Episode Transcript
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Speaker 1 (00:00):
What up, y'all. This is your main man, Memphis Bleak
right here.
Speaker 2 (00:02):
Welcome to Rock Solid, a production of iHeart Radio and
the Black Effect Network in partnership with my guys over
at Drink.
Speaker 1 (00:09):
Champs Big with the year Memphis. I'm back, Caddy niggas.
Speaker 2 (00:17):
Notice the difference, just pron present no stones. Yeah, y'all,
we back with another episode of this rock Solid. And
like I told you before, if you see anybody on
this platform, it means one thing, a super solid. And
you know, my guy to my left, one of the
illness producers that ever step in the studio, one of
(00:37):
the illness niggas that I feel like in the game
I could call my bro.
Speaker 1 (00:41):
You know what I'm saying.
Speaker 2 (00:41):
And it's just like it's an honor to even work
with these kind of guys because only the legends get
the heat from them.
Speaker 1 (00:48):
Guys on my level don't.
Speaker 2 (00:50):
Really get that much heat from them, but the legends
they get the heat. So it's an honor that have
my brother Bink, the motherfucking humble Monster in the building.
Speaker 1 (01:00):
That's something I.
Speaker 3 (01:02):
My g and laying loads staying out the way, Nah man,
we don't need you laying loads staying out the way
we need you back, We need you back with the
MPC in the studio.
Speaker 1 (01:11):
Oh no, that's always you know, yeah, man, like yo,
I always wanted to know.
Speaker 2 (01:16):
This is a personal interview. This ain't for nobody else.
The fans, they gonna like it if they like it,
But this is for me because I want to just
get the science of the knowledge behind what make you
you like? So let's go back to the beginning. What
made Bink fall in love with music? They even feel like, yo,
I want to do that.
Speaker 3 (01:36):
You know what's funny, bro, Like, the entire time I
was in school, in high school, that was never my dream,
no way ever, that was a regular country nigga.
Speaker 1 (01:45):
I wanted to be along showman, merchant, seman, get out
or hit the railroad.
Speaker 3 (01:49):
Regular you know, try to get a job at the
ship yard. Regular country nigga shit, because that's the guys
you seen get money. You know what I'm saying. Legally,
you know what I'm saying. They was one to get
into the money.
Speaker 1 (01:58):
So I was never, you.
Speaker 3 (02:00):
Know, aspiring to be a hip hop producer, but I
was always into music. You know what I'm saying. My mom,
you know, shout out to my mom. My mom had
me playing drums in.
Speaker 1 (02:10):
Church when I was eight until I was probably about fourteen.
Speaker 2 (02:14):
That's where the best ones get it from church. That
part right, the legends the church. Damn I should have went.
Speaker 3 (02:20):
Back so that that's that's how it started, you know
what I'm saying. And then once you know, when hip
hop came out. You understand, I'm fifty three. Hip hop
is fifty three, you know what I'm saying, So we
pretty much, I mean I pretty much grew up with
the hip hop and the culture just it just took
me over.
Speaker 1 (02:36):
Like I was just all in with the with the
hip hop. She's like, as far as break dancing and.
Speaker 3 (02:42):
All that, Like I was like, you know what I'm saying,
Like I was in there, like I was trying to
do all that.
Speaker 1 (02:47):
Yo.
Speaker 2 (02:47):
You wasn't though you had the cardboard or the block
because then the boom box, Yo, that was the vibe.
Speaker 1 (02:52):
Trying to spin on your ass. Put your D put
your D batteries in the freeze overnight, trying to get
them joints back, Yo, chill. The freezing the batteries was classic.
Speaker 2 (03:03):
I don't know who put that room in the hood that, yo,
you freeze them to get and they worked thing low.
Speaker 1 (03:08):
You know what the secret was through right what You
had to turn the base knob down.
Speaker 4 (03:12):
H See that's that producer ship to because.
Speaker 3 (03:14):
The more you had the base up, the more on
a drag you turn the base nob down. He'll start
playing back fast again, like, yo, let should take your
the base.
Speaker 1 (03:23):
Took your batteries out, so we had to take the
base out.
Speaker 2 (03:25):
These kids don't know nothing about batteries and the radio.
Speaker 1 (03:28):
What's that? Or never?
Speaker 2 (03:30):
Never themocal troll car maybe that's it. They probably don't
even know about that.
Speaker 3 (03:33):
Man, they're still they still got a hobby cars. I
got I got like three of them join.
Speaker 1 (03:37):
Yeah, but these kids don't play. They drill. They don't play.
Speaker 2 (03:41):
When you've seen the last time you've seen a remote
control car whatever, you used to have to hop out
and be like, oh, ship look out, surely got the
car spinning through.
Speaker 1 (03:48):
When the last time you jumped out the way for
remote truck car.
Speaker 3 (03:53):
It was ninety two, my nigga, that's too early, ninety
five delayed. Now I'm going I'm gonna go eighty eighty eight.
Speaker 1 (04:02):
Eight.
Speaker 3 (04:02):
Yeah, that time I seen somebody like really like going
hard with them Jews like.
Speaker 2 (04:05):
Kid remote control cars. Was the vibe my nigga that
was part of hip hop. Fuck that with theah levels.
So what was the first beat you made like that?
You made for somebody, like your first time when you like, man,
this is it, this ship, this shit could be it.
Speaker 1 (04:22):
Listen shout out to my man Chris Perry.
Speaker 3 (04:25):
We had a group back in the day, and the
first record I went to the studio with was was
actually the barge One more chance, no way I want,
I know how to produce. I just went to the
studio like, yo, I need you to loop this part.
And now you got some drums and the nigga drums
was wacky shit, but I picked some drums and tried
to put some drums on it.
Speaker 1 (04:44):
But that's the loop I had, and you just was
piecing it together.
Speaker 3 (04:48):
Back then, you know, when people doing beats for the
most part, they were just going to the studio with
the records and they would put the record and they
don't know what sex they want. They just tell the
engineer like, yo, from right here, I want you to
loop from right here right there, And then we just
pieced that shit together. And then remember the sp you
got an s p no. I started with the SR team.
Everybody from Virginia dre for real, not Chad. Yeah you
(05:13):
from I'm from Norfolk.
Speaker 2 (05:16):
I'm from They trapping in North They trapping out there
cut playing fit at all.
Speaker 1 (05:23):
Yo. Back in the day that.
Speaker 2 (05:25):
Ship was bad. Always live like always Newport News the Beach.
Speaker 1 (05:30):
And Norfolk half thing seven cities.
Speaker 2 (05:33):
My g I, I asked some of the best times
I know growing up out there that like, like you said,
tembo forral fucking y'all got genuine missy if my MISTERI like.
Speaker 3 (05:45):
Vir genuine from d C missy, uh danger hands like
Luca fucking.
Speaker 2 (05:51):
Trey song Chris Chris Brown, like VA puts something ship
on the map.
Speaker 1 (05:55):
Boy y, Then we don't get into sports. We ain't
gonna go there on you. You know that you ain't
got no team. We ain't got to do. We ain't
got a team.
Speaker 2 (06:02):
But we got the guys that need a team, you know,
Like we make your team that part, that's what we do.
And they come back home with the raids that I
love it. That's the something they.
Speaker 1 (06:17):
Won't get us. No team up for some reason.
Speaker 4 (06:19):
Shit crazy, Yeah, I don't know why. Like word, that's crazy.
Speaker 3 (06:22):
They don't want that type of traffic at the crib.
Y'all understand what type of money that generates when you
have an arena, what type of traffic?
Speaker 1 (06:29):
You know, that's what you I would think that's what
they were wanting. They like their town quiet.
Speaker 2 (06:33):
That's crazy, man, But dad, y'all produce some fucking major
heavy hitters in the game. Just to be even amongst
your name even mentioned with them? Man, how that feel
to beat Virginia making noise like that?
Speaker 3 (06:47):
You know it's crazy because that's you know, it's a
conversation I've been having recently on Instagram just about trying
to do things your way.
Speaker 1 (06:54):
You know what I'm saying.
Speaker 3 (06:55):
All of us live within fifteen minutes of each other,
but none of us sound like that's crazy, you know
what I'm saying. So just think about that for a second.
We all hang around each other, we all live in
the same town, and nobody sounded.
Speaker 1 (07:06):
Like nobody that was hip hop.
Speaker 4 (07:08):
That's like somebody.
Speaker 3 (07:11):
So you know we I think Virginia is pretty much
that's our stamp, because Missy, how do you put a name.
