Episode 238 | XplicitMevon - Corie Sheppard Podcast

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:15):
so everything good, brother, very good.
I like to keep these thingspositive by starting on a heavy
note.
Heavy tongue.
That's the problem.
I realise you're a football fan.
I am avid, avid, avid sports fan.
I love my country.

(00:36):
I support anything that you'renot involved in.
What do you find me lookingdefensively atrocious?
But I love my country, I lovemy team, I love football, I love
the Soka Warriors and I'mhopeful.
I've seen Well, I've seen A fewpatterns I play and I can see
Little improvements.
Yeah, I just think, defensively, we have plenty of room For you

(00:57):
to say that that means you'rereally Following the team,
because for a while now I didn'tsee the team play with a system
that you could pick out and atleast you could see we're trying
a system.
Yeah, you could clearly see ourpartner play.
You could see our identityforming.
It's in there yet, but we getin there and I could see the
little improvements.
Hopefully by the time Septembercomes we can iron out them

(01:19):
little kinks.
But we have work to do.
Yeah, a little improvement islast time we went to the States.
Last two times we get six.
Now we get five.
So that's a little improvement.
I mean we're heading in theright direction, but the Gold
Cup, that's one of them.
That was always a littledifficult for me as a country,
no matter who was the team.
I think it's only very like ahandful of that could have been

(01:40):
Angus Eve times, and then a longtime ago, yeah, angus was one
of the More successful teams.
Yeah, but for a long time, evensince the earliest days the USA
is hosted.
I don't like them.
Artificial turf they play on.
Yeah, because I realize theball bouncing around.
Something was going wrong Withthe play Against the USA.
Man was really slipping To halfof them.
Yeah, that artificial turf.
World Cup yeah, but apparentlythey have it for the World Cup.

(02:02):
You know, what's reallydisappointing is a USA match in
the USA and they say they'realmost like idiot, yeah, idiot
people.
Well, I can tell you why,though.
I can tell you why Because thepeople who support soccer can
get deported.
Man trying to make sure.
Ice announced that they weregold cup.
They said so before thetournament.
I was surprised.
The mexicans show up to seemexico.

(02:24):
That's illegal ones.
Anybody who bought a line ain'tshowing up there at all.
So keeping it positive still.
But our next heavy note how tostart on your doubles choices,
brother.
Yeah well, they're heavy,they're looking good.
To be quite honest, I am a verybasic doubles guy.
I am doing these wildadventures with room to promote

(02:46):
a song we did called bara rightright.
So, in keeping with the themeof the song, we're doing some
promo to not just highlightsmall businesses but, uh, make
it interesting and see whatadventurous doubles it have out
there.
My personal choice I am asimple doubles man.
I prepare everything and that'sit.

(03:07):
That's it.
I see you with the smokecarrying on your teeth.
No, no, I didn't smoke anything.
Oh, you didn't.
I ate a regular Rome andRendellina Try smoke carrying.
So is he editing?
Then?
Correct, you guys see Bennysmoke carrying.
And then I hear you say I takeour base doubles, our basic,
regular china, pepper, sweetsauce, cucumber, simple, basic.

(03:31):
Alright, you're back in my goodbooks.
I don't even eat smoke herringon a general, serious, I don't
like smoke herring.
On this whole fish, I'll eatacra, but I don't really like
the taste of something you'readding up here, but it's buljol.
The texture, yeah, we need that.
So, worse yet, in our pizzawhen our doubles, yeah, yeah,
that's the thing with me.
That's the thing.
If Italians say no pineapple onpizza.
We care for smoke, iron anddouble.

(03:57):
We can't do it.
We can't do it.
That is weird to me.
Beef, you know that.
But I had the ham and it wasalright.
I see you promoting the ham.
I had the ham doubles.
This is on moon kukuro days,right, right next to St
Anthony's church.
Oh, that's where they are,right on the belly opposite the
pan, you know there.
But right there, fat boysdoubles.
So it was trying.
No, as I said, I am a Degoperson, born and bred right, so

(04:19):
I grew up, they go in my life.
Um, that ham doubles has beenin existence for a while, no
serious, but I was neveradventurous enough to try
because to me that is craziness,sacrilegious, almost to to put
ham in doubles, right, but wedoing this promo and rumors like
goodbye, let me go now.
And it's like you know whatI'll go.

(04:40):
And I mean, as I said in myInstagram video, people, let's
eat ham and cheese.
Right, in Trinidad we actuallyeat chana and cheese and hops by
Nix, right, so we eat chana andcheese, we eat ham and cheese.
So the flavours of ham, chanaand cheese together is not that
weird if you think about it.
I guess you're right, yeah,it's not that weird.
Ham and cheese is a thing.

(05:02):
Then a lady on Bones Road usedto sell the same way you sell
aloo pie with chana, she used tosell cheese pie with chana.
It's called peas and cheese andit's good on good.
So chana and cheese is a thing.
You never want nicks in car,yeah, yeah, yeah, nicks, hops.
Chana and cheese, that's athing.
We used to lie central side boy, not a club, it's a restaurant

(05:22):
in the day in the center club,la Penca.
And when you're leaving LaPenca that's still around.
I don't know.
Yeah, I think it's still likefree ports, yeah, free ports.
So you gotta go back under thebridge and come back up through
the back and tell some men afterLa Penca to go in with some
powder, have some hops and chan.
That weird.
But I mean, when you look at itis look weird, and I think

(05:44):
hearing it is somewhere indoubles somewhere.
But I'm not promoting nobodyhere.
But the flavor of the ham had alike a, a little saltiness, a
little elevated flavor to it andthe texture of it wasn't meaty,
it was thin slice.
So like when it is, you grab,you grab a scoop of chana and

(06:05):
you really taste it.
I'm with you, I'm with you, I'mwith you.
So I would say, try it.
It's not something I would goand be like I feel like I'm for
ham doubles.
Nah, bro, try it, it actuallytastes good.
Yeah, I like the idea of, andculture and culture, yeah, the
food and the music and all themthings, exactly.
Yeah, that was one of thethings I decided to.

(06:27):
Well, roman and I work very,very closely.
We are not just artists who Iwork with, but he's my personal
friend too, and we alwaysdiscuss ideas of how we would
promote and just improveourselves as producer and artist
, that kind of thing.
So we wanted to improve thecontent game, just improve

(06:48):
ourselves as producer and artist, that kind of thing.
So we wanted to improve thecontent game because people want
to fall in love or they want toconnect to the person it's not
an artist who is untouchable orunreachable Get them.
This done right.
Exactly, you have to show yourperson your personality and
knows.
Rome and I, we have very strongpersonalities.

(07:10):
We're very I don't know two onone, but we're very charismatic,
very friendly.
We could go anywhere, as I say,we could fall in and make
friends like that is no, it'snot hard for us to to express
ourselves on camera.
So we just decided to come upwith creative ways to show that
and still promote the musicwhere it's not like, oh, they're

(07:31):
going streaming music rightthrough.
Yeah, it's kind of boring and Idon't want to book anybody
exactly.
So we make it a kind of umpopular culture or social thing
where people engross with whatwe doing right and also hear the
song as well too.
Now.
So it's that kind of balancewe're trying to find where it's
not like, every day, go andpromote my song, go and stream

(07:52):
my song.
It's like, oh god, that's good.
So all you're working togetheron not just the concept for this
song but also marketingeverything.
Yeah, I see music, video, socialmedia, artwork, lyric video,
everything.
And that's how I am as acreative.
When it is I make beats or Imake songs.
I actually see visuals.

(08:13):
You know I do my own artworkMost of the times.
I do my own artwork, you know.
So I was like when I hearthings, I actually see colors.
So I kind of know the mood ofthis beat.
It gives me like dark energy or, if happy, I'll think bright,
red, yellow, orange, purple.
Now, and that's how my brainoperates now, boy.
So I try to envision that.

(08:34):
So when it is sometimes I tellsomebody to do something and
they can't execute it, I'll justdo it myself.
You're right, you know, andthat's how I am, because in my
mind I already have a vision, ofcourse.
Yeah, you see, in the end point.
I seen it.
So, and room is like that withmusic videos.
If it is he do a song with me,he don't see in storyline
location who we want to be like.
I need this girl, I need thisfella, I need this prop, and

(08:56):
that's how we are now.
So it's a real, thatinteresting dynamic.
When it comes to working withwith room, because it's not just
about the music.
Is that's typical for you?
Working with artists?
Yeah, I, I am very hands-on inmy projects and, as I was
telling you before, like I, I'mvery involved in music video
shoots, artwork.
Yeah, mix, master, beat,recording your kicks.

(09:17):
A careful day again.
You see that I cannot go backby.
Mevon Kiggs could check meanytime.
So, for people who might knowMevon, you only hear explicit.
You used to hear it a lot withSoka Parang.
Fast forward to today.
When people hear Mevon Sudeen,you get immediately attached to
Padi, which is not just a roadmatch but one of the biggest

(09:39):
road matches we see in a long,long time.
I want to come back to that.
I want to understand how youget into music in the first
place, right, and that's a realinteresting question because the
answer is not as cool asprobably people think it is.
Now, right, I didn't grow up ina family of musicians.
I didn't grow up with anymusicians in my family.
My parents were very regular.

(10:01):
My parents were very regular.
They worked regular jobs and Icame from very humble beginnings
.
I didn't have no instruments,no musicians, no singers,
nothing in my family, nothing,none, none, none whatsoever,
right.
But I went to Mokorapo BoysPrimary School and I think going
to school in St James exposedme to the culture in a kind of
way.
St James does make everythingbetter, yeah, so I went to
Mokorapo Boys.
Expose me to the culture in akind of way.

