R&B Money: Jermaine Dupri

Episode Transcript
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Speaker 1 (00:01):
R and b's Money.

Speaker 2 (00:03):
Honey, we are.

Speaker 3 (00:07):
Think about it.

Speaker 4 (00:11):
We are the authority on R and B.

Speaker 3 (00:17):
Ladies and gentlemen. My name is Tank Valentine. This is
the R and B Money Podcast, the authority. Do you
you know things?

Speaker 1 (00:32):
If what are and be?

Speaker 4 (00:35):
Anything else that comes with music.

Speaker 3 (00:37):
You have to understand. Today's the day of reckoning. Yeah,
we got a great and the motherfucking Bill's.

Speaker 5 (00:49):
Egg Any big dogs, super thinking, Yeah.

Speaker 3 (00:53):
Super I don't need a drink to make these hits
for any body?

Speaker 1 (01:01):
Beat right it? Yeah? Melody? Hall of fame with it? Rap?

Speaker 4 (01:07):
Yeah halfaight, Yeah you didn't.

Speaker 1 (01:11):
Sain't a hall of fame. Man. I don't need to know.

Speaker 3 (01:13):
To Nixon all than man one upson right here with us, Yes, sir,
and he had birds.

Speaker 1 (01:21):
Intro.

Speaker 4 (01:22):
He was a barn man too.

Speaker 1 (01:26):
With fock.

Speaker 3 (01:27):
Oh my god, Ladies and gentlemen, it's him. That's the
best way I can say it. The mister Jermaine Jada,
the pre and this month.

Speaker 1 (01:39):
Come on intro. God damn, Yes, sir, got to be right.
You just got them. You are a ship, okay, bro.

Speaker 3 (01:48):
I remember the first time I met you when I
was working with Jaggett in the studio late nineties. They
was they was already cracking and they had rolled a
little song for me on on on on the Beacock's beat.
He was in the studio and you know, me and
Brian was it was kind of cool. Brandon was giving

(02:11):
me the superstar shoulder. You know, Brandon, you don't with nobody.
I gotta get noticing. I know this nigga, I know, right,
And so we were breaking the ice and and and
and getting to know each other and like, yeah, you know,
you know, we can go and do some hoop. I'm like,
hoop hoop? Where at Jamaine sudio? It's Jamaine, wasn't that ja?

Speaker 1 (02:38):
Yeah?

Speaker 3 (02:39):
He's like, yeah, we're gonna go to Jamain. So I said, well,
can I go to Jermaine's studio?

Speaker 4 (02:47):
Etiquette though, that's.

Speaker 3 (02:50):
Listen, He's Jermaine dupre right. You just don't pull up
you No, I'm not pull up that mass three. But
I don't know this nigga, right, No, I'm not nobody,
No one listen.

Speaker 4 (03:00):
If you pull up as that nigga too, you always
are remembered.

Speaker 3 (03:03):
As that that nigga, roll up in here and these
snacks playing basketball. No, no, no, I said, y'all, y'all
think it'll be cool. Now, it's cool, come with us,
JAD super cool. Met j D for the first time.
Fan man so dope Man I was on. I told
him I was. I was on tour with with UH
with Drew Hill, when I was singing backgrounds with Genuine

(03:24):
and when that remix came on, that whole arena.

Speaker 4 (03:35):
So I hope against your guys. That's right.

Speaker 3 (03:39):
You know, some of the greatest singers, one of the
greatest groups of all time. And and I and I
kicked the ass.

Speaker 1 (03:47):
Hey, uh we wus, y'all gotta come here, come on,
because I wasn't there, So I say, what happened waiting.

Speaker 4 (03:55):
In the test?

Speaker 3 (03:56):
I think I might were playing half court. I might
have two dunks in a half court game. Oh god,
they switched on me so many times. I didn't know
who was checking.

Speaker 1 (04:03):
You dunked on my gym. Absolutely, Okay, that's that's pretty impressive.
My rims is high. That's why I asked it. They
are at higher than regulations.

Speaker 3 (04:12):
Yeah, that's the point of really the story. Some of
y'all got studios, a couple of rooms, right right, maybe
a pre production. You know what I'm saying.

Speaker 4 (04:26):
There, Yeah, you know what I'm saying. No board, ain't
got no boards. Now you ain't got no board.

Speaker 3 (04:31):
Yeah, Jad's got a fully mixed master, Jim Hoop, massage parlor,
Vegan ice cream distribution, strip club, strip club.

Speaker 1 (04:44):
I had to put a strip club in the studio.
This was this was Nelly's request. We had a room.
Nellie was like, hey, man, let's stop going to the
strip club, so we'll stay in here and make music.
Make that a strip club. And I was like mm
hm m hmm. And then we figured it out about

(05:08):
to say, you feel like an easy answer for you
figure I like going to Magic. I like I love
going to Magic.

Speaker 4 (05:16):
I like the wings. Come on, liv that's I really
only go for the wings.

Speaker 3 (05:23):
The women are an added bonus shout out to Magic
City and and and the women who adorn the facility.

Speaker 4 (05:31):
And it's the magic himself. We love you here.

Speaker 1 (05:35):
We need matter of fact. Matter of fact. Yes, I'm
doing a documentary. The Magic City documentary is coming out
in May. It's it's on Stars. I think I might
be saying it's too early, but it is what it is.
It's exclusive here and it's a documentary. So we do
have to get magic on him. Yeah, you know the week.

Speaker 4 (05:56):
They having a party, are you well?

Speaker 1 (05:59):
Last year, last year we did I took We did
a Magic City pop up a south By Southwest. That
was crazy, So people been asking, we're doing it? We
gonn definitely have parties, know that.

Speaker 4 (06:09):
Release Yeah, release parties. Yeah, release parties.

Speaker 1 (06:11):
You know.

Speaker 4 (06:13):
You need to be there to cover.

Speaker 1 (06:14):
You can't not be there, bro.

Speaker 3 (06:16):
You you you you go back. So I mean me
bringing up the studio story was just I had never
seen nothing like that, and I had been to you know,
I had been to a few studios in my day
and then noontime. I thought was just an incredible facility
of while all those producers and writers were all in
this space. But going to your studio was the first
time I seem like a a compound. That was my

(06:40):
intro to what a compound looks like, where whatever you
need to get done, whether it be rehearsal, get in shape,
you don't, you don't have to leave. The development is
all right here. And I feel like that is a
testament and a secret, not even really a secret, but
just a secret to your success and that you were,

(07:03):
you were instrumental in in the in the developmental process,
like you're more of you're you're like in A You're
like a genius A and R. Right, with all of
these tools at your disposal, you can write it, you
can do it, you can wrap it, you can got
the melodies for it, you got the No, it should
be about this, you got all of that and so,

(07:26):
and then it's got to look like this and then no,
you got to move like that, like you're doing all
of that and you have the facility to do it.

Speaker 1 (07:33):
In Yeah, I mean, it wasn't always liked that. I
think it's I I think I gathered that stuff that
you're talking about from being young and not knowing people.
I was too young to actually even have to know
studio engineers in the first place. So you don't you
gotta do it yourself, you know what I mean. Like

(07:55):
I couldn't have nobody coming to my house. I was
too young and I had no money, right, so I
couldn't be like, yo, come over here and help me
record this or whatever it is. It was just always
less like even like writers. It's like now when we write,
I see people calling writers somebody, and I might call me,
like jad, who you want to write on this song.
But even then, I ain't know no writers, with nobody

(08:18):
to write. It was like, you got it. I want
this song done. I'm gonna do it. I gotta do it.
It ain't even not I'm gonna do it. I gotta
do it because it ain't nobody else around here.

Speaker 4 (08:28):
Yeah.

Speaker 1 (08:28):
But it's like it's almost like a gift and a
curse because it's like I was young. I was so
young I couldn't I had no access to people. How
young were you when I first started writing songs. Yeah,
probably fifteen.

Speaker 4 (08:43):
He was making the beats and everything.

Speaker 1 (08:45):
No, I was actually making the beats on my head
because I ain't have no money to get to the
drummer scenes, right, so I would make I would completely
like think about how I wanted this music to sound
all the way in my head. And then I'd go
to the studio and I try to tell somebody to
do what I wanted them to do. And they used
to be like, well, you can't do that. We can't
take nobody's music, and and I'm like, man, like the

(09:08):
age I was. If I would have, if they would
have listened to me, I probably would have been like
the first person to ever sample a full record the
way I wanted to sample the record when I was fifteen.
They was like, you can't do that. You can't steal
people's music. This was the guys that these other studios
telling me. And I'm like, well I don't. I mean,

(09:29):
I'm not thinking I'm stealing, but I'm just like just
what I want. I want to rap. And then they
was like, well, no, we're remake, so we'll remake it.
They start trying to remake it. That's when that's when
the producer hunger came, cause it's like, I need to
learn how to do this so I can do it
because they're not listening to what I'm saying. It's not

(09:51):
going the way I wanted. It's cool, but I hear
it some other kind of way.

Speaker 3 (09:56):
And then what was your What was your first purchase
as a producer.

Speaker 1 (10:00):
My first purchase was a I think it was a
six twenty six rollin drum machine. It might have been
a seven h seven, but one of them little. It
was like, it wasn't no bigger than this, And because
two I think it was two hundred and fifty dollars
and I had to put it on lailway. What Yeah,

(10:21):
I had nothing, you know what I mean. But I
put it on lailway. I go cut people's grass around
the neighborhood. It be like ten dollars, twenty dollars this
then and the third, and I go back and get
that drum machine. When I got the drum machine, it
ain't have no It had all these whack rock sounds like.
It wasn't like stock sounds. So once again I had

(10:41):
to start imagining that this is gonna be the eight
of eight. Just how the snag gonna sound. So I
make the beat, but I wasn't thinking that it didn't
sound like what you I kept thinking in my mind
when we get to the studio, By the way, I
didn't even know if this was possible because they and
none of this stuff, right, that of thing. I didn't

(11:03):
know it was possible. But I was just saying, like, okay,
it gotta be a thing between what I got in
the studio, right. So I kept thinking in my mind,
when we get to the studio, I'm to tell the guys,
take this kick, keep the pattern, but change that kick
out and give me something, give me the money stuff
the eight ways stuff.

Speaker 5 (11:22):
Yeah, they don't even have those sounds. There money, give
me the stuff that.

Speaker 1 (11:26):
That I want, so that that hunger just from there,
it just, you know, it just started unraveling, like me
seeing them and me telling them like okay, and them
showing me I could do it, and I'm like, okay,
I got it. I just got to get to the
equipment I gotta find. I gotta get to it. And
once I got started getting so I produced the Silk

(11:48):
Times Lever album and that didn't do great, but it
did well enough for me to get fifteen thousand dollars.
Right when I took that fifteen thousand dollars, I bought
all equipment. You're how old at this point, six teen seventeen.

Speaker 4 (12:01):
Fifteen thousand, at sixteen yeah yeah yeah yeah yeah yeah yeah,
you're a double and this was shit.

Speaker 1 (12:07):
Yeh.

Speaker 4 (12:08):
He takes six two thousands.

Speaker 5 (12:10):
As a teenage You're like, oh I got some brands.

Speaker 1 (12:12):
Oh I'm good, yeah, all the way good.

Speaker 4 (12:14):
And you went and bought all equipment.

Speaker 1 (12:16):
With that equipment, all equipment.

Speaker 4 (12:18):
And where you set up.

Speaker 1 (12:19):
I had my room looking like this, all equipment, your bedroom,
my bedroom.

Speaker 3 (12:23):
Just that's what it said. That's the set up right
there in the bedroom. And did you start having people
come through like.

Speaker 1 (12:28):
Yeah, yeah, then people start coming through like JD got
the studio, you know what I mean. J JD got
a studio. That's like like when so what they didn't
start coming through where they were they was coming through.
It was like some local kids that was coming through.
I had a four track, I had some turntables.

Speaker 4 (12:44):
DJing already too, yeaeah.

Speaker 1 (12:45):
I been DJing. I was DJing since like thirteen fourteen.
Like once I went on the fresh Fest. I learned
how to DJ from like jam Master J, Grandmaster D,
all of these guys that was out there. They was DJing,
showed me stuff and I just was like intrigued by
the DJN too.

Speaker 4 (13:03):
So when did you drop out because you obviously ain't
going No, damn.

Speaker 1 (13:06):
Yeah, I dropped that. I dropped out at school that
like fourteen fifteen.

Speaker 4 (13:12):
So you never really went to high school. He was like, nah,
this is this is school for me.

Speaker 1 (13:17):
Well nah, I didn't, but I knew that. Well what
I'm gonna say it was like I was going to
school then I went to the fresh Fest. When I
went on the fresh Fest, I was twelve, thirteen fourteen. Yeah,
so when I went on the Fresh fants at twelve.
This is pre Atlanta music, Like, ain't no music scene
in Atlanta when I'm going on tour, right, So the

(13:40):
rules for a kid entertainer. Nobody in Atlanta don't know
what that is, right, Like this ain't la right, this
is like this is Atlanta, you know. So my mother
and they don't know what you know, they don't know
what they're doing either. My dad m you know, they
hear about you can get tutors and this, that and
the third. So we go to the school board and

(14:00):
tell him that I'm going on tour and I need
a tutor, and when I get the tutor, the tutor's
gonna take my credits, and y'all gonna, you know, we're
gonna make it work. And they said yes. But then
when I came off tour, they was like, we can't
accept those those credits, or we can't accept the grades

(14:20):
and stuff that you was doing. And I'm like, whorlad,
wait a minute, so you was actually doing the work. Yeah,
I'm like, I've been doing all this work on tour
and now y'all telling me you can't accept it. And
that's the day I said, oh no, I'm good. My
parents was basically just they was just joined in the
whole decision. My mother wasn't with me doing nothing, Like
she was trying to make sure I was going to school,

(14:41):
me going on tour, don't she didn't know? Like who
is all new about you? All new?

