October 10, 2025 • 42 mins
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Speaker 1 (00:00):
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download that price picks app. Let's get into the interview
right now. All right, man, we are here with a Legend.
It's a Bootleg keV Show with Sean Paul. Welcome, sir, bro,
thanks for having Yes, sir man, you've had a busy
You were just saying, how busy of a year you've had.
Speaker 2 (01:45):
Yeah, I've had a busy day all year, a busy
day all year.
Speaker 1 (01:50):
Summertime, you and Wiz and the baby were on the
road together. Yep, how was that?
Speaker 3 (01:55):
You know?
Speaker 1 (01:55):
The Whiz is like such a professional and he's also
all time smoker.
Speaker 2 (02:00):
Like I'm sure, y'all, Bro, we connected on many levels,
but I didn't know, dude was such a fit buff.
Speaker 3 (02:05):
Like, yeah, he brings the gym, brings the gym he brings.
Speaker 2 (02:08):
He got a different boxing coach in most places, and
so I does ship. Yeah, I took advantage of learning
a little bit more about boxing. Cut I shot a
box you know, yeah, Keith Tulica Heart Heart Race going up.
But they was like, oh, you're punching wrong. I'm like, bro,
I'm not going to be punching nobody though. So anyway,
(02:29):
they taught me. And the old vibe was a good vibe.
As we said, the tour is called good vibes only,
and I didn't.
Speaker 3 (02:37):
I didn't. How much did I do?
Speaker 2 (02:39):
I did about three quarters of a tour, so the
last probably week and a half I was out but
awesome vibes. And before that we were in Europe. Before
that we was in UK. So I've been touring for
five months this year, nine months so far, and I
decided to text some time I come La and come
check y out man man.
Speaker 1 (02:59):
Welcome to the show. Brother Yo. The first time I
ever saw you was watching that movie.
Speaker 3 (03:04):
Right there, the Big Bud Belly.
Speaker 1 (03:08):
Yeah, and you have like a cameo in the movie
and one of my favorite songs on the soundtrack funny
Here Comes the Boom with DMX mud something Crazy.
Speaker 3 (03:18):
It's one of my favorites.
Speaker 1 (03:20):
And it's funny because that movie had so much to
do with Jamaicas. Yeah, yeah, what was what? How did
you end up in belly?
Speaker 2 (03:26):
Very funny story. So there's a big dance that that's
kept like probably once a year, or it used to
be kept when we were coming up. So my brothers
with a sound system and I'm also I'm an artist
at the time, you know, a few songs out and
a real hot buzz on me. So I decided that
(03:48):
year I'm not going to the dance on the beach.
I'm gonna chill out in the studio.
Speaker 3 (03:52):
He comes back, My brother comes back from playing out
there and.
Speaker 2 (03:55):
Be like, Yo, you missed it. I'm like, oh, yes,
probably the same things that happened. And he's like, nah,
DMX was out there throw the place down. I was like,
what I really did miss it? It was the facts,
went to sleep, got up the next morning. Tony Kelly,
the producer of that track, caused me, yo, you're doing
the track with Vegas and DMXP shotter check me, check
me in the.
Speaker 3 (04:15):
Studio now, so I believe it was like nine thirty.
Speaker 2 (04:18):
I got there in the morning and we started writing it,
writing it, and then DMX didn't come till in the evening,
and he was just like, we was writing a girl's song,
me and Vegas because that's what yeah. Yeah, he was
like all other girls and your hands eye and the
DMX came in there and I was like, okay, that's
(04:39):
cool and this is what I got.
Speaker 3 (04:40):
Here comes the boom. Yeah. We was like, oh, we.
Speaker 1 (04:42):
Started taking our yo, change this word.
Speaker 3 (04:45):
We're going to be the shot.
Speaker 2 (04:46):
So yeah, and it was appropriate for the movie for sure.
But you know, we we we thought we just wanted
people wanted us to do what we do, which is
more of the ladies. And then we realized, oh, this
is more of a young that thing, so we went
in with the gangs. That thing came and then then
you end up in the movie, in the movie like yeah,
next day I was told, oh, I think the director
(05:10):
he wants you to Williams. Yeah, Hi points you to
shoot the video with with with Vegas and DMX, And
it ended up that we just were put in.
Speaker 3 (05:21):
The movie for five minutes or a few seconds, which
is awesome, awesome. I think it was way better than
a video.
Speaker 1 (05:27):
Yeah, because that's forever. That's a classics. That's a good classic.
Speaker 3 (05:30):
Yeah, man, my thirty seconds in the movie.
Speaker 1 (05:33):
Yeah, it's funny too because that that's prior to like
you becoming like a household.
Speaker 3 (05:37):
Name over here. That was one of the introductions.
Speaker 2 (05:40):
Like I like to say, there's about two or three
songs that kind of like broke for me in the
States around the same time period.
Speaker 3 (05:48):
That's one of them. The port them was another.
Speaker 1 (05:50):
One Oh yes, such a classic.
Speaker 2 (05:52):
Yeah, and then and then the next breakup like the one, Yeah,
it was I was just gonna say, that's the next
breakout one.
Speaker 1 (05:58):
Yeah. Man, it's crazy too, man, because you know, it's
wild to think that it's been was was give Me
the Light, oh one oh two?
Speaker 2 (06:08):
Yeah, it was about that that it was recorded.
Speaker 1 (06:13):
Damn your twenty five years.
Speaker 2 (06:15):
Yeah, so crazy vibe and it's been a it's been
a nuts right ever since.
Speaker 3 (06:22):
Well.
Speaker 1 (06:22):
It's interesting, man, because I feel like you were very
much like responsible for bringing the dancehall sound to America
in a commercial way. That like, obviously not to say
that there weren't other artists that had had done stuff
or had records here and there, but like, yeah, you
were like really like the guy who became like a
real mainstay in pop culture and just like radio and
(06:43):
just like when we talk about just like anybody who
needs a feature.
Speaker 3 (06:46):
They go to you. They are halla. I mean, it's
been a crazy ride.
Speaker 2 (06:51):
And honestly, you know, Shaba Ranks was before me from
my same genre, and so with.
Speaker 1 (06:57):
Shaggy to Shaggy, yeah, yeah, Shaggy for sure, for.
Speaker 2 (07:00):
Sure, but they both had to they both had to
kind of do hybrid kind of dance hall with mixed
with R and B. It was Johnny Gill and Shabba.
There was Maxi Priest and that was like also you
know R and B, and then Marvin Gaye was what
Shaggy Shaggy broke on in the States. So the advantage
(07:22):
I had, and it wasn't really anything I did, It
was just the timing of everything. The timing came around
where you know, people in the States started to light
those dance hall original dance hall tracks more, they became
more used to hearing them. And I was just somebody
that had recorded a lot in that time period and
it you know, have a unique voice and it just
(07:43):
happened all at the right time, so divine time in thing.
Speaker 1 (07:46):
It felt crazy too, because if you think about Duty,
Rocket was like it was like an album full of
singles loo.
Speaker 2 (07:52):
Ki yeah, yeah, five straight singles. It was crazy, Like
did you have any idea? Like nah, no, we just
hope the best for each song, and like things like
like Glue, Like Glue was about two years old because
like Glue I recorded in Jamaica in nineteen ninety eight
and that summer went crazy and the next summer too,
(08:14):
and then it kind of died down and then it
picked up in the States after that, so it had
to be on the album.
Speaker 1 (08:19):
So I mean the album comes out though, too, So
that's a four year old song if it was ninety eight.
Speaker 3 (08:23):
Yeah, so so crazy.
Speaker 1 (08:25):
Right, that's fucking nuts.
Speaker 3 (08:26):
Yeah.
Speaker 1 (08:27):
You know my favorite what was the joint with Sasha
I'm Still in Love with You that's my shit dog.
Speaker 3 (08:32):
Yeah Yeah, I love that joint. Yeah.
Speaker 2 (08:35):
A lot of people really like because it was the
only authentic reggae track on there, and that's the roots
of dancehall and I was kind of paying homage and
at the time, dance I was really big in Jamaica,
so nobody did that, and I went back to you know,
the original reggae tracks to spit where we spit or
I shouldn't say nobody, I should just say again timing.
(08:55):
I caught it at the right time and not a
lot of people was doing that.
Speaker 1 (08:58):
So do you feel like because there's the way you
wrap like a lot of Americans will fuck your lyrics up.
Speaker 3 (09:08):
Happens all the time.
Speaker 1 (09:10):
It happens still to this day.
Speaker 3 (09:11):
Happens to my wife right now.
Speaker 1 (09:13):
They know the lyrics, but they don't know the lyrics
exactly the same. What is the biggest mistaken lyric you
see people like like not knowing even though they kind
of know where they think they know.
Speaker 3 (09:26):
Some stuff about and give me the light.
Speaker 2 (09:28):
There's one on YouTube that's really funny talking about cheese.
When I didn't say anything about cheese.
Speaker 3 (09:37):
But my wife.
Speaker 2 (09:38):
She she she met me and said, what's where's Belfazor?
And I'm like, what is that? She's like, you say
it in the song. I'm like, oh, I don't what
is that? And she played me the song and I
was like, oh, it was the first song I had
as a baby girl.
Speaker 3 (09:53):
Don't cry no more.
Speaker 2 (09:54):
Tell them to say you can id to pain Alaana,
Yeah dash show Hey that boy for sure? But she
thought I said, that's the way above Zora, But you.
Speaker 1 (10:02):
Said why for sure?
Speaker 3 (10:03):
Yeah, like throw the kid you're dating away?
Speaker 1 (10:06):
Is your wife Jamaican or no?
Speaker 3 (10:08):
Yeah she is?
Speaker 2 (10:08):
Okay, come on, and she still got it wrong. So
you know that's fair. That's fair.
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Man.
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What part did you make you from King Son?
Speaker 3 (11:51):
Uh?