(10:23):
Listen, james does makeeverything better, just want to
add that to it.
So I went to Mukarapa Boys andthe students who were in my
class Huse, tassa, trummin,culture, even the teachers like
learning the folk songs and allthem Anansi stories and all that
kind of thing.
Like the teachers who werethere really exposed us from a
very young age the culture andthe folk side of Trinidad,

(10:47):
learning about all them.
Man go over, man go tell me,man don't send me though.
All them kind of songs I wouldhave learned in primary school,
big up, miss Brong.
Miss Brong was from Bond Road.
No, she was just my first yearand second year teacher, but she
was so involved in the cultureand the arts itself that she
really um, exposed us to thatnow and, as I said, like a lot

(11:12):
of these students who were inthe my classes, they would have
been living, born through, right, of course, in saint james, and
then anybody grew up saintjames, no, but who?
Anything, and it's drumming.
So that's when, when they comein class, everybody, yeah, and
everybody drumming.
So I know I don't want to loseout it's that boy school I go in

(11:32):
, you had to learn to drum too.
You can be on the outside,exactly.
So I started learning to drum,beat, desk and thing, and they
say, wait, I fall in love withthis now.
You know so, you know.
So.
I think, when I think back atit, that is where I really got
exposed to music and reallystart to listen to music in a
different way and then fastforward to that.

(11:54):
As a teenager I went to St JamesSec, right.
So more Crabbo Boys, more StJames Right.
And when I was growing up, thecool thing as a teenage boy was
to be a DJ, right, right.
So I had my friends home andstuff and then going to school
and we had our little songsystem, you know, and it was
explicit songs.
That was our name, and thereason why we had the name

(12:17):
explicit is because long timewhen you're by a city you used
to see parental advisor explicitcontent and nobody well used to
see parental advisor explicitcontent and nobody well.
I didn't like to collect nocents at version.
I wanted the raw thing.
I wanted to hear what the menhad to say yeah, that's what
it's all, yeah, so when I listento DMX and Jay-Z and things as
a child, I don't want to hear noedited version, 50 cents.
I wanted to hear the rawversion.

(12:38):
So explicit was a word thatresonated with me and then when
I got older, I really understoodthe deeper meaning of the word
explicit Right, right, I don'twant to get into me yet, but
that's what we're here for.
Yeah, I guess, I guess, I guess.
But explicit means to be verydirect and unambiguous, right,
very straightforward, andanybody who knows me personally

(13:00):
knows I'm very outspoken andvery straightforward.
I what you see is what you get.
I am not afraid to speak mymind and see it as it is.
So I feel like that word has assomething special when it comes
to me.
Lots of people look at explicitand be like cussing and
whatever.
Yeah, that's what you think.
But explicit means to be direct, of course you know.
So just take some cussingsometimes, sometimes, if need be

(13:22):
, if need you know.
So that is, um, that is whatthe, the word and the name came
from.
But from djing I started tolearn to do remixes.
So I would download likeinstrumentals, right, like like
famous instrumentals and famousacapellas, and let's do little
remixes myself.
He was doing the plating andthat kind of thing.

(13:42):
Because no, no, no, no, no, Iwasn't, he wasn't retro, he
wasn't making a movie, he wasjust dub plating and that kind
of thing.
Because no, no, no, no, no, Iwasn't, he wasn't retro, we was
just doing house party and thing.
And we was on girls, right,yeah, I wasn't on no clash thing
, we was just on.
Hey, it's cool to be a dj withyou and my three, four partners.
We just have a little computerand thing and cds and cd case
and the cassette and go in themarket and flea market and

(14:02):
buying all them sizzler tape andwhat kind of.
When I'm watching you onlineI'm sure you don't know why is
that cassette?
Bro, I'm 38 boy.
Yeah, yeah, yeah, yeah.
So that's the thing.
Um, I grew up under that.
So when it says we started doingdj thing, I learned eventually
how to start making beats.
A childhood friend of mine gaveme Fruity Loops 3.

(14:26):
I remember it good and Istarted to make beats and I
would take like a Jay-Z or a 50Cent acapella and put it and
make a beat around it, soundinglike a real trash, yeah, but I
was so proud of it I burned iton a CD and I played it to my
diss.
Man.
And what people tell us to doin school, oh, they hear this, I
make this.
It's like wait that real man.

(14:46):
And then take the gas up, takethe gas up, take the gas up.
For years I take the gas up andI just started to enhance that
skill of making beats.
So you learn that.
How are you learning to do ittrial and error, yeah, and
nobody didn't teach me it had noyoutube.
Youtube was probably in funstages at the point in time.

(15:07):
Yeah, you know it wasn't abouttutorials and things at the
point in time, so I wasliterally trial and error, um,
but I loved it.
Now I love creating and I thinkthat is when I really started to
explore the music side, becauseeven before that, in school, as
a creative child, I always usedto draw and I could still draw

(15:29):
up to this day.
So your family draw anything?
No, none of that.
I live normal people.
Boy, it's not no artist.
It's not no artist.
It's not no singer, no musician.
The only musical instrument youcould find in my house was a
recorder, because my father andthem had to buy it.
A recorder, a thing of posterpaints and a sketch pad and a

(15:56):
geometry pen.
That is me, but I used to likethat.
So I used to paint and draw.
My mom had shown me recently aBible from when we was younger.
In the back of the Bible is allkind of Ninja Turtles.
I draw in the back of it andit's still there.
You must keep them things.
I have it Good, good, so I justshow in the ice in church.

(16:17):
We are six, seven, and I drawin Leonardo and Donatello and
things.
Ninja Turtles was my favoritecartoon growing up as a child so
I used to be drawing NinjaTurtles and Street Fighter and
all kinds of things, becausethat was the time.
It's Nintendo, of course,cartridge, yeah, cartridge,

(16:38):
blowing them tapes, people mightknow it, yeah.
So that is the era I grew up in, so I started to draw the
characters.
So I always had a passion fordrawing.
Guys, we're doing the artworkand thing, must we come out to
film?
Yeah, when I left St James,well, I did art for CXC too.
You know, I see I loved the.
I did art, technical drawing, Idid them kind of subjects.

(17:00):
But music you never continue ineducation.
Music in school was boring.
Music in school was boring andI mean, thankfully enough, I
used to go one or two of theclasses so I retained some
knowledge.
So I know where's an octave anda quave and a semitone and I
learned the basics and I mean tothis day I use that basic
knowledge, you know.
But I wouldn't even say if Icould do it again, I would

(17:23):
because my experience in schoolmusic, music was real teary and
real boring, you know, for me,and it was your recorder and
piano and it wasn't cool for me.
No, you know, when I go in theart room and we could paint
people and go out in the yardand paint a tree and paint
people and draw people and itwas just more cool, it was a

(17:44):
more creative, expressiveenvironment.
And you're not being judged now.
You know.
So, in music, if I don't knowsomething that people who was
real good in music they'remaking me feel dumb because I
don't, you know to them.
You know, I don't really know,I can't really read the music.
And, yeah, your manuscript andyour drawing, treble, clef and
eyes.

(18:04):
I want to put it on record,right, that, uh, while we're
recording this today, I wastelling you before we started I
put out an episode kennyphillips episode out this week
and I put an episode about thekenny phillips episode.
Right, I want to record that.
I recorded that before wetalking now, right?
So when we're done here, we'lllisten to that, right?
Yeah, because the more I talkto musicians or people like
yourself, you're all shapingwhat the culture is, right?

(18:27):
Yeah, the same way, you'rewatching Kenny Phillips and you
tell me, boy, this episode willbe good.
You don't understand that veryyoung children will be saying
that about you.
Possibly, possibly, noguaranteed they're going to talk
about you in the same way.
Yeah, I talk to y'all who doingit now and the people who've
done it, who I idolize them.
All of them say music theorywas boring.

(18:47):
Yeah, but it's in pan, it's inproduction, it's artists, almost
all.
I ain't saying they don't havethe formally trained ones, but
it must be something we could dodifferently with education,
with children, exactly.
And I think, moving forwardlike now, in this modern, modern
age, with all the tools andtechnology available, I think
there's a real cool ways toteach music.
Now, of course, you know likeeven learning how to use logic

(19:08):
or build a beaten, fruity loopsor whatever is, is a more cool,
modern way.
That is not go in a classroom,pull out your manuscript, play
mary had a little lamb on therecorder and then what is this?
No turn to remeave, come on,that is boring.
And I look in all the windowand I seen people in in in the

(19:33):
art room and and metal work roomand the woodwork room and the
girls cooking and I mean, I wasnever really a a trade kind of
person, but music was justboring to me in school.
Something you say, unlock,something for me too, because
you're right, I could understandnow where art it's just more
practical, the music we're doingnow.
Not practical, yeah, it's hardto apply because we remove the

(19:56):
music and reduce it because,okay, so mango ver, mango tea, I
read, that is vibes.
I went new town boys and thefirst time I hear that and they
put you with new-tongue girls.
I have a solo to sing boy inQueens Hall, right, yeah, and we
rehearse, rehearse, rehearse.
And coincidentally, my musicteacher in new-tongue boys was
Artie Di Cotto's sister, muldiCotto, and she of course is real

(20:18):
focused on one thing.
So we have mango there solo tosing boy.
But all the rehearsals we dothey never bring the newton
gills and them who's supposed todo?
Right, walk around like they'reselling the mango.
You know I can't sing.
Yeah, when I see the thingwalking I said all singing gone.
Yeah, there's a little boy.
You're intimidated.
Of course you see gills for thefirst time.
You know boy school.
So, apart, apart the way you'resaying about art, is that

(20:39):
actually drawing the landscape?
That is ours?
Yeah, it's helpful, but inmusic we don't draw the
landscape, we don't.
The closest thing to that waswhen they introduced pan.
Yeah, you know, and, and I, Imean I said it right, I went to.
I went to school late 90s,early 2000s, right.
So pan wasn't cool, pan was oldpeople thing too, so it was

(21:03):
it's balancing the recorder andthe steel pan, yeah, and a
manuscript, yeah, and they golose.
You Come on, yeah, yeah, yeah,as a child, we the internet and
thing, now it's not coming.
So the IT lab and thing Was newand it was fresh, right, so I
wanted to go and do IT.
I wanted to go in the computerlab, more current, yeah.
So I did art.
I didn't do IT for CXC becauseit was not available at the

(21:26):
point in time, right, right, orat least I couldn't get in.
I chose art.
So I did art and stuff and Iwanted to do the cool subjects I
went to.
If you talk to little trend orwhat, you don't want to do
something that's cool, yeah, andit was appealing to me now, boy
, so that was why I decided.
So.
As I said, art, those things,drawing, painting, that was my

(21:50):
form of expression at the pointin time, until I started picking
up the computer and learn howto make beats.
So when you're making beats,when was the first time you
reach one?
Now, because you say man wasgassing you up, when you know
you had something, you see yourealizing that.
Well, I used to rap too.
Ah, so when I started makingbeats I started to express my
creative writing and I startedwriting songs.

