July 10, 2025 • 48 mins
When trap music's unmistakable 808s and bass lines became the soundtrack to a generation, Drummer Boy was crafting those sounds in real-time. From his early days in Memphis to becoming a cornerstone of Atlanta's music scene, this legendary producer takes us behind the curtain of some of hip-hop's most defining moments.
The conversation flows through Atlanta's cultural significance as "the major league" for Black artists—a city where people from across the South converged to create something revolutionary. Drummer Boy describes watching Yo Gotti secure his first record deal, working with Jeezy on the platinum-selling "Standing Ovation," and the diamond-certified "No Hands" with Wale and Roscoe Dash. These aren't just beats; they're timestamps marking cultural shifts.
What stands out is Drummer Boy's producer philosophy—rather than trying to replicate formulas, he reads artists and delivers what they're missing. "If you eating oatmeal later today, why I'm gonna feed you oatmeal?" he quips, explaining how he convinced street artists to make records that moved the ladies. This intuition for what audiences need, not just what artists think they want, separates hitmakers from beat-makers.
Beyond the music, there's a spiritual thread running through Drummer Boy's approach. Raised in the church with musical parents, he brings a "brother and sister" mentality to collaboration rather than cutthroat competition. He speaks proudly of mentoring young talent rather than exploiting them, introducing promising artists to industry figures who could help them succeed.
Ready to hear the stories behind your favorite trap anthems from the man who created them? Dive into this essential conversation about music, mentorship, and the cultural movement that changed hip-hop forever.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
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The show advertised has beenrated R.
Speaker 2 (00:07):
The content discussed may cover sensitive topics.
Listener, discretion is advised.
Speaker 3 (00:11):
If you feel that any content may be triggering or
distressing, please take care ofyour well-being first.
Speaker 2 (00:15):
It's White Boy D2A.
I'm Roland and we just wrappedup the craziest, craziest
interview.
Sam, hold me down for the lightskin niggas.
Yeah, yeah.
Speaker 1 (00:45):
I Hold me down for the light skin niggas and a
certain thing is a certain lane,is a certain pocket y'all
trying to be in.
I might have to do certainlittle things that might get me
to trust them.
But if this is really the MooseMarket, keep it coming.
If you don't, you're amotherfucking a** Wilder than
the free.
Really the Moose Market.
Speaker 2 (01:07):
Oh man, we here man.
Speaker 3 (01:10):
Rolling the most podcast.
Speaker 2 (01:12):
And we in ATL At ATL.
Speaker 3 (01:17):
You did and you know, it's crazy here too.
Speaker 2 (01:21):
It's just one of them .
Places where players meet.
You feel Feel me man?
Hey, yeah too, it's just one ofthem.
Places where players meet.
You feel Feel me man?
Yeah, boy, today we got noneother than the legendary
producer, architect of sounds,drummer boy in the building.
Y'all.
Speaker 1 (01:39):
Man, you had to excuse me too what you got to do
.
Speaker 2 (01:42):
I'm with you, the fool you know what I'm saying
when you got to do Shit.
I'm with you, the food man,what you got to do here.
Speaker 1 (01:47):
You know what I'm saying, what you dig when we at,
we at ATL.
Speaker 3 (01:49):
Come on, man, we at the location hey listen, man,
they spell it.
Speaker 1 (01:59):
A-Y-E-T-E-A-E-L-L-E.
We right by the airport, as youcan see the planes.
Speaker 2 (02:04):
One minute, two minutes, that's a Spirit flight.
Speaker 1 (02:06):
That's a Spirit flight.
You can see the yellow planeright there, that's a Spirit
plane, delta, all of theairlines, man, but I'm talking
about the number one mosttraveled through airport in the
world Atlanta.
Speaker 2 (02:20):
Yes, it is Hartsfield .
Yes, it is.
Speaker 1 (02:24):
Right here.
You know what I'm saying, andI'm from Memphis.
I've been here in Atlanta for20 plus years.
It's been a blessing man.
You know what I'm saying.
So it's a pleasure to be herewith y'all and invite y'all out
to the new spot.
You know what I'm saying.
Yeah, we got a partnershipgoing, so stay tuned.
Speaker 2 (02:38):
ATL.
Y'all tap in man Fire man, Iknow man fire yeah, man, how you
feel how you feel, core.
Speaker 3 (02:44):
I feel good.
Man.
Let's pop the bottle of thebelly man.
Speaker 2 (02:48):
You know the food good, here we got really the
most cups we send out.
Speaker 1 (03:01):
ATL, atl.
You know, billy huh.
Shout out to my boy, KP man.
Speaker 2 (03:06):
We put out their project.
That's my boy.
You know what I'm saying FakeFree, you know what I'm saying.
Speaker 1 (03:10):
A lot of hard dope rappers, man.
I did a song with Beanie Siegelon Welcome to my City, Vol 2.
Speaker 2 (03:16):
That's on.
Speaker 1 (03:19):
That's on.
You know what I'm saying.
Speaker 3 (03:25):
He always show love.
You know what I'm saying.
Speaker 1 (03:26):
Every time I see Freeway I be goddamn thinking
the Styles.
P In the back of my head Forsome reason.
Speaker 3 (03:32):
Yeah, you know what I'm saying.
But Freeway good nigga.
Speaker 1 (03:35):
You know what I'm saying and you know just fucking
With the city man.
You know what I'm saying KPbeen doing good things.
You know what I'm saying.
When Taylor brought y'all up, Iwas like, come on, we gotta do
it.
That's right, this is where wegonna be at.
Y'all.
Pull up on me, man, we gottashow love to Philly man, fuck
with Philly.
Speaker 2 (03:49):
Appreciate Lala man.
Appreciate, appreciate MercedesLala.
Speaker 1 (03:52):
Yeah, yeah, we appreciate everything.
They been working hard too.
Yeah, man, a lot of beautifulyeah-yeahs up there I was
telling.
Speaker 2 (04:01):
KP.
Like y'all did wonderful onthat project, like y'all did
wonderful, I went to the releaseon South Street.
He had a big release for it andeverything it was dope.
Speaker 1 (04:11):
Yeah, yeah.
Speaker 2 (04:12):
I'm glad y'all got the link and do some work
together, man, because when itcome to bars and that sound.
He got it and it beingauthentic and real and then
being able to act that shit outlike that.
Speaker 1 (04:23):
He don't get enough acting credit.
As soon as I seen him, I met KPthrough the Instagram and I
kept seeing him doing thesedifferent visuals and doing
these different series ofreenactments, so to speak, of
what he recorded in the studio.
And I was like yo, this nigganeed to be on TV and to be able
(04:43):
to spit them lyrics, live frommemory as well as act that shit
out and have all of thesedifferent things planned at the
right time.
This nigga pop out, this femalecome out the door.
He close this door.
You know what I mean the guncome off the weight, like
everything be perfectly timedwith him, like he see a vision
(05:06):
and I I think of uh, what's myboy named danny glover atlanta
uh-huh the tv show he didatlanta.
Yeah, yeah and seeing kp likenigga as a rapper.
Right, you need to do a tv showcalled philly, or?
Speaker 3 (05:19):
you know or?
Speaker 1 (05:19):
some kind of some like.
But I see him on tv.
I know he's an actor, I knowhe's capable of reenacting right
uh and his memorization.
If you can remember them lyrics, you can remember them lines
right, right, right, right yousee what I'm saying, right,
right he just got that image, hegot that face, he built for
that.
So man shout out to it's just.
Speaker 2 (05:37):
KP my boy.
Speaker 3 (05:39):
KP man out the KP.
There's a little airplanescoming by.
Y'all know that man.
Speaker 1 (05:42):
But we in the fly zone, baby flies on.
Speaker 2 (05:45):
y'all know that, man, we in the fly zone baby Fly
zone.
Speaker 1 (05:46):
Man Come on, man you dig yeah.
Speaker 2 (05:49):
So, yeah, like you know, we get to sit down with
the legend and you know, youbeing one of those guys that the
shape, shape the sound of ageneration and like our
childhood, adulthood, uh, thattrap music man that that's just
(06:10):
played so much important time inmy life, man, that that gz
standing motive, standingovation man come on man that
shit means so much to me, man.
It's like to sort of sit acrossfrom you.
It's like I got a champion tothe moon, you know, I mean.
Speaker 1 (06:24):
Yeah, nah, it's respect.
You know what I mean.
Making standing ovation, it wasthis type of shit going on.
Speaker 3 (06:30):
You know what I'm saying.
Speaker 1 (06:32):
It was people being rescued.
You know it's motherfuckersgetting arrested.
Speaker 2 (06:36):
Yeah.
Speaker 1 (06:37):
You know what I mean.
It's motherfuckers coming inand out of Atlanta on flights.
A lot of niggas driving.
I come from memphis, yeah, youknow.
I mean some motherfuckerscoming from alabama, mississippi
, louisiana, florida, texas,kentucky, north carolina, south
carolina, so on and so forth.
So you know I mean anybody pastthat.
They might be coming in on aflight vegas la washington, uh,
(07:00):
new york, you know what I mean,new mexico, but motherfuckers
coming in from all parts of theworld.
It's the most traveled throughairport in the south.
Uh, so, to see so many differentcultures and to see us stick
together and uplift us the waywe uplift us yeah as well as
seeing the history that theytried to erase, yeah, and then
(07:22):
seeing us fight for the cityback, man, you know you're
looking at Maynard Jackson andthe mayors that have been in
position.
You look at Clarence Avant RIPthe things that he did for the
city of Atlanta and helped bringin the concerts and the shows,
and the relationships, and allof that to Atlanta.
Speaker 2 (07:42):
Yeah, yeah.
Speaker 1 (07:43):
Seeing what LA Reid baby face with the face did for
Atlanta, you know what I meanand them coming down here and
putting out all of the actiongroups, like it's just a city
for us, amazing things,beautiful things and just
everybody uplifting everybody.
So it's something that you wantto fight for.
It's like the major league forus.
Speaker 2 (08:04):
If we had our own team.
Speaker 1 (08:05):
It's something that you want to fight for.
It's like the major league.
For us, If we had our own team,it's Atlanta.
Speaker 2 (08:08):
So you crafting the sound and meeting those
gentlemen that you meeting atthe time to help you get your
vision out.
With the sound, did you know itwould shape the generation of
trap music, though?
Did you think it'll go that far?
Or did you think that that trapsound or that 808 drum spread
(08:30):
throughout the world like it did?
Speaker 1 (08:34):
I think honestly, like if you look at it like a
sport, like once you realize youcan hit a home run.
Yeah, hit a home run yeah, notonly you realize your power, but
the people in practice, theother players, the teammates,
(08:56):
right right the coach, right theparents who are in the crowd
like oh shit, that boy just hita home run.
Speaker 2 (09:01):
Baby right, look at it, go at it go.
Speaker 1 (09:03):
You know the daddy's like damn that boy got some
strength.
The coach is like damn that boy, what we got here, you know.
So it's you, as well aseverybody, realizing what you
got going on.
And I realized that in highschool I hit my first home run
with Yo Gotti.
When you see me shawty, popyour collar, then you holler
that's what's up, what up?
(09:24):
Drummer hey what up?
Mama, even before that, we hita home run with shawty.
Speaker 2 (09:29):
Shawty.
Speaker 1 (09:30):
And not Ply's T-Pain shawty.
I'm talking about Yo Gotti.
I got white shawty.
Cheap, cheap price shawty.
Speaker 3 (09:40):
Price shawty.
Speaker 1 (09:41):
That's what got Yo Gotti his first deal With TVT,
and we talking about I&E.
This is before CMG even existed.
So to be able To get a nigga, adeal Right, that's from a
neighborhood or area that younever heard of Ridgecrest.
Speaker 2 (09:56):
Yeah.
Speaker 1 (09:57):
Ridgecrest Apartments .
Okay, we know about that inRaleigh, or we know about that
In North Memphis, or we knowabout it in North Memphis, or we
know about that in SouthMemphis, but the world don't
know shit about no Grinch, chrisor Promise.
You know what I mean.
And that was the first part,that was the first time.
Okay, damn.
And a lot of that had to dowith Yo Gotti's marketing
strategy and him going straightto radio, him going straight to
(10:18):
Lester Pace, him putting hismoney on that budget and
promotion.
You know what I mean.
Lester Pace, one of the biggestradio promoters in the United
States.
You know what I'm saying, sofresh out of Memphis.
So those are things thatallowed him, even if the TVT
deal didn't work.
I saw Gotti, by himself, offerthat deal for $500,000.
(10:38):
Y'all gave me $500,000.
This ain't working out.
Here go y'all $500,000.
This ain't working out.
Hey, here go y'all $500,000.
Right, I ain't blow my money.
You know what I'm saying.
And even if I did, I'm gettingso much money that I can afford
to pay you back.
Speaker 2 (10:52):
Yeah.
Speaker 1 (10:53):
And not be tripping like bro, this ain't working.
Here go y'all, $500,000.
I watched it, you know what I'msaying.
And on that same deal, lil Joncoming to Memphis Seeing
producers like Slice T, paragon,my older brother N St Wayne RIP
(11:14):
Producing for Gotti, and seeingSlice T giving sounds to Lil
Jon.