Speaker 1 (11:51):
Yeah, I went to uh for the first time, I
went to a grill. Oh we get so fire.
Speaker 3 (11:55):
Yeah, awesome place.
Speaker 2 (11:57):
I personally haven't been there in almost ten years and
it's a place I.
Speaker 3 (12:01):
Used to go every year.
Speaker 1 (12:04):
Beaches, so nice.
Speaker 3 (12:05):
I gotta get back there, man.
Speaker 1 (12:06):
And you know what's crazy is like being in the
States and especially being on the West Coast, I don't
feel like we have access to like the greatest Jamaican food.
So man, when I tell you.
Speaker 3 (12:15):
You tell your taste it and good stuff over it.
Speaker 1 (12:17):
I think I went to a place called the pork Pit. Yeah, yeah,
Oh my fucking god.
Speaker 3 (12:23):
Yeah, good jerk pork man.
Speaker 1 (12:25):
Yeah, and the sauces they got it that moment. And
then we went to some spot just on the street,
just on the side of the street.
Speaker 3 (12:32):
It's good. We got good street food. Our pine chicken
mone is kind of like a knockoff jerk chicken. So
jerk chicken. You have to cook it with the real spices,
the real wood.
Speaker 2 (12:44):
But with the pan chicken you couldt it's just like
a street barbecue and it tastes the same.
Speaker 1 (12:49):
Yeah, for sure, nuts, it's the best. How do you
feel like, you know, I feel like in twenty twenty
five to two, it feels like dance hall reggae is
is kind of in another like renaissance of like coming
back in terms of like commercially, it's nice to have
like vibes, Cartel out and yeah and superactive and huge.
Speaker 3 (13:07):
Man, it's done a lot for you know, just the space.
Speaker 1 (13:11):
Why was I saying, how do you feel like? You know?
In twenty twenty five? The space is right now because
you've got a record going crazy, the Ginger Records going Crazy,
great follow up coming bro crazy.
Speaker 2 (13:20):
If I listen, you know when people say used to
say to me, I was putting on a single and
they're like, oh, but isn't dan sall like a summer thing?
I'm like, no, is it all year round for us?
So for me, it's never gone any space. It's been
living there, you know what I mean. It's where it's at.
But it's people's attention span and what's coming at them
(13:43):
and the different stuff, and so it's to me, it's
the public's attention and it's turning back on us now
and that's dope.
Speaker 3 (13:50):
That's beautiful.
Speaker 2 (13:51):
I think that there is a lot more players in
the game, a lot more producers, a lot more people
from outside of the whole original dancehall genre community actually
embracing and doing sounding stuff like that, and that's awesome.
That just means we're growing bigger and bigger, and you know,
I'm being interviewed by people who know more about the
(14:12):
culture than they did back then when I first broke
and I'm being interviewed people didn't understand like what to
call it, and they're like, I'm like, I'm danceall and
they go, oh, dance music.
Speaker 3 (14:23):
I love it. And you know, there's if they want
electric music.
Speaker 2 (14:27):
Exactly, and if you if if they weren't like someone
like you who knows the ends of the different genres,
you know what it is. But there's a lot more
people like you, and I would say, like about dance
all music, that the awareness is much more.
Speaker 1 (14:40):
Just call dance all reggae.
Speaker 2 (14:41):
Yeah, well, you know, for me, I call it reggae
dance all because I do reggae tracks as well, right right, right, Yeah.
Speaker 1 (14:47):
I just feel like there's like a it's it's almost
like if someone just like classified hip hop and R
and B the same thing.
Speaker 3 (14:54):
Yeah, because there's some artists that but they're very you know.
Speaker 1 (14:57):
They're at the core there's but they're different, but they
can't be the same.
Speaker 3 (15:01):
Yes for sure.
Speaker 2 (15:02):
You know, because a lot of a lot of records
are are you know, like softcore hip hop R and B.
Speaker 1 (15:10):
You know, so yeah, you as a DJ, uh get
busy kind of turns into this instrumental that gets remixed
over and over and it's one of the biggest club
records ever. But I just think about all the breaks
I hear, all of the dub plates. You'll hear like
that record is like an all time DJ record. That
(15:32):
beat has been remixed so much.
Speaker 2 (15:36):
Yeah, there's a lot, you know, big up to Lanky,
he's a producer and people who who understand the vibe
know that that that's just one of the most prolific
danceau tracks that it is. I mean, you know if
Rihanna under replay is the same type of ridium, it
comes off of that.
Speaker 3 (15:55):
So does you know the Nina Sky.
Speaker 1 (15:57):
And True Yeah, that is kind of crazy.
Speaker 2 (15:59):
Yeah, even even Black Eyed Peas had a joint a mama. Yeah,
so it's the same. It's the same syncopate from those days.
A lot of people copied and or I just inspired
by it, inspired it, inspired by it, and you know
it's led to to more of that as well. So
(16:20):
very awesome to feel that we set the trend with
that kind of stuff.
Speaker 1 (16:25):
Randomly, you are in the Deaf Jam game and why
which was I have that and Deaf Jam Bendet on
PlayStation two respectfully in three. But was that cool to
be able to like that? Was that's like such a
cultural game like.
Speaker 3 (16:42):
It was, and.
Speaker 2 (16:45):
You know when I did it, I remember it being
either Grammys or something like that, like American Music Awards.
Speaker 3 (16:52):
We were there for that period of time here in
l A.
Speaker 2 (16:56):
And then you know, I got the part to come,
you know, say though things in the game, and they
were going to make a character for me and I
run into people every now and then I was like,
you know, I was twelve.
Speaker 3 (17:07):
Years old, bro, and why they make you so hard
to beat? Bro?
Speaker 2 (17:10):
Big dudes now will be like, yo, that's the best game.
So that feels good and it helps my music to
kind of reach people where it you know, probably wouldn't
wouldn't have heard it at that time.
Speaker 3 (17:22):
So awesome.
Speaker 1 (17:23):
Yeah, talk to me, man, because it's got to be
something crazy to like come out kind of put on
for Jamaica, put on for the genre, but then to
be able to take a Grammy home at the same time.
Speaker 2 (17:36):
Awesome, even though I mean American music or Grammy, those
are things I didn't dream i'd be near you know
what I mean, I didn't dream that we'd be walking
down those those red carpets.
Speaker 3 (17:47):
So I mean, I just do music for fun.
Speaker 2 (17:49):
I do music for my own personal expression and enjoyment
and creation anting and for people to start liking it
and gravitating towards it. Time bring me to those spots.
Where are those those those that level of recognition where
I'm deserving of a Grammy or American music or it
(18:10):
is mind blowing to me. So you know, appreciate to
everybody who helped me to get to that spot. And
it ain't really about like that wasn't my dream. I
really appreciate it, but it ain't about that for me.
I'm fulfilled every day when I see smiles on people's
faces when I'm singing the song in front of them
in the stage or you know, just hearing that people
(18:30):
love it and they post and they playing the song
in the car.
Speaker 3 (18:34):
It feels good, man, I feels.
Speaker 1 (18:35):
And it's crazy because that album had legs.
Speaker 3 (18:38):
Yeah, yeah, five tracks deep, bro, you.
Speaker 1 (18:40):
Know what I'm talking about? Like how long like between
like the album dropping and how long y'all worked that much?
Speaker 3 (18:45):
Yeah, it was a while.
Speaker 1 (18:47):
It was a while, bro, what the Trinity came out?
Speaker 3 (18:50):
In Trinity came out two thousand and five five six, Yeah,
it's about two thousand and five.
Speaker 1 (18:55):
Yeah, No, it's crazy and it's wild too because back
then I feel like you couldn't turn the radio on
without here you on something.
Speaker 3 (19:01):
Yeah. Man, it was a big vibe.
Speaker 1 (19:03):
What was like because obviously you know, being on a
Beyonce record that was her first solo album, first solo album.
Baby Boy is a classic.
Speaker 2 (19:11):
Amazing, amazing sexist song. Bro, I can't I have to
give thanks for things like that. And I opened for
a show for her. Maybe it was all the way around,
I can't remember, but it was a small show in Jamaica,
like a niche market show, and she she was there
with Destiny's Child and I met her there and then
(19:33):
for about two years later to be called and say, oh,
my first solo album, and you know, knowing she she
was right, really a spotlight artist. Like the group itself
was hot, but a lot of people spoke about her.
I just felt that this is an awesome opportunity and
they sent the track and I was very pleased that
it was dance a lot of times in those days
(19:54):
people asked me to do a collab and this I
had a hip hop and I got to go over
there to do it.
Speaker 3 (19:59):
Or it is R and B.
Speaker 2 (20:01):
Sure, it's it's rock or it pop oriented. Sorry, And
because like there the Blue Client Troll record wasn't no,
it was a Blue Count trail. It was more like
it was a it was a ridding from Doctor j R.
Speaker 1 (20:13):
And another dope record.
Speaker 3 (20:16):
Yeah.
Speaker 2 (20:16):
Yeah, so it was a dope record, but I was
very I was much more enthused that the Baby Boys
song was more dance all oriented.
Speaker 3 (20:24):
It was really cool.
Speaker 1 (20:25):
Yeah, And at that time, I don't think we understand
like the run Beyonce is about to.
Speaker 3 (20:28):
Go on, No nobody did.
Speaker 2 (20:30):
I mean a lot of legendary, but the Beyonce Run
else the sky high after that, then the first album
True and it took me. It took me to a
different level in my own personal career for sure.
Speaker 3 (20:42):
Yeah.
Speaker 1 (20:42):
And she and she has to perform. She's performing that
every time she's.
Speaker 3 (20:45):
She do she do it? Man, she looked it and
I'm doing all the good stuff.
Speaker 1 (20:50):
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(21:56):
Talk to me, man, because obviously you're super active. Right now.
The new record is dope, thank you. It feels like
some vintage Sean Paul. Feels like something that's missing from
the radio. Are you working on a new project or what?
