Latest / The Bootleg Kev Podcast / #180 - Hitmaka

Transcript

#180 - Hitmaka · The Bootleg Kev Podcast

0:00
Speaker 1: Bulet Cap Podcast Special guests in here my guy Young
0:03
Speaker 1: Bird aka hit Makers. Yes, yes, welcome, welcome, welcome, Manni
0:07
Speaker 1: you have me. Of course, first of all, we gotta
0:09
Speaker 1: talk about this. Is this a new chain? Yeah, this piece.
0:14
Speaker 1: I ain't gonna lie when when I left Atlantic, I
0:17
Speaker 1: left Atlantic a lot of people like my peers and
0:20
Speaker 1: co producers, like it was a bunch of like people
0:22
Speaker 1: in close friends talking down like, man, you know he's
0:26
Speaker 1: going to empire, like it might not work out for him.
0:28
Speaker 1: You know. Really, Atlantic was really the fume behind the
0:31
Speaker 1: fire that was keeping him going. And I put so
0:33
Speaker 1: much work in that. I just said it last year,
0:37
Speaker 1: like like around this time, beginning the summer last year,
0:39
Speaker 1: I'm like, yo, for every Friday for the rest of
0:41
Speaker 1: the summer, it's gonna be a new release and it's
0:43
Speaker 1: gonna rain hit some niggas and people were just laughing
0:46
Speaker 1: at me. And then I would put this emoji up
0:48
Speaker 1: and then literally every Friday for the rest of the
0:51
Speaker 1: whole summer, like I had a hit that came out
0:53
Speaker 1: or whatever. So I'm like, fuck, I'm just gonna make
0:55
Speaker 1: it a change to love the chain. Yeah, bro, appreciate it.
0:57
Speaker 1: I feel like Tory Lanez might get emotional over your chain. Man.
1:01
Speaker 1: I don't know. Man, if he hears the story, now
1:04
Speaker 1: he got it's the contact. Yeah, but it's like it was.
1:08
Speaker 1: It ain't never know that. Sh It's hard. H toy
1:10
Speaker 1: is amazing. You know what I'm saying. What is what
1:12
Speaker 1: is something like that? Run somebody all together like two
1:16
Speaker 1: sixty Jesus man, that's a real uh you know Atlanta house? No,
1:22
Speaker 1: for sure, it's like a Lamborghini truck. It's a Louisville
1:25
Speaker 1: real estate. Nice little four bedroom in Louisville, you know
1:27
Speaker 1: what I mean. Yeah, I've been working hard though, so
1:30
Speaker 1: in LA. That'll get you attend on the side of
1:32
Speaker 1: the mat four five nothing. I'm moving from LA. I'm
1:35
Speaker 1: almost done. I'm building my house in Miami right now.
1:38
Speaker 1: So that's where it's at. I'm almost done with building
1:40
Speaker 1: my crib. I'm moving in like August something like that.
1:43
Speaker 1: No state tax man, that's gonna be epic. You don't
1:46
Speaker 1: have to face state tax I mean, I know the
1:49
Speaker 1: gun laws are way more. No, it is. You good,
1:51
Speaker 1: it's staying your ground. It's all that stuff, you know
1:53
Speaker 1: what I'm saying. So you ain't got to worry about
1:54
Speaker 1: that out here is ridiculous with like all the bs
1:57
Speaker 1: that's going on in LA, Like they got to figure
1:59
Speaker 1: out a happy medium with the gun laws in between,
2:02
Speaker 1: you know what I'm saying, how they're trying to play
2:04
Speaker 1: it because Nigga's acting crazy right now. Yeah, it's crazy
2:06
Speaker 1: because like it's so hot in l A and they
2:11
Speaker 1: make it so hard for you to like defend yourself.
2:14
Speaker 1: So it's like, but don't you like if you had
2:17
Speaker 1: a gun in your crib? Like you straight though, right,
2:20
Speaker 1: like I listen, I'm not the expert on the LA
2:24
Speaker 1: gun laws. I just know that, like if you were
2:27
Speaker 1: driving around with your piece, you got to have your
2:29
Speaker 1: bullets separated from the gun and the trunk or some shit.