Speaker 4 (14:46):
Who was your guardian when you're going on tour?

Speaker 1 (14:50):
Well, my dad was was was like the production manager
for the tour, so he was out with y'all. Yeah,
my dad was out there, So that was that's that's
how my mother went on and went along with it.
But my dad was actually also working. He's also he
was out there working as a you know, as a
production manager. So so I was out there by myself.

(15:12):
Yeah yeah, so.

Speaker 5 (15:14):
Would you would you say then that in a sense,
Pops was the first identifier inn of like he got
something different for my dad.

Speaker 1 (15:25):
Yeah, yeah, my dad was my manager. My dad was
my manager for basically my whole teenage, you know, for
a long time. My dad was my manager. And but
once again that's that's also like me not knowing nobody.
I know my dad, I don't know nobody else, right,
I know my dad. Just what you want to do?
I think this is what you want to do. I
don't even know if this is what you want to do,

(15:46):
but I'm gonna put you in it. I'm gonna put
you in it, you know what I mean. So I
saw my dad always as a as a manager type
of figure, and when I created Crisscross, I called him
and told him, like, I got this group, You're gonna
be their manager. And that became my rollout.

Speaker 4 (16:06):
Man, I can't wait for Deuce to call me and
say they found Chris Cross.

Speaker 1 (16:10):
I can't wait for myself to be like, Dad, I got.

Speaker 4 (16:12):
It when I created Chris Cross at what seventeen?

Speaker 1 (16:16):
What are you now see?

Speaker 3 (16:18):
Because somehow it's seventeen. Yeah, I know what the people need,
I know what they want. I know what's gonna shake
this shit up at seventeen. That's crazy, that's crazy. It
speaks more to what I'm talking about.

Speaker 4 (16:35):
So do you do you go the regular route of
let me just go try to get them a record deal?
Do you say, let me try to go get me
some kind of production label deal, or do you just.

Speaker 1 (16:47):
I don't know nothing, You don't know nothing, I don't know.

Speaker 4 (16:49):
You're just like I just want to get you.

Speaker 1 (16:51):
Want to make I've seen these kids at tomorrow and
I saw people reacting to them, and I'm like, who
the fuck are y'all? Who are y'all?

Speaker 4 (17:01):
Why?

Speaker 1 (17:02):
Why the girls at the cookie company give y'all free
cookies and they ain't giving me shit? Like, what's going
on right now? I thought I had walked into like Nickelodeon.

Speaker 4 (17:11):
You're not that much older than that.

Speaker 1 (17:12):
Yeah, No, I'm not that much older than them. You
know they was eleven and twelve. Yeah, I'm seventeen. So
I met we all at Green Brie and I'm like,
what the fuck is happening?

Speaker 4 (17:23):
That's the head all too. People that don't know, that's
the hood mall too. So to get that reaction, yeah,
to get that reaction at the hood.

Speaker 5 (17:31):
Mall, that's in the bit. That's eats my mam. It
don't exist no more. They shout up too many times.
So if you get it cracking.

Speaker 1 (17:38):
There, the world know what I'm saying. So, so I'm
watching little well, they ain't even little girls. These girls.
They got jobs, so they're working. They're seventeen at least
eighteen years old. They react, they looking, they're looking at
these guys like they are superstars already. Wow, and they
treating them like that and they they playing with it too.
They running over there talking to the girl, run back,

(18:00):
they doing all this, and I'm standing there in the
middle of Themorrow watching this like and I'm like, don't
nobody else see this? What's going on? So then I'm like,
who the fuck are y'all? They was like, what you mean,
who are we? And I'm like, okay, cool, y'all ain't
no stars or nothing. They're like, nah, I said, y'all

(18:21):
rap and darkskin Christians like rap like he said. And
it's crazy because this is a time period when young
niggas didn't want to rap. Rap was like for young
people that wasn't a thing. Not that age like eleven
and twelve, they want to think about rappers. So when
I say you rap, they looked at me, like rap
but niggas don't do that, Like that's how they That

(18:42):
was their reaction. And I'm sitting there having this conversation
with them in the middle of the marow and my
mind just start going S JD. If you can write
these little boys a song, they out of here. If
you can figure it out, they out of here. You
get it together, they out of here. They already got it.
You get it together my mind doing all that in

(19:03):
them all, I'm trying to figure it out right there
in the middlettle more.

Speaker 4 (19:09):
By this time, you already got your studio, you got everything.

Speaker 1 (19:11):
No, no, no, no, no, Like that's what I'm saying. I
had the Silk Times Leather, sul Times leather. They gave
me the ability to get the equipment.

Speaker 4 (19:19):
But that's what I'm saying, you got you got that
set up though there.

Speaker 1 (19:21):
Yeah, but it's still in my room. It's in my bedroom.
And I just like I said, I got their number,
I still ain't. Never I mean it never made no
record though, right. I think the thing that got me
that conversation was that in Jet magazine, I think they
did an article on female rappers and they listed Silk

(19:43):
Times leather and they showed a picture of them and
dark skin. Chris Mom noticed the girl from the Jet magazine.
So she made them realize, oh he really, this is ugit,
it's legit because they was on some nigga trying to
talk to us, right, So she made it where like
y'all should probably may want to listen to them. I

(20:05):
seen them in the book, So thank God to her
because they weren't trying to hear me right, And for
the longest, for like two weeks, I couldn't get I'm like,
y'all gotta come over my house. And they was like,
go over your house? You know what I mean. They
thought I was like a predator or something like, because
they had never been approached like that, Like and that's
what I'm saying, And it's crazy. I'm telling them come

(20:25):
to my house. That's where the music was at. So
you gotta imagine a eleven twelve year old kid and somebody, oh,
telling you you gotta come to your house. They're like, Nah,
these little ghetto kids too, They like, fuck that, you
know what I mean, We ain't doing that. So I
had to break the ice with them. But and going
I start, so I start doing stuff like I'm gonna

(20:46):
pick y'all up from school on Friday whatever, and we're
gonna go hang out blah blahlah. So I start doing
stuff with them, and start hanging out with them, and
I start playing music in the car like ice Cube
or whatever was out and they singing the lyrics like
they wrote it right. They know every word. They ain't
never seen no lyrics or nothing. And that's when I
started saying, man, if I could learn how to write

(21:07):
songs good enough that they like it, discould work.

Speaker 5 (21:23):
So really, what you were doing was turning the consumer
into the artists because they were really like you said,
they were consumers. Yeah, so now and you know that
they're your target audience. So if they like it, one.

Speaker 4 (21:35):
Of the kids around the world are like.

Speaker 1 (21:36):
It if they like it. And it's crazy because what
I always hear people when jay Z told people that
he didn't write his raps right, and people's like, people
find that so crazy, right, even me, I did at first,
but I never realized I was already doing it with
Chriss Kruss before because that's what I wanted them to do.

(21:57):
I wanted them to like memorize these words and stuff
without seeing the paper and like you just feeling the song.
This is gonna be y'all song.

Speaker 4 (22:08):
You like it?

Speaker 1 (22:09):
Hell yeah, like you know what I mean. Like I
needed that energy. So it's it's it's a crazy process
that that I learned about these kids. But it definitely
that I had to get I had to get Sharper,
I had to get better because I was writing songs. Yeah,
I was writing songs at first, and they was just
like you know, they was gonna do them. But it didn't.
I didn't get that energy yet, right, And I had

(22:34):
a song, the first song because I had left. I
was living in my closet right at my house. So
so okay, so listen, let's go I gotta go back.
I gotta go back, all right, So listen, so Ian
Bert shout out. I Burt was around this whole period, right.

(22:56):
Ian Burke's the only guy actually know that I felt
like was around Atlanta. I could trust him. He'd come
talk to me, blah blah blah me and I got cool.
In this time period. He started finding artists and he
found this girl from Philly, a female rapper, and he's like, jad,
I got this female rapper. I'm gonna bring it to
your house. And now he was coming to these people
start coming to my house like it was the studio.

(23:17):
It's my mother's house. So he yeah, he brought Left
Eye to my house. I heard her rap. I said, okay, cool.
But she had no place to stay, you know what
I mean. She was fresh up from Philly and my
room was just twenty four seven. It was just twenty
four seven. It wasn't no sleeping I'm like, you just

(23:38):
kick your here. So for like a week, she basically
was staying in my closet the house because my mother.
I didn't want my mother to know what was going
on in there. It wasn't nothing but music going on,
but still my mother would have been like, why that
girl was staying over here? You know what I mean? So,
but she stayed, and in the midst of her staying,
I thought I had found it. I was like, oh, ship,

(24:01):
I'm a sample, the girl is mine Michael Jackson, Paul McCartney,
and I'm gonna write some raps about Chris and Chris
fighting over left eye. Hmm okay, yeah, but left I
wasn't left out yet. She wasn't even in TLC. So
she just was a girl that could rap. This was
the vibe I was on. I'm like this gonna go

(24:23):
and that song just wasn't It didn't come out. It
didn't come out. I had to keep going, keep going.
That ain't it, But ain't it. I had idea, but
that wasn't it. I ain't know how to make that ship.
That's I guess whatever, but it didn't work.

Speaker 4 (24:37):
Are you self auditing at this point or so?

Speaker 3 (24:39):
Are you are you got some some some trusted ears
where you're playing stuff for him, like what you think
and yeah your self auditing.

Speaker 1 (24:47):
Yeah, I go off of the light in your eyes.
If you if I play you something you don't, you
don't you don't do that. I automatically do like this,
oh ship Okay, yeah, yeah, yeah, yeah. I don't need
I don't need a bunch of people tell me. I
could tell when it's when it's dead, when it's not.

Speaker 3 (25:09):
Yeah, you give me.

Speaker 1 (25:10):
Everybody give you that without even knowing that they give
it to you. You know what I'm saying. I could
play something right now, somebody come from back there and
come in here. I'm like, oh we got oh ship, Yeah,
oh ship. We need to pay attention to that. And
I won't even say nothing. I won't even tell people
that I saw that. I'll just go off of that vibe.
That's where I'm going. That's the energy I started following.

Speaker 4 (25:32):
So how long does it take you to get to
the hit? How long does it take? It makes sense?

Speaker 1 (25:41):
It don't even it's crazy because you don't. I don't.
I don't have a time.

Speaker 4 (25:44):
Now I'm talking about oh for Chris Chriss, because.

Speaker 1 (25:47):
Now okay, yeah, so so two years oh ship. Yeah,
I was seventeen when I found Chriss Crush. They didn't
come out till I was nineteen. Artist development, yeah, artist development, producers, development, writers, development.
We all had to learn. We was learning, we was learning,
and yeah, once we got we started getting close. Chris

(26:12):
came to the house and he had on this Djiebo
jumper and it was so big, and I was just like, man,
you should flip that shit around. And he was like
for what. I'm like, I don't know, just flip it around.
Let's just see what it looked like. He flipped the
Jibo jump around. I'm like, that shit cold, huh? And

(26:33):
they was looking at me like no. I'm like, I said, listen,
let's go to Lindard Square with that with you jump
on backwards. He's like why, so let's go to Linux.
We went to Linux. He walking through the mall, he
the only person with it on. He's walking through the
mall with a Jibo Jumper backwards and the mall stopped

(26:53):
and I was like, what the fuck just happened? Like
people was like, what the where you get that from?
Why are your clothes? Like? What is this? They don't
even know this kid. It's people just coming up to
him like where did you get this outfit from? And
I'm like, what, it can't be this easy, it can't

(27:14):
be this it's your regular jumper. I always wanted to
tell people like, you can't be that. It's just you
gotta jump on backwards. But I'm just like I'm watching
it and I'm like, this can't be. This is crazy,
and I'm like, we're gonna have to do. This is
gonna be your thing. Y'all gonna wear y'all clothes backwards,
and that's what.

Speaker 4 (27:34):
That's what.

Speaker 1 (27:34):
Then from there I wrote jump in twenty five minutes.

Speaker 4 (27:39):
Probably did you produce it? Yeah? So you don't have
SoCal death at this point.

Speaker 1 (27:46):
Yeah, oh no, I don't have so so death at
this point. This point, you don't have I don't have
so death. You take the record the rough House. Chriscross
is on rough House. The next Chriscross blows up the
record number one. Then my birthday came around and I
had a little birthday party at my house. Ian came
to my house and he brought these girls another some
more girls. The girls he brought to my house was

(28:08):
escaped right. He had them sing Happy birthday to me
after they saying, I'm like, I fuck with y'all. I'm
gonna sign y'aut of my label. I don't have no label.
I just said it. I said, i'ma sign you on
my label. They like, for real, I'm like, yeah, i'ma
sign you'll my label. I don't got no late White
had no conversation. I was like, I'm gonna be able

(28:29):
to do Yeah. I said, I'm gonna do it. And
then like after I said that, I think two weeks later,
Sony was like, you know, we want to give you
a production deal if you can bring out some more artists.
Can you bring more artists? And I'm like, yeah, I
got this group already. I'm about to sign them because

(28:49):
I called him immediately. Yeah, I'm definitely gonna sign y'all.
And then I gotta ask, though, where's left eye? Oh
so so if you if you y'all watched the TLC movie,
they had a meeting with Pebbles and left I called
somebody in VH one, but they cut me out. When

(29:11):
she makes that phone call, she called me. When she
called me, she said, they want to sign us. What
you want to do and I was like, damn. And
I was soaked into Crisscross that I was like, you
know what if they signed, y'all just let me produce
some songs on the album, y'all go ahead, And I

(29:33):
just let him go.