What is what is currently obviously the songs out, but
is that part of a body of work it is.
Speaker 2 (22:13):
I have a number of singles lined up. I think
today's nowadays is music business is kind of geared towards singles,
and I always like to make an album, like when
you look up there you see a lot of like
a lot of dope, iconic, iconic, classic album and that
(22:35):
marks that time in those artists' life for me and
the fans life too, So that's what I'm more geared towards.
But lately I've been just dropping singles, hoping to put
an album out soon. I do have a lot of
singles lined up, and to me, where Ginger is right now.
Speaker 3 (22:54):
Where it's being received, is a good spot.
Speaker 2 (22:56):
And it's a good time to start putting out my
man some you know stuff for early next year. And
I got songs with Amanda Refa.
Speaker 1 (23:08):
She's a dope, she's amazing. She's Atlanta. Yeah, she's incredible.
Speaker 2 (23:11):
She's from Barbados and just has a Caribbean vibe, but
she do all kind of different trap stuff and R
and B stuff, and.
Speaker 1 (23:20):
She she had no break with Farrell.
Speaker 2 (23:21):
Yeah, and also also Kendrick Yeah yeah, Kendrick Yeah. So
big up to her and looking forward to putting that
out soon. But yeah, you know, it just has been
a good look putting out these tracks and hoping to
put out the album soon.
Speaker 3 (23:39):
I'm not sure that what your name, but.
Speaker 1 (23:42):
Yeah, I feel like everything's in good space. I like
love and is doing.
Speaker 2 (23:46):
Is awesome to me. I've been telling people she's been.
She was on your album a few years ago, and
I'm on hers. She's been so far, She's been one
of the most exciting stories from Dan Sall in years.
I've been telling people that all the time. Exciting for
me because where where what it takes to be a
(24:06):
dance artist is one thing, and that's very hard from
to be from the community and in the genre, but
also to break past that and get attention past that
space is something that I've been wanting other people to achieve.
And so you know, when Baby Shamp gets signed and
Elephant Man, I was I was always shaaring for stuff
(24:26):
like that. You know, Egyptiana had a big tune and yeah,
and so so when she came along, I'm like rooting
for her.
Speaker 1 (24:36):
So shaken to the Maxx Records big man.
Speaker 3 (24:39):
Yeah, Yeah, that's huge.
Speaker 2 (24:40):
That that's that's after the fact for me, Like I
knew before those things that she was going to be
something you know, speak.
Speaker 1 (24:49):
To like the synergy between like what has kind of
the risk because in the same way that I feel
like dance hall and Caribbean music has the resurgence commercially,
I feel like we saw the same thing happened with
reggaetone because you know, Reggaeton had that crazy Tago called
her on Daddy Yankee Spike earlier chewed out a little
(25:09):
bit commercially, and then now it's the bad Bundy's doing
the super Bowl.
Speaker 3 (25:13):
Yeah, that's crazy.
Speaker 1 (25:14):
But what is kind of like sonically there's always been
like a kind of like a marriage between the two.
Speaker 2 (25:19):
Yeah, speak to that man sound wise, I mean we
we we definitely believe that the entire Reggaeton sub sub
what we call it the back beat. Yeah, most of
the songs are is of a rhythm called them Bao.
They call it them bo Chabaranks had a record called
(25:40):
them bao on on a rhythm track, which is which
is what they sampled from or they sampled from and
it became their known sound. So U you know, big
up Steely and Cleavy, they're they're legendary producers. Steely passed
away r I p to him, but Clevie's right now
do in his thing there.
Speaker 3 (26:01):
You know, they're there.
Speaker 2 (26:04):
They're legendary producers, and they're in I think they're in
a like a court case type of vibe.
Speaker 3 (26:10):
You know.
Speaker 2 (26:11):
I just wish them luck because for me, the genre
is definitely something that UH influenced reggae time, even afrobeat
how it sounds nowadays.
Speaker 3 (26:21):
He too.
Speaker 2 (26:23):
Even you know Trinidad music. There's something called triny bad music, which.
Speaker 3 (26:26):
Is what we influenced as well.
Speaker 2 (26:28):
And so for me, and it's arguably it's arguably one
of my most controversial things to say, because I love
reggae music and they put us here and it's the
father of our music. But I think dancehall has been
has spawned more music UH.
Speaker 3 (26:44):
Inspired inspired genres.
Speaker 1 (26:46):
I can say that just.
Speaker 2 (26:47):
About as much as reggae has, or even more. I
mean from reggae we get the German bass and you know,
it's very I mean, I feel like reggae has got
some influence dance, drum and bass, I mean hip hop
influences and stuff like that. But for for for for
dance All, it's been reggaeton, it's been afrobeat.
Speaker 3 (27:07):
It's been these pop songs that come out like Rihanna Work, Work, Work,
that's a straight danceall record that.
Speaker 2 (27:13):
The example from I was on that track back in
ninety eight.
Speaker 1 (27:17):
That's crazy to the song that Rihanna sampled.
Speaker 2 (27:19):
Work where you were on the original on the original track. Yeah,
it's called Sailor Way Reading, I think.
Speaker 3 (27:26):
But also you.
Speaker 2 (27:29):
Know, people like Drake and Bieber have used the sound
and to me, that's awesome. And people people hear me
mention them and say, oh, you know, you know you
just bitter and I'm not bitter. I just want people
to know. I love that they're doing it. I just
want people to know that is an influence from Danceall.
It makes if people understand that, it makes you realize
(27:51):
how powerful we really are, you know what I mean,
and that there are more people in the game, not
just myself and Shaggy or some names that you've heard.
Speaker 1 (27:58):
For sure.
Speaker 2 (27:59):
Yeah, should look out for. There's people that they should
look out for. They're gonna come with hits.
Speaker 1 (28:03):
Who are some of those new artists you feel.
Speaker 2 (28:06):
Like Busy Signal it's not new, but he's very talented,
very awesome. Big up to people like Skan. I find
that his tone of voice is awesome. He's an amazing
stage performer. You know, there's some Alkaline is also somebody
that has had hits in the genre. You know, I'm
(28:27):
cheering for all of that, you know, and everybody in
between who have who have come up, you know, like
Charlie Blacks, He's.
Speaker 3 (28:34):
Had some amazing hits and and those things. To me,
it's more of the marrier I've been.
Speaker 2 (28:39):
I've been on for years, and I want more of
my company, on my on my own peers around this
level where I am. You know, it's been It's been
an awesome journey, but sometimes hard to kind of like,
you know, just get a win. Like sometimes I sit
down on a plane beside a nice, a nice elderly
lady and she's like, oh, you look like a rapper.
Speaker 3 (29:01):
What do you do? And I said, what I do?
I do danceall? And she said dance all.
Speaker 2 (29:04):
I said, yeah, it's reggae's like, she knows your music,
but she said, oh, reggaeton, and I said, it's not reggaeton.
Speaker 3 (29:10):
It says, it's very similar. So for that to happen
to me.
Speaker 2 (29:14):
When I don't have a beef with reggaeton atal, I
just want people to know that came from what we
do and what we're we call it is danceall similar
to I'm a piano and afro beat right now everybody,
a lot of people think that's the same genre, but
like I'm a piano is slightly different, and it's it's
a thing, you know what I mean. So I want
(29:34):
I want people to know, and I want people to
come up and and and you know, do numbers same thing.
Speaker 1 (29:41):
Yeah, like you said, it kind of takes like a
full movement, Like it can never just be one artist, can't.
It's kind of damn near be like four or five
people breaking at the same time.
Speaker 2 (29:49):
So it adds to it adds to my power them
coming up, you know what I mean. If I'm the
only one in the building, people could still pass it
off even though there's been twenty straight years as oh
that's a luke and so it ain't.
Speaker 1 (30:01):
It's been a flu for twenty years? How many how
many records have you sold so far? Like what's the
latest like that? You know off the top of your head.
Speaker 3 (30:09):
You have to ask that guy over there.
Speaker 1 (30:13):
Yeah, he's gonna ask.
Speaker 3 (30:14):
Let's just yeah, billions.
Speaker 2 (30:16):
I don't know a lot, and it feels good and
I'm very very thankful for that, you know what I mean.
Speaker 3 (30:23):
There's been many years where it was like, oh, it's this.
Speaker 1 (30:27):
One twenty six million according to Google a little bit
by the way, that was in twenty seventeen, so that's
that's a while back. So yeah, I would say that
was eight years ago. So he has a lot more,
definitely north of thirty. Yeah, So that's crazy.
Speaker 2 (30:42):
Good stuff and I have to give thanksan you know,
big up to it's the people who did it before me.
So from the big great Bob Miley to you know,
bands like Third World on Blackkuhuu who set the trend,
and then Barrington Levy and people like.
Speaker 1 (30:56):
Bon Man, you know, I mean, like people like Junior Reed.
Speaker 3 (31:00):
They all came and set paths for me as just
a younger artist.
Speaker 1 (31:04):
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Speaker 3 (31:32):
You already know, man.
Speaker 1 (31:33):
Want to give a shout out to slap Woods for
presenting the podcast only Papers I smoke man only leafs
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That was insane out here in La So shout out
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Follow him on Instagram at slap Woods. Let's get back
to the podcast. Who would you put in the mount
(32:37):
rushmore of dance? Haff You got to exclude yourself though,
so you can't be freezy.
Speaker 3 (32:43):
Well my four, I gotta here four? Your four, I gotta.
Speaker 2 (32:46):
Say in mind four, which was Super Cat. I I
don't like him, Yeah, people tell me ever since I
was banging on a school desk making those rhythms and
singing songs, They're like, oh, you sound like Cat, And
I always felt very proud of that.
Speaker 3 (33:00):
Next one, SHAHARANX. He was somebody to me who was
just like the General. You know what I mean, Nobody
sounded like him.