2:33
Speaker 1: And it's like, well, what if someone runs up on
2:35
Speaker 1: me and tries to fucking purpose to kill me? Yeah,
2:38
Speaker 1: shout out to rants from fifteen hundred nothing. I think
2:40
Speaker 1: he had linked up with some of the the shriffs
2:43
Speaker 1: and deputies or whatever. I saw that. I saw that.
2:46
Speaker 1: I think that there there's some people trying to kind of, like,
2:49
Speaker 1: like you said, have a happy medium because you don't
2:51
Speaker 1: want to like because you know, there's obviously places where
2:53
Speaker 1: you could just roll around open carry and you know,
2:55
Speaker 1: not to get into politics. People feel how they feel,
2:57
Speaker 1: but there has to be a happy medium, especially in
3:00
Speaker 1: a place like LA where obviously it's an issue people
3:04
Speaker 1: are being targeted. La not the same no more though, bro,
3:07
Speaker 1: Like I remember, like even before I think a golden
3:11
Speaker 1: era was like supper Club and all that. And then
3:14
Speaker 1: even before supper Club, like how I used to watch
3:16
Speaker 1: Entourage and be like, man, like you would go to
3:18
Speaker 1: the w you go to Roosevelt, you go to this
3:21
Speaker 1: spot and it's popping. It ain't even that no more.
3:23
Speaker 1: Like I don't even know, Like if somebody came to
3:25
Speaker 1: visit me, like yo, ware to go get some chicks set,
3:27
Speaker 1: Like where should we pop out? I couldn't even tell you.
3:29
Speaker 1: People always hit me and they're like, yo, I'm in La.
3:32
Speaker 1: Where Where? Where where's it at? I'm like, bro, I
3:34
Speaker 1: don't I be at the crib? Bro, I don't go.
3:36
Speaker 1: I don't know. I'm like, yo, go follow Sean Dickerson.
3:39
Speaker 1: I'm sure he's his IG page will tell you. Light room, Yeah,
3:42
Speaker 1: highlight room. Good luck getting in there, though exactly they
3:45
Speaker 1: don't be playing at the highlight Room. Good fucking luck
3:47
Speaker 1: getting in man. So obviously you signed your situation when
3:52
Speaker 1: Empire about a year and a half ago. Yeah, like
3:54
Speaker 1: a year and a half. It's on my contract almost
3:56
Speaker 1: up and marches up and through that. Obviously you've put
4:02
Speaker 1: out some dope music you got, you got artists that
4:06
Speaker 1: you've signed under your imprint. You've gotten some big red
4:09
Speaker 1: obviously shout out young Blue. You know. Yeah, I don't
4:12
Speaker 1: know Blue. Yeah, but we don't know if this is
4:15
Speaker 1: We know it's bel Air. I bought it because it
4:17
Speaker 1: said Blue on it. Yeah, and we know that he's
4:20
Speaker 1: he may or may not own that A part of
4:22
Speaker 1: the blue, we don't know. But shout out to our
4:24
Speaker 1: guy Blue man. You know. Coming to Empire was was
4:27
Speaker 1: really dope. I really wanted to. Like I said, I
4:31
Speaker 1: had a little like hate, you know what I'm saying
4:33
Speaker 1: with me leaving or whatever, leaving a major label system.
4:36
Speaker 1: So like I really was, like, you know what, I'm
4:38
Speaker 1: just in a position where I'm gonna show people that
4:39
Speaker 1: the hits are following me. They don't have nothing to
4:42
Speaker 1: do with what's happening inside the building internally or who
4:45
Speaker 1: what CEO I might be working with or whatever. Like
4:48
Speaker 1: the hits is following me. And my team. And as
4:50
Speaker 1: you said, the first record that we did that went
4:53
Speaker 1: crazy was the Blue Record with Chris and Changed Baddest.
