The Greatness Interview.

Episode Transcript
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Speaker 1 (00:00):
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(00:24):
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Speaker 2 (00:27):
We welcome all.

Speaker 1 (00:28):
Enjoy the show. Ladies and gentlemen. Please welcome your host
Demitrius who Dani Black Reynolds. Enjoy the show.

Speaker 3 (00:43):
What's up guys again, Welcome to the show. You're listening
to VRL.

Speaker 4 (00:47):
That's Vigilantes Radio Live and Prady You're on iHeartRadio and
I am your host Deani.

Speaker 3 (00:54):
We have another special guest with you, guys who you
definitely want to stick around for that and as a
matter of fact, text your voy. These family members are
even shared on social media right now and let them
know that we are.

Speaker 4 (01:06):
About to dive deep into another interview. Before I bring
my guests.

Speaker 3 (01:09):
On, I do want to say that this is.

Speaker 4 (01:12):
The frequency of the fearless. You know, greatness is not
a title, it's a choice, a practice, and a relentless
climb against the odds. Some artists make songs, others make statements.
But then there are those rare few who create movements.

Speaker 3 (01:31):
When you hear his sound, you hear Georgia.

Speaker 4 (01:34):
But you also hear jazz soul in a reach beyond
any reagionable box, not reagionable regional box.

Speaker 3 (01:45):
Today's guest isn't just chasing the charts.

Speaker 4 (01:47):
He's building legacy, shaping labels, and planning for a future
that's bigger than music.

Speaker 3 (01:54):
You're not just here for a talk show. And this
isn't just radio. This is revival for your mind, body
and spirit.

Speaker 5 (02:02):
This is Vigilantes Radio Live. And my name is Coachtin,
and change is possible. Are you ready?

Speaker 6 (02:17):
Are you ready?

Speaker 7 (02:24):
Are you ready?

Speaker 8 (02:25):
M hm.

Speaker 6 (02:28):
Hmmm, are you ready? M well, let's go, let's go.

Speaker 9 (02:49):
I did a lot of hope, baby, I did a
lot of brand, a lot of b to take guys
kind of way, to make it.

Speaker 2 (02:59):
A lot of.

Speaker 8 (03:13):
They try to buy you in all. You gotta hope
that they water water.

Speaker 10 (03:17):
Ain't never knew out on the floor, never to know
I had a parner, But I ain't the building of
a bad hunger.

Speaker 2 (03:23):
They trying to wait for the glass.

Speaker 8 (03:24):
Mam Minua's got me.

Speaker 10 (03:26):
Feeling like I'm bringing in the water bringing beat the
lad cruiser and I feel it with shoots. Mama told
me there will be days like this sweet praise, but
it's something paid.

Speaker 8 (03:34):
But this sweet better.

Speaker 10 (03:35):
I take this ship, put your fami very tee me
running the table when you're winning.

Speaker 8 (03:40):
It's a tape that everybody should say. More people loving
the flavor.

Speaker 10 (03:43):
I got a army, but had if it's if a
bigger they ain't never finding your back on the coach
and coach a bar shot and coach nia rump.

Speaker 7 (03:51):
It's not an addition.

Speaker 10 (03:52):
Niggay ain't came with the trump and the winey niggas
and every minute they know it's fun.

Speaker 8 (03:57):
You see it's coming, nigga, I'm the pixing you.

Speaker 2 (04:01):
You know that a lot of bread.

Speaker 9 (04:05):
Had to take out shot shot turn away to make it.

Speaker 2 (04:09):
Got give guddle gil. I got my brim low on
the way to the pay.

Speaker 8 (04:26):
If you dever want to be hungry that then you
never want.

Speaker 2 (04:28):
We make it, little ma hope we made it, y'all.

Speaker 8 (04:31):
They raided because she Jup's.

Speaker 6 (04:32):
Born, going up the house and wods for the children's
on the court.

Speaker 8 (04:35):
Then they try to dream hind raised roll very much. So,
but how you say that.

Speaker 2 (04:40):
Came came over where that you be playing? Because I'm
it's something No, it's every day you droppings a here.

Speaker 10 (04:46):
Should be climbing the last and Si and said, so that's.

Speaker 2 (04:49):
The ladies shake ye know to see her that abate un.

Speaker 6 (04:52):
Let's make it.

Speaker 2 (04:53):
You say, yeah, they're great, don't you cover go against some.

Speaker 3 (04:57):
Selling your faith.

Speaker 10 (04:58):
He'll be straightening the plate, elevating the old name and
what TV game in the take the five mana make
that into what.

Speaker 9 (05:09):
We did a lot of hope did a lot of brands.
It's a guy show kind of way to make it.

Speaker 11 (05:21):
Make it give upta, give up? All right?

Speaker 7 (05:42):
All right again.

Speaker 8 (05:43):
You're listening to v r L.

Speaker 4 (05:45):
That's Vigilante's Radio live right here on Ihearts Radio and
I am your host, Deani.

Speaker 3 (05:52):
Our interviews are designed to go beyond the.

Speaker 12 (05:54):
Music, news, books, art, acting, films, technology.

Speaker 4 (05:59):
Education, entrepreneurship, entertainment, spirituality, and sometimes even.

Speaker 3 (06:05):
Past that thing that we call the ego.

Speaker 4 (06:08):
Our interviews are designed to go behind the scenes and
into the minds of these brilliant people, you know, the monks.

Speaker 3 (06:13):
Who were out there giving it. They're all for me,
for you, and for the world. Well, ladies and gentlemen.

