have you
heard such and such, Yo, his voice is crazy or

(29:42):
I don't really get it all the way, but I
feel it. And this is same thing with the music,
same thing, same thing with the production side of it.

Speaker 1 (29:50):
Yes, you can get on the radio by.

Speaker 4 (29:53):
Sounding like somebody else's song, but it's another thing to
have a sound.

Speaker 1 (29:58):
It's another thing to have a sound.

Speaker 3 (30:00):
What is what is the first hit record?

Speaker 7 (30:03):
The first hit was it was New York, New York,
and we knew it because we was We were living
in New York at that time. So a lot of
records that we did that were like album fillers would
get played in the mix. So we got hot that
way too, like you know, so shout out all the
DJs definitely that that have always like rinsed our records,
even though even if they weren't singles, you know what

(30:24):
I'm saying. But I can remember we were in l
a for like the first time, and we was at
the Mandre on back when the Mandre Yeah.

Speaker 1 (30:37):
To the skybar.

Speaker 7 (30:39):
And the only reason me Cool could get in that
bitch is because we're staying at the hotel. The hotel
because that them people wasn't gonna let us in that
other way, right, So we in there and were chilling
and you know it got the models and whatnot.

Speaker 1 (30:54):
Me Cool.

Speaker 7 (30:55):
We like, yo, this is five and out of nowhere,
they put New York on the DJ P New York
and the whole crowd start singing at me cool, like
they know this shit. We thought it was just a
New York record and it wasn't you know what I'm saying.
And that was the first time like we were like okay.
And what was dope was when when we did that record.

(31:19):
You know, it was originally a beat we gave the
Joe and you know it was it was a different
sounding type of beat. At that time, it wasn't too
many records or beats that felt like that. Everybody was
still like doing a lot of soul flips and whatnot.
And Joe was like, I like this, man, but it's different.
And we kept trying to press him like we recorded this,
I'm telling you, is that shit And he's like, nah,

(31:40):
y'all could go ahead and play for somebody else.

Speaker 1 (31:42):
Was like, all right, cool.

Speaker 7 (31:43):
So Joe Rule and IRV and all of them are
down here working on the album. So I go over
there and I pressed play on the beat and IRV
loses it. He's like, Yo, this shit is crazy, Yo,
But dre put one of them hooks you be doing, man,
put a hook on there.

Speaker 1 (31:58):
So I go back to the spot we was using
at the time.

Speaker 9 (32:01):
Remember Jo, I mean Jadakiss had to be I didn't
know the Jada kiss. After Joe said y'all. Now, y'all
go ahead, and y'all go ahead and get you know
what I'm saying, send it to other people. First person
I said it was Jada because we have been talking.
I'm like, yo, Jada, I sent you a vibe and
Jada's like, your son, this is crazy. I messed with
it all right? Cool?

Speaker 1 (32:22):
So I didn't know nothing.

Speaker 9 (32:24):
I'm like, you know, people get beats, they say, yo, I'm.

Speaker 3 (32:26):
Fucking with it.

Speaker 9 (32:27):
And so I'm a type of person I don't like
to mention ship unless it's done, you know what I'm saying.
So that was one of those that I ain't even mentioned.
I'm like, could we get that all the time?

Speaker 3 (32:36):
Right?

Speaker 9 (32:37):
So we're we're at the studio right, and Dre's like, y'all,
I'm put a hook on this vibe so I'll never forget.
I'm laying on the couch right because that's what we're
just vibing up in the studio in the garage, and
Dre got the beat going on MPC and he's like,
and I just started mumbling a hundreds two hundred clips

(32:59):
and New York and I headed to New York because
there was a k RS one hook that popped in
my head's like, hold on, what's that? I'm like, oh,
that said k RS one vibe. He was like singing
again and j was like, and Drake came.

Speaker 7 (33:13):
With the I got clips Nigga from New York and
I'm stop the whole ship.

Speaker 9 (33:19):
After and then we go to the Hit factory. Go
to the Hit Factory. We dre sings that.

Speaker 3 (33:24):
He goes.

Speaker 9 (33:25):
J was like, y'all got a hook idea and her
was like, yo, go later, go later. Reference d goes
in there and lays it down. Joe Rue walks and
he was.

Speaker 1 (33:31):
Like, yo, what is this?

Speaker 9 (33:34):
And it was history from that. So the crazy thing
is he's like, yo, I know just who to get
on this. Who was the first part? He said Nas.

Speaker 1 (33:42):
First was like yo.

Speaker 7 (33:45):
Before he said that, he's like, yo, I know, I'm
gonna put on this, We're gonna put I'm gonna I'm
gonna put Joe Crack and Nas.

Speaker 1 (33:52):
And then when he said Joe Crack, I was I
give us pressure over It was.

Speaker 7 (34:00):
IRV calls Joe and he's like, yo, man, your guys
came over here and gave us one this and that.
He's like, listen to this ship and he's playing it
and all you hear through the phone is that's my beat.

Speaker 1 (34:14):
That's my beat. That's my beat. So I get the phone.
He's like, Yo, Drake, why are you giving niggas my beat?
That's my beat.

Speaker 7 (34:21):
I said, Yo, bro, you said you ain't want to
beat no more but yet. But it had that hook
on it. Nigga put that hook on it, so you know,
it was all loved. Joe was like, all right, cool,
and then IRV tried to get Nas, but Nas is
like out the country or something at the time, so
he's like, man, you know, now's out the country.

Speaker 1 (34:38):
I know exactly who I'm.

Speaker 7 (34:39):
I'm gonna put Jada Kiss on it, and then cool.
It was like, oh.

Speaker 9 (34:42):
I forgot about it, so I had to be had.

Speaker 1 (34:46):
But Jada was cool.

Speaker 9 (34:47):
He's like, I saw good. I ain't cut it yet,
blah blah blah. So when IRV hit him, it's just
crazy that all.

Speaker 7 (34:52):
The it's just you can't even make the ship up.
So on the reference track, just warming up, I was like,
this is this is I'm just warming my voice up.
And so when it was time to mix it, I
was selling to engineer, Yo, you could cut that shit off. Like,
that's just me doing a reference.

Speaker 1 (35:07):
It was like, nah, yo, that shit is dope as fun.

Speaker 9 (35:10):
Not leave that ship first, produce a tag.

Speaker 7 (35:12):
Yeah, and when we shoot the video, Drone want you
in there, man, do your thing.

Speaker 1 (35:15):
Let him know.

Speaker 7 (35:16):
And then it ended up being a tag like you
know what I'm saying, So, you know, shout out to
Earth for that. But you know that's how that that
record came. And then the crazy shit is like four
months later, that record is still doing this thing, but
at the same time it's creating it's creating like tension
in the city. Yeah, because you know at that time,

(35:37):
you know, Job was in a space where you know,
people were really really counting him out, you know what
I'm saying. And you can't blame him because you know,
fifty cent dropped this classic album, right that was just
like you know Underniable. Yeah it's a classic, right, So
people were really counting them out. So this song was
just like it gave him new life and it was

(35:58):
just the hottest record of the summer, and so it
created a tension. These guys all start beefing with each
other out of nowhere, you know what I'm saying.

