Zaytoven

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):
Thank take Valoti. We are the authority on R and
B ladies and gentleman. My name is Tank Valentine and
this is the R and B Money Podcast, the authority
on all things R and B. H You ever been

(00:30):
to the trout?

Speaker 3 (00:34):
I know I have. I know a lot.

Speaker 1 (00:37):
Of people say they've been. A lot of people say
they know. But this one man orchestrated the soundtrack around
the whole damn thing. Yeah, we're gonna keep this short,
sweet and get right to this. Make some noise from.

Speaker 3 (00:55):
Yes, yes, yes, yes, I.

Speaker 1 (01:01):
Are you kidding me? I gotta I gotta start I
gotta start off the pot like this. What you I
gotta start off like this. Jay said, you need to
get you need to get a while you're in Atlanta.
It's like, yeah, let me get what say you know
what I'm saying. Let me pick his brain on some
of this stuff I'm doing. Because I'm tapping into the trap,
I'm tapping into it. I want to know one of

(01:24):
them know if I'm tapping correctly. You know, because there
is a tap, it's a specific tap that they have
to be tapping in order to be tapped in. Here's
to the studio and I'm sitting and I'm sitting with
a and I'm like, I want to play you a
song that I had that I just think is fire
Cray Shy out of the band who did the track
on that. I said, I think this is fire vibe.

(01:46):
I think I tell them and them in a good
place with this. And I played it for him. You know,
they they don't get you know, don't I don't get
too excited. You don't jump out the window, you know
what I'm saying. Even if you like it, he's just yeah,
yeah that go there go the go right there. I said,
Now I'm going to play you.

Speaker 4 (02:06):
Another version, a version of another version of it. Yeah,
what's my guy?

Speaker 1 (02:10):
Uh? With rich Homie? My god, I said, I want
to play you the rich Homie verse. I said, it's
it's a little different. I don't I don't know if
he I don't know if he interrupted the vibe or
messed up what was going on. You know, I'm pitching
my hate. Yeah, yeah, you know, I'm pretty selling. I'm
pre selling my hate to just make sure he's on

(02:35):
my Yeah. Yeah. And I start playing it. And as
soon as I start playing it, uh, because Rich home
is an intro.

Speaker 4 (02:47):
I'm like, this is a boss as.

Speaker 1 (02:51):
You know, like this. He gave me a look. I
got to my verse. Rich Homer came in. He said,
stop stopping right there, stop right there. That's it, right there,
that's it. What's the problem, I said, you don't think
they know nothing. See, that's your problem. You're thinking, you

(03:11):
think you using your talented man. I said, what am
I using? You using your talented man? These niggas are
here just doing it.

Speaker 3 (03:19):
You gotta feel good.

Speaker 1 (03:20):
They just they just doing it. They just they just
putting it out there. You overthinking it. That's it. I said,
that's it, and I had to go home, go back
to the hotel and think about how much I still
didn't know about this ship.

Speaker 4 (03:37):
And the main thing he said to you, you're being
too talented and too talented, too talented, relaxed.

Speaker 1 (03:42):
Brother. There, you're trying to sell this music to people
who aren't musical. They don't play piano.

Speaker 4 (03:52):
Or sing the scale.

Speaker 1 (03:55):
They don't know, they don't know none of that.

Speaker 4 (03:57):
Good.

Speaker 1 (03:58):
They know it feeling good.

Speaker 4 (04:00):
That's all that matters. Stop overthinking the feeling. I'll never
overthink now.

Speaker 1 (04:05):
Ever, since you said that, I have not been overthinking
anything he's supposed to. I barely do backgrounds.

Speaker 2 (04:12):
Already talented, you're already too good. So what you're FeelA
overthink it?

Speaker 1 (04:16):
Some over we are we are. I'm making twelve songs
in one.

Speaker 4 (04:19):
There you go. That was me my problem, just trying
to make it perfect.

Speaker 1 (04:25):
Trying to outdo me, looking in the mirror, singing to myself.

Speaker 4 (04:29):
We call it chasing ghosts.

Speaker 3 (04:31):
Chasing, chasing, ghost chasing.

Speaker 4 (04:32):
I like that what it is, That's what it is.

Speaker 1 (04:35):
So brother, first of all, family member, you know, fellow music,
fellow church musicians. Yes, sir, thank you for coming here
hanging out on man.

Speaker 3 (04:45):
You know I had to come real family.

Speaker 4 (04:48):
Yeah, yeah, you're you're You're a guy. Your time is money.
We uh we know you appreciate you appreciate that for sure.

Speaker 1 (04:55):
But you know, as I spoke to the church musician
in you, I want to go back to the beginnings.
I want to go back to where somebody identified that
you had a gift and you had talent. What day
was that, what age was that? What church was that?

Speaker 2 (05:14):
So when I first started playing, and I don't think
nobody identified I had a gift. I was just in
church so much in Mississippi that you don't really got
a choice but to find something to do while you
If you at church four days a week, it's like
bro And as a kid, I got to find something
to do. I'm outside wrestling and doing whatever. But you

(05:35):
know what other time you in church. So naturally, if
you in church and you're trying to play some music,
you're gonna start off with the drums. I started, I
want to play the drum, but me and seven other
little kids want to play the drum, So now we
got to take turn playing song.

Speaker 3 (05:48):
Now, like ro don't want to wait around and play.

Speaker 2 (05:51):
One song, So I started go hanging out with the
guy that's playing the organ. First guy was named Sheldon Harrington.
Steal my peoples to this day, you know what I mean.
And matter of fact, he the guy that really showed
me how to play, but he gave me some bad habits.
We laugh about it all the time. He had a
transposed organ.

Speaker 4 (06:11):
I know where you're going, boy.

Speaker 2 (06:14):
Everything we play is either gonna be in c is
gonna be in gen. We can't playing no black keys,
no matter what. Yeah, no matter what.

Speaker 1 (06:22):
Because you just with with the keys.

Speaker 3 (06:24):
It's fingering.

Speaker 1 (06:25):
Once you're prolific yeah in a key and the yeah.

Speaker 3 (06:30):
You stayed there, you stayed nowhere, You're uncomfortable everywhere.

Speaker 1 (06:33):
I had a guy. I had a guy. His name
is Chuky. He was He was hell of five musician, drums, guitar, keys,
every he do it all sing. But something about him
and B flat was extra terrestion.

Speaker 4 (06:49):
You can't do nothing with him and be flat.

Speaker 1 (06:51):
Can't do nothing with him and be flatting. So I was.
I was the music director for for the choir he
was playing for, and I literally like when we were
doing transitions and stuf, I would have to wait for
him to transpose his keyboardark so he.

Speaker 4 (07:03):
Could get to the yep, what every song we're.

Speaker 1 (07:07):
In to be?

Speaker 4 (07:08):
But when I say he gott.

Speaker 3 (07:13):
Wearing the church out, that's a musician for you right there.

Speaker 1 (07:18):
But we'll wait ahead.

Speaker 2 (07:23):
Nah. So so you know, I learned a lot of
now so cold and see, I don't even it was
so crazy. I don't know if anybody watched me make
beats on YouTube or and every time I make a beat,
I'm always in C.

Speaker 3 (07:35):
I'm always in C minor.

Speaker 2 (07:38):
Now now you know, I can play in all the
other keys, but every time for some reason every time
I make a beat, I want to transpose it to C.
Even if I'm doing an E or F whatever, I
transposed it to where I'm in C because that's just like,
I guess that's my sound. That's my comfort zone.

Speaker 1 (07:53):
Is it really in the or you just transformed from
the so that you can play.

Speaker 2 (07:58):
Play and see so I can play And so you
know that if anybody that's any musicians that watched, I know,
they be like, man, why he always is always in
sea when he you know, when he's playing, But that's
when making beats. I just that's you know, that's.

Speaker 4 (08:10):
What I do.

Speaker 1 (08:11):
You got to go to your go to.

Speaker 3 (08:13):
Yeah, it's a go to and it's like a it's
to me.

Speaker 2 (08:15):
I'm one of those producers that has a pacific sound,
so and I think that's what makes that sound.

Speaker 3 (08:21):
It's just you know, yeah, you know, you get what
I'm saying.

Speaker 4 (08:23):
It's like that.

Speaker 1 (08:24):
So if it ain't broke, you can't how many years
you've been doing this?

Speaker 2 (08:29):
For man so Ice it was two thousand and four,
so about twenty years in, you know what I mean.

Speaker 1 (08:36):
So still still listen.

Speaker 4 (08:40):
Not broken now.

Speaker 3 (08:41):
When I had to go to the next church, they
ain't got no trup.

Speaker 1 (08:48):
Man.

Speaker 2 (08:48):
You know how lady give the single solo and they
and see sharp or something. It's like, why I drown
them out? I turn that thing up so loud and
press see so loud. You're gonna you gonna go down'nna listen.
Even made me look bad. Yeah, get down here now
something now. Some of them singers, you know, they they
strong willed, so they like, no, you gotta come up

(09:10):
to see shark.

Speaker 3 (09:11):
I turn that organ off and had like something wrong.
You know you're looking around.

Speaker 4 (09:16):
What's going on? Organ?

Speaker 3 (09:21):
Roll in organ? But listen now when they're done, I'm
coming back and see I knew how to play it.

Speaker 4 (09:27):
I ain't know what I was doing back cooking.

Speaker 3 (09:29):
Now, don't like I ain't know how to play it.

Speaker 4 (09:31):
You pick up.

Speaker 3 (09:36):
That's turn that's come on man, that's that's real life, right.

Speaker 1 (09:39):
I hate I hate it.

Speaker 3 (09:41):
I ain't never like A. I ain't never like B
or E. Them three keys on.