Speaker 2 (33:08):
There were other people who had hit songs, but nobody
had his style of saga and his old, you know
presence in Danta. Another one is Papa San. A lot
of people don't know him, uh, I would say. Younger
people don't know about Papa San. They may have heard songs,
but they don't know it's him, and he is awesome.
(33:28):
He was in the Guinness World Book Records for the
most words in a song back in nineteen eighty nine
because it was just speed rapping and it was.
Speaker 3 (33:37):
Like whoa set records and h you know.
Speaker 2 (33:40):
He had songs that lasted for five minutes without no chorus.
Speaker 3 (33:45):
Yeah, it's the same, like like.
Speaker 2 (33:46):
What Lil Wayne did with Milly. But it's just like
it was like nuts. He told the whole story. So
big up to Papa Son. One more last one he
passed away. His name is uh General Uh sorry, not
General Major worries u R I p to him some
(34:06):
gun violence. I'm not too sure what happened, but he
was kind of a precursor to Shaba.
Speaker 3 (34:11):
In my generation.
Speaker 2 (34:12):
We considered his style what Shaba kind of learned from,
and even though they were djaying from the same camp
we had rated this guy Major worries a lot and
a lot of times I can't find him on YouTube
or Spotify. I find I find live performances of him
on YouTube sometimes. Yeah, a few records. But the stuff
(34:33):
that I would hear that I loved, I.
Speaker 3 (34:35):
Don't hear it. No, I don't know where to find
it a lot.
Speaker 1 (34:38):
Yo. I they called me bootleg Camp because they used
to sell bootleg DVDs and ship at the SWAT meet. Yeah,
and one of my one of my greatest hits was Shatas.
I used to sell that thing. I feel like that
might be one of the most bootleg movies of all time.
Speaker 3 (34:52):
But it involved Jamaican's.
Speaker 1 (34:57):
How accurate of like a depicted is that of like
that era of Kingston?
Speaker 3 (35:02):
It was spot on. Yeah, you see the part where
it was where we were when I was in the movie.
Speaker 2 (35:10):
They were walking through that and there's a dude the
neck color and like a moha Like we had some
people in dance looking like that, Like it was like
some punk rock stuff.
Speaker 1 (35:22):
Even in Belly there was the random dude with the
orange mohawk.
Speaker 2 (35:25):
Yeah, so so those things is just like a spot
a spot on.
Speaker 3 (35:30):
You know what I mean, the talking, the lingue between people.
You know, it was it was spot on.
Speaker 1 (35:38):
Yo, tell me about because every once in a while
something will go viral on TikTok with the Dagger in
which some of the most extreme wild dancing you'll ever
see people jumping from like a balcony like.
Speaker 3 (35:59):
It's part of part of the culture that came about
after I was you know what I mean.
Speaker 1 (36:04):
This is yeah, yeah, you've been out.
Speaker 3 (36:06):
And I'm like, yo, I get it, but I'm not.
I'm not getting into it, like love it. It is crazy.
Speaker 2 (36:12):
I've seen people come over with cuts and scrapes and
you know, bloody knees. But I mean, I'm going to
introduce you to someone. I'm not sure if you you
may know him. His name is Shelly Belly. I haven't
heard him.
Speaker 3 (36:23):
So Shelly Belly is crazy.
Speaker 2 (36:25):
You could go on his his Instagram because every night
you got some moves.
Speaker 3 (36:30):
Man.
Speaker 1 (36:31):
Just he's like the Master Dagger.
Speaker 3 (36:32):
He got to throwing ladies all over the place and
they love it.
Speaker 1 (36:35):
It's like, yeah, it's wild.
Speaker 3 (36:39):
The ladies that you see.
Speaker 2 (36:40):
Him doing this too, they're down with it. They love it,
and he you know, he's a strong dude.
Speaker 1 (36:45):
So did you ever go through because you know, the
one thing I always would appreciate about dance hall is
that y'all would do dub plates for people. Yeah, yeah,
and like it was it's like a part of the culture.
Like there's like certain DJs who will have like the
craziest dub plate of a record like that. Like you know,
obviously you could drop out a sound clash or whatever
it mos be like, oh my god, did you come
(37:06):
up doing a.
Speaker 3 (37:07):
Lot of those? That was That was the thing.
Speaker 2 (37:09):
That's how I got known, Like the first time people
like before that singing in my bathroom, you know what
I mean. And you go to a sound system, my
brothers sound system. They needed some doves. They're like, yo,
come sing So so that's Copper Shot sound System, And
you know, I'd be in the bathroom with a mic
with a Suzi phone.
Speaker 3 (37:28):
They press play and record and I do my thing.
Speaker 2 (37:31):
And then you know, started doing for other sound systems
like Renaissance and Syndicate and eventually Stole in Love and
the big sound systems in Jamaica.
Speaker 1 (37:40):
For people who don't know on the States, explain what
the sound system is.
Speaker 3 (37:43):
The sound system is a group of like a team
of dudes who are DJ's and MC's and they got
the record boxes and the speaker boxes.
Speaker 1 (37:51):
Because there's a whole play about them speakers in Jamaica.
Speaker 2 (37:54):
Man, yeah, I mean, when you think about it, our
music was born through that. You know, back in the thirties,
apparently they had public radio that would just be playing radio,
and they were our people who produced our own music
couldn't get heard on these radio streams. So what they
did was to build their own speaker boxes and play
(38:14):
in the street, like just play live. And so that's
how sound system culture started. And there's many sound sisters
in Jamaica. So it's like street DJs with their own
whole club, you know what I mean. They got lights,
they got sound system, they got you know, the speakers,
the techniques everything. So yeah, my brother came up with
(38:37):
a sound system from me was in eighth grade. They
just used to take the weekends and play at their
French parties and that kind of stuff. And we were
playing all the latest hip hop because we loved it,
you know. And then we were playing all the latest
dance all because those are that's all Jamaica's party. We
love reggae, but when it's party in time, when it's
(38:57):
like turn up time is more dance all for me
is actually my generation. So and then what was I
saying about the sound system? Uh, just the whole culture.
You know, it's huge and and and it's a part
of the reason why you know, that's how we used
to break our records to the people in the streets,
(39:19):
and then the radio started to pay attention to us.
Speaker 3 (39:22):
So it's how the music started.
Speaker 1 (39:24):
So you h this new record is going crazy Ginger
and there's a new sing are you? Is there a
follow up coming before the end of the year? Top
of the year?
Speaker 3 (39:31):
I think top of the year? Yeah, Ginger is definitely
the track right now.
Speaker 2 (39:35):
It's been one of the furthest moving tracks for a
while for me. And I appreciate everybody listening and locking
on and saying, yo, we still look young and fresh
and we look good on music, sound good seeing me
on device.
Speaker 3 (39:47):
But yeah, thank you. I appreciate that.
Speaker 1 (39:49):
Yeah, man, I mean, you've had a crazy year.
Speaker 3 (39:51):
Man, much much much to do? Bro?
Speaker 1 (39:55):
Yes, are you are you living in Jamaica? Are living
here Jamaica?
Speaker 3 (39:58):
Yeah?
Speaker 1 (39:58):
Oh, that's such a bout from country man. Thank you invited, Bro,
you come to I'm spoiled with the weed here we
got here is different.
Speaker 3 (40:06):
It is, but we got good weed there.
Speaker 2 (40:07):
I meant on the beach we dipped for a time.
Speaker 1 (40:11):
We did, and then I went to one of the farms,
which was cool to see. Yeah, but I feel like, man,
this is against California weed. They it's got so much.
Speaker 3 (40:18):
It is and you know what, you know, what did
happen to us?
Speaker 2 (40:21):
I'm gonna tell you for all the weed heads who know,
like there was cross pollination that happened because we had
a strain in the late eighties, early nineties or even
late nineties that was awesome because it could take our
humidity and you usually what was the strain called There's
Lamb's Bread was one of them because a couple of
different ones.
Speaker 3 (40:40):
But the strains that do that people did get.
Speaker 2 (40:46):
Because dispensary started to come up, or the talk of
dispensary started to come up, so people wanted all these
different strains and they were cross parlinnat And now we
kind of lost a good weed for a while. I
don't know where it went, but yeah, weed now it's growing.
Speaker 1 (40:59):
By what I tell everybody, I'm like, yo, man, as
long as it gets you high, who gives a fuck
what it smells like, what it looks like.
Speaker 3 (41:04):
Well, sometimes you know you don't want to know ship
You know.
Speaker 1 (41:07):
You don't want ship weed. I'm just saying, like right,
hip hop, we're so spoiled, Yeah, us to enjoy it
because when it's I was like candy, it's gotta smell.
I'm like, yo, it does it? I just want some
O G cush for sake.
Speaker 3 (41:21):
Yeah.
Speaker 1 (41:21):
We love the guests, So you do the splits with
the tobacco leaf.
Speaker 3 (41:24):
We do. We do.
Speaker 2 (41:25):
No, I don't do the tobacco leave, well we do.
Me and my brother we do put you know, like
we use.
Speaker 3 (41:31):
The guests the O G cush in the paper, Yeah,
in the paper okay, and then we sprinkle some we
called rosin. Oh yeah, and some diamonds on it.
Speaker 1 (41:42):
Oh you're guy. Yeah, Oh my god, rosing and diamonds.
Speaker 3 (41:49):
Yeah, we're floating when it's a esp floating. Don't provoke him.
God the weed where we smoking, he's soaking.
Speaker 1 (41:55):
Let's go, Sean paul Man, I appreciate you pulling up.
Speaker 3 (41:58):
Brother, appreciate it, sir. Thank you much of
Hey Man shout out to Prize Picks for sponsor in
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right now. All right, man, we are here with a Legend.
It's a Bootleg keV Show with Sean Paul. Welcome, sir, bro,
thanks for having Yes, sir man, you've had a busy
You were just saying, how busy of a year you've had.
Speaker 2 (01:45):
Yeah, I've had a busy day all year, a busy
day all year.