Speaker 1 (36:07):
And then hated the Love It comes out with had
y'all already done? It had already been done, y'all already
recorded that. We didn't even know. We didn't know it
sounded like until the album drop Man.

Speaker 9 (36:19):
We heard we didn't put it in a We got
a call like, yo, y'all got a placement on on
Games album.

Speaker 1 (36:27):
Y'all know what beats it was? Ship.

Speaker 9 (36:31):
They're like, yo, y'all got a placement, give us your attorney,
blah blah blah, Like, Yo, we got a placement on
on this game. I'm just like a word, that's what's up?
Bla blah. I didn't even know what beat it was.
A week and a half later, I'm in the car
and I hear the damn song you hated Love It
on the radio.

Speaker 1 (36:48):
On the radio, dog I called Dre, So now I
know the beat.

Speaker 9 (36:53):
This ship is on the radio.

Speaker 1 (36:54):
So they've done the business for it. Everything that record.

Speaker 7 (37:00):
That record, Remember the story I told you about going
to fifteen thousand dollars a beat as a Joe. That
record is the reason that we started getting four points
off rip on every record we produced. Because they put
the album out, they didn't do no business. Our attorney
was trying to get the business done before the album dropped,

(37:21):
and she kept telling them like, yo, y'all can't put
the album out. Y'all ain't even do the business. Yeah,
this ship came out. She's like, okay, now I'm gonna
get you four points forty.

Speaker 9 (37:31):
It got What happened was the song got leaked, you
know what I'm saying. And before that, the right when
the album dropped, the song was already doing twelve hundred
Dreams of Spinds a week smash. It was out of
here because there's remember the original single.

Speaker 1 (37:44):
Was Dreams Dreams that shot a video.

Speaker 9 (37:46):
They had shot a video to it and everything already,
so they had to switch gears. But we I found
out what beat it was on the radio. Oh my
big gables. Of course, it gave us leverage, you know
what I'm saying.

Speaker 1 (37:58):
The business property was it was.

Speaker 9 (37:59):
It was out of here before.

Speaker 7 (38:01):
It was a life changer because what happened was and
guess what, no one else knew we did the beat
all right.

Speaker 1 (38:07):
Because they don't have the tag either on anything. No
one else knew we did the beat. So we go.

Speaker 7 (38:15):
We we in la at Marvin Gaye Studio because Mary J.
Blige wants to work with us because they hated to
love it. She's like, I worked with the niggas who
didn't hate it to love it. But mind you back
to the point about the tension. The first time I
heard the record was in the back seat of Escalade
with Fat Joe in the front seat and his manager
at the time, and they're playing the record like fucking crazy. Meanwhile,

(38:41):
Joe Krack and fifty Cent hate each other, and I'm
in the back seat like this and niggas.

Speaker 1 (38:46):
Is looking at me. I didn't know, and they're like yo.
And then Joe loves us so much, you know what
I'm saying.

Speaker 7 (38:56):
But Joe got a lot of a lot of street
guys with him, and all of them this nigger man,
yo crack Yo, So it's hard to celebrate your biggest
record ever, right, But it's all love.

Speaker 1 (39:17):
It's all love. Do you know what I'm saying.

Speaker 7 (39:18):
It's called family business, you know what I mean. It's
it's family. That's why we family. So, but no one.

Speaker 1 (39:25):
Outside of the circle new we did the record.

Speaker 7 (39:28):
So we get called to go to La to work
with with Mary and she's like, yo, I need hated
to love it. I need that that's the fuck. I
need y'all do what y'all need to do. And I
think Shan Garrett was the writer in the studio at
that time, and me and Cool was just playing beats,
playing beats, and we really didn't catch any chemistry with
Sean that that day in that session, like nothing really

(39:51):
came of it.

Speaker 1 (39:52):
So we go.

Speaker 7 (39:53):
Now we're in in in Atlanta because Jeezi wants to
work with us because he wants to work with the
guys who did.

Speaker 1 (40:00):
The New York beat.

Speaker 7 (40:01):
And he's like, Yo, that synthesized the sound that y'all
gotten that New York. So I'm telling all my niggas, yo,
listen to that make ship like that.

Speaker 1 (40:09):
I want them.

Speaker 7 (40:10):
Since I said fuck it, might as well call the
niggas who did the beat man so we getting New York.

Speaker 9 (40:16):
I need one of them.

Speaker 7 (40:19):
So we go over there, and you know, as producers
at that time, we never wanted to repeat the sauce
like we were so hell bent on creating a new sound,
like you know what I'm saying. So Jezus telling us
to our face, give me New York and Me and
Cool to.

Speaker 3 (40:37):
Do it everything.

Speaker 1 (40:40):
Horn Records, Sailpol Records, well, we've all been there. You
know what I'm saying.

Speaker 9 (40:46):
We didn't know, Like, remember we got two hits simultaneous.

Speaker 1 (40:49):
I don't know. We didn't know how.

Speaker 9 (40:50):
To Let's let's use the same sauce.

Speaker 7 (40:55):
We ain't know, right, So we're telling the nigga, Yo,
you know we did that Hated Love It record.

Speaker 1 (40:58):
He's like, what it was? Yeah, we did the hat
of the Loving record. He said, Man, I you know,
y'all niggas did that shit.

Speaker 7 (41:03):
Man, that shit. That shit a smash nigga. So we're
trying to give him everything else. While we're in that
session talented, Yeah, literally, we get the call from Mary
in the Gezy session. She goes, look, I wanted to
work with y'all so bad. I know we couldn't do anything.
You know, we couldn't cook up anything new. So I said,

(41:23):
fuck it. I just sang over the fucking hated I
Love It beat. You did it myself. I'm gonna send
it to y'all now. So when we listened to it,
as Mary J. Blibe singer over Hated Love It at
the end of the record, she goes, cooling, dre this
beat is.

Speaker 5 (41:37):
Hot, And when that remix came out, it was game
over because we were still The only recognition we were
getting for as.

Speaker 1 (41:48):
Producers was the New York Record and the New York
that was a hit.

Speaker 7 (41:52):
So then when the Merry remix came out, I said,
Cool and Dre this beat is hot.

Speaker 1 (41:56):
Niggas was like, Okay, hold up the same niggas who
did that? Did that?

Speaker 7 (42:00):
That's impossible. It's completely different sounds. And then that's when
our life like really changed. Like I can remember being
in Mansion and us man and Forrell seen us and
he left his table to come over to like show
love and me and Cool was like, we need to
be showing you love like you like we look and

(42:22):
coping please for no reason. We're like, hey, yo, listen
all them articles saying that we're the next Neptunes.

Speaker 1 (42:27):
We never told him.

Speaker 4 (42:28):
That that, Like we're mad we keep they made that ship.

Speaker 7 (42:35):
I'm like, I'm telling him, like and he's like, Yo,
don't even worry about I'm just letting you know, like
we're upset about it too.

Speaker 1 (42:43):
I just think he even knows about no articles, right,
you know what I'm saying.

Speaker 7 (42:46):
And he was just like, Yo, that baseline, that baseline
on that record is is forever. Man, y'all got a forever, Yeah,
got a classic forever. I was like, yo, you're in
the New York Record. We did, like you know what
I'm saying, and like he went on his.