Speaker 4 (06:21):
Straight out of Dublin, Georgia, Greatness born James Green represent
the next wave of Southern artistry with the global reach.
With the influences from the notorious Big Nas and jay Z,
He's carved out a sound that fuses Southern grit with soulful,
jazz driven layers. Fresh off mundane Thoughts, Chapter two and

(06:46):
c to Him two.

Speaker 12 (06:47):
Deluxe plus the new one that we're going to be
talking about tonight, Trenquill and Against Chapter three.

Speaker 3 (06:54):
He's already preparing the next chapter of.

Speaker 4 (06:56):
His artistry while lead found nations for his label Conglomerate,
and tonight we tap.

Speaker 3 (07:03):
Into his vision. So please join me in saying welcome
friend to Greatness. Hey, hey, welcome to the show.

Speaker 13 (07:16):
Bro.

Speaker 8 (07:16):
What what' going on? Hey man?

Speaker 3 (07:19):
You got it as a going tonight?

Speaker 8 (07:22):
Well it's pretty good.

Speaker 7 (07:25):
Sounds good, sounds good?

Speaker 3 (07:26):
All right, Greatness man, welcome to the show. Before we
dig into everything, the albums, the label, the future, what
has been on your heart and mind lately.

Speaker 8 (07:41):
Lately? Just getting my artistic vision to the massive, and
I don't want to be.

Speaker 14 (07:55):
Stereotyped as a as a typical Southern rapper or a
typical Georgia rapper, because when I tell people I'm from Georgia,
they automatically expect the sound to be trapped or futuristic,
or they expent. They they come into the projects, it's

(08:18):
spent in a certain sound and it's far from the
normal sound that you hear coming out of this state
or even out of the South in general.

Speaker 8 (08:35):
I don't know.

Speaker 14 (08:36):
I'm just big on painting pictures with words and instrumentation and.

Speaker 8 (08:44):
Just getting the artistry dead like.

Speaker 14 (08:47):
To the forefront, like it's I don't know, I kind
of I grew up on Natty's hip hop, so you know,
it was different then than it is now, So everybody
will Back then, everybody had their own sound, so when
an artist.

Speaker 8 (09:07):
Came on or a record came on you, you immediately
knew who that was. Like it wasn't trendy as trendy
as it is now.

Speaker 14 (09:16):
And that's kind of what I want to get back to,
Like I want I want the audience to know like, oh,
this is a greatness record or this is something they're doing.

Speaker 8 (09:27):
No Red conglomer as soon as they hear it.

Speaker 3 (09:33):
Yeah, that's dope, man, But not me.

Speaker 15 (09:36):
Bro, I know better than that.

Speaker 3 (09:38):
I'm from the South as well, and I did a
lot of touring in Atlanta, so I know that. You know,
when people say, oh, you're.

Speaker 12 (09:46):
From Atlanta, I don't automatically think of one sound because
there's so many.

Speaker 3 (09:50):
I mean, you guys produced.

Speaker 16 (09:52):
Janelle, my Name, Outcast, Goodie Mob, so many others who
have torn down the what you would expect from a
Southern rapper.

Speaker 12 (10:02):
Now, if you say New Orleans, you know what it's
gonna sound like. But Atlanta, that's that's different to me.
Atlanta was like hip hop Mecca, you know, uh, compared
to New York. So I know, I know it's like
a what they call it, a melting pot of different.

Speaker 4 (10:19):
Flavors in the atl But man, when you say artistic vision,
what did what?

Speaker 3 (10:24):
What does your artistic vision look like?

Speaker 5 (10:26):
To you?

Speaker 8 (10:33):
Just being versatile? Like I won't I want to show
my versatility. So it's like you like, I.

Speaker 14 (10:45):
Don't do light club records and like, like I was saying,
like the typical Southern type records, but like I said,
I'm more into storytelling and.

Speaker 8 (11:01):
Just like I said, painting pictures with my words.

Speaker 14 (11:06):
I love satxophones and pianos, Like it's I don't know,
Like when I when my producer send me tracks and
I'm and I hear it, I'm listening for certain things,
like I don't listen for the baseline like the eight
A waits, or I'm listening for the instruments that's in there.

Speaker 8 (11:28):
That's that's what excites me. Like it's.

Speaker 14 (11:32):
I don't know, it's hard to explain, like it's just
a feeling, like I want people to have a certain
feeling or a certain move when they listen to my music.

Speaker 8 (11:46):
Yeah, I get that.

Speaker 3 (11:48):
Were you in the dand growing up like marching dance
symphonic dand.

Speaker 14 (11:55):
No, no, I've never been like in the marching band,
Like I don't And that's what's we're like, I don't
know where per se my love for instruments came from.

Speaker 8 (12:05):
Is just I just love instruments, like heavy instrumentation.

Speaker 4 (12:13):
Wow, that says a lot about how you think, too,
because usually when I interview artists and they they're in
love with instruments, it's because they're in a marching.

Speaker 6 (12:22):
Band, you know, or something like that that.

Speaker 3 (12:24):
They know music theory. But it's very rare that I
get someone.

Speaker 4 (12:28):
Like yourself that that's in love with instrumentation, that never
really been immersed in that world.

Speaker 3 (12:35):
So man, that just you know, speaks to how you think,
how your mind works, and how your creativity works. And
I think that's incredible.

Speaker 12 (12:43):
So you build momentum quickly with this is not a
drill Mundane thoughts Chapter two and see to them t Deluxe.