And you know what I'm saying.
Lil Jon did the beat on YoGotti's Life album.
I did four songs on there.
My brother N St Wayne did foursongs on there.
Swizzle did four songs on there.
Sw, my brother in saint waynedid four songs on there.
Swizzle did four songs on there.
Swizzle was one of my producers, signed on the drum squad, you
know I mean, and that was likeshit.
Speaker 2 (11:31):
We pretty much executive produced that life
album, which was one of goddy,like first biggest albums fire
you know what I'm saying yeah,that's like one of his joints,
like coming off that you knowbeing a street rapper.
Yeah, I'm what I'm saying andactually going big.
Speaker 1 (11:46):
Absolutely.
And this was like at the time,like when the trap music got
introduced.
People don't understand, likethey was real hard on niggas not
doing, you know, rapping, thelifestyle that they didn't live.
Speaker 2 (11:59):
Yeah.
Speaker 1 (12:00):
So any rapper trying to rap about the trap shit.
Speaker 3 (12:03):
You had to be that.
Speaker 1 (12:04):
You had to really be doing that shit or did it?
Yeah, which was Yo, gotti, ti,jeezy, gucci For real Period,
like that's original trapRushmore.
And then, honorable mentions,they were still classified as
(12:25):
hip-hop Master P Ghetto Mafia.
Plyos was later.
Plyos ain't come out until 05,06.
So if you look at the history,like Gotti was dropping 96, 97.
Ti dropped 01.
Speaker 2 (12:40):
Gucci dropping 03.
Speaker 1 (12:40):
Jeezy dropping 02, 03 .
Speaker 2 (12:41):
You know what I mean.
Speaker 1 (12:42):
Yeah, gucci dropping 0-3.
Jeezy dropping 0-2, 0-3.
You know what I mean.
Then, from that, you had RickRoss.
Speaker 2 (12:49):
Yeah.
Speaker 1 (12:50):
You had Future.
Speaker 2 (12:51):
Plies, then Plies.
Speaker 1 (12:52):
You know what I mean, plies it laid out just like
that.
Speaker 2 (12:55):
It laid out just like that, it did.
You know what?
Speaker 1 (12:57):
I mean.
Speaker 3 (13:08):
That was the evolution of the the trap shit.
But the beginning, in my eyes,was got a jeezy tip and and I
agree, so just listening to youare you like hard on yourself?
Speaker 1 (13:13):
when it come to like producing, I'm super hard like
I'm, I'm hard, but at the sametime I'm I get that shit from
master p, like where you stillgotta mix it at the best ability
and get that shit out right soI'm not gonna hold on to this
shit like bro.
We gotta get this shit out, wegotta leak this shit.
I bet no hands was leaked.
Shawty plies was leaked rightaround.
I'm getting it was leaked yeahbecause, sometimes the label,
(13:37):
the anr or the manager, evensometimes nigga.
The artists might not see thevision or understand what the
fuck they got.
Like nigga.
Why imagine walker?
I made him who knew that thisshit was gonna go diamond, but
at the time walker was likenigga, I don't care what you do
with this song, drone, it's yoursong.
So this really could have beena drummer boy featuring walker
(13:58):
roscoe.
But because gucci paid for thestudio time, I never forget the
moment.
I never forget time.
I never forget the moment.
I never forget the purpose.
I never forget the bag when thebag coming from.
Who paying for this moment thatwe all benefiting off of?
We all sipping champagne?
I ain't buying this champagne.
(14:19):
Gucci bought all this shit.
You know what I mean.
All this liquor in here.
Gucci bought this shit outsideof the liquor that other
motherfuckers just brought tothe studio.
But this was a celebration.
My nigga, gucci, sacrificedyears, or actually at that
particular time, one year behindbars and came home.
So why am I looking me tobenefit off of this shit?
(14:42):
I'm already producing a recordand I'm going to get 50% because
I made the beat straight out.
No samples, no collabs.
Speaker 3 (14:49):
I make the beat with nobody nigga, I literally made
no hands in front of everybodyin there.
Speaker 1 (14:53):
Motherfucker, I ain't even got enough room to touch
the keyboard.
That's why the keys so simple,done I got to come to a second,
bro.
You know what I'm saying so I'mmaking this shit from scratch,
(15:14):
literally just like I did at thehigh school cafeteria, bro, and
it was a celebration.
Everybody man, we on thechampagne, we getting lit.
I ain't thinking about whogoing to pay me, how much I'm
going to charge for this beat,what I'm going to get out of
this shit.
I ain't thinking about whogonna pay me, how much I'm a
charge for this beat, what I'mgonna get out of this shit.
I ain't think about none ofthis shit.
I'm looking at everybody havingfun, everybody moving, all the
niggas.
That's hating.
Like man.
We some street nigga man.
We need to make some streetshit.
I like, bro, give me a jiggetting out of jail.
(15:36):
We don't want to send them back.
Yeah, no, I mean how we gonnamake the women, the ladies, move
, dance, politic, have fun andand incorporate them.
We be some on when we're onstreet, she hard, and that's why
I come in as a producer like Iain't on that right now.
It's.
This is a celebration.
We finna have fun right now.
That's fire.
You know what I mean.
Speaker 2 (15:56):
If ass ain't shaking, I'm doing the wrong thing I'm
glad you called that audiblestraight up, because no hands
it's girls in this motherfuckingisland and everybody looking at
me like man, what you doing,bro?
Speaker 1 (16:07):
you got roscoe dash in here and you got wale we some
street niggas, man you know, Imean, it reminded me of the same
time I got in the studio withplies for the second time and
plies was like man, I need thisand I'm going.
This and going that and goingthis and going that and I'm like
, bro, we gotta make somethingfor the ladies.
(16:29):
What we're gonna make themshorty.
First record I did for plaz wasshorty, bro, even though you
know my girl still call you myshawty.
You know what I mean as aproducer.
You gotta know what to deliverfor a, and then you gotta read a
like okay, you got the streeton to deliver for a, and then
you got to read a like okay, yougot the street on lock.
Why am I going to give you moreof what you already got?
(16:49):
right, that's what you know Imean, if you eating oatmeal
later today, why I'm gonna feedyou oatmeal?
Right, I come with somescrambled eggs and turkey bacon.
You're gonna be like, oh, Icome with some pancakes I come
with some lamb chops and gotthem like come on, bruh, you
know I mean.
So it's all on what you got tooffer, and goddamn introduce a
nigga then.
And then sometimes he lookingat it like oh duck I've never
(17:11):
eaten this before.
Or branzino fish.
What is that?
Like this right, this the uppereselon, this, this the
mediterranean italian freshwater.
Speaker 2 (17:20):
Fresh water, you know , I mean salmon, honest,
everybody eating salmon.
Speaker 1 (17:26):
They trying to duplicate that shit.
Anytime that salmon remind meof tilapia, by the way.
That's a whole otherconversation.
You know what I mean, so I'llbe putting these on.
Branzino, I'm going to put youon something that you ain't.
You know what I mean.
I'm going to give you somethingyou ain't got you know what I
mean?
Speaker 2 (17:41):
You got the Louis.
Speaker 1 (17:41):
You got the Gucci what I look like Giving you
Samoa that shit.
Nigga.
I got Coogee, I got my niggahuh.
Speaker 2 (17:48):
You got that what I got.
Speaker 1 (17:49):
That DBS Nigga.
Speaker 3 (17:50):
I got some of this Motherfucking shit.
Speaker 2 (17:52):
Yeah, yeah.
Speaker 1 (17:53):
Yeah, yeah, what that is.
Let me see what that look like.
Let me try it on.
Oh, this feel good.
Oh, put it on your girl.
She put it on.
Ooh, this feels so good.
I feel so warm.
I'm cozy.
You know what I mean.
It's about pleasing people,whether it's through fashion,
whether it's through music,whether it's through liquor.
We drinking the spirit, wedrinking the energy.
Speaker 2 (18:16):
Yeah.
Speaker 1 (18:17):
So know what energy you drinking?
Know the history behind thisshit?
You be like damn okay, thisshit make me feel good I high
and that shit.
You be like damn okay, thisshit make me feel good I'm fly,
I'm player, but when I drinkthat shit.
Speaker 2 (18:26):
I be want to kill a nigga.
You know, you got to know thespirit that you drink, know the
energy, you know what I mean.
Speaker 1 (18:30):
So all of that is essential man.
Speaker 2 (18:32):
So I be.
I'm a music guy right, Like Itold you.
Standing ovation that's justlike one of my all-time favorite
produced records no hands aswell.
But you know, I'm on the phoneMusic all over.
I'm on Apple Wham.
Say uh drummer boy producerlist.
I download Boom.
(18:53):
It take me on a whole ride.
Speaker 1 (18:55):
I'm talking about and we just updated that thing.
Speaker 2 (18:58):
Shout out to Apple how it feel Like to go see that
Come on man and it's 50 to 70records and they back every last
one Listen.
Speaker 1 (19:05):
I curated that.
I put that together.
Apple allowed me to update myproducer playlist that artist
producer playlist on Apple,that's hot.
Go check it out.
It's in the bio.
You're the coach, bro Downloadthe app you know what I'm saying
.
Follow the Instagram.
Yeah, you know what I'm saying.
(19:25):
Follow the Instagram.
You know what I mean.
Subscribe to the YouTubechannel Drum Squad.
Speaker 3 (19:27):
TV.
Speaker 1 (19:28):
Follow the Instagram at.
Drummer Boy Fresh.
Facebook at Drummer Boy FreshTikTok at Drummer Boy Fresh you
know what I'm saying.
They was trying to play me likeokay these 11 of them, these 11
of them.
Speaker 3 (19:46):
They trying to play me like okay, these 11 of my
best work.
Like 11?
.
Speaker 1 (19:57):
We talking about verses and y'all talking about
20 records.
I could triple time everything.
Any who want to see me in aversus.
I got 60 records plus.
And I ain't even talking aboutthe other 300 winning.
Talking about mixtape drumwinning.
Talking about in the streetsdrum winning.
Talking about blew yourfavorite rapper up drum winning
(20:18):
talking about beginning era likehalf of the rappers.
Y'all on.
Y'all was on them and when theywas 22, 23, 24, 24.
I got history on these niggasat 16, 17, 18, 19.
Before 20.
Yeah, we ain't even talkingabout the before 20.
Or y'all favorites.
Speaker 3 (20:34):
Let's talk about your early self Like you growing up
with a music professional fatherand your mom singing opera, you
being able to be in thathousehold and being able to take
that in how was that.
Speaker 1 (20:47):
The biggest thing I learned was coming up in the
church and realizing that ain'tnobody different than anybody,
whether you celebrity, whetheryou superstar, whether you
Grammy Award winning, whetheryou Al Green, patti LaBelle,
anita Baker they was all comingthrough Mama's kitchen, my
(21:08):
Mama's kitchen.
You know what I mean?
Isaac Hayes, his whole life.
Gladys- Knight.
You know what I mean when you inthat church, baby, you either
brother or sister, brotherJohnson, brother Williams,
brother James, brother, you know, whatever your last name is,
(21:29):
brother such and such, whateveryour last name is, sister such
and such, sister Dale, sisterWilliams, sister, you know, so
on, sister Johnson, so on and soforth.
So we didn't get caught up inwho you were or this and that,
like I come from the church, sowe all looked at each other in
who you were or this and that,like I come from the church, so
we all looked at each other asequal right.
(21:50):
You know what I mean.
And then that that ain'tnecessarily saying I come from
religion, I come from church andI come from a god's way of
looking at the spiritualwell-being of humanity.
Yeah, and understanding we, weeither good or bad.
Period.
All of the preachings that yougot, everybody got the rules and
(22:10):
the regulations and this andthat.
But I've been cool with theferret, with lewis ferricon, for
20 plus years.
He ain't never tried to convertme right, come on over muslim
or this, and that.
I know some pope or I done metthe, the episcopalian, or I done
met the baptist preacher or themethodist preacher, this and I
done met a lotiscopalian, or Idone met the Baptist preacher or
the Methodist preacher.
I done met a lot of differentpeople.
Ain't nobody tried to convert.
(22:31):
You know what I mean.
Even in college, man, okay, theSigma's cool, the Kappa's cool,
the Q's cool, like man, listen,I've always been neutral.
You know what I mean.
Even when I'm okay, I came up.
People always ask me me, man,what's up with the, the whole?
Yo, gotti and Dolph.
Man, I was working with Gottiwhen Dolph was 10.
Yeah, mmhmm, know what I mean.
(22:53):
I'm working with Gotti, thatearly man.
So how you gonna ask me about anigga that didn't even exist At
that time?
Yeah, my history by here, mymama, the history, my mama and
miss mems got this family irpjuk god, he provided a way for
me as a memphis and as anindependent artist and as one of
the first trap rappers I workedwith period.
(23:16):
So you can't erase history.
Then, 10 years from that, thesecool god, we're trying to sign
off, damn niggas.
And Da da, da, da, woo, woo,woo.