Speaker 9 (42:58):
Way shout out the Doctor Dre for putting the most
amazing in history ever on a record, like.

Speaker 3 (43:06):
It won't come out until he's What's.

Speaker 7 (43:08):
Ill is when we did, we we would there were
certain things that we would emulate, not emulate. We would
take a gem, so Doctor Dre would he would do
on his choruses. He would add a tambourine to a snare,
and he wouldn't do it on every snare.

Speaker 1 (43:24):
He would do it.

Speaker 7 (43:25):
He would do it on one snare, let the other
one breathe, and then do it on another snare.

Speaker 1 (43:29):
So on hated.

Speaker 7 (43:30):
I love it that we did the exact same, not
knowing it was ever going to do Dre. It was
just a gem we picked up from him.

Speaker 1 (43:37):
You know.

Speaker 7 (43:37):
I can remember when we our first meeting with Jimmy
Iveen and it was about some whole other shit years
later and we're sitting there and like remind him, like, yo,
you know we did hate it. I love it, And
he was just like that's one of the top five
records in my top five records in my career period,
like of anything I produced or anything was on my label.

Speaker 1 (43:58):
He's like, let me hear let me let me hear
that beat before Trade did what he did to it.

Speaker 8 (44:04):
So me cool.

Speaker 1 (44:05):
We didn't understand what he was saying before what Dre
mixed it.

Speaker 7 (44:09):
You know, I want to hear what I want to
hear before doctor Drake opens up the laptop, puts the
speakers on and plays the beat. Jimmy goes, it's the
same thing. It was not that you know, you know
Drake is who he is and worship from, but you know,
it was really like he.

Speaker 1 (44:25):
Couldn't believe it.

Speaker 9 (44:26):
He put a hell of a mix.

Speaker 1 (44:27):
You know what I'm saying was already close exactly like
he was.

Speaker 9 (44:32):
He was gonna here straight like like the guy like
you're gonna do that to my man. We couldn't fit.

Speaker 1 (44:45):
It's a mixion to get.

Speaker 4 (44:46):
Int you come on, man, come on man, but no
mo man.

Speaker 3 (44:56):
You know the.

Speaker 9 (44:58):
So Dre did have shout out Mike Alezando, I mean
shout out just Dre and everything that he did. Man,
but he put he had him play the bass over
because you know, you know, as music producers, musicians, it's
all about the chains. That bass chain, that dre has,
vocal chain. You know, it's the best quality of everything.

(45:21):
So when we got the credits, we saw bass by
Mike Alexandro, I'm like, that's why the bottom manal like
when she comes on in the club today, it just
cuts through. It cuts through, like all he did was
had the man.

Speaker 8 (45:42):
We're musicians, so it's the bass.

Speaker 2 (45:45):
It starts with the actual machine, like it could be
a custom machine just doesn't you know what I'm saying,
doesn't have the same like it could be.

Speaker 3 (45:54):
It's the pick up.

Speaker 9 (45:54):
People don't understand. It's not just whatever you pick up.

Speaker 3 (45:58):
First man.

Speaker 9 (45:59):
When we did when we did My Life, we had.

Speaker 1 (46:03):
My Life is the game Future Little Yeah.

Speaker 9 (46:06):
We had the record, had an eight o eight and
before we went to mix we could we tried to
cut the base on there like ten times with different bases.
It kept the base kept clashing.

Speaker 1 (46:19):
With the eight of eight.

Speaker 9 (46:20):
It kept canceling out, and I'm like, Yojoey, we got
a mixes where we got a deadline. Games like yah,
we got to turn this shit in. We're like, we're
at the NRG Studios. Remember we had Yeah, we had
a NOD session with NAS and we're NRG Studios and
I'm like, yo, let's get it one last time. And
the bass player called me is like, y'all got a
brand new base. They're telling me this ship is the magic.

(46:40):
I'm like, bring it through. We just to give it
one last shot because we had to uh Steve and
the other studio, POSSII had the mix up. You know,
y'all just need the bass. So my man, the bass
player can lord the strings, we call him. He comes
to the base still clashing. I'm like, damn, we're gonna
have to We're just gonna have to keep the eight
to eight. So then the assist an engineer, he's like,

(47:00):
y'all want to try to glue. I'm like, the hell
is the glue O? He's like, hold on. So at
NRG Studios, even you know that studio in La Did,
They have like Moroccan style room and shit super vibe.
So they have a sex they have a room with
all gear, vintage gear. So this guy walks in, opens
his shit up and it's a p bass fender from

(47:22):
nineteen fifty nine. You can't even see it's completely raw
wood from all the it's exposed hooks.

Speaker 1 (47:31):
That ship up.

Speaker 9 (47:36):
Eight away comes on with the base and.

Speaker 1 (47:38):
It's the marriage. It's crazy perfect. I said.

Speaker 4 (47:42):
Yeah. So when y'all get these records right, and y'all
going from five hundred, seven hundred to fifteen hundred to

(48:04):
fifteen thousand to forty plus four points.

Speaker 1 (48:09):
Yeah, what y'all buy? Ya had to buy.

Speaker 4 (48:11):
Something because now y'all not just now, y'are just not
in the apartment playing gts.

Speaker 3 (48:16):
You can't look regularly out in the apartment now.

Speaker 7 (48:20):
We you know, my my advice cars like you know
what I'm saying, Like I was hustling backwards when I
was younger.

Speaker 9 (48:30):
Now we was called we were signed to blow the
bag records. Yeah, blow the records were doing all the wrong.

Speaker 3 (48:40):
You know.

Speaker 7 (48:41):
And I want to shot, but I don't want to
cause the because it's nothing for love.

Speaker 1 (48:47):
We're working with tyressee who we love.

Speaker 7 (48:49):
You know what I'm saying, that's that's you know what
I'm saying, that's fam and we're working and uh, he
had to Betley and I can remember the Bentley the
GT Car right now. I like that Benley and he
goes Man you know what I'm saying, you can get
the belly easy.

Speaker 1 (49:07):
You know what I'm saying. You got a crib.

Speaker 7 (49:08):
I'm like, yeah, I got Creepy's like, man, it's pull
equity out that bit by ship.

Speaker 1 (49:12):
I'm like, oh, you could do that. He's like yeah, nigga.

Speaker 7 (49:18):
So like I think my first I mean, you know,
I think the first splurge we had was when we
bought two Escalade trucks.

Speaker 9 (49:27):
Ye Escalade as big as you can go, you know.

Speaker 1 (49:32):
What I'm saying, where the twenty threes?

Speaker 7 (49:34):
And then right after that the Range when the new
Range body came out, and then right after that, you know, uh,
the Bentley GT Coop. At least we bought cribs though, No, no,
the first thing we did was we bought houses.

Speaker 3 (49:50):
We knew that much, so smart.

Speaker 7 (49:52):
No, that's the first thing I think, you know, I
did not, Oh no, the first thing was bought cribs.
And then but like you know, with cars and ship
like that cool to tell you, I went, I went,
I went, I went, stupid.

Speaker 1 (50:04):
Bro, bro like, how many cars do you have? At once?