Speaker 1 (01:50):
Summertime, you and Wiz and the baby were on the
road together. Yep, how was that?
Speaker 3 (01:55):
You know?
Speaker 1 (01:55):
The Whiz is like such a professional and he's also
all time smoker.
Speaker 2 (02:00):
Like I'm sure, y'all, Bro, we connected on many levels,
but I didn't know, dude was such a fit buff.
Speaker 3 (02:05):
Like, yeah, he brings the gym, brings the gym he brings.
Speaker 2 (02:08):
He got a different boxing coach in most places, and
so I does ship. Yeah, I took advantage of learning
a little bit more about boxing. Cut I shot a
box you know, yeah, Keith Tulica Heart Heart Race going up.
But they was like, oh, you're punching wrong. I'm like, bro,
I'm not going to be punching nobody though. So anyway,
(02:29):
they taught me. And the old vibe was a good vibe.
As we said, the tour is called good vibes only,
and I didn't.
Speaker 3 (02:37):
I didn't. How much did I do?
Speaker 2 (02:39):
I did about three quarters of a tour, so the
last probably week and a half I was out but
awesome vibes. And before that we were in Europe. Before
that we was in UK. So I've been touring for
five months this year, nine months so far, and I
decided to text some time I come La and come
check y out man man.
Speaker 1 (02:59):
Welcome to the show. Brother Yo. The first time I
ever saw you was watching that movie.
Speaker 3 (03:04):
Right there, the Big Bud Belly.
Speaker 1 (03:08):
Yeah, and you have like a cameo in the movie
and one of my favorite songs on the soundtrack funny
Here Comes the Boom with DMX mud something Crazy.
Speaker 3 (03:18):
It's one of my favorites.
Speaker 1 (03:20):
And it's funny because that movie had so much to
do with Jamaicas. Yeah, yeah, what was what? How did
you end up in belly?
Speaker 2 (03:26):
Very funny story. So there's a big dance that that's
kept like probably once a year, or it used to
be kept when we were coming up. So my brothers
with a sound system and I'm also I'm an artist
at the time, you know, a few songs out and
a real hot buzz on me. So I decided that
(03:48):
year I'm not going to the dance on the beach.
I'm gonna chill out in the studio.
Speaker 3 (03:52):
He comes back, My brother comes back from playing out
there and.
Speaker 2 (03:55):
Be like, Yo, you missed it. I'm like, oh, yes,
probably the same things that happened. And he's like, nah,
DMX was out there throw the place down. I was like,
what I really did miss it? It was the facts,
went to sleep, got up the next morning. Tony Kelly,
the producer of that track, caused me, yo, you're doing
the track with Vegas and DMXP shotter check me, check
me in the.
Speaker 3 (04:15):
Studio now, so I believe it was like nine thirty.
Speaker 2 (04:18):
I got there in the morning and we started writing it,
writing it, and then DMX didn't come till in the evening,
and he was just like, we was writing a girl's song,
me and Vegas because that's what yeah. Yeah, he was
like all other girls and your hands eye and the
DMX came in there and I was like, okay, that's
(04:39):
cool and this is what I got.
Speaker 3 (04:40):
Here comes the boom. Yeah. We was like, oh, we.
Speaker 1 (04:42):
Started taking our yo, change this word.
Speaker 3 (04:45):
We're going to be the shot.
Speaker 2 (04:46):
So yeah, and it was appropriate for the movie for sure.
But you know, we we we thought we just wanted
people wanted us to do what we do, which is
more of the ladies. And then we realized, oh, this
is more of a young that thing, so we went
in with the gangs. That thing came and then then
you end up in the movie, in the movie like yeah,
next day I was told, oh, I think the director
(05:10):
he wants you to Williams. Yeah, Hi points you to
shoot the video with with with Vegas and DMX, And
it ended up that we just were put in.
Speaker 3 (05:21):
The movie for five minutes or a few seconds, which
is awesome, awesome. I think it was way better than
a video.
Speaker 1 (05:27):
Yeah, because that's forever. That's a classics. That's a good classic.
Speaker 3 (05:30):
Yeah, man, my thirty seconds in the movie.
Speaker 1 (05:33):
Yeah, it's funny too because that that's prior to like
you becoming like a household.
Speaker 3 (05:37):
Name over here. That was one of the introductions.
Speaker 2 (05:40):
Like I like to say, there's about two or three
songs that kind of like broke for me in the
States around the same time period.
Speaker 3 (05:48):
That's one of them. The port them was another.
Speaker 1 (05:50):
One Oh yes, such a classic.
Speaker 2 (05:52):
Yeah, and then and then the next breakup like the one, Yeah,
it was I was just gonna say, that's the next
breakout one.
Speaker 1 (05:58):
Yeah. Man, it's crazy too, man, because you know, it's
wild to think that it's been was was give Me
the Light, oh one oh two?
Speaker 2 (06:08):
Yeah, it was about that that it was recorded.
Speaker 1 (06:13):
Damn your twenty five years.
Speaker 2 (06:15):
Yeah, so crazy vibe and it's been a it's been
a nuts right ever since.
Speaker 3 (06:22):
Well.
Speaker 1 (06:22):
It's interesting, man, because I feel like you were very
much like responsible for bringing the dancehall sound to America
in a commercial way. That like, obviously not to say
that there weren't other artists that had had done stuff
or had records here and there, but like, yeah, you
were like really like the guy who became like a
real mainstay in pop culture and just like radio and
(06:43):
just like when we talk about just like anybody who
needs a feature.
Speaker 3 (06:46):
They go to you. They are halla. I mean, it's
been a crazy ride.
Speaker 2 (06:51):
And honestly, you know, Shaba Ranks was before me from
my same genre, and so with.
Speaker 1 (06:57):
Shaggy to Shaggy, yeah, yeah, Shaggy for sure, for.
Speaker 2 (07:00):
Sure, but they both had to they both had to
kind of do hybrid kind of dance hall with mixed
with R and B. It was Johnny Gill and Shabba.
There was Maxi Priest and that was like also you
know R and B, and then Marvin Gaye was what
Shaggy Shaggy broke on in the States. So the advantage
(07:22):
I had, and it wasn't really anything I did, It
was just the timing of everything. The timing came around
where you know, people in the States started to light
those dance hall original dance hall tracks more, they became
more used to hearing them. And I was just somebody
that had recorded a lot in that time period and
it you know, have a unique voice and it just
(07:43):
happened all at the right time, so divine time in thing.
Speaker 1 (07:46):
It felt crazy too, because if you think about Duty,
Rocket was like it was like an album full of
singles loo.
Speaker 2 (07:52):
Ki yeah, yeah, five straight singles. It was crazy, Like
did you have any idea? Like nah, no, we just
hope the best for each song, and like things like
like Glue, Like Glue was about two years old because
like Glue I recorded in Jamaica in nineteen ninety eight
and that summer went crazy and the next summer too,
(08:14):
and then it kind of died down and then it
picked up in the States after that, so it had
to be on the album.
Speaker 1 (08:19):
So I mean the album comes out though, too, So
that's a four year old song if it was ninety eight.
Speaker 3 (08:23):
Yeah, so so crazy.
Speaker 1 (08:25):
Right, that's fucking nuts.
Speaker 3 (08:26):
Yeah.
Speaker 1 (08:27):
You know my favorite what was the joint with Sasha
I'm Still in Love with You that's my shit dog.
Speaker 3 (08:32):
Yeah Yeah, I love that joint. Yeah.
Speaker 2 (08:35):
A lot of people really like because it was the
only authentic reggae track on there, and that's the roots
of dancehall and I was kind of paying homage and
at the time, dance I was really big in Jamaica,
so nobody did that, and I went back to you know,
the original reggae tracks to spit where we spit or
I shouldn't say nobody, I should just say again timing.
(08:55):
I caught it at the right time and not a
lot of people was doing that.
Speaker 1 (08:58):
So do you feel like because there's the way you
wrap like a lot of Americans will fuck your lyrics up.
Speaker 3 (09:08):
Happens all the time.
Speaker 1 (09:10):
It happens still to this day.
Speaker 3 (09:11):
Happens to my wife right now.
Speaker 1 (09:13):
They know the lyrics, but they don't know the lyrics
exactly the same. What is the biggest mistaken lyric you
see people like like not knowing even though they kind
of know where they think they know.
Speaker 3 (09:26):
Some stuff about and give me the light.
Speaker 2 (09:28):
There's one on YouTube that's really funny talking about cheese.
When I didn't say anything about cheese.
Speaker 3 (09:37):
But my wife.
Speaker 2 (09:38):
She she she met me and said, what's where's Belfazor?
And I'm like, what is that? She's like, you say
it in the song. I'm like, oh, I don't what
is that? And she played me the song and I
was like, oh, it was the first song I had
as a baby girl.
Speaker 3 (09:53):
Don't cry no more.
Speaker 2 (09:54):
Tell them to say you can id to pain Alaana,
Yeah dash show Hey that boy for sure? But she
thought I said, that's the way above Zora, But you.
Speaker 1 (10:02):
Said why for sure?
Speaker 3 (10:03):
Yeah, like throw the kid you're dating away?
Speaker 1 (10:06):
Is your wife Jamaican or no?
Speaker 3 (10:08):
Yeah she is?
Speaker 2 (10:08):
Okay, come on, and she still got it wrong. So
you know that's fair. That's fair.
Speaker 1 (10:12):
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Man.
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What part did you make you from King Son?
Speaker 3 (11:51):
Uh?
Speaker 1 (11:51):
Yeah, I went to uh for the first time, I
went to a grill. Oh we get so fire.
Speaker 3 (11:55):
Yeah, awesome place.
Speaker 2 (11:57):
I personally haven't been there in almost ten years and
it's a place I.
Speaker 3 (12:01):
Used to go every year.
Speaker 1 (12:04):
Beaches, so nice.
Speaker 3 (12:05):
I gotta get back there, man.