Speaker 1 (07:19):
On what she was doing? You know, nobody was doing
what she was doing.
Speaker 2 (07:23):
No, man, I feel like Missy revolutionized or busters.
Speaker 3 (07:28):
That part, like she took from a girls bad, she
took you know what I'm saying, to the next but
even more risky, you know what I'm saying, even even
taking more chances, like musically, you know what I'm saying.
Speaker 1 (07:38):
So I learned a lot from her working with her.
Speaker 3 (07:41):
So that was like one of my highlights in my
career was working with her for like that month or
too much that we worked.
Speaker 4 (07:46):
You did you produce some joints for Yeah.
Speaker 3 (07:48):
We did, Like we did records for other people, like
we did Tamya together, we did total we did any
given Sunday soundtrack together, you know what I'm saying.
Speaker 1 (07:57):
So we did. We did a few things.
Speaker 2 (07:58):
See, I got said when you walked in us, Sassin,
it's certain like I always said, right, it's two types
of people. And when it comes down to producers, I
always say it's beat makers and then there's producer. For sure,
there's niggas who make beats. It's like, yeah, yeah, I
send you one hundred beats and they want you to
pick the best beats, Like my nigga, that's your job.
Speaker 1 (08:18):
I mean. But that's that's the disconnect with artists now.
Speaker 3 (08:20):
I see artists today think when you send them the beat,
you just need to get the funk out of the way,
and they just go do what they do and then
you hear you hear your beat again, you hear people
singing keys on, like what is this right? So they
just don't see the importance of allowing somebody to produce
the record fully from top to bottom, Like they don't
understand how the rulers back sounded at first opposed to
(08:44):
after the mix or all that shit.
Speaker 1 (08:46):
You know ain't on front.
Speaker 2 (08:47):
Man, you gave Hole some of his best beats, like
the world everybody critically acclaimed.
Speaker 1 (08:54):
Of course they gonna say just Kanye he had volume though,
but just got volume.
Speaker 2 (08:58):
And Kanye, But you gave Jay the ones that played
to this day. I feel like between you, God, Rest
is Soul, Earth, Gotti, y'all gave Hold the ones that stuck.
Speaker 3 (09:10):
It was a I think it was a fire like
Wove had a real fever of producers like Tim Forrell
myself deserve, So that's like.
Speaker 1 (09:25):
You know what I mean. He had Clark recipe so strong,
like a strong ten piece that.
Speaker 2 (09:34):
Man, y'all boys, That y'all boys is putting up some numbers,
man like you did so many classics the rulers back,
man like, I think nine hundred hustler you me and
him at Hub, like, I remember that a lot of
people don't even know that you produced the joint with
me and Rihanna.
Speaker 3 (09:51):
A lot of people know that was rihanna first time
being on the record and about that.
Speaker 2 (09:55):
But I'm gonna tell you this. You you probably don't
even remember this story. You remember playing the beat for
me and I was like, nah, I don't like that beat.
I don't I don't think that one for me, And
you was like, and this is why I say it's
a difference between beat makers and producers, because you looked
at me like that same look. Like all came back
(10:16):
with the hook on it, like yeah, this is the
end Jay. You and Jay was in the studio like yeah,
this is the new girl they signed Rihanna. Man, listen
to it now played with the hook. I'm like, it's
it now God.
Speaker 1 (10:29):
Which is the same sample from All I Need. That's crazy.
Speaker 2 (10:33):
I never even knew that That's what I was saying
before when I was like, yo, I got drama with
y'all producers, Because producers be.
Speaker 1 (10:41):
Loop and Ship and y'all never tell an artist where
you got the loop from.
Speaker 2 (10:47):
I tell you later, but before that, I feel like
you should know before because you might listen. I'm the
same way you listened to the song and got that
little piece and was like ooh, I might listen to
the lyric to be like that's a huk.
Speaker 1 (11:02):
Or this write the whole song, you know what I'm saying,
so you.
Speaker 2 (11:04):
Could piece it together and make it as That's what
I feel like from my person me, I don't know if.
Speaker 3 (11:10):
See most people don't want to dig beyond that. See
that's you going, that's that's extra. That's like taking a
thousand shots before the game.
Speaker 1 (11:16):
You know what I mean? That's that? Yeah?
Speaker 2 (11:18):
Yeah, so yeah, research because years later, like I remember
me and my guy Poozo were in the car and
he didn't know and I didn't know that in my
lifetime was a sample from what joint?
Speaker 1 (11:34):
Was that.
Speaker 2 (11:39):
In my lifetime? What look that up in my life?
That's from it's been heartache and pain in my life.
The Foreigners and the record came on the radio, Bro
and blew first of all.
Speaker 1 (11:53):
Blew me and his mind away, like I'm like nigger
this is my record.
Speaker 2 (11:56):
I had this record for twenty years and didn't know
it came from this, and that's in That's why I
say like I probably would have something else in the
verse or something that reflected or you know, wrote the
song about what that was about or something.
Speaker 1 (12:10):
So I just gave you something, yeah, right to.
Speaker 2 (12:15):
Like and you was always like, this is why I
want to know what it's like working with other artists
because one beat that you made that I always felt
like he didn't play that one for me.
Speaker 1 (12:27):
Oh which one of the cheeks jo.
Speaker 3 (12:31):
No, the reason why it's the story behind that though.
Now the story behind that. Remember I had that group,
Nam Brigade.
Speaker 1 (12:37):
Yeah, yeah, that was one of their singles. You understand
that was one of the singles and All I Need
beat with the other single mmm hope.
Speaker 2 (12:45):
So damn mister Cheeks was out here Sniper niggas too.
They say, oh for sniping, we ain't no cheap missed
the cheeks.
Speaker 3 (12:51):
With Unfortunately, uh, like the start of the group, you down,
he got murdered. Oh ship that he was mixing so
with the album of actually came out. So but hip
hop was trying to buy All I Need the entire time.
From the first day I played. He was like, yo,
and I was like, the more you ask me for
this record, the more I need. I know I need
(13:12):
the holdlest bitch.
Speaker 1 (13:13):
That's right.
Speaker 3 (13:14):
So you you keep coming at me so I know
I got something. Yeah, No, I ain't raising no start.
I'm not giving it to you. I'm keeping this, you know,
for my niggas. So I know this's gonna blow himut
of the water because you want it real bad. So
I know this this is a great record.
Speaker 1 (13:29):
Yo. Hip hop was an l A n R. You know,
he never end or nothing for me. He never gave
me one beat, never never. That ain't an accident. No,
that's my nigga.
Speaker 2 (13:40):
We smoked mad Weed, playing mad Games, talk mad Ship,
and he'll walk right in that room and give Beans
and Jay the heat and Lenny.
Speaker 1 (13:48):
Yes, that was it. That's why you got to But
you see you caught on. So you start come pulling
up at the crib. Yo, caught on. You're like, see
you know.
Speaker 2 (13:57):
What, niggas you was future rested because I was still
on the come up back then, yass, when y'all producer
was getting one hundred grand a beat, these niggas is
charging through the roof.
Speaker 1 (14:08):
I come to this nigga being cribbed.
Speaker 2 (14:10):
This nigga was doing the whole ceiling over in some
moon texture.
Speaker 1 (14:16):
This nigga looked at me and.
Speaker 2 (14:17):
Said, yeah, five thousand for the texture. Just saw the
ceiling bleaking. I look at this nigga, like, five thousand
for the ceiling? How much for the beat?
Speaker 1 (14:28):
How much for the beat? One hundred and fifty thousand?
Yeah you and so on. Our next level. The studio
at the crib was fire bro.
Speaker 3 (14:35):
That's why nobody saw me on the Conye documentary because
I was always in the crib.
Speaker 1 (14:40):
I ain't really hanging baseline like that. Yeah. No.
Speaker 4 (14:42):
Once I finished and then it got too crowded, he
got crowded.
Speaker 1 (14:46):
I ain't gonna it was too much traffic for me,
so I took it back over the water. M you better.
You never been in baseline for keeping.
Speaker 2 (14:55):
You didn't have to, but you ever just came to
just observe or keep it real winds a session.
Speaker 3 (15:01):
Remember the day I played my beat for Blueprint was
that night?
Speaker 1 (15:06):
That was the first keeping real winnday on the first one.
Speaker 3 (15:09):
This night I came, I'm about to funk you up.
The night I came, everybody was in the avey. He
had everybody over that night. I think Q Tipper just
did uh girls girls for that for him earlier that day.
Speaker 1 (15:23):
So the room was packed.