(22:12):
And, as I said, growing up inthe 2000s the music of choice
for the youths was hip-hop music.
50 Cent, ja Rule, eminem Jay-Z.
So you started off as a hip-hopman, a hip-hop man Serious
Eminem Jay Z.
So you start off as a hip hopman, a hip hop man serious.
I still love R&B and hip hop tothis day, you know.
So I grew up on that.
And then it was the other sidewas like real conscious,

(22:32):
conscious music.
It was Capleton, sizzler, andthen it suddenly turned down.
So it was Elephant man, beanieman, that kind of thing.
But I wasn't really intosinging that.
I used to go party and sing anddance and that kind of thing.
But for me personally it waseasier to get a hip-hop CD or a
hip-hop tape Right.
The only dance I used to getwas when Ducktide and them do

(22:55):
the Dub 7 and Dub 6 and Music3000.
You remember that boy At all?
Yeah, bro, I was a music man,bro.
I had real cassettes and realCDs.
I still have a CD case home,right right, with real burn CD
too.
So I used to download my music.
That time downloading music wasa new thing.

(23:16):
Yeah, limewire, limewire,napster, lime Beer, share, all
them kind of thing.
I was on all of them things.
So I get real virus and things.
Yeah, this is a computer virus.
Spend a whole day to download asong and it's your own thing.
What do you mean if it's thewrong thing, man, you still

(23:37):
label.
You know what?
Yeah, it's a real chain up here.
You remember when soldier boyused to label everything wrong?
Yeah, you support us popularmusic.
When he downloaded Soulja Boy.
Yeah, that was same.
I download real fake thing, ofcourse.
Of course that was the era.
That was the era that.
So I grew up when there wasocean, that downloading music,
pair to pair all that kind ofstuff.

(23:58):
But when the internet was new,right, right, right, you know,
so I was.
I was one of them early peoplewho was real involved in that
and that was cool to me, ofcourse.
So I just find all the coolthings that was cool to me and
apply it in one, which is thecomputer, the technology, the
music, expression, the art,drawing, painting, and I found a

(24:19):
way to bring all those thingstogether.
So so I started to write my ownmusic, sing my own music, make
my own beats, and I mean, Ididn't really.
I did a short Photoshop coursewhen I left school, so I had
some kind of skills in doinglike graphic design.
So I kind of did that and wasdoing little promo artwork for

(24:44):
myself and things.
But the nice thing is that wasfun, that was fun, that was just
fun.
I wasn't doing that to sell, Iwasn't doing that to become an
artist or anything, I was justexpressing myself.
Now, you know, and I think thatreally shaped the way for where
I am now, because, as I wassaying earlier, like when I do a
song, I'm not just doing thesong, like I'm involved in the

(25:09):
writing of the song, thebuilding, the beat, the mix, the
master, the artwork, the musicvideo.
Yeah, I operate it like a label, a one-man label, but I guess
you start off there in a way,because if you start by building
your beats, then you put a flowto it and all that and
recording myself.
I learned to record myself.
I download CoolEdit Pro.
So how are you recording?
Then, boy, I had a computer mic, a white computer mic thing.

(25:33):
I had it on a shelf and I hadlike a, a candle or something
balancing it when it fall, and Iwas there with my headphone on.
I have a picture.
Yeah, you must send it.
I'll try to look fit on adigital camera.
They don't even know, theydon't even understand digital
camera.

(25:53):
Yeah, I like that.
I like that, join me.
But when you're doing that andyou're flowing for yourself and
stuff, you're exposed to the rapworld, because you're talking
about a time where, yeah, plentyof people rapping there.
Yeah, as I said, that was the,the zest of the dancehall of my
time.
It is it.
And then it was accessibility.
When you go to a cd store, justcds and them kind of place you

(26:14):
understand it was, it was eitherdoing rock, pop or hip-hop.
Yeah, for sure it didn't reallyhave dancehall albums.
It was more djs who, like DrHyde and them who were doing the
little mixtapes on cassettes.
Dr Hyde, papa Rocky, chineseLaundry downtown outlaws, it
used to be them Correct.
And again, them thing in Maxi.
Yeah, of course, when they goin the Maxi, that's with a plane

(26:35):
, of course it was different.
And jugglers you bringing backmore memories.
Yeah, yeah, jugglers.
I used to travel to go toschool.
When I, they go to St James,everybody cool, hard pong maxi,
come on, come on, that was theera I grew up on.

(26:55):
So I'm walking up to St Jamesand waiting for certain maxi and
thing, because that is wherethe vibes is, and sometimes the
maxi and them pulling up outsidethe school and waiting.
Yeah, of course, so they've gotto go fast.
Yeah, but that was the vibes.
Now, boy, so I, as a teenager,I, I was just always in the

(27:16):
vibes.
Yeah, I always wanted to be withwhat was cool, what happened,
you know, and I never reallystrained to no badness or
anything.
You know, I was always astraight and narrow guy, but
always fun, always wherever thefun is, and if I realized it
kind of getting shaky, I had asim with somebody or something.
Yeah, it's always getting scary.
My parents grew me up real good, so grow me up real good.

(27:36):
So my moral compass was alwaysmagnetic, not, not, you know,
when you see troubles and stuff.
Yeah, yeah, yeah, when Irealized I don't smoke and thing
, you know.
But I don't condemn people whodo, of course, it's just at the
point in time.
That never appealed to me.
That's not your thing, you know.
So I was very what I wanted todo.

(27:57):
And when you say what youwanted to do, I wanted to be
creative.
So you're not seeing yourselfthen as producer or this or that
, you just know you want to becreative.
When I left school, I wanted tobe an artist.
I wanted to be a graphicdesigner.
Okay, got you.
Because I felt like that was myform of expression that brought
me the most happiness at thepoint in time.
You know, when I I I leftschool, I got a two in art.

(28:18):
Um, I didn't do it for cxc,right.
But when I left school, I neededto do something and sam's just
offering uh, it degree, right,and it had multimedia in it,
right, and that was the the xfactor for me, because you was
offering it too, but didn't havemultimedia.
And I I felt like if we, if Icould get IT and some kind of

(28:41):
graphic multimedia kind of thing, I'll go there now.
So I went there and it didn'thave enough people to do the
course.
Oh, they had to drop the course, sam's was famous for that.
So I get the chin up.
But, in all fairness, I stillwas doing something that I
wanted.
Fairness, I, I still was doingsomething that I wanted, right,

(29:02):
because, as I said, I would havejoined samson 2004 around there
, right, and um, that was earlyinternet days.
Yeah, that was early technology.
Social media yeah, so it was aworld that was new, you know,
and I was really intrigued by itand stuff.
So I did my degree in computing, information systems, okay, um,
graduated first class, yeah,yeah.
And then I I started working inthe ministry education, well,

(29:24):
tertiary education at the pointin time, doing it, doing it, I
see, yeah, so I worked there for11 years, yeah, yeah.
So all then you're still tryingwith music, yeah, so I was
doing him, as I said, I wasstill djing and stuff and then
still building my beats, andthen I was one who was the hip
hop scene then with you because,right, so at the point in time
it was just partners, you know,like neighbours and things.

(29:45):
Everybody wanted to rap,everybody wanted to be hot.
That was the cool thing to do.
So we used to make beats andrecord, and sometimes I'd record
it late in the night and I Iwake up early to go to work.
So I go in and sleep 2 o'clockand I wake up 6 to go to work.
You know, every day and I'mhappy, and I'm glad, I'm real
happy, and I burn a little CDplayer to my car.

(30:07):
Then I know my little putt puttand I drive into work and I
play my CD player and I play myown songs to my song, come on,
you're getting good feedback.
Then people realize you havesomething.
Yes, like that Israel gas andI'm taking it.