Speaker 3 (12:53):
What did those projects teach you about yourself as an artist.

Speaker 8 (12:59):
That did that?

Speaker 14 (13:00):
It's possible because like like you're saying about Atlanta, Atlanta,
when it comes to Georgia, it's like people look at
it like Atlanta, like that's just it, you know what
I'm saying. But the talent all over the state, and
with Dublin being a smaller place, like the talent here too.

(13:22):
You know, you have like Dublin, you have making Savannah
is more a metro area. But when I tell people
I'm from Georgia, they automatically assume that I'm from Atlanta,
or they'll hit you old you are another Atlanta rapper,
or you know, like it's I mean, it can be

(13:42):
a gift in the curse being from Georgia. Like the
gift is, like you said, the the plethora of avenues
you could take, especially in hip hop. But then at
the same time the curve is Georgia kind of seems oversaturated,

(14:08):
especially with rappers.

Speaker 8 (14:10):
Like it's harder, like because I live there, so.

Speaker 14 (14:17):
I see it, like like that makes it that much
harder to break out of this state, you know what
I'm saying, Because it's so many Like you can go
on two different ends of a street and they'll they'll
be a rap on both ends.

Speaker 8 (14:34):
You see what I'm saying, Like it's kind of like that.

Speaker 4 (14:39):
Yeah, so when things are like that oversaturated, I had
that same thing in my city. I'm from Mississippi and
everybody named Mama Rap, so it's kind of hard to
like find a footing.

Speaker 13 (14:54):
You know.

Speaker 3 (14:54):
I had to go to California, had to go to Atlanta, Florida,
you name, it comes to you. What do you think
about that? Like, how do you get from how do
you get out of.

Speaker 4 (15:05):
That cessful sexpool, cesspool of so many artists so that
you can stand.

Speaker 3 (15:11):
Out in the shy.

Speaker 14 (15:14):
That's where the like me trying to cultivate the sound
because I love don't get me wrong, I love being
born and raised in Georgia.

Speaker 8 (15:23):
I love it, but.

Speaker 14 (15:27):
I don't want to necessarily like I said, sound like
I'm from Georgia, so.

Speaker 8 (15:34):
I I tend to.

Speaker 14 (15:40):
Lean more towards beats that isn't typical of the area.

Speaker 15 (15:46):
So it's like that that's what the jazz and like
I said.

Speaker 14 (15:50):
The instruments and stuff come in. Of course, I did
do like some traveling around, like after high school. You
know that I was in Florida, I went up to
the Midwest, like, so you know, their their flavors of music,
their taste is a little different in each place you go.
Like but if I've always been a hip hop head,

(16:12):
so there's.

Speaker 8 (16:16):
Like all dating all the way back to CDs, Like if.

Speaker 14 (16:19):
There's if you frownd one of my old CD booys,
you would have West Coast artists in there, you would
have Midwest artists in there, you would have East Coast
artists in there, you would have.

Speaker 8 (16:28):
Southern artists in there.

Speaker 14 (16:29):
Like but that's kind of why I fell in love
with the instruments and like I was, I mean, people
don't they kind of cringe when it said it now,
But like Kanye, his production style was like top tier
to me, like that that was my favorite producer in

(16:53):
high school, like just because I love the soul samples,
you know what I'm saying, Like my favorite labeled in
high school was Rockefeller, but you know Rockefeller a lot
of the artists, they used a lot of samples.

Speaker 8 (17:06):
So that's just when I kind of started.

Speaker 15 (17:10):
That was more of my sound, but it kind of
transition to where it's at now, and.

Speaker 12 (17:22):
With that transition we get Tranquil Ambience Chapter three on
the way, can you break down what listeners can suspect,
Like what's the mood.

Speaker 8 (17:32):
Of this project?

Speaker 14 (17:36):
It's it's just like the I mean, it's the titles,
like it's Tranquility, and it's just the ambiance like it's
like I said, it'll put you in a certain mood
or it'll make you feel a certain way when you
listen to it, like especially the instrumentations, like it's it

(18:01):
can be inspirational and motivational at the same time, like it's.

Speaker 8 (18:08):
I want you to be able to close your.

Speaker 15 (18:11):
Eyes and.

Speaker 8 (18:14):
Place yourself.

Speaker 14 (18:19):
Anywhere, like just let the music take you away, Like
I have a report on there. It's called Monaco, and
you know Monaco is like a island.

Speaker 8 (18:28):
City or whatever.

Speaker 14 (18:29):
But like the instrumentation, it just reminds me of Monaco.
So when you close your eyes, you just picture yourself
in Monaco.

Speaker 8 (18:38):
Like that's the whole vibe of chapter three. Like it's
just tranquility. It's not a lot of.

Speaker 14 (18:49):
Like me talking about hustling or selling drugs or killing.

Speaker 8 (18:55):
Like it's like kind of we've grown now, so you know,
like you you want to see the world and.

Speaker 14 (19:05):
Go to these vacation destinations like like I said, like
Monico being one, or I know, I got a bar
on one of the records where I was like I
want to take my family to Attica and you know,
like in show Love to the fans out in Africa.

Speaker 8 (19:20):
You know what I'm saying.

Speaker 14 (19:20):
So it's when you hear the music, that's what I
want you to Like, I wanted to put you in
a peaceful man state.

Speaker 7 (19:33):
Yeah, I love that.

Speaker 15 (19:34):
Man.

Speaker 12 (19:34):
What would you say to people who misinterpret the title
and they think, oh, this is a sleepy need.