Speaker 3 (15:25):
And normally keep it real Wednesdays, you had to play
your beat in the front first before you could make
it to if it was Yeah, So they were already
in the bat and that's the last thing Hold said
to me before I played my beat. He's like all
right now, He's like, don't make no ass.
Speaker 1 (15:39):
Out of me. You know you don't supposed to be
back here.
Speaker 2 (15:42):
Ship he was with you, wasn't playing no beat the front, yo,
keep it real Wednesday. Got a lot of producers to
this day won't send me no beats, like niggas that
had heat and just showed up that day and they
had their best game. No, like it's basketball. You could
drop forty tonight tomorrow. Go in there and give them
(16:02):
a like ten. Don't mean you whack it, just mean yeah,
he just wasn't.
Speaker 1 (16:07):
It was off the night.
Speaker 2 (16:08):
Yeah, but it's certain producers who walked in there that
was off. That's still to this day, like, nah, fuck y'all, niggas,
don'ta fuck with your Rockefeller.
Speaker 1 (16:15):
Niggas, man, that's because you know, niggas be sensitive, but
they art, Yo. That's that's real shit.
Speaker 3 (16:21):
But at the same time, it's like niggas gotta understand
we re in there in the service, yo.
Speaker 1 (16:27):
You know what I'm saying.
Speaker 2 (16:28):
So today's today's producers, I don't even think they would
show up to keep it real Winnesday. These niggas are
so used to beat niggas a DM your.
Speaker 3 (16:38):
Beat, plus they gonna come in there and they all
gonna play the same beat.
Speaker 1 (16:41):
Any guy, Damn way, that's a fact. Keep it real Wednesday.
Speaker 2 (16:44):
Just so y'all know what's something right where Dip Sat
would be there Skate Property, me and my crew hole
and everybody would call all their favorite top producers and
come to the studio to play some heat and we
had to keep it real. Either your beat was trash
or your beat was fire. And if you got your
(17:05):
beat with fire, some producers got that. I survived. Keep
it Real wins the T Shirt.
Speaker 1 (17:12):
Man. Some producers just got sent home like the Sandman
came on stage. Some producers got worse.
Speaker 4 (17:19):
Yeah, some producers have got worse.
Speaker 2 (17:21):
And you staying with the like, you know, just authenticity
and originality and all that with the beat and just
protecting you know, your sound. I know you always felt
like a lot of niggas bit your shit man like.
Speaker 3 (17:38):
I mean, like, this is a question I asked everybody
name would beat the sound like rules back before the
rules back? And I'll be quiet, however, because you can't
name nothing like that.
Speaker 1 (17:49):
Nothing.
Speaker 3 (17:50):
You can't name one beat that sound like all I
need or one now prior to them chicks coming, so
niggas could sit here and being their feelings all they onto.
You are obsessed with the sound. I get it. I understand.
Can't move on to some point, my nigga, find yourself,
you know what I'm saying, whoever, whoever that may, whoever
(18:11):
whoever I'm talking to, because a lot of them ship,
but it ain't just the thing is it's bigger than me.
I hear a lot of Travis Scott sound. So it's
like today kids think that being persatile is being able
to do a for real beat, timbling beats, that's a bitter.
Versatility means you can do reggae house em you know
(18:32):
what I'm saying.
Speaker 1 (18:32):
That's versatility. Like when you go see.
Speaker 3 (18:35):
Somebody playing beats, you don't be like what kind of
beat you're looking for?
Speaker 1 (18:39):
Well, I mean you got them all, you did what
I'm saying, so what But so what's your ship? Though?
Speaker 3 (18:44):
And that's the question that that's the question that these
kids run from, you know what I'm saying, And they get.
Speaker 1 (18:49):
They get mad at me when I when I put
the mirror up, like, bro.
Speaker 3 (18:53):
Yeah you sound you sound like adult metro Booman when
you played. I'm just saying, but when you when you
what's somebody has signature? Bro, you can't mistake a promo
beat when you're a premo beat. You know why you
think it's a premo beat. So if you take the
very things that promo do and do it in your ship,
then the first thing I'm thinking I hear it is
fucking primo. Oh oh that's some other dude. Oh that's
(19:16):
oh that's crazy sound like people. So my thing is
as a producer, do you want that for yourself? Because
if I play a beating, your first thing you say.
Speaker 1 (19:23):
Is damn, that's some tumbling ship. I'm hot.
Speaker 2 (19:25):
But that's how these producers pull up. Now, I'm like, yo,
you know, I just was working on the project. A
lot of producers pull up to the stew and that's
very same ship you saying. They say, Yo, you want
some metro sound and ship. You want some ship that
sound like Tiger. You want the ship that sounds like
Baby and Epp. And it's like, nah, nigga, I want
(19:45):
the ship that's gonna make me sound like me.
Speaker 3 (19:48):
They don't know what that is, bro, So so it's
like that's the thing. So it's like I tell them,
you know, anything I tell you, I stand on because
anything I'm telling you I've done myself.
Speaker 1 (20:01):
I've applied it to my own career.
Speaker 3 (20:03):
So I'm like, Yo, I went out West and I
did Nate Dogg corrupt an exhibit without sounding like battle Cap,
Quick and Drake. I did all three of them. I
got loved, don't sound like Drake, girls, all Paul's don't
sound like battle Cap.
Speaker 1 (20:19):
I forgot you.
Speaker 2 (20:20):
Feel me, you got the bombs.
Speaker 3 (20:25):
But I'm just telling niggas like, you gotta figure out, girl,
you gotta take you gotta take chances.
Speaker 1 (20:31):
Bro r P.
Speaker 2 (20:32):
Nate Dog you called me and got me a verse
with Nate. My first time ever me and Nate was
because of you. That was my You called me in
the studio just cooking out. You're like, bleek, I need
a verse for this.
Speaker 3 (20:43):
That niggas Nate was the funniest poker face, motherfucker you're
ever meeting your life. I think that's always he had
the rod Waller face with joke. This ship outside, that's
all West Coast. It just always got to be on
that A cut people nothing, People don't know how funny funny,
that's what's up.
Speaker 2 (21:03):
You put in a lot of work with Nick, out
of all the artists that you work with, because boy
oh boy, one of my favorite beats right now, I
could say last ten years in music period. Bro Santorini,
grease man.
Speaker 3 (21:17):
You know it's crazy about Santorini. That was me going
at myself out doing Devil with new dress.
Speaker 2 (21:23):
That was me going to you did Devil was a
new dress too, Get yo, I fucking quick yo, you
fucking lion.
Speaker 3 (21:33):
Yeah, neiggative, so you better than Yay on that one.
Speaker 2 (21:41):
That's right, fuck back what my nigga? Yeah is a
beast like we look like he's a sample. He could
chop a sample up the way you listen, day.
Speaker 3 (21:52):
Yay used to he caught the bust of my cribbing
jersey right, No, bullshit. You brought the bust of my
cribbing jersey and we played beats back for you, played
beasts back and forth and Ship, and I think he
was using me as a gauge as to you know
where he needs you know where he needs to be,
you know what I'm saying. So you know he would
ask me Ship, like how much I charged gonna be,
(22:13):
how much I think he should charge, or yo, what
I think he should add.
Speaker 1 (22:16):
To the beat.
Speaker 3 (22:16):
So that's why my bass player ended up playing on
Bonnie and Clyde.
Speaker 1 (22:21):
You know what I'm saying. That's why, yo. You know
what I'm saying. All of that, You feel me? You
just fucked my head up, bro gang finish. Yeah, so
that's what I'm saying. So I didn't when I first
met Dre.
Speaker 3 (22:33):
I remember you couldn't talk to his musicians, That's right,
and not just that. When you went in the studio
if he wasn't there, they had blankets over top of
the keyboards.
Speaker 1 (22:43):
Monigg That's how real it was. You got go oh,
they gotta they gotta, okay, they gotta.
Speaker 2 (22:51):
No.
Speaker 1 (22:51):
You look in at the studio, it's blankets over top everything.
You can't see Ship that's crazy because everybody want to
know what is he getting these sounds? He's like, I'm
not gonna help you. That's right, you feel me? So
these kids will understand what the more you don't know
is the more of advantance that I know for myself.
Speaker 3 (23:10):
So they think I supposed to give them that to
make the plan feel even.
Speaker 1 (23:14):
No, that's that's not business.
Speaker 3 (23:16):
That's what business is about is having some ship the
other person don't have, and having some information and applying
some shit to your ship that anybody else doing.