Speaker 7 (50:06):
I had seven cars parked out out front of my house.
And it was it was, it was so disrespectful because
all the cars combined costs more than what I bought
the house for it. So that step one in hustling backwards,
you know, Part two is it's three garage.

Speaker 1 (50:26):
House, you know what I'm saying.

Speaker 7 (50:31):
So it's now two cars in this one, one of
the old schools in this one, and now you got
four cars in the front and like two of them
truck like you know.

Speaker 9 (50:43):
It was a lot of stuff with car covers on there. Yes,
association was like, yo, y'all can't keep car covers on
all these cars like that.

Speaker 7 (50:50):
So the problem is because you don't have a ten
car garage house. You know what I'm saying, I'm driving
whatever is closest to the fucking curve, like meaning like
I had the Ferrari and the and the and the
Bentley in the in the in the garage.

Speaker 1 (51:14):
Yeah, and then I had the Keif for cure.

Speaker 7 (51:17):
I had the Bends and the fucking Maybach fifty seven
s and the range Rover and the and the Escalade
all of that. And if I wanted to take the
Ferrari out to like go to the heat games we
used to go all the time, I would have to
move all those Yeah, and we had to move card.

Speaker 1 (51:39):
It was it was, it was crazy.

Speaker 7 (51:41):
So like you know, when we started getting money like
if if if if splurging like for me, uh with
cars and then another thing cooler and I did a
lot was experienced. So you can't even see the money
you spent. It only lives in your memories like these
blind people in you're having dinners every night, the biggest suits,

(52:04):
you know what I'm saying. And fortunately were blessed to
be able to to to still maintain that. Like you know,
we've seen so many horror stories, you know what I'm saying.
So today we're still like you know, blessed to be
able to like live a lifestyle.

Speaker 1 (52:25):
Thankfully we're smarter, you know what I'm saying.

Speaker 7 (52:28):
Now, you know what I mean. So now I'm not,
I'm not. I don't need seven. I don't need it,
but I gotta have the coloring because you know what
I'm saying.

Speaker 3 (52:36):
I mean, you must gotta have the wraith.

Speaker 1 (52:39):

Speaker 3 (52:40):
You have to have the raith.

Speaker 7 (52:41):
I mean it because it just drives smooth once you
once you once you're in it, you know they call it.
That's the magic carpet. Ride like once you want the
magic carpet ride, you can't.

Speaker 1 (52:53):
You don't want to feel.

Speaker 3 (52:57):
Got the range you name two cars over five.

Speaker 9 (53:02):
But we got a lot smarter now now you know
what I'm saying. It's like, you know we didn't been there,
we've done that.

Speaker 4 (53:07):
You're also in a different earning space too. Yeah, your
music and CATALYGT set generated something crazy.

Speaker 9 (53:14):
I know it was a problem, man, because when we
was we were spending a lot of money on that
American Express, that black car and none the hold on,
that's before the black car. When I call them people
up and say, hey, I knew it was I knew
it was serious. When I call American Express to get
the black car and the lady said, before I could
hang up, the delivery man he was here.

Speaker 1 (53:35):
They go, oh, they couldn't wait to give y'all sh man.

Speaker 9 (53:39):
Look, I'm like talking to the lady. Then yes, the Centurion,
no problem. It's twenty five hundred a year for each card.
I said, yeah, that's cool. Blah blah blah. My brother
before I hung that phone up.

Speaker 1 (53:50):
The wall delivered a circle house.

Speaker 9 (53:53):
Them boxes came in with a metal case. They want
you to spend so quick. Yeah, you want to go,
they want you to go crazy.

Speaker 7 (54:05):
You know, I mean, give thanks, man, because some people
don't recover, you know what I'm saying.

Speaker 3 (54:16):
Yeah, and and I.

Speaker 7 (54:17):
Think you know, for me and cool, like we've been
in We've been in the game for two decades now.
So in order to be in the game for two decades,
you got to be in the valley a few of them.

Speaker 1 (54:28):
Years, you know what I'm saying.

Speaker 7 (54:31):
You start off, you start off in the valley, you
feel me and then so that's what you know. So
it ain't nothing wrong with it. You know, you want
to go further. When you go further and then that
valley starts knocking on your door, it's like, oh ship.

Speaker 1 (54:49):
That's a whole new feeling. Yeah, that's all.

Speaker 7 (54:52):
And some niggas never recover from that first knock on
the door where it's like, hey, yo, this shit you've
been doing, you can't do it no more.

Speaker 1 (55:01):
For whatever reason. Some people have personal problems.

Speaker 7 (55:03):
Man, a family is sick, you know, niggas will be
wondering why whatever happened to him it was winning.

Speaker 1 (55:09):
You never know what could be going on.

Speaker 7 (55:11):
If you're a true artists, true creative and you put
your life into your work and you put passion in
the shit that you do. Things like a mother or
father having cancer will affect your work, you know what
I'm saying. You know, that's why you got to respect
the people who just is like fucking so driven. They
don't let nothing, you know, slow them down. But most

(55:33):
of us, yeah, because life happens. Yeah, you know what
I'm saying. So so you know, for me, cool, like
we've been in the valley a few times, you know
what I'm saying, Thankfully, you know, you know, we're in
a position now where we've lived and we've learned and know,
like you know, you know, certain urges that we have

(55:54):
and you know, back in the day it don't even exist.

Speaker 1 (55:57):
I think when you get to this.

Speaker 7 (55:58):
Point in your career and you're still somewhat relevant, you
still have to impact on our culture. And at the
same time, for us, I think for like the last
two three years, we've been leveraging our resume and you know,
and our accomplishments and what we've accomplished in music to

(56:19):
be able to open up new doors, you know what
I'm saying, and new opportunities to do other things outside
of the music space, you know, what I'm saying, and
and and that's been very good for us.

Speaker 1 (56:31):
Let's talk about that.

Speaker 4 (56:32):
Let's talk like, come on, let's talk about the business
side of you know, this music thing for you guys outside.
I won't even say the business side, the ancillary things
that now, like you said, you guys have been able
to leverage by, you know, because we all have a
moment in our careers period where we're like, Okay, the

(56:54):
network has to be your network, right, you know, you
have to be able to say, Okay, now, what can
I do with the accomplishments that I've had in the
and and the things that I've learned in this game
that can take me to other places? We should, right,
everybody doesn't do that. I always preach. He always preaches
that you should though, you know what I mean, because

(57:16):
what someone may think is done in this space over here,
they're like, we've been waiting for you.

Speaker 7 (57:23):
Oh man, It's don't get no realer than what you
just said. Man, the music business is a business. Where
what have you done for me lately? All right?

Speaker 1 (57:34):
So you know, I remember our first time hitting.

Speaker 7 (57:38):
The valley was just we had a label deal with Interscope,
and we knew going into it. We said, yo, pay
attention to all the other producers when they started their
own company.

Speaker 1 (57:51):
They got real quiet.

Speaker 9 (57:52):
Because they're trying to break their own artists.

Speaker 1 (57:56):
And if you don't pop your artists off, it gets tough.

Speaker 2 (58:00):
Yeah, because you also go into a space where you
dry up the market in terms of placing records. So
you ignore those phone calls for so long till they stop.