Speaker 1 (09:45):
I don't like A. I'll give you I don't like
I don't like E. I can, but I don't like either. Yeah.
Those are the two keys that just got but all
the black keys.

Speaker 2 (09:54):
Yeah, all this that's my favorite now see sharp is
my favorite now, but see sharp a flat or B
flat too.

Speaker 3 (10:02):
But before we ain't nothing but all white kids. You
can't go wrong.

Speaker 1 (10:06):
You know what? Sharp became my favorite?

Speaker 5 (10:12):
M h yeah, oh yeah killing.

Speaker 1 (10:25):
That's when, yeah, sharp became my favorite.

Speaker 3 (10:27):
And he used to use that same pattern all the time.

Speaker 1 (10:30):
And I said, what is that we would be in
church during offering, m.

Speaker 3 (10:38):
In church of offering time, man, playing down the people
that know.

Speaker 1 (10:43):
You know what I'm saying. Don't keep the Lord on
the down.

Speaker 2 (10:48):
Yeah, you're right, you did it right, You did it right,
praising my pot, you did it right.

Speaker 4 (10:55):
So you playing? So you're playing out of Mississippi. How
long were y'all in Mississippi?

Speaker 2 (11:02):
So I went to elementary school in Mississippi. Then I
went to middle school half of like my first year
of middle school in Mississippi too. So we went from Grenada,
Mississippi to Jackson, Mississippi, you know what I mean. And
my dad was in the military, so I'm moving all
my life. I was born in Germany.

Speaker 1 (11:24):
Branch Army.

Speaker 3 (11:27):
Yeah, so I was. I was born in Frankfurt, Germany,
you know what I mean.

Speaker 2 (11:30):
So I was just moving all my every three years
I'm you know, I'm going Yeah, So you know, like
you was talking about earlier, like when people ask where
I'm from, I say the Bay Area because after I
moved from Mississippi, we moved to San Diego, stayed there
for a little while, went you know, went to middle school,
first year of high school.

Speaker 3 (11:49):
Then I moved to San Francisco.

Speaker 2 (11:50):
But you know, you don't really start becoming who you
are to your real high school years.

Speaker 3 (11:55):
So that's why I was kind of formulating, you know,
who I was.

Speaker 2 (11:58):
So when people asked me where I'm from, always say
to Bay That's where you know, that's where I got
my name in a game from.

Speaker 4 (12:04):
So I was born in Frankfurt, frank for Germany. So
you do, citizen, Yeah, ship's great. Do you go back.

Speaker 2 (12:13):
I've been back once, but it was you know, it
was a short trip. Me and my dad went out there,
but I ain't really just explored Germany like I need to.

Speaker 4 (12:23):
He's a real live German out here, German Man, German.

Speaker 2 (12:26):
That's what.

Speaker 3 (12:27):
That's why, that's why my name is zatoven.

Speaker 4 (12:30):
I did not all the years, I know, I didn't
know why.

Speaker 3 (12:34):
Yeah, I didn't know.

Speaker 2 (12:35):
I'm gonna be honest, I didn't know either. I didn't
know to some years back, like dangn you know what
Beethoven is from Germany?

Speaker 3 (12:40):
From Germany? So you know, I ain't put that together
until later on, to be honest with.

Speaker 1 (12:44):
You, Sooven is your real.

Speaker 2 (12:46):
Name, Nove my produced name, but I didn't really put
it together.

Speaker 1 (12:51):
You gave yourself the name Zaytoven, not even consciously.

Speaker 3 (12:55):
Not even thinking about Beethoven and where he's from.

Speaker 1 (12:58):
He's from.

Speaker 3 (12:59):
Yeah, that's great, that's great. They caught up years later.

Speaker 1 (13:03):
That's but that's like design.

Speaker 4 (13:06):
Yeah, I feel like right, So when you touch down
in the Bay, is it a culture shock for you
because you at this point you in high school the
first second year of high school, and obviously I'm from there,
but I understand. I understood early on that this place
is very different from anywhere else anywhere. It's literally an island,

(13:31):
you know, our islands, you know what I mean? Like
it it's water that separates each city, and it really
becomes whatever is going on on that island ain't really
going on nowhere else. We are very insulated. Yeah, it's
his own thing, it's his own thing. So when you
get there fourteen fifteen years old. You already well versed

(13:57):
in music. You've been playing since you was know very young. Fella,
are y'all immersed in the church scene up in the
Bay when y'all first get there.

Speaker 2 (14:11):
So we was forced to move to the to the band,
and my dad had to move too, Yeah, Presidio. So now,
the biggest shock for me was I was in San Diego.
San Diego probably was the prettiest city I ever lived in. Beautiful, man,
it was just the schools I went to. Everything was
just so high end and nice. I come to the Bay, Bro,

(14:32):
I'm on Prosidio. It's like three four houses. These are
you know, it's having these houses abandoned out here. Band,
It's like it's shut down out here. It's ugly, it's cold.
Then the school I go to is Galileo or high School,
and it's like a prison.

Speaker 3 (14:46):
I'm like, you know, like COOLi hot.

Speaker 2 (14:49):
My mama wouldn't let me go there. Really, it's my
neighborhood high school. It's literally the high school in my neighborhood.
He was the same high school as O. J.

Speaker 4 (14:58):
Simps Yoh J.

Speaker 3 (14:59):
Simpsons. I go to school.

Speaker 2 (15:01):
They walking around with radios and everything like that kind
of school. What I did, it came to I'm used
to some high end nice man. They even brought me
to the hood, like the g House, you know what
I mean. So that was the biggest shot for me.
But naturally, like anything else, man, once you get there,
you start making friends and start getting adapted to what's

(15:23):
going on.

Speaker 3 (15:24):
Now, I couldn't leave it.

Speaker 2 (15:25):
Like I turned ghetto from San Francisco and I'm ghetto now.
It's like I'm like I'm when I say I'm ghetto,
it's like I like hood. Like if I go to
the clubs, it's the hole in the wall, like it's
it's hood. If you listen to the music I make,
it's like I like hood music, you know what I mean,
street music. I'm a church musician to this day, but

(15:47):
that's you know, when it comes to you know, rap
music or whatever, it's like secondar music. I like hardcore
hood music, you know what I mean. So, and that
comes from San Francisco. San Francisco turned me out.

Speaker 4 (16:00):
But that's the part that that also isn't talked about
a lot about the city. And I mean, Tank knows
because he's been there with me so many times and
he's like, I didn't even know this existed in a
city like San Francisco. But the black community is so
small that we just have these pockets. And when you
get in that pocket, it's fully street. It's full, you know,

(16:21):
it's with everything you with, whatever you want is here
right there. So for you to go there and be
pushed into that, I get it. I get it because
there's there's no and people get it confused, like, wait,
but it's San Francisco, man, they show your bridge, I said,
they're showing you that so you'll come there for tourism.

(16:45):
They're pushing everything else under the rug. All a little
seven percent. At the time when we was there, our
seven percent community that's now probably three or four percent,
was so active, you know what I mean. You could
not get away from it. You couldn't get away from
it if you lived there, if you live there. I
fell in love with the base.

Speaker 1 (17:05):
But that's also divine. It's more of what it was supposed.

Speaker 3 (17:11):
To be, supposed to be like that in order for
you to.

Speaker 4 (17:15):
Be who you are. And it's very musical. Yeah, and
it's very musical, you know, you know, especially in the field.
More it's you know, it was known back in the
days as the Harlem of the West, you know what
I mean, the neighborhood that we're from. It's like so
it jazz music was the blood of jazz music. The
spirit of jazz music is still in San Francisco to
this day. You know, yo, she's you know what I mean,

(17:37):
and in those type of places literally in our neighborhood.
So the music is there too, but by the time
you got there, the music is totally different. It's mob music.
Mob music.

Speaker 1 (17:47):
What is mob music?

Speaker 2 (17:48):
It's just its own it's but it's got its own sound,
you know what I mean. And you got to be
in the city to even know what that is or
even like the music. I don't think everywhere outside probably
like man, I don't like that.

Speaker 4 (18:02):
Don't even get it.

Speaker 3 (18:03):
They don't get it.

Speaker 1 (18:04):
Yeah, what's the mob song that that would know that?

Speaker 4 (18:07):
You would? You would have to you would have to
be there.

Speaker 3 (18:09):
It's underground music.

Speaker 4 (18:10):
I mean, I mean you was. You was at my
birthday party when you was getting my birthday party. Just
felt with saying Quinn on stage find out the.

Speaker 2 (18:20):
Hard way, dum don't don't don't that's my music, okay,
because it's it's like deep based heavy, like it's haunting.

Speaker 3 (18:31):
That's what it is.

Speaker 1 (18:36):
On stage, I said, I don't know what right, I'm
with it.

Speaker 3 (18:39):
I'm with it.

Speaker 1 (18:40):
What are we doing?

Speaker 3 (18:42):
What is the dad show? What that is? Yeah?

Speaker 1 (18:47):
I mean it's it's like it's it's it's original. Because
I come from a regional thing. That's why I get it.
I come from go go music. Yes, you know what
I'm saying. It's just that tribal thing. You got to
be in the d m V to.

Speaker 4 (18:59):
Really understand standing. Yeah, yeah, yeah, yeah, you got understand understanding.

Speaker 1 (19:06):
Did you start making my music?

Speaker 3 (19:08):
Yeah? I had you ain't got no choice.

Speaker 1 (19:09):
Okay, so go back. When is the first time you say,
okay a musical. I got all of these cool things happening.
Maybe I should start making beats.

Speaker 3 (19:17):
Man, I started making beats.