Speaker 1 (23:23):
Keep separating us, right, you know what I'm saying.
Speaker 3 (23:25):
So they accused me of being a gatekeeper for pushing like, Bro,
you gotta protect your sauce.
Speaker 1 (23:30):
Bro.
Speaker 3 (23:30):
Like I'm like, I tell him, I say, have you
ever seen David Blaine explain how you cut people in hair?
Speaker 1 (23:35):
Exactly?
Speaker 4 (23:36):
You'll never see, yo, David Blaine, he ain't from this planet.
Speaker 1 (23:39):
Bro, But why would he show you?
Speaker 3 (23:41):
It's something he doing that he could show somebody how
to do it, But why the fun would he show you.
Speaker 1 (23:44):
I've seen that nigga do it direct, Bro, That now
make you walk out the room. Yeah he not, He
not from this plane, not from here, bro. He did not, yo, Bro.
Speaker 2 (23:52):
We was in the crib in Miami. My gee, he yo,
lit's sen in the house with the cars. This is
an air and be we rented. He didn't like. We
went to his house. He came to our crib. Everybody
in there, bro, and this nigga doing a card trick.
And he told one of the homies to go outside
(24:13):
the window. Like that's like, I'm in your crib and
tell me, yo, bleek, just go outside the window.
Speaker 1 (24:19):
I'm gonna throw this car through the glass.
Speaker 2 (24:23):
And it's gonna stick to the window outside, Nigga, I'm
looking like, Bro. The snigga threw the cards against the
window and the car was stuck to the glass outside
the fucking house.
Speaker 1 (24:38):
You different, yo, what I said. But my thing is
there's something behind it. He's not gonna teach me. But
why would he because he would be he would be No,
he's nothing. I'd be David. I'd be David Blair. To
you feel me that he David bla David McDonald's and McDonald's.
Speaker 3 (25:05):
Right, come on, bro, Yeah, shipload of McDonald's out here, Bro,
I'm trying to tell you. And they and they wear
that bands like it's like they like.
Speaker 2 (25:14):
Yeah, yeah, they suit the flight security or jacket your ship.
Speaker 4 (25:19):
Listen, they took ice Q shiit jacket for beat.
Speaker 1 (25:22):
Serious. Speaking of ice Q, I did the theme music
for the Big Three too.
Speaker 2 (25:27):
God blessed and congrats congrats the ice early being the
first black sports owner in America.
Speaker 1 (25:35):
Man, that's fucking the.
Speaker 3 (25:36):
Lead, not just sports sports league word and they started
a fucking league on your that's different.
Speaker 1 (25:43):
That's fire.
Speaker 2 (25:44):
So out of all the artists who you would say
your favorite to work with in the stool, like miss
and Ja, Missy and j Jay quiet in the studough Jay,
don't say nothing.
Speaker 1 (25:57):
Jane sit there right there in the corner for thirty
minutes to be like, Yo, I got it what they say.
Work smarter, Jay do playing this Stuart, let's get it.
They make it.
Speaker 3 (26:08):
He make you feel like yo. I gave him a
hot beat. I left him alone. I came back and
heard a hot record. That's a great day in the office.
Speaker 2 (26:15):
That's a fact, you know, Yo, It's crazy that I
have a record with Missy, shot a video with Missy
and never met Missy.
Speaker 1 (26:23):
Even this shows with Missy when she.
Speaker 2 (26:25):
Come out and performance, that's your chick with me and
I still never turned around. She ain't never say yo
without bleak.
Speaker 1 (26:31):
Let me tell you something, man, Missy. I learned a
lot from her.
Speaker 2 (26:35):
She gangster like super I love him business she showed.
Speaker 3 (26:42):
She showed me that don't let the inn and she
play with you as far as especially when she do,
like if she did a video and she says she
won't five black suburbans if she get there in the three,
she ain't come out her trailer.
Speaker 1 (26:53):
That's a fact to the other two. Get here, but
they'll talk to you another two being an hour you
shooting for you know what you face? I don't, man,
we just three, that's right, yo.
Speaker 2 (27:02):
They will st SPINISHU fucking know, they will spin your ass.
Speaker 3 (27:06):
So she she's alway or when we work in the studio,
she she the one got me on the the board
like raise a Monks. So she would have all the
songs on the board, and then she would have a
comment category and it would say if something needs to
be fixing the record, like high had too low or
knee backgrounds. So if it had a comment on the record,
(27:29):
she wouldn't play it for nobody if it didn't make
it over here, saying every all everything's checked off.
Speaker 1 (27:36):
She's not gonna play it for you.
Speaker 3 (27:38):
She could just be I'm talking about high the high
hair can be low, too low, and that just that
that's not if it's a.
Speaker 1 (27:43):
Comment on that board and it ain't fixed it yet,
don't play that ship, yo, chill. She was that critical
her shelf, but it just bro She do three records
in the day on B Records.
Speaker 2 (27:54):
She done wrote timeless records. That's you know, chapters to
some of these kids' lives, and iis man kidding me.
Missy is one of the most talented females to even.
Speaker 3 (28:03):
Touch music or in static man, Like some of the
most talented runs I ever worked with. You work with
static too, man, Yeah, blessed, blessed, super Kentucky Super from Kentucky.
Speaker 1 (28:16):
What every time we got together. But you know what
this is he from the crib. He hard, He from
the crib. He was always always.
Speaker 2 (28:26):
I'm gonna try with this othern accent, especially New Orleans.
Speaker 1 (28:29):
That's my favorite, man, New Orleans and Baltimore kind of
they got that Twain. They got New Orleans. Is just
they make you feel like, damn, why wasn't I born here? Though?
Speaker 2 (28:40):
Be like hey, baby, big move here, baby, what you
need man, like you shund like my aunt.
Speaker 1 (28:46):
With that same bibby gets you shot in the back
of your ship. Yeah, city the same played with the baby.
Speaker 2 (28:52):
Gonna get that, you get that same baby show.
Speaker 1 (28:57):
As a fact. That's every city is up, every city man, Yo.
Speaker 2 (29:03):
So I know you over the years watching all these
producers Swiss battle everybody, then they done created the league.
Speaker 1 (29:12):
You feel like niggas don't want no smoke with the monster.
Speaker 2 (29:16):
You're a smoke or who you wouldn't even want a
battle if it was a versus.
Speaker 1 (29:22):
I had reached out to Havoc.
Speaker 3 (29:23):
Actually, oh during the pandemic, he had way more you
know what I'm saying, hits, But I just like it
would still be dope, you know what I'm saying.
Speaker 1 (29:34):
Like I'm a super Heavoc fan.
Speaker 2 (29:35):
That's dope, man, That's a that's a good one because
having got them.
Speaker 3 (29:39):
Joints joint so dope, you know what I'm saying, Just
going back and forth to playing the joints. He just
played the goddamn Marb Deep catalog. I gotta reach your heir.
Speaker 1 (29:51):
I'm scrambling, yo.
Speaker 2 (29:52):
He got some ship, damn. Yeah, you know I always
wanted to get a beat from having. Unfortunately, the bullshit
rap drama happened, so I never got a beat for
that part.
Speaker 1 (30:00):
But we gotta fix that half need to beat cuh.
You know. I put you in punk word out no.
Speaker 2 (30:06):
Me and you gotta lock in cut you send me
one joint for the new project.
Speaker 4 (30:10):
I ain't gonna front. You sent me a smoker too.
Speaker 2 (30:13):
That's why one thing about you big guys, adude say
you can hit you and be like you're big on
work and send me a joint.
Speaker 1 (30:20):
Niggas sending you one one like the most. Nah.
Speaker 2 (30:29):
I think I probably got two at the boats, and
I had to come to the crig. That's why I
asked you before we're telling I got come to the crig. Yeah,
because I did joints telling me for you. So that's
why you got one. It was like then the only.
Speaker 1 (30:40):
Spot for you.
Speaker 2 (30:42):
You definitely used to be like, yo, play me what
you got man? What you were wish? Where you going?
What's the vibe? I play at the good couple joints.
He'd be like, all right, go smoker a real quick.
I come back inside and they got into cookies.
Speaker 1 (30:56):
Ready, like game time, it's game time.
Speaker 2 (30:58):
Let's lock it God for yo, but damn you fucked
me up with the Devil with I ain't know you
produced that.
Speaker 1 (31:05):
I mean it was crazy because when I went out to.
Speaker 3 (31:08):
Hawaii, that's why you did that. But before I got
out there, I was hearing everybody was out there was
like Pete Rob he just find all these people to Hawaii.