Speaker 4 (29:35):
So they were actually signed to you.

Speaker 1 (29:36):
Oh. TLC was my group before they went to the
face because once I mean Ian, so we jumping all
over the place. But ian Ian found T Boys and
then he put T Bo's and left out together. Then
they started coming to my house and we started making
I start making demos for them, and it was the
first R and B music that I ever tried to

(29:57):
write was for TLC. I never wrote R and V
song ever. I tried it with T Bods.

Speaker 5 (30:04):
Yeah, so I heard this other thing. It's a rumor
that you did the choreography for ABC before Criss Cross.

Speaker 1 (30:14):
I might have. I might have, even crazy, I might have.
I might have. I can't take full credit, but I
was around. I definitely was around. Yeah the word I got,
I was around. I don't remember it to be that,
but I was definitely around because the dude so because ultimately,

(30:35):
you know, yeah, yeah that was part of the song.

Speaker 4 (30:38):
You know what I'm saying. With with ABC and BBD,
you know what I'm saying. I mean, not BBD. I'm
sorry with ABC and Chrisscross. They had they it was
like a little and the fact that you would have
worked with ABC as well.

Speaker 1 (30:53):
No, they are they from College Park. We all do
them little homies. The only reason I this Chriss Cross,
I mean, the only reason I this ABC on that
song was that I was trying to establish Chrisscruss as rappers.
And I was like, I don't I want y'all to
let people know that y'all rappers. Just they what they doing,

(31:15):
they singing, We rappers, We rappers. We might be young,
but we rappers. And I just kept thinking, like, like
I said, I don't listen to his ice Cube n
w A. Yeah, matter of fact, no, Vasseline just came
out and I know, so ice Cube going crazy, and

(31:36):
I'm thinking, like, in rap, just the only way you
get a people's attention, This is the only way you
really get people's attention. And Jump actually became such a
big song. People don't even pay attention to the fact
that it's a disrecord.

Speaker 4 (31:48):
This record all right, So let's get back to Eska.
Let's get back to ESCA. Let's back to KA. So
now you got a deal.

Speaker 1 (31:54):
Yeah, now I got a deal and an R and
B group and an R and which I never did before.

Speaker 4 (31:59):
It was just pure because you just like with him.

Speaker 1 (32:02):
No, it was purely because I had thought about this
once chriscrust blew up that I didn't want to be
pigeon held in rat And I didn't think I was
the greatest rap producer. Okay, I didn't know what type
of producer I thought I was, but I'm saying I
didn't think that I could come right back with a
successful rap yourself. Is that is? That's the key?

Speaker 5 (32:31):
Yeah, because most people don't know what they're good or
bad at and won't be honest with themselves to say,
you know what, I'm probably not as good doing that.

Speaker 1 (32:43):
Yeah, I mean, I'm I'm thinking I'm on the clock
at this point too, So you gotta start thinking when
you're on the clock. Okay, you got crisscrouss Dy number one,
you know the records, you know it's gonna pass. And
then once it passed, the height of who you are,
what's going on, that's gonna pass, right, So I'm just
like no, And then I'm like, let me. I don't
want my label to be a rap label. I want

(33:03):
my label to be all things right. So I'm just
like ship, I'm gonna do an R and B group.
Columbia didn't expect me to say I'm coming on. They
like what an R and B group?

Speaker 3 (33:16):
Like?

Speaker 1 (33:16):
Yeah, and they like, what R and B have you done? No?
So we just gave this nigga deal. Kid, go do
some ship he never did before he can. One else.

Speaker 4 (33:31):
Was like, so you gave a kid? How much money
he doing what with?

Speaker 1 (33:36):
Yeah? So yeah, I mean, you know, I win the
studio escape. I mean, by the way, every just start.
Things are starting to happen. So I don't want to
make people think that. So an important piece of that
puzzle was that this writer named Manuel Sill was looking

(33:59):
for a home right and I got a call that
he was looking for a home, and I, you know,
once I had my label, people knew, okay, JD got
a label deal. So once you say you got a label,
you started tracting things. And I didn't know what the
manual seal was. I didn't know. I didn't know what

(34:19):
was going to happen. But I needed somebody to play
for me. I knew that I needed that because we
can I'm signing an R and B group. I can't
sample my life away like this, right. So Manuel comes
into my life and matter of fact, I go meet
him at the hotel and when I walk in the hotel,
he's playing the piano that's in the hotel killing that shit.

(34:40):
It sounded like a concert, and I'm like, what the fuck?
Who is this? He's like, yeah, I'm the guy that's
supposed to meet with you. I'm like, oh shit, let's
go right. I take him back to my house in
College Park, me and him talk, I tell him what
I want to do, and I started working on escape album.

Speaker 4 (35:00):
Is he from Atlanta to or from.

Speaker 1 (35:01):
He from Illinois?

Speaker 5 (35:04):
Maniel still is special. That brother is special. And y'all
marriage y'all man the records that y'all have done together,
it's top tier.

Speaker 1 (35:16):
And Mayel Manyel is Manuel is. When I met Mayel,
he he could do anything. That's what That's what sucked
me up, is that anything I told him to play,
he could play it, or he'll play something that I
didn't expect him to play. Whatever it was, he just
was like he's probably one of the most musical guys
i'd have met. Ever, so we start working on Escape album.

(35:40):
I did a whole album.

Speaker 4 (35:41):
In two weeks, the Humma Coming at Y album, Yeah,
two weeks, two weeks.

Speaker 3 (35:47):
At this point, ah, are you establishing because j D
has a sound. I know j D drums anywhere. I
know when I hear them. At that point making the
Escape album, is that when you establish those drum sounds.

Speaker 1 (36:12):
I don't know. I don't know. I don't know if
that album sounds like what you think JD sound like
just kicking it. Yes, it sounds like it sounded like that.
I don't know. I really don't know. I know that
I got my drummer. Shoot, now I'm trying to make beasts.
I don't know by the way I'm going into this,

(36:34):
I don't know what's going to happen.

Speaker 3 (36:36):
Got you so you're not it's not a conscious thing.
You just making the music.

Speaker 1 (36:40):
Yeah, But I'm writing the songs. I don't I mean
you know what I mean? Like, I'm I'm really really
trying to get this group out right, and I'm really like,
I don't have that label. Ain't told me nothing. I'm
just on this clock of myself and I'm like, man,
let's go, I gotta go, and and and nothing about
me thinking about writing the songs even popped in my

(37:02):
head that I couldn't. I just started writing, and Mayo
plays something and I'm like, nah, I wanted to go
like this, And I was trying to make it so
close to rap. That's why it's just kicking it sound
like it's Sarah. And that's why it's called just kicking
it because I'm writing it like it's rap, right, and

(37:23):
I'm just and I'm starting to think about like, and
I'm starting to fuck with girls too, right, So I'm
fucking with girls. So I got a little little education
of how niggas fuck with girls. So my first mindset
was their man won a woman, they could cook him
up a good meal, you know what I mean. I'm thinking, like,
what what a nigga want from a girl, not what
the girl want from So I wrote it from that perspective,

(37:45):
and people was like, she talking from the man perspective.
I'm like, yeah, that's that's how I wrote it. But
I thought, you know, I didn't think that was gonna
work at all. Come writing on them, not not big
because I'm writing the songs and I know they don't
have no I don't have no chops in the R
and B. Right, you know what I mean. I'm just

(38:08):
praying sparkle.

Speaker 4 (38:09):
In people's eyes.

Speaker 1 (38:11):
No, No, not at all. Escape was tough and it
was a hard group because you know, people didn't think
they was cute. Biggie had made dreams of sucking the
R and B bitch and I fucked Paul before I
fuck them ugly Escape bitches. That that was. That was hard,
Like I'm out here dealing with this, right, So I
took the stand that was like, Okay, y'all niggas think

(38:33):
they ugly cool, find me somebody can sing better than them, right.
I started acting like just going off of their talent,
pure talent. But yeah, it was hard. It wasn't you know.
In Vogue was out at the time, right, So Escape
coming out when in Vogue is out, these little girls
they look like hood bitches and this to the dirt.

(38:54):
They don't that that that ain't flying. And Escape is young, right,
It's another thing. Escape is a young group. I'm making
R and B music, and R and B Radio told
Colombia that the music sounded too young. So I'm almost
in a space where it's like where I want the

(39:16):
record to be. They're not even playing.

Speaker 5 (39:18):
It because I'm thinking of what those records sound like
in relation to the other R and B at that time.

Speaker 4 (39:25):
Yeah, it was real, wasn't Yeah niggas wasn't singing, just
kicking it.

Speaker 1 (39:30):
So adult radio what they call adult radio now, is
where I wanted escape to live. I couldn't get them
to live there for nothing. They kept telling, they told
the pds, the record the radio guys, these songs sound
too young. They don't sound like our stationed So that's
why I say, like all that young shit, I'm the

(39:53):
person who brought this to the music, to modern day music.

Speaker 4 (39:56):
And what broke that conversation for them?

Speaker 1 (40:00):
For h K it never I had. I had to
keep I had to start dressing them, and I had
to start trying to Like I think the second album,
I wasn't trying anything. I went to Dyn Warren and
got a song and let her write the song because
I was just trying to figure I'm like, this group

(40:20):
has to be.

Speaker 4 (40:21):
But you had success on the first album though, no.

Speaker 1 (40:24):
We had success. But I'm just saying as an R
and B group, I knew where they had to be
it's a home for them, their home. You can't be
an R and B group chasing hip hop. And I
was just like determined to try to get these girls.
And I'm like, man, these girls can sing their ass up.
They sing acapella. It's the best thing in the world.
They sing the national anthem, it's the best thing in

(40:45):
the world. Why y'all treating them like And I'm not
knowing that I'm basically doing something from a younger perspective
that ain't been done.

Speaker 5 (40:54):
That's crazy. I would have never thought that from outside
of the outside looking in at that year. Is that
ninety three, ninety four, somewhere around ninety four. Yeah, So
I'm like fresh, look like it's all work going from
middle school to high school. This feels like every young
girl that I know, Yeah, yeah, you know what I'm saying, Like,
that's why you're creating the music.

Speaker 4 (41:18):
For my life. At this point, float out, I'm in.

Speaker 5 (41:22):
The Bay, criss cross now Escape all this and it's
and they're all.

Speaker 4 (41:28):
Around my same age, might be a little younger, you
know what I mean. But I'm like, this is I
see me, this is this is my reality right here.

Speaker 5 (41:36):
Escape looks like my neighbors. Those look like my girls
in the bandger Homes and film mode.

Speaker 4 (41:42):
She looks just like her. So for me, I don't
I don't see the difference.

Speaker 5 (41:48):
And what the obviously with the labels and what the
radio is saying that the kids would.

Speaker 4 (41:53):
Want trying to manage.

Speaker 1 (41:55):
They don't. They're not even they not even they're not
even focusing on kids. They focusing on twenty five and up.
I think maybe thirty radio. Yeah, that's what they're they're
they're paying attention to that, and thirty five and up
radio stations weren't fucking with they.

Speaker 5 (42:13):
State that makes sense, that makes perfey sense. Though, it's okay,
so now you got to you got to and then
you get the brat.

Speaker 1 (42:29):
The brat comes. Chriscross got a show in Chicago, Ed
Lover and Doctor Drake from MTV raps. They was on
the tour as like the MC's this MC and Chris
Cross concert and in between Chris and Chris coming on stage,
they bring all these artists. They let people come on
stage and do something, and they brought Brad on stage

(42:50):
and she rapped in Chicago, light skinned. Chris called being
right after that He's like, yo, man, this girl out here,
she cold, and I'm like, female rappers they suck. Like
I'm the first thing you said, Yeah, female rappers suck.
Ain't nobody listening to that shit? I got off the phone.
He's like, nah, man, you got to listen to it.
She cold, and I'm like, we don't even live. I'm

(43:10):
telling him, we don't listen to those female rappers. Like
who getting ready to listen to female rap? I thought
it was the worst idea in the world. I never
was like Court and Bratt trying to get her to
come to Atlanta. She started pushing her own buttons right,
So she came to Atlanta. She called my phone and

(43:30):
she was like, I'm here. I didn't know she was coming,
so she came. She was like, I'm here. So I'm like,
you know, and I'm trying. I'm trying not to be
completely on the fuck that shit. I'm just gonna listen
with the ear right. So I go pick up or
I go to the hotel pick up and I got
to stop and get gas because I live on the
South Side. So I stop and get gassed. I go

(43:52):
in there to pay the gas. She put the CD
in the car and I get back in the car,
turn the car and the shit come on. I'm like,
who the fuck is this? Who touched my radio? And
I'm like, who's that rapping? She's like, that's me? And
I'm like, oh wait a minute, wait.