4:56
Speaker 1: I wanted to come out the gate smoking with that,
4:58
Speaker 1: and I really appreciate old guys everybody over there. That
5:02
Speaker 1: record was like a reoccurring record or whatever. The current Yeah,
5:05
Speaker 1: it gets played over. Yeah. Still the record was top
5:08
Speaker 1: ten for forty seven weeks out of the year last Yeah,
5:11
Speaker 1: it's still very much. Uh. I mean here in LA
5:14
Speaker 1: it still pops up as like a power every three
5:16
Speaker 1: weeks because it researches so well, yeah, that's crazy. So
5:19
Speaker 1: that was a big one and then shit, we ate
5:22
Speaker 1: a bunch more after that. So your Atlantic situation, because
5:25
Speaker 1: you were obviously producing so much music for a lot
5:28
Speaker 1: of the artists on the leg, but also you you know,
5:30
Speaker 1: obviously put put your single it was a hot box
5:32
Speaker 1: stop box, stop box, hot box stop box close enough
5:36
Speaker 1: hot box. Yeah, I think the title kind of like
5:38
Speaker 1: kept it a little bit too. I remember there were
5:40
Speaker 1: some awesome promo items for that song. Yeah, like we
5:43
Speaker 1: had made a box that had like a little condoms
5:46
Speaker 1: like whatever your vibe was supposed to be. Yeah, So
5:51
Speaker 1: would you say that like like when you were in Atlantic,
5:54
Speaker 1: did you have a song deal with them or you
5:55
Speaker 1: had to like give them a certain amount of music
5:57
Speaker 1: every because I know some producers have those situations like
6:00
Speaker 1: I got a Homemie Miners got one of those three
6:01
Speaker 1: hundred huh. So this is kind of my situation with
6:05
Speaker 1: my career at Atlantic. I had a label deal, I
6:09
Speaker 1: was vice president of A and R, and I had
6:12
Speaker 1: a song deal of course. And then I'm gonna be
6:15
Speaker 1: honest at pretty much every record company and the music business.
6:18
Speaker 1: I have a song deal with them right now, yeah,
6:20
Speaker 1: right now. Still, I have a song dealer Empire. I
6:22
Speaker 1: have a song deal with Epic Records. I have a
6:25
Speaker 1: song deal with Atlantic Records. Of something like that work
6:29
Speaker 1: when you create enough leverage for yourself and you just
6:32
Speaker 1: known for delivering records instead of positioning yourself to where
6:36
Speaker 1: it's like I want a hundredth grand a track, or
6:38
Speaker 1: I want fifty grand in track, or you might go
6:41
Speaker 1: in and say, all right, bet, I want thirty five
6:44
Speaker 1: granded track, but you got to get thirty upfront. You
6:46
Speaker 1: gotta get in bulk like costco so they pay you.
6:49
Speaker 1: So with me as the way I produce, if I
6:52
Speaker 1: was one hundred percent of producer or whatever. Then I
6:54
Speaker 1: would just get all the money myself and they would
6:56
Speaker 1: pay me for thirty songs upfront, which that probably like
6:59
Speaker 1: a million dollar right there or whatever. But the way
7:02
Speaker 1: I produce is that I have a bunch of co
7:04
Speaker 1: producers that I work with. It's not just one person
7:07
Speaker 1: or one man operation. So I'll go and then they'll
7:11
Speaker 1: pay me for half of the songs up front, and
7:13
Speaker 1: then they'll save the other half for my co producers
7:16
Speaker 1: or whatever, who realistically might not be getting seventeen to
7:21
Speaker 1: five a track, you know what I'm saying. So, and
7:23
Speaker 1: that's how it ends up being dope. So if my
7:25
Speaker 1: song dealers forty grand at Epic Records, then I meet
7:28
Speaker 1: a new producer, I bring them in, I produce something
7:30
Speaker 1: on Epic. They're slayd in the system at forty grand
7:33
Speaker 1: for that record. So at the very least, if they like,
7:36
Speaker 1: all right, take me away. When it's like, well I
7:37
Speaker 1: got paid twenty grand for my record, you could be
7:40
Speaker 1: on your first beat and have a track record inside
7:42
Speaker 1: that building infrastructure. So if you keep working without me
7:46
Speaker 1: or with me, and keep your foot on the gas,
7:48
Speaker 1: you at twenty grand and track. Yeah, I do notice
7:50
Speaker 1: like there are some producers that will not give the
7:55
Speaker 1: co producers credit or they'll be like the big name
7:58
Speaker 1: and then you'll hear the tag you won't like I do,
8:01
Speaker 1: notice that you give a lot of love and credit
8:03
Speaker 1: to the people you collaborate with. Hell yeah, because ultimately,
8:07
Speaker 1: like I programmed Beasts before, I've done all that or whatever.