So I'm like, damn the fuck. So I texted Nigga.
I said, bro, I heard everybody in Hawaii about that. Nigga,
(31:29):
what are you talking about? I said me. Nigga like
he was like, no, man, know, the travel budget been exhausted.
I said, okay, hold lit mm hmm, sent like five
joints over there.
Speaker 1 (31:41):
But I always say, somebody about to contact you about
your travels.
Speaker 3 (31:46):
I said, what I'm talking about that, that's right, So
got get over there.
Speaker 1 (31:50):
That's crazy and I'm playing him joints. But the thing is,
you got you gotta think in that in that window.
Speaker 3 (31:55):
As far as music concerned, if it ain't had eight
a ways and handclaps, all the niggas weren't really fucking
with it. So the boom bapshit was like. People was like,
that's it's done. That's how they was talking.
Speaker 1 (32:05):
So But the thing was, I didn't play him that beat.
Speaker 3 (32:08):
I was playing him another beat and I was holding
the laptop, was talking right for any board you know
itune when the beat go off, the next one.
Speaker 1 (32:14):
Coming come on automatically. It came on and I was
about to stop it. He said, oh what is that?
And I was like, it's just no, no, I need
that right now.
Speaker 3 (32:25):
What bro, that's one of my favorite I didn't think
he was on that page at all.
Speaker 2 (32:29):
You know what I'm saying, one of my favorite y records. Man,
I ordered you jerks said you are with you anything
that day? He played me all the lights. He played
me all the Lights Monster like all that.
Speaker 1 (32:38):
So why would I think? Why you think? Why would
I play him? Devil is just after hearing that? Because
that's better than all those other records.
Speaker 3 (32:44):
That's what what I'm saying. Butsonically it's just over here, yo.
Speaker 2 (32:49):
But it's always like that that y'all never think is
the one. It's even like that for artists, because there's
records that I swore, like, yeah, this one one smash
that should come out and be like what wom so
it'd be like that, bro, What's what's one opportunity that
you feel you missed in the game, that you feel like, damn,
(33:09):
I should have I should have took more advantage of that.
Speaker 3 (33:12):
Just doing an artist should have press the gas and
the artists on signing the artists. Yeah, you ain't missing
with that.
Speaker 1 (33:19):
Listen.
Speaker 3 (33:20):
You know I tell you first shout out to Canada
Lake show.
Speaker 1 (33:27):
Yo Lake. Oh my god, listen man, that's what Lake
did though. That's not Yo. That's what I'm trying to
tell you. That's not what I'm trying to sell you.
In order to get to that kind of red this
ship you got to endure is insane.
Speaker 2 (33:43):
And but the kind of artists that Lake and Drama
lucked up on insane though, But they followed.
Speaker 1 (33:52):
It's a it's a it's a team camaraderie.
Speaker 2 (33:55):
They all in sync, these artists today, unless they don't
even back.
Speaker 1 (34:00):
Be Hot said something.
Speaker 2 (34:01):
Ill to me when I was younger, when he was like, Yo, Bleak,
when you grow up, I know you always wanted to
say you wanted to on the label or do all this.
But y'all gonna tell you this, Dealing with artists is
like having new kids, but instead of them being children,
they're grown children. And I ain't know what he meant
by that, And then when I got into the game myself,
(34:21):
it's like, Yeah, you're dealing with this emotion over here.
This one is crying about this, this one beefing about that.
It's a lot of shit. But then you saying to yourself, Nigga,
one thing cures all of this, the music you.
Speaker 1 (34:34):
Make the hit.
Speaker 2 (34:35):
There is no cries, There is nothing to riff about.
But all artists don't understand that. So back to Drama
and Lake, they found them an artist that understand that
and they push the.
Speaker 1 (34:47):
Gas from That's not easy. They went through a lot.
That's what I'm trying to say.
Speaker 3 (34:52):
Any any man, that's a show right there, just talking
to managers, tell us what the niggatoky.
Speaker 2 (34:58):
Before y'all got to therapy show, Bro listening to me
some of these men that you just need.
Speaker 3 (35:03):
To come here and talk to us about all this
ship that you're up with.
Speaker 1 (35:09):
Bro, with this one, you ain't gonna say. Who is
I could get on the show? You want to start
that show? I'm for I interview me.
Speaker 2 (35:16):
I got a few artists we could talk about. Remember
I haven't been throwing them all. I had artist sign
artists trying to get signed artists sign go to jail.
Speaker 4 (35:24):
I think that, yo, bro, It's not easy.
Speaker 3 (35:28):
And now you understand why the big wigs always had
a buffer between There's always somebody in between them and
the group.
Speaker 1 (35:34):
You talk to me, you know what I'm saying. I'm
not telling but.
Speaker 2 (35:40):
That shit don't work because then when you got a
bunch of hood niggas, because after you know, coming up,
you're gonna employ the niggas that you grow up with first.
All these other dudes, these niggas be ready to kill
like what you said, what you said to be.
Speaker 1 (35:52):
Shorty, Like I'm telling you, I dealt with this.
Speaker 2 (35:55):
We had to drop an artist because my partner wanted
to put my hands feet on him.
Speaker 1 (36:01):
So it was like yo, we gotta let him go,
like for rip. Yeah.
Speaker 2 (36:05):
So I'm telling you I think today it's worse than
having to be a father to the grandpa. You gotta
be a grandpa pa to deal with audience today.
Speaker 1 (36:17):
You gotta add that bag. You gotta take him around town,
that shit adult day care man.
Speaker 2 (36:23):
You gotta showed him with a little girl still horny
at I'm telling you, it's crazy out here, by gee,
so out of everything you feel like just signing the
artist is one of your biggest regrets.
Speaker 3 (36:41):
Yeah, and just not putting out albums myself, like I saw,
I got so much respect for Alchemists.
Speaker 1 (36:47):
You know what I'm saying, just because of the machine
that he's built. You know what I'm saying.
Speaker 3 (36:50):
It's like quietly, quietly, but he absolutely maximized his opportunity
in that way, you know what I'm saying. So he
definitely to me, he's the he's the prototype too, with
the with the producers supposed to turn this ship into
you know what I mean, shout out Alchemists, man, Alchemists
for sure, And that's crazy. And it's said signing an artist,
(37:13):
I would have thought you that might have been like, Yo,
I had this opportunity to produce a scar Face.
Speaker 4 (37:20):
It did scar Face the movie, Like huh, I don't.
Speaker 1 (37:24):
Think I blew.
Speaker 3 (37:25):
I don't think I blew anything in that in that way,
everything I did, they came.
Speaker 1 (37:31):
To me back there. I made sure I was on
that ship.
Speaker 2 (37:33):
He was on what me only I said, my one
is drum line. And I just had that conversation with you.
He wanted me to do that which part the lead.
Speaker 1 (37:46):
I would have put you? You to play bass or something.
I wouldn't I want to out here.
Speaker 4 (37:56):
I couldn't have came back to Marcia after that.
Speaker 1 (37:59):
That's been tough. That'll be tought. Yeah, but that's Jay
was mad at me for that.
Speaker 2 (38:07):
I think it would put me in acting classes after that,
and I think he wasted his money.
Speaker 1 (38:13):
I still can't act this shit. Real, gun, you just
gotta build up your nerve.
Speaker 2 (38:18):
No, it's just once you over that, that's the nerve,
nerd that that's white listen, Bro.
Speaker 1 (38:24):
Most people used to be like this.
Speaker 2 (38:26):
They scaled chill. That was the whole Brooklyn back in
ninety six. Everybody had low like nobody look at my
eye half behind the head, Dres. It's crazy, you know
what I mean. Did you ever feel like in this game,
like with all the big names like the Parrals, the Timberlands,
the Yays, that you feel like you didn't put in
(38:47):
enough work to get that accolades like them.
Speaker 3 (38:51):
No, it's just, you know, like I said, when you
get with all this, bro, you can't question the chemistry.
You know what I'm saying. In the chemistry that Pharrell
and Jay had was just ideal, you know what I'm
saying for doing those type of records. You know what
I'm saying, Like the more like you know, Pharrell got
a knack for doing those hood pop records like old
(39:12):
hood crossover record like it still tends to cross over,
but still be the nigga shit, you know what I'm saying.
Speaker 1 (39:18):
So it's like he you know, that was that was
his foretaste. So me, I'm the.
Speaker 3 (39:22):
Sole street nigga intro outro, you know what I'm saying.
That's what I was really known for at that time.