And Dolph always said man, i'mado it on my own, i'ma get it on
my own, i'ma show these niggasI can do it on my own, da da, da
.
So Dolph just Dolph, just neverwanted to Sign with niggas.
Da, da, da da.
So this ain't Again no beef, noanimosity at the time that we
(23:42):
ain't got to speak on.
Nigga know what's going on andthat's between them you know, I
mean but anything.
Motherfucking Memphis, whetherit's north, whether it's south,
with his East, with hismotherfucking, with half of the
shit they talk about.
West Memphis, this shit ain'teven Memphis.
This Arkansas, it's across thebridge, it's literally the state
(24:04):
of Arkansas, but we still callit West Memphis.
Speaker 3 (24:07):
I still support that.
Speaker 2 (24:08):
Right, right, right you know what I'm saying.
Right.
Speaker 1 (24:12):
YB and YB Fat Like man it's so, many it's so.
Speaker 3 (24:17):
It's so much shit.
That's like man, we justembrace this you from Memphis,
you upcoming.
Speaker 1 (24:21):
You coming from the struggle, you coming from the
poverty, you come from thepoverty, nigga what that's it
south members, I like how y'allrolling though I'm fucking with
that shit, because I gottachange that shit.
I'm the jermaine dupree of mycity.
I'm the, I'm the, I'm the, I'mthe, you know, I mean, I'm the
glue back to my city, whetherniggas beefing and this, and
that I got niggas over here.
That's cool with niggas overhere and they know what going on
, but they don't do that shitpublicly Just because of what
(24:44):
they think and this, and thatI'm the only nigga That'll speak
on some shit Like that publicly.
Speaker 2 (24:48):
And not.
Speaker 3 (24:50):
Not give a fuck he know he the OG.
Speaker 2 (24:52):
Because niggas be scared To talk about that type
of shit On a real level.
Speaker 1 (24:56):
Then you got niggas.
That's really claiming.
See, it's a difference, that'sa whole nother discussion.
If you war chain, or if you wasover here signed, or if you
over here benefiting beneficiaryor being a being beneficial by
all parts, by this behalf ofthis organization, you know what
I'm saying and you benefitingfrom this situation yeah and you
(25:19):
repping these three letters andyou got these three letters.
You gotta stay there yeah youknow what I'm saying.
Jay prince was trying to sign meto rap a lot.
I was like I with too much.
I got my own drum squad and herespected that.
You know what I'm saying?
Tone henchmen bros, boo cool.
Who was trying to sign me?
Nice drum squad drum squad youknow what I mean when dolph was
(25:44):
like what, what I'm gonna do,how I'm gonna do this.
You're gonna build your up paperroute and route and da-da-da,
you say you're the empire.
Right, you need to meet Ghazi.
I take him over to Ghazi, Iintroduce him to Gucci, I
introduce him to 2 Chainz.
I don't got to be a culturevulture and sign you under me
(26:05):
and and and and, demoneverything you know what I mean.
No, nigga, let me build you up.
Nigga, you're gonna build upand make a play.
Niggas, come on.
Young blue was signed to medrum squad 16.
Young blue mobile alabama.
We develop a nigga.
A lot of niggas don'tunderstand who they are.
You heard jermaine dupree talkabout goddamn having luda and
(26:27):
not knowing exactly what wentluda, when luda, when I met him,
like some of these, don't knowwho the they are.
When we meet them, yeah, youknow what I mean.
Either you got the ability todevelop them this and that or
pass and somebody elsedeveloping at the same.
At the end of the day, everyneed development.
You know what I mean artistsand development.
We need more of that shit.
You see, less of that shit, youknow I mean you look at how
(26:48):
long it took sizzle to get hershit together, dolce to get her
shit.
She was over on tde for fouryears.
They don't be knowing that.
They don't know that.
Ella may, it took three yearsto pop that motherfucking record
off with with muster.
Dj muster is incredible producer.
People try to say he's.
He's caught in between onesound and this and that and he
will.
Man, niggas gonna hate.
But when you're doing somethinggreat, when you're doing
(27:10):
something great, niggas gonnahate.
808 mafia nigga.
Any platform that I'm on, Iused to uplift and big and and
and say I'm proud these niggascame after me.
I'm proud these niggas keep thetorch going on.
Metro boom.
And that's my nigga bro lostman, we keep a nigga strong.
And Metro, you watching thisshit bro, utilize a nigga bro,
(27:31):
because a nigga here for you,bro, you know what I'm saying.
London, on the track that mynigga bro, we utilizing each
other man, I know y'all niggas.
Speaker 3 (27:39):
You done lost your mom Fire.
Speaker 1 (27:40):
My mama got some good shit to say to you.
Speaker 2 (27:43):
I love that y'all doing that.
Speaker 1 (27:44):
You know what I'm saying.
My folks got some good shit tosay to you.
My aunties got some good shit.
My mama got some good shit tocook for you.
My aunties got some good shitto cook for you.
Speaker 3 (27:54):
You want that home cooked meal.
Speaker 1 (27:55):
You miss that mama meal.
Hey, reesey, reesey, shout outto Reesey.
She help us make no hands.
She brought Wale and RoscoeDash to the studio the night.
We did no Hands.
Shout out, reese.
Shout out Molly Hunter.
Shout out, reese.
Molly Hunter was one of themanagers at Tree Sounds.
Okay, during some of thebiggest sessions, 3,000, nappy
(28:16):
Roots, polo, the Don Gucci, someof everybody.
You know what I mean.
These folks who done cooked fora nigga, who really?
Hey man, hey, molly Hunter,reese, let's put together a
dinner for metro booming man,allow me to do some shit like
that man just cook for the realniggas.
I'm talking about home cooking.
Speaker 2 (28:33):
I'll get in that motherfucker too you know what
I'm saying digital sunny digitallast night that's my nigga.
Speaker 1 (28:40):
That's my nigga.
Speaker 2 (28:41):
Sunny digital family similar conversation like what
we having now, and he was sayingthe same exact things like bruh
.
We sticking together.
I'm with Metro, I'm with London, I'm with this.
Speaker 3 (28:51):
There's no way you can turn me against my brothers.
Speaker 2 (28:54):
We gonna get it.
Speaker 1 (28:55):
I don't care who better than who.
This is where we come from, fatboy, midnight Black, where, the
fuck you at?
We been looking for you, d-rich.
Speaker 2 (29:04):
That energy, that energy right here we talk about.
That's what we trying to bringtogether and have in Philly.
You know what I'm saying, so wecan show what's going on, but
y'all got to bring us up there.
Speaker 1 (29:13):
Bring me and Zaytoven , bring me and goddamn.
Speaker 3 (29:16):
DJ.
Speaker 1 (29:16):
Toon, you know what I'm saying.
Bring a couple legends up inthat motherfucking goddamn
column niggas.
We're the hottest as producersin Philly.
Where y'all niggas?
Speaker 2 (29:23):
at man.
That's where we on.
Speaker 1 (29:24):
We looking for y'all niggas man, get some content,
get some photos, get some ofthis energy, nigga, on how to
come the camaraderie.
I don't believe it.
Speaker 2 (29:32):
You know what I mean.
The camaraderie.
Speaker 1 (29:34):
You know what I mean.
Speaker 3 (29:39):
Because everybody be hating nigga.
We come from there.
Speaker 1 (29:41):
I Chicago, they been on it Detroit, they been on it
Cleveland, they been on itPhilly, they been on it
Pittsburgh, they on it.
Nigga, I know what's going onup north.
We got to get on that.
You know what I'm saying.
And y'all niggas started thehip-hop shit.
To be honest, from the hip-hopstandpoint, new York got the
throne and that shit trinkleddown, but it trinkled to New
(30:02):
York, it trinkled to all of theplaces where niggas was free
nigga.
Speaker 2 (30:06):
You know what I'm saying.
Speaker 1 (30:08):
We stuck doing blues and depression and this and that
, because it's not as mucheducation, it's not as much
knowledge, it's not as much game, it's not as much freedom as it
was up north.
Everybody know the south was inthe worst position in the north
.
You know what I mean.
So all that shit trinket downand we got inspired.
We got motivated from y'allniggas Philly, cincinnati,
(30:30):
pittsburgh, cleveland, detroit.
It's a lot of uptops at SouthBend we forgot about y'all and
that's close to Chicago, butit's many, so many good niggas.
I got niggas in Gary, indiana,holding shit down.
Like you know, I'm sayingoriginated in West philadelphia
absolutely parkside killers youalready know, hey, and I'm not
familiar with that history.
(30:51):
So y'all teaching me somethingman praise to all of that.
Speaker 2 (30:55):
That's where ice t got his cadence for 5 am kicking
5 am kicking at my dope yeahthat's what he got that cadence
from psk huh, my man white boygot his history down pat.
Yeah, yeah, my history downpeck on you too I am one of my
favorites, yeah that's why I waslike.
You know, I'm interviewingright now, but it's still
(31:16):
surreal for me because it's likethis, right across from it, bro
, standing ovation man I'mtalking about you got me through
some times man a lot of times,yo man.
Speaker 1 (31:27):
A lot of times and the Novation nigga had to stand
on business.
I had sold the original beat ToYoung Sneed Big Cat.
Jeezy hit me six months laterFor the same beat and I'm like,
bro, I been sold that beat.
What you doing?
Like that shit dust, nigga.
That shit like the work, thatshit like a kilo, that shit like
a pound, nigga.
That shit does Nigga.
I can't get that shit back.
I sold that shit six months ago.
You want me to get some workback that I sold six months ago?
(31:50):
Like nigga, no, it's done, it'sover that shit over.
Speaker 3 (31:53):
You know what I mean.
Speaker 1 (31:54):
So I kept telling the nigga.
I told the nigga from thebeginning.
I told the nigga.
I said straight upge againleaked and this and that Woo woo
woo.
He was already going throughthe leaked shit.
So he was like you got to pullup that patchwork.
So I pulled up.
I stay in Stone Mountain at thetime.
This shit, 45 minutes, 50minute drive.
(32:14):
You know what I'm saying.
I pull up to goddamn StoneMountain and he like goddamn,
here go the vocals, woo woo woo.
Then I pull up the patchworkfrom Stone Mountain and got the
vocals from him, acapellas fromhim.
Bam, take it back to StoneMountain.
Do the first version.
Take it back to goddamnpatchwork.
Play it.
It's probably like 3.30 in themorning.
(32:36):
You know, 2.45, 3 o'clock in themorning, Mind you he turning in
the album for Thug Motivation101 the next day.
Speaker 2 (32:45):
This the last song he mixing, but the first song he
done rapped on this shit, didn'the?
Speaker 1 (32:50):
I?
Get like 15 missed calls I gotlike eight missed calls from.
Coach K.
I got like eight missed callsfrom Jeezy and I called Coach K
first.
What's going on?
Coach K's like man, call Jeezy,bro, he need one of them.
He rapped on something.
He need, bro, he need one ofthem.
He.
He rapped on something heneeded and that's how it started
.
So I got them called jeezy.
He tell me yo, listen to thisright quick.
(33:11):
So I listened to the beat and Irealized I just sold the beat
six months ago, so I'm likestomach hurt jeezy like man.
What you sell the beat for, I'llbuy it back, I'll give you 20
racks.
I'll give you 20 racks right now.
And and I can say this now Isold the original beat, but this
is six months prior, so theoriginal be for 1500.
(33:32):
You know what I mean.
But I'm I'm 18, I'm 19 at thetime, so this is a good price.
You know, this is a good price.
You know what I'm saying.
When I, when I did the uh, makehim get that money right for
pastor t, pastor Troy, I toldhim $5,000 a beat.
He was like I ain't got five,give me four.
I got four for you and gave me$8,000 for two beats.
I did Make them get that moneyright.
(33:53):
Pop that pussy, make them getthat money right.
This a strip club anthem.
I'm 19.
I'm 19.
I ain't even old enough to getin the strip club and I got four
thousand a beat.
So, bam this.
After I did that, cheesy boysin the hood, I did look trap
niggas.
Speaker 2 (34:10):
So after that plan of a day, dumb boys got work dumb
boys got, so that album comesout bring it
Speaker 1 (34:19):
back.
So so look, so bring a stackthat.
Look that whole.
Make them get their money right, pop their pussy.
Woo, woo, woo, that's out 19.
20 come, I do boys in the hood.
Yeah, I'm transitioning into 21.
(34:39):
My dad on my ass about college.
I got kicked out of my junioryear in college from unattended
in college Back and forth toatlanta doing the boys in the
hood shit.
So my dad find out about theschool, said nigga, you big bad
wolf, you you head hunter, youdrummer boy, you making beats,
show me a hundred thousandwithin 10 months i'ma kick your
(35:00):
ass.
I'm 20 at this point, you knowwhat I'm saying.
And bam, standing ovation wasmy biggest testament, because I
literally had like a hundreddollars, two hundred dollars in
my pocket.
You did your thing and it's it'sprobably thirty dollars, forty
dollars gas just to get toatlanta.
You know what I'm saying.
You know three, five a week.
(35:21):
You want a little 50, so youprobably down to another 50 just
on food.