(30:30):
Why not?
My tank on E full mop.
You know I'm taking all the gasbecause I got the point in time
, but I think that the gaseventually turned to premium
because here we are now.
Yeah, boy, you know I taken allthe gas because I got the point
in time, but I think that thegas eventually turned to premium
because here we are now.
Yeah boy, imagine that, boy,you ever thought that then,
never, never, never, no, until2010,.
2010 is when I said you knowwhat I want to take this a

(30:51):
little more serious, right, andI decided to convert my bedroom
into the studio where it is now.
You know, where my studio isnow is where I grew up as a
child, I see, yeah, and I movedinto a back room, a guest room.
Yeah, I know guests come in.
Yeah, the guest now is thebiggest artist in music,
straight from the island to makehim become the guest.
Yeah, I live in any guest roomand it's today's my old

(31:13):
childhood bedroom, understand,yeah, understand.
And I made the renovations from2010 to now.
So I would slowly but surelystart like I'd buy a computer,
I'd buy a Mac, I bought thespeakers, the mic, the mic stand
, a couch, the padding for thewall, the flooring, the ceiling.
So all this time, even thosethings, you self taught because

(31:35):
you had to figure out how todeal with sound and all that.
Well, the internet started tobecome a little more helpful,
right, so YouTube really helped.
And then I would have asked alot of questions, sure.
And then, in between that, Idid the course in star
broadcasting, okay, but that wasthis could not be like seven,
ten years after, okay, but inbetween that, I was just buying

(31:55):
what I could afford.
I just looked for Google andsee what's the best mic for 500
US or 300 US, because I wasworking.
So I just saved my money.
And if I had a 3000 TT, I wasgoing to buy a mic.
This song is surreal to mebecause most people who tell
stories like these have thebenefit of a father who was a
musician or a mother who had astudio or somebody who used to

(32:17):
play.
So you're just figuring out allthis on one one.
So what are your parents sayingat this time?
They're supportive, theyunderstand.
I still live with my mum.
My mum lives with me and shewas always supportive.
But once I was getting introuble or trouble not coming to
us, you know, she was very much.
And once I'm making what's thatone noise, even though we

(32:40):
making music, yeah, there'snoise.
You know, it's not real, lord,we're disturbing her life now,
you know.
And then she knows her sondoing something positive.
You know, the biggest concernshe had is when I decided to
leave my job.
With my job, yeah, because myparents sent me to school.
I had my degree and I just Iwork 11 years in ministry.

(33:02):
I I left 10 years.
I moved my way up from atrainee to a network specialist.
I left ministry education as anetwork specialist, you know.
So worried, yeah, so I wasliving two lives.
I was had my it career and Iwas doing music part-time
Because that was my passion.
It was an expensive hobby, ofcourse, but I was getting my

(33:23):
salary and buying equipment.
So, from 2007 to 2018, that's11 years, right, 20, yeah,
that's the duration of time Iwould have spent to buy all my
equipment and convert thebedroom into a studio.
But at what point did you leavethe ministry?
2018?
, 2018?
, 2018, yeah, oh, wow, republicDay, 2018.
Oh, yeah, yeah, yeah, Very,very, very, very poetic day.

(33:45):
Imagine that yeah, republic Daywas my last day in my contract.
Wow, and they actually offeredme a next contract and I refused
it Because I was on short-termcontract for a long and with and
with short term contract, I hadno benefits, you know, I had no
vacation, I had no sick days, Ihad nothing.
But they make it easy for youto leave.
Yeah, I realized, I realizedthis wasn't for me.
I fighting up for the bareminimum.

(34:06):
I mean, the salary was good,but I wasn't happy.
But between 2010 and 2018,because you say you're a hip hop
man, but the first time Ihearit is to do with Soka Parang
.
The Soka Parang came in asearly as 2010 and thing, when
did that start?
Nah, the first Soka Parang.
I was having fun, bro, and thatwas the first.
That was 2012.
I see, 2012 would have beenwhen I met well, I shouldn't

(34:31):
even say met when I started towork with Brave Boy Mark Hardy,
I see, right, and Eddie Heights,when I was working in ministry,
young Rod Isaac, the brother'sson, was a trainee there.
So I start, that's when I metIsaac and we started to line.
So I used to go home by him andRod wanted to be a rapper.

(34:53):
Yeah, I was rapping.
Then, right, he was rapping, hestill does, he still does, and
I'm making hip hop beats and youdoing rapping.
You're a rapper or want to be arapper?
You gotta line.
It was a friendship that waseasy, sure, and then, on top of
that, marcus was now starting toreally explore his artistry,

(35:14):
right, and he was doing all kindof genres.
He still does, right, you know,and he from Pity Valley, I from
Degon, martin Rod live in PityValley.
Of course.
We had a lot of mutual friendsand he came at me to do
something for individual Keegan,simon, right, that promo thing,
yeah, and he's like I need astudio boy, I need to record

(35:35):
this.
And he came, and your boy andhe to record us and he came and
from then we started to developa proper working relationship.
Now, you know, and then, as Isaid, rod was around me at the
point in time and I just madethe connection for two of them
and I was like, yeah, I was like, hey, well, how are you doing
this, rod?
You doing this, I'm makingbeats.
Hey, let me do somethingtogether now.

(35:56):
And that's when we started towork, and it's would be 2012
around there, right.
And then Christmas time, yourboy making beats.
I was like I want to make aparang.
So I, where did that come from?
Right, I expect him to meet aman who come from a parang
family.
No, as I say, my parents wasregular people, regular, regular
people.
Yeah, you saw me painting fenceand door and gate and washing

(36:18):
down yard and wiping the window.
I grew up doing all of that,very humble beginnings.
Right to this day, my motherwould still ask me to go and
clean something.
Sure, sure, sure, you know,because she needs help and I
will do it, of course, becausethat's the relationship we have.
That's, mommy, you know so.
But when you're doing themthings, it's parang plain, you

(36:40):
read.
But when you're doing themthings, it's Parang playing the
radio on it's sweet 100, 105them kind of thing playing, and
to me that added to the vibe ofChristmas now.
So I grew up in a householdwhere playing the radio was very
normal, you know.
So on a Sunday it's gospelmusic playing on the radio,
carnival time it's soccerplaying on the radio, christmas
time it's Parang playing on theradio, and a typical Trinidad

(37:01):
household, yeah.
So if bread baking and hambaking and thing and paint
painting music playing, ofcourse, and it's parang music
was playing at the point in time.
So, um, it was just a Decemberor September to December.
I was home and music was playingand I was like I just want to
be creative and challenge myself.

(37:21):
I want to make a Parang song ora Christmas song, you know, and
the people that were wrong atthe time was Mark Hardy, young,
rod Steph Kalu, like these kindof people was all wrong because
they were now getting into themusic as well.
I chained them up.
I was like, hey, let's have asession and let's have vibes,
and the beat was horrible.
It even sounded like a parang,but you do it.

(37:44):
One thing I actually figured outnow is that from small to now I
was doing what I like.
I was doing what made me happy.
Now, and at the point in timethat made me happy to do it, I
was just so excited hey, we'redoing this, we're doing that so
much.
So we all pitch up and shootour music video for the same
time a medley bro, a sevenminute medley off our kicks, I

(38:08):
like it.
I shoot our music video, I likeit.
So that's just showing themlike I'm the kind of person when
I go in and I go in all inthere, I'm not going, I'm not
half-stepping at all, and Ienjoyed that.
And that experience really mademe gain confidence in myself and
I was like, if I really try todo this properly and get a

(38:31):
quattro man and get a guitar manand get a bass man and things,
I could probably do this.
You know, because I can't playno instrument.
I mean, I didn't grow up in amusical.
Also, I grew up on a hip hop.
So hip hop was very programmedand samples and things.
Me no, remember Quattro andthings.
I didn't even have a Quattro.
So I went and bought a Quattro.
Seriously, yeah, I went andbought a Quattro.

(38:51):
I said, but if it is, I don'tknow anybody with will have one,
a silica plate.
I can play one or two chordsnow, but to say I could stand up
and run through.
I know about three chords andI'm bad.
Yeah, I know about three chords, my strumming a little off.
But I, I have a quattro for thestudio, an electric one too, so

(39:12):
spend more money.
Yeah, so it was an investmentfor me to At the time to learn
it, which went out the door, butit became when Keegs and them
come, they could play Quattro ontheir own song.
I was about to say, learning itmightn't just be playing it.
Yeah, so it was an investmentfor me.
So I did that and I have a fewguitar players, friends, and I

(39:36):
called them over and I was like,yeah, I want to do an actual
song In Parang rhythm.
And at the point in time Romehad now started to do music.
But he didn't really want to doParang either.
But this time you know Rome andthings like that you don't know
.
Marcus Hardy introduced mebecause the Messiah, he see men.
So he was like, hey, my partnerwant to do Parang, parang and I

(39:56):
just want to do something Music.
And he introduced me to Rome.
I didn't know Rome At all andRome is.
Rome grew up in Malaba.
People think Rome but it's agold spoon In his mouth.
But Rome grew up in Humblebeginnings too.
Trinidad and Sons Was yourlight skin.
You had it Correct, exactly.
So you know what people?
Let's tell me that People arelike you'd be like boy you.
You grew up in Westmoreland,you grew up in Antony.

(40:18):
Oh yeah, the west.
Yeah, you grew up in Fatimant.
I'm like bro.
I went to St James, I went toMokra, you know.
So that's let everybody knowthat.
Israel humble beginnings withme and I met Rome.
So when I met Rome, throughMarcus, I had this new rhythm
and that's when we did Licka.
That was the naughty or nicerhythm, right, and same Marcus

(40:40):
and Rod and everybody jump on it, because that was the people
accessible to me at the point intime.
Right, I didn't really try todo no bar run or nobody.
I was just like I, helping myfriends and whoever wrong and
willing to go on the train.
We going Mm-hmm, and the buswent full steam ahead.
Oh, boy and L, and the bus wentfull steam ahead and liquor
became a thing and rum became athing.
So that's your first time reallyhearing a song on the radio and

(41:01):
all them things.
Nah, the first one played onthe radio too.
It was playing, yeah, explicitChristmas radio.
I see, yeah, that played on theradio and things.
To this day Rod's song is stillplayed, and hard.
He won't stick the clove in hishand Because, honestly and
truly, it was a real cool doublemeaning song and it was

(41:21):
original.
Yeah, no one ever sing mustsing.
No Clover in the Ham, of course.
Yeah, unique home mommy feelingat that time when she hear my
mother loved Christmas.
So I, and I think, honestly, Ithink Christmas is my favorite
time of the year over Carnival,yeah, and I born in Carnival.
My birthday is February 17th.
You know when is my birthday?
February something, dude, 17th.