But once I started opening my mind and being like,
you know what, you know, just do something that maybe.
Speaker 1 (39:34):
A girl would like. M hmm.
Speaker 3 (39:37):
It's easy for me to make a nigga like a
record like that. That's like take a can from a baby,
you know what I'm saying.
Speaker 2 (39:43):
But for a girl to be like, I see, that's
where for you to say that, because me, I feel
like it's difficult anybody that like a record.
Speaker 3 (39:51):
I mean, like, it's way easier to find a dude
that's gonna like a rap song than a girl. If
you could find a girl that like the rap song,
then you cook it. Yeah, you know what I'm saying,
you super cooking. Then when you can figure that out right.
You see what Drake saying. He said the show they
used to tell him, Man, put on tree songs. I
don't want to hear that right now. It's just said
when you mixed the two singing and rapping, it always
(40:13):
works putting some type of melody, which is Nelly, that's
just some melody.
Speaker 1 (40:16):
He's not singing, but.
Speaker 3 (40:18):
He ain't just rapping either, but he right in between
male so and always go ruve, same shit, got the melody.
Speaker 1 (40:25):
I used to say.
Speaker 4 (40:26):
I used to always say Joe was cheating with the singing.
Speaker 2 (40:28):
But then right, Yo, it's crazy you break up John,
because I had recently called them. You know when I
was working on the project and I wrote the song
you know, uh, what song is that?
Speaker 1 (40:42):
Choosing you?
Speaker 2 (40:42):
Yeah, I couldn't think of the title right now, A
song choosing you. I wrote that song right and I
called John and I'm like, damn, all these years, my gee,
I never knew you had to cheat code right in
your crib, and he like what you're talking about.
Speaker 1 (40:54):
I'm like, Nigga, all that, what would I be without you?
Put it on? Man?
Speaker 2 (40:59):
And Nigga was I can write out his wife and
then just wrote those records bro. Even from the drama
perspectives too, even when you're dealing with drama in the household.
So when I wrote that record Choosing You, I'm staring
sitting there staring at my wife and wrote the record
and I called to him like, damn, bro, you had
the cheat code all this time. He's like, yeah, now
(41:19):
you're in the circle, you know. I was like, yeah, see,
we was starting. That's why is that your bitch? And
shit like that came out and the dicking your life
shit like come come on, Jay. And used to always
be like, yo, blieve you gotta talk to the girls,
do this and just be like nigga.
Speaker 1 (41:36):
Y'all taught me to kick him out when we was done.
I don't know how to tell him.
Speaker 3 (41:39):
I like you, yeah, man, I mean for real, every
every true artist, in order to really cross over into
the other world, you gotta show vulnerability and transparency.
Speaker 1 (41:53):
With out those two things. It's just like you just
you just saying shit, that's a fact. Nobody's really connecting
because you ain't talking about ship. You know what I'm saying.
Speaker 3 (42:01):
Because when you when you're writing that ship supposed to
come from a true place. So niggas trying to write
a happy record, and Sander's bitch like you wonder why
you ain't wrote ship.
Speaker 1 (42:11):
Nigga right a sad record, and you get right, that's right.
You know what I'm saying, just right right exactly where
you are.
Speaker 3 (42:18):
And then you you know, eventually you start doing some
happy ship, but you're trying to come in and be happy.
Speaker 1 (42:22):
You said that ship that sh ain't gonna.
Speaker 2 (42:23):
Work, man, And that's how it was for me, man,
like I couldn't do it. Like it's like, Yo, write
these lover boy records like Nigga, that's not me.
Speaker 1 (42:32):
We was on something.
Speaker 2 (42:33):
It's that your chick shit still nigga, like we ain't loving,
we dugging, we still big pimping.
Speaker 1 (42:39):
Huh.
Speaker 3 (42:40):
Well, see that's why you got. That's when you go
and take the Fat Joe for me. See Fat Joe
always throw an R and B nigga on the hook, yo. Yeah,
and then then it goes into some then it's something else.
When she puts somebody singing on the beat, it automatically
terms of something else.
Speaker 1 (42:53):
Then you got just still in the blanks. Fat Joe
got the cheat code too. He always kept it.
Speaker 2 (43:00):
He kept a single, a nice dope single, to catch
you and SMA big R and.
Speaker 1 (43:06):
B person on the hook. Think about it.
Speaker 5 (43:09):
Pock did too, had he had rap hooks like Miss
Chief ste that's special, but no PoCA hit you with
an R and B hook for a single, for sure,
But for the most part, it's.
Speaker 2 (43:22):
So crazy that his singles was the R and B
records with the songs that niggas loved from pop was
never a single.
Speaker 1 (43:28):
Yeah, it's crazy, right.
Speaker 2 (43:29):
Album joints, yep, straight album joints is all our pop
favorite joint relationship. I have a rope all that all
eyes on me, kidding me, nigga that I was the
one that's that ship right there that don't even talk
to me when that's playing, you might get slack. I
got on two PC late though, because I was super Biggie,
Like I was like team Biggie.
Speaker 1 (43:50):
No way, that was team But you know.
Speaker 2 (43:52):
I listened to all artists because I remember when he
was with Digital Underground. But I'm gonna tell you a
funny story about the pop ship, right so listen, this
is when the beef with Biggie and Pocket that was
going on.
Speaker 1 (44:04):
Okay, so we in Miami.
Speaker 2 (44:06):
This is where Hove was outside he wasn't even hove.
He probably wasn't even jigger. He was still j hyphen
in his z. He was still regular. And we was
leaving Cocoas in Miami Hood strip club.
Speaker 1 (44:20):
Remember they used to have a bootleg.
Speaker 2 (44:22):
See these niggas outside in the back of the van
selling cigars tapes every day, yo bro. And he't had
the Macavelli shit before a drop. So you know, I'm like, yo,
let me let me grab this ship. See what he's
talking about, because member, you know, he was talking about
b I. I wanted to see who he did it,
so I grab it. So Jan, I'm like, yo, what
you bought?
Speaker 1 (44:40):
Fronaomi?
Speaker 2 (44:41):
So I'm like, yoa, I bought this Macavelly shit, see whatever,
And they like, all right, put it in paus play it.
We put it in the man We ride off. First
thing come out Jay Z from Hawaiian Sophie Fang Big
Will whatever you had Gold was looking at me like, hey, yo,
what up.
Speaker 1 (45:00):
Out the gate? Yo? Yo Bro.
Speaker 2 (45:02):
I felt like the major crunch crunching munch in the van,
like what did I just do? Am I trying to
get kicked out the whip? Like yo, yo, inject that
CD you that you get that. This was in the
van looking like that's deep you ever you ever produced
(45:24):
in it? You said, you know I never met doctor Dre.
I was the guy you never met Doctor Dre.
Speaker 1 (45:30):
Missy.
Speaker 4 (45:30):
That's two that you you know, worked with I never
even met.
Speaker 1 (45:33):
Yeah, we did.
Speaker 3 (45:35):
I did Compting with him. Then I did the Grand
Theft Auto.
Speaker 1 (45:41):
Yeah with him. Ship that's as of lately anyway. Man,
that's dope, man, that's dope fucking You never did no ship.
Speaker 2 (45:50):
Yeah.
Speaker 1 (45:50):
You never said you got on pot late, man, Yeah,
I got on pot late.
Speaker 3 (45:55):
But that was always like I let them sing the
singles and ship like you know, you're fan of somebody,
but you.
Speaker 2 (46:00):
Ain't bought the album dove into the whole. Yeah, I
didn't do what I'm saying listening to you singles. I
didn't know what was on that exactly.
Speaker 3 (46:08):
It took me a long time to dive into the
album and just really listen to him.
Speaker 2 (46:13):
That's dope, man. That's dope fucking yo. Is it any
anything that you produced that you think people would not
know that that's you, that you'd be like, yo, I
don't think niggas No I did this.
Speaker 3 (46:25):
Yes, those John Legend who do we think we all
did Chill Chill feature Rick Ross Chell joint, Uh Pride
Enjoy In fact Joe with Kanye.
Speaker 1 (46:39):
I knew that. I knew that one. People didn't know
what their girls all postal corrupt.
Speaker 2 (46:46):
Yeah, no, I had no clue. And that's one of
my favorite corrupt joints. Man, Like niggas don't know the
relationship I got with corrupt niggas like mister Cheeks, like
these my niggas, bro, like sure my niggas. O niggas
is one of us, for.
Speaker 1 (47:03):
Sure, for sure all day. The old niggas is crazy
dazz all of niggas.