Speaker 5 (44:10):
You had he came to Atlanta. You don't even you
hadn't heard nothing yet. Never You're just going off for
Chris telling you that.

Speaker 1 (44:15):
She was good. I never heard of rap and she
was so like, niggasistent, you gonna check me out. I'm like, okay, cool.
I was taking her to go back to my house
to do like a little audition. I guess basically she
put the CD N. As soon as I hit it,

(44:36):
that shit came on. I'm like, who is this rapping?
She's like, that's me, and I'm like, oh maybe this
maybe this might work. Yeah, I'm like, maybe this might work.
And BRAT to this day was the hardest project I
ever did in my life though, really yeah, because I

(44:58):
never had it. I couldn't.

Speaker 4 (45:00):
I made it.

Speaker 1 (45:00):
I made two three songs a day and I never
could They never was right for me.

Speaker 4 (45:05):
So you signed her, but you can't figure it out?

Speaker 1 (45:07):
Yeah, I can't figure it out.

Speaker 4 (45:09):
So how do you land on FUNCKTI five.

Speaker 1 (45:11):
I don't know two years we I mean it took
two years for me to get functified out, like literally
were making song after song every day, song every day
every day. As a matter of fact, I think during
the escape video, I pulled up in my truck trying
to play a demo of a song that I did

(45:32):
with Brat, and I ain't tell nobody. I just try
to pull up to the video playing some loud music
scene and ain't nobody giving me nothing, Ain't nobody come
from behind the back room, Ain't nobody giving me shit?
And I'm like, oh man, this ain't gonna work. I
knew I shouldn't fuck with no fucking female rappers. That's

(45:52):
how I'm feeling. And then one day me and Mayel
in the studio were playing around out with the between
the sheets and I start rapping, right, I start rapping,
and then she jumped in and rapping behind me. We
freestyling like oh, I'm like, no, I ain't thinking what

(46:17):
it I'm not about. I'm not making no record, That's
what I'm saying. I'm like, I'm not being a rapper.
I'm not doing this, and She's like, yo, we should
make a song like that you should rap, and I'm like, no,
I'm not fucking rapping. I don't want to y'all. Put
y'all out. She's like, nah, let's do it like this.
So then I'm like, okay. I start thinking about it,
and then I start writing the verse, like open up

(46:39):
the doors, open up the doors, let the funk floor in,
you know what I mean. I start writing my part,
writing her part, and then I'm like this, how is
gonna go? Then we're gonna do it like this, we
do that song. I'm thinking this just for the car
at this point, like, yo, we ain't putting this out.
I put we do that song, We get that going.
Niggas start coming in the room. What the fuck is that?

(47:00):
What is that? I played the song a little louder.
Everybody like, hey man, yeah, Jad, you're gonna rap. I'm like, fuck,
I don't want to be no rapper right now, not yet.
Yeah all right, but it just it forged me to
do that, and that's that's how the song came. And
then I want to say, somewhere in there they asked

(47:24):
me to do usher.

Speaker 4 (47:25):
In the middle of you doing brad Well, I mean.

Speaker 1 (47:28):
I think in between you know, in between these projects Crisscross, Escape,
Brad somewhere somewhere in there. It might've been at the
end of the Funk to Fire, whatever it was. I'm
not really knowing the dates. But in between there, that's
when they asked me, you know, would you work on
this Usher project?

Speaker 4 (47:46):
And did you know him already?

Speaker 1 (47:47):
Yeah? He came to the Criscross concert and he wanted
me to sign him and I said no, hm hmm.

Speaker 5 (47:52):
But that answers the question because I was going to
ask you, I'm serious, I had this in my head.
I was going to ask you, where there're any artists
that you had passed up on that became you?

Speaker 1 (48:02):
Yeah, Usher?

Speaker 4 (48:04):
And why did you say no?

Speaker 1 (48:06):
Because I was having conflict with Christian Chris's parents and
I just was like, I'm not dealing with no more kids,
Like I'm not fucking with no more kids because y'all parents,
don't they not. They wasn't at the room with us.
They didn't watch me talk to y'all, they didn't watch
us talk. Now they ended they trying to get in here.

Speaker 4 (48:25):
I got to deal with it.

Speaker 1 (48:26):
So I was just like and it was like when
I met him, it was right at the height of that, right. Uh.
And we had a meeting where the parents had gotten
into the Chris parents. They had gotten in an argument
at the lawyer's office, and it was just like, this
ain't what I signed up for, right. So, and when
Usher came, he was a teenager once again, and I

(48:46):
was just like, nah, because a j brought him. But
I'm like, it's a mom somewhere. It's a mom somewhere.
It's a mom somewhere. And I just was like, you know,
I ain't had a capacity.

Speaker 4 (48:58):
Yeah, we don't put Yeah.

Speaker 5 (49:01):
But even understanding that though, I think because that's in
this business, we see talent and sometimes we just jump
at it even when we don't have the bandwidth.

Speaker 1 (49:10):
Yeah. Like I said, even with TOC, that's why I
let TOC go. I didn't have a bandwidth.

Speaker 4 (49:15):
I didn't have a label, right right, But that's what
I'm saying at that point, you don't got no.

Speaker 1 (49:19):
I don't have no label. When I'm talking to TC,
I'm trying to get Crisscross sign and you know today
I could do both, but back then I ain't had
a bandwidth. I just was like I was giving Criscross
all of this energy and I was kind of like
giving Tiana left eye, like some little little energy. But
they weren't getting the full play right, So I just like,
you know, I started thinking as a producer, like, y'all

(49:41):
make the album. Let me just do some songs on
that album. I'll get some producer credits.

Speaker 4 (49:46):
What do you think prompts the call to do? Usher?

Speaker 3 (49:52):
What what nuance that you've created or what what piece
of music did you you've done?

Speaker 4 (50:01):
What?

Speaker 1 (50:01):
They came? They came, They came, and they asked me
to do a remix of think of You? So all
you know what I'm saying. Yeah, l A was like,
his voice is changing. We need but we need to
make this song. I want to put a bridge in
the song so people can start hearing his voice. And

(50:25):
I didn't know what the bridge was. I mean, I
think I thought I knew what the bridge was whatever,
But I'm like, okay, cool, I.

Speaker 4 (50:31):
Hit records like he gonna figure it out, though.

Speaker 1 (50:37):
I did. I told him come over. I did a remix,
and then I put the bridge in think of You
and they got that back and Usher was like man,
because I also I made Usher come to my studio
and re sing his part. Right. That was the thing
about remixes that. I was like, if you're gonna do
a remix, come sing it. Oh, let's really make it remix.

(51:00):
So he came and he sung that bridge part and
I wrote the bridge and I sung the bridge to him,
and he translated my terrible notes into what he what
it was supposed to be. Uh and uh he translated
it into what it was supposed to be and then

(51:21):
it was just like uh. Brian Reid shout out to
Brian re LA's brother, he was the an R at
the time. He's like, man, we love this. We love
this because you think you could go in the studio
with him. And I'm like, I guess, you know. But
they was like, you know what, we don't want to
rush you. We want you to do what you did
with Chris Kross. You want you to take him, take

(51:42):
him in, dress him, make him your artist.

Speaker 4 (51:47):
Mm hmm.

Speaker 1 (51:48):
That's what they you know, And that's what I did.
I took I took usher in. I started talking to him,
I started training him, I start doing everything that I
thought he needed to become.

Speaker 4 (52:00):
We is today, Wow, why so so? But what is
what is Columbia saying though?

Speaker 5 (52:09):
Because that's not that's who your partner is so Sony
Columbia is your partner?

Speaker 4 (52:13):
Are they like?

Speaker 5 (52:14):
Are they like at some point they're like, wait, that's
not your that's not an artist that scientists so, but.

Speaker 1 (52:18):
They don't see it happening. They don't see it till
it happened. I'm sure they would not have been happy
wouldn't happen. Yeah, probably, But I mean I was I'm
bringing you still do. I'm bringing groups. I mean, I'm
delivering Escape album, I'm delivering Bratt second album. I'm giving them.
I'm giving the product that they're you know. It's not
like I'm not doing the work. So yeah that that, Yes,

(52:42):
I get into the Usher record. I don't know anything
about male R and B as far as writing songs
and making it. I don't know nothing. I just know
what I've heard, but I don't know nothing. And I'm
just like, all right, we gonna try this. I don't

(53:03):
know how this is gonna work out, but we're gonna
try it, you know. And it's crazy because I wrote
Nice and Slow the night before I was doing this
test photo shoot for USh. So we're gonna do a
test photo shoot where I went to like one of
them good hardware good stores that like sporting good stores

(53:27):
like Dix maybe right Pauls. And I went in there
and I got all these shoulder pads and ship and
I'm buying ship like dress Usher, like just all kind
of I'm just trying anything. So we do a photo shoot.
The day that we do the photo shoot, the day
before that, I wrote Nice and Slow and I'm like,
this the single.

Speaker 4 (53:48):
I'm telling you you have the track that stuff.

Speaker 1 (53:51):
Yeah, yeah, we know, we did it. We did the song.
We did the song because I got I got Usher
at my house, so we recording. We're trying to make
we making my way and like I said, I did
Nice and Slow. We're going to the photo shoot. I
tell La at the photo shooter, like this the single.
He was like, Nah, that ain't the single. Like this

(54:12):
is single, man, this is it? Like this ship jam
and like what are you talking about? He's like, it's
all right. I drop my head, go a back. My god, damn,
it's all right. And by the way, they only paid
me to do They paid me to do four four songs,

(54:34):
I think four to five songs, so I don't have
you make me want to yet. I feel like I
finished the project. Without You make Me Want. I go
up to LA's office. I played Nice and Slow. I
think I played my way one day You'll be mine
and just like me these songs and I'm like, this

(54:56):
is it. Let's go. You put the rest, put do
whatever you want, do it. I'm good. And he sat
there and he listened to them for songs and he
ain't give me nothing like nothing, just like you think
this is it. And I'm like, fuck, all right, go

(55:19):
back to my house. I left his office. I went home.
I said, man, we gotta do something better than this ship.
You gotta make something. The idea I started making beat.
He started playing little guitar riff. I'm like, oh yeah,
think think think, think we're going he's playing the actual guitar.

(55:41):
Think think he's playing it to the beat. I'm like,
oh yeah, this sounded like it right, and this this
is gonna be it. When I started writing a.

Speaker 4 (55:51):
Song you make Me Want, you wrote you make Me Want.

Speaker 1 (55:55):
Yeah, nice and slow one hundred percent.

Speaker 4 (56:00):
Point the situations out.

Speaker 5 (56:02):
Of I'm this man right here is out of control.

Speaker 4 (56:08):
Niggah.

Speaker 1 (56:12):
Yeah, but I mean make me want. It was like
a rap song to me. That's but because that's what
I started thinking. I started thinking that. I was like, JD,
you're a rapper. You're trying to just because you did
escape nigga. You ain't no R and B nigga. You
better get back to that rap ship and do some
rap ship. So then I start writing it like a
rap You made me want to leave the one with

(56:34):
the new relationship with you. This is what we do,
think about the ring and all the things that come
along with it. You make me, you make me. I'm
writing it like a rap song. The same thing with.

Speaker 4 (56:43):
Yeah, yeah, yeah, Hurricane. I understand.

Speaker 1 (56:48):
Hurricane.

Speaker 3 (56:48):
That's that's what it is, all right, all right, you know,
you know, you know, you know all the code for that,
right man.

Speaker 1 (57:00):
Same thing with nice and Slow, right I stopped. That's
why I thought nice and Slow was a goal because
I put so much rap into it. Yeah, seven o'clock
on the dot, I'm gonna drop top cruise in the streets.
That's a rap song, right, And I'm thinking, like, I
got this little niggas talking, he keep doing some ship,
and the Pope Pimp Ship had came out around that

(57:21):
same time, so I'm like, we're gonna take the little
Pope Pimp Ship and we're gonna spell your name. You asked,
H G R O M D. I'm trying to do
what them niggas was doing. Poup pimp, just to add
a little bit of that. I thought that was the one.

Speaker 4 (57:35):
It was the one.

Speaker 1 (57:36):
Yeah, it was the one.

Speaker 6 (57:37):
I it was as your first number one on to.

Speaker 1 (57:42):
It was it was his first number one hot number one,
not Hot one hundred.

Speaker 4 (57:47):
How did that get up?

Speaker 1 (57:48):
It went number one R and B. But I don't
know what it did on the Hot one hundred. But
as far as his first one hundred record was nice
and slow.

Speaker 5 (57:56):
And this is your first time writing for a male
R and B artist, Yeah, nigga, you the cheat code,
cheat cod B.

Speaker 1 (58:04):
I don't know if I'm the cheat. This nigga's on.

Speaker 4 (58:08):
Four at her master auditor. This is the nigga. That's
that's crazy because these are all first for you.

Speaker 5 (58:17):
Yeah, it wasn't like you like were bumping your head
on other projects that maybe did this or that. No, no, no, no, no, no,
first R and B singer they send to you, You
give them a number one hotred hot one hundred, number one.

Speaker 4 (58:32):
Come on, bro, Yeah, that's that's not normal. Well, that's
not normal it's not normal.

Speaker 1 (58:38):
I don't know, man, I don't know. I don't, I don't.
I'm not even paying attention to if it's normal or not.
Like I said, I'm just trying to. I'm just trying.
I don't even know what I'm doing. I honestly didn't
know what I was doing with my Way album. I
just was trying.