I did the first version, tookit back to jeezy.
He was like I took it back home, did a second version, took it
back to jeezy.
He was like you getting closer,you getting closer, that's
closer.
That was the first time Ilearned how to study an artist
(35:43):
and really do my research and Irode to the whole streets is
watching and trap or die on theway home and I realized this
nigga need the horns.
He a trumpet nigga.
You gotta add them, horns andthem, and them and them.
(36:04):
They sound good, oh man, andI'm like hey, yeah.
That sound good.
Hey, and that was the firstpart.
Nigga and nigga.
When I push play on goddamnJeezy, he was like.
That was the first time I heardhim say them ad libs live in
person.
Ha ha.
Speaker 3 (36:24):
Ha, ha, yeah, yo, I'm a fan of that song.
Speaker 1 (36:29):
I got 150 yeah, pub deal out the gate just because
of that platinum.
That that, that rate.
That was my first platinum play.
Speaker 3 (36:37):
Oh, so you was able to show whatever he wanted to
see my my dad was like I showedhim 150.
Speaker 1 (36:42):
Oh yeah, we was best friends since.
Speaker 2 (36:45):
But listen, so look did you know, though, that, at
the time, jeezy would be so big,with him signing the Boys in
the Hood deal and the Def Jamdeal, and then it being like one
of the biggest deals?
Speaker 1 (37:00):
That Jeezy was big in the streets, so anything in the
streets that was like at thatcaliber.
The last thing I saw sinceJeezy in the streets.
That big was hot boys.
Speaker 2 (37:10):
Okay.
Speaker 1 (37:11):
And we saw what that did.
So, the streets running thatshit nigga and you got them.
Like he was literally takingBMF on an escort around the city
Like he was putting them up ongame and showing them around
what's hot in there and you knowthey new to Atlanta not him
know I mean.
So people really underestimatethat whole picture, like you
know I mean you talk about anigga who already had a million
(37:33):
dollars riding in Lambos and gotthem in all of the strip clubs
on a daily basis.
Come from Hawkinsville, georgia,running Atlanta, just cuz many
guy got the money and I'meverywhere and he forget to to
know a nigga Whether I'm rappinglike Teflon Don or Trick Daddy
or whatever y'all want to say.
He was rapping like.
You know it sounded Floridabased.
You know what I mean Becauseyou know Hawkinsville like South
(37:56):
Atlanta, so it's going moretowards Florida.
But you know, once he found hisown and found his whole, he
found his niche before he metBMF.
That's for Him going aroundstrip club to strip club.
And shit, let me show y'allniggas what's going on.
(38:16):
So, as he pushing, play shit,everybody in play with the whole
situation.
Speaker 2 (38:22):
So it's just a win-win.
Yeah, that's hot, you playgames.
Speaker 3 (38:26):
I know you don't play no games, man.
I'll be on the PlayStation andshit like that we got a few
games we play, man, one calledOne Gotta Go and and fast track
the other one called one.
Speaker 2 (38:37):
Gotta go fast track let's get into it crazy.
I say two things.
You pick one of the other.
It's music based questions okay, okay so all right, let's start
with this one.
Speaker 1 (38:49):
Major figures of state property uh, I'm gonna
have to say state property justbecause of my knowledge on the
catalog, as opposed to the othermentioned.
Speaker 2 (39:05):
Okay, okay, so all right.
How about this?
Okay, jermaine Dupri, or Beatsby the Pound.
Speaker 1 (39:13):
Jermaine Dupri that's easy Beats by the Pound.
Jermaine Dupri that's easyBeats by the Pound.
They gave us a lot of hoodclassics.
Jermaine Dupri gave us a lot ofhood shit.
A lot of R&B yeah, classicclassic Number ones and whatnot
like that.
Just the R&B game alone.
That ends that conversation.
Speaker 2 (39:29):
We had a long conversation about Jermaine
Dupri.
Speaker 1 (39:31):
Always he like the president out this moment and he
introduced so many differentartists Like outside, just as a
producer, you know, that's whatI see myself as, like you know,
not just beat making or not justintroducing artists, but I'm
climbing in different genres andbeing effective and dominant In
other genres as well, let meget one, mike Will Metro.
(39:55):
Both of them my niggas you knowwhat I'm saying?
metro, my nigga, mike my niggauh, niggas who I seen in person
cook that shit up.
I gotta go with metro, okay,right, you know, I mean in
person metro, the only niggathat didn't have under producers
under him, that's still puttinghis name on 100 of everything,
(40:17):
just like me, you know, I mean.
And now lately I've beenintroducing other, like you know
, kind of like air drummers, butyou work with music to where
you know mike, mike, mike willwork with other producers and a
lot more collabs yeah I workwith other producers?
yeah, but that's lately.
If you go, look at here I am.
That's 50%, no hands, 50%, puton 50%, round round, I'm getting
(40:39):
it.
50%, bluffing 50%.
You know what I'm saying?
Standing ovation, 50%.
Lose my mind 50%, like I can.
Here I am 50% Like you know,migo, look at my dab 50% Like.
Speaker 3 (40:54):
I mean my dad, 50 like I, I mean do you like?
To a certain point where you,you, you like, let other
producers do their thing, andthat's what I'm doing now,
because I'm I'm on.
Speaker 1 (41:02):
You know I'm up so I don't.
Money is not the work is less.
Speaker 3 (41:06):
You know what I'm saying and it's now.
Speaker 1 (41:07):
It's about putting my avery.
Avery beats he's 16 out ofmaking he going crazy on the
beats we collabing like crazycash.
He the next one up um.
You know I'm saying he goingcrazy.
Chris beats uh north side donedz like I got a dj moon.
Speaker 2 (41:24):
Oh yeah, that's my boy.
Speaker 3 (41:25):
Oh yeah, pop lord yeah, come on, man pop lord,
come on man come on man we inthe land right now, man, yeah,
come on man okay, so all right,let's go here.
Speaker 2 (41:34):
How about?
Speaker 3 (41:35):
Let's do one gotta go after this.
Speaker 2 (41:37):
Yeah, one more, then one gotta go.
All right, let's go.
Standing ovation or no hands.
Speaker 1 (41:46):
No hands.
Speaker 2 (41:48):
That's the ass shaking.
Speaker 1 (41:49):
I don't know you talking about Diamond as opposed
to Three Times Platinum.
Speaker 3 (41:54):
Standing ovation was an intro song and I'm Three
Times Platinum, that's what'scrazy?
Speaker 1 (41:58):
I'm Three Times Platinum with an intro to a song
I ain't even a single.
That's what's crazy.
Like I ain't even a single andthen, what?
And then my auntie house.
That was the single off of thatalbum.
That was.
You know what I'm saying andI'm still a three million on
standing ovation and then SoulSurvivor, correct?
I wasn't even a single off thealbum.
Speaker 3 (42:21):
He dangerous bro you a dangerous motherfucker.
Speaker 2 (42:24):
Album cut the best album cut, my first single on
Jeezy was Flexin' and then.
Put.
Speaker 1 (42:31):
On, put On yeah, and then Lose my Mind.
Speaker 2 (42:34):
And then Me Okay, okay, all right, on, yeah.
And then lose my mind.
And then me okay, okay, alrightso one gotta go oh and then
White Girl too.
White Girl, white Girl, thenappy head.
Speaker 1 (42:42):
USDA.
You know the nappy head ofbitches and woo woo woo that
killed us on the promo.
So that was like White GirlAnything black, white.
Oh, that killed us.
Speaker 2 (42:53):
Wifey love White Girl yeah.
On USDA album she uh wifey lovea white girl yeah yeah, on usda
album.
She love that shit.
Okay, I keep that white girlchristina one gotta go is a
little bit different.
I'm gonna name four names andyou just pick one to go.
When they go, they holddiscography, they hold right,
everything go, everything allright.
Speaker 3 (43:10):
And it's not personal , so we're not speaking on their
personal problems and shit likethat.
Speaker 2 (43:14):
Yeah, things they got going on Yogati, yogati, lil
Wayne, gucci man, jeezy, onegotta go.
Speaker 1 (43:28):
One gotta go Pack they bags Yogati Lil Wayne,
Jeezy and Gucci man Gucci.
One gotta go.
Yo Gotti, gz, gucci and LilWayne yes, sir, you see how that
(43:50):
work she, I had to say LilWayne, cuz I ain't no, no, lil
Wayne album.
Speaker 2 (43:55):
Okay, hey, wayne, if you don't get Drummer Boy on the
album bro.
Speaker 1 (44:00):
I did still got that rap.
Speaker 3 (44:02):
Yeah, on.
Speaker 1 (44:03):
DJ Drama.
Dedication 5 Okay.
Speaker 2 (44:06):
Ooh, that's one of the ones too.
Speaker 1 (44:08):
Yeah, but that's it.
Though.
Like I feel like and I didMoney to Blow, I was about to
say Money to.
Blow on.
I was about to say yeah, but itwasn't a Lil Wayne record, yeah
.
Speaker 3 (44:17):
We need a full Lil Wayne.
He was on the features and Idid Lost.
Speaker 1 (44:20):
Gorillazo featuring Lil Wayne.
We need a Lil Wayne Grummer Boy.
A$ap.
We done some shit, but it'slike you know.
Speaker 2 (44:28):
You watching us.
I ain't never worked with WayneGrummer Boy.
Speaker 1 (44:31):
I never got in with him personally you know, got in
with him personally, right,right, so, uh, I have to, I have
to get that done there.
We need, because of that fact,you know I work with everybody
else.
Speaker 3 (44:41):
You know we need that .
Speaker 2 (44:41):
We need a way to drum a boy, let's go here um uh,
sexy, red, glow, rilla, ice,spice lada, one gotta go say
that one more time sexy red, red, glow, rella, ice Spice Lada
One Gotta Go.
Speaker 1 (45:07):
Ice Spice.
Speaker 2 (45:09):
Okay, okay.
Speaker 3 (45:10):
Viral Sensation Uh huh.
Speaker 1 (45:12):
I ain't never worked with her.
I don't know what she like.
I don't know her energy.
I don't know nothing about her.
You know what I mean.
Speaker 3 (45:16):
So I can't know her energy.
Speaker 1 (45:17):
I don't know nothing about her.
You know what I mean, so Ican't speak for her.
Glow Rilla, my gangster.
Yeah, I like her.
Speaker 3 (45:20):
Lotto.
My gangster Shout out to GlowMemphis.
Speaker 1 (45:22):
You know what I'm saying.
Speaker 2 (45:30):
And who else you spoke of Lotto?
Yeah, birdman P Diddy, jermaineDupri, one gotta go, that's
easy Diddy.
Diddy, you gotta go buddy.
Speaker 1 (45:42):
Everybody else, my gangsters.
You know what I'm saying, butyou know when you cut them, you
get rid of everything theyattack Everything go.
Speaker 2 (45:47):
You said he gotta go, bro, we ain't going.
Speaker 1 (45:49):
I don't give a fuck about nothing.
I ain't attached to nothing.
Bad boy, nothing, bad boy.
Speaker 3 (45:54):
I ain't on not one bad boy album I ain't on not one
production.
Speaker 1 (45:57):
I'm not the hit man, I'm not a part of no production.
I ain't a part of no crew noclique, no party.
Speaker 3 (46:03):
I wasn't at no party.
Speaker 1 (46:06):
I don't got no attachment, so it's easy to
goddamn.
Speaker 2 (46:09):
that's easy, jermaine Dupri you know what's going on,
man.
I told you to replace Diddywith JD.
Speaker 1 (46:16):
This one of my Nah, so so, so, so deaf.
They bringing Atlanta back, man.
Speaker 2 (46:19):
Yes, sir Jermaine Dupree and J Money just was in
the studio.
Speaker 3 (46:24):
J.
Speaker 2 (46:24):
Money, that's some shit.
Speaker 1 (46:26):
JD in with everybody.
Man.
He got everybody pulling up.
Brian Michael Cox back outside.
Yeah, we back outside Lastnight.
Speaker 2 (46:31):
Last night, Absolutely, I said damn, it's
about to go down, absolutely.
Speaker 1 (46:34):
Shout out to Manny Fresh, though that's one of my
dogs you know what I'm sayingwho been holding shit down.
I know you mentioned KLC andBeast by the Pound and Woo Woo,
but mentioning all them niggas,we can't skip over my nigga,
manny.
Speaker 3 (46:46):
Fresh man Shout out Manny Fresh my eyes and goddamn
giving Jeezy the and then whatsingle?
Speaker 1 (47:02):
and fresh, fresh come on, that's real trap shit, even
though it was classified as aship-hop.
Yeah, manny Fresh to me is oneof the original he really a
hip-hop boy man.
Speaker 3 (47:14):
Shout out to manny fresh for keeping the culture
alive, oh no man that no bouncea drummer.
Speaker 2 (47:21):
This is one of my career joints man I'm glad.
Yes we've got to sit down withyou, man, get your story, man.
Speaker 3 (47:26):
This is this is really, and there's so much more
that we can talk about, we'llget to it man, we're gonna keep
pulling.
Speaker 2 (47:33):
Yeah, we going to keep pulling up at ATL.