Speaker 7 (58:10):
You're putting all your energy and it's yours now, so
you're putting extra blood, sweat and tears.

Speaker 1 (58:18):
That's a whole new relationship. Ye, it's a relationship. Yeah,
this is yours. Like you want to break a new
artist everyone.

Speaker 7 (58:24):
As if you're a music producer, the goal is to
cultivate new artists and introduce them to the world and
and and hopefully they go on to become you know, icons,
they go on to become like really big artists. So

(58:44):
you look at a Doctor Drean and see what he's
done from NWA to Snoop Dogg to Eminem to fifty cent.
He had a hand in Kendrick Lamar himself as an artist.
You you can't name too many records that Doctor dre
has produced for I mean produced on that's not signed

(59:07):
to him, right, organized noise outcasts, Goodie mob.

Speaker 1 (59:13):

Speaker 7 (59:14):
Society is so you can't name too many records that
they produced on that wasn't coming from their camp, you
know what I'm saying. So that's how Cool and I
always wanted to function. So when we did the Interscope deal,
we put everything into that, all of our attention into it.
And when you do that, other people are calling you

(59:34):
for music and you don't give it to him, you're
gonna be like, what the fuck?

Speaker 9 (59:37):
Right we neglected You're naturally gonna neglect the bread and
butter because you know what, and trying to break your own,
you know.

Speaker 7 (59:45):
Label, So you know, when you don't put something out
there for like a year and a half, two years,
and now the artists you were trying to break, maybe
it's not doing what it's supposed to do, all of
a sudden you're ready to just you know, okay, shit,
we gotta get back on our shit. The game might
have passed you by, the sonics might have changed on

(01:00:08):
you because niggas is going to other people, you know,
and that me and Cool found ourselves in that position,
you know, around I can remember around like two thousand
eleven and in that time, you know what I'm saying.
And you know, fortunately for us, you know what I'm saying,
My man worked on the Jesus Peace album. You know,

(01:00:29):
we worked with Game and got ship cracking, and then
Boom do all the way up with Fat Joe and
then you know, put out an artist Kent Jones at
the same time, and then bum You know, you remind
niggas and they're like, Okay, we're not going to sleep
on them no more, because they're gonna find.

Speaker 1 (01:00:43):
A way to come back with you, you know what
I'm saying.

Speaker 7 (01:00:46):
So I think those experiences and being able to survive
that people outside.

Speaker 1 (01:00:53):
Of the music business appreciate that.

Speaker 3 (01:00:55):
Right.

Speaker 7 (01:00:55):
So if you've been in the game for twenty years
as a producer or whatnot, and A and R might
look at you and be like, yeah, man, but we
want the new thing, We want the new hot thing.
You know, it's okay for Rick Rubin to be in
the game for thirty forty years. You know, I respect

(01:01:17):
Rick Rubin on another level. I respect them just as
much as y'all do. It doesn't work like that for
us for in our culture.

Speaker 1 (01:01:26):
You know, what I'm saying.

Speaker 7 (01:01:28):
You know, it's changing now because thankfully we're from a
generation where a lot of the guys I grew up
listening to, like Cameron Mace, Fat Joe, like, these guys
are really viable right now and fucking.

Speaker 1 (01:01:42):
The game up in the media and killing the shit.

Speaker 7 (01:01:46):
So thankfully we from that era where you know, like, okay,
just a new day, you know what I'm saying.

Speaker 1 (01:01:51):
But in finance and other industries, they want to work.

Speaker 7 (01:01:58):
With someone that's got a twenty year resume that looks
like a Cool and dre that have worked with jay Z, Beyoncey,
you know, fifty cent, Fat Joe, you know, Fallout Boy,
Little Wayne, Like it's gonna go, It's gonna keep, yeah,
trust me, that is a long list of month and
they're like okay, and they're still say they're still viable,

(01:02:23):
They're gonna want to do business.

Speaker 1 (01:02:24):
You know.

Speaker 7 (01:02:24):
So one of the things that you know, Cool and
I have done in the past two years is like
this whole this whole wave of artists selling their catalogs
and whatnot. You know, there's two ways to look at it,
you know what I'm saying. If you're smart and you

(01:02:46):
have a plan, you know for what you're gonna do
with that when you sell that asset and you have
a real plan on how to grow that money and
make it.

Speaker 1 (01:02:57):
Work for you.

Speaker 7 (01:02:58):
You know what I'm saying, Then great, go do that.
And if if you still if your mind is still sharp,
because this is the music business, the same sports. We
just got to have a sharp mind.

Speaker 3 (01:03:10):
Yeah, you can do it forever.

Speaker 7 (01:03:12):
We could do this shit forever, you know what I'm saying.
Then then go create a new catalog you mad at you,
you know what I'm saying, Or do a deal with
if your catalog exceeds whatever was forecasted, make sure whatever
that is that's above the forecast, make sure that shit
get busted down eighty twenty you get the eighty You

(01:03:32):
know what I'm saying. Every contract, no standard lego block
shit is what you negotiate, you know what I'm saying.
So a lot of that we've been in the space
to where we've been working with you know, different financial
institutions like a Franklin Templeton, working with different venture capital people.

Speaker 1 (01:03:54):
In the tech space like an A sixteen Z. You
know what I'm saying.

Speaker 7 (01:03:57):
Shout out Megan and Judine and everybody over there to
create different avenues for artists to use their IP to
leverage it without having to divorce themselves from that asset.
That's something that you want to do, you know what
I'm saying. So that's something we've been doing. We've been

(01:04:17):
blessed to be a part of this cannabis wave, you
know what I'm saying. You know, we're venturing out to
New York with that, blessed to be part of a
great group of people doing that. So you know, we'll
be in Manhattan real soon. Look out for us. And

(01:04:37):
we're doing something really creative you know over there that's
gonna be great for you know what I'm saying, people
who like to smoke and you know, people who are
create music and everything like that. So you know, we
got that going on. And we also created a new
distribution company. It's called Nebula, and it's really cool because

(01:05:00):
you know a lot of artists they make music and
they find it hard to get their ship up on
the DSPs or get their video up on YouTube.

Speaker 1 (01:05:09):
They say, it's easy as hell.

Speaker 7 (01:05:11):
I shot a video not too long ago, like a
year ago, and still can't get that vis regarding too
right so that made us say, okay, how can we
make this easier because if we haven't problems trying to
figure it out, then I know, you know the person,
you know what I'm saying. So you know, and we're
in the era of everyone wants to be independent and everything,

(01:05:33):
which is great. So let's create something for people to
go and and be able to put their music throughout
distribution and get their ship up on all the right
all the DSPs, get the right looks at certain playlists
and whatnot. And we've incorporated AI technology with our platform,
which makes us unique, makes us different, you know. So

(01:05:56):
there's a cool and dre you know, brain and the
actual distribution platform. So kids, can you know, ask any
questions on how to you know, what kick should I use.

Speaker 1 (01:06:10):
Or what preset should I use?

Speaker 7 (01:06:11):
Or you know what I'm saying, how do I go
about marketing and promoting my my my single or my
video or.

Speaker 1 (01:06:19):
Whatever questions they have?