Speaker 4 (58:50):
Whatever, and that album ends up selling how much?

Speaker 1 (58:53):
I think five million?

Speaker 4 (58:55):
He was him? He was him.

Speaker 5 (58:58):
Yeah, that's when you start buying the Billies and ship.
That's it started getting close, start getting close.

Speaker 4 (59:05):
And then have you brought outside yet? No hell about
the studio?

Speaker 1 (59:09):
Yeah, this is all nineties. I I'm writing so much though,
I'm writing so many songs, and I'm where I'm writing
songs where I do like I'm gonna write a song
for somebody, escape with whoever I'm working with. And then
after I finished writing that song, I'm making dumb demos

(59:32):
for me to just ride around to and listen to. Right, So,
I'm not even in these dumb demos. These are not
songs that I'm thinking gonna come out. I'm just doing
it because I feel like I'm a song right So
I'm in my you know, I'm in there taking other people.
I mean even making full beats. I might take a beat.
So I took to my deep record shook Ones, and
I was like, oh, I like them jazzy hulls, making

(59:55):
niggas in all my classes. I start doing the jazzy
holes as a ride around me tape for me, like,
I'm just gonna do this. I'm gonna listen to this
ship in the car. I love that, and I'm just
making this ship. I'm making mixtape songs just for me
to listen to. I'm not even thinking about it. So
then my homeboy Steve Prudon from here Yea, they heard
my little mixtape one day in the car. They was like,

(01:00:17):
what the fuck is this JD. I'm like, shit, this
is I just be making just to be doing whatever.
And them niggas starts singing the jazzy holes. They're like, man,
you need to make an album. I'm like, nah, don't.
I'm not fucking with that ship. I'm cool. I'm gonna
keep finding I'm trying to stay away from it. And
then they're like, nah, you need to make an album.
So then people start pushing me make an album. So

(01:00:37):
then I think it was the one of them movie soundtracks.
I don't know what movie soundtrack. It was Me and
Brat talks go ahead, Yeah, me and Brat put the
party continues out right, and that the party continues was
basically like it was me and Snoop record first, That's

(01:01:00):
what it was. So it's me and Snoop. Me and
Snoop had a song on the soundtrack. I took Snoop
off and did a remix with the Brat of that song,
and that song became my song. And it was basically
like my first record that I put out on my album,
Me Brat and I put Usher on the hook, right,
and I started saying, up, got some I guess I'm

(01:01:22):
gonna make an album, right, I guess I'm gonna make
an album. And I'm getting a little courage because everybody's
saying it. So I'm like I said, I pay attention
to the energy. So people saying that, everybody tell me
I should do it. So then I just start going
full for us on trying to make my own album.

Speaker 4 (01:01:34):
Then that's what life in nineteen seventy two, ye.

Speaker 1 (01:01:36):
Like in fourteen seventy yeah, yeah, but I got a backtrack,
got a backtrack, So I made it. I made just
kicking it and just kicking it got the ears of Mariah.
Just kicking it then, yeah, just kicking it got the
ears of Mariah. She wanted a record that felt like
that on her album. So you know, I got the

(01:02:00):
all to go in the studio Mariah. I didn't know
that that's what she wanted, but that's what that's what
she was, that's what she was looking for, and we
went to the studio. It was a different type of
vibe for me. I had never been in the studio
early in the daytime, leaving at like seven o'clock in
the day at night, so I'm nervous as fuck. I
don't know. I'm like, I don't know why I'm doing

(01:02:22):
this project because I'm like, she's like a superstar, superstar,
and I'm little nigga. I don't know, you know, I
don't even know why I'm posing. I don't know why
i'm here. I'm thinking they using different chords than what
I'm on. We got that, Yeah, I think I'm thinking.

(01:02:44):
I'm thinking, you know, I'm thinking they use it all
different chords, they got different keyboards.

Speaker 5 (01:02:50):
That's when the music sounded like music like that that's honest.

Speaker 1 (01:02:55):
So so I'm thinking, like, I take man with me
to New York, me and Man, you go to work
with Mariah. I'm like, Man, I don't know what this
is gonna be. Man, you know, just Mariah Carrey.

Speaker 5 (01:03:08):
Though, how is the fluss to the to the to
the women when you say, yeah, you know I'm gonna
be in New York, Man.

Speaker 1 (01:03:15):
Why not? I'm not. I don't even think about the women.
I'm I'm one locked in like I can't fuck this up.
But I'm feeling like I'm a fuck up. I'm believing
I'm a fuck up because this is also the first
project that I ever did outside of my studio. So
I'm nervous.

Speaker 4 (01:03:33):
That is one thing you just you kept saying. I
had them come to the house.

Speaker 1 (01:03:37):
It's the first time they had it. They had me
coming to New York. And I'm like, oh, this ain't
gonna work out. I ain't got my records, I don't
just anything I might need. I can't take all that
shit to New York with me. So I'm already feeling
like this ain't gonna be it. This ain't gonna be it.
And she started coming to the studio. She came in

(01:03:58):
the studio and she was like, I want to make
a record like this, and I'm like, what you want
me to do with this? She said, I want to
sing over this and it was cream Wu Tang Clan
and I'm like, right, I'm like what who are you?
I'm like, you want to sing over this? She's like yeah,

(01:04:19):
did she played another record? I'm gonna sing over this one.
I'm like, I'm looking around, like what the fuck is
going like this one? Rian Carey? You want to you
want me to make this for you. I'm not doing
that because you I'm not gonna be the person. I'm
not doing that. You're not good. They're not gonna do
that with me. She's like, listen, this is what I

(01:04:40):
want to do. And I was like, oh okay. So
I start following her lead and she was like, you know,
I need something like just kicking it, but I wanted
to be pretty, but I wanted to have that ghetto
ship on it that y'all got and just kicking it,
so man, you'll start art playing. He started playing that

(01:05:05):
on it and she's like, yes, change the key, change
the key to what she wanted it. Then I put
the eight O eights on there and always be my
baby comes to life.

Speaker 4 (01:05:19):
Wow, Wow, just keep winning.

Speaker 1 (01:05:26):
And that's the beginning of me and Mariah's relationship. And
that was absolutely enough what I'm saying. And this is
the first session, I mean, your two records. It's the
first one of the first one of two songs. We
had a week in the studio where and that's that's

(01:05:47):
what we came out of. I mean, we made the cream,
but it didn't come out right. It didn't come out right.
I wasn't I was also not completely dialed into Mariah
yet as far as like putting her over type of cream.
It didn't make it didn't make sense, make sense. It
was like, I'm like, you not, I'm not. I'm not
doing that. I'm not gonna be the guy to do that,

(01:06:09):
not realizing that she basically was creating hip pop music.
She's actually the creative that like, are you on the
Grunde singing over something? Katy Perry singing over something? She's
the person who created that sound. In her mind, she

(01:06:33):
did this and she's still that person to this day.
She wants to sing over street ship, hood and ship
going whatever it is, hood New York ship, that's when
she comes to the studio like she's the rapper. Yeah,
I want here, this is what I want to sing over.
It's been successful, it's worked. Yeah, so we do we

(01:06:54):
do that. We do Always Be My Baby. I think,
you know, by the way, it's a third single, so
I'm thinking, whatever, my little Mariah Carey shit didn't work.
It's cool. I'm on the album. She you know whatever,
Always Be my Baby comes out as a single. That

(01:07:14):
record goes number one on R and B, Trucks and
Hot one hundred. I'm like, oh, okay, Dad is there.
You know what I mean? So I'm like, shit, I'm
gonna get you to do a song on my album.

(01:07:35):
She caused me and tells me what she want the
song to be. Well, if you're gonna do a song,
it need to be this. She sent me Sweetheart, and
I'm like, she's like, let's remake this. I'm like, all right, cool,
what you knows? She's the artist that actually made me

(01:07:56):
realize how lazy artists actually are. You know what I mean?
Because she comes to the studio, she know what the
fuck she want to do, she knows what it's supposed
to sound like. She's she's she's She's very direct to
what she's doing. And other artists come to the studio
they don't do they don't. They just be sitting around

(01:08:17):
like you know what I mean.

Speaker 4 (01:08:18):
Just waiting for you, whatever it is.

Speaker 1 (01:08:20):
They just don't have that. She she made me realize, like, yeah,
it's another level to the artistry. Shit, Like yeah, it's
definitely another level to it. So I did that. We
did Sweetheart. I think I had Sweetheart first before one
anything right, And Columbia's thinking that they gonna release my album.

(01:08:44):
I got a Mariah Carey single. This seems like the thing.
But like I told you before, I don't like to
barter the energy from other people with my records. I don't.
I don't. I don't really like that. And in the
midst of me making life in fourteen seventy two, I
listened to a DJ Clue take and jay Z had
took the Drew Hill beat and rapped over it as

(01:09:07):
a freestyle, and he said something he did my cadence,
y'all wanted this. I'm gonna make you there he did.
He did all of this right. So I'm a little kid,
Well I'm not a little kid, but I'm a kid
from college Park, Georgia, and jay Z's like this underground
rapper that he supposed to be the one right And
I'm infatuated rap music. So I'm like that nigga listened

(01:09:30):
to me. That nigga fuck with me?

Speaker 4 (01:09:33):
Yeah, yeah, yeah, that means he.

Speaker 1 (01:09:35):
Know who I am. I'm doing record this nigga. And
I seen him. We did a great day in Harlem
photo shoot and I seen him out there and I'm like, yo,
I want to do a song with you, and he's like,
all right, what's up. I'm like, you come to Atlanta,
Let's make a song. He's like cool. I get his information,

(01:09:57):
get him a ticket to Atlanta. I go pick him
up from the airport. On my way to pick him up, though,
I'm listening to his album, I'm listening to Can't Knock
the Hustle because I'm trying to get in jay Z mode.
I'm trying to get rapper mode all the way. By
the way, I'm in a Bentley too. I got my Bentley.

Speaker 4 (01:10:16):
I'm going to get over the bench. Yeah, I was going.

Speaker 1 (01:10:22):
That was a continental t that yeah yeah, yeah, yeah,
a big dog. Yeah. So I'm going to get hold
from the airport. I'm racing down Old National and I'm
playing Can't Knock the Hustle, and I'm switching lanes and
all this ship right, I'm trying to get there fast.

(01:10:43):
I'm running a little late. Uh. And then I'm hearing
the song. You know what I'm saying, so out of state,
kicking up top game, Deep in the South, switching full lanes,
screaming through the sun, roof money anything, and I'm like,
I'm doing this, yeah, yeah, yes, you are just what

(01:11:03):
I'm doing. I'm moving, I'm switching lane, I'm doing this.
I'm in the car like this, like I'm right, and
I hit rewind. I heard him say it again. I'm saying,
why would this nigga say deep in the South. He's
not from Atlanta, And that one word the South made
me pay attention to that whole phrase. And I'm like,

(01:11:27):
I'm gonna sample this. I'm gonna sample this part. That's
gonna be our song because I don't have no song.
He don't come into Atlanta. I don't have no song.

Speaker 4 (01:11:34):
I'm I'm never having a song.

Speaker 1 (01:11:36):
I don't have no song. I'm just trying to wing it.

Speaker 4 (01:11:40):
Get the song.

Speaker 1 (01:11:44):
That's dangerous, man, So my nerves be going crazy and
I'm trying to be I know. It's like the artist
is gonna be here, like a minute, what you got,
I'm trying to I'm trying to find something. I can
figure it out, so I'm doing this. I'm gonna pick
him up. He get in the car, He's like, what
you got? I'm like, shit, I don't really got nothing,
but I was listening to this and I think we

(01:12:05):
should make this the hook. He's like what, I'm like,
this part right here, screaming through the sun, roof money anything.
That's how I feel right now. He's like, all right, okay,
And I'm not even paying attention to him. He wrote
his REP without even hearing the beat. He's writing his
REP as we riding to my house in his mind,

(01:12:26):
his mind doing that. I'm like, what is this nigga?
But I'm not really paying attention. I'm thinking he listened
to the music. I'm playing whatever. We get to my house,
I take the Weekend the Knees beat, I looped that
shit started to do. I'm like, we're gonna do it
on this beat. He's like, all right, what an engineer.

(01:12:49):
I'm like, what, Look, we just got here. He's like
I'm ready, I tell the engineer, I'm say he ready
that nigga wanted to booth two minutes after we got
to my house. Verse Lad, I'm like, when the fuck
did you write this verse? Because, by the way, I'm
not even realizing that what he did I do all

(01:13:09):
the time already, but I'm still using. I'm still I'm
writing on paper. I'm still believing that it's got to
be on paper. And just the first time I seen
him do this, this no writing ship. So I'm like, this, nigga,
this nigga must have had a verse already, said give

(01:13:30):
me an old lass verse, but I ain't say nothing.
The verse was hot, right, So then I had to
write my verse, and I'm like, shit, I got this
nigga rapping, like he's really rapping. Jad you're gonna do this,
you gotta goddamn rap. So then I had to start
writing me a rap. I'm trying to write me a
wrap that sound like I'm in I'm with this at

(01:13:54):
least at least I'm writing around in there. So I'm
trying to get that. I get my verse and then
he give me a third verse. I ain't got no
more lyrics than me that day. So the third verse
he leave without hearing my third part on the song.
But yeah, that's how the Money Anything came. So once
we finished the song, all I wanted for my career

(01:14:17):
was to be placed in the same space as real rappers.
I didn't care if the records were number one. I
didn't care if they was. I thought that was all
for my artists. What I wanted I wanted people to
respect me for where I came from. I'm a hip
hop person, right. So I'm listening to DJ clue tape
and I'm like, shit, if I put a rap record out,

(01:14:40):
I want to be number one song on Clue Tape.
I want him to play my record. This's gonna be
the first song on the mixtape. That's all I cared about.
So we finished Money Anything. I called a clue. I'm like, yo,
I got one. I need this to be the first
song on the mixtape. I sent it to him. He's like,
you got it, you got one. I'm like, yes, I

(01:15:00):
go to Columbia. I go to Columbia. I'm like, this
is my first single. Hey looking. They said why hm?
I said, ship, why not? It's jay Z?