(41:41):
You lie, all right, check it.
Corey Shepard, your birthday isFebruary 17th, same day as
Michael Jordan and my birthday.
Don't go there.
You see February 17th, imaginethat.
Yeah, yeah, yeah, yeah, yeah,yeah.
I born a carnival Sundaymorning.

(42:02):
I born a carnival Tuesday.
Look at that, look at that,look at that.
So I born in it.
Yeah, boy, but Christmas is.
I love Christmas, boy.
Christmas is just giving me adifferent feeling.
Now, boy, I feel like Christmasis family, is a very.
I'm a Catholic too, you know.
So Christmas has a deepersignificance.
I'm not saying I'm the mostreligious person, right, but

(42:24):
growing up as a as a Catholic,in a Catholic household,
christmas time was important,yeah, you know.
So I love, I love the spirit ofChristmas.
I love the spirit of Carnivaltoo, sure, but I feel like
Christmas is more when, like thecountry is actually like
families come together.
Yeah, it's a difference, it'sfeeling.

(42:45):
Yeah, the country is feeling alittle different for Christmas,
and it's not just Christians,it's the country.
No, it's that very, veryTrinbegonian thing.
Yeah, because when you, the moreyou talk to people, you must
ask them about the religion.
You see, the religions we comefrom, they really shape the
culture a lot like it's somewhatdoubles and thing in the
beginning, but the religion, thefood, the music, all that's

(43:05):
part of it's.
Because look how, look how yousaying you're catholic but
you're saying that your musicstart from who say, yeah, you
know, when you think about them,things we live in, peaceful,
but things that cause othercountries to be at war.
Some of my best friends inschool was Muslim boys in school
.
They were Muslim and because ofthat, as I said, it's Tassa and
Hussein, and they kind ofexposed me to that.

(43:27):
I didn't know nothing, one ofHussein.
But what I like, what you'resaying, is that you keep going
back to this.
It's inspiring, to be honest,when you say but I was just
doing what I like, yeah, and atthe point in time it wasn't a
conscious decision, it was notconscious, it's just normal.
I'm just saying I was alwaysthe kind of person to just do
what I like, of course, andfollow that.

(43:48):
So from then, you and Romeinseparable because they created
a legacy over the next maybe 10years, even that nobody had
that on the cards.
Serious, rome wanted to do Soca, really.
This room wanted to do soca,really, yeah.
So you just tried it, he justtried it and once again, the
vibe was right.
And then, same energies, whenthe woman I met, we realized we
were real similar, very selfish,very easy, friendly, easy going

(44:11):
, and it was just a real easyfriendship.
You know that that I meanworking relationship and
friendship in one.
I understand, and he's the kindof person too, just like me, if
we realize something working,we just gonna be there when it's
hot and do it, do it, do it, doit, do it.
And then we perfected the craftand then we eventually bumps up

(44:35):
bongs upon Annie, yeah, youknow.
So Annie is really the breakout.
My mother was responsible forthat song.
You know Is it, is it so?
So my mom loves Poon.
That's her favorite Trinidelicacy.
She loves cassava Poon, right,right.
And when I was working in theministry there was a lady used
to walk around selling sugarcake, red mango bread and thing.

(44:55):
And there was a point in time Iwas like and he said get a
piece of porn for my mom.
I was crying too and I was likewhat's the lady name boy, and I
couldn't remember the name.
And jokingly I was like it'd bereal funny if her name was
Annie and my partners was likeAnnie, I was like porn Annie.
And he was like, eh, not realbad, gas up again.

(45:16):
I take it, yeah, except for allgas, all gas, all gas Tank,
always on E.
So I take the gas up again.
And we was working on thisproject and I sent Rome a voice
note earlier morning.
I was like Rome, if I'm notmistaken.

(45:38):
I think I have it on my phonestill, I'll check.
You must keep that.
Yeah, I don't show you nothing.
Good, I like that, I like that.
And um room was like, boy, myphone, my mother will kill me
says no, I'm gonna sing thatsong.
But anyway, I came in thestudio, uh, I said, boy, let me
try it now.
Boy, let me like revive it.
So we started vibing.
So at that time, you just hadthe, you just had the phone and

(45:59):
the beat, okay.
So you built the beat.
Yeah, my ma tell ya, at thatpoint in time, I did Quatro.
I'm a guitar partner, so I wasbuilding little parang beats.
So, christmas time comingaround, I would build a parang
beat and put it on.
And, um, as I, as I said, andhe was 2016 or 17 around there,
was he?
So I started working in Rome in2013.

(46:22):
So four years, I would havelearned how to build the parang
beats.
But the soccer parang had this.
So I had the beat and I waslike we vibe this one now, boy.
So we vibing it and we writingmore.
We started doing it.
Rome was like, boy, I can't dothis song.
He's like my mother will killme if I sing this song.

(46:43):
My mother will be really upset,because he grew up as a staunch
Catholic too.
I see, you know, in a realCatholic house.
He's like I can't sing this wayand my mother my mother kind of
like me, I kind of have apersonality very vibes-y and
that kind of thing so thestudio's home, so she passed and
like Oli not doing the pornsong again, oh, she like it.

(47:04):
And then she was like, yeah,that was sounding good and Rome
was like auntie, you serious,he's like yeah, that was
sounding nice and he was like Idon't know if auntie like it,
boy, there we go through and wewent through and that is Rome's
biggest song, classic in Soka,parang and things.
There are plenty of classicsover the years, but that
definitely is one like I keeptalking to people about.

(47:26):
Okay, so when you listen toPonani, the Dublin Tundra, for
me as somebody who has 40something, it's not doubling it,
it's direct.
But I always wonder and I wasasking Kiggs I say Kiggs, my
ears getting old because when Ihear Pona and he says Jesus
Christ from House Parang, it'sthe only thing I wouldn't go in
and put snows on, especiallybecause you're from the west.
So part of Parang is Paramin,cameron Hill and things.

(47:49):
My dad's from Maraval, alright,well, you understand, initially
my dad grew up in Maraval, so Ihave Coco Pile, blood and Aboy,
you know, yeah, well, he, notthat, but he, he blend in from
the area, from the area.
If you look deep down, youprobably, yeah, maybe, maybe.
But you know the whole sparringthing, it's a certain things

(48:10):
including like so, uh, kiggs wasusing the example of Kenny I
want my brush and that thing,which I always knew was double
entendre.
But Keegs had mentioned a songwhen he was here If I ain't come
, if I ain't come, that's Baron.
Yeah, yeah, if I come.
And until Keegs say that it'sonly then I see I'm so sure they

(48:31):
ain't come.
It's true, but so that answersmy question too.
Yeah, because I always wantedto talk to you or room about
that song, because I saying, boy, are we overstepping the line?
Yeah, yeah, but the truth isthat I don't know if we are.
You know, it's a funny thing.
Somebody came up to me, could beabout two, three years ago, and
it was like you know, I onlyrealized what punani was saying

(48:51):
a big person.
Yeah, it was like I did notknow because, remember, we grew
up and dance hall, so a lot ofold people don't know Punani,
they don't know that.
I didn't think of that.
You're right, that word is nota word in their orbit.
Yeah, it's not resonating withthem.
So, the 30s and under, I wouldsay, at the point in time,

(49:15):
that's a word we will know.
But old people rarely saypunani and things like that.
Yeah, it's not.
To me, it's not part of what'smore of a vernacular.
Yeah, it's not.
So there was, like you know,when you just realized what is
all this, I like that, and I waslike that's good, because in
all mine it was wrong.
When you say explicit, I likethat you give the definition of

(49:36):
explicit.
Yeah, because, like that samething, I was talking about kenny
.
One of these things I wassaying is that kenny phillips
did.
I saw a friend of mine postsomething saying music going
from um singing sandra, die withmy dignity to lady lava up, and
I don't.
You saw it.
No, everybody entitled to theirown opinion, right, but I I

(49:58):
don't like that statement toomuch because I don't like it
either.
Music is not a static thing,it's not.
So one of the things I wasplaying in that episode today is
that Kenny Phillips producedUnited Sisters' Woe Donkey.
Yeah, and he also producedWatch Out my Children, children.
Yeah, you have to let creatorscreate.
Yeah, even if I don't like it,even if you do something and I
say, boy, I ain't so sure aboutit.
Well, now I know I could justgas you up right through.

(50:20):
I don't want to tell you Idon't like nothing.
But if you don't like it,that's fine.
Yeah, but don't stop a creator.
Yeah, I don't believe in it.
Well, that's the thing.
Like for me when it comes tocreating.

(50:42):
It has was come home.
Yeah, I didn't like come home,really, no, I didn't like come
home.
I didn't think, come on, wouldI be waiters to this day?
So what's your approach withthings like that?
Then, when somebody approaches,I realize that when I hate a
song, it's because, yeah,because most of my songs I don't
like, it's my big songs,serious, most.
But so how do you get yourselfany mental space to work on it
even though you ain't like it?
No, no, no.
So, like what would happen?
Well, I'm gonna jump to comehome, but, um, most of the times

(51:06):
we create the beat and we likethe beat, and then we send it to
a writer or the artist comes upwith an idea and brings a
different energy to the song,and for me, that's not
necessarily me.
I am yeah, you see, in the end.
So there's not the road.
I so where, I didn't mind.
I didn't mind the demo.

(51:27):
You know the demo wasn't bad,right, the problem was I don't
want to say the problem was,yeah, the song was written for
marshall and destra, right, andthey turn it down.
Then we try kiss and patricethey turn it down.
Yeah, we try lyrical andpatrice lyrical turn it down.
Then we tried Kes and Patricethey turned it down.
We tried Lyrical and PatriceLyrical turned it down.
We tried everybody.
And we ended up working withNyla on another song and we just

(51:47):
happened to play it for Nyla.
It was something in the water.
Me, kit and Kyle went by Antsin the studio to play that for
them and when we finished wewere like, hey, you want to hear
this demo that we have, theyplay it and they like it from
jump.
But it was Nyla alone at thepoint in time.
Nyla sang the whole song byherself, the whole song.