Speaker 3 (47:35):
Yes, sir, it's got to do so much.
It's so much to cover.
You know what I'm saying, whoI'm shouting out, what I'm
shouting out?
Shout out Rilla, the MostPodcast, oh really.
Speaker 2 (47:42):
Hey man, this your boy Drama.
Speaker 1 (47:43):
Boy aka.
Speaker 2 (47:49):
D-Boy, fresh man, white Boy D2E.
I'm Roller and we out of herey'all.
This is the Roller, the.
Speaker 3 (47:54):
Most Podcast.
Make sure y'all stay tuned.
Then go towwwrollerthemospodcastcom.
Speaker 1 (48:04):
Roller the Most Podcast.
The following show has been approved for
appropriate audiences by theReal Ones Motion Picture
Association of America Inc.
The show advertised has beenrated R.
Speaker 2 (00:07):
The content discussed may cover sensitive topics.
Listener, discretion is advised.
Speaker 3 (00:11):
If you feel that any content may be triggering or
distressing, please take care ofyour well-being first.
Speaker 2 (00:15):
It's White Boy D2A.
I'm Roland and we just wrappedup the craziest, craziest
interview.
Sam, hold me down for the lightskin niggas.
Yeah, yeah.
Speaker 1 (00:45):
I Hold me down for the light skin niggas and a
certain thing is a certain lane,is a certain pocket y'all
trying to be in.
I might have to do certainlittle things that might get me
to trust them.
But if this is really the MooseMarket, keep it coming.
If you don't, you're amotherfucking a** Wilder than
the free.
Really the Moose Market.
Speaker 2 (01:07):
Oh man, we here man.
Speaker 3 (01:10):
Rolling the most podcast.
Speaker 2 (01:12):
And we in ATL At ATL.
Speaker 3 (01:17):
You did and you know, it's crazy here too.
Speaker 2 (01:21):
It's just one of them .
Places where players meet.
You feel Feel me man?
Hey, yeah too, it's just one ofthem.
Places where players meet.
You feel Feel me man?
Yeah, boy, today we got noneother than the legendary
producer, architect of sounds,drummer boy in the building.
Y'all.
Speaker 1 (01:39):
Man, you had to excuse me too what you got to do
.
Speaker 2 (01:42):
I'm with you, the fool you know what I'm saying
when you got to do Shit.
I'm with you, the food man,what you got to do here.
Speaker 1 (01:47):
You know what I'm saying, what you dig when we at,
we at ATL.
Speaker 3 (01:49):
Come on, man, we at the location hey listen, man,
they spell it.
Speaker 1 (01:59):
A-Y-E-T-E-A-E-L-L-E.
We right by the airport, as youcan see the planes.
Speaker 2 (02:04):
One minute, two minutes, that's a Spirit flight.
Speaker 1 (02:06):
That's a Spirit flight.
You can see the yellow planeright there, that's a Spirit
plane, delta, all of theairlines, man, but I'm talking
about the number one mosttraveled through airport in the
world Atlanta.
Speaker 2 (02:20):
Yes, it is Hartsfield .
Yes, it is.
Speaker 1 (02:24):
Right here.
You know what I'm saying, andI'm from Memphis.
I've been here in Atlanta for20 plus years.
It's been a blessing man.
You know what I'm saying.
So it's a pleasure to be herewith y'all and invite y'all out
to the new spot.
You know what I'm saying.
Yeah, we got a partnershipgoing, so stay tuned.
Speaker 2 (02:38):
ATL.
Y'all tap in man Fire man, Iknow man fire yeah, man, how you
feel how you feel, core.
Speaker 3 (02:44):
I feel good.
Man.
Let's pop the bottle of thebelly man.
Speaker 2 (02:48):
You know the food good, here we got really the
most cups we send out.
Speaker 1 (03:01):
ATL, atl.
You know, billy huh.
Shout out to my boy, KP man.
Speaker 2 (03:06):
We put out their project.
That's my boy.
You know what I'm saying FakeFree, you know what I'm saying.
Speaker 1 (03:10):
A lot of hard dope rappers, man.
I did a song with Beanie Siegelon Welcome to my City, Vol 2.
Speaker 2 (03:16):
That's on.
Speaker 1 (03:19):
That's on.
You know what I'm saying.
Speaker 3 (03:25):
He always show love.
You know what I'm saying.
Speaker 1 (03:26):
Every time I see Freeway I be goddamn thinking
the Styles.
P In the back of my head Forsome reason.
Speaker 3 (03:32):
Yeah, you know what I'm saying.
But Freeway good nigga.
Speaker 1 (03:35):
You know what I'm saying and you know just fucking
With the city man.
You know what I'm saying KPbeen doing good things.
You know what I'm saying.
When Taylor brought y'all up, Iwas like, come on, we gotta do
it.
That's right, this is where wegonna be at.
Y'all.
Pull up on me, man, we gottashow love to Philly man, fuck
with Philly.
Speaker 2 (03:49):
Appreciate Lala man.
Appreciate, appreciate MercedesLala.
Speaker 1 (03:52):
Yeah, yeah, we appreciate everything.
They been working hard too.
Yeah, man, a lot of beautifulyeah-yeahs up there I was
telling.
Speaker 2 (04:01):
KP.
Like y'all did wonderful onthat project, like y'all did
wonderful, I went to the releaseon South Street.
He had a big release for it andeverything it was dope.
Speaker 1 (04:11):
Yeah, yeah.
Speaker 2 (04:12):
I'm glad y'all got the link and do some work
together, man, because when itcome to bars and that sound.
He got it and it beingauthentic and real and then
being able to act that shit outlike that.
Speaker 1 (04:23):
He don't get enough acting credit.
As soon as I seen him, I met KPthrough the Instagram and I
kept seeing him doing thesedifferent visuals and doing
these different series ofreenactments, so to speak, of
what he recorded in the studio.
And I was like yo, this nigganeed to be on TV and to be able
(04:43):
to spit them lyrics, live frommemory as well as act that shit
out and have all of thesedifferent things planned at the
right time.
This nigga pop out, this femalecome out the door.
He close this door.
You know what I mean the guncome off the weight, like
everything be perfectly timedwith him, like he see a vision
(05:06):
and I I think of uh, what's myboy named danny glover atlanta
uh-huh the tv show he didatlanta.
Yeah, yeah and seeing kp likenigga as a rapper.
Right, you need to do a tv showcalled philly, or?
Speaker 3 (05:19):
you know or?
Speaker 1 (05:19):
some kind of some like.
But I see him on tv.
I know he's an actor, I knowhe's capable of reenacting right
uh and his memorization.
If you can remember them lyrics, you can remember them lines
right, right, right, right yousee what I'm saying, right,
right he just got that image, hegot that face, he built for
that.
So man shout out to it's just.
Speaker 2 (05:37):
KP my boy.
Speaker 3 (05:39):
KP man out the KP.
There's a little airplanescoming by.
Y'all know that man.
Speaker 1 (05:42):
But we in the fly zone, baby flies on.
Speaker 2 (05:45):
y'all know that, man, we in the fly zone baby Fly
zone.
Speaker 1 (05:46):
Man Come on, man you dig yeah.
Speaker 2 (05:49):
So, yeah, like you know, we get to sit down with
the legend and you know, youbeing one of those guys that the
shape, shape the sound of ageneration and like our
childhood, adulthood, uh, thattrap music man that that's just
(06:10):
played so much important time inmy life, man, that that gz
standing motive, standingovation man come on man that
shit means so much to me, man.
It's like to sort of sit acrossfrom you.
It's like I got a champion tothe moon, you know, I mean.
Speaker 1 (06:24):
Yeah, nah, it's respect.
You know what I mean.
Making standing ovation, it wasthis type of shit going on.
Speaker 3 (06:30):
You know what I'm saying.
Speaker 1 (06:32):
It was people being rescued.
You know it's motherfuckersgetting arrested.
Speaker 2 (06:36):
Yeah.
Speaker 1 (06:37):
You know what I mean.
It's motherfuckers coming inand out of Atlanta on flights.
A lot of niggas driving.
I come from memphis, yeah, youknow.
I mean some motherfuckerscoming from alabama, mississippi
, louisiana, florida, texas,kentucky, north carolina, south
carolina, so on and so forth.
So you know I mean anybody pastthat.
They might be coming in on aflight vegas la washington, uh,
(07:00):
new york, you know what I mean,new mexico, but motherfuckers
coming in from all parts of theworld.
It's the most traveled throughairport in the south.
Uh, so, to see so many differentcultures and to see us stick
together and uplift us the waywe uplift us yeah as well as
seeing the history that theytried to erase, yeah, and then
(07:22):
seeing us fight for the cityback, man, you know you're
looking at Maynard Jackson andthe mayors that have been in
position.
You look at Clarence Avant RIPthe things that he did for the
city of Atlanta and helped bringin the concerts and the shows,
and the relationships, and allof that to Atlanta.
Speaker 2 (07:42):
Yeah, yeah.
Speaker 1 (07:43):
Seeing what LA Reid baby face with the face did for
Atlanta, you know what I meanand them coming down here and
putting out all of the actiongroups, like it's just a city
for us, amazing things,beautiful things and just
everybody uplifting everybody.
So it's something that you wantto fight for.
It's like the major league forus.
Speaker 2 (08:04):
If we had our own team.
Speaker 1 (08:05):
It's something that you want to fight for.
It's like the major league.
For us, If we had our own team,it's Atlanta.
Speaker 2 (08:08):
So you crafting the sound and meeting those
gentlemen that you meeting atthe time to help you get your
vision out.
With the sound, did you know itwould shape the generation of
trap music, though?
Did you think it'll go that far?
Or did you think that that trapsound or that 808 drum spread
(08:30):
throughout the world like it did?
Speaker 1 (08:34):
I think honestly, like if you look at it like a
sport, like once you realize youcan hit a home run.
Yeah, hit a home run yeah, notonly you realize your power, but
the people in practice, theother players, the teammates,
(08:56):
right right the coach, right theparents who are in the crowd
like oh shit, that boy just hita home run.
Speaker 2 (09:01):
Baby right, look at it, go at it go.
Speaker 1 (09:03):
You know the daddy's like damn that boy got some
strength.
The coach is like damn that boy, what we got here, you know.
So it's you, as well aseverybody, realizing what you
got going on.
And I realized that in highschool I hit my first home run
with Yo Gotti.
When you see me shawty, popyour collar, then you holler
that's what's up, what up?
(09:24):
Drummer hey what up?
Mama, even before that, we hita home run with shawty.
Speaker 2 (09:29):
Shawty.
Speaker 1 (09:30):
And not Ply's T-Pain shawty.
I'm talking about Yo Gotti.
I got white shawty.
Cheap, cheap price shawty.
Speaker 3 (09:40):
Price shawty.
Speaker 1 (09:41):
That's what got Yo Gotti his first deal With TVT,
and we talking about I&E.
This is before CMG even existed.
So to be able To get a nigga, adeal Right, that's from a
neighborhood or area that younever heard of Ridgecrest.
Speaker 2 (09:56):
Yeah.
Speaker 1 (09:57):
Ridgecrest Apartments .
Okay, we know about that inRaleigh, or we know about that
In North Memphis, or we knowabout it in North Memphis, or we
know about that in SouthMemphis, but the world don't
know shit about no Grinch, chrisor Promise.
You know what I mean.
And that was the first part,that was the first time.
Okay, damn.
And a lot of that had to dowith Yo Gotti's marketing
strategy and him going straightto radio, him going straight to
(10:18):
Lester Pace, him putting hismoney on that budget and
promotion.
You know what I mean.
Lester Pace, one of the biggestradio promoters in the United
States.
You know what I'm saying, sofresh out of Memphis.
So those are things thatallowed him, even if the TVT
deal didn't work.
I saw Gotti, by himself, offerthat deal for $500,000.
(10:38):
Y'all gave me $500,000.
This ain't working out.
Here go y'all $500,000.
This ain't working out.
Hey, here go y'all $500,000.
Right, I ain't blow my money.
You know what I'm saying.
And even if I did, I'm gettingso much money that I can afford
to pay you back.
Speaker 2 (10:52):
Yeah.
Speaker 1 (10:53):
And not be tripping like bro, this ain't working.
Here go y'all, $500,000.
I watched it, you know what I'msaying.
And on that same deal, lil Joncoming to Memphis Seeing
producers like Slice T, paragon,my older brother N St Wayne RIP
(11:14):
Producing for Gotti, and seeingSlice T giving sounds to Lil
Jon.
And you know what I'm saying.
Lil Jon did the beat on YoGotti's Life album.
I did four songs on there.
My brother N St Wayne did foursongs on there.
Swizzle did four songs on there.
Sw, my brother in saint waynedid four songs on there.
Swizzle did four songs on there.
Swizzle was one of my producers, signed on the drum squad, you
know I mean, and that was likeshit.
Speaker 2 (11:31):
We pretty much executive produced that life
album, which was one of goddy,like first biggest albums fire
you know what I'm saying yeah,that's like one of his joints,
like coming off that you knowbeing a street rapper.