Speaker 7 (01:06:21):
You know, we have the technology that's gonna answer it
right on the spot.

Speaker 6 (01:06:37):
Yeah, it's got to happen, has to happen. Pull on
my keyboard. That job was talking about keyboard, serious keyboard.
New way I don't think is hold let me get
to my damn muscles.

Speaker 4 (01:06:49):
You should have just picked up a grand piano and
walked it upstairs.

Speaker 3 (01:06:53):
Man, wouldn't be the same. Come on within it.

Speaker 4 (01:07:03):
Im gonna sustain pedal either. So that's that you know
I'm really working this ship. Cool and dre You've you've
been part of historical moments. Yes they are, And now
the people want to know if you.

Speaker 3 (01:07:19):
Know your history. Come on, out of all the songs.

Speaker 1 (01:07:24):
You've heard, out of all the tunes you've sampled, what
is your.

Speaker 4 (01:07:31):
HM five?

Speaker 3 (01:07:36):
Your top five?

Speaker 1 (01:07:38):
Come on, tip five?

Speaker 3 (01:07:45):
Your top five all revy singers?

Speaker 1 (01:07:49):
Oh wow, already songs?

Speaker 3 (01:07:52):
Oh wow, we got to know.

Speaker 2 (01:07:56):
You got to show how many cars and how many boats?

Speaker 9 (01:08:02):
Your yes?

Speaker 1 (01:08:07):
Yeah, now top.

Speaker 9 (01:08:18):
Your jop five?

Speaker 1 (01:08:24):
Oh yeah, that's serious.

Speaker 3 (01:08:32):
How many guys? How many boats?

Speaker 1 (01:08:36):
Man? Top five R and B singers, Top five all time,
all time time? Wow, long all time? Man. All right,
I'm gonna go with I'm gonna go with my favorite.

Speaker 7 (01:08:51):
All right, it's not even about them being like my
favorite Top five. De'angelo is gonna be the first one. Yeah,
the second person I'm gonna put and don't even play
with it when I say the name. Don't even play
is going to be Prince And if you have a
problem with it, if you have a problem with it,

(01:09:17):
play Diamonds and Pearls because I know y'all want to
be what you Let's go crazy, which is a classic.

Speaker 1 (01:09:23):
Play Diamonds and Pearls.

Speaker 7 (01:09:26):
Another guy that doesn't get the credit he's supposed to
get as a singer, his name is Joe.

Speaker 1 (01:09:34):
You know, I love m J. Because MJ's voice is
so pure.

Speaker 7 (01:09:38):
And if you watch the little documentary they put out
the other day on We Are the World watching them takes,
don't play you guys, gon enjoy your world.

Speaker 1 (01:09:49):
You know what.

Speaker 7 (01:09:52):
Perfect I'll put Michael just you know what I'm saying.
It just is what it is that that you know,
just go back to and he was six years old
singing man killing grown men?

Speaker 1 (01:10:04):
Right, all right? So MJ. And then.

Speaker 7 (01:10:11):
Last but not least, you know Wind he was a beast.
You know what's crazy about? Why is a beast?

Speaker 1 (01:10:19):
But over the years I've started to.

Speaker 7 (01:10:23):
Really, really really appreciate them runs that Sean Stocker was
given off.

Speaker 3 (01:10:31):
Scientists.

Speaker 7 (01:10:34):
Was I mean, we we always you know, always kicked
the door down at the end, yes, But man, that
boy Sean Stockman got them run.

Speaker 8 (01:10:44):
With the runs too, was just, oh you snuck that
in there.

Speaker 7 (01:10:48):
Man, crazy. So last I'm gonna throw a female in there.
I'm gonna say name and and and you all know it.
But the reason I'm saying this name is because we
worked with her when she was fifteen years old, and

(01:11:09):
I never heard a fifteen year old, sixteen year old
girl sound like this.

Speaker 1 (01:11:15):
In fact, we did a record for her.

Speaker 7 (01:11:18):
When she was signed a Job Records, but Barry Weiss
shout out, Barry Weis, I know his son. Well I
don't know him, but you know I met his son,
so I ain't gonna say nothing crazy. So we ended
up giving the record to Christina Million. It's called say
I and Christina killed it to you know what I'm saying.

(01:11:40):
But the original of that was sung by a female
named Jasmine Sullen and she oh like when Miku heard
her for the first time, we started champion her.

Speaker 9 (01:11:56):
We ain't never like that, never seen someone sitting down singing.

Speaker 7 (01:12:02):
So those are my five you know, Jasmine Sullivan, Prince
m J. DeAngelo, and Joe. Those are those are my
five cents.

Speaker 9 (01:12:15):
That's an amazing list. That's amazing list off off rip number.

Speaker 1 (01:12:20):
Five for me.

Speaker 9 (01:12:22):
You know I'm I'm I'm an old soul at heart,
you know what I'm saying. I would go Donnie Hathaway. Hmm,
Donny Hathaway, just when that come on, it resonates with
your with your bloodstreams, you know what I'm saying, Donny Hathaway.

(01:12:44):
Number four Luther Lutheror was just too smooth man. That
ship was like like honey over the.

Speaker 8 (01:12:54):
Beat, cleanliness mhm.

Speaker 9 (01:13:02):
Personal favorite. I gotta put Lauren Hill in there there.

Speaker 1 (01:13:07):
You got to I ain't mad at you because she.

Speaker 9 (01:13:11):
Just she just ain't give us enough. And that one
album was just like you play it today and it's like.

Speaker 1 (01:13:18):
I mean, she doesn't get the credit for being the
artist that as an MC.

Speaker 7 (01:13:28):
Was at the very top of the MC class and
as a singer.

Speaker 9 (01:13:34):
Made you forget you forgetting forget the rapper. The rapper
was second because fuck.

Speaker 7 (01:13:40):
And by the way, she's on the big screen too,
she was active to talk, you know what I'm saying.
So I think she's a blueprint that sometimes people forget,
you know what I'm saying.

Speaker 9 (01:13:51):
Yeah, she just when that voice come on, it's just
something about that tone and when she get to singing
some of.

Speaker 1 (01:13:56):
Them and her son Y G.

Speaker 7 (01:13:58):
Barley's got her on first single, shout out.

Speaker 9 (01:14:03):
You know what I'm saying, Dat Lenias though Marley.

Speaker 1 (01:14:07):
And the shout out congratulations on him.

Speaker 9 (01:14:15):
Number two, Uh, I would have to say m J
as well, you know what I'm saying, Michael Jackson for sure,
just too many, there's just too much. Voice was just immaculate.
And then you know when you started like seeing some
of all the songs, he was just writing on his

(01:14:36):
little recorder, beat boxing the whole.

Speaker 1 (01:14:39):
Hit, the whole different different.

Speaker 9 (01:14:45):
Man was alien and one of my personal favorites. For
my number one, I would have to say.

Speaker 1 (01:14:58):
Marvin Gaye, Oh yeah, saying we.