8:10
Speaker 1: But I've done stuff on my album, I've done stuff
8:12
Speaker 1: on other releases that have come out. But at the
8:14
Speaker 1: same token, it was like, I'm just so creative and
8:18
Speaker 1: I just work at such a high level with you
8:19
Speaker 1: know what I'm saying. I'm trying to make ten records
8:21
Speaker 1: at night, so like to actually have as many songs
8:24
Speaker 1: and have as many things going. I think I had
8:26
Speaker 1: two hundred and twenty seven placements last year, so it's
8:29
Speaker 1: probably not physically possible to make two something songs a
8:34
Speaker 1: year and maybe fire fire and react and get plaques
8:38
Speaker 1: form and all the other stuff. I just saw. You
8:40
Speaker 1: just hit a milestone. Was it a one hundred million sould? Yeah? Yeah,
8:43
Speaker 1: I'm involved with one hundred million records sold that I've
8:45
Speaker 1: either produced or co wrote, and that's super blessing. Man.
8:49
Speaker 1: I think a year ago I was at seventy so
8:53
Speaker 1: you had thirty million in a year. Yeah, that's crazy.
8:57
Speaker 1: I mean two hundred and seventy seven placements will do
8:59
Speaker 1: that for You had the numbers kind of match up
9:01
Speaker 1: to that, you know what I'm saying. So I think
9:03
Speaker 1: it's like eleven billion streams and one hundred million, so
9:06
Speaker 1: I get the plaque when two days. So you've been
9:09
Speaker 1: like active since you were a kid. Yeah. Now was
9:13
Speaker 1: Bloodline Records and DMX your initial introduction to I guess
9:17
Speaker 1: the industry. Yeah, pretty much. That was like my first
9:21
Speaker 1: record deal. And the crazy thing about that is that,
9:24
Speaker 1: you know the story, Like I started in Chicago with
9:26
Speaker 1: a bunch of guys that were like, well, it's people
9:29
Speaker 1: that notable. So I can say bugs who works with
9:32
Speaker 1: Kanye's my brother? Yeah, I just saw I just saw
9:35
Speaker 1: him at the Push the show. Yeoh. He literally taught
9:37
Speaker 1: me how to be a producer. Robson, Yeah, Like he
9:41
Speaker 1: did everything with me. He produced my whole entire demo
9:44
Speaker 1: which got me signed the Bloodline and he was basically
9:48
Speaker 1: essentially what I am right now. But actually he was
9:51
Speaker 1: programming and doing stuff like that then. But books basically
9:54
Speaker 1: had relationships with no idea with Kanye with different people,
9:58
Speaker 1: and my whole demo was produced by bugs no Idea
10:01
Speaker 1: so far, and he's a great guy and we still
10:03
Speaker 1: work together like he's still my mentor he's killing it
10:05
Speaker 1: right now. Yeah, so like me books and then back
10:08
Speaker 1: in the day, they were a group called L E.
10:10
Speaker 1: P which transitioned to Infrared and they were like the
10:14
Speaker 1: street guys behind us, and I had a bidding war
10:18
Speaker 1: like that. Everybody wanted to sign me. Rockefeller wanted how
10:20
Speaker 1: old are you at this time? Fourteen? Yeah, so Rockefeller
10:25
Speaker 1: wanted to sign me, Tommy Boy wanted to sign me,
10:29
Speaker 1: Depth Jam, just the whole DMX everybody. And the crazy
10:33
Speaker 1: thing is how I ended up meeting DMX was Eve
10:38
Speaker 1: stylists introduced me to DMX or whatever at the time.