Speaker 1 (12:06):
And you know what's crazy is like being in the
States and especially being on the West Coast, I don't
feel like we have access to like the greatest Jamaican food.
So man, when I tell you.
Speaker 3 (12:15):
You tell your taste it and good stuff over it.
Speaker 1 (12:17):
I think I went to a place called the pork Pit. Yeah, yeah,
Oh my fucking god.
Speaker 3 (12:23):
Yeah, good jerk pork man.
Speaker 1 (12:25):
Yeah, and the sauces they got it that moment. And
then we went to some spot just on the street,
just on the side of the street.
Speaker 3 (12:32):
It's good. We got good street food. Our pine chicken
mone is kind of like a knockoff jerk chicken. So
jerk chicken. You have to cook it with the real spices,
the real wood.
Speaker 2 (12:44):
But with the pan chicken you couldt it's just like
a street barbecue and it tastes the same.
Speaker 1 (12:49):
Yeah, for sure, nuts, it's the best. How do you
feel like, you know, I feel like in twenty twenty
five to two, it feels like dance hall reggae is
is kind of in another like renaissance of like coming
back in terms of like commercially, it's nice to have
like vibes, Cartel out and yeah and superactive and huge.
Speaker 3 (13:07):
Man, it's done a lot for you know, just the space.
Speaker 1 (13:11):
Why was I saying, how do you feel like? You know?
In twenty twenty five? The space is right now because
you've got a record going crazy, the Ginger Records going Crazy,
great follow up coming bro crazy.
Speaker 2 (13:20):
If I listen, you know when people say used to
say to me, I was putting on a single and
they're like, oh, but isn't dan sall like a summer thing?
I'm like, no, is it all year round for us?
So for me, it's never gone any space. It's been
living there, you know what I mean. It's where it's at.
But it's people's attention span and what's coming at them
(13:43):
and the different stuff, and so it's to me, it's
the public's attention and it's turning back on us now
and that's dope.
Speaker 3 (13:50):
That's beautiful.
Speaker 2 (13:51):
I think that there is a lot more players in
the game, a lot more producers, a lot more people
from outside of the whole original dancehall genre community actually
embracing and doing sounding stuff like that, and that's awesome.
That just means we're growing bigger and bigger, and you know,
I'm being interviewed by people who know more about the
(14:12):
culture than they did back then when I first broke
and I'm being interviewed people didn't understand like what to
call it, and they're like, I'm like, I'm danceall and
they go, oh, dance music.
Speaker 3 (14:23):
I love it. And you know, there's if they want
electric music.
Speaker 2 (14:27):
Exactly, and if you if if they weren't like someone
like you who knows the ends of the different genres,
you know what it is. But there's a lot more
people like you, and I would say, like about dance
all music, that the awareness is much more.
Speaker 1 (14:40):
Just call dance all reggae.
Speaker 2 (14:41):
Yeah, well, you know, for me, I call it reggae
dance all because I do reggae tracks as well, right right, right, Yeah.
Speaker 1 (14:47):
I just feel like there's like a it's it's almost
like if someone just like classified hip hop and R
and B the same thing.
Speaker 3 (14:54):
Yeah, because there's some artists that but they're very you know.
Speaker 1 (14:57):
They're at the core there's but they're different, but they
can't be the same.
Speaker 3 (15:01):
Yes for sure.
Speaker 2 (15:02):
You know, because a lot of a lot of records
are are you know, like softcore hip hop R and B.
Speaker 1 (15:10):
You know, so yeah, you as a DJ, uh get
busy kind of turns into this instrumental that gets remixed
over and over and it's one of the biggest club
records ever. But I just think about all the breaks
I hear, all of the dub plates. You'll hear like
that record is like an all time DJ record. That
(15:32):
beat has been remixed so much.
Speaker 2 (15:36):
Yeah, there's a lot, you know, big up to Lanky,
he's a producer and people who who understand the vibe
know that that that's just one of the most prolific
danceau tracks that it is. I mean, you know if
Rihanna under replay is the same type of ridium, it
comes off of that.
Speaker 3 (15:55):
So does you know the Nina Sky.
Speaker 1 (15:57):
And True Yeah, that is kind of crazy.
Speaker 2 (15:59):
Yeah, even even Black Eyed Peas had a joint a mama. Yeah,
so it's the same. It's the same syncopate from those days.
A lot of people copied and or I just inspired
by it, inspired it, inspired by it, and you know
it's led to to more of that as well. So
(16:20):
very awesome to feel that we set the trend with
that kind of stuff.
Speaker 1 (16:25):
Randomly, you are in the Deaf Jam game and why
which was I have that and Deaf Jam Bendet on
PlayStation two respectfully in three. But was that cool to
be able to like that? Was that's like such a
cultural game like.
Speaker 3 (16:42):
It was, and.
Speaker 2 (16:45):
You know when I did it, I remember it being
either Grammys or something like that, like American Music Awards.
Speaker 3 (16:52):
We were there for that period of time here in
l A.
Speaker 2 (16:56):
And then you know, I got the part to come,
you know, say though things in the game, and they
were going to make a character for me and I
run into people every now and then I was like,
you know, I was twelve.
Speaker 3 (17:07):
Years old, bro, and why they make you so hard
to beat? Bro?
Speaker 2 (17:10):
Big dudes now will be like, yo, that's the best game.
So that feels good and it helps my music to
kind of reach people where it you know, probably wouldn't
wouldn't have heard it at that time.
Speaker 3 (17:22):
So awesome.
Speaker 1 (17:23):
Yeah, talk to me, man, because it's got to be
something crazy to like come out kind of put on
for Jamaica, put on for the genre, but then to
be able to take a Grammy home at the same time.
Speaker 2 (17:36):
Awesome, even though I mean American music or Grammy, those
are things I didn't dream i'd be near you know
what I mean, I didn't dream that we'd be walking
down those those red carpets.
Speaker 3 (17:47):
So I mean, I just do music for fun.
Speaker 2 (17:49):
I do music for my own personal expression and enjoyment
and creation anting and for people to start liking it
and gravitating towards it. Time bring me to those spots.
Where are those those those that level of recognition where
I'm deserving of a Grammy or American music or it
(18:10):
is mind blowing to me. So you know, appreciate to
everybody who helped me to get to that spot. And
it ain't really about like that wasn't my dream. I
really appreciate it, but it ain't about that for me.
I'm fulfilled every day when I see smiles on people's
faces when I'm singing the song in front of them
in the stage or you know, just hearing that people
(18:30):
love it and they post and they playing the song
in the car.
Speaker 3 (18:34):
It feels good, man, I feels.
Speaker 1 (18:35):
And it's crazy because that album had legs.
Speaker 3 (18:38):
Yeah, yeah, five tracks deep, bro, you.
Speaker 1 (18:40):
Know what I'm talking about? Like how long like between
like the album dropping and how long y'all worked that much?
Speaker 3 (18:45):
Yeah, it was a while.
Speaker 1 (18:47):
It was a while, bro, what the Trinity came out?
Speaker 3 (18:50):
In Trinity came out two thousand and five five six, Yeah,
it's about two thousand and five.
Speaker 1 (18:55):
Yeah, No, it's crazy and it's wild too because back
then I feel like you couldn't turn the radio on
without here you on something.
Speaker 3 (19:01):
Yeah. Man, it was a big vibe.
Speaker 1 (19:03):
What was like because obviously you know, being on a
Beyonce record that was her first solo album, first solo album.
Baby Boy is a classic.
Speaker 2 (19:11):
Amazing, amazing sexist song. Bro, I can't I have to
give thanks for things like that. And I opened for
a show for her. Maybe it was all the way around,
I can't remember, but it was a small show in Jamaica,
like a niche market show, and she she was there
with Destiny's Child and I met her there and then
(19:33):
for about two years later to be called and say, oh,
my first solo album, and you know, knowing she she
was right, really a spotlight artist. Like the group itself
was hot, but a lot of people spoke about her.
I just felt that this is an awesome opportunity and
they sent the track and I was very pleased that
it was dance a lot of times in those days
(19:54):
people asked me to do a collab and this I
had a hip hop and I got to go over
there to do it.
Speaker 3 (19:59):
Or it is R and B.
Speaker 2 (20:01):
Sure, it's it's rock or it pop oriented. Sorry, And
because like there the Blue Client Troll record wasn't no,
it was a Blue Count trail. It was more like
it was a it was a ridding from Doctor j R.
Speaker 1 (20:13):
And another dope record.
Speaker 3 (20:16):
Yeah.
Speaker 2 (20:16):
Yeah, so it was a dope record, but I was
very I was much more enthused that the Baby Boys
song was more dance all oriented.
Speaker 3 (20:24):
It was really cool.
Speaker 1 (20:25):
Yeah, And at that time, I don't think we understand
like the run Beyonce is about to.
Speaker 3 (20:28):
Go on, No nobody did.
Speaker 2 (20:30):
I mean a lot of legendary, but the Beyonce Run
else the sky high after that, then the first album
True and it took me. It took me to a
different level in my own personal career for sure.
Speaker 3 (20:42):
Yeah.
Speaker 1 (20:42):
And she and she has to perform. She's performing that
every time she's.
Speaker 3 (20:45):
She do she do it? Man, she looked it and
I'm doing all the good stuff.
Speaker 1 (20:50):
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(21:56):
Talk to me, man, because obviously you're super active. Right now.
The new record is dope, thank you. It feels like
some vintage Sean Paul. Feels like something that's missing from
the radio. Are you working on a new project or what?
What is what is currently obviously the songs out, but
is that part of a body of work it is.
Speaker 2 (22:13):
I have a number of singles lined up. I think
today's nowadays is music business is kind of geared towards singles,
and I always like to make an album, like when
you look up there you see a lot of like
a lot of dope, iconic, iconic, classic album and that
(22:35):
marks that time in those artists' life for me and
the fans life too, So that's what I'm more geared towards.