Speaker 9 (01:15:02):
Had the honor of working in the studio, like Jay
said with Mary and we got they have this pain
Have you been there in Marvin Gaye studio? So it's
a it's a sunset and there's a painting on the wall.
It's like ten feet by like six feet, and the
painting comes with a book and the book each each

(01:15:24):
portion of the painting, the book explains the part of
his life, you know what I'm saying. And we was
going through the as I was going through the book,
you know, you see on there like from a moment
he passed away, you know what I'm saying, the moment
he was killed, But you see on there like all
the stages of his life. He was the first guy
to get a million dollar check, Barry Gordon. It was

(01:15:47):
on there like the actual check, you know what I'm saying.
And it was like so you know, just that that
experience of we felt his energy in there, you know
what I'm saying. And yeah, that's my top five man,
Marvin definitely. You know he's he's a goat. He's a goat.

Speaker 1 (01:16:05):
Great top five.

Speaker 4 (01:16:06):
Damn what else you got from You think I ain't
got it? This play your grand piano, this little machine guy.
Let me go to grand piano to him. Hey, I
ain't saying no nigga. Hey, I ain't saying no names.
I ain't saying no names. I ain't saying no name.
He was who he was, weird what you did? Don't

(01:16:30):
say she I ain't saying no name.

Speaker 7 (01:16:41):
That's crazy, yo. Yeah, before you do anything. What's the kids?
The kid's name that's got the outrageous voice with his
natural is he? You was on stage singing with Colon
and the mother every was cold as fun. Not too

(01:17:02):
many niggas game that's cold blooded.

Speaker 4 (01:17:06):
He's not playing games on listen on demand vocal vocal.

Speaker 7 (01:17:11):
That nigga was singing some ship and it popped up
on my TikTok, and my TikTok is usually aliens and
all kind of Joe Rogan and I scrolled up and
that nigga was singing the Tevin Campbell.

Speaker 1 (01:17:28):
And I just sat there and just listening to the ship.

Speaker 4 (01:17:30):
I said, what with with with extra extra sau.

Speaker 7 (01:17:35):
And you know the algorithm catches you if you watch
something long enough. So he just started flooding my ship.
And then I seen you and him on stage right yea,
I was going out. I was like him, and Wane
was on stage with him. From Boys to Men.

Speaker 1 (01:17:50):
Yeah, I was singing ship, and I was, you know
why he ain't foling.

Speaker 7 (01:17:55):
You know what I'm saying, ain't folding, but A Wilson
was giving him a run for his money.

Speaker 11 (01:18:00):
Yeah, yeah, okay, I just want to know we got
to shout him mouth. Yeah yeah, yeah, old blooded. Yeah,
that brother is special. Well, you know we've come to
this moment. We've come to this moment. You know, my
brothers are here. You know, we gotta we gotta have
some you know, some good times.

Speaker 9 (01:18:17):
Right.

Speaker 4 (01:18:17):
So we got this segment of the show. It's called
I ain't saying no names, right, Well, y'all tell us
a story. Our stories funny, are fucked up, are funny
and fucked up. But the only rule to the game
is you just can't say no names.

Speaker 1 (01:18:32):
Mm hmmm. So I need Cool and Dre's.

Speaker 4 (01:18:37):
Journey in the Times and the Life and Time, Life
and Time, Miami's own Name's own. I ain't saying no names.

Speaker 7 (01:18:46):
All right, So I ain't saying no names. But this
is early in me and Cool's career. We were in
New York and like we were saying earlier, you saying
we had a we were buzzing without any hit. You
know what I'm saying, We're just buzzing off of the placements.
We didn't even know what a placement was. I just

(01:19:06):
learned the words placement like three years ago. We just hustled,
you know what I'm saying. We make a music with
niggas we fuck with, right, you know what I'm saying. Yeah,
And then the young kids say, y'all got a placement?

Speaker 1 (01:19:16):
Fuck?

Speaker 7 (01:19:16):
Youre talking about placement? Anyway. So we in the studio.
We're working with an artist who's also is known for
something else and very popular, very big. But this person
also is taking a stab at being an artist, and

(01:19:37):
it's on an iconic collaboration song. That's iconic, all right.
So we're working with this artist.

Speaker 3 (01:19:47):
We do a.

Speaker 7 (01:19:47):
Record, and we want to get the feature on the record.
So this artist has this particular artist in mind because
this artist was like had a buzz around them. They
had a big single, so they booked the artists to

(01:20:08):
come to the studio to do.

Speaker 1 (01:20:12):
He started laughing.

Speaker 7 (01:20:21):
I swear rushed brain so le I literally right now
just then passed out. I swear to god, Oh my god.
I then passed was gonna go yo, wow, damn my nigga.

(01:20:41):
They booked the session. So the artist is in the studio,
the feature artist is in the control room learning the
parts and everything. Now the main artist who we produced
the record for pulls up to the studio.

Speaker 1 (01:20:59):
It's their session. Yeah, So they go in say what's up?

Speaker 7 (01:21:04):
Sits down, and the energy in the room is not
like popping like that, you know what I'm saying. So
the engineer, the future artist tells the engineer to tell

(01:21:25):
the main artist, hey, can you wait in the lounge.
You know they're catching the vibe and you know, want
their own space, you know what I'm saying.

Speaker 1 (01:21:35):
So the main artists like, no, it's no problem. We
respect that. I respect that. I don't want to get
it done. I don't want to buy a record, you
know what I'm saying. I don't want to buy.

Speaker 7 (01:21:45):
So the lounge is next door, literally, like you know,
you walk out the control room, the lounge is there.

Speaker 1 (01:21:53):
Main artist sits on the sofa, turns on the TV. Low.

Speaker 7 (01:21:59):
Ten minutes, nobody comes in, nobody comes out, ten minutes
go by. The engineer opens up the door, goes to
the main artist and says, hey, so you know, you know,
they not feel like really comfortable, like they want you

(01:22:21):
to know, wait downstairs in the lobby if it's cool.
So the main artist is like, I'm in the lounge.

Speaker 1 (01:22:31):
I'm in the louch. I'm not bothering.

Speaker 3 (01:22:34):
It's just me.

Speaker 7 (01:22:35):
It's just me, you know, I can't. They just asked
if you could wait downstairs. So the artists like, fuck,
I fuck it. I go downstairs. Sh'S my session. Fuck
it goes down the stairs, turns the corner, go sits

(01:22:55):
in the lounge of the studio by the front door,
like this is a very very popular artists or anybody
walking in that front door.

Speaker 1 (01:23:04):
Oh, let me get a picture. About forty minutes go by.
The engineer walks down the stairs.

Speaker 3 (01:23:14):
Get the fuck out. No way, no way.

Speaker 8 (01:23:23):
No, no, this is not about to happen.

Speaker 9 (01:23:27):
No tell you this ship here, you can't make it up.

Speaker 1 (01:23:30):
It walks down the stairs, It goes to the artists and.

Speaker 7 (01:23:33):
Said, look, they're in the booth. They're trying to get
it done. They asked me to see if you were
still downstairs. So the artists like, oh, okay, they want
me to come up, No, can you wait outside?

Speaker 4 (01:23:55):
What the fuck is fucking Perhaps in your car.

Speaker 1 (01:24:01):
Outside? The artist goes the building. Are you fucking kidding me?
What the fuck you want? Been away outside the fucking studio?
But what the fuck?