Speaker 8 (19:43):
That's because like on the.

Speaker 14 (19:48):
I thought about that when I was when we was
coming up with the actual album art for it, so
like I actually had the graphic designer like put the
definition of tranquil and then I had him put the
definition of umbeyonced on there tool so like you can

(20:11):
you'll know, Like it's in the album art, so you
know what I'm saying, Like you'll know what you're getting into.
Like it's not I mean, if you you know what
I'm saying, if you listen to it to go to sleep,
then okay, But it's not designed to.

Speaker 8 (20:32):
Make you go to sleep. It's designed to just give
you a more a more peaceful feeling, you know what
I'm saying, Like it's kind of calm you down. You
know what I'm saying.

Speaker 3 (20:48):
Yep, But no, man, I think that's a genius putting
a definition on there.

Speaker 4 (20:54):
It's on the album art, you know, educating people of
what the actually definition in instead of them just perceiving.

Speaker 3 (21:03):
What it is or going off what they feeling, maybe
you know, you actually directing their thoughts with that. So yeah, man,
it's pretty cool. How does this project there from your
previous chapters?

Speaker 14 (21:17):
Well, the previous ones they were like more I ain't
gonna say more southern, but they were more I guess
you could say, like club friendly. And then I did
it that way because like I've been recording for a
long time, but I stepped away also for a long time.

Speaker 8 (21:40):
So I had to kind of come back with me
being in.

Speaker 15 (21:45):
The South, I had to kind of come back with.

Speaker 14 (21:49):
A more a sound that would get their attention, Like
and I never planned on putting like two LP's out
like us a party out here. But when this is
not a drill started doing what it did, it kind
of like I was in this just this created space

(22:13):
where it was just coming like because like I said,
I went almost maybe five or six years without releasing nothing.

Speaker 8 (22:20):
So it was like in those six years, it's a.

Speaker 14 (22:22):
Lot happened, you know what I'm saying. So I didn't
want to make like a double disk or something. So
I was like, well I do this is not a drill,
Like it's all the story and this is not a
drill was like a chapter. Then we went into mundane thoughts,
which is more like this is not a drill, like

(22:45):
as far as the sound goes. But also I named
it mundane thoughts because it was it was like to me,
it was just mundane things, like it was like your typical,
Like I said, your typical the typical things that you
hear from a rapper, you know what I'm saying.

Speaker 8 (23:04):
So I named it mundane thought. But then when I
went into the EP.

Speaker 14 (23:13):
C two MT, which was actually just an extension from
mundane thoughts, that's when I introduced the sound I get
the jazz, and it was completely different from this is
not a drill and in chapter two because I wanted
to kind of gradually start using the sound and the

(23:35):
actual direction that I wanted to go on the people
and actually see how they started taking to.

Speaker 8 (23:43):
The music because it was a different sound like it was.
It was, like I said, jazz.

Speaker 14 (23:52):
Like even the track list, like the track list for
that EP was like, people don't even know like those
six songs the way I have sequence. Did you know

(24:12):
something's coming? Because I mean it's it's languige picture change seasons.

Speaker 8 (24:19):
Liberation comes.

Speaker 14 (24:20):
So it's like you know, it's coming out from mundane thoughts.
So language, you know, language can be perceived as kind
of boring or lazy. So that's what I was like, Well,
the languid picture could want to lead to you wanting
to change in seasons and that's when liberation comes. So

(24:43):
but that's just why I like, how I be thinking,
like what my mentality is in So it's that whole
EP is letting you know that a change and the
sounds is coming, you know what I'm saying. Like, and
also I built up a fan base, which, like I said,
the last two records on that epis liberation come. So
it's kind of liberating now that I could do really

(25:05):
what I want to do musically, you know what.

Speaker 8 (25:07):
I'm saying, Like, that's what all. That's how I was
leading up to chapter three.

Speaker 2 (25:15):
All right, we gotta.

Speaker 8 (25:17):
Talk about it.

Speaker 14 (25:17):
Man.

Speaker 3 (25:18):
You said you stepped away for six years. Why did
you take a break?

Speaker 14 (25:27):
Like I was doing like mixtapes, and I had got
to a point where I was doing them like this
was in the midtape area, like early to mid twenty tens,
you know, your.

Speaker 8 (25:38):
Live mixtapes and that pills.

Speaker 14 (25:41):
But I was doing them like every six months. I
was dropping up a tape and I was like, okay,
this is a little that's a lot of music for
people to ditches so soon. And then I mean some
personal things went on that I had to so I
kind of just stepped away like I And then like

(26:06):
around twenty twenty, around when COVID hit, I recorded the
project just because it was no it was COVID.

Speaker 8 (26:12):
Everything was shut down, so I ain't had.

Speaker 14 (26:14):
Nothing to do, so I just recorded, but I never
released it. It was just something I was doing because
I was bored, you know what I'm saying. Like, but
when everything got squalled away and situated, like I always.

Speaker 8 (26:28):
Planned on coming back.

Speaker 15 (26:29):
It's just it had to be the right time.

Speaker 14 (26:32):
Like they say, timing is everything, you know what I'm saying,
And I just felt like now was the time because,
like I said, in those six years, so much happened,
like and now, I'll be the first to admit, like
I didn't think that, well, I ain't gonna say I
didn't think. I didn't know that those projects that I released,

(26:54):
like this is not a drill in chapter two, I
didn't know that they would travel that farcas.

Speaker 8 (26:59):
Like said, I was.