(52:07):
So just for this day, kit,israel, and which, kyle,
phillips, phillips.
Yeah, so we did that duringCOVID, so Kit and I would have
been talking, and then that songwas written to pitch to Fian.
Serious, he was like I want todo a kind of pop, r&b style song
for Fian.
So Kit had sent me thedun-dun-dun-dun-dun-dun-dun-dun,

(52:28):
the chords and he's like, well,you's a power sucker man, you
do, la Dana, that's a man whoyou more cultured.
Kit is a groovy man, kit likeslow, groovy thing, but I, yeah,
I anything, anything with Mina,anything, you're having fun?
Yeah, I'm having fun, I vibesin.
So I was like, send it to me,I'm going to challenge myself.
And I started working on thedrums and wherever and started

(52:50):
sending back.
And Kit sent back the idea, itand just mumbles, it was really
making sense, super dumb.
And I was like I don't knowwhere to go with this again.
And he's like, let me send kylenow, all the time we playing
game and we play in warzoneonline.
I was never a gamer, by the way, yeah, so I hope everybody else

(53:11):
was playing game and they justso to know that the game Warzone
was where Warzone was the golfcourse for us.
That's where the deals wascutting.
And in that little chat iswhere men would be like, nah,
you're looking for something, Iwas looking for something, nah,

(53:31):
they're looking for something.
Then they send me this, send methat, send me that, and when we
come off the game is work.
So that's how Come Home started.
Kit sent it to me, I sent it toKyle, kyle sent it to Jeffers.
Jeffers finished writing thesong with Kit Melodies.
Was it Jeffers too?
Yeah, jeffers took Kit'sgibberish and put words on a
story to it.
Yeah, I see him this morningand one of the things I always

(53:54):
say when I talk to him or seehim is that nobody will ever
understand who writes in thesesongs Never.
Yeah, I hope he comes.
He said he'll come.
But some Jeff was a realinteresting story too, I would
imagine.
I would imagine, because he'sheavy corporate.
Yeah, yeah, of course, very,very corporate, but I felt that
I see him in a shirt, pants anda jersey and I make.

(54:14):
So that's how that song cameabout.
So when it says we did the beat, I didn't really remember what
fear I had in my mind.
And then we said when Jefffirst had his song, he was like
it's something like a Marshalland Desha, that kind of vibes
After COVID come out with aMarshall and Desha Problems.
So that was the vision I done,gassing up again, I taking it.
Yeah, marshall and Desha.
And it just slowly started tofail, fail, fail, until we

(54:38):
bumped some Nyla and I said Nyladid it the whole song by
herself and it was missing thatbalance.
It was kind of written toalways be a duet, you know.
So when we had nobody, Istarted to lose hope and
interest.
And then Skinny came on it andby the time it came out, answer,
and they reached out to themand he did it one time by and by

(54:59):
the time it came out, hansonand the Rich Otter said that I
see, I see, and he did it onetime, by the point in time I was
so over it.
You know, it's not like Ididn't like the song, I just
didn't think it was going to become home.
You see how that game ofmomentum that just started
building and building, building,that song still plays just like
, just like, just like it'scarnival is now.

(55:19):
I think that is like the modernit's carnival for this
generation forever.
It's one of those songs, forsure, and it was just because we
had this goal in mind and thenshift the goal poster here.
And yeah, that's the thing withcreators.
I don't understand.
You might be seeing the endpoint, but people, you know
where it is.
Yeah, and the thing about it,like, I remember that.
Yeah, in particular, the roadmatch race was tight.

(55:41):
I can't remember who else orwho would have ended up in any
road match.
Adfet, oh yeah, that would behard to stop.
But the thing about it is, wereyou to the Adfet too?
Nah, that was DJ Amal, alright,just making sure.
Yeah, went to a demo performingtogether for Carnival, which
was everywhere and building.
Like every time, you see theresponse to the song yeah to

(56:03):
this day.
Yeah to this day.
Um, trinidad was playing theunity cup in London, outside the
stadium.
Somebody sent me a video.
They were singing no, they weresinging party.
But um, anytime, curry, whenpeople come together, come home,
it's the song they sing.
I saw it in something in newyork in new york, yeah, outside,
it was the cash show.
It was the cash show and it wascrazy in your road, like a

(56:25):
national anthem.
Yes, and this is not trinnies,this is caribbean people, just
like um, just like marshall anddeshroy.
It's almost.
It's a different route, but ittake a different route, but it
end up right where you wanted itto end up, correct, and I think
that's one of the songs thatwill continue to build and build
and build.
But when Keegs come here, keegssay, boy, you put it on
Facebook and people tell himeveryone is a man to go by.

(56:46):
Then it big up, then it, yeah,then it.
So the thing about it is afterPonani before you get into that,
because I had no idea that comehome with your first power
soaker.
Yeah, I think any experimentingwith that long time by the time
it gets to that, well, it wasthe first power soaker that I
release, I see, but I was makingpower soaker beats.
Oh, yeah, you're doing it.
Yeah, yeah.
So where, where it went, was itjust you and rome working on it

(57:08):
?
How you get to be known as asparents of?
Is it radio when you just keephearing explicit, yeah, yeah.
So when it is just hearingexplicit, yeah, when I know,
what does it think?
When I?
No, well, that's the thing withme.
As I said, when I realizesomething working, I am inspired
.
I stick the gas up.
Yeah, I stick the gas up, youknow.
So I, I realize it working andI, I enjoy it, you know.

(57:33):
So if I find joy in what I'mdoing and making my money, why
not?
Yeah, best of all, you know.
And on top of that, the workingrelationship with Rome is cool,
you know, it's an easyenvironmental work with easy
person.
We're on the same page mosttimes and even if we fall out
and things, it's a maturefalling out, gotcha.
It's like we agree to disagree,right, and we moved forward.

(57:55):
So we just started to work,work, work, work, work and, um,
but Rome didn't really want todo Parang.
Yeah, he still wants to be oursoca artist.
Good, that's good, you know.
So we try the soca here andthere.
We still have a session withRome tonight.
Oh, nice, you know.
So we still try, you know,because that's his passion,
that's what you really want tobe.
Um, so I, I just was workingwith room and then keegs, um,

(58:22):
that time I, my studio was no, Iwas not trying to open up the
space to people I don't know,because I don't know keegan from
nowhere, you know somebody, Iknow dennett, right, and dennett
would have recommended me tokeegan and I was like, okay,
well, if dennett say thing, yeah, he had to be a cool fella and
Dennett had vouched for himbecause I don't know Kegan and
who he is, of course, of courseTotal stranger coming in my

(58:44):
house, and I was like cool.
But when I met Kegan, it was aneasy thing too, because Kegan
is really cool people.
Yeah, that's all in football.
Yeah, yeah, you know.
So it was an easy connection aswell too.
So I started to diverse ordivert away from just working

(59:04):
with Rome to working with, yeah,everybody.
I saw when my own be actingwith Rome, acting with Keegs.
I have a fish at Brung, likeall the young, like I will key,
like I tried.
I started to make a consciousdecision I wanted to work with
the upcoming.

(59:24):
Okay, so kenny have, like theold school and he was
responsible for a generation.
Yeah, I said to myself I wantto be responsible for a lot of
the younger people first sets,yeah, so the gigs and the rooms
and your fisher bronx and theyounger generation of parang
people.
I said I want to work with thembecause I want to be

(59:44):
responsible for their careersnow and I'm saying I have to
work with them right through.
But nobody understand.
I had a responsibility becauseI was a leader in new school in
parang.
There's no young soccer, parangproducers, not just that.
It's a real big gap.
Exactly, it's either you'rehearing Baron and and Scrunter
and then it's Rome.
Well, think about it.
You're hearing from radio, butwhen you think about it from

(01:00:07):
either man, church House, parang, yeah, and all the songs we
play, and I can tell you nowit's a real old song 70s, 80s,
same thing.
So I was refreshed.
You know it's when you hearsomebody I always wondered if it
was deliberate, because youstart hearing a bunch of people
now and all of a sudden, eddie,you just have a whole crew man.

(01:00:28):
I had Richard Eddie too, tojump on when I married him, but
at the point that time he was at18 strong, and the timing
doesn't work out.
No, but that would um knowledgeof it when it comes to the
players in the game.
So, if I do in parang, I wantto work with scrunter, I want to
work with marcia miranda, Iwant to work with, with baron

(01:00:51):
and everybody.
Um, actually, that was one ofthe things that we had planned,
rome and I.
We wanted to do somethingcalled a legends album oh sweet,
where rome was working with aroman, a roman marcia, a Roman
Baron, a Roman scrunter, beforethey die.
Because Kenny G G G G, kenny GG G, yeah, yeah, yeah, yeah,

(01:01:11):
yeah, yeah, yeah, yeah, yeah,yeah, yeah, yeah, yeah, yeah,
yeah, yeah, yeah, yeah, and bymyself, you know.
So when he passed.
That was a big, that was a blow.
So we felt like we were atanother time, you know, and we
wanted to give these people Idon't know if you've ever been

(01:01:32):
to any of our room concerts, no,no, no, you've been around the
room every year he gives like alifetime award to the legends.
So he gives scrunch.
He actually gives Kenny G, hegave Marcia, you know.
So he gave, he gave them theflowers before they pass on
because we know that they don'thave a lot of time with us
anymore.