Speaker 2 (19:18):
So, first of all, the way I started making beasts
is my buddy JT. The bigger figure from the Bay.
He was like one of the biggest bosses you know
in San Francisco at the time. He's seen me playing
the keyboard at the football game and came to me like, hey, bro,
I need to get you in the studio. The man
took me to his mama house. What the studio was
that this is how you make the drum machine work
with the keyboard, This is how you add sounds. All right, cool,

(19:40):
you got it. I bet I'll be back. And I'm
just at his house every day, just making beats. Put
it on cassette tape. Now, first, you know, I played,
I played the piano in church, so all my beats
sounded like bro, they too happy.

Speaker 3 (19:52):
What kind of beats is this? You know what I mean?

Speaker 2 (19:54):
Like, you know what I mean? They they piano driven,
They just happy, like you know what I mean. I
didn't really know to do. But you know, the more
I started making beats, and I remember him starting to
rap on one, then the other little guys from neighborhood
started rapping on a couple of beats.

Speaker 3 (20:08):
So I'm feeling good, you know what I mean.

Speaker 2 (20:11):
Then when san Quinn wrapped on the beat first time,
wrapping on one of my beats, I was like, BRO made.

Speaker 3 (20:16):
It because san Quinn was like little heroes.

Speaker 2 (20:19):
Yeah, yeah, you know what I mean. So you know
that's what got me. And all this stuff is, like
you say, is regional music. And I feel I still
feel like my music is like regional even though it's
like more South driven. Now it's still more underground, like
regional time come to you.

Speaker 3 (20:37):
Yeah, that's what I think. That's what it is.

Speaker 4 (20:38):
Never you've never changed who you are, and this whole thing.

Speaker 3 (20:43):
It's the same.

Speaker 1 (20:43):
Create that sound that is your sound in his in
his studio or was that something that just kind of evolved.

Speaker 2 (20:50):
Evolved evolved into that, you know, because I went from
the baiting I came to Atlanta, So now.

Speaker 4 (20:56):
You come here fresh after high school.

Speaker 2 (20:58):
No, my parents moved, like my dairy tired and they
moved to Atlanta, like we're going to live somewhere that's
cheaper than San Francisco. I was so stuck on the Bay.
I stayed. You know, I started making a little bees.
I'm selling bees for two hundred dollars. I'm playing at
the church where I've been at for the last couple
of years, all my friends here.

Speaker 3 (21:13):
I don't want to leave, you know what I mean.

Speaker 2 (21:15):
It wasn't until I start laying away studio equipment, laying
away a drum machine, laying away a keyboard.

Speaker 4 (21:22):
I got it.

Speaker 2 (21:22):
I want to set up my own studio, but I
ain't got nowhere to set it up. I'm staying at
the passage house. I can't set up no studio over there.

Speaker 3 (21:29):
You know what I mean?

Speaker 4 (21:30):
You finished that guy at this point, I finished that guy.

Speaker 3 (21:32):
I went to Marine College. I started going to.

Speaker 2 (21:34):
Marion, you know, playing basketball. So I was like, I
was that's the other part. Yeah, I was playing basket
point guard. Yeah, come on, yeah, yeah, who can't hoop
that dow music?

Speaker 3 (21:45):
Who company.

Speaker 1 (21:51):
To me?

Speaker 3 (21:51):
It's it's like that.

Speaker 2 (21:53):
But if you ain't doing if you ain't hooping it
and you ain't doing music, then.

Speaker 3 (21:56):
You know what you're doing.

Speaker 4 (21:57):
You called in some other ship.

Speaker 1 (22:00):
Uh.

Speaker 2 (22:01):
But yeah, man, I went to Marine only for a
little while because I didn't realize, like, you know, we
want state championship that year Gal was nineteen ninety eight,
and of course I'm going to play basketball after this
and Marin not knowing that when I go to Marine,
like bro okay, everybody's six foot three, and whoever they
point guard is, he just as fast and as you

(22:22):
know as I am. So I'm like third I'm third stream.

Speaker 1 (22:26):
Now.

Speaker 2 (22:26):
It's like, man, I don't want to I don't want
to do this. Yeah, I'm making music. And I just
started realizing like the basketball stuff, like man, that come
on that's too far fit. So I just started, you know,
doing the music, start getting my own studio equipment.

Speaker 4 (22:39):
And for you though too, though this was a little
different for you. Like, so I'll give Tanks some context,
Like I went to the very basketball driven high school
at that at that point, ball Boy was we were
a powerhouse, but nobody went to school out of it,
Like nobody got scholarships. You know, niggas just kicking it in.

(22:59):
Who yeah, right. His school though, was at that at
that point was it was like they were like the
younger version of us. I was the baby on my
team because I played varsity as a freshman, so I
was playing the whole time. But they were my age
at that time. So when they by the time they
got to their senior year, these niggas was called whoop niggas.
And the one thing they had, though was kids that

(23:21):
were going to go to school. So he was he
got to see that. He got to see like the
Walls twins, you met Kenny and Lindy, you know what
I mean. One went to the NFL. One played very
high level at Boston College, you know what I'm saying.
And he got to see that up closer. You For me,
it was kind of like weld on, none of us
go to college. You know what I'm saying, I don't
care who recruited me for something happens. So that pushed me.

(23:47):
Even though I had done music as a kid, it
pushed me away from basketball because I'm just like, man,
out of this high school.

Speaker 3 (23:54):
Ain't popping. It ain't nothing popping.

Speaker 1 (23:56):
And I didn't.

Speaker 4 (23:57):
And I used to call it the thirteenth grade junior college.

Speaker 6 (24:00):
I'm like, I ain't going to the thirteenth grade, right.

Speaker 3 (24:18):
You know what I'm saying, the thirteenth grade.

Speaker 4 (24:20):
You know what I'm saying. I'm like, I'm cool.

Speaker 1 (24:23):
I'm cool.

Speaker 4 (24:23):
So for you, I could see you being like, all right,
I'm gonna go here and hoop.

Speaker 1 (24:28):
Yeah.

Speaker 3 (24:28):
Just that's that's what guys, you know what I mean.

Speaker 4 (24:30):
Like my same teammates, I just wanted to stay with
They going these big schools to play football, play basketball.

Speaker 3 (24:36):
So I get it, Yeah, I get it, But I
didn't really want to go like that.

Speaker 2 (24:41):
I was just going to like this, like the hoop,
just that you know, when you know, when you younger
and your parents are like, okay, what you're gonna do?
What you need to do you gotta pick something you're
gonna do. You gotta give them some. So that's what
I'm gonna do.

Speaker 3 (24:53):
And they are already gone. They're already gone.

Speaker 2 (24:55):
So I'm living in San Francisco by my you know,
not with none of my family.

Speaker 1 (24:58):
Yeah.

Speaker 3 (24:59):
So even then, though, even.

Speaker 2 (25:01):
Though I was doing music and I started working with
a lot of you know, barrier artists, I didn't look
at it as in, I'm gonna be a big time
producer or this this is how I'm gonna pay my
bills or none of that. I was just doing it
because I enjoyed doing it. I can hustle and make
a few dollars doing it, you know what I mean.

Speaker 4 (25:15):
Your eyes are not set on music at all, not
at all in that league.

Speaker 3 (25:20):
I ain't thinking nothing like that.

Speaker 4 (25:22):
That's crazy, that's crazy.

Speaker 1 (25:23):
So what prompts you to move to Atlanta? Of course
your parents are here, But.

Speaker 2 (25:27):
Well, my parents has a basement in their house. And
I didn't lay the wear all the studio equipment. I
got this, all the studio equipment. I got my computer, keyboard,
drum machine, but I ain't got nowhere to set it up.
I can't afford to go live by myself nowhere in
San Francisco. So they were like, when you come, you know,
come on home, come down here. So I shipped all
my equipment down there and set up my studio in

(25:47):
my parents' basement.

Speaker 3 (25:49):
But I'm still doing it for fun.

Speaker 2 (25:50):
It ain't like I'm like, Okay, I'm trying to make
it in music. No, I'm just doing it because my
little brother can rap, my cousin can rap, Buddy up
the street can rap. It's gonna be fun to do it.
I enjoy making beats and recording songs. I was rapping,
you know what I mean. So it's like we having
a ball doing this. But then I start going to
you also cut hair, so yeah, so I feel he's I.

Speaker 3 (26:11):
Was known for cutting hair, you know, all the whole
basketball team, all the people at school.

Speaker 2 (26:14):
I'm cutting hair. So and so I came to Atlanta.

Speaker 3 (26:20):
Hustling. That's all it is.

Speaker 2 (26:22):
It's like I'm a church musician. Okay, I make I
make four hundred on the week doing this. I can
cut some hair, I can sell a few beats.

Speaker 3 (26:28):
Broke, I wasn't going to be broken, you know what
I mean, Because I'm a hustler. So that's how I
looked at it.

Speaker 2 (26:34):
So I came down here, got my license while I
was in Atlantic, you know, and then I started cutting
at the shop, got my barber license, cutting at the shop.

Speaker 3 (26:41):
You know what I mean.

Speaker 2 (26:42):
I gotta keep I gotta do something, you know what
I mean. So got the license. But then people start
knowing me for cutting hair. But then they know that
they got the studio of the Mama House too, you know,
so people start coming around.

Speaker 3 (26:54):
That's what Gucci come out of. It comes from that.
It just comes from they.

Speaker 2 (26:58):
Got the studio or he rapped, he rapped. Oh I
know this dude, he want to come over. And Gucci
was one of those guys that came over.

Speaker 1 (27:04):
Is that how it kicked off.

Speaker 4 (27:05):
Somebody just brought Gucci.

Speaker 2 (27:07):
A dude named Dray Malik rest in peace. He had
passed not too long ago, but he the one brought
Gucci over. And it's just because I'm a new kid
in the city and I got a studio. You know,
you gotta everybody come on, everybody, everybody want to come
to the studio.

Speaker 3 (27:22):
Yeah, yeah, so good.