Speaker 2 (47:09):
Man, Damn, I ain't know you did you fucked me
up with the girls all pause.
Speaker 3 (47:13):
Oh and my first joint out the gate A lot
of people do did because don't leave Black Streak, Yo.
Speaker 2 (47:20):
That was your first joint that you ever produced personal
right there, Yo, that has come on my gen your
first song you ever produced that ship Then they went
five million, six Yeah nigga.
Speaker 1 (47:35):
Did six, but he did six like man twenty years ago.
I know.
Speaker 2 (47:39):
And when it matted with six million, people got up
off they ass it, went to the store and actually
bought the physical single like God, damn your first joint six,
No wonder you had to seil in five thousand dollars.
Speaker 3 (47:58):
It was like I said back then, if he was
in the studio, that means everybody got half their money already.
Speaker 1 (48:03):
That's what that meant. So everybody's ain't happy. Everybody were
ready to work, that's a fact.
Speaker 3 (48:09):
Now it's like you're in the studio and they ain't
spoke about a dollar. Nope, you want to keep asking
you for beats like we don't get out my face?
Speaker 1 (48:19):
Yeah, how much you're paying what we're doing.
Speaker 3 (48:21):
I'm not gonna keep recording fifteen records with you and
you ain't trying to lock down nothing.
Speaker 1 (48:26):
Damn. You know what I'm saying. That's you know what.
Let's get a conversation. Let's go get out to because
you said you had a beef with us.
Speaker 3 (48:32):
What's your We had a beef by the sample now
now now listen to beef. We got whatnot not? But
you was just artists, per se. I just I just
wish y'all understood how much when the game changed, did
it only affected the producer side.
Speaker 1 (48:50):
No, that's not true, hear me out. Go ahead, now
consider them, bro, you know you guys do shows, we
don't get. We don't get to touch that. You can.
Speaker 3 (48:59):
You can perform the same we're gonna produce for you
eight hundred thousand times.
Speaker 1 (49:03):
And we don't get none of that.
Speaker 3 (49:04):
So that's just you hit us one time and you
gone that ship paid for itself.
Speaker 1 (49:09):
But you know they changed that, right what you mean?
Speaker 2 (49:12):
Like, you know that producers and artists can get paid
for live performances now for their songs. So all you
have to do is register that song with BMil ASKAP
or whoever your publisher is under live performances. So anytime
that song is performed live, you get a check for that, bro.
(49:34):
So as a producer, I don't know if you're doing that.
Remember we have managers. I hate physically going into ass
caap and doing shit myself.
Speaker 1 (49:41):
I feel like I fell off. But if we get
money from streaming like that joke.
Speaker 2 (49:47):
I was just telling somebody like that, they these kids
to where they believe a billion streams on any platform
just because they send you that shiny plaque. You lin
a billion streams on any platform, whether it's Apple, Spotify, YouTube.
You can't even go buy a house. You couldn't buy
(50:08):
you probably get enough money just to buy a Honda Cord,
not the fully equipped one you get about twenty two
probably twenty five thousand tops, So you gotta get the
Enterprise or the Hurtz Honda, the when they rent to you,
the rental car version, not the fully loaded with the
sun roof leathers and see you know what I mean.
(50:30):
But them stream same spins if you got a thousand strings.
Let's just saying, if your record dropped and it was
out for six months and you got ten thousand to
twenty thousand spins on the radio, you know you'll make
enough money to buy a house. Twenty thousand spins on
the radio will pay you triple times the money a
billion streams will pay you.
Speaker 1 (50:51):
That's why they get rid of it.
Speaker 2 (50:53):
That's insane that these kids believe streaming is the way
where radio will never die, Radio airway.
Speaker 3 (51:00):
I was the only person on Instagram seven eight years
ago saying this ship is wrong, and they was like, Yo, man,
you just always better. Yo, what big man about now?
And shit right, it was just easy to sell that.
But I'm like, my nigga, this only makes sense to Spotify. Yeah,
this don't make sense to nobody else.
Speaker 1 (51:18):
Money, but you know what I'm saying. So they was like, Yo,
you gotta gotta you gotta understand I business is that now? Bro?
Speaker 3 (51:23):
I'm like, Bro, listen, all we did when we agreed
to this, we basically said we won't need no more
money for mechanicals. We gave on a mechanical. Gu we
just do the streaming shit with y'all.
Speaker 2 (51:35):
You gave it all the way. You gave it it
all to them. They make all the money, and tell you,
think about it. You make the music, you pay the producer,
you pay studio time, you pay to shoot the video.
For somebody to tell you how much you make off yourself,
that's insane.
Speaker 1 (51:51):
Think about it.
Speaker 2 (51:51):
If you started, if you went and printed a T shirt,
put your logo on it, there's no store in this
world that's gonna tell you.
Speaker 1 (51:58):
Yo.
Speaker 2 (51:58):
Yeah, I give you a doll for all these T
shirts after you just spend ten dollars making one.
Speaker 1 (52:04):
There's no way, like the game is flipped.
Speaker 2 (52:07):
And then when you me I always said, from my perspective,
the person who invented the streaming and the Apple ship
all that shit, they never they never ever played the
barter system ever.
Speaker 4 (52:21):
I mean you don't have to be a drug deal.
All you have to do is barter.
Speaker 2 (52:24):
Sell something some goods for someone for something more.
Speaker 4 (52:28):
Than you purchased it for the barter system.
Speaker 3 (52:31):
When they when they pissed it to us when they
first said, yo, you gotta have fifteen hundred streams to
equal one sound right, and who was like okay?
Speaker 1 (52:43):
They were like, yo, back the truck up. Similarly, we
got them fifteen. It's been it's been on her since yo,
bro It's insane thing.
Speaker 2 (52:53):
But think about it, right when the album dropped, it
could be ten songs, seventeen songs. Think of you only
like six the eight records tops, even if it's that many,
you might only like four, might like five. I think
you can go buy those five records for five dollars.
Where they're selling you the whole project for ten to
twelve dollars. You go buy your favorite three two for
(53:17):
one dollar, two dollars, three dollars.
Speaker 1 (53:19):
You know what I'm saying.
Speaker 2 (53:20):
Where those singles to me should have been five dollars,
where the album is ten dollars, Where a person like,
why I'm gonna spend ten dollars to buy two songs
when I could get thirteen to ten.
Speaker 3 (53:31):
But then you think about this this ship Tory Lanez did. Right,
If you're willing to give your music for point oh
o o six, whether that shit is, then when I
sell the whole ship for.
Speaker 1 (53:41):
A dollar, yep, that's a fact.
Speaker 3 (53:44):
If you if you will to see them, he killed them,
at least that's your dollar. He killed them, you know
what I'm saying, that's your dollar.
Speaker 2 (53:52):
Fucking right, you murdered them with that million dollars and
one and one hour, I believe.
Speaker 3 (53:57):
Not even word up, not even so I'm trying to
say so that right there, And people don't understand Prince
was the first person to selling CD at the show,
and he counted as a sound skin you know what
I'm saying that. Yeah, like Prince was on stress, was disrupted,
blessed what I was definitely you know what I'm saying.
Speaker 1 (54:17):
For sure, But that's genius.
Speaker 3 (54:19):
So if you got eight thousand people at your show,
that's eight thousand so on the yone. So he put
the price of the CD in the price of the
concert ticket.
Speaker 1 (54:30):
You see what I'm saying. That's genius. But all this
shit you can still do today.
Speaker 2 (54:34):
Yes, just imagine yo, chill man nigga like Drake was
doing that right now, They think he cheats bro. Anybody
with a flat nigga selling out one hundred thousand, sixty
thousand seed, there's no problem.
Speaker 1 (54:46):
He's selling sixty.
Speaker 2 (54:47):
Thousand on top of his eight hundred thousand first weeks.
Speaker 1 (54:50):
See, But that's why you give that artist four hundred million.
Speaker 3 (54:54):
Who you get him four hundred million? He would never
think about doing what you just said.
Speaker 2 (54:59):
He's gonna think of by the nag because we just
said it. We just told them the game that gotta
cut us in carr.
Speaker 3 (55:04):
But I'm just saying, it's like a nigga just gave
you four hundred million, Like you ain't really tripping on
each other stuff, you feel me?
Speaker 1 (55:13):
Yeah, you're right. You give a nigga fur nigga like
you gotta.
Speaker 2 (55:18):
You don't worry about it over there over there today,
God speak word up.
Speaker 1 (55:26):
If you ain't lying.