Speaker 4 (01:15:16):
Yeah?

Speaker 1 (01:15:16):
They like, who the fuck is jay Z.

Speaker 4 (01:15:18):
No way, he not on the radar yet. What I'm saying,
not on that radar.

Speaker 1 (01:15:22):
Yeah, he's not on the radar yet. I'm like, who
the fuck is jay Z? I'm like, he the hottest
little the hottest underground nigga from New York. What's going on, Jamaine?
You have a song? Right, you have songs with this person?
Why are you trying to make a song with jay Z?
We don't even know who he is, but.

Speaker 3 (01:15:40):
You gotta remember, I'm in the d m V. Jay
Z is a thing for us. Yeah, so when that
song dropped.

Speaker 4 (01:15:49):
For sure, for the streets, for sure, we're talking about
Riot carry also keeps the lights on it and your
main you have a record with her, get it?

Speaker 1 (01:16:00):
Yeah, I get it. Y'all supposed to be coming with
it four July. Yeah, I give them money anything. They
don't have no real enthusiastic action for me. But I'm like, cool,
I don't give a fuck. I'm on a clue tape.
It's gonna be the first song on clue tape. Were good.
That's all I cared about. And then you know, money
anything came out and I feel like that's my that's

(01:16:23):
my biggest non number one record. I feel like the
record one. No what I'm saying, but by the way,
it's a it's like a classic rap song, and I
feel I feel like, thank you. I feel like for
to have that, you gotta have some kind of you know,

(01:16:45):
I'm not considered as like the poppy rap and they
do might look at me like I'm a poppy rap guy.
They look at these rap songs like they real raps.
And that's that's all I wanted. That's all I cared about.
So I was I'm completely pleased with that.

Speaker 3 (01:16:58):
Now that record worked. You come to d NB, that
record work.

Speaker 1 (01:17:03):
The d m V oh yeah, oh yeah, it's definitely work.

Speaker 4 (01:17:05):
Let's let's get to the brothers. Let's get to the brothers.

Speaker 1 (01:17:08):
Okay. So in the midst of this yeah, Candy comes
and says, I got a group I want you to see.
I'm like, okay, cool, you they good. She's like, yeah,
they good. They twins. I'm like, okay, cool. She bring
the twins to my house. They get up in front

(01:17:30):
of me and they saying and I'm like, I don't
really know what to do with y'ad.

Speaker 4 (01:17:40):
It's just them too.

Speaker 1 (01:17:41):
No, it's a whole groupp Okay, yeah, but I'm you know,
I never did a male group before, so I don't
know what to do with them niggas. Only thing I
could think about was that I said, okay, good, I'm
gonna sign y'all. I signed them and we got the studio.
Now me, I don't know what to do with them,

(01:18:03):
so I start doing what I did with the skate right.
Kate could come to my house and sing a cappella
and I put a beat, scratched some from the turntables
and put a beat under there. Jagged came to my
house and the first session, I never forget this. The
first session we got the biggest argument ever, and them

(01:18:23):
niggas turned me into an R and B junkie based
on that. That's when I became R and B guy.
Like they singing and I try to put a beat
under there, and Branding Bro was like, man, we ain't escaped,
we ain't fucking escape. We want some chords, we want
some up, we want some shit, And I was just like, damn,

(01:18:45):
I don't know how to do that shit. Just what
I know how to do? You know what I mean?
And it's just like nah, man, And it was like
we got an argument cause I'm like, Nigga, that's the
shit that worked. I want to hear y'all niggas sing
over this beatn that ain't R and B. Nick da
ain't what we're trying to do. We were R and
B group, and I was like, oh, okay, R and

(01:19:08):
B group. So did I start doing my little studying
And I started working with Jagged. We did the Way
you Make Me Feel, the Way the Way You Feel,
or something like I think that's the first song. I
don't remember this, Yeah, And I put me in Brad
on the song that's the first time they came out,
and that song didn't work right. It got a little buzz,
but it didn't work because I also was trying to
figure out how do I market this record right? So

(01:19:31):
I was thinking like, oh, I got to be able
to put it somewhere where I'm gonna be able to
put my hands on it and do it the same
way things. So I put me in Brad on the
song thinking that it was gonna go to that channel.
It was lukewarm. It didn't do nothing. And then we
shot a video for I Gotta Be Right. We shot

(01:19:53):
a video for Gotta Be and it wasn't crazy yet.
The video was just like a regular the video, but
the song went to R and B radio and they
came back and they it was like they liked this song,
this song could work, but the video ain't good. Right,
So then we shot another video for the song and
put Desny Child in there. They got Deyonce and you know,

(01:20:15):
we got got them because they they on Columbia, so
they want to barter the energy and gotta Be took
off and gotta be became jagged, first number one record
that I But through this whole process, I'm learning chords.
I'm learning, We're going, I'm going deep down in R

(01:20:35):
and B. I mean I was already you know, Eddy
Rides my idol, Quincy's my idol. I was there, but
I'm still like so hip hop. I was like not,
I don't like a lot of that shit. I don't
like all them pretty ass chords and this, that and
the That's that was my mentality. But them niggas, maybe
I had to get into it. So I start we
making records, were making records every day, you know what
I mean. We did the the The Gap Band remake

(01:21:01):
because them niggas sounded like you know what I mean,
Charlie to me and we just started. I just start
getting into R and B, just doing Manuel, come on,
let's get some deeper cards chords, let's go, let's go,
and Jacket they really the ones that got me, like
on my R and B really did to be No, No,

(01:21:23):
they wrote all the songs. Jagged wrote all these.

Speaker 5 (01:21:26):
Songs, and that that album that was really a wake
up call to the industry about Jagged Edge though everybody
was paying attention. Yeah, once that second album came out,
it was like legit, Yeah, these these these guys.

Speaker 1 (01:21:42):
Yeah, yeah, I mean we're still it still was tough
though that, like Keys to the Rains didn't really do
what we wanted it to do. So I just so
this is also me. I'm nervous because you know, me
and Manuel did got to be so their first number
one record was me and Manuel, Me and be Cox
never did a record with them like that, right, So
we end up working. I'm just nervous. I'm like, but

(01:22:04):
they had success with a ballot. People fucking with them
on the ballots. We got to make another ballot. The
day before that, I had just gotten argue with my
girlfriend about me working in the studio all late at night,
and she's sending me messages like I hope the studio
keep you warm at night. Niggas. You you know you
you act like you're gonna be young forever. You ain't

(01:22:25):
getting no younger, niggas, Let's get married, And I'm like,
fuck out of here. Right response is hilario. I'm real.
I'm like, nah, God.

Speaker 4 (01:22:39):
You don't know who you're talking to. I think I've
seen that same text before.

Speaker 1 (01:22:43):
I'm like, I'm like, I get it. So we had
the same reaction. So I'm like, I'm like, oh, girls
want to be married, like I felt she she maye
really believe that women wanted to be married. Yes, they want.
Their destination is to get that ring. Right, I'm mad.
I'm having this conversation. Brian started playing these chords now

(01:23:05):
called jack we gotta do this song called Let's Get married.
They like what I'm like, Yeah, they come, I got
the hook and they fucking with it and they start writing,
let's get married.

Speaker 4 (01:23:18):
Let's talk about this might as well line.

Speaker 3 (01:23:21):
That's the line minus a way wig and no young
we might as well like depending on what city you in,
minus well minus well on.

Speaker 1 (01:23:33):
Line.

Speaker 5 (01:23:34):
It's classic but it strikes this chord in women. Have
you ever had a conversation with a woman about let's
get married.

Speaker 3 (01:23:43):
I haven't because it's like might as well, because you
don't understand that.

Speaker 4 (01:23:51):
Women don't get that. A lot of times.

Speaker 3 (01:23:55):
The man at that point is just folding, right, he's
just fun holding under the pressure. He's got the text.
He didn't answer. He wanted to keep his woman. It's
I might as well ship.

Speaker 1 (01:24:10):
Come on, yeah, I mean that's what That's what it
said to me. She said it, and from there that
let's get married, and me writing what I got out
of that conversation with her led me into like my
writing style of today, and it just led me into like, Okay,
I'm gonna start putting into life into the song.

Speaker 4 (01:24:32):
Yeah what you have?

Speaker 1 (01:24:33):
But you absolutely have my brother? Oh my god.

Speaker 4 (01:24:37):
Okay, so let's get married. It's going crazy.

Speaker 3 (01:24:40):
Yeah, what makes you say? This is how we remix
this song?

Speaker 1 (01:24:44):
Man? Okay, so let's get This is wedding.

Speaker 4 (01:24:49):
Reception song.

Speaker 1 (01:24:50):
By the way, it's not a pretty picture for me
because in the midst of this him Hicks caused me
and said, I got this new group, and I'm like, cool,
I'm not thinking about the group being competition the jacket is,
but whatever, I'm just trying to do projects. He's like,
I need you to do a remix. I'm like what.
He's like, this group drew here. They got the song

(01:25:11):
called Sleeping in My Bed, the song number one, but
we need we need to up tempo remix. And I'm like, oh,
we need something, we need something to keep you know,
give us some more legs mix sure type of shit.
And I'm like, okay, all right. I start going back
to do what I do. I start messing with the turntables.

(01:25:33):
I find a beat. I'm like, yeah, you need to
fly them to Atlanta and we're going I'm gonna have
them re sing it. And they flew. They all flew
to Atlanta, but the only person came to the studio
was Cisco. Huh.

Speaker 4 (01:25:47):
Interesting.

Speaker 1 (01:25:48):
So Cisco come to the studio and I'm like, where
the rest of the group at. He's like, I don't
need to do play the beat?

Speaker 4 (01:25:55):
That was the comment, LL give you a playat.

Speaker 1 (01:26:00):
Was I was? You know, I'm like, okay, it wasn't
like a disc. It wasn't like it wasn't like a disc,
but it was just like I got it I got it.
I got it right. So I said, all we're gonna
do it to this beat, and I started playing the
boom boom, and he's like, and I said, you gotta chance,
you gotta make lyrics go to this beat. So so

(01:26:22):
I'm like, ship me and practically get on.

Speaker 4 (01:26:25):
This motherfucker m.

Speaker 1 (01:26:28):
All right. So everybody mad going. So we're going and
we make a remix. Right this remix comes out, us
should call me, why the fuck you give them that
song like this? Cause I didn't give him a song.
Now you gave them that beat. Get out of here, Okay.
Ma USh is mad to this day about this song.

(01:26:50):
This is gonna be You ain't have to give them
that beat. Jagged comes to the studio while you get
them niggas that beat. I'm like, what you're talking about
that day that it's a competition and you're gonna help them.
So I'm like, oh fuck, I'm like, y'all got a
number one record right now? Nah funk that you gave

(01:27:11):
them niggas that beat. So then I'm I'm I'm feeling bad.
I'm feeling bad. I feel like I done let my
guys down. You did, you did let me?

Speaker 4 (01:27:21):
Looking at it from the outside. Yeah, I'm giving I'm
playing devil you did, okay.

Speaker 1 (01:27:26):
You gotta group who's in competition with another for a
guid group. I didn't know that is mass though. I
didn't know something. I'm just this point. I'm just doing.
It's a remix.

Speaker 4 (01:27:43):
It doesn't matter, it doesn't.

Speaker 1 (01:27:46):
I don't know that. You don't know what that's gonna happen.
It's a remix.

Speaker 4 (01:27:50):
Niggas called your man for a reason, brother.

Speaker 1 (01:27:52):
But it's a remix alright, So I'm not actually thinking
that it's gonna translate into what it translated.

Speaker 4 (01:27:58):
Is.

Speaker 1 (01:27:59):
It starts turn it crazy, going crazy every club, every radio, stage,
evers club. Then the song, the remix replaced the original
in number one, So now it's really a hit like
what it is, right, jagged. It's fucked up, man. Every
time I see them, that's what the conversation is. That's

(01:28:19):
fucked up. You gave them that song, gave him that song.
So then I'm like, I gotta find it. I gotta
remix one of these niggas records. I gotta do something.
I gotta figure it out. I gotta make it. I
gotta make them niggas a killer remix. We gotta do it.
So we started getting in the studio, me and Marcus
Jefferson Mark he put the run DMC. We ain't gotta

(01:28:43):
change the lyrics.

Speaker 4 (01:28:45):
Make it.

Speaker 1 (01:28:46):
Oh wait, do it work?

Speaker 2 (01:28:50):
Yeah, Okay, I'm saying like, ah god, Yeah, That's why
I said.