Speaker 1 (27:24):
Everybody had their own studio.

Speaker 2 (27:25):
No, ain't nobody had. Everybody had their own studio. Matter
of fact, I don't know nobody else. They had their
own studio in the house at that time. Yeah, so
I man, my house flooded with people coming over, you know,
and we just recording having a ball.

Speaker 4 (27:37):
What are your parents saying?

Speaker 2 (27:41):
I told you my dad was in the military, right, Yeah.
I remember Pops coming downstairs like, hey, bro, I don't
know what you think this he is. But I take
all this equipment and throw it on the ground outside
like this ain't no studio.

Speaker 3 (27:53):
And you got to think, nigga come to my house,
meaning like we.

Speaker 2 (27:56):
Yeah, my folks looking like you lost your mind what
you got going on?

Speaker 3 (28:01):
But it's like this.

Speaker 2 (28:03):
But but you know, moms and dads are different. My
mom always had that thing where it's like she trying
to push me to do something, you know, Like I
used to play for her when she's singing at church.
She was a choair director. So it's like she always,
you know, pushed me to do something. She don't want
to push me to go to college. You think you
want to play basketball, go try it, go do it.
So when I got people come to the studio, she

(28:25):
kind of just to you know, kind of close the
dose on. My pops can't really hear, he don't know
I got you know, she was kind of helping me
out in that in that sense, you know what I mean.
So I will say that, like, you know, she kind
of helped me in that area.

Speaker 1 (28:37):
So Gucci comes over.

Speaker 3 (28:38):
Gucci coming, Yeah, and what happened?

Speaker 2 (28:40):
So Gucci comes like you know, here a street guy,
and he got his little nephew.

Speaker 3 (28:45):
Gucci wrote a song for him.

Speaker 2 (28:47):
His name was Little Buddy, and he wrote a song
for him called little Buddy, like I need you to
make a beef for this, Like you know, I'm gonna
pay you to make a beef for my little nephew.

Speaker 3 (28:54):
And I'm so I made the beat.

Speaker 2 (28:56):
Gucci go in there rapping him, trying to teach his
little nephew how to do it. I'm like, dang, like
he sound hard. You sound like bro, you sound dope,
like you need to do that artist. Yeah, you sound
like an artist.

Speaker 1 (29:06):
He wasn't an artist, ship man.

Speaker 3 (29:08):
This is a strip.

Speaker 2 (29:09):
I can't even get into who Gucci was back then. Yeah,
you know what I mean. So, but it turned into
for real zay all right, he come over the next day,
he do a song for itself. Before you know it,
every day say it's something about seven thirty morning, say,
I'm una brush my teeth. I'm finna come over all right.
Bet So, we just making songs every day. Yeah, and

(29:32):
I love making beats. And it's like, well, we just
recording every day for.

Speaker 3 (29:36):
You know it.

Speaker 2 (29:37):
Oh, I'm gonna go perform on our songs at the
club tonight. We used to go to this club called
the Libra on Moorland Avenue for you know it. It's
like Gucci already got a name. He got a name
but for doing other stuff. But he got a real
name in the streets. So you know, people kind of
resonated to the music a little different. So he just
started coming like a hood hero with the music and

(29:58):
I'm making the beats. And what may one thing I
can't pay Guccie for is the promotion that he gave
me your name. Man, This man talk about me like
I'm the best thing since sliced bread.

Speaker 1 (30:10):
Yeah, but it.

Speaker 2 (30:12):
Used to be embarrassing because we'll go to the I'm
talking We go to the studio with a whole bunch
of street guys. His first introduction and this is my
produce a too. He don't drink, he don't smoke, He
don't because he played organ at church.

Speaker 3 (30:21):
It's like, bro, why you got to say all that?
Why are you saying all that? You know what I mean?
You know what I mean. I'm talking about were around.

Speaker 1 (30:30):
Like it's a it's a safety introduction. Yeah, it's a
it's a that's a good guy, guy. Yeah, that's a
good guy.

Speaker 4 (30:40):
He was looking out, but he was no.

Speaker 1 (30:44):
Fool with him and he with me.

Speaker 3 (30:45):
Yeah, he bragging.

Speaker 2 (30:47):
But you know how you done been, you know how
you know how you you know you'd be like, man,
I thank god, I ain't not happened to me. I've
been in a lot of places like Bro, I shouldn't
even been where I was at. You know, I was
in a lot of places where it's like I'm not
even knowing what I'm into, you know what I mean,
innocently in places where I was like, Bronie, I shouldn't
even been over there.

Speaker 4 (31:04):
Yeah, everybody, including a guy who don't do nothing.

Speaker 3 (31:08):
Yeah, but I don't know. I'm just here because you
know we're doing I'm here yeah.

Speaker 4 (31:19):
Yeah that is, but muchI.

Speaker 3 (31:24):
But me and Gucci start getting like this.

Speaker 2 (31:26):
So now it's when it comes to music, I'm we
on each other hip everywhere we go, every studio, every man,
you can be in the studio with Guji and Timmelin
come by and bring some beats for Gucci.

Speaker 1 (31:37):
So you started being that thing he.

Speaker 2 (31:39):
Started getting, you know, Gucci started getting like everybody want
to work with Gucci, Gucci being there. Listen, he can
be in there. Listen to the Neptune beats. Theyre in
there playing with some beats. If I walk in the studio,
all right, yea, I don't want y'all be here now.
So they pulled some beats up like that's how loyal,
and that's how he was with you know, us doing music,
and it was a sound. I guess he just he
loved one thing about me and she is We never

(32:00):
told each other that song whack. Even if if I
thought the song was whack, I ain't gonna tell him
what I feel.

Speaker 3 (32:06):
No, it's not going crazy.

Speaker 4 (32:07):
That's hard.

Speaker 2 (32:11):
Telling me the same thing. It's almost like I noticed beat,
ain't that hard? I'm going to kill this And it's like,
you know, but I learned a lot in that because
some of those same songs that I felt like, bro,
that ain't it? When he go do a show, these
some of his biggest songs that he performed. Yeah, so
it's like you can't say that, ain't it. So that's
why I started learning everything is everything.

Speaker 1 (32:34):
I learned that from many fresh man.

Speaker 3 (32:36):
Everything is it?

Speaker 1 (32:37):
Many fresh is just like I mean, I got a
thousand beats, just put on it, Yo, that's it. I said,
I need, I need, I need a smash.

Speaker 4 (32:46):
Smash smash it.

Speaker 3 (32:47):
Bro, what you talking about?

Speaker 1 (32:48):
What you're gonna say on it? Yeah?

Speaker 2 (32:50):
I need to get to fighting somebody in the studio.
I'm talking about I need to hit I ain't get
out my studio.

Speaker 4 (32:57):
That what you need to hit you?

Speaker 5 (33:00):
Yeah?

Speaker 3 (33:01):
Yeah, I stopped doing that, bro, his don't come like that.

Speaker 1 (33:05):
So what's your first Like, what's your first like moment
of success, like where it's like.

Speaker 2 (33:12):
So so icy was my first song that hit the
radio and in the clubs and everything?

Speaker 4 (33:19):
Oh so what do you say when he says my
chain hang down to my dick? He just went off
at the end, though, Man, it was like, what's playboy
name that sings on the song?

Speaker 3 (33:36):
Little Will lou Will like LII yeah, little Will going crazy?

Speaker 1 (33:40):
I like Little Will nigga.

Speaker 4 (33:43):
But he said that at the end. I said, Oh
my god, yeah, yeah, you got you got say what
year is that?

Speaker 3 (33:49):
It's two thousand and four, Yeah, I know. I look,
I'm like twenty two years old. That two thousand.

Speaker 1 (33:56):
I remember playing in a celebrity game, celebrity basketball game
with Gucci, Gucci, Gucci, Roy Jones and a bunch of.

Speaker 4 (34:08):
Uh not Alabama somewhere you know.

Speaker 1 (34:15):
You know, yeah, I'll be I'll.

Speaker 3 (34:17):
Be one of them.

Speaker 1 (34:19):
And that was my first time meeting him and like
going up and down the court with him.

Speaker 4 (34:22):
I was like, this nigga right here is funny the money.

Speaker 1 (34:26):
And I didn't really know what.

Speaker 4 (34:30):
I knew.

Speaker 1 (34:31):
I knew the song, yeah, but I really wasn't up
on what this nigga is, you know what I'm saying.
And he just seemed like a nice, funny dude, just
cracking and getting up and down the court. You don't
really hooking around. Turn Out he's really dangerous.

Speaker 4 (34:49):
Yeah, so how did y'all kick so icy off?

Speaker 2 (34:54):
I cult here at the barbershop. Gucci called me, uh,
you know, Jesus want to do a song with us, Like,
we need to go to the studio. He got the
studio time set up for this. I leave the barbershop,
go to my mama house. Meet Gucci over there. Make
the beat five minutes, you know, five ten minutes, because
we're trying to hurt him. Get to the studio because
Yong Jesus is the biggest thing going every time. But

(35:16):
he wanted to do a song with Yeah, So we
sitting there, you know, we get down to the studio
and we just waiting in the lobby till his time
to go in there to do, you know, to do
the song with him.

Speaker 3 (35:25):
And you can tell when we came in there.

Speaker 2 (35:27):
First of all, Gucci started bragging on me again so
much like he do he this and that, he all that.
I'm like, bro, please stop doing that because I feel
like when you play the beats now, they're gonna be listening, like, bro,
he ain't all that the greatest thing I ever heard
one thing about my music Back then. I never felt
confident in my beats that much because I didn't know
how to mix, idn't know how to master. My stuff

(35:49):
just sounded just rough or it didn't sound you know
how you go to the studio somebody else music sound
like that, don't sound like like it sposed.