(01:01:52):
So it's even though we're doingthis modern version of Parang,
we never take it for granted,the contribution or the road
that they would have paved forus.
Well, I want to say thatbecause, almost as somebody who
will play both, I find I feel itto be honest, like again going
back to the reference party.

(01:02:12):
When I heard party the firsttime I have a story to it, I
would imagine my first thoughtto it was the familiarity yeah,
I say somebody here not guessing, yeah, I say this is not
guesswork, yeah.
So that's when I came back andrecorded there and I said no, I
had to put these things togetherBecause these chords Is not
Nobody not guessing, yeah.
So when and I hear a lot ofthat With the parang Like

(01:02:35):
there's one particular song youhad done with Kiggs, with Things
you could bring out the ham, Isaid in yeah, when I hear that,
I say Kiggs, there's this, youknow, yeah, because it's so
reminiscent of things that mendo.
It's very modern, yeah, but itgrounded, yeah.
So I appreciate the fact thatyou're working with the youth
and stuff, because if you don'thave nobody who will do that,
you're going to have a problemboy.

(01:02:55):
Yeah, I think, as I said, forme, being a creative, I'm a kind
of hybrid, because I'm not justa creative brain, I'm very
structured and organized becauseof my corporate involvement.
I suppose you spend a long time, so I'm very, very on time.
As you can see today, I don'tplay with timing and things.
I don't communication.
If I can't make it, I'll letyou know.

(01:03:17):
If it's a time I will be thereone time, not come on any music
industry.
I would message you and say onmy way, right, to let you know.
That's all, I am Right, andit's a kind of balance between
being organized and beingcreative.
Well, like when you sendmessage to say on your way, I
tell myself.
All right, you're running late.
That's what Trinidadians meanwhen they say on the way, but

(01:03:41):
you were dead on for me.
I try to be very strategic witha lot of the things I do, so
it's not by chance.
Yeah, a lot of it is thoughtout, gotcha.
So by the time you're I meanyou're dominating again.
Who's the explicit boy?
Who's with it?
A random man on Fiverr, seriousA Fiverr person?
During COVID I was looking fora producer tag and I was like I

(01:04:03):
went on 5up, I'm on 5US, and hesent me back 20 versions.
He asked me for details.
He was like where's my name,where's my subreque, where's do,
where from?
And he sent me a host ofdifferent things and he just
said explicit boy.
And I was like, damn, thissound kind of cool.

(01:04:23):
I kept that one.
Yeah, 5 years, 5 years, boy.
It cannot go wrong.
5 years making millions?
I don't know millions.
So, even as you get known forthat, your mind on what else you
want to do other than socaparang, because to go into power
, soca you.
But that's the thing.

(01:04:44):
Like, as I said, I never wantedto be a Parang person.
Sure, that started off Forvibes and meeting room.
You know, we was good at it andthere was a space To be filled,
there was a niche and wedecided To dominate that.
So what was that space that yousaw in power soaker that make
you?
It's not a suburb or soca, Iwas just doing soca, I was just.

(01:05:04):
If you know me, I will makebeats every day, whole day.
Serious, I would just expressmyself through making beats and
once something inspired me, Ialways make hundreds of beats a
year.
You might hear 10 songs, yeah,but I have 90, something that
nobody heard.
With experiments, you knowdifferent tones, different

(01:05:25):
styles, different hybrids andall these different things.
So you hear in 10, but I makehundreds of beats, yeah.
So that's important, thatoutlet critical for you.
It seems like that's part ofyour being.
You need to do that, yeah, ofcourse.
So when somebody asks me forbeats, you can ask anybody in
the industry.
I'm never an accident.
When you ask me for beats, youare getting 30 or 20 in your

(01:05:48):
whatsapp and I know the kind ofbeats to send to different
people.
Yeah, I always want to ask thatlike you, you, you studying the
artist, basically, then youunderstand, even when I approach
writers to write songs, I'll bebe like yeah, guys, we need to
channel this, this vibe, eventhe key or the swing or the
groove.
You just kind of know anartist's style and a sound, you

(01:06:12):
know.
So, if it's a Marshall, if it'sa Bungee, if it's a voice, you
know it's minor chords and youknow voice, like that kind of
vibe.
Yeah, you know Marshall, myhappier purchase, and now
they're like a kind of Bajanswing, a kind of B-I-L-L-A-N
bounce.
Yeah, I don't know them.
So I send in beats that to me,suit them, match them.

(01:06:32):
Yeah, I understand.
So it's very calculated.
Yeah, yeah, yeah, that's what Isay.
No, party was once again, justa beat.
Right, I just had the beat.
For how long?
I started that beat in June2024.
Oh, so that's new.
Okay, yeah, and I had the beattotally done and I sent Jeffers

(01:06:56):
came at me to do something elsewith Rome, at the point in time
when I was just playing beats,after Two corporate men.
Yeah, so I'm playing the beatsand he's like, yeah, this one
bad.
So he's like, senator, me, Ihave a flight to catch and I'll
vibe it on the flight wherever.
So a few days pass, nothinghappened.

(01:07:16):
I send it to Marshall.
Marshall say wait, boy, thisbad boy, he's got a kind of
footsteps kind of energy.
That's what he tell me.
He says I have a kind offootsteps kind of energy.
That's what he tells me.
He says what kind of footstepsenergy.
I like this Senator Corey, andthem full blown.
See what they come up with.
I send it to them.
I say Marshall, see you likethis.
He says send it to all of youTo see if all of you come up
with something.
They're now vibing somethingwith Marshall because they were

(01:07:38):
with Marshall in New York at thepoint in time.
But he said it wasn't anythingsignificant, right.
And a little while afterJeffers came with his idea for
party Wait, fast forward.
In between that my computercrashed, really Right.
So Jeffers wanted to finish thedemo that he had in his head

(01:08:01):
and he was like bro, send me thefiles for party, wait, the
computer didn't crash yet.
He was like send me the filesfor party, wait, the committee
didn't crash yet.
He was like send me the files.
I go down my Kyle, right.
I was like nobody's asked forfiles to write a song?
Yeah, why you need my stems tofinish write a demo?
Yeah.
He was like well, I just wannaum cut out some parts.

(01:08:21):
A bit of vibe in the intro kindof thing thing, some parts, a
bit of vibe in the intro kind ofthing.
And I said, you know what, meand Jeff was good because Jeff
was his room manager, so me andJeff was real good.
Yeah, jeff was the manager ofthe room, so me and Jeff was
real good, so thing.
And then me and Kyle real good.
So I was like you know what, Itrust them.
I'll send them my files thenext day.
My computer that was the lastset of files I bunks before I

(01:08:44):
lost everything Because asbackup files that's done or
projects are ongoing.
I'm making hundreds of beats.
So if I'm making all thesebeats, I'm not going to back it
up because it's nothing yet.
It's just a beat I built in adifferent time.
Yeah, it's working files, so Ididn't back that up.

(01:09:04):
But Jeff has asked me for thesestems.
Imagine that.
And I just happened to say no.
Most of the times the answer tothat question would be no.
Yeah, because nobody ever feellike his stems.
Why you want my stems to writea song, you know.
So I trust them.
There's my friends.
I send everything.
Anyway, jeff was sending backthis demo.
That time I have nothing.

(01:09:26):
I had a little depression too,because I said to myself what am
I season done?
Am I season done?
All my potential projects lost,totally lost.
I had nothing.
I said boy, what am I going todo?
Boy?
So Jeff was sending this songand I said, boy, my season is
banking on this.
I had to get this right.

(01:09:48):
So he sent it back.
I said, nah, boy, it's not boy.
I said Jeff was, this is notyour usual work, boy.
I said the first draft, you dothe first round.
I said it's not your usual work.
The chorus was there.
Yeah, okay, we work so hard,but it wasn't arranged in the
order.
Nah, so I said it's not usualwith boy Jeffers.
But yeah, I was like I wasexpecting something different

(01:10:08):
because you know me, I didn'tsee it.
But you're also telling himyeah, let him know.
That's the thing with me.
I will tell somebody if I don'tlike something, if something
could change, and on the flipside, I try to be open, to let
people do the same with me, ofcourse, and criticize me.

(01:10:29):
You know, once you'rerespectful, I don't ever try to
be disrespectful, but I wouldsay it as it is.
I was like jeff was boy, Idon't think there's it, boy, I
said let me try again.
So that's when he asked me forthese stems, sent it to him so
he come back.
And he sent back a revisedversion.
I was like, okay, cool, thissound a little better.
But let me put the hook on thetop with no just chords and

(01:10:51):
build the emotion into the thing.
And I say that by the trucksounding like Marshall boy.
I say, only way we can get ridof the song is if Marshall sing
it.
I say, and Marshall like thebeat.
But he tell me it's a kind ofFootsteps vibes.
So I say, well, we try to dothe demo like a Marshall song
and picture Tim Right, why,senator Marshall?

(01:11:11):
So when you say, do the demo,who lane the vocals to the demo?
A guy named.
Oh, yes, get somebody to comein and do that.
Well, jeffers and Kyle havethis person who did the demo Got
you.
It's multiple different frompeople because Jeffers can't
sing.
Yeah, you know.
So he got this guy named KeeganI think is his name Keegan
Haynes or something like that.
Right, yeah, he did the demoand he kind of channeled that

(01:11:32):
Marshall energy and we sent itto Marshall Again, no word,
because that time he had his40-something back years I
remember, yeah.
And about a week or two afterhe messaged me he called me.
He said my friend put this onice.
He said when I come back youknow that we're going to deal
with this.
He gave me a full thing.
He said I played for everybody.

(01:11:52):
I played for Steven, I playedfor everybody in the band.
He said everybody like it, boy.
He said I think there's it.
He said I think there's itBecause I didn't really believe
again too.
No, I just find this song wasgood.
But it was so different withthat kind of choir intro and I
was like what's this way?
Kind of weird.
I told you, if I was in yourbest work, imagine that.