Yeah, I'm what I'm saying andactually going big.
Speaker 1 (11:46):
Absolutely.
And this was like at the time,like when the trap music got
introduced.
People don't understand, likethey was real hard on niggas not
doing, you know, rapping, thelifestyle that they didn't live.
Speaker 2 (11:59):
Yeah.
Speaker 1 (12:00):
So any rapper trying to rap about the trap shit.
Speaker 3 (12:03):
You had to be that.
Speaker 1 (12:04):
You had to really be doing that shit or did it?
Yeah, which was Yo, gotti, ti,jeezy, gucci For real Period,
like that's original trapRushmore.
And then, honorable mentions,they were still classified as
(12:25):
hip-hop Master P Ghetto Mafia.
Plyos was later.
Plyos ain't come out until 05,06.
So if you look at the history,like Gotti was dropping 96, 97.
Ti dropped 01.
Speaker 2 (12:40):
Gucci dropping 03.
Speaker 1 (12:40):
Jeezy dropping 02, 03 .
Speaker 2 (12:41):
You know what I mean.
Speaker 1 (12:42):
Yeah, gucci dropping 0-3.
Jeezy dropping 0-2, 0-3.
You know what I mean.
Then, from that, you had RickRoss.
Speaker 2 (12:49):
Yeah.
Speaker 1 (12:50):
You had Future.
Speaker 2 (12:51):
Plies, then Plies.
Speaker 1 (12:52):
You know what I mean, plies it laid out just like
that.
Speaker 2 (12:55):
It laid out just like that, it did.
You know what?
Speaker 1 (12:57):
I mean.
Speaker 3 (13:08):
That was the evolution of the the trap shit.
But the beginning, in my eyes,was got a jeezy tip and and I
agree, so just listening to youare you like hard on yourself?
Speaker 1 (13:13):
when it come to like producing, I'm super hard like
I'm, I'm hard, but at the sametime I'm I get that shit from
master p, like where you stillgotta mix it at the best ability
and get that shit out right soI'm not gonna hold on to this
shit like bro.
We gotta get this shit out, wegotta leak this shit.
I bet no hands was leaked.
Shawty plies was leaked rightaround.
I'm getting it was leaked yeahbecause, sometimes the label,
(13:37):
the anr or the manager, evensometimes nigga.
The artists might not see thevision or understand what the
fuck they got.
Like nigga.
Why imagine walker?
I made him who knew that thisshit was gonna go diamond, but
at the time walker was likenigga, I don't care what you do
with this song, drone, it's yoursong.
So this really could have beena drummer boy featuring walker
(13:58):
roscoe.
But because gucci paid for thestudio time, I never forget the
moment.
I never forget time.
I never forget the moment.
I never forget the purpose.
I never forget the bag when thebag coming from.
Who paying for this moment thatwe all benefiting off of?
We all sipping champagne?
I ain't buying this champagne.
(14:19):
Gucci bought all this shit.
You know what I mean.
All this liquor in here.
Gucci bought this shit outsideof the liquor that other
motherfuckers just brought tothe studio.
But this was a celebration.
My nigga, gucci, sacrificedyears, or actually at that
particular time, one year behindbars and came home.
So why am I looking me tobenefit off of this shit?
(14:42):
I'm already producing a recordand I'm going to get 50% because
I made the beat straight out.
No samples, no collabs.
Speaker 3 (14:49):
I make the beat with nobody nigga, I literally made
no hands in front of everybodyin there.
Speaker 1 (14:53):
Motherfucker, I ain't even got enough room to touch
the keyboard.
That's why the keys so simple,done I got to come to a second,
bro.
You know what I'm saying so I'mmaking this shit from scratch,
(15:14):
literally just like I did at thehigh school cafeteria, bro, and
it was a celebration.
Everybody man, we on thechampagne, we getting lit.
I ain't thinking about whogoing to pay me, how much I'm
going to charge for this beat,what I'm going to get out of
this shit.
I ain't thinking about whogonna pay me, how much I'm a
charge for this beat, what I'mgonna get out of this shit.
I ain't think about none ofthis shit.
I'm looking at everybody havingfun, everybody moving, all the
niggas.
That's hating.
Like man.
We some street nigga man.
We need to make some streetshit.
I like, bro, give me a jiggetting out of jail.
(15:36):
We don't want to send them back.
Yeah, no, I mean how we gonnamake the women, the ladies, move
, dance, politic, have fun andand incorporate them.
We be some on when we're onstreet, she hard, and that's why
I come in as a producer like Iain't on that right now.
It's.
This is a celebration.
We finna have fun right now.
That's fire.
You know what I mean.
Speaker 2 (15:56):
If ass ain't shaking, I'm doing the wrong thing I'm
glad you called that audiblestraight up, because no hands
it's girls in this motherfuckingisland and everybody looking at
me like man, what you doing,bro?
Speaker 1 (16:07):
you got roscoe dash in here and you got wale we some
street niggas, man you know, Imean, it reminded me of the same
time I got in the studio withplies for the second time and
plies was like man, I need thisand I'm going.
This and going that and goingthis and going that and I'm like
, bro, we gotta make somethingfor the ladies.
(16:29):
What we're gonna make themshorty.
First record I did for plaz wasshorty, bro, even though you
know my girl still call you myshawty.
You know what I mean as aproducer.
You gotta know what to deliverfor a, and then you gotta read a
like okay, you got the streeton to deliver for a, and then
you got to read a like okay, yougot the street on lock.
Why am I going to give you moreof what you already got?
(16:49):
right, that's what you know Imean, if you eating oatmeal
later today, why I'm gonna feedyou oatmeal?
Right, I come with somescrambled eggs and turkey bacon.
You're gonna be like, oh, Icome with some pancakes I come
with some lamb chops and gotthem like come on, bruh, you
know I mean.
So it's all on what you got tooffer, and goddamn introduce a
nigga then.
And then sometimes he lookingat it like oh duck I've never
(17:11):
eaten this before.
Or branzino fish.
What is that?
Like this right, this the uppereselon, this, this the
mediterranean italian freshwater.
Speaker 2 (17:20):
Fresh water, you know , I mean salmon, honest,
everybody eating salmon.
Speaker 1 (17:26):
They trying to duplicate that shit.
Anytime that salmon remind meof tilapia, by the way.
That's a whole otherconversation.
You know what I mean, so I'llbe putting these on.
Branzino, I'm going to put youon something that you ain't.
You know what I mean.
I'm going to give you somethingyou ain't got you know what I
mean?
Speaker 2 (17:41):
You got the Louis.
Speaker 1 (17:41):
You got the Gucci what I look like Giving you
Samoa that shit.
Nigga.
I got Coogee, I got my niggahuh.
Speaker 2 (17:48):
You got that what I got.
Speaker 1 (17:49):
That DBS Nigga.
Speaker 3 (17:50):
I got some of this Motherfucking shit.
Speaker 2 (17:52):
Yeah, yeah.
Speaker 1 (17:53):
Yeah, yeah, what that is.
Let me see what that look like.
Let me try it on.
Oh, this feel good.
Oh, put it on your girl.
She put it on.
Ooh, this feels so good.
I feel so warm.
I'm cozy.
You know what I mean.
It's about pleasing people,whether it's through fashion,
whether it's through music,whether it's through liquor.
We drinking the spirit, wedrinking the energy.
Speaker 2 (18:16):
Yeah.
Speaker 1 (18:17):
So know what energy you drinking?
Know the history behind thisshit?
You be like damn okay, thisshit make me feel good I high
and that shit.
You be like damn okay, thisshit make me feel good I'm fly,
I'm player, but when I drinkthat shit.
Speaker 2 (18:26):
I be want to kill a nigga.
You know, you got to know thespirit that you drink, know the
energy, you know what I mean.
Speaker 1 (18:30):
So all of that is essential man.
Speaker 2 (18:32):
So I be.
I'm a music guy right, Like Itold you.
Standing ovation that's justlike one of my all-time favorite
produced records no hands aswell.
But you know, I'm on the phoneMusic all over.
I'm on Apple Wham.
Say uh drummer boy producerlist.
I download Boom.
(18:53):
It take me on a whole ride.
Speaker 1 (18:55):
I'm talking about and we just updated that thing.
Speaker 2 (18:58):
Shout out to Apple how it feel Like to go see that
Come on man and it's 50 to 70records and they back every last
one Listen.
Speaker 1 (19:05):
I curated that.
I put that together.
Apple allowed me to update myproducer playlist that artist
producer playlist on Apple,that's hot.
Go check it out.
It's in the bio.
You're the coach, bro Downloadthe app you know what I'm saying
.
Follow the Instagram.
Yeah, you know what I'm saying.
(19:25):
Follow the Instagram.
You know what I mean.
Subscribe to the YouTubechannel Drum Squad.
Speaker 3 (19:27):
TV.
Speaker 1 (19:28):
Follow the Instagram at.
Drummer Boy Fresh.
Facebook at Drummer Boy FreshTikTok at Drummer Boy Fresh you
know what I'm saying.
They was trying to play me likeokay these 11 of them, these 11
of them.
Speaker 3 (19:46):
They trying to play me like okay, these 11 of my
best work.
Like 11?
.
Speaker 1 (19:57):
We talking about verses and y'all talking about
20 records.
I could triple time everything.
Any who want to see me in aversus.
I got 60 records plus.
And I ain't even talking aboutthe other 300 winning.
Talking about mixtape drumwinning.
Talking about in the streetsdrum winning.
Talking about blew yourfavorite rapper up drum winning
(20:18):
talking about beginning era likehalf of the rappers.
Y'all on.
Y'all was on them and when theywas 22, 23, 24, 24.
I got history on these niggasat 16, 17, 18, 19.
Before 20.
Yeah, we ain't even talkingabout the before 20.
Or y'all favorites.
Speaker 3 (20:34):
Let's talk about your early self Like you growing up
with a music professional fatherand your mom singing opera, you
being able to be in thathousehold and being able to take
that in how was that.
Speaker 1 (20:47):
The biggest thing I learned was coming up in the
church and realizing that ain'tnobody different than anybody,
whether you celebrity, whetheryou superstar, whether you
Grammy Award winning, whetheryou Al Green, patti LaBelle,
anita Baker they was all comingthrough Mama's kitchen, my
(21:08):
Mama's kitchen.
You know what I mean?
Isaac Hayes, his whole life.
Gladys- Knight.
You know what I mean when you inthat church, baby, you either
brother or sister, brotherJohnson, brother Williams,
brother James, brother, you know, whatever your last name is,
(21:29):
brother such and such, whateveryour last name is, sister such
and such, sister Dale, sisterWilliams, sister, you know, so
on, sister Johnson, so on and soforth.
So we didn't get caught up inwho you were or this and that,
like I come from the church, sowe all looked at each other in
who you were or this and that,like I come from the church, so
we all looked at each other asequal right.
(21:50):
You know what I mean.
And then that that ain'tnecessarily saying I come from
religion, I come from church andI come from a god's way of
looking at the spiritualwell-being of humanity.
Yeah, and understanding we, weeither good or bad.
Period.
All of the preachings that yougot, everybody got the rules and
(22:10):
the regulations and this andthat.
But I've been cool with theferret, with lewis ferricon, for
20 plus years.
He ain't never tried to convertme right, come on over muslim
or this, and that.
I know some pope or I done metthe, the episcopalian, or I done
met the baptist preacher or themethodist preacher, this and I
done met a lotiscopalian, or Idone met the Baptist preacher or
the Methodist preacher.
I done met a lot of differentpeople.
Ain't nobody tried to convert.
(22:31):
You know what I mean.
Even in college, man, okay, theSigma's cool, the Kappa's cool,
the Q's cool, like man, listen,I've always been neutral.
You know what I mean.
Even when I'm okay, I came up.
People always ask me me, man,what's up with the, the whole?
Yo, gotti and Dolph.
Man, I was working with Gottiwhen Dolph was 10.
Yeah, mmhmm, know what I mean.
(22:53):
I'm working with Gotti, thatearly man.
So how you gonna ask me about anigga that didn't even exist At
that time?
Yeah, my history by here, mymama, the history, my mama and
miss mems got this family irpjuk god, he provided a way for
me as a memphis and as anindependent artist and as one of
the first trap rappers I workedwith period.
(23:16):
So you can't erase history.
Then, 10 years from that, thesecool god, we're trying to sign
off, damn niggas.
And Da da, da, da, woo, woo,woo.
And Dolph always said man, i'mado it on my own, i'ma get it on
my own, i'ma show these niggasI can do it on my own, da da, da
.
So Dolph just Dolph, just neverwanted to Sign with niggas.
Da, da, da da.
So this ain't Again no beef, noanimosity at the time that we
(23:42):
ain't got to speak on.
Nigga know what's going on andthat's between them you know, I
mean but anything.
Motherfucking Memphis, whetherit's north, whether it's south,
with his East, with hismotherfucking, with half of the
shit they talk about.
West Memphis, this shit ain'teven Memphis.
This Arkansas, it's across thebridge, it's literally the state
(24:04):
of Arkansas, but we still callit West Memphis.
Speaker 3 (24:07):
I still support that.