Speaker 14 (27:01):
The last time I released something was on like that
pills or something like. That's how long ago. It was
before twenty twenty four. So you know, I'm doing the
network thing because you know, like hip hop, it takes
a lot of networking.

Speaker 8 (27:18):
So I'm doing a networking thing.

Speaker 14 (27:19):
I'm I'm figuring out this streaming thing, Like streaming wasn't
even a thing like the last time I released the project,
you know what I'm saying.

Speaker 8 (27:26):
So I'm figuring this out.

Speaker 14 (27:28):
I'm like, I'm like, I'm telling people like I even
tell independent artists around my way. Now it's like the cause,
you know, the goal was used to, oh, we got
to get on the radio. But when I started recording
this is not a drill and getting ready to release it,
all I kept seeing everywhere was like, get your records.

Speaker 8 (27:46):
On playlist and playlist, this and playlist. And I was like, well, like,
I know of playlist, but I didn't know. But it's
kind of light now it's like playlist. It's the new radio,
you know what I'm saying. And I got to thinking
about it.

Speaker 14 (27:59):
I was like, well, yeah, I can understand that because
even when I'm traveling myself, I'm rarey listening to the radio.

Speaker 8 (28:06):
It's either.

Speaker 14 (28:08):
Nine times out of ten, I'm listening to the Spotify playlist,
you know what I'm saying. So once I figured that
out and start getting the records on playlist, it just
kind of started spreading like wildfire.

Speaker 8 (28:23):
Like and that's when it started.

Speaker 14 (28:25):
It started breaking out of a regional thing and becoming
a global thing, you know what I'm saying, Because I
never realized how many people listen to playlist like.

Speaker 4 (28:37):
Yeah, yeah, playlists like the next because you can choose
what you want to listen to, especially if you build
a playlist yourself, you don't have to go through random
tracks like on the radio where you gotta wait a
while for the DJ to play the song you want
to listen to.

Speaker 3 (28:57):
What do you think about places like that no longer resisted?

Speaker 8 (29:09):
I me, personally, I.

Speaker 14 (29:15):
Kind of hate that it don't exist anymore because a
lot of rappers their best projects was like MIT Sakes
that they gave away for free.

Speaker 8 (29:27):
I guess because the freedom that they had to do it.
You know, you don't have labels like oh now.

Speaker 14 (29:32):
That this isn't gonna work, so you know what I'm saying,
you're giving it away for free, So that a lot
of rappers that was they bens worked like stuff that.

Speaker 8 (29:41):
They put on that pill or Live MIT Saves or
something like that.

Speaker 14 (29:46):
And like I said, at the time, it worked because
like I said, you know, like I was telling you,
I was big on samples and stuff like so you know,
when you go to like streaming sites, if you ain't
got the clearance, they're not gonna post that record, Like
if it's got a sample, you you know what I'm saying, like,

(30:08):
so with that pill, you can't even put it on
YouTube if it's got a sample, like you, it's gonna
be hit with a copyright.

Speaker 8 (30:15):
So that pill kind of allowed us to release music.
Will we use samples.

Speaker 14 (30:25):
Because I mean we wasn't gaining anything monetarily.

Speaker 8 (30:28):
Off of it, So now that's kind of none existent.
Like I'm saying, you can still use samples, but if
you ain't got the clearance for.

Speaker 14 (30:39):
It, then you see what I'm saying, Like, Okay, I mean,
people are right, you can put it on the CD,
but I mean how many people still listen to CDs?

Speaker 3 (30:48):
You know what I'm saying, Like right, yeah, yeah I
missed it.

Speaker 13 (30:53):
Bro Uh.

Speaker 3 (30:54):
I discovered a lot of artists off of Got Kiss,
and I think.

Speaker 8 (31:01):
We all did, like yeah, it kind of.

Speaker 14 (31:07):
Like I said, it kind of killed a lot of because,
like I said, a lot of artists, like even like
major artists, a lot of their best work was stuff
that came from that Pillo ball live midtages like I mean,
like your cricks and your whizies and.

Speaker 8 (31:24):
You know what I'm saying, Like they were some of them.

Speaker 14 (31:28):
I mean, because crit is a phenomenal artist like his
albums are though too, But.

Speaker 8 (31:35):
I just felt like his mistakes they just was that
much better, you know what I'm.

Speaker 3 (31:40):
Saying, Like, yeah, they were same Wayne? Wayne? Is that
pit releases?

Speaker 8 (31:50):
Yeah, like so that you know what I'm saying. I
was in that era, Like.

Speaker 14 (31:55):
That was the era that I was doing music when
I like very like started taking it serious like that
we had like a plethora of places to release music.
Like like I said that Bill Live mistakes reverb Nation.
I mean, reverb Nation is still around, but I mean
people don't use it anymore, don't.

Speaker 8 (32:15):
I mean I don't. I don't know, you know, you
know what I'm saying, Like, yeah, it's dead, all right?

Speaker 12 (32:25):
So, uh, what message do you want people to take
from Tranquil Obvious?

Speaker 8 (32:34):
Just if it's something you want to do, just do it,
like be free, never take no for announcwer like it's
just just do it.

Speaker 4 (32:48):
Yeah, And every chapter title you release feels intentional. What's
the story behind the chapter approach? And how do you
think it connects with listeners?