Speaker 1 (35:56):
To be like a radio radio, right right?

Speaker 3 (35:58):
My music sound like it ain't turned Can y'all turn
it up a little bit? Or I can't hear? Like
you know what I mean? Is that what it sounded like?
So I'm like doing all that bragging, bron make me
look bad and strong enough. When he pulled up the
beat so icy, I just made it. Geezu was like, yeah, that's.

Speaker 2 (36:16):
Cool if y'all want to do that, you know what
I mean. You ain't got nothing else really feeling it,
you know what I mean? So it's like, but Gucci
likeable pull.

Speaker 3 (36:25):
Something else up this and that.

Speaker 2 (36:26):
But I almost kind of got offended because I didn't
really know who jez was and what he meant. You know,
I know he was popping, but it's like, bro, I
felt like, hold on, I thought he said he want
to do a song with us, with us, how you
gonna tell us what we want to do? So, long
story short, we were going back. We went back to
the so icy beat because I'm like, man, let's just
do the song we came to do. I didn't pull

(36:47):
that back up, and.

Speaker 4 (36:48):
Then Jesu, I bet that's what y'all want to do
with Everything is already.

Speaker 2 (36:51):
On it, no nothing on it, nothing, It's just but
but Gucci sanging the idea to him. Now, Gucci can't sing,
but he's saying, all these girls excited. Now you gotta
think at the time, Jezu they it's BMF. They super street,
everything is super street. This sounded like ky and candidate
to him. Right now, Bro, what y'all you talking about?

(37:12):
All these girls excited and all that. But you gotta think,
Gucci in the mind frame of you seeing BMF, you're
seeing all this jury, all this money icy is like, Bro,
that we're trying to, you know, make almost like a
club type record. So he sang the hook, but then
little will happen to be in the studio. So he
sung the hook for us. So now once he sing it,

(37:34):
now it sounds like we might have got something. You
got a singer, and then he got a singer in there,
so now you got back then, won't nobody using auto tune.
It was the first time somebody used We used auto
tune on this very little bit. Now t Pain Sprung
came out around the same time where he used a
lot of auto tune, but we had used auto tune before.

Speaker 4 (37:53):
He even used it.

Speaker 2 (37:54):
You know, just a fun fact, you know what I mean?
We put auto tune on it, and it's like, okay,
now the hook on it. It where you see fifteen
people in the studio with they know pad out like, bro,
I'm finna put.

Speaker 3 (38:04):
A verse on this.

Speaker 4 (38:05):
I'm trying to get a verse on this, Okay.

Speaker 2 (38:07):
After JZ put his verse on it first, Yeah, Gucci
was about to go in there and say a verse
he already had and I'm like, no, bro, you gotta
come brand new. So we went in the other room
while he writing his verse, but everybody in the studio.
Booth from Cash Money was there. That's how he got
on the song. He was there as well, but it's,
you know, just mislating people. Everybody got their pin out like, oh.

Speaker 3 (38:25):
I'm finna get on it.

Speaker 2 (38:26):
Coach K was there, and Coach K was the first
one saying like, hey, bro, y'all got to hit this
a hit right off the rip? Off the rip, You're like, bro,
y'all got to hit and before you know it, Bro,
It's like Jez was so popping, but he didn't have
an identify like a hit song. He had a whole
lot of hard music, but he didn't have no song

(38:47):
that sounded like that. So now that the song is
out on mixtape and started to circle circulating the street.
Every time GZ do a show, it's almost like, do
so icy what one is? They want to hear that song?
I remember what JZ and P Diddy was. I forgot
the name of the club at the time, but they
was on the on the bar and Jesus was performing
and they were doing all the songs that everybody know.

(39:09):
But you can tell everybody like man, me and Gucci
sitting in the crowd, you know what I mean. Gucci like,
and they was like, but they want to hear so icy.
So they were like, man, call Gucci up here. Gucci like,
they give me your chain because he got the chain already,
so we both just got our necklace. Give me your
change so I can look extra icy. It wasn't really
all that icy, but you know back then and he

(39:30):
got on stage and rocked it. That's when we know
its like that's the song. That's when everybody like, Okay,
we want that song.

Speaker 4 (39:35):
We need that song. So as you say that, I
get a phone call that has nothing to do with me.
One of my big homies from the Bag, Guy arrest
his soul.

Speaker 1 (39:49):
She kiss Stuart.

Speaker 4 (39:50):
He calls me he said, Playboy, I need a favor.
What's up? Yeah, he like, and when he would get
me those calls, I knew. I knew it was like
it was something Yeah, it was something big and he
was he the biggest executive in the industry at this point.

Speaker 1 (40:08):
He cracking.

Speaker 4 (40:09):
He in my opinion, Shaki was the first superstar and
on her like he really he was an artist.

Speaker 1 (40:15):
He was that guy.

Speaker 4 (40:17):
And you know, he had did the j Z deal
and he said, it's this record. He said, most niggas
don't know that this kid is from the Bay. I
just found out this kid is from the Bay. He
out in Atlanta's When he said that, I said, oh,
he talking about Za and the crazy shit is you

(40:38):
hadn't had no hit records yet. But I just knew
that because I'm like, only nigga he could possibly be
talking about, like he didn't did his research and now
he didn't figure it out. Oh Ja from San Francisco,
Jayson Philmo. I just heard. He told it's actually from
out there calling Jay. So I'm like, what you need, like,
nigg he got this record. It's so icy, I said,

(41:01):
I just heard that. I said, yeah, yeah, yeah, they cracking.
It's like they cracking. I'm like, all right, what what's
the What's he said, I need it? I said, what
Jeez on the record? Like no, no, no, no, no,
I need it. But that's they record from my understanding.
He's like, yeah, but we need that as as Jeez's

(41:22):
first single. We're trying to launch it off of that record.
He said, you know, can you get in contact with A?
I said, I can call him. I said, I don't
give out nobody phone number. Anybody that know me. I
don't give out nobody phone number. I or I got
to call you first and be like yo, such such
looking for whatever it is. I don't care who it is,
not giving out nobody's phone number. So I called A.

(41:44):
I'm like, bruh, they looking for you. I'm like, I'm like,
they're looking for you. Like, yeah, nah, you're talking about
the record. I said, yeah, Bro, I said, My message
was say your number and whatever that number is, they
got it for you a sap. He said, hey, Bro,

(42:09):
tell them that ain't they record?

Speaker 1 (42:10):
Yeah?

Speaker 4 (42:11):
I ain't about to play with that man song.

Speaker 3 (42:14):
My hand was tired right now what I'm supposed to do?
But I was I was hoping in praying that it
can go on geez O man, they.

Speaker 2 (42:23):
Can figure it out. Which that does happen at times.
It does happen at times. But I think Gucci was
kind of looking at it as in jez was so
big at the time. If this goes on his project,
it's gonna I ain't got no place in it. I
ain't got no place no more. It's like I'm just
somebody on the song and then my time is over it.
So now we need this to be this Gucci man song.

Speaker 3 (42:45):
And which was right?

Speaker 2 (42:46):
He needed that, you know what I mean? So, and
I was with it like it wasn't no number. I
wasn't even I didn't care about the money like that
back then, you know, you know what I mean. It
wasn't no number that I can say that this is
gonna make me do. That wasn't no So and Gucci
is my guy, Like I say, he called me seven
thirty in the morning. Every day we go to the club,

(43:07):
yeah exactly, We go to the clinging with our clothes,
We go to the fleet market and spray get our
clothes spray painted with the songs that he feel have performed.
And that night, that's how close we know were so
if I'm gonna give music, come.

Speaker 4 (43:20):
On, man, because then it's your song too.

Speaker 2 (43:22):
It goes they went to me, but you know, if
it's going to Jesus, gonna be bigger because he got
the bigger budget. He got everything going on right now.
But that don't mean that much to me matter. If
I'm gonna be honest with you, I was. I was
so locked in with Guccia, I didn't care if I
produce for anybody else, you know what I mean. If
I didn't get no bigger than that. At the time,
I felt like, I'm straight. As long as I'm doing
his music, then I'm straight. I don't care no about

(43:44):
nobody else music.

Speaker 3 (43:46):
That's how you know.

Speaker 2 (43:47):
That's how it really was, because didn't nobody else get
my music anyway? To him, But it's the hardest music
in the world. Somebody else, they hear, like, bro, what's
that what I'm I supposed to do with that? So
all right, I'm not appreciated here. Let me go back
over here where he loved the music.

Speaker 3 (44:02):
Yeah, yeah, it was like that for a long time.

Speaker 2 (44:06):
You know how hard it is for me to produce
for somebody else because I'm known as Gucci Man producer
it's like, ok can you make that time?

Speaker 3 (44:14):
That's the thing.

Speaker 2 (44:14):
Don't nobody, don't nobody rock with me, cause it's like,
oh you, Gucci Man is like the outlaw, you know,
far as the industry is like, oh you with Gucci,
you over there, everybody else over here, But okay, you
and Gucci, y'all do y'all.

Speaker 3 (44:27):
You know whoever with Gucci, y'all.

Speaker 2 (44:28):
Do y'all stuff over there, and hopefully hopefully y'all make
it big, you know what I mean?

Speaker 3 (44:33):
But I was okay with that.

Speaker 1 (44:35):
So once all the smoke clears and it's Gucci Man's
record and it hits the radio, do you do you
feel a shift and a change because now you got
to hit record on the radio.

Speaker 2 (44:47):
Oh I don't you know what I felt like. I
felt like, I want to say, I got lucky almost.
I felt like this ain't gonna happen again. So let
me cherish the moment, moment, the money I make off of.
Let me kind of tuck it, put it away, you know.

Speaker 4 (45:03):
Being nothing crazy to do.