But lately I've been just dropping singles, hoping to put
an album out soon. I do have a lot of
singles lined up, and to me, where Ginger is right now.
Speaker 3 (22:54):
Where it's being received, is a good spot.
Speaker 2 (22:56):
And it's a good time to start putting out my
man some you know stuff for early next year. And
I got songs with Amanda Refa.
Speaker 1 (23:08):
She's a dope, she's amazing. She's Atlanta. Yeah, she's incredible.
Speaker 2 (23:11):
She's from Barbados and just has a Caribbean vibe, but
she do all kind of different trap stuff and R
and B stuff, and.
Speaker 1 (23:20):
She she had no break with Farrell.
Speaker 2 (23:21):
Yeah, and also also Kendrick Yeah yeah, Kendrick Yeah. So
big up to her and looking forward to putting that
out soon. But yeah, you know, it just has been
a good look putting out these tracks and hoping to
put out the album soon.
Speaker 3 (23:39):
I'm not sure that what your name, but.
Speaker 1 (23:42):
Yeah, I feel like everything's in good space. I like
love and is doing.
Speaker 2 (23:46):
Is awesome to me. I've been telling people she's been.
She was on your album a few years ago, and
I'm on hers. She's been so far, She's been one
of the most exciting stories from Dan Sall in years.
I've been telling people that all the time. Exciting for
me because where where what it takes to be a
(24:06):
dance artist is one thing, and that's very hard from
to be from the community and in the genre, but
also to break past that and get attention past that
space is something that I've been wanting other people to achieve.
And so you know, when Baby Shamp gets signed and
Elephant Man, I was I was always shaaring for stuff
(24:26):
like that. You know, Egyptiana had a big tune and yeah,
and so so when she came along, I'm like rooting
for her.
Speaker 1 (24:36):
So shaken to the Maxx Records big man.
Speaker 3 (24:39):
Yeah, Yeah, that's huge.
Speaker 2 (24:40):
That that's that's after the fact for me, Like I
knew before those things that she was going to be
something you know, speak.
Speaker 1 (24:49):
To like the synergy between like what has kind of
the risk because in the same way that I feel
like dance hall and Caribbean music has the resurgence commercially,
I feel like we saw the same thing happened with
reggaetone because you know, Reggaeton had that crazy Tago called
her on Daddy Yankee Spike earlier chewed out a little
(25:09):
bit commercially, and then now it's the bad Bundy's doing
the super Bowl.
Speaker 3 (25:13):
Yeah, that's crazy.
Speaker 1 (25:14):
But what is kind of like sonically there's always been
like a kind of like a marriage between the two.
Speaker 2 (25:19):
Yeah, speak to that man sound wise, I mean we
we we definitely believe that the entire Reggaeton sub sub
what we call it the back beat. Yeah, most of
the songs are is of a rhythm called them Bao.
They call it them bo Chabaranks had a record called
(25:40):
them bao on on a rhythm track, which is which
is what they sampled from or they sampled from and
it became their known sound. So U you know, big
up Steely and Cleavy, they're they're legendary producers. Steely passed
away r I p to him, but Clevie's right now
do in his thing there.
Speaker 3 (26:01):
You know, they're there.
Speaker 2 (26:04):
They're legendary producers, and they're in I think they're in
a like a court case type of vibe.
Speaker 3 (26:10):
You know.
Speaker 2 (26:11):
I just wish them luck because for me, the genre
is definitely something that UH influenced reggae time, even afrobeat
how it sounds nowadays.
Speaker 3 (26:21):
He too.
Speaker 2 (26:23):
Even you know Trinidad music. There's something called triny bad music, which.
Speaker 3 (26:26):
Is what we influenced as well.
Speaker 2 (26:28):
And so for me, and it's arguably it's arguably one
of my most controversial things to say, because I love
reggae music and they put us here and it's the
father of our music. But I think dancehall has been
has spawned more music UH.
Speaker 3 (26:44):
Inspired inspired genres.
Speaker 1 (26:46):
I can say that just.
Speaker 2 (26:47):
About as much as reggae has, or even more. I
mean from reggae we get the German bass and you know,
it's very I mean, I feel like reggae has got
some influence dance, drum and bass, I mean hip hop
influences and stuff like that. But for for for for
dance All, it's been reggaeton, it's been afrobeat.
Speaker 3 (27:07):
It's been these pop songs that come out like Rihanna Work, Work, Work,
that's a straight danceall record that.
Speaker 2 (27:13):
The example from I was on that track back in
ninety eight.
Speaker 1 (27:17):
That's crazy to the song that Rihanna sampled.
Speaker 2 (27:19):
Work where you were on the original on the original track. Yeah,
it's called Sailor Way Reading, I think.
Speaker 3 (27:26):
But also you.
Speaker 2 (27:29):
Know, people like Drake and Bieber have used the sound
and to me, that's awesome. And people people hear me
mention them and say, oh, you know, you know you
just bitter and I'm not bitter. I just want people
to know. I love that they're doing it. I just
want people to know that is an influence from Danceall.
It makes if people understand that, it makes you realize
(27:51):
how powerful we really are, you know what I mean,
and that there are more people in the game, not
just myself and Shaggy or some names that you've heard.
Speaker 1 (27:58):
For sure.
Speaker 2 (27:59):
Yeah, should look out for. There's people that they should
look out for. They're gonna come with hits.
Speaker 1 (28:03):
Who are some of those new artists you feel.
Speaker 2 (28:06):
Like Busy Signal it's not new, but he's very talented,
very awesome. Big up to people like Skan. I find
that his tone of voice is awesome. He's an amazing
stage performer. You know, there's some Alkaline is also somebody
that has had hits in the genre. You know, I'm
(28:27):
cheering for all of that, you know, and everybody in
between who have who have come up, you know, like
Charlie Blacks, He's.
Speaker 3 (28:34):
Had some amazing hits and and those things. To me,
it's more of the marrier I've been.
Speaker 2 (28:39):
I've been on for years, and I want more of
my company, on my on my own peers around this
level where I am. You know, it's been It's been
an awesome journey, but sometimes hard to kind of like,
you know, just get a win. Like sometimes I sit
down on a plane beside a nice, a nice elderly
lady and she's like, oh, you look like a rapper.
Speaker 3 (29:01):
What do you do? And I said, what I do?
I do danceall? And she said dance all.
Speaker 2 (29:04):
I said, yeah, it's reggae's like, she knows your music,
but she said, oh, reggaeton, and I said, it's not reggaeton.
Speaker 3 (29:10):
It says, it's very similar. So for that to happen
to me.
Speaker 2 (29:14):
When I don't have a beef with reggaeton atal, I
just want people to know that came from what we
do and what we're we call it is danceall similar
to I'm a piano and afro beat right now everybody,
a lot of people think that's the same genre, but
like I'm a piano is slightly different, and it's it's
a thing, you know what I mean. So I want
(29:34):
I want people to know, and I want people to
come up and and and you know, do numbers same thing.
Speaker 1 (29:41):
Yeah, like you said, it kind of takes like a
full movement, Like it can never just be one artist, can't.
It's kind of damn near be like four or five
people breaking at the same time.
Speaker 2 (29:49):
So it adds to it adds to my power them
coming up, you know what I mean. If I'm the
only one in the building, people could still pass it
off even though there's been twenty straight years as oh
that's a luke and so it ain't.
Speaker 1 (30:01):
It's been a flu for twenty years? How many how
many records have you sold so far? Like what's the
latest like that? You know off the top of your head.
Speaker 3 (30:09):
You have to ask that guy over there.
Speaker 1 (30:13):
Yeah, he's gonna ask.
Speaker 3 (30:14):
Let's just yeah, billions.
Speaker 2 (30:16):
I don't know a lot, and it feels good and
I'm very very thankful for that, you know what I mean.
Speaker 3 (30:23):
There's been many years where it was like, oh, it's this.
Speaker 1 (30:27):
One twenty six million according to Google a little bit
by the way, that was in twenty seventeen, so that's
that's a while back. So yeah, I would say that
was eight years ago. So he has a lot more,
definitely north of thirty. Yeah, So that's crazy.
Speaker 2 (30:42):
Good stuff and I have to give thanksan you know,
big up to it's the people who did it before me.
So from the big great Bob Miley to you know,
bands like Third World on Blackkuhuu who set the trend,
and then Barrington Levy and people like.
Speaker 1 (30:56):
Bon Man, you know, I mean, like people like Junior Reed.
Speaker 3 (31:00):
They all came and set paths for me as just
a younger artist.
Speaker 1 (31:04):
Hey, we gotta wrap up this interview another one presented
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Speaker 3 (31:32):
You already know, man.
Speaker 1 (31:33):
Want to give a shout out to slap Woods for
presenting the podcast only Papers I smoke man only leafs
that we let fly around here on the Boutlet Cap podcast.
We just did a crazy pool party with them too.
That was insane out here in La So shout out
to slap Woods. When I tell you man quality. They
smoke so good, and they're called slap Woods because they
(31:53):
slap I know that's like their you know, their tagline,
but it's also the truth, all right, So look, go
follow them a slap Woods. Make sure you hit their
website and if you're at your local smoke shop. If
you're the local store and you need some papers, get
you some slap Woods and uh, you know, I think
pretty soon I want to do we are going to
(32:13):
do this pretty soon. I want to do a giveaway
with some Slapwood stuff, So be on the lookout for that.
We'll be announcing it on the podcast. We're gonna be
sending out obviously, you got to be of age sending
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Follow him on Instagram at slap Woods. Let's get back
to the podcast. Who would you put in the mount
(32:37):
rushmore of dance? Haff You got to exclude yourself though,
so you can't be freezy.
Speaker 3 (32:43):
Well my four, I gotta here four? Your four, I gotta.
Speaker 2 (32:46):
Say in mind four, which was Super Cat. I I
don't like him, Yeah, people tell me ever since I
was banging on a school desk making those rhythms and
singing songs, They're like, oh, you sound like Cat, And
I always felt very proud of that.