Speaker 14 (33:02):
Because I actually like they're in those six years like
I started writing a book. In the book, Wow, it
wasn't like it wasn't like, it wasn't about me parent
se it was a like a a fictional like it

(33:25):
had fictional characters, you know what I'm saying, Like, but
I just kind of feel like some books and some
chapters in books, like you can't like write music to
it or soundtrack to it, like each chapter could have
a soundtrack to it, or.

Speaker 8 (33:46):
As you progressed in the story in.

Speaker 14 (33:48):
Each chapter or shape instance, like I like I'm doing
like you got this was out the drill, then you
got chapter two, chapter three, like each chapter is building
to something bigger, and then like when once I'm done

(34:09):
with the whole chapter thing the book is, then you're
best to go back and listen to each entry and
it'll all make sense, like.

Speaker 6 (34:21):
Like each.

Speaker 8 (34:26):
Album cover like I chose the rose, like just a rose,
like this is not a.

Speaker 14 (34:33):
Drill, had the rolls on fire in chapter two, had
the rolls being dipped in water. Then C two mt
had a brand new rose, but there was ashes around it.

Speaker 8 (34:51):
So it's.

Speaker 14 (34:54):
Then chapter three there's a picture of a like a
just a beautiful gloom rolls.

Speaker 3 (35:00):
Uh.

Speaker 14 (35:00):
It's that was also a metaphor, like because of how
people can destroy something so beautiful but at the.

Speaker 8 (35:09):
Same time.

Speaker 14 (35:14):
Create something beautiful, like if that makes sense, or there's
also you gotta burn something down in order for something
new to grow, you know what I'm saying. Like it's
so it's you can take it how you want to
take it. Like, so I just chose the roads like
a burning rolls like and if you look at each

(35:37):
album cover, you'll see the rolls go from you'll see
it transform into a new rose.

Speaker 8 (35:46):
But we had to burn the first rolls and we
destroyed it and then we tried to save it with
chapter two by dipping it in the water, but it
was too late.

Speaker 14 (35:56):
And then you got the ep whell new Roads and
has blossom. But you see the ashes from the other
roles that you burned, So now.

Speaker 15 (36:05):
It's like, okay, how are you gonna take care of
this role?

Speaker 8 (36:08):
Or you did you learn from your mistakes.

Speaker 14 (36:11):
Or did you learn from burning in the other role?
You see like the roles, it's kind of symbolic.

Speaker 3 (36:20):
Yeah, it's definitely kind of like with the one that
has the ashes around it, and then the next chapter
there is a full bloom beautiful roles. I think it's
like the phoenix. The phoenix is reborn even though it had.

Speaker 8 (36:37):
To die, and it came back better. Yeah, yeah, that's
that's exactly like that.

Speaker 14 (36:44):
That was my train of thought when I was like, Okay,
I'm goin to start that the music thing, but I
want something that can stick with people like it. It's
not too dramatic. It's just simply a rose, you know.

Speaker 8 (36:58):
What I'm saying.

Speaker 14 (36:58):
Like, But people once I started advertising the album and marketing,
like a lot of people I was getting that with,
like what, like what's the purpose of the Roads, because
that's all they were seeing, Like what's the rolls?

Speaker 8 (37:14):
You know what I'm saying.

Speaker 14 (37:14):
Like, so it got people asking like okay, well what's
the purpose of the Roads, and why is the rolls
on fire?

Speaker 8 (37:21):
You know what I'm saying, Like that was the whole
purpose of me doing that.

Speaker 7 (37:28):
That's dope.

Speaker 8 (37:29):
That's dope.

Speaker 15 (37:30):
Man.

Speaker 3 (37:30):
Let's talk about the label.

Speaker 12 (37:32):
What's called conglomerate Where you started a label conglomerate.

Speaker 3 (37:38):
That's a major move. What inspired you to take that leap?
And what values will your record label stand on?

Speaker 14 (37:49):
Like when I'm when I put out this is not
a drill, Like there was like certain there was some
labels that was contacting me, but like I wasn't liking
like the just like stuff they would want me to do.
Like it was like it was this one I can't

(38:11):
even remember the name. It was a it was one
of these indie labels, but they wanted me to use
their producers. And they was like, I could still use
the producers that I've been using with, just people I've.

Speaker 8 (38:27):
Known for years, but.

Speaker 14 (38:31):
They would only promote the music if I use their producers.
And I mean, I don't mind working with new producers.
Don't get me wrong, I'm always up for working with
new producers, but I'm just not gonna leave the producers
I've been because I'm they kind of helped contribute to

(38:52):
my sound and bill they gave me my sound, you
know what I'm saying. So I'm not just gonna Okay,
I got this deal now, I don't need y'all know
like that, ain't.

Speaker 8 (39:05):
That's like disloyal to me? Like it was that was
nah Like and then you got.

Speaker 14 (39:11):
Like majors, which, like I mean, if you if that's
the thing you're going after, like a major deal. What
I think a lot of independent artists don't understand is like,
especially these days, a lot of majors, they're not even

(39:32):
gonna look at you until you built the following, built
your own fan base, did the majority of the leg
Where at the grunt where the stuff that you that
people dread, Like, like I said, standing up till three
four o'clock in the morning, networking on the phone with
these people, trying to get these people to listen to

(39:53):
the music you you built up, like I said, the
social media following, and they're like, m this person's making noise,
so let's look into it. But to me, that's kind
of like, if you don't did all that yourself, then.

Speaker 8 (40:11):
Why do you need the major Like, yeah, there's a machine,
they'll they'll give you money, but even then they're really
only giving out three sixties these days in a way,
so it's like why do you really need them?