Speaker 3 (45:05):
I spent all the money, but.

Speaker 2 (45:08):
You know how my thought pattern was I about the studio.
I spent all my money on studio equipment. Yeah, Okay,
I saw my house looking like patchwork down Once you
got all this stuff down like a real studio.

Speaker 3 (45:24):
Now you're excited.

Speaker 4 (45:26):
Now your sound sounds different.

Speaker 2 (45:28):
But I was excited about just still just doing music
at the house. I wouldn't right now, I want to
make another big record. I don't even think about none
of that, you know what I mean. And you know
how this music stuff, you can be a one hit wonder.
Your time could come and go just like that. So
watching my mom and daddy get up and go to
work every day, I didn't put all my eggs in

(45:49):
or I hadn't made it in music. This ain't enough
money to make it in music, really, like you know
what I mean. You know, maybe when it's all saying done,
about a hundred grand or something like that. Now that's
more than what our parents ever seen, what I ever seen.
But this ain't enough to say.

Speaker 3 (46:03):
I can't live and die with this. So I'm at
the barbershop. I'm still cutting here at the bar shop
every day, sun up to sun down.

Speaker 4 (46:08):
So Icey's burning the streets.

Speaker 2 (46:10):
It's the big number one song on the radio. But
it's like I'm still at the barbershop. I'm at the barbershop,
matter of fact, with the radio on, like ooh, I'm
my song number one today?

Speaker 3 (46:19):
You know, we number one on the radio, right, you
know what I mean?

Speaker 2 (46:22):
And I'm happy about that, and I'm happy about cutting here,
and I'm happy about playing at church, and I'm.

Speaker 3 (46:26):
Happy about still selling beers. You know what I mean.
That's it, you know, I feel good. I'm straight.

Speaker 1 (46:32):
Yeah.

Speaker 2 (46:33):
So if it don't go no further than this, I
was happy. I had that moment, you know what I mean.
Now Gucci get the murder case, he go to jail.
We don't know how long he even be gone. Now
don't got Gucci man no more. All I had is
the songs that we didn't been recording this and that
I don't got another artist that's you know, that's as
big as him, and that's locked in.

Speaker 3 (46:54):
That's locked in.

Speaker 2 (46:55):
So I did his second album called Hard to Kill.
So it was all zayto all the music I had recorded,
you know what I mean.

Speaker 4 (47:03):
That was a hard album right there.

Speaker 1 (47:05):
It's hard, you.

Speaker 2 (47:06):
Know what I mean, That's what the song pilled I
might be all that, you know, freaky girl. All this
stuff come off with that album and it's like so
it's like you know, but still I'm still looking at
it in like, Okay, that's dope. I ain't make no
crazy money and nothing like that.

Speaker 4 (47:21):
I'm gonna tell you something else fun. I had another
phone call to you, and I don't even know if
you know this. You know, I'm the first R and
B singer that Gucci did a record with.

Speaker 3 (47:31):
See, I didn't know that.

Speaker 1 (47:33):
I call you.

Speaker 4 (47:34):
You're like, you want Gucci on the record. Yeah, because
he had put out Freaky Girl, and I had a
song called Freaky Freak Freak Freaky And you're like, oh yeah,
I'm gonn connect you with dam called dare. I paid
Gucci man five thousand. Imagine that a Gucci man Verse

(47:56):
for five five nigga, that's a hundred years. Yeah, yeah, yeah,
I called you exact I need him. Yeah, I got you.
Send the record. He shouts you out on the record.

Speaker 2 (48:11):
That's what everything off beat, that's what that's that's Gucci,
the whole versus off beat.

Speaker 4 (48:17):
I'm like, all right, and this is back when I
was in my I'm on my engineer days and I'm like,
I gotta shift this.

Speaker 1 (48:24):
We shift.

Speaker 4 (48:25):
We shifted, Nigga, and to this day, it's still people
that be like that record you and Gucci Nigga back
the people.

Speaker 3 (48:33):
That Manuc is so funny when it comes to that. No,
he I know that, but just my own beat. I
just I know that Gucci right there.

Speaker 4 (48:41):
I'm like, come on, I got the first Gucci man
R B F.

Speaker 1 (48:45):
What are we doing?

Speaker 4 (48:46):
He had never been a R record for that. It's
just like, yeah, he's just building records for his for.

Speaker 1 (49:02):
To talk about it.

Speaker 4 (49:03):
I've never had a chance to say, but thank you.
I'm right with it.

Speaker 2 (49:11):
Don't matter who if they made the phone call shot out,
it's everything they It's like, bro, you ain't really got
to shot me out on it, but okay.

Speaker 4 (49:20):
You put this album out?

Speaker 1 (49:22):
All right?

Speaker 4 (49:22):
How did y'all do it? Did he put it out?

Speaker 3 (49:24):
Even know I put it out? He was in jail,
so he was with Big Cat Records at the time.

Speaker 2 (49:28):
So they coming to me like say, we need I
need your executive produce album cause we ain't got no
music on Gucci.

Speaker 3 (49:35):
He do everything at your house, so we need some
songs to put out.

Speaker 2 (49:38):
So I got all the songs and put it out
and that's when I start thinking about, Okay, I gotta
start building a zay Tooven name because I don't know
if Gucci, you know, what's what's gonna happen. So now
I put it hard to Kill. After that, I put
a mixtape out called Ier Tech. I said, put my
face on there, put Gucci face, you know, because now
I'm starting to try to brand myself just in case,

(50:00):
you know, Gucci is not gonna be around or.

Speaker 3 (50:01):
Whatever, this and that.

Speaker 2 (50:02):
So that's when I start. That's when the name start,
you know, kind of getting hot in the streets, real tough.
Now every dope nigga in the world, I need to
go see ze Toe. And it's because Gucci saying, say
is this? They say they That's all he's saying.

Speaker 3 (50:19):
So he to the world.

Speaker 2 (50:21):
Now he just off somebody and everybody know about it,
so his credibility goes through the roof.

Speaker 3 (50:27):
Okay, Jesez the hottest thing smoking.

Speaker 2 (50:29):
But Guji just he on TV for you know, for
Poppins Onbody like so you know, you know how music streets.

Speaker 1 (50:38):
It's like it looked like it looked like and and
I'm sure there were artists before Gucci, you know what
I'm saying that were actually who they were, Yeah, who
they were just niggas. He's living.

Speaker 3 (50:54):
He's living, and you he's he's actually living it.

Speaker 1 (50:58):
And he's on powers rotation on the on the radio,
and so to to every to every dope boy who's
ever had being on the radio ambitions, you're the soundtrack.

Speaker 3 (51:12):
That's exactly where it was, where it was.

Speaker 4 (51:21):
This don't happen. No, I don't, especially not us being
able to get in this room together and talk about
this and really be like, man, you did that, Oh
you did that? You know what I'm saying, Like, it
don't happen. Bro, Man, listen, you don't tell people all
the time.

Speaker 3 (51:37):
It's that's that's really like, that's God's favor.

Speaker 2 (51:40):
I feel like on me because I didn't, like I said,
I didn't get into this to get where I'm at,
And a lot of things that came to me, I
don't know where they came from.

Speaker 3 (51:50):
It's like, Bro, I didn't I didn't expect that. I
didn't know that was coming.

Speaker 2 (51:53):
I don't know where they came from, but it land
right in my left. All these artists were talking about
that was not even big artists. They end up coming
into the zatoven world and then they blow up, so
they just kept me going for so long, and I
remember a propheted saying this to me in church. She
passed a few years ago. Laate the name by the
name of Diane Palmer. You know you in church, so

(52:15):
you know somebody call you up and prophesied to you
many times. She was. She said to me, your sound
is going to be across the nations. And I thought, she,
you know I'm playing organ at church. I'm thinking she,
I'm like, bro, I ain't even that good playing I'm okay,
Like I'm not. You know how, it's musicians out here
that are playing up on the table like man. It's like, man,
I ain't nowhere near good as him. And I tell

(52:37):
people that even with producing, I'm not as good as
a lot of people. I feel like I got some
unique but I don't. I'm not as good as people
playing the keyboard and I think I'm super great, but
I'm not all that good playing like that. And I
ain't all that good making beats. But the combination is
what makes you know. Yeah, So she was telling me, like,
your sound is going to be great over the nations.
I didn't know she was talking about trap music. You

(53:01):
get what I'm saying.

Speaker 3 (53:02):
I didn't know all these years this music been going on.

Speaker 2 (53:05):
It's almost stemmed from the trap music I was making
in my mama's basement.

Speaker 3 (53:10):
So that's what she was talking about. So you know
what I mean, that's always look at it like that.

Speaker 2 (53:13):
Bro, Like God just bring different situations and put people
in my life to make me continue to keep going
and keep getting bigger.

Speaker 1 (53:21):
So yeah, he said favorite, that's a real thing. That's
straight up watsch My guy, Keith Battle pass the Keith Battle.
He did my wedding. But I've been knowing him since
I was a kid, and I was just watching. I
was scrolling past the videos and he said, see favor,
and I was just kept scrolling. I said, let me
go back to that, and he just started talking about
favor and how favor. You know. One thing about favor

(53:43):
is that it's always very particular. It's not all y'all,
it's just you. Yeah, yeah, Favor is you, and favor
has has a public demeanor. You know, even even if
the favor is given to you in private, it's going.

Speaker 4 (53:58):
To have a public felt mm hmmm.

Speaker 1 (54:02):
Or for the most part, it's just it's in public
and you can see the favor on somebody You're like,
You're like, how yeh like you as you talk about this,
as you continue to break artists and just breaks, it's like,
how how are you? How you doing that different?

Speaker 3 (54:21):
So that's what it is.

Speaker 2 (54:22):
That that's you know, and that's where the cretit go,
brocause you know, it ain't none of them super specially.
It ain't that I work extra harder than somebody else
or none of that.