Speaker 1 (01:29:01):
I'm saying it because I'm like, oh, I got it.
These niggas got it, uh see first of all these.
So that's how the remix came about. I had to
do it because they was on my head and I had.

Speaker 4 (01:29:14):
The fine, greatest remix of all.

Speaker 5 (01:29:17):
Time, really worked really well under pressure. Brother, Yeah, yes, yes,
I don't know that those two remixes. Nobody has R
and B remixes like that. It's only other, only other
R and B remix that's even mentioned is the Jodasy remix.

Speaker 1 (01:29:38):
I mean with s WV Michael Jackson ship.

Speaker 5 (01:29:42):
Amazing, amazing. Not for the streets. It's not for the streets.
That's not a street record, you know what I'm saying,
Like this is literally these are R and B hip
hop remix record real, you know what I'm saying. And
Jodasy was the only one before that that had that. Yeah,
that still gets played that I can think of now,

(01:30:03):
you know, listen the comment section, go go crazy one.

Speaker 3 (01:30:06):
That was good, not in the same vein no, not
the way that you did it, but that was that
was kind of groundbreaking.

Speaker 4 (01:30:14):
R Kelly down.

Speaker 1 (01:30:15):
Low Oh yeah yeah, yeah, yes, yes, yeah, yeh R Kelly.

Speaker 4 (01:30:20):
But in going back to our original conversation.

Speaker 3 (01:30:25):
To this day, there's nowhere you can't go where somebody
has just got married and that song doesness play. It's
the reception record impossible. It's a reception, not a real reception,
black white Latino age. I don't care what you want
to play that playing that.

Speaker 1 (01:30:47):
So this song comes out jacks, aren't you know? It's
a they ballot group. They having success more on ballots
then stations like Power one, those six, han in l
A pick Up, Let's Get Married, Got Run Reverend, Run
on It, Jagged. The start doing interviews at probably one
six they doing km yea. They start hitting these other stations.

(01:31:08):
They don't want to make no more slow records.

Speaker 4 (01:31:10):
I respect that's what they said. Yeah, like no, no,
now we've seen the world.

Speaker 1 (01:31:16):
Yeah yeah, we don't want to make no more slow records. Yeah.
I'm like that's what y'all make. No fuck that.

Speaker 4 (01:31:23):
Respect, so they go back to the hip hop ship
that you wanted.

Speaker 1 (01:31:27):
To do it. Yeah, okay, okay, I see you're going
with you, JD.

Speaker 4 (01:31:32):
Your top five R and B singers, singers, singers, singers.

Speaker 1 (01:31:39):
Michael mm hmmm, Luther mm, Stevie, Yes, yes, sir, are
Kelly and hush.

Speaker 3 (01:31:51):
Ye I gotta cover everything that we felt about covering. Yeah, yeah,
cover the spectrum of okay okay got through to singers.

Speaker 1 (01:32:04):
I mean, I want people to know us just really
serious about singing, like I you know, he really takes
that singing ship serious, like he really be practicing, really
doing like he really takes it just like you're just
like from watching you do this for y'all to see
him do that and make a song like that off top.

(01:32:25):
That means he could write. He writes about anything. He
never you never had writers black because you have no
fear of just saying whatever's right on you at that time, right,
And that's that's that's the that's a genius in writing.

Speaker 4 (01:32:39):
Your top five R and B songs.

Speaker 1 (01:32:42):
I'm gonna go with this one first because I've been
thinking about it and be talking about it. This lady
in my life, the Rolling Stone said, speak on it,
speak on it. I don't know what you niggas talking about,
first of all, but just the ad libs on that
record is so R and B. The nigga might say,

(01:33:05):
stay right here with me, stay right here with me,
don't you go nowhere? That's people.

Speaker 6 (01:33:13):
Yeah, yeah, yeah, stay right here with me. Yeah, forever,
all over and over. That song is like, it's the
most R and B ship ever. I don't even understand
how you can say that, but that's that's one of
my favorite songs.

Speaker 4 (01:33:31):
That's all I can think of. They don't click.

Speaker 3 (01:33:33):
Somebody there believe that dumb ship should be reprimanded, and
whoever proof Reddit, they should reprimanded them. To whoever printed there,
we can find out the name.

Speaker 1 (01:33:44):
Oh yeah, now they have the name of my comments.
They definitely told me. Then another Michael song is human Nature.
These crazy songs.

Speaker 4 (01:33:58):
Mike, I got two of them in the time.

Speaker 1 (01:34:02):
My style of R and B, so I gotta go
with like, make it last forever.

Speaker 5 (01:34:11):
Said, yeah, it makes perfect sense, It makes perfect.

Speaker 1 (01:34:16):
This is the type of R and B records I like.
Top five it's hard but less Wait a while, Yeah, yeah,
crazy song, crazy song, crazy song, like crazy Jim Lewis's musicians.
They somewhere else for that technicition.

Speaker 4 (01:34:38):
Mm hmm the remix.

Speaker 1 (01:34:42):
Mmmmmmm. Usually I don't do this. It don't get no
better than that. That's a motherfucking song right there. B, well, no,
it's crazy to her hands through my So I've never

(01:35:03):
I got this one thing I was gonna talk to
you about that. I wanted to come here to talk.
How do we get R and B on one accord?
And why do you think it's separated? There's a certain
group of guys. It's a certain group because another grides
that don't actually coincide with each other, and don't I

(01:35:25):
don't for the life of me. Rap is not like that,
right if the rapper's over here, this rappers trying to
get on the same space as this person. But R
and B. We got these five artists on this side,
on this side that don't really swing in this space
of the artists that's on this side. And I feel

(01:35:46):
like that's what dampers R and B from being successful.
And I'm saying it more like with your challenge. The challenge.
The challenge is where I believe I'm really seeing it
because I'm like, Okay, so I see the people that's
doing it, But which one of these guys that's on

(01:36:07):
his left side gonna take this challenge?

Speaker 3 (01:36:10):
You're thinking, you were thinking the same thing I was thinking.
I was like, I haven't added some people like.

Speaker 1 (01:36:18):
Yeah, so that's what I'm saying. Why what do you What
do you think is what's the reason that it won't
it don't happen?

Speaker 4 (01:36:25):
I think that.

Speaker 3 (01:36:27):
I think that R and B guys, most R and
BIG guys aren't from a competitive space. RAP guys are
from a competitive space. RAP is let's get this cipher
and let's go at it on the street. Most of

(01:36:49):
these guys, most of R and B guys, especially from
where we're from, would just be the one plucked out
of this place, one plucked out of this church, you
know what I'm saying. Or maybe this this do wop
group or whatever. But in in our arena, there is
no specific space where we actually build a camaraderie competing

(01:37:10):
against each other, and so that's what makes it hard
for us to come together and collaborate.

Speaker 4 (01:37:16):
Right.

Speaker 3 (01:37:17):
And then the other nuance that I think is very
very looked over is that a lot of R and
B guys didn't play sports like me and him got
close because we were ultimate competitors on the basketball court,
and I was like, oh I rap this nig anywhere

(01:37:39):
on a song, Nigga through the hood whatever. I know
his level of competition, like what he what he bled?

Speaker 4 (01:37:46):
I bled? I always do whatever with.

Speaker 3 (01:37:49):
Him and guys that don't have that.

Speaker 4 (01:37:52):
He's all.

Speaker 3 (01:37:53):
He's my ultimate point guard. I don't need the ball
if I know he got the ball, kill him, kills niggas.

Speaker 4 (01:38:04):
I'll run the floor, nigga, I'll play lockdown defense. I
could never get the ball. I will never scream it.
They like nigga go crazy, you see me, get it
to me. But that's the.

Speaker 3 (01:38:16):
Team, you know, the gamesmanship that we're missing.

Speaker 5 (01:38:19):
We were never taught that R and B was a
team sport, and it got it is and it's gotten
even more water down that we don't even have groups, right,
so you don't even see that camaraderie. You don't even
see the guys in the group together. But I also
blame it on you know, because yes, I come from
the creative side, and I've done all these things on

(01:38:40):
the creative side, but I also consider myself an executive.
It's also the executives false because they've kept artists away.

Speaker 4 (01:38:47):
From each other. I don't get on that song.

Speaker 5 (01:38:50):
It's always a manager, it's always an executive. Maybe they're
not always black. That's saying hey, no, no, no, no, no,
this is your space.

Speaker 4 (01:39:02):
Yep.

Speaker 5 (01:39:02):
This this you don't share that light yep, instead of
saying this is all of our life. We're stronger together, homies,
even making phone calls, calling Tank, calling Usher, calling Chris,
calling Trey, calling Rob when he was out, like literally

(01:39:23):
making those phone calls and saying, hey, man, you know
nigga I was I was with such after that nigga cooler,
motherfucker bro y'all niggas need to We haven't really had
that in the R and B space. I've lived in
a rap space. I've done records, you know what I mean.
I've had artist signed you of course you have. You know,
it's a different world. Two R and B niggas aren't

(01:39:44):
picking each other up from the from the airport ship
you said earlier, A nigga is not taking the underground
R and B singer who he thinks is on his
way up and saying.

Speaker 4 (01:39:55):
I'm gonna pick that nigga from the airport we're gonna
do a record together. I'm gonna fight my label.

Speaker 3 (01:40:00):
He gonna get the first single over the biggest artists
in the world right now.

Speaker 1 (01:40:04):
But why why you think that is? Why you think
they Why why you think that?

Speaker 5 (01:40:07):
Why you think it's learned behavior. I think it's learned
behavior because that's just what it's been. It's just it's
just what it's been for so long that now these
conversations though of you saying why now opens up the
floodgate for niggas to make those phone calls. You know
what I'm saying, us having this platform where we talk
about you know where James foin le Roy says he

(01:40:28):
wants to work on the New Warrior project and then
they do a project together.

Speaker 4 (01:40:33):
You get what I'm saying.

Speaker 5 (01:40:34):
Where now these these connected worlds and these conversations because
what we say here goes out.

Speaker 3 (01:40:41):
But then you know that leadership also reflects that too,
because whoever's back then, whoever was holding the mantle, kind
of dictated how we operate. Yeah, you know what I mean,
Like for take when Rob had to mantle what no

(01:41:05):
other R and B nigga get none of that?

Speaker 4 (01:41:09):
Good luck?

Speaker 3 (01:41:11):
I am king and niggas who've stood on that I
am king when I get the crown, when I get
the crown, have always stood alone. The the first person
that I've seen to operate like a full rapper and
say let's get it in, send it, I'll send it

(01:41:32):
back to you.

Speaker 4 (01:41:32):
Tomorrow's Chris Brown. He's the first person.

Speaker 3 (01:41:36):
I don't Nigga rap, afro beat, R and B Nigga
country song said it.

Speaker 4 (01:41:44):
If I'm fucking with it, I'm fucking with it.

Speaker 1 (01:41:45):
I don't.

Speaker 4 (01:41:46):
I don't. I don't care if you need even signed.
It's rock.

Speaker 1 (01:41:50):
I mean, that's and that's that's how it should be.
That's what I don't n That's what I'm saying. I
don't understand it. Like even like I said, with your
challenge right now, I'm waiting to see one of these
artists do it. I'm saying, I don't understand what the
that come.

Speaker 4 (01:42:03):
A lot of that too comes from fear.

Speaker 1 (01:42:05):
What fear? Fear?

Speaker 4 (01:42:06):
What Singing is different from rapping.

Speaker 1 (01:42:09):
It is one you gotta you gotta know how to
some like sound on here.

Speaker 4 (01:42:13):
Rapping has gotten to a point where.

Speaker 1 (01:42:16):
Anybody can do it. Yeah, everybody can't sing.

Speaker 4 (01:42:21):
Because it's some really good singers that don't sound good
on that challenge. Listen. And then when Mario just did it.

Speaker 3 (01:42:28):
Got busy, he put he he puts some additional fear,
ain't mess ain't messed with that. He did with that challenge.
That's that challenge. But I'm looking for, like you said,
cats at though, what cat's at?

Speaker 1 (01:42:46):
Yeah?

Speaker 3 (01:42:48):
Or it's like I don't want to do that's Chris Brown.
I ain't trying, you know what I'm saying. Let him
have that. No, it's us. It all contributes to the
pot the bigger. This is the bigger we all are,
which is what this challenge is showing you.

Speaker 1 (01:43:01):
Yeah, no, we need it.

Speaker 5 (01:43:03):
We needed conversations changed that because these conversations make people
look at these things differently. Maybe it's not this specific challenge,
but maybe it's the next one. Or maybe guys are like, Okay,
you know what I'm in on that? Yeah, fucking with that.
You know what I do, got a record that I need.
We'll wop on and we should do some shit together,
and we should tour together, and we should like the

(01:43:27):
thing that you and your father created, the screen tour.
The fact that it's still going this long, right, it's amazing,
But it shouldn't only it shouldn't take artists twenty years
to jump on these tours together. We got to have that.

Speaker 4 (01:43:44):
Now, bro.

Speaker 3 (01:43:45):
But why is the Superfest Drew Hill, Genuine, Aliyah, Mary
j Bone, Thugs and Harmony, all platinum artists, all with
number one records?

Speaker 1 (01:43:58):
Yeah, all of them. I mean that's soop fest though,
that's what you know.

Speaker 3 (01:44:02):
But I'm just saying we got we need it, We
need all summer, we need it.

Speaker 4 (01:44:07):
Where is the tour right now where it's not I'm
the big artists and I.