Speaker 2 (24:08):
Right, right, right you know what I'm saying.
Right.
Speaker 1 (24:12):
YB and YB Fat Like man it's so, many it's so.
Speaker 3 (24:17):
It's so much shit.
That's like man, we justembrace this you from Memphis,
you upcoming.
Speaker 1 (24:21):
You coming from the struggle, you coming from the
poverty, you come from thepoverty, nigga what that's it
south members, I like how y'allrolling though I'm fucking with
that shit, because I gottachange that shit.
I'm the jermaine dupree of mycity.
I'm the, I'm the, I'm the, I'mthe, you know, I mean, I'm the
glue back to my city, whetherniggas beefing and this, and
that I got niggas over here.
That's cool with niggas overhere and they know what going on
, but they don't do that shitpublicly Just because of what
(24:44):
they think and this, and thatI'm the only nigga That'll speak
on some shit Like that publicly.
Speaker 2 (24:48):
And not.
Speaker 3 (24:50):
Not give a fuck he know he the OG.
Speaker 2 (24:52):
Because niggas be scared To talk about that type
of shit On a real level.
Speaker 1 (24:56):
Then you got niggas.
That's really claiming.
See, it's a difference, that'sa whole nother discussion.
If you war chain, or if you wasover here signed, or if you
over here benefiting beneficiaryor being a being beneficial by
all parts, by this behalf ofthis organization, you know what
I'm saying and you benefitingfrom this situation yeah and you
(25:19):
repping these three letters andyou got these three letters.
You gotta stay there yeah youknow what I'm saying.
Jay prince was trying to sign meto rap a lot.
I was like I with too much.
I got my own drum squad and herespected that.
You know what I'm saying?
Tone henchmen bros, boo cool.
Who was trying to sign me?
Nice drum squad drum squad youknow what I mean when dolph was
(25:44):
like what, what I'm gonna do,how I'm gonna do this.
You're gonna build your up paperroute and route and da-da-da,
you say you're the empire.
Right, you need to meet Ghazi.
I take him over to Ghazi, Iintroduce him to Gucci, I
introduce him to 2 Chainz.
I don't got to be a culturevulture and sign you under me
(26:05):
and and and and, demoneverything you know what I mean.
No, nigga, let me build you up.
Nigga, you're gonna build upand make a play.
Niggas, come on.
Young blue was signed to medrum squad 16.
Young blue mobile alabama.
We develop a nigga.
A lot of niggas don'tunderstand who they are.
You heard jermaine dupree talkabout goddamn having luda and
(26:27):
not knowing exactly what wentluda, when luda, when I met him,
like some of these, don't knowwho the they are.
When we meet them, yeah, youknow what I mean.
Either you got the ability todevelop them this and that or
pass and somebody elsedeveloping at the same.
At the end of the day, everyneed development.
You know what I mean artistsand development.
We need more of that shit.
You see, less of that shit, youknow I mean you look at how
(26:48):
long it took sizzle to get hershit together, dolce to get her
shit.
She was over on tde for fouryears.
They don't be knowing that.
They don't know that.
Ella may, it took three yearsto pop that motherfucking record
off with with muster.
Dj muster is incredible producer.
People try to say he's.
He's caught in between onesound and this and that and he
will.
Man, niggas gonna hate.
But when you're doing somethinggreat, when you're doing
(27:10):
something great, niggas gonnahate.
808 mafia nigga.
Any platform that I'm on, Iused to uplift and big and and
and say I'm proud these niggascame after me.
I'm proud these niggas keep thetorch going on.
Metro boom.
And that's my nigga bro lostman, we keep a nigga strong.
And Metro, you watching thisshit bro, utilize a nigga bro,
(27:31):
because a nigga here for you,bro, you know what I'm saying.
London, on the track that mynigga bro, we utilizing each
other man, I know y'all niggas.
Speaker 3 (27:39):
You done lost your mom Fire.
Speaker 1 (27:40):
My mama got some good shit to say to you.
Speaker 2 (27:43):
I love that y'all doing that.
Speaker 1 (27:44):
You know what I'm saying.
My folks got some good shit tosay to you.
My aunties got some good shit.
My mama got some good shit tocook for you.
My aunties got some good shitto cook for you.
Speaker 3 (27:54):
You want that home cooked meal.
Speaker 1 (27:55):
You miss that mama meal.
Hey, reesey, reesey, shout outto Reesey.
She help us make no hands.
She brought Wale and RoscoeDash to the studio the night.
We did no Hands.
Shout out, reese.
Shout out Molly Hunter.
Shout out, reese.
Molly Hunter was one of themanagers at Tree Sounds.
Okay, during some of thebiggest sessions, 3,000, nappy
(28:16):
Roots, polo, the Don Gucci, someof everybody.
You know what I mean.
These folks who done cooked fora nigga, who really?
Hey man, hey, molly Hunter,reese, let's put together a
dinner for metro booming man,allow me to do some shit like
that man just cook for the realniggas.
I'm talking about home cooking.
Speaker 2 (28:33):
I'll get in that motherfucker too you know what
I'm saying digital sunny digitallast night that's my nigga.
Speaker 1 (28:40):
That's my nigga.
Speaker 2 (28:41):
Sunny digital family similar conversation like what
we having now, and he was sayingthe same exact things like bruh
.
We sticking together.
I'm with Metro, I'm with London, I'm with this.
Speaker 3 (28:51):
There's no way you can turn me against my brothers.
Speaker 2 (28:54):
We gonna get it.
Speaker 1 (28:55):
I don't care who better than who.
This is where we come from, fatboy, midnight Black, where, the
fuck you at?
We been looking for you, d-rich.
Speaker 2 (29:04):
That energy, that energy right here we talk about.
That's what we trying to bringtogether and have in Philly.
You know what I'm saying, so wecan show what's going on, but
y'all got to bring us up there.
Speaker 1 (29:13):
Bring me and Zaytoven , bring me and goddamn.
Speaker 3 (29:16):
DJ.
Speaker 1 (29:16):
Toon, you know what I'm saying.
Bring a couple legends up inthat motherfucking goddamn
column niggas.
We're the hottest as producersin Philly.
Where y'all niggas?
Speaker 2 (29:23):
at man.
That's where we on.
Speaker 1 (29:24):
We looking for y'all niggas man, get some content,
get some photos, get some ofthis energy, nigga, on how to
come the camaraderie.
I don't believe it.
Speaker 2 (29:32):
You know what I mean.
The camaraderie.
Speaker 1 (29:34):
You know what I mean.
Speaker 3 (29:39):
Because everybody be hating nigga.
We come from there.
Speaker 1 (29:41):
I Chicago, they been on it Detroit, they been on it
Cleveland, they been on itPhilly, they been on it
Pittsburgh, they on it.
Nigga, I know what's going onup north.
We got to get on that.
You know what I'm saying.
And y'all niggas started thehip-hop shit.
To be honest, from the hip-hopstandpoint, new York got the
throne and that shit trinkleddown, but it trinkled to New
(30:02):
York, it trinkled to all of theplaces where niggas was free
nigga.
Speaker 2 (30:06):
You know what I'm saying.
Speaker 1 (30:08):
We stuck doing blues and depression and this and that
, because it's not as mucheducation, it's not as much
knowledge, it's not as much game, it's not as much freedom as it
was up north.
Everybody know the south was inthe worst position in the north
.
You know what I mean.
So all that shit trinket downand we got inspired.
We got motivated from y'allniggas Philly, cincinnati,
(30:30):
pittsburgh, cleveland, detroit.
It's a lot of uptops at SouthBend we forgot about y'all and
that's close to Chicago, butit's many, so many good niggas.
I got niggas in Gary, indiana,holding shit down.
Like you know, I'm sayingoriginated in West philadelphia
absolutely parkside killers youalready know, hey, and I'm not
familiar with that history.
(30:51):
So y'all teaching me somethingman praise to all of that.
Speaker 2 (30:55):
That's where ice t got his cadence for 5 am kicking
5 am kicking at my dope yeahthat's what he got that cadence
from psk huh, my man white boygot his history down pat.
Yeah, yeah, my history downpeck on you too I am one of my
favorites, yeah that's why I waslike.
You know, I'm interviewingright now, but it's still
(31:16):
surreal for me because it's likethis, right across from it, bro
, standing ovation man I'mtalking about you got me through
some times man a lot of times,yo man.
Speaker 1 (31:27):
A lot of times and the Novation nigga had to stand
on business.
I had sold the original beat ToYoung Sneed Big Cat.
Jeezy hit me six months laterFor the same beat and I'm like,
bro, I been sold that beat.
What you doing?
Like that shit dust, nigga.
That shit like the work, thatshit like a kilo, that shit like
a pound, nigga.
That shit does Nigga.
I can't get that shit back.
I sold that shit six months ago.
You want me to get some workback that I sold six months ago?
(31:50):
Like nigga, no, it's done, it'sover that shit over.
Speaker 3 (31:53):
You know what I mean.
Speaker 1 (31:54):
So I kept telling the nigga.
I told the nigga from thebeginning.
I told the nigga.
I said straight upge againleaked and this and that Woo woo
woo.
He was already going throughthe leaked shit.
So he was like you got to pullup that patchwork.
So I pulled up.
I stay in Stone Mountain at thetime.
This shit, 45 minutes, 50minute drive.
(32:14):
You know what I'm saying.
I pull up to goddamn StoneMountain and he like goddamn,
here go the vocals, woo woo woo.
Then I pull up the patchworkfrom Stone Mountain and got the
vocals from him, acapellas fromhim.
Bam, take it back to StoneMountain.
Do the first version.
Take it back to goddamnpatchwork.
Play it.
It's probably like 3.30 in themorning.
(32:36):
You know, 2.45, 3 o'clock in themorning, Mind you he turning in
the album for Thug Motivation101 the next day.
Speaker 2 (32:45):
This the last song he mixing, but the first song he
done rapped on this shit, didn'the?
Speaker 1 (32:50):
I?
Get like 15 missed calls I gotlike eight missed calls from.
Coach K.
I got like eight missed callsfrom Jeezy and I called Coach K
first.
What's going on?
Coach K's like man, call Jeezy,bro, he need one of them.
He rapped on something.
He need, bro, he need one ofthem.
He.
He rapped on something heneeded and that's how it started
.
So I got them called jeezy.
He tell me yo, listen to thisright quick.
(33:11):
So I listened to the beat and Irealized I just sold the beat
six months ago, so I'm likestomach hurt jeezy like man.
What you sell the beat for, I'llbuy it back, I'll give you 20
racks.
I'll give you 20 racks right now.
And and I can say this now Isold the original beat, but this
is six months prior, so theoriginal be for 1500.
(33:32):
You know what I mean.
But I'm I'm 18, I'm 19 at thetime, so this is a good price.
You know, this is a good price.
You know what I'm saying.
When I, when I did the uh, makehim get that money right for
pastor t, pastor Troy, I toldhim $5,000 a beat.
He was like I ain't got five,give me four.
I got four for you and gave me$8,000 for two beats.
I did Make them get that moneyright.
(33:53):
Pop that pussy, make them getthat money right.
This a strip club anthem.
I'm 19.
I'm 19.
I ain't even old enough to getin the strip club and I got four
thousand a beat.
So, bam this.
After I did that, cheesy boysin the hood, I did look trap
niggas.
Speaker 2 (34:10):
So after that plan of a day, dumb boys got work dumb
boys got, so that album comesout bring it
Speaker 1 (34:19):
back.
So so look, so bring a stackthat.
Look that whole.
Make them get their money right, pop their pussy.
Woo, woo, woo, that's out 19.
20 come, I do boys in the hood.
Yeah, I'm transitioning into 21.
(34:39):
My dad on my ass about college.
I got kicked out of my junioryear in college from unattended
in college Back and forth toatlanta doing the boys in the
hood shit.
So my dad find out about theschool, said nigga, you big bad
wolf, you you head hunter, youdrummer boy, you making beats,
show me a hundred thousandwithin 10 months i'ma kick your
(35:00):
ass.
I'm 20 at this point, you knowwhat I'm saying.
And bam, standing ovation wasmy biggest testament, because I
literally had like a hundreddollars, two hundred dollars in
my pocket.
You did your thing and it's it'sprobably thirty dollars, forty
dollars gas just to get toatlanta.
You know what I'm saying.
You know three, five a week.
(35:21):
You want a little 50, so youprobably down to another 50 just
on food.
I did the first version, tookit back to jeezy.
He was like I took it back home, did a second version, took it
back to jeezy.
He was like you getting closer,you getting closer, that's
closer.
That was the first time Ilearned how to study an artist
(35:43):
and really do my research and Irode to the whole streets is
watching and trap or die on theway home and I realized this
nigga need the horns.
He a trumpet nigga.
You gotta add them, horns andthem, and them and them.
(36:04):
They sound good, oh man, andI'm like hey, yeah.
That sound good.
Hey, and that was the firstpart.
Nigga and nigga.
When I push play on goddamnJeezy, he was like.
That was the first time I heardhim say them ad libs live in
person.
Ha ha.
Speaker 3 (36:24):
Ha, ha, yeah, yo, I'm a fan of that song.