Speaker 14 (40:28):
And a lot of them they like to impede on
like your creativity. Like I ain't gonna say all of
them like will stript just what you're trying to do
musically away. But you got so many artists that sign
two major deals but then they never drop an album

(40:49):
or something, or they album gets shelved, you know what
I'm saying, just because the label don't feel like it's
gonna do anything. You know what I'm saying, but now
you're stuck in this contract. Like so I was like, man,
I think i'd rather stay independent because I was already
like like I said, I'm already making ways independently.

Speaker 8 (41:08):
So at this point, like if it happens in the future,
then okay, But there's.

Speaker 15 (41:16):
Like I bring more to the table now, you know
what I'm saying, Like I can't use.

Speaker 8 (41:23):
You can't. I don't want people.

Speaker 14 (41:25):
For one, I don't like people telling me what to
do because I don't like telling people what to do.
So like I'm big gonna like freedom, especially when it
comes to like like creativity and art, and you don't
go to a painter and tell him no, don't paint

(41:46):
that way, you know what I'm saying, Like, right, that's
kind of off putting.

Speaker 3 (41:56):
Before we get into your next song. Did you ever
release that book?

Speaker 8 (42:03):
No, Yeah, that's the that's the whole beauty of it.

Speaker 14 (42:05):
Like it's it's like I'm still writing it because then,
like I said, when when it started, it was like
there's no characters, but now it's kind of the story
is becoming about me.

Speaker 8 (42:23):
So it's basically.

Speaker 14 (42:28):
A book about this journey that I'm on right now.
So the journey's not finished, you know what I'm saying.
So it's like, yeah, I'm still writing it, all.

Speaker 4 (42:40):
Right, all right, well guys, we're about to jump into
the next single.

Speaker 3 (42:43):
It's called Cost.

Speaker 8 (42:44):
The one we played at.

Speaker 3 (42:45):
The beginning of the show is called Hope. This is
about greatness. And when we come back, we'll put him
in our traditional hot seats where he can perform for
us if he wants to. He could rap scene, do.

Speaker 4 (42:54):
Some spoken word, tell a joke, tell a story from
his life, player instrument, gives him a bite, or do
nothing at all. That is cool as well before right
now here it is Cost. That will be right back,
stay tuned.

Speaker 2 (43:17):
Yeah, yeah, I.

Speaker 11 (43:21):
Come front the bottom.

Speaker 2 (43:22):
I've been through the struggle hustling.

Speaker 8 (43:24):
What's the motto? Young?

Speaker 2 (43:25):
And I was stuck in be sitting at the packs.
Now beat the plug running to the max.

Speaker 13 (43:31):
Dogger and the Level aone. I paid the cost to
be the boss. I paid the cost to be the
bus for reason that a floss, because I weren't past exhaust.
I paid the cost to be the buddy your neighbor.

Speaker 6 (43:46):
Lass shooting.

Speaker 3 (43:47):
We designed flues trying.

Speaker 8 (43:49):
To put my nigga's before the loose song swih.

Speaker 10 (43:52):
I just take him for the life now right time
with the right man here going the right lane.

Speaker 8 (43:58):
Ight go on, just pay me go.

Speaker 3 (44:00):
Never needed nothing next to the money you pot.

Speaker 7 (44:03):
It's allay ever need it from you get me moving.

Speaker 8 (44:06):
She don't tryna buy y'at some day?

Speaker 11 (44:08):
Can she floating off the pot, the money pot?

Speaker 3 (44:11):
And she ain't say like me with my lady.

Speaker 2 (44:13):
And he's really hurting me your chity sort of trying
to push your double lord when you wal pack the sittling.
We should have put a start.

Speaker 8 (44:21):
Shit just WoT with money star.

Speaker 11 (44:23):
I got releasing the cut.

Speaker 2 (44:25):
I just gover something whatever. I'm needing a hook.

Speaker 8 (44:28):
Look, so that's why I'm leaning. We don't worry everybody
the ticket. We just hate the couch bottle.

Speaker 11 (44:34):
I come front the bottom.

Speaker 2 (44:36):
I've been through the struggle. Her slim was the motto
young and I was stuck in be sitting at the packs.
Nah beat the plug running to the max docker and
the level up. I paid the cost to be the bus.

Speaker 13 (44:50):
I paid the cost to be the bus to reason
that a fluss cause I weren't pastic sauce.

Speaker 2 (44:56):
I paid the cost of be the bus. Foods from
the humans out of yuba Ja.

Speaker 8 (45:02):
The niggas say, and they said they are. We maneuver.

Speaker 2 (45:05):
So we on the one I'm calling gold line, touchdown.

Speaker 8 (45:09):
We gonna bite down on the cold line.

Speaker 3 (45:12):
Fang like you walking up with Jesus.

Speaker 10 (45:14):
If you get any reason now you want to leave you,
if you give me any reasons, I get to the beating.
If you put in any reason, I mean, if you
see dress some pluck, real beating, whole six feet place
up in the earth covered road with common.

Speaker 11 (45:29):
Creeks here with the sali churt.

Speaker 3 (45:31):
That's the screaks at the brown table where.

Speaker 11 (45:34):
We all will eat.

Speaker 10 (45:35):
With my lady next to me.

Speaker 2 (45:37):
She I can bite me with a diamond on the
cligga that in later city. The only question is these
your niggas coming with me first.

Speaker 11 (45:45):
Them from the start.

Speaker 8 (45:46):
Now I wanna say it tis great, I.