Speaker 3 (01:44:11):
Got four little guys under me where it's really collaborative.

Speaker 4 (01:44:17):
Where at any night it's anybody's night, right and you who?
And they don't care about who's closing, don't matter who closing.
We can rotate this motherfucker if you want.

Speaker 1 (01:44:25):
To wet threat, we got a threat to. We gotta
get to that space DVD. I'll be shure Bobby Brown
that she was a tour right there? Come on, that
was that.

Speaker 3 (01:44:38):
Was who gonna get it? Well, listen, I watched Bobby
Brown go crazy right before a new edition, go nuts
on their Heartbreak tour. Wouldn't lead a stage pants with
the with the with the fucking thing down here. Hair
shoot hair shoot pants.

Speaker 4 (01:44:56):
Yeah, we gotta get back to that. We gotta, we
got to continue these conversations.

Speaker 1 (01:45:01):
Yeah, I'm gonna try to do my best, you know
what I mean, i'mna try to do my part, keep
doing my part, try to make it. You gotta get
it back into the you know, make sure the R
and B R and B gotta get back to the
forefront for sure.

Speaker 3 (01:45:14):
Two more things from you. Let's make a volt trime man.
Let's make your super R and B artist. Man, Making
your super R and B artist Where you're gonna get
the vocal from performance style styling, the drip of the
artist who's gonna produce and rite for this motherfucker you're
super R and B artist. One vocal that you would

(01:45:37):
make that you would take to make your super.

Speaker 1 (01:45:40):
Artists Your voice would be r kelly mm hmm.

Speaker 4 (01:45:44):
Performance style.

Speaker 1 (01:45:47):
Yeah, the performance style would be.

Speaker 4 (01:45:50):
We see.

Speaker 1 (01:45:53):
Performance style. I'm gonna go with Michael.

Speaker 4 (01:45:55):
Hmmm, Rob Michael.

Speaker 1 (01:45:59):
A lot. He ain't gonna a lot of people don't
go with that because they didn't really actually see him.

Speaker 4 (01:46:03):
No, what you mean a lot of people do go
with that.

Speaker 1 (01:46:05):
Yeah, But I'm saying, majority of people don't they never
really seen Michael.

Speaker 3 (01:46:09):
Actually like video of Michael is still it's still better.

Speaker 1 (01:46:17):
Live. I'm saying to be there. It's a whole different
ball game.

Speaker 4 (01:46:25):
The styling of the artists, and she liked to put
groups in Dickie suits. Yeah, whose style you're taken for that?

Speaker 1 (01:46:35):
Kanye mm.

Speaker 4 (01:46:38):
Risk taker Mmmm. He be a star. He be a star.

Speaker 1 (01:46:43):
Niggas start it, won't be a star you got you know?
I mean, Kanye is one on one man. He's one
on one. Don't niggas feel about him? One on one
is who he is? Yeah.

Speaker 4 (01:46:53):
Uh, the passion of the artist, heart of the artists,
who means it.

Speaker 1 (01:46:59):
I'm gonna go with print mm hmm.

Speaker 4 (01:47:02):
Yeah, that's a real passion right there.

Speaker 1 (01:47:05):
Matter of fact, I'm gonna go back to the beginning.
The R N, R and B is Stevie Wonder, So
that voice has to be Stevee. He is the voice
of R and B. He's made every type of R
and B record that we everyone and he's created. It's

(01:47:26):
it's his everything that everybody does piece pulled from Stevie Wonder.
So I gotta give Stevie that he's the voice prince
with the you know passion, the passion.

Speaker 3 (01:47:41):
You gotta be really passionate to sit on the horse
but naked, yeah, because that had to hurt.

Speaker 1 (01:47:50):
Well, you gotta be passionate. Just I mean, Purple Ring
was a passionate movie man. The idea of what he
was doing, the love for performing, the love for putting
it all into the music and doing the way he
did it. We ain't ain't. We ain't seen nobody black
do that. Yeah, you know.

Speaker 4 (01:48:09):
And who's writing and producing for this.

Speaker 1 (01:48:11):
Artist, Quincy and Rod Templeton. Yeah, yeah, yeah.

Speaker 4 (01:48:24):
That's pretty nasty.

Speaker 1 (01:48:27):
That's yeah, them boys bad Rod Templeton, Quincon Finishy.

Speaker 5 (01:48:33):
So we come to the very very important part of
the show. All Right, you tell us a story, funnier,
fucked up? Are funny and fucked up the only rude
to the game. You can't say no name.

Speaker 1 (01:48:45):
Yeah, so this story, you know, if the cameras was around,
life would be so much different, if y'all would us
artist just you know, a group of individuals that came
the studio to play basketball. It's a group of individuals
that I'm in the studio working with the basketball individuals.

(01:49:11):
They out there playing basketball, they're not paying no attention
to what's going on in the studio. But they are
some kind of way, but they're not really, you know,
and I don't know, Like me, for the first time,
I let all these motherfuckers in at the same time.
I don't know why for the life of me, but
I did. I let them niggas go play basketball while

(01:49:33):
I'm in the studio doing what I'm supposed to be doing,
knowing that's not safe, that's not what you're supposed to
be doing. And one of them found in the studio
that the other one was out there, and then they
had a meeting in the middle studio that was like

(01:49:55):
the most I don't even know how to say. It's
just it's just crazy shit. Ever, the things that was said,
the disrespect, the unbelievableness about this, I was in complete

(01:50:18):
shock in my own studio.

Speaker 4 (01:50:21):
Like so, you didn't know that they didn't rock with
each other.

Speaker 1 (01:50:29):
I did, but I didn't because it's always competitiveness. It's
a competitiveness. We know it's a competitiveness. But to hear
what was being said in front of the person and
they right there in front of each other, it.

Speaker 4 (01:50:46):
Was mind blowing.

Speaker 1 (01:50:48):
And I will never have enough. I will never allow
that to happen in my studio again. Somebody is at
my studio, you in my studio and somebody say they
want to come by artists. I'm now it's closed.

Speaker 4 (01:50:59):
I try.

Speaker 1 (01:51:00):
I had to let everybody in. And this was this
could have been really bad. This could have really got bad.
And I'm just gonna leave it at that. Let people
try to figure this out. But this ship was wow.
But nothing happened. Nothing happened, nothing happened, just disrespect. But
the level of disrespect it was on a hundred, like unbelievable.

(01:51:22):
By the way, there's no way possible that you could
say the things that was being said and get shot
it right, because it's no way that it's true. One
artist is higher than the other artists. Just y'all can
know this is one artist that's that's a you know
what I mean. So it's no way possible that you
can say, Oh, I ain't, I ain't never fuck with you.

(01:51:44):
How how is this possible? There you go, I gotta
know what the is going on? Yeah, what's true?

Speaker 4 (01:52:03):
It was rough for you to make up new rules.

Speaker 1 (01:52:08):
Because I mean, like I said, I never really I
I never thought that this could get to this space, right,
you know what I mean? I just thought that. You know,
of course, everybody's competitive, everybody's making music, everybody trying to
be the start. Nobody's more competitive than bow wow, right
bow wow. Once he's he beef with me. He's so competitive,

(01:52:32):
like you don't It's like, right, so you have people
I'm I'm I'm used to that level because that's what
it is. Everybody around me is they all competing for time,
my time record. So I'm used to it. But this
was this was some other ship. I just didn't I

(01:52:53):
didn't expect it, and I walked in into it and
I was just like, wow, okay, well how we keep
this from being somebody head getting splattered or something in
my studio because I ain't trying to do that. It
was like that. It was just definitely crazy like that.
I don't know if that's the story. I'll want to

(01:53:14):
I can't say no.

Speaker 3 (01:53:15):
I can't say, you know, well, hey, man, manage your
studio space properly.

Speaker 4 (01:53:24):
Okay.

Speaker 3 (01:53:24):
It was done in rival gangs, rival artists, rival group,
controy your space.

Speaker 1 (01:53:34):
Man, make sure you let everybody per j D. Everybody
do what they got to do.

Speaker 4 (01:53:40):
Insurance is to cover the type of ship that can
go down.

Speaker 1 (01:53:44):
Oh God, disgusting.

Speaker 3 (01:53:47):
Man, Brother j D. We are appreciative of your time
as we are as we are fans. First, we are
those who you've inspired. You are you have been our
steady guide and material. You've you've you've you've been the

(01:54:12):
voice and the soundtrack to our lives. You continue to be.
Got that ship out and you're you are one of
the greatest.

Speaker 4 (01:54:24):
Of all times.

Speaker 1 (01:54:25):
Thank you, appreciate absolutely. And you know, my brother, my gosh,
what is one of this one fifty?

Speaker 4 (01:54:32):
Right?

Speaker 1 (01:54:33):
It's what you told me.

Speaker 4 (01:54:34):
It's one fifty.

Speaker 1 (01:54:35):
It's it's one fifty. Congratulations.

Speaker 3 (01:54:38):
We needed you, listen, we needed you.

Speaker 1 (01:54:41):
Graduations. I gotta be I'll be back. I'll be back
because this year I'm putting I'm I'm planning to put
out more records this year then I put out and
probably the last twenty years.

Speaker 5 (01:54:59):
Really ship just this year, you're gonna put out more
record Yeah, I plan Come.

Speaker 3 (01:55:04):
On, I feel good about that. Yeah, I feel good
about come on back there.

Speaker 4 (01:55:07):
You know what I'm saying. I feel good about you.
Get your week. I'm getting it.

Speaker 1 (01:55:11):
You gotta get it a week. I'm signing Division.

Speaker 4 (01:55:15):
Yeah. Yeah, we rock with Division. Yeah yeah, we need
a vision on the podcast.

Speaker 1 (01:55:21):
Yeah, I'm I'm churning them out.

Speaker 3 (01:55:24):
About that collapse. I think I hit him about something too.
I was like, man, you know, if you got something
on them, y'all working, let me get on that. And
he ain't hit me back, he hit you back.

Speaker 1 (01:55:32):
Yeah, there you go. See now I'm coming to you
Division exactly. Yeah, gotta come on, y'alla make sign Yeah
now I'm going. I'm going. I'm trying to go crazy,
you know what I mean. Like I said, I have
a I have a goal if I go something's happened
to me. I want my music plays.

Speaker 4 (01:55:52):
I love that there.

Speaker 1 (01:55:53):
I love it like for I just think that you
know you can't that's a That's the thing that I
want to do. Try to leave a real soundtrack like
my soundtrack that people you could just play this all
this music. That's the thing.

Speaker 4 (01:56:07):
I got an idea. I'm gonna say it on.

Speaker 1 (01:56:10):
Here, okay, oh yeah, I'm doing the Quincy Jones Tribute
to Essence. My Quincy Jones Tribute to Essence will be
the one I believe that everybody's been looking forward to saying.
I thought Queen Latifa was amazing last night doings on
down the road. But what I'm gonna do at essence,

(01:56:34):
it's different than anything that y'all seen as far as
a tribute to Quincy. And it's gonna really tie in
the young people and the older people to understand who
Quincy Jones is and what he was to me as
a musician. And uh, I'm excited about that because it's
gonna be you know, I'm bringing out them. You got.

Speaker 4 (01:57:00):
On?

Speaker 1 (01:57:00):
Come on?

Speaker 3 (01:57:01):
No, yeah, okay, what it is, go go goot without them.

Speaker 1 (01:57:07):
Come on, it's gonna get.

Speaker 4 (01:57:11):
Secret guard.

Speaker 3 (01:57:12):
Come on, yo, hold on, come on, man, James better
believe it.

Speaker 1 (01:57:20):
Man, all right, yeah, we gotta go this. I gotta go.

Speaker 4 (01:57:24):
I'm just sending my tapes under my reel. I'm gonna
get my bar.

Speaker 3 (01:57:28):
I'm gett right, yeah yeah, you dollar held of the ball.

Speaker 7 (01:57:32):
Got out of the bar. Come on, man, you look
like a the bar. What you know we always shout
out bunny, come on, you looking like a bar.

Speaker 4 (01:57:44):
We thank you, brother, man. We appreciate you.

Speaker 1 (01:57:49):
And you're not pro Like I said, I'm pro, keep
r and b alive. I'm glad that y'all got this
I'm glad that y'all got you know that y'all getting
everybody on the show. Uh, when I'm glad that people
coming here, I saw La he didn't even know that
y'all had the whispers on here, like, you know what
I mean. I like the fact that y'all have y'all

(01:58:09):
hitting all. Yeah, you know what I mean, y'all hear
from all angles. That's dope.

Speaker 5 (01:58:15):
And I depend on people like you to make phone
calls that we don't we can't make some times and say,
you know what, you need to go down to the
R and B Money.

Speaker 4 (01:58:23):
Yeah, sit down with the brothers like that.

Speaker 1 (01:58:25):
Yeah, I'll be back when I come back. We're gonna
talk about the whole ten new records. That's my goal, Ladies.

Speaker 3 (01:58:35):
My name is Tank Valentine and this is the R
and B Money Podcast, the authority on all things.

Speaker 4 (01:58:41):
Yeah, R and B.

Speaker 3 (01:58:43):
Yeah yeah for the last thirty years huh and.

Speaker 1 (01:58:49):
Still yeah yeah and the new and the new both.

Speaker 4 (01:58:54):
Of them our brother.

Speaker 1 (01:58:57):
Yeah, thank you. Yes,

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