10:42
Speaker 1: And the crazy thing is we ended up on meeting
10:45
Speaker 1: at what these bitches want from a Nigga video set
10:48
Speaker 1: at at Paramount Lot in Hollywood still to this day
10:52
Speaker 1: in LA and I remember it. It was like fucking
10:55
Speaker 1: Eliyah was there. Dragon, DMX met the man. It was
10:59
Speaker 1: like a two day they shoot a crazy vibe. I
11:01
Speaker 1: meet DMX and like DMX like they like trying to
11:05
Speaker 1: introduce me to X and like back then, I was
11:07
Speaker 1: like four foot four, like I was really like a
11:09
Speaker 1: little guy, and uh DMX, like it was shortly, I'm
11:12
Speaker 1: gonna go smoke this and and I'm all back. He
11:15
Speaker 1: had like a few chicks with him and like open
11:17
Speaker 1: his hand had a bunch of caliweed or whatever. So
11:19
Speaker 1: he went smoked. I went out on the trailer and
11:22
Speaker 1: they basically was like rap. He was like rap for me,
11:25
Speaker 1: and I'm like, all right, bet so I rapped and
11:27
Speaker 1: I think I kicked like one of the Twister type flows.
11:30
Speaker 1: I said, like on that vibe and he's like, shorty, relax,
11:35
Speaker 1: I don't understand the fucking words you said. Give me
11:37
Speaker 1: a different vibe. So I ended up spinning another verse,
11:40
Speaker 1: which they went crazy for because I'm like a little
11:43
Speaker 1: kid going crazy. But like I had so many bricks
11:46
Speaker 1: in my wraps and all those stuff, like I was
11:48
Speaker 1: talking super street shit and left my demo. The next day,
11:52
Speaker 1: I came back to the video set and like DMX
11:55
Speaker 1: was banging my demo out the trailer like loud, like
11:58
Speaker 1: going crazy to it, and it was bugs with me.
12:01
Speaker 1: It was all these same people, these same guys, and
12:03
Speaker 1: I remember Kevin Lous walked up to me. He was like, man,
12:06
Speaker 1: you ready for your life to change. I'm like, man, hey,
12:08
Speaker 1: you like your life by the change from this day.
12:10
Speaker 1: And then DMX ended up signing me the Bloodline Records. Wow,
12:13
Speaker 1: it was Bloodline through Death jam Yeah through Death. Shout
12:15
Speaker 1: to Kevin Lyle, stand up guy, Yeah Man, shout out
12:18
Speaker 1: to keV Man. Speaking of keV Man, I got song
12:20
Speaker 1: deal with three hundreds. Still look at this all these
12:23
Speaker 1: years later, to be it's crazy that I worked so
12:25
Speaker 1: closely with Tina Davis, who was like with depth Ja
12:28
Speaker 1: when I was a kid, and then now I worked
12:30
Speaker 1: Impament or whatever, and it is what it is. So
12:33
Speaker 1: you met DMX ended up signing with Bloodline. Obviously the
12:36
Speaker 1: Bloodline thing probably didn't work out. I think it, like
12:39
Speaker 1: a lot of us had hoped it would have. Yeah,
12:40
Speaker 1: I think that X just wasn't ready to run his
12:43
Speaker 1: own company like that or whatever, Like he was just
12:45
Speaker 1: too big, like because that was like, uh, what was
12:48
Speaker 1: that before? That was like right before the Great Depression? Yeah,
12:53
Speaker 1: this is this is like cause and there was X
12:56
Speaker 1: was that was that was that? Was that that what
12:58
Speaker 1: these bitches want was on that album. Yeah, So it
13:01
Speaker 1: was right after in the midst of that album and
13:03
Speaker 1: right out there, I think this What comes to mind
13:06
Speaker 1: is I remember being in Toronto when we were filming
13:08
Speaker 1: Exit Wounds with Steven Seagal and all that other you
13:10
Speaker 1: were there. Yeah, I stayed with X the whole time
13:13
Speaker 1: while he did Exit Wounds. That's crazy. Yep, I remember that.
13:16
Speaker 1: And wasn't Dragon in that movie. Yep, drag was in
13:18
Speaker 1: a movie. Everybody was out there, like Toronto was crazy,
13:21
Speaker 1: and like that's how like another thing went viral when
13:23
Speaker 1: I was promoting thought Box. That's how dmxtle my first
13:27
Speaker 1: piece of pussy. When I was like a kid, like
13:29
Speaker 1: we had went to a club and like met a
13:32
Speaker 1: bunch of girls. We got back in a car, like
13:34
Speaker 1: I remember I was in the back seat feeling up
13:37
Speaker 1: the girls, she feeling on me. Whatever. We going to
13:39
Speaker 1: my hotel room. I'm literally like putting my key in
13:41
Speaker 1: a hotel and like the man is like a dog
13:44
Speaker 1: in real life, Like he just opened up the door
13:46
Speaker 1: of his suite. Was like, yo, ma, I think you
13:49
Speaker 1: lover a person here. And she had never been to
13:52
Speaker 1: the hotel or nothing, and she literally left me and
13:54
Speaker 1: went in DMX room and got up purse DMX at
13:59
Speaker 1: that time, he is, you know, the biggest motherfucker on
14:01
Speaker 1: the planet. Yeah, Like, man, I don't know what we say,
14:05
Speaker 1: like equivalent, what was he like? Right? You know what's
14:08
Speaker 1: crazy because when I was a kid going to like
14:11
Speaker 1: the Hard Knock Life Tour, I left, like, you know,
14:15
Speaker 1: I loved jay Z, but like I was there to
14:17
Speaker 1: see DMX. So DMX went on before Hove, which at
14:20
Speaker 1: the time was kind of crazy because DMX was the
14:23
Speaker 1: bigger artist at the time. You think they were like
14:25
Speaker 1: swapping headlining. No, because it was that was the I
14:28
Speaker 1: was a Rockefeller tour. It was a Hard Knock Life
14:30
Speaker 1: to Yeah, So I remember DMX performed and just destroyed it.
14:36
Speaker 1: And you know, Jay's stage energy is different than DMX,
14:40
Speaker 1: so it's like night and day. DMX just got to praying,
14:44
Speaker 1: crying off stage and before that, Method Made and Raymond
14:47
Speaker 1: were flying around. I went to the concert. I remember that, Yeah,
14:50
Speaker 1: and when Hove went on, like it was cool, but
14:52
Speaker 1: like me and my cousin left, you know what I mean,
14:55
Speaker 1: shout out to Hope. But I saw Hope thirty eight
14:57
Speaker 1: times after that. But yo, what man, We got to
15:00
Speaker 1: stop the interview real quick to tell you about our
15:02
Speaker 1: good folks at blue Chew. That's right, go to blue
15:05
Speaker 1: choo dot com. Fellas you know, sometimes you go through
15:09
Speaker 1: some stress, you go through a little anxiety, and your
15:12
Speaker 1: dick is not performing maybe how you'd like. It's called ED.
15:16
Speaker 1: A lot of guys go through ED. You could just
15:19
Speaker 1: be old as shit if you're watching this and your
15:20
Speaker 1: dick ain't working like it did when you were like twenty,
15:22
Speaker 1: you know what I mean. Well, listen, blue Chew it
15:26
Speaker 1: is the wave. How about this? The same active ingredients
15:29
Speaker 1: as viagra and sialis getting delivered right to your door
15:33
Speaker 1: in a chewable form, indiscrete packaging. And the best part
15:36
Speaker 1: about it is it's all online. Zero awkward visits to
15:41
Speaker 1: the doctor's office. Zero. You go online, you sign up
15:44
Speaker 1: with the promo code boot Leg. That's right, boot Leg.
15:48
Speaker 1: When you check out, you will get the first month
15:51
Speaker 1: for free. All you gotta do is pay five dollars
15:53
Speaker 1: on shipping and you're gonna get one month supply of
15:56
Speaker 1: blue Chew. All right, and you're gonna be fucking like
15:58
Speaker 1: you were fucking never fucking before for your dick's gonna
16:02
Speaker 1: I'm gonna assume you're adding at least a quarter of
16:06
Speaker 1: an inch of erection. That shit's gonna be rocked up,
16:10
Speaker 1: rocked up and socked up. All right, boys, So what
16:12
Speaker 1: you need to do one more time go to bluetoo
16:13
Speaker 1: dot com and use that promo code bootleg and get
16:16
Speaker 1: your first month for free bootleg promo code Bootleg on
16:21
Speaker 1: blue choo dot com. Let's get back to the interview. Yeah,
16:25
Speaker 1: so now obviously you get through the bloodline thing and
16:30
Speaker 1: then you start catching a wave as a solo artist
16:33
Speaker 1: young Berg. Now that's like I was Iceberg then with
16:36
Speaker 1: in DMX era and then I became young Berg and
16:40
Speaker 1: your was your first, uh what was your first like
16:43
Speaker 1: big record as young Berg because you had a few.
16:45
Speaker 1: Sexy Lady was the big record that I started here?
16:48
Speaker 1: Who was on the hook? It was a guy named Junior.
16:51
Speaker 1: Kind of like similar to how like I create a
16:54
Speaker 1: bunch well, you know, I've created a lot of records
16:56
Speaker 1: like in my career, like a bunch of the singers
16:58
Speaker 1: or people that were on my reference to Homi. Yeah,
17:01
Speaker 1: like they were just people that I were working with
17:03
Speaker 1: artist or that turned into artists that I will work
17:06
Speaker 1: with as well. And I still do that in my
17:08
Speaker 1: career right now, Like I have a bunch of people
17:10
Speaker 1: that are I meet his songwriters that I empower and
17:13
Speaker 1: their dream is to be an artist. So that ends
17:15
Speaker 1: up happening. But Sexy Lady is a crazy story because
17:20
Speaker 1: remember club called Privilege, Yeah I heard of it. Remember
17:24
Speaker 1: TK who now works for Hypnosis. You remember the promoter
17:28
Speaker 1: TK that used to do Privilege, Well, man, he did
17:30
Speaker 1: every crazy Listen when Sexy Lady came out, I was
17:34
Speaker 1: like eighteen and is an intern in Phoenix. Okay, cool,
17:36
Speaker 1: so I was too. Actually I was going to say
17:41
Speaker 1: you and I did did some clubs together, some eighteen
17:44
Speaker 1: and up clubs in Arizona during that I was like
17:46
Speaker 1: eighteen at the same time. And the funny thing is
17:49
Speaker 1: my weed man at the time was a club promoter
17:52
Speaker 1: at the club, and he ended up introducing me to
17:56
Speaker 1: DJ Echo from Power one six or whatever and Echo
17:59
Speaker 1: with just go and just like playing my record in
18:02
Speaker 1: the club. And I used to come in there like
18:05
Speaker 1: super young kid chin chill on, just wilding out or whatever.
18:09
Speaker 1: And then we built like a group of people to
18:12
Speaker 1: where a community to where like my manager would hand
18:15
Speaker 1: out a clipboard everywhere, would get everybody's email, get everybody's
18:17
Speaker 1: number or whatever, and tell them it was for parties,
18:19
Speaker 1: but it turned into being a number for them to
18:21
Speaker 1: call for Power one oh six to play my record.
18:24
Speaker 1: Oh shit. So I went and Echo took me into
18:27
Speaker 1: a mixing meeting at Power one oh six. I didn't
18:29
Speaker 1: know nobody, and he went in there like, yo, this
18:31
Speaker 1: record is reacting crazy in the clubs. This is this kid,
18:34
Speaker 1: and they brought me in at the end of the
18:35
Speaker 1: mixing meeting. I went in there, I told my life
18:38
Speaker 1: story pretty much. I cried through the water works on
18:40
Speaker 1: them for a little bit at the end of it.
18:42
Speaker 1: And then next thing I know, it started off at
18:44
Speaker 1: Mike Show. It was a light rotation and then before
18:46
Speaker 1: I even got a record deal out in Power rotation
18:48
Speaker 1: with that independent. Yeah, no, that's crazy. That doesn't happen.
18:52
Speaker 1: That was crazy. That was like one of the that
18:54
Speaker 1: was a wild thing. I've never seen it happen like that.
18:56
Speaker 1: That's a very you. That's like a unicorn situation, man.
18:59
Speaker 1: And with me not being from l A as well,
19:02
Speaker 1: was even the kicks, Right, you're not from LA or
19:04
Speaker 1: don't have a label behind you. Yeah, that's a that's
19:07
Speaker 1: that doesn't happen, man. Yeah, that's a crazy story. So
19:10
Speaker 1: from there you get your deal. Yeap, that got you signed? Yep,
19:13
Speaker 1: that got me signed. An epic shout out to Charlie
19:15
Speaker 1: Walk Katie Welly, my bro Billy J who still manages
19:19
Speaker 1: with me. Now. Basically my bro Billy J worked for
19:22
Speaker 1: John Monopoly and we like in the same age, and
19:25
Speaker 1: he literally hit up Katie he was looking for someone
19:28
Speaker 1: else that was working in epic. Katie Welly ended up
19:31
Speaker 1: answering the phone. Katie was an assistant at the time.
19:34
Speaker 1: Took me to Keith nafterly they came to like one
19:37
Speaker 1: of my performances that I did out here in La.
19:40
Speaker 1: It went crazy and then Ship I got a label
19:44
Speaker 1: deal from there. What was the other record that you
19:46
Speaker 1: had that all the bitches used to grind to? I
19:48
Speaker 1: played Business the business, Oh my god. That was after
19:51
Speaker 1: c So it started with just love that still you
19:55
Speaker 1: can still play. You can still drop that Ship like
19:58
Speaker 1: as a oh wow. Yeah, niggas like you were Drake
20:00
Speaker 1: before Drake, like you were singing I'm like, bro, shut up, bro,
20:04
Speaker 1: no Drake and Drake I was me. But the crazy
20:07
Speaker 1: thing about it was that was after Sexy Can I. Yeah,
20:11
Speaker 1: Sexy Can I was a moment. So it was Sexy Lady,
20:14
Speaker 1: then Sexy can I. So look how I get the
20:17
Speaker 1: Sexy can I record? I think, you know, ray J
20:20
Speaker 1: was legendary. I think it's like a little he was
20:23
Speaker 1: just he was a sniper back then. Like I loved
20:27
Speaker 1: ray J so real Coxsmith, you know, I put him
20:29
Speaker 1: on my ep and then from there we ended up
20:33
Speaker 1: being cool and he hit me out the blue and
20:35
Speaker 1: was like, Yo, I got this record. You know what
20:38
Speaker 1: Sexy can I? You got, you got the Sexy Lady.
20:41
Speaker 1: We do the Sexy can I. I'm like, bro, you
20:43
Speaker 1: want to be the sexiest nigga in the world. Yo,
20:45
Speaker 1: How I'm gonna go from Sexy Lady Sexy can I?
20:47
Speaker 1: And I already had the song of Business right, so
20:50
Speaker 1: like I was thinking, like I knew where I wanted
20:52
Speaker 1: to go with my next record, and from there they
20:56
Speaker 1: they flew me to New York because I was like,
20:57
Speaker 1: I'm not doing the record Charlie Walker, I'll never forget it.
21:00
Speaker 1: I come in this office. He's a president of EPIC.
21:02
Speaker 1: He's dancing on top of a grand piano and Charlie
21:05
Speaker 1: walks like a little dude, like he probably like five
21:08
Speaker 1: five two. He's dancing. He's turned up to Sexy Cannot
21:11
Speaker 1: playing a song. I don't know if he was like
21:12
Speaker 1: playing a trick on me or whatever. So he's like, Yo,
21:15
Speaker 1: it's