(01:12:13):
I said once I tell you you'reso lame, I tell I'm a poor judge
, poor, poor, poor judge.
So anyway, as marcia say, hebelieve in it.
And then he came back and westarted.
We had a meeting and our videosof Marshall playing his song
over and over and over and over,jumping up on his table,

(01:12:34):
riffing up the chair.
He was real in it and I waslike wait, I started to believe.
At that point in time.
I was like this man is 50 years, he have real ears on me.
If he know and he get on likethis, we probably really do have
something.
And I said, kyle, I have nocomputer.
I need it to be involved inthis project for me.
You need to save my career orsave my season, right?

(01:12:56):
And that's how I grouped Kyleinto, because we would have just
done the demo by Kyle.
But Kyle is my friend too and Iwas like boy, if I had to do
this session, kyle, do it by me,let Masha go down by you and
let me come down by you now.
But I said I don't have acomputer, I need help, but I
want you to be a part of thisproject.
And he said, cool, so it was me, jeffers and Kyle, but me,

(01:13:19):
jeffers and Kyle work on before,so it was an easy, I guess,
working relationship.
It was that easy.
Uh, I guess, yeah, working,yeah, working relationship is
easy.
So that's a guy I had noproblem with, with sharing that,
yeah, and kyle pulled, kylepulled through.
I have a question for you aboutthat sharing thing, because I
saw something online withsomebody talking about when a
producer produce a song back inthe day you used to hear one man

(01:13:42):
do everything.
It was just that personresponsible.
Now, in music you find thatseveral people touch.
What's your thoughts on that?
Well, I think that forms fromthe international scene.
When it is, you look at thegrammys and stuff.
You look at there's engineers,there's producers, there's
writers, there's executiveproducers.
And when you look at thewriting credits for those big

(01:14:03):
songs, what kind of teams,people, it's not one person, and
this wasn't done by.
It wasn't like we tried to copyit.
I just feel like that's the waymusic collaboration has became
easier.
Through the internet and thatkind of stuff, it's easy to just
send a man files and he willconnect, send it back.

(01:14:25):
Or we write something and hework on it, send it back.
Or we write something together,man tweak something, send it
back.
I think the advent of theinternet and how the internet
became so integral in theworking space for us it just
made life easier to collaborate.
So I love it.
Yeah, I love it, because I feellike I would have never have a

(01:14:48):
party without Jeffers and Kyleinvolvement, I suppose.
Or come home, yeah, yeah, takeme home, take me home.
What's his story?
As I collab with Kit too.
So Kit had a session with FreeTongue and he's like my friend.
I kind of need and I need yourhelp, because I had a session
with them last year and nothingreally come out of it.
So I think like if you come andgive me a little help, a little

(01:15:09):
hand, we can kind of come upwith something.
And I was like Kit and I, kitliving in the Vale, I live in
San Lucia now, so it's easy, Ilive in two minutes away from
Kit's house, right come throughand add to the vibes, yeah.
So we end up just vibing in thestudio and Lou came up with
these chords and it's like it'ssounding like high mass boy, you

(01:15:31):
know that wasn't done onpurpose as well, but it's like,
okay, even if the chordprogression is similar, let us
not let the song or the lyricsor the melody sound like high
mass.
So Muhammad and I went outsideand we vibing, vibing, vibing.
So luan kits was inside kind oflaying down the guitars and
stuff and me and muhammadoutside it as vibing, trying to

(01:15:52):
come up with melodies that dosong like high mass.
And then I came up with the,the hook, the main hook, he take
me home.
And then he was like, yeah, thesong is good, boy.
We went inside and the fellashad liked it and we put it down
and then we didn't have a postchorus and I, once again, I was

(01:16:13):
like we need a bacchanal partboy, we need some jamming in
this boy.
It's too, it's too nice, thewhole song too nice.
I was like we need a littlejamming and I came up with it
and it was just mumbles.
And then and lou was likefellas, this is the hot fries.
Yeah, he's like this is the hotfries that trinidadians like

(01:16:37):
this is what I like, hot frieswith ketchup.
And look, that's what peoplehold on to.
That is it?
That's what people hold on to.
So that was a easy, easy, easy,easy, easy, easy session too.
It was a few sessions becauseMohammed and Lou wanted to tweak
the lyrics and stuff, but interms of the coming up with the
first draft, that was our firstsession With beats and melodies.

(01:17:00):
One time I think peopleunderestimate listeners.
I hear people talk about ourhigh mass and take me home
comparison, but peopleunderestimate how much song are
the same chords?
Of course, you say you learnthree chords on the quadro.
That is, that's all you need insong.
Yeah, yeah.
So I don't understand this.
Chord progressions is nothingnew under the sun, of course it
it.
It becomes unique when theychange all the tones, the bpm,

(01:17:22):
the tempo, the groove, all thosethings.
Well, everything will make itunique.
But the actual chordprogression, if it's a look at
the a, minor, a thing, c thing,it's the same thing, it's what
it is.
You can't well invent anythingnew.
Yeah, one of these days youshould make one that new.
So you hear everybody how badit's sung and they understand

(01:17:44):
why you had to go back tosomething.
Yeah, so that was a niceexperience.
I had to tell people howterrible my timing was this week
, because my phone is veryorganized and clearly I'm not,
because I have this thing bookedfor the next half hour and
Conrad and them now putting meall back here.
It's a song I had to ask youHome and I see your name.
I said, nah, I had to find outwho is this man.

(01:18:05):
He knows something.
But one of them songs that wasso familiar you did was Nadia
Batten.
Every Time, is this the workthat you did?
Yeah, that was a nicecollaboration.
How was it?
That was me and Stems.
So COVID again.
Right, stems reached out to me.
He's like bro I'm a real fan ofyour work and that kind of
stuff and let's collaborate onour track.

(01:18:26):
So he would have sent me thechords and stems came from a
chutney background.
He's in Canada, yes, yeah.
Montreal, montreal, yeah.
So he sent me the chords.
So he's a keyboardist, so he'svery good at music.
And he sent me the chords and Iwas was like this is what kind

(01:18:50):
of farmer energy, you know.
So we, he sent me it and then Isaid send me.
There's the cause.
I don't like your drums right,so you don't have it.
You don't have that drum sizeright, so I take it explicit
yeah, yeah, I say I need demanddrums and I do over the drums
and I add some sauce.
And I was like I was like youknow, anybody could put guitars
on this boy.
He's like, yeah, do it.

(01:19:10):
And he sent it back and things.
So I was kind of guiding whathe had.
So he came up with the chordsfirst and then I would have
added to it.
And then that was our nextstory where I didn't believe.
So I sent it to Ico and Nadiafirst and they sent me back
anytime and I was like I don'tthink that is it, boy, really.

(01:19:31):
I have a screenshot to show.
I said I don't think that is it, boy, what?
And then I end up sending it toCohen and Cohen came up with it
and I was like you know what,Let me just make this a two-man
rhythm.
Then I messaged back I calllike November.
I was like we go and go throughthe time with the files, right,
just by the way.
I was like you could win thisboy.
Yeah.
I said, yeah, we go and go withyou could win.

(01:19:51):
Imagine that.
Imagine that horrible judge ofsome songs.
I said, yeah, boy, you couldwin this.
You go and go with us two songwith him.
I said stems, you go and gothrough With this boy and every
time, just take off.
That's how you market it.
Yeah, so when you drop it itdoesn't really resonate yet it
just keep building it, justbuild, build and then catch it

(01:20:14):
Along the line yeah, now it'sgoing to go around as one of our
classics.
Yeah, yeah, yeah, yeah, becauseevery time I take a drink I
feel like wine.
Yeah, so that was a I'm neveron poor judgment good, so at
least we learned something today.
We learned for sure.
But when you go by my phone, dosomething you ain't like at all
.
And you, you, you go.
Trailer jam rhythm was the nextthing like that.
Yeah, that was with TrinadKiller and Tempa T E M P A and

(01:20:35):
he so called push back rightthere.
I didn't like that rhythm atall.
That rhythm was in the and LadyLaVoice, who came and wrote all
the songs on our rhythm oh, shewrite them.
Ride on till we lie down.
For Trinidad Killer, temper bythe truck, patrice Roberts remix
, the father fox and the youngbrother on it.

(01:20:56):
My friend, we need our part 2.
We're missing.
Alright, so this is the firstepisode officially where we stop
in and we're gonna come backand do part 2.
We had to start over.
This is our whole next storyagain.
And two, because of every genreof music you touch.
I want to tell you, like I toldyou in the beginning, where
Kenny Phillips and themconcerned, like I saw your
comments when I popped the KennyPhillips episode, I said

(01:21:17):
there's one here to see and Iguarantee you the going to talk
was only the same exact way.
I mean, we didn't even talkabout the trap soting that we
did with Makadi.
We didn't talk about nothingBecause we talked about how
Kenny and I was branding thingsRight, like when it says we were
doing hip hop, we had brandedtrap.
So Because it was trap musicwith soca elements, you know,

(01:21:37):
and that was done by design,gotcha, you know we was
purposely saying looking forsoca melodies and Soca or
Carnival references to put inour songs, but the beats was
chop.
So part two, conrad, you'regoing to make sure we book the
right time the next time, right?
Yeah, just make sure we bookthe right time.
We'll do a part two where Iappreciate you coming through

(01:21:57):
this.
This fellow Aquarian, you everimagine that that was on?
People would.
That was unpleasant.
People would never believe youdidn't clap now, you know, but I
appreciate you coming through.
We only take one drink.
We had to do it.
That's why Take more.
It's problems.
That's what I'm saying, man.
Thank you.

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Episode 238 | XplicitMevon

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 238 | XplicitMevon