Speaker 4 (54:31):
So that's what it is. I got a question too, though,
as a producer. As a you might not look at
it this way, but as a super producer, absolutely, who
would you do a versus against a versus.

Speaker 2 (54:50):
M that you respect that you like, you know what,
me and this producer will go crazy going back and
forth with these records. That's hard for me to say
because like I got so many producer buddies, and all
of them is I didn't watch producers come from They'll
come and hang out at my mama basement. Now they's

(55:12):
some of the biggest producers in the world right now.
But I think because of my time stretches, you know,
So it's kind of it's hard because like when I
came in the game, it was shoddy.

Speaker 3 (55:25):
Red nitty drama boy, you know what I mean.

Speaker 2 (55:28):
It was like those like my guys, I'm kind of
balancing against a little bit, you know what I mean.
But then later on became like Mike will Sonny Digital
and you know, guys like that. Then came Metro, London
Ato a Mafia, you know what I mean. So I
kind of been there before. Like I remember, I sit
on the couch and you know with say Metro and

(55:50):
he be like, man, I got in it because Zay
got you know, I started making beats watching Zay Or
or Mike Willer say, man, they used to let me
come to the house, and so it's like I was
kind of before them, you know what I mean. Now
these guys are the biggest in the in the world now,
but you know, it's like I don't know another producer.
I feel like that's on the same time stretch that

(56:10):
I'm on twenty years. So it's different, you know, I
don't know. I respect that, not to say that my
music is better than theirs.

Speaker 3 (56:17):
I got bigger, but it's just it's, yeah, so much
time and it's a lot of time.

Speaker 1 (56:22):
Who has that much time in music?

Speaker 4 (56:25):
So I mean, and at the end of the day too.
I just appreciate the guys that you said too though,
just the biggest to respect. You just paid to them,
the biggest.

Speaker 2 (56:33):
You know what I'm saying, I get it. I'm gonna
tell what I love about them. They always have reached
back and say, Zay, don't working on this project.

Speaker 3 (56:40):
You know, I need you to do something. I want
you to do something on this with me, you know
what I mean.

Speaker 2 (56:44):
So now these guys I used to let come to
my mama house, to my mama basement. You know, I'm
not knowing this is gonna be a super mega producer.
I didn't know these guys are gonna be big as
they are. So you know, it's a blessing to see that.

Speaker 6 (56:59):
All.

Speaker 3 (57:00):
Let's connect, bro.

Speaker 2 (57:01):
Man, if you knew how many people came out of
my mama's basement, it's amazing.

Speaker 4 (57:06):
Fain That's it.

Speaker 1 (57:09):
That's it.

Speaker 4 (57:10):
Yeah, that's what it is. Okay, all right, all right?

Speaker 1 (57:12):
He going to the piano.

Speaker 4 (57:14):
I mean because we you know, we got the piano
man here, huh.

Speaker 3 (57:19):
You know we ought to be doing you know, we
gotta do for the podcast.

Speaker 1 (57:22):
We gotta.

Speaker 3 (57:24):
We gotta do it.

Speaker 2 (57:25):
Behind the scenes of us creating a song from scratch.
Let's do it some special edition, some special.

Speaker 4 (57:34):
Come on, man, you family, whenever you want to pull
up to the podcast, that's up to you.

Speaker 1 (57:45):
So you you've heard a lot of music in your time.
You've made a lot of music in your time.

Speaker 2 (57:54):
Some of it.

Speaker 1 (57:57):
It's your favorite. We want to know your.

Speaker 3 (58:04):
Top f your top five, Yeah, talk five, your.

Speaker 5 (58:18):
Top five on be single.

Speaker 4 (58:24):
Already be so.

Speaker 1 (58:28):
We wanna know Saint sat Tony.

Speaker 2 (58:43):
Drop me up.

Speaker 1 (58:46):
Top Crazy.

Speaker 2 (58:53):
That's the guest singer that come from the other church.
You know, she coming and trying to show out. That's
that's exactly what daddy.

Speaker 3 (59:01):
Come on, you know you're going to do a solo.
You're doing Wade?

Speaker 2 (59:10):
Yeah, you know the church looking at you like, yeah,
you know that's how I go too. You can't tell
him nothing.

Speaker 1 (59:24):
Your top R and B singers, top five, you get
five of them, let's go five.

Speaker 3 (59:35):
I gotta go with Ara Kelly.

Speaker 1 (59:38):
Yeah.

Speaker 3 (59:39):
I don't know if that hurt nobody.

Speaker 1 (59:41):
You know that.

Speaker 4 (59:43):
Yeah, you don't care the R N, R and B.

Speaker 3 (59:45):
You gotta go.

Speaker 2 (59:46):
I gotta go R for sure. I gotta go Usher.
I'm a Joe to see guy. Yeah, you know what
I'm gonna go with Joe. Yeah, yeah, favorites Joe, that boy,
come for my favorite cold. I'm throwing tanking now, not
for sure, and I'm gonna tell you why, Bro, I

(01:00:09):
wasn't even up on your music or none of that.

Speaker 1 (01:00:12):
Right.

Speaker 2 (01:00:13):
My wife came and said and I forgot who she
said that turned her onto it. But she came and
played me, Now you already had I think I deserve.
I probably had slowly already, which I didn't really pay
that much attention to.

Speaker 3 (01:00:27):
I went back to it after I heard I'm so
close on what album that was?

Speaker 1 (01:00:33):
Number that was one man.

Speaker 3 (01:00:35):
I was like, hold on this, nigga, he is going crazy,
you know what I mean?

Speaker 1 (01:00:42):
All the sounds in that song are from the triton.

Speaker 3 (01:00:46):
Maybe that's what maybe probably what drew me to it, all.

Speaker 1 (01:00:50):
Drums everything for real. That I was like, they brought
a triton into the to the studio and I was like,
I don't even use no trying, and I just started
going through the sound that's might that might be what
it was. And I had my I was like, you know,
I'm gonna just grab the sounds out of here and
just and just work with it. That's the man that costs.

Speaker 2 (01:01:09):
That song caught my ear and then I started listening
to that project and then, uh, I'm the reason.

Speaker 3 (01:01:16):
Why I started sticking out to it.

Speaker 2 (01:01:17):
And it's like then I started listening like, hold on, bro,
my wife got me listening to you, and it's like,
now to turn into a tank fan.

Speaker 1 (01:01:25):
That's crazy.

Speaker 2 (01:01:26):
I mean.

Speaker 1 (01:01:28):
Your top five R and B song.

Speaker 4 (01:01:35):
Tricky, that's tricky. You make songs, brother, make so songs.

Speaker 3 (01:01:39):
So I like by cut close. I don't know if
y'all remember that one usher? Can you get with it?

Speaker 4 (01:01:50):
Oh?

Speaker 1 (01:01:50):
Yeah?

Speaker 3 (01:01:50):
Yeah, like you know, here's.

Speaker 2 (01:01:52):
Gems almost matter of fact. All these songs might be
nasty songs are hunching song because like.

Speaker 3 (01:02:00):
With Joe Church, Yeah, with Joe it's.

Speaker 4 (01:02:10):
Maybe I can do it right.

Speaker 2 (01:02:13):
I think it's called I can Do It right. The
song is everything. Album see, y'all might not know. I
might be getting you out on know what's going on.
Y'all might be too young for all.

Speaker 1 (01:02:30):
Y'all?

Speaker 3 (01:02:30):
Might you know what I mean? Song?

Speaker 2 (01:02:32):
What I've noticed though, they like album cuts, album cuts nout.

Speaker 3 (01:02:38):
But I'm like, if you listen to my music, it's
I never felt like I made music like you know, classics.
We ain't trying to make no hit, trying to make
something that's like forever.

Speaker 2 (01:02:50):
Yeah, yeah, yeah, Well I go the strip for you
are Kelly and then Tank I'm so close, Like these
are songs that when I'm out with my wife and
we hang it out, these songs automatically gonna play allist
every time we go out, and it's like, there's so
many other songs, why you keep playing these songs?

Speaker 1 (01:03:06):
All right, let's let's get to your vult Tron.

Speaker 4 (01:03:08):
Brother.

Speaker 1 (01:03:08):
We're gonna make a Vultron Zaytoven's Vultron, the most powerful
R and B artist you can make. We want to
know who you're gonna get the vocal from. For that artist,
we're gonna get the performance style from. Who You're gonna
get the the styling from. Who's gonna put the fur on?

Speaker 4 (01:03:23):
Who?

Speaker 1 (01:03:24):
Yeah, who's gonna get the heart of the artists from?
And since you are a super producer, who's going to
produce style? Let's start with the vocal. Who you getting
the vocal from?

Speaker 4 (01:03:37):
I might go Usher, Universal Vocal Universe, do Anything, sing Anything?

Speaker 1 (01:03:43):
Yeah?

Speaker 4 (01:03:44):
I go Usher.

Speaker 1 (01:03:44):
Who're getting the performance style from?

Speaker 3 (01:03:48):
Might go Chris Brown? You know he's gonna put on
the show. Yeah you got every time every might do
a backflip.

Speaker 4 (01:03:56):
Might he can do backflip? Okay, styling, I go Trey songs.

Speaker 2 (01:04:02):
Maybe Trey got a little swag on him, so I go, yeah, yeah,
you know what I mean. Braids trailed, the braids, trades
more more street mode.

Speaker 3 (01:04:12):
Yeah, I go that way.

Speaker 4 (01:04:14):
Okay, okay, yeah, I go that way. Passion of the artist,
the heart of the artists.

Speaker 3 (01:04:19):
You gotta go like fantasic and yeah yeah, shoes early early,
yeah it now right now, yeah yeah.