Speaker 1 (36:29):
I got 150 yeah, pub deal out the gate just because
of that platinum.
That that, that rate.
That was my first platinum play.
Speaker 3 (36:37):
Oh, so you was able to show whatever he wanted to
see my my dad was like I showedhim 150.
Speaker 1 (36:42):
Oh yeah, we was best friends since.
Speaker 2 (36:45):
But listen, so look did you know, though, that, at
the time, jeezy would be so big,with him signing the Boys in
the Hood deal and the Def Jamdeal, and then it being like one
of the biggest deals?
Speaker 1 (37:00):
That Jeezy was big in the streets, so anything in the
streets that was like at thatcaliber.
The last thing I saw sinceJeezy in the streets.
That big was hot boys.
Speaker 2 (37:10):
Okay.
Speaker 1 (37:11):
And we saw what that did.
So, the streets running thatshit nigga and you got them.
Like he was literally takingBMF on an escort around the city
Like he was putting them up ongame and showing them around
what's hot in there and you knowthey new to Atlanta not him
know I mean.
So people really underestimatethat whole picture, like you
know I mean you talk about anigga who already had a million
(37:33):
dollars riding in Lambos and gotthem in all of the strip clubs
on a daily basis.
Come from Hawkinsville, georgia,running Atlanta, just cuz many
guy got the money and I'meverywhere and he forget to to
know a nigga Whether I'm rappinglike Teflon Don or Trick Daddy
or whatever y'all want to say.
He was rapping like.
You know it sounded Floridabased.
You know what I mean Becauseyou know Hawkinsville like South
(37:56):
Atlanta, so it's going moretowards Florida.
But you know, once he found hisown and found his whole, he
found his niche before he metBMF.
That's for Him going aroundstrip club to strip club.
And shit, let me show y'allniggas what's going on.
(38:16):
So, as he pushing, play shit,everybody in play with the whole
situation.
Speaker 2 (38:22):
So it's just a win-win.
Yeah, that's hot, you playgames.
Speaker 3 (38:26):
I know you don't play no games, man.
I'll be on the PlayStation andshit like that we got a few
games we play, man, one calledOne Gotta Go and and fast track
the other one called one.
Speaker 2 (38:37):
Gotta go fast track let's get into it crazy.
I say two things.
You pick one of the other.
It's music based questions okay, okay so all right, let's start
with this one.
Speaker 1 (38:49):
Major figures of state property uh, I'm gonna
have to say state property justbecause of my knowledge on the
catalog, as opposed to the othermentioned.
Speaker 2 (39:05):
Okay, okay, so all right.
How about this?
Okay, jermaine Dupri, or Beatsby the Pound.
Speaker 1 (39:13):
Jermaine Dupri that's easy Beats by the Pound.
Jermaine Dupri that's easyBeats by the Pound.
They gave us a lot of hoodclassics.
Jermaine Dupri gave us a lot ofhood shit.
A lot of R&B yeah, classicclassic Number ones and whatnot
like that.
Just the R&B game alone.
That ends that conversation.
Speaker 2 (39:29):
We had a long conversation about Jermaine
Dupri.
Speaker 1 (39:31):
Always he like the president out this moment and he
introduced so many differentartists Like outside, just as a
producer, you know, that's whatI see myself as, like you know,
not just beat making or not justintroducing artists, but I'm
climbing in different genres andbeing effective and dominant In
other genres as well, let meget one, mike Will Metro.
(39:55):
Both of them my niggas you knowwhat I'm saying?
metro, my nigga, mike my niggauh, niggas who I seen in person
cook that shit up.
I gotta go with metro, okay,right, you know, I mean in
person metro, the only niggathat didn't have under producers
under him, that's still puttinghis name on 100 of everything,
(40:17):
just like me, you know, I mean.
And now lately I've beenintroducing other, like you know
, kind of like air drummers, butyou work with music to where
you know mike, mike, mike willwork with other producers and a
lot more collabs yeah I workwith other producers?
yeah, but that's lately.
If you go, look at here I am.
That's 50%, no hands, 50%, puton 50%, round round, I'm getting
(40:39):
it.
50%, bluffing 50%.
You know what I'm saying?
Standing ovation, 50%.
Lose my mind 50%, like I can.
Here I am 50% Like you know,migo, look at my dab 50% Like.
Speaker 3 (40:54):
I mean my dad, 50 like I, I mean do you like?
To a certain point where you,you, you like, let other
producers do their thing, andthat's what I'm doing now,
because I'm I'm on.
Speaker 1 (41:02):
You know I'm up so I don't.
Money is not the work is less.
Speaker 3 (41:06):
You know what I'm saying and it's now.
Speaker 1 (41:07):
It's about putting my avery.
Avery beats he's 16 out ofmaking he going crazy on the
beats we collabing like crazycash.
He the next one up um.
You know I'm saying he goingcrazy.
Chris beats uh north side donedz like I got a dj moon.
Speaker 2 (41:24):
Oh yeah, that's my boy.
Speaker 3 (41:25):
Oh yeah, pop lord yeah, come on, man pop lord,
come on man come on man we inthe land right now, man, yeah,
come on man okay, so all right,let's go here.
Speaker 2 (41:34):
How about?
Speaker 3 (41:35):
Let's do one gotta go after this.
Speaker 2 (41:37):
Yeah, one more, then one gotta go.
All right, let's go.
Standing ovation or no hands.
Speaker 1 (41:46):
No hands.
Speaker 2 (41:48):
That's the ass shaking.
Speaker 1 (41:49):
I don't know you talking about Diamond as opposed
to Three Times Platinum.
Speaker 3 (41:54):
Standing ovation was an intro song and I'm Three
Times Platinum, that's what'scrazy?
Speaker 1 (41:58):
I'm Three Times Platinum with an intro to a song
I ain't even a single.
That's what's crazy.
Like I ain't even a single andthen, what?
And then my auntie house.
That was the single off of thatalbum.
That was.
You know what I'm saying andI'm still a three million on
standing ovation and then SoulSurvivor, correct?
I wasn't even a single off thealbum.
Speaker 3 (42:21):
He dangerous bro you a dangerous motherfucker.
Speaker 2 (42:24):
Album cut the best album cut, my first single on
Jeezy was Flexin' and then.
Put.
Speaker 1 (42:31):
On, put On yeah, and then Lose my Mind.
Speaker 2 (42:34):
And then Me Okay, okay, all right, on, yeah.
And then lose my mind.
And then me okay, okay, alrightso one gotta go oh and then
White Girl too.
White Girl, white Girl, thenappy head.
Speaker 1 (42:42):
USDA.
You know the nappy head ofbitches and woo woo woo that
killed us on the promo.
So that was like White GirlAnything black, white.
Oh, that killed us.
Speaker 2 (42:53):
Wifey love White Girl yeah.
On USDA album she uh wifey lovea white girl yeah yeah, on usda
album.
She love that shit.
Okay, I keep that white girlchristina one gotta go is a
little bit different.
I'm gonna name four names andyou just pick one to go.
When they go, they holddiscography, they hold right,
everything go, everything allright.
Speaker 3 (43:10):
And it's not personal , so we're not speaking on their
personal problems and shit likethat.
Speaker 2 (43:14):
Yeah, things they got going on Yogati, yogati, lil
Wayne, gucci man, jeezy, onegotta go.
Speaker 1 (43:28):
One gotta go Pack they bags Yogati Lil Wayne,
Jeezy and Gucci man Gucci.
One gotta go.
Yo Gotti, gz, gucci and LilWayne yes, sir, you see how that
(43:50):
work she, I had to say LilWayne, cuz I ain't no, no, lil
Wayne album.
Speaker 2 (43:55):
Okay, hey, wayne, if you don't get Drummer Boy on the
album bro.
Speaker 1 (44:00):
I did still got that rap.
Speaker 3 (44:02):
Yeah, on.
Speaker 1 (44:03):
DJ Drama.
Dedication 5 Okay.
Speaker 2 (44:06):
Ooh, that's one of the ones too.
Speaker 1 (44:08):
Yeah, but that's it.
Though.
Like I feel like and I didMoney to Blow, I was about to
say Money to.
Blow on.
I was about to say yeah, but itwasn't a Lil Wayne record, yeah
.
Speaker 3 (44:17):
We need a full Lil Wayne.
He was on the features and Idid Lost.
Speaker 1 (44:20):
Gorillazo featuring Lil Wayne.
We need a Lil Wayne Grummer Boy.
A$ap.
We done some shit, but it'slike you know.
Speaker 2 (44:28):
You watching us.
I ain't never worked with WayneGrummer Boy.
Speaker 1 (44:31):
I never got in with him personally you know, got in
with him personally, right,right, so, uh, I have to, I have
to get that done there.
We need, because of that fact,you know I work with everybody
else.
Speaker 3 (44:41):
You know we need that .
Speaker 2 (44:41):
We need a way to drum a boy, let's go here um uh,
sexy, red, glow, rilla, ice,spice lada, one gotta go say
that one more time sexy red, red, glow, rella, ice Spice Lada
One Gotta Go.
Speaker 1 (45:07):
Ice Spice.
Speaker 2 (45:09):
Okay, okay.
Speaker 3 (45:10):
Viral Sensation Uh huh.
Speaker 1 (45:12):
I ain't never worked with her.
I don't know what she like.
I don't know her energy.
I don't know nothing about her.
You know what I mean.
Speaker 3 (45:16):
So I can't know her energy.
Speaker 1 (45:17):
I don't know nothing about her.
You know what I mean, so Ican't speak for her.
Glow Rilla, my gangster.
Yeah, I like her.
Speaker 3 (45:20):
Lotto.
My gangster Shout out to GlowMemphis.
Speaker 1 (45:22):
You know what I'm saying.
Speaker 2 (45:30):
And who else you spoke of Lotto?
Yeah, birdman P Diddy, jermaineDupri, one gotta go, that's
easy Diddy.
Diddy, you gotta go buddy.
Speaker 1 (45:42):
Everybody else, my gangsters.
You know what I'm saying, butyou know when you cut them, you
get rid of everything theyattack Everything go.
Speaker 2 (45:47):
You said he gotta go, bro, we ain't going.
Speaker 1 (45:49):
I don't give a fuck about nothing.
I ain't attached to nothing.
Bad boy, nothing, bad boy.
Speaker 3 (45:54):
I ain't on not one bad boy album I ain't on not one
production.
Speaker 1 (45:57):
I'm not the hit man, I'm not a part of no production.
I ain't a part of no crew noclique, no party.
Speaker 3 (46:03):
I wasn't at no party.
Speaker 1 (46:06):
I don't got no attachment, so it's easy to
goddamn.
Speaker 2 (46:09):
that's easy, jermaine Dupri you know what's going on,
man.
I told you to replace Diddywith JD.
Speaker 1 (46:16):
This one of my Nah, so so, so, so deaf.
They bringing Atlanta back, man.
Speaker 2 (46:19):
Yes, sir Jermaine Dupree and J Money just was in
the studio.
Speaker 3 (46:24):
J.
Speaker 2 (46:24):
Money, that's some shit.
Speaker 1 (46:26):
JD in with everybody.
Man.
He got everybody pulling up.
Brian Michael Cox back outside.
Yeah, we back outside Lastnight.
Speaker 2 (46:31):
Last night, Absolutely, I said damn, it's
about to go down, absolutely.
Speaker 1 (46:34):
Shout out to Manny Fresh, though that's one of my
dogs you know what I'm sayingwho been holding shit down.
I know you mentioned KLC andBeast by the Pound and Woo Woo,
but mentioning all them niggas,we can't skip over my nigga,
manny.
Speaker 3 (46:46):
Fresh man Shout out Manny Fresh my eyes and goddamn
giving Jeezy the and then whatsingle?
Speaker 1 (47:02):
and fresh, fresh come on, that's real trap shit, even
though it was classified as aship-hop.
Yeah, manny Fresh to me is oneof the original he really a
hip-hop boy man.
Speaker 3 (47:14):
Shout out to manny fresh for keeping the culture
alive, oh no man that no bouncea drummer.
Speaker 2 (47:21):
This is one of my career joints man I'm glad.
Yes we've got to sit down withyou, man, get your story, man.
Speaker 3 (47:26):
This is this is really, and there's so much more
that we can talk about, we'llget to it man, we're gonna keep
pulling.
Speaker 2 (47:33):
Yeah, we going to keep pulling up at ATL.
Speaker 3 (47:35):
Yes, sir, it's got to do so much.
It's so much to cover.
You know what I'm saying, whoI'm shouting out, what I'm
shouting out?
Shout out Rilla, the MostPodcast, oh really.
Speaker 2 (47:42):
Hey man, this your boy Drama.
Speaker 1 (47:43):
Boy aka.
Speaker 2 (47:49):
D-Boy, fresh man, white Boy D2E.
I'm Roller and we out of herey'all.
This is the Roller, the.
Speaker 3 (47:54):
Most Podcast.
Make sure y'all stay tuned.
Then go towwwrollerthemospodcastcom.
Speaker 1 (48:04):
Roller the Most Podcast.
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