Speaker 4 (55:27):
You you haven't worked with Drinke.
Speaker 1 (55:29):
Yeah you did what you produced for the army. The uh,
you don't live twice with him. We're also a little
way the Josie Free style with him and j Cole.
Mmm and my nigga.
Speaker 2 (55:44):
You got some fucking gems under your belt.
Speaker 1 (55:48):
You why you can't but you can't be banked the
humble monster.
Speaker 2 (55:53):
You gotta we gotta be. We're gonna change that ship.
We gonna let these niggas know cause we out here
I didn't know that you humble. We gotta get that ship.
No bing, just the fucking Monds, because that's what you are,
my nigga. See, that's why the fucking Monds.
Speaker 1 (56:11):
That's why.
Speaker 3 (56:12):
That's why them young niggas be mad, because these young
niggas is twenty six, twenty seven years.
Speaker 1 (56:16):
Old, and then then they put in that work and
they think they know me.
Speaker 3 (56:19):
Like, nigga, I've been doing this since you had on Onesia, Yo,
chill like literally like you was running around the Ones
worried out. That's when I my sound was like that
when you was in the Ones and you.
Speaker 4 (56:30):
Said your first joint is Backstreet, Black Street.
Speaker 3 (56:33):
Like come on, but that's Teddy. Then you understand I
did it. I want to spot called triple play. Back
in the day she was it was a barbershop, h
car wash studio, so they call it triple play, right
a right, So I'm gonna be in the studio park
Teddy getting a haircut unherstand so he hear me. He
(56:53):
come up like, Yo, you know, play with some more ship.
I'm nervous as motherfucker. But I had the ASR tom
so I floppy this then. So now I'm putting in
the fly with this. I got a strike little conversation
because that should takes for ever.
Speaker 1 (57:06):
To load up.
Speaker 3 (57:09):
I'm like, yeah, you know what, I'm trying to straight
a little conversation. I finally played. I played about four
or five records and I finally played that. He was like, Yo,
go get such and such.
Speaker 1 (57:24):
So what you're doing tomorrow? I said, what you need
me to be doing tomorrow? Word out was that nigga
back then, but back then, but bro.
Speaker 3 (57:33):
You understand when he came and when he came and
set up shopping in Virginia, he was like the main drag.
Speaker 1 (57:40):
Bro, I can't stand down in Virginia. Virginia. It's not
like New York. So you don't see, for frison say,
that's not normal. You know what I'm saying.
Speaker 3 (57:49):
When he moved out there and people start coming down
to work with him and coming to town to work,
you start seeing these machines and then his machines that
he was because back then he had the Purple.
Speaker 1 (57:59):
MPV with the Purple Bbs. That ship was the one
what you was definitely ahead of it. That was the one.
Speaker 3 (58:09):
You had the purple future jackets with the crazy.
Speaker 1 (58:14):
Jewe with the with the guys going up there. You know,
you know, I know I got the hour, I had
the album remember that. Yeah, the game was crazy. So
you're seeing that, like, man, I want that.
Speaker 2 (58:25):
That's crazy, especially yeah, being in the quiet time like
Van ain't pulling up.
Speaker 3 (58:30):
But the Crazy ship was his His studio was behind
a Veterinarian, so it's on the main drag, but you
can't just drive into the partlight. So when you driving
me turn in the Veterinarian, he would have a security
gud right in the driveway.
Speaker 1 (58:44):
So you go and you try to go past the Vtnarian.
Here gonna step on the front, like hold on before
you even get back there.
Speaker 3 (58:52):
So it was like, you know us, we're like, man,
I gotta get in that building, like man, just getting
that motherfucker.
Speaker 2 (58:58):
That's crazy to hear you say that, because in the
for Real movie he was saying the same thing.
Speaker 3 (59:02):
Listen to gain that Bill, I gotta get in that
pitch Man some kind of way.
Speaker 1 (59:06):
I gotta get in it. It's crazy.
Speaker 3 (59:08):
So I ended up getting there with my man chance
due Christal. I think Christal is married to his sister,
Tell your sister. So he was managing, so he took
right there. But now I'm only in the writer's room
though you know, it's a big difference from the room
and the writers.
Speaker 1 (59:22):
Yeah grew so you in the building, but you're still
in the building. Yeah, you know what I'm saying. You
got one for you got one.
Speaker 3 (59:31):
So that's about as far as I made it. So
when he said what am I doing, like, I'm with you.
When I came to that fan, I came in that
a room and seen his setup. It was just like
this motherfuckers fucking geek man, like this insane to me.
Speaker 2 (59:47):
That's still to me, that's the best everror when it
was tape in.
Speaker 1 (59:53):
The studio, and that was the best.
Speaker 2 (59:56):
The music hit harder, everything, everything, every drums was more
crisp everything. I felt like when pro tools came out,
everything started sounding a little bit compressed.
Speaker 1 (01:00:07):
But I feel we people that are so used to
it they don't even remember. Whether you can't miss what
you never had word up, man.
Speaker 2 (01:00:13):
You put somebody got some old forty five's or old
real classic record player.
Speaker 1 (01:00:19):
But me and throwing the classic, you would hear the sound.
Oh for sure, we went. We went the extra mount.
Speaker 3 (01:00:25):
I mean, don when we did Blueprint, we put the
drums and based on half inch m.
Speaker 2 (01:00:31):
We bounced that shit downe half inch. Anything else was
on too much. That's crazy. The only thing I didn't
like about the rails was when they had to cut
that bitch. That shit took forever they had to cut it,
or they tell you they had to find the machine.
Oh my god, you sitting there for ava like you motherfuckers.
Speaker 1 (01:00:49):
Wow, come here today. Alcohol the Q tips, yo yo,
Alcohol Q.
Speaker 2 (01:00:55):
Tip trained up niggas just splicing that ship like that
was a big tape word so yo. Out of everything
you feel and that you're done in this game and
you contributed, Like, what's the legacy that you want to leave?
What you want people to remember, Bink the fucking monster,
not the humble monster, no more, y'all.
Speaker 4 (01:01:14):
What you want them to remember being dog?
Speaker 3 (01:01:17):
I mean, I did it my way, you know what
I'm saying to me, that's the ultimate flex for any artist,
whether producer or rap or singer, to come in and
put your own twist on ship and people recognize and
identify with something different. I think that's that's the major flex.
So I've done that. So I feel like I did
(01:01:38):
what I was supposed to do in that regard.
Speaker 2 (01:01:41):
Got any any young talent you've been mentoring nowt here
anything like that?
Speaker 1 (01:01:46):
Yes, a few?
Speaker 3 (01:01:47):
You know, a few producers, man, my man bags. I
used to mentor mentor my man too high right now too.
Speaker 1 (01:01:55):
Or man nef. I got a few dudes. Man that
my nephew, little d Okay.
Speaker 2 (01:02:01):
Now tifts in that he oh nehing that fact that's
got ninety six prices town nefts in that he your uristic.
Speaker 1 (01:02:11):
Yeah that's me, No way, that's your fire.
Speaker 2 (01:02:14):
I had some ship, laid some ship to it, but
I'm gonna redo it, you know, trying to get hold
on that one. I already know that's the old, that's
our vibe, that's the old, like nigga, you know what
this is.
Speaker 1 (01:02:26):
You know what that is? So what's next for bank man?
Like you know what I mean?
Speaker 4 (01:02:31):
What people should be looking out for? What's next for
my guy?
Speaker 3 (01:02:35):
I'm producing an easy EP until Yeah, that's what I
was finished with that, So shout out to my brother.
Speaker 2 (01:02:41):
So yeah, shout out a Z from Brooklyn to stop
trying to steal him.
Speaker 1 (01:02:46):
So yeah, that's that's That's what's on the on the
table right now. That's what's up. Man. I appreciate you
coming through bank. You know you my fucking guy.
Speaker 2 (01:02:53):
Anything you ever need from me, dog, I'm always here
my phone, My line is always open to you.
Speaker 1 (01:02:59):
Bro, been a real one. Love for life. Bro.
Speaker 2 (01:03:04):
You already know what it is. It's another episode of
Rock Solid powered by Duce, the only drink that you
should keep stocked and the only drink that's gonna make
sure everything sid we out that pard. For more podcasts
from iHeart Radio, visit iHeartRadio app, Apple Podcasts, or wherever
(01:03:26):
you listen to your favorite shows app and you can
follow me on any social media platform under the name
Memphis Bleak.
Speaker 1 (01:03:33):
You see anybody fraud in Flagging