Speaker 7 (01:24:12):
I don't know what to tell you, Like they asked
me if you were down there, and if you're down there,
that's why they can't get it done. So artists goes
into the truck, into their into their car.

Speaker 1 (01:24:25):
What have you? Sits in there and they're stressing that.

Speaker 7 (01:24:28):
Like an hour later passes they see the artists leave
the studio, jump in the suv and drove off. So
they're like, fuck, thank god, let's go and listen to
what the fuck you know, it's been like three hours whatnot.
They go upstairs, all right, let me hear what the
let me hear, let me hear what they did. The
enginet goes. They weren't really feeling the song, so.

Speaker 9 (01:24:53):
Br this ship can't make it up. Yeah, we heard
the story and was crying. We said, yo, this is
a story.

Speaker 1 (01:25:00):
This is exaggeration, right.

Speaker 7 (01:25:02):
The Edgineary was right there said, nah, I witnessed it.
I played a role in it, Like I don't know
what the fun just happened.

Speaker 1 (01:25:11):
But that's that's the story.

Speaker 7 (01:25:13):
That's like, like to this day, it's one of the
ill ship that.

Speaker 9 (01:25:18):
You pulled that one out. I wasn't even thinking that,
but then that was a good one.

Speaker 7 (01:25:23):
Right, No illmatic, that was the illly ship. Ever, So
that's that's that's the story.

Speaker 1 (01:25:30):
I don't say no names, man, never.

Speaker 9 (01:25:35):
The person who is the artist gonna see this, they
gonna bust out, They're gonna hit us.

Speaker 4 (01:25:41):
I would be looking for that artist. I'm gonna be
looking in the comments I'm looking for the comment I
was there never seen no.

Speaker 7 (01:25:51):
Ship like that. That's that's that's one of the ill
ships that I've never seen. Nothing like that ever. No,
So there you go.

Speaker 3 (01:25:57):
Well, my brother's cool and dre again. Man.

Speaker 4 (01:26:01):
We first of all, we can't thank you enough man
for taking your time out and coming up here and
just you know, giving us an opportunity to give you
your flowers, man, and and giving our community an opportunity
man to just hear the journey man. Hear the here, here,
the mountaintops, here, the valley lows man, and and and
hear how you've come out on the other side of

(01:26:22):
all of those things and some into some really really
great things.

Speaker 1 (01:26:25):
Man.

Speaker 3 (01:26:27):
We're proud of you, man, like we look at you
and see you like, Okay.

Speaker 1 (01:26:32):
Appreciate the big fans of the podcast.

Speaker 7 (01:26:34):
Yeah, killing it. I'll be I'll be singing harmony with
your niggas. But I'm at the crib singing.

Speaker 3 (01:26:45):
Oh not that I know. Don't worry about it.

Speaker 1 (01:26:47):
Yeah, I don't worry about We're going to be the future.
Get these records done. I'm ready, stay ready.

Speaker 3 (01:26:54):
Yeah. I can't thank you guys enough. Man.

Speaker 1 (01:26:57):
I appreciate and.

Speaker 9 (01:26:58):
When you're getting ready to put that music. Got run
one of them new singles through Nebulas. We're gonna show
it that extra.

Speaker 1 (01:27:09):
Record out right now.

Speaker 3 (01:27:10):
Yeah yeah, really, well, let's go.

Speaker 1 (01:27:14):
Lord is the Lord's.

Speaker 3 (01:27:19):
I want.

Speaker 9 (01:27:20):
I wanted to mention this because you know what I'm saying,
Like at the end of the day, me and Dre Man,
you know, we we all spiritual brothers, you know what
I'm saying, And we definitely believe that God is the
reason we're even still here, you know what I'm saying.
And you know we believe Cole heartily like and just
have patience in his plan for your life. You know
what I'm saying. And I'll never forget, man, when we

(01:27:41):
was in our journey early on, you know everything, I
felt like everything in life there's a purpose for it,
like this this interview, it is a purpose for it,
you know what I'm saying. When me and Dre was
doing I'll never forget when we were doing the R
and B thing, We was doing performance and we would

(01:28:03):
perform in like different places and our manager at the time,
he had us perform at this at this hospital, right
and this this always stayed with us because of what
happened after. So we're performing. We were in the cancer
ward and we're performing for all terminally ill kids, and
I remember there's this girl in the front. She was

(01:28:24):
just smiling and just like we was dancing, singing for
the kids, and we're taking pictures and you know what
I'm saying, signing little autographs and left it at that.
A couple of days later, our manager caused us, He's like, hey, man,
you wouldn't believe what happened to the girl that was
sitting in the front. Her mom called me she wanted

(01:28:45):
the pictures in the video that we shot because the
day after she said she hadn't seen her daughter smile
in years, and this is the first time she's seen
her smile in years. Was when we performed for her
and she passed away and me and Dre we were
at Taco Yeah, like the next day she passed away
and me and Dre were you know, we ain't had

(01:29:07):
that bag like that, So we was always at Taco Bell.
Was the cheapest thing to eat, so we would we
would pull up at Taco Bell grab our food after
we left my mom's garage, and we would park at
the Taco Bell and just talk and then just eat
and I'll never forget. I said, Yo, Dre, what if
what if the sole purpose of the group that God

(01:29:28):
put together? The sole purpose was to make this girl
smile one last time and that's the end of the group.
And what if me and you are meant to be
big producers? Andre was like, nah, we about to be
the biggest R and B singers in the game. I
was like, I'm just saying, you know what I'm saying,
you don't know, And it just so happened that look
at us now, you know what I'm saying, And this

(01:29:49):
is like we had nothing, this is pre is, this
is like, this is we just bought our keyboard. I said,
what if God the whole plan was for the group
to get together to make this girl smile one last
time when she went to heaven for her mom, and
bring us together to make music.

Speaker 1 (01:30:04):
Wow.

Speaker 9 (01:30:05):
And it was like, you know that that stuck with
me because I felt like, you know, God has definitely
had had his hand in our career from our whole career,
you know what I'm saying. And we've always been like, Yo,
when it's God's time, it's God's time. You know what
I'm saying. Just leave it in his hands and we
just hear. Man, We just honored to be here with

(01:30:26):
y'all brothers, you know what I'm saying. And because at
the end of the day we go, we go Like
when I seen he when he hit me, He's like,
YO were in Miami. I said, Man, you still got
the same number. That's how you know you're dealing with
some good brothers, you know what I'm saying. Like my
man got the same number. I was like, of course,
be an honor man, because at the end of the day, y'all,
y'all can't leave Miami without having cooland jail. So it's

(01:30:50):
the honor to be here with y'all.

Speaker 1 (01:30:51):
Man.

Speaker 3 (01:30:51):
Love. Listen, my name is.

Speaker 2 (01:30:55):
This is the arm and by Money Podcast, the authority
on all things are and B and these have been
my blowing money, fast brothers, a lot of cars, a
lot of money spent, but we're still here.

Speaker 1 (01:31:11):
Make a thank you. R and B Money.

Speaker 4 (01:31:19):
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 JY Valentine and at the Real Tank. For the

(01:31:40):
extended episode, subscribe to YouTube dot com or slash r
and B money

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