Speaker 3 (33:00):
Next one, SHAHARANX. He was somebody to me who was
just like the General. You know what I mean, Nobody
sounded like him.
Speaker 2 (33:08):
There were other people who had hit songs, but nobody
had his style of saga and his old, you know
presence in Danta. Another one is Papa San. A lot
of people don't know him, uh, I would say. Younger
people don't know about Papa San. They may have heard songs,
but they don't know it's him, and he is awesome.
(33:28):
He was in the Guinness World Book Records for the
most words in a song back in nineteen eighty nine
because it was just speed rapping and it was.
Speaker 3 (33:37):
Like whoa set records and h you know.
Speaker 2 (33:40):
He had songs that lasted for five minutes without no chorus.
Speaker 3 (33:45):
Yeah, it's the same, like like.
Speaker 2 (33:46):
What Lil Wayne did with Milly. But it's just like
it was like nuts. He told the whole story. So
big up to Papa Son. One more last one he
passed away. His name is uh General Uh sorry, not
General Major worries u R I p to him some
(34:06):
gun violence. I'm not too sure what happened, but he
was kind of a precursor to Shaba.
Speaker 3 (34:11):
In my generation.
Speaker 2 (34:12):
We considered his style what Shaba kind of learned from,
and even though they were djaying from the same camp
we had rated this guy Major worries a lot and
a lot of times I can't find him on YouTube
or Spotify. I find I find live performances of him
on YouTube sometimes. Yeah, a few records. But the stuff
(34:33):
that I would hear that I loved, I.
Speaker 3 (34:35):
Don't hear it. No, I don't know where to find
it a lot.
Speaker 1 (34:38):
Yo. I they called me bootleg Camp because they used
to sell bootleg DVDs and ship at the SWAT meet. Yeah,
and one of my one of my greatest hits was Shatas.
I used to sell that thing. I feel like that
might be one of the most bootleg movies of all time.
Speaker 3 (34:52):
But it involved Jamaican's.
Speaker 1 (34:57):
How accurate of like a depicted is that of like
that era of Kingston?
Speaker 3 (35:02):
It was spot on. Yeah, you see the part where
it was where we were when I was in the movie.
Speaker 2 (35:10):
They were walking through that and there's a dude the
neck color and like a moha Like we had some
people in dance looking like that, Like it was like
some punk rock stuff.
Speaker 1 (35:22):
Even in Belly there was the random dude with the
orange mohawk.
Speaker 2 (35:25):
Yeah, so so those things is just like a spot
a spot on.
Speaker 3 (35:30):
You know what I mean, the talking, the lingue between people.
You know, it was it was spot on.
Speaker 1 (35:38):
Yo, tell me about because every once in a while
something will go viral on TikTok with the Dagger in
which some of the most extreme wild dancing you'll ever
see people jumping from like a balcony like.
Speaker 3 (35:59):
It's part of part of the culture that came about
after I was you know what I mean.
Speaker 1 (36:04):
This is yeah, yeah, you've been out.
Speaker 3 (36:06):
And I'm like, yo, I get it, but I'm not.
I'm not getting into it, like love it. It is crazy.
Speaker 2 (36:12):
I've seen people come over with cuts and scrapes and
you know, bloody knees. But I mean, I'm going to
introduce you to someone. I'm not sure if you you
may know him. His name is Shelly Belly. I haven't
heard him.
Speaker 3 (36:23):
So Shelly Belly is crazy.
Speaker 2 (36:25):
You could go on his his Instagram because every night
you got some moves.
Speaker 3 (36:30):
Man.
Speaker 1 (36:31):
Just he's like the Master Dagger.
Speaker 3 (36:32):
He got to throwing ladies all over the place and
they love it.
Speaker 1 (36:35):
It's like, yeah, it's wild.
Speaker 3 (36:39):
The ladies that you see.
Speaker 2 (36:40):
Him doing this too, they're down with it. They love it,
and he you know, he's a strong dude.
Speaker 1 (36:45):
So did you ever go through because you know, the
one thing I always would appreciate about dance hall is
that y'all would do dub plates for people. Yeah, yeah,
and like it was it's like a part of the culture.
Like there's like certain DJs who will have like the
craziest dub plate of a record like that. Like you know,
obviously you could drop out a sound clash or whatever
it mos be like, oh my god, did you come
(37:06):
up doing a.
Speaker 3 (37:07):
Lot of those? That was That was the thing.
Speaker 2 (37:09):
That's how I got known, Like the first time people
like before that singing in my bathroom, you know what
I mean. And you go to a sound system, my
brothers sound system. They needed some doves. They're like, yo,
come sing So so that's Copper Shot sound System, And
you know, I'd be in the bathroom with a mic
with a Suzi phone.
Speaker 3 (37:28):
They press play and record and I do my thing.
Speaker 2 (37:31):
And then you know, started doing for other sound systems
like Renaissance and Syndicate and eventually Stole in Love and
the big sound systems in Jamaica.
Speaker 1 (37:40):
For people who don't know on the States, explain what
the sound system is.
Speaker 3 (37:43):
The sound system is a group of like a team
of dudes who are DJ's and MC's and they got
the record boxes and the speaker boxes.
Speaker 1 (37:51):
Because there's a whole play about them speakers in Jamaica.
Speaker 2 (37:54):
Man, yeah, I mean, when you think about it, our
music was born through that. You know, back in the thirties,
apparently they had public radio that would just be playing radio,
and they were our people who produced our own music
couldn't get heard on these radio streams. So what they
did was to build their own speaker boxes and play
(38:14):
in the street, like just play live. And so that's
how sound system culture started. And there's many sound sisters
in Jamaica. So it's like street DJs with their own
whole club, you know what I mean. They got lights,
they got sound system, they got you know, the speakers,
the techniques everything. So yeah, my brother came up with
(38:37):
a sound system from me was in eighth grade. They
just used to take the weekends and play at their
French parties and that kind of stuff. And we were
playing all the latest hip hop because we loved it,
you know. And then we were playing all the latest
dance all because those are that's all Jamaica's party. We
love reggae, but when it's party in time, when it's
(38:57):
like turn up time is more dance all for me
is actually my generation. So and then what was I
saying about the sound system? Uh, just the whole culture.
You know, it's huge and and and it's a part
of the reason why you know, that's how we used
to break our records to the people in the streets,
(39:19):
and then the radio started to pay attention to us.
Speaker 3 (39:22):
So it's how the music started.
Speaker 1 (39:24):
So you h this new record is going crazy Ginger
and there's a new sing are you? Is there a
follow up coming before the end of the year? Top
of the year?
Speaker 3 (39:31):
I think top of the year? Yeah, Ginger is definitely
the track right now.
Speaker 2 (39:35):
It's been one of the furthest moving tracks for a
while for me. And I appreciate everybody listening and locking
on and saying, yo, we still look young and fresh
and we look good on music, sound good seeing me
on device.
Speaker 3 (39:47):
But yeah, thank you. I appreciate that.
Speaker 1 (39:49):
Yeah, man, I mean, you've had a crazy year.
Speaker 3 (39:51):
Man, much much much to do? Bro?
Speaker 1 (39:55):
Yes, are you are you living in Jamaica? Are living
here Jamaica?
Speaker 3 (39:58):
Yeah?
Speaker 1 (39:58):
Oh, that's such a bout from country man. Thank you invited, Bro,
you come to I'm spoiled with the weed here we
got here is different.
Speaker 3 (40:06):
It is, but we got good weed there.
Speaker 2 (40:07):
I meant on the beach we dipped for a time.
Speaker 1 (40:11):
We did, and then I went to one of the farms,
which was cool to see. Yeah, but I feel like, man,
this is against California weed. They it's got so much.
Speaker 3 (40:18):
It is and you know what, you know, what did
happen to us?
Speaker 2 (40:21):
I'm gonna tell you for all the weed heads who know,
like there was cross pollination that happened because we had
a strain in the late eighties, early nineties or even
late nineties that was awesome because it could take our
humidity and you usually what was the strain called There's
Lamb's Bread was one of them because a couple of
different ones.
Speaker 3 (40:40):
But the strains that do that people did get.
Speaker 2 (40:46):
Because dispensary started to come up, or the talk of
dispensary started to come up, so people wanted all these
different strains and they were cross parlinnat And now we
kind of lost a good weed for a while. I
don't know where it went, but yeah, weed now it's growing.
Speaker 1 (40:59):
By what I tell everybody, I'm like, yo, man, as
long as it gets you high, who gives a fuck
what it smells like, what it looks like.
Speaker 3 (41:04):
Well, sometimes you know you don't want to know ship
You know.
Speaker 1 (41:07):
You don't want ship weed. I'm just saying, like right,
hip hop, we're so spoiled, Yeah, us to enjoy it
because when it's I was like candy, it's gotta smell.
I'm like, yo, it does it? I just want some
O G cush for sake.
Speaker 3 (41:21):
Yeah.
Speaker 1 (41:21):
We love the guests, So you do the splits with
the tobacco leaf.
Speaker 3 (41:24):
We do. We do.
Speaker 2 (41:25):
No, I don't do the tobacco leave, well we do.
Me and my brother we do put you know, like
we use.
Speaker 3 (41:31):
The guests the O G cush in the paper, Yeah,
in the paper okay, and then we sprinkle some we
called rosin. Oh yeah, and some diamonds on it.
Speaker 1 (41:42):
Oh you're guy. Yeah, Oh my god, rosing and diamonds.
Speaker 3 (41:49):
Yeah, we're floating when it's a esp floating. Don't provoke him.
God the weed where we smoking, he's soaking.
Speaker 1 (41:55):
Let's go, Sean paul Man, I appreciate you pulling up.
Speaker 3 (41:58):
Brother, appreciate it, sir. Thank you much of
Hosts And Creators
James Andre Jefferson Jr.
Bootleg Kev
Brian Baumgartner
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