Speaker 1 (01:04:32):
And who's gonna produce for this artist?

Speaker 4 (01:04:35):
I think I'm gonna go with.

Speaker 3 (01:04:39):
Think I'm gonna go with yeah, yeah, yeah, yeah, yeah, yeah.

Speaker 4 (01:04:47):
Yeah yeah yeah. What else? We got Chief? We got Chief.
That's what's up. Taking the church.

Speaker 1 (01:04:54):
I ain't saying no, nat saying no.

Speaker 5 (01:05:03):
What you mean?

Speaker 1 (01:05:08):
I ain't saying no.

Speaker 7 (01:05:15):
Yeah. You can't cousin church though, But go ahead, go ahead,
gotta work on working progress.

Speaker 4 (01:05:26):
God, I know your heart.

Speaker 3 (01:05:27):
You know your heart. I know your heart.

Speaker 5 (01:05:30):
Man.

Speaker 4 (01:05:31):
So we got we got this game. It's called I
ain't saying no names. You tell us a story, funny
er fucked up? Are funny and fucked up? Your travels
in this thing and throughout the trap, throughout the industry,
your travels Atoven travels throughout this whole thing. The only

(01:05:53):
rule to the game. You can't say no names. Okay.
I know you're meant to some places and he's seen
some things. Hell, I just can't say no names.

Speaker 3 (01:06:04):
I can't say no name.

Speaker 1 (01:06:07):
Shut on.

Speaker 4 (01:06:10):
Let me think. Okay, well, why you think I'm gonna
introduce it to the people, Because this is Atven, Mister
so Icy himself make the traps say hey, m m hm,
and he's gonna give you your papers. I like, I
like that is you rolling?

Speaker 1 (01:06:32):
Might be a.

Speaker 4 (01:06:35):
Say Toven, I ain't saying no names. Mm hmmm.

Speaker 2 (01:06:41):
So I had an artist, well known artist, asked me
to come out do a show with him. And I
don't even know what part of TEXTA wheel was in somewhere.

Speaker 4 (01:06:54):
I didn't really know. You know, they want me to
bring the band.

Speaker 2 (01:07:00):
So I got me, I got the keys, got a
got my drummer, and my two guitar tars.

Speaker 3 (01:07:08):
So we go do the show.

Speaker 4 (01:07:13):
Damn what he gonna know? I'm talking about him too.

Speaker 2 (01:07:16):
We go do the show, We go back to the hotel.
He takes off because he going to another city before
we get there. Well we at ain't no funk. You
can't ain't no service, you know, with the hotel we're at.
So he was supposed to have the transportation set up
for us to get to the airport, you know what
I mean, everything, so we can fly to the next city. Man,

(01:07:39):
the man ain't booked no flights. He ain't booked no
ooh to come get us. So we stuck out in
this place in Texas. We don't know, I'm talking about
talking about the middle of nowhere. Phone ain't got no
service or nothing. Now I got my people with me.
They looking at me cause it's like okay, they we followed,
they came for me, and you can't get the man

(01:08:00):
on the phone onto about threefold day.

Speaker 4 (01:08:04):
You stranded.

Speaker 3 (01:08:05):
It's like stranded, like what kind of what what's going
on here?

Speaker 4 (01:08:10):
You know what I mean?

Speaker 2 (01:08:11):
So, you know, and this was like this is kind
of kind of early. This was back in the you know,
back in the day where it's like I don't even
think I don't even think we was using Uber like
like you know, like it was now.

Speaker 3 (01:08:21):
I don't think it was Uber trying to find a cab.
We were trying to have Yeah, we had either find
a cab with the car, like a shuttle or something
like that.

Speaker 4 (01:08:28):
Yeah, like a car service.

Speaker 3 (01:08:30):
But bro, we we ain't had nobody number. We couldn't.
I mean, he wouldn't ask his phone, so we ain't
had nobody else to call. So we just stuck out here.

Speaker 2 (01:08:37):
We stayed out there like three days, you know, and
then went back to Atlanta. And it's like, bro, what happened?

Speaker 4 (01:08:43):
Like what happened?

Speaker 3 (01:08:43):
Like you know when you finally get to it, like, bro, happened?

Speaker 2 (01:08:46):
Oh?

Speaker 3 (01:08:47):
Bro, you know all this dude dope drugs. They be
on something else.

Speaker 2 (01:08:51):
Man, I was tripping, broke my bad, this and that,
and that made me stop really touring, you know what
I mean, playing being a musician for an artist on
the on the road because of because.

Speaker 1 (01:09:03):
Of that, you know what I mean, left you and
just left y'all.

Speaker 2 (01:09:07):
Bro, we're talking about Texas where it's like, ain't nothing
around like the room. I don't know what why, I
don't know why we was in these rooms because they
don't stay in the same room we staying in. It's like, okay,
the band, y'all stay over here. We staying in the
Royal suite over here, right. But me, now, even though
I'm Zaytoven, I'm not the type of guy that's gonna say, Okay,
band members, y'all stay there, I'm gonna go stay with them.

Speaker 3 (01:09:28):
I'm gonna stay with y'all. Y'all here for me, you
know what i mean. So and it was just like dang, bro,
but bro levels here, you know, for for three days.

Speaker 2 (01:09:38):
And it ain't ain't even reach out, ain't saying answer
the phone or none of that. So it left a
bad taste in everybody.

Speaker 4 (01:09:43):
Maund three four days.

Speaker 2 (01:09:47):
Was the rooms paid for at least, but it ain't
nothing paid for. My god, that's what makes it so bad.
It's like, now, okay, so I'm responsible.

Speaker 1 (01:09:56):
Huh, how'd y'all get back?

Speaker 3 (01:09:57):
So that the.

Speaker 2 (01:10:01):
The guy at the at the front desk, he was like, bro,
what y'all need? You know, I'm gonna help y'all get
the way y'all going, you know what I mean.

Speaker 3 (01:10:08):
So we stayed. We stayed that, We stayed for a
while because we're like, no, they're gonna get us, you know,
they're gonna get us out of here.

Speaker 2 (01:10:14):
They just took a few days. And it just for
me that made me be like, bro, I'm I'm I'm.
I don't want to say I'm bigger than that, but
it's like, right, this.

Speaker 3 (01:10:22):
Ain't worth it.

Speaker 4 (01:10:23):
Ain't for me, it ain't.

Speaker 3 (01:10:24):
This ain't worth it, and the money don't be worth
it when it comes to doing that stuff.

Speaker 4 (01:10:28):
You know, I.

Speaker 2 (01:10:35):
Was doing it out of love for it and this
and that and the guy you know, the musicians now
they geeked up about it. To them, it's like, bro,
we all over the world we're doing this and that
we're playing behind this person, you know what I mean.

Speaker 4 (01:10:46):
So because that's some people's passion.

Speaker 2 (01:10:49):
Man, I don't even know how they do it. I
got my drumming out at the church find of going
to it. I'm like, bro, no, how you finna do that?

Speaker 7 (01:10:54):
Boy?

Speaker 3 (01:10:54):
Because I show won't do that no more.

Speaker 1 (01:10:58):
This depends on who you who you're working for them, Huh,
somebody can the artists can make the experience either really
great or really fucked up for you.

Speaker 3 (01:11:06):
I think I think me being.

Speaker 2 (01:11:10):
Who I am in the game already, that's kind of
it was like going backwards for me in a way.
So it's like, bro, I'm not used to this type
of treatment and I'm not using to this type of money.
You know, I was doing it because it's like, Okay,
I love to do it. I want to do on experience.
But it's like, Bro's that don't make no sense.

Speaker 1 (01:11:24):
Yeah, it at least got to be like, you know,
five star comfortable for you, you know what I'm saying.

Speaker 2 (01:11:30):
But if I but I'm the type of guy if
it can't be that for who all coming with me,
then I can't lead him out like that And I
don't go hang No, I ain't that type of person.

Speaker 3 (01:11:39):
I'd rather hang with them.

Speaker 1 (01:11:41):
Yeah, you know what I mean.

Speaker 3 (01:11:43):
But if we got to stay, you know, with the
motel is like.

Speaker 1 (01:11:48):
Disrespect of the days. Yes they had a motel where
you outside, Yeah, ain't no hallway.

Speaker 4 (01:11:57):
That's tricky. That's tricky. Business is tricky, Bro, tricky business.

Speaker 1 (01:12:02):
I get it.

Speaker 2 (01:12:03):
Brother, say.

Speaker 1 (01:12:06):
You are him? Brother man, you are.

Speaker 3 (01:12:08):
I'm I'm glad I came.

Speaker 7 (01:12:09):
Bro.

Speaker 5 (01:12:10):
Yeah.

Speaker 1 (01:12:11):
We appreciate having you, man, Thank you, Bro. We uh,
you know, just outside of being family man, just you know,
we just appreciate you. Everything you've done, man and the
way you've done it. You know what I'm saying. Your
name is your name is great in these streets. That's
what's up, amazing. I've never heard.

Speaker 4 (01:12:31):
Nobody couldn't tell me nothing sadeways about you.

Speaker 1 (01:12:33):
Better what I like.

Speaker 3 (01:12:34):
I like when somebody else can say everybody gonna say
the same thing about me.

Speaker 4 (01:12:38):
So that's good.

Speaker 1 (01:12:40):
That main solid, That main right there. So we appreciate you, brother.
I love money and this is there ever your money
podcast here, throw you on all things already be Yeah,
this has been mister Frank. All the artists himself still
left the church. You might get a haircut, yeah, but

(01:13:05):
he's a man of the track. R and B Money.

Speaker 4 (01:13:14):
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
Jay Valentine and at the Real Tank. For the extended episode,

(01:13:36):
subscribe to YouTube dot com, forward slash R and B
Money

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