Speaker 2 (45:48):
Up front of the bottom. I've been through the struggle.
Hustling was the matter young and I was snugging. He's
sitting at the packs, nabbing the club, running too the.

Speaker 13 (45:58):
Max dagga and ather. I paid the cost of breed
a boss. I paid the cost of breed to boss.
There reason that I fluss because.

Speaker 2 (46:08):
I went past exhaust I paid the cost of b
the bus.

Speaker 4 (46:25):
All right, all right, welcome back again. That was cost
by greatness. Dope dope, dope song. I really loved that one.
All right, let's go ahead and bring back greatness. Yo, yo, yo,
you're back and live with us in our hot seats.

Speaker 3 (46:42):
Will you perform for us?

Speaker 14 (46:46):
H yeah, I can give you a little sixteen that
I'm actually probably about to go record once I.

Speaker 8 (46:54):
Get out of the interview. All right, ready, when you
are all right?

Speaker 14 (47:02):
All we wanted was peace, love and prosperity on the road.
We only chasing stability, tranquility, trying to get it financially
clear of vision is perfect, the visibility trying to buy.
Then were throwing shots at the liver, heaving the hell
I'm in between, right in the middle of fine line
between the rights and maybe center. But I'm ready for
the place to tell me what's for dinner. The wrong decision.

(47:24):
They telling me that it's sold over the voters on
my shoulders, building me and to a soldier that I.

Speaker 8 (47:29):
Need to be.

Speaker 14 (47:29):
My mother got two kids, two sons, and my brother
got two kids, and with this challenge that I got
to see them. Two wins with his wife and my life.
I'm building for the daughter, a better future for the
black They want to make it harder. I want to
keep us in the gut of living in the squalor
make them tremble when that speak become their worst problem.

Speaker 4 (47:50):
Alright, alright, good, all right man, Greatness, Where can our
listeners connect with you on into that?

Speaker 2 (48:02):
Uh?

Speaker 14 (48:05):
All my socials like Facebook and Instagram of course, the Spotify,
Apple Music title, all all the streaming platforms, and.

Speaker 8 (48:24):
Yeah that's about That's about it through my ear.

Speaker 14 (48:33):
Yeah, yeah, that's out the email man, you know, yeah,
you know Javari Green j A V A R. I
Green like the color at gmail dot com. That's my
only honestly, was I handle like most of my business stuff.

Speaker 8 (48:52):
Yeah, Like I said, the.

Speaker 14 (48:53):
Typical socials and Spotify and Apple Music.

Speaker 4 (49:02):
All right, listeners, jess, in case you need those links,
I will have them in the description of this episode
and in the show notes.

Speaker 3 (49:09):
So all you guys have to do is just quick
those links. And I know you're going too, so I'll
have them available.

Speaker 4 (49:17):
All right, Greatness, This conversation was exactly what the name suggests.

Speaker 12 (49:21):
Great We dug into your journey from this is not
a drill to mundane thoughts. Chapter two and the upcoming
Tranquil Ambience. Chapter three, we explore the bowl move of
building conglomerate, your plans to not just push music but
push culture.

Speaker 3 (49:38):
Until twenty twenty six and beyond.

Speaker 4 (49:40):
To our listeners, follow Greatness and screen the music and
watch out for Tranquil on Beyonce.

Speaker 8 (49:46):
Chapter three.

Speaker 17 (49:48):
When the course iscri out of the Vigilantes Radio Live,
leave us a rating. You can buy me a coffee
over a buy me a coffee dot com forward slash
Vigilantes Radio and share this episode with someone who needs
to hear it.

Speaker 3 (50:00):
Greatness, Man, thank you for your time, your vision and
your artistry. I think the future looks unstoppable for you.

Speaker 8 (50:10):
Appreciate it man.

Speaker 3 (50:13):
Yes, sir, Yes, sir, take care of man and have
a great night you too.

Speaker 7 (50:18):
All right, peace, peace to all.

Speaker 6 (50:42):
My name is Denie and I am the host of
Vigilantes Radio Life.

Speaker 3 (50:48):
Yeah.

Speaker 6 (50:49):
I think that we are beyond just I'm asking questions
and get a cool responses. I think that we are
here as pretty data to provide an example that you
can do things different outside of expectations. Because some of
us simply we're not born into the club. But there is.

Speaker 18 (51:14):
Perhaps a door window or backgaint that we can leave
a clue for you to get into.

Speaker 6 (51:22):
Life is short, but there are plenty of moments to
try and get it right.

Speaker 18 (51:28):
Pursuing your dreams and learning from mistakes may be tough,
but regret it's tough to book your interview email us
at v radio at only one video group dot com.
That's a theme as in victorious or visit only one
media group dot com. I'm counting on you, Heaven, we

(51:52):
all are counting on you to step into your purpose
and your passion. You are listening to Vigilantes Radio.

Speaker 6 (51:59):
Lie well, I'm Work Radio, providing you with an opportunity
to take the dive.

Speaker 2 (52:06):
I go front the battle. I've been through, the struggle, hustling,
was the murder young and I snugging. He's sitting at
the pecks. Nah beauty bla grunning turn.

Speaker 8 (52:16):
The mex Dog.

Speaker 2 (52:18):
I paid to cost you do the Boss. I paid
to cost you be the Boss.

Speaker 1 (52:25):
You and now listening to vigil Lancy's Radio, the people's
choice for quality interviews, art, music and hot topics, hosted
by Demetrius Houtini Black Reynolds. All episodes of this podcast
are available for free download at www. Dots only one
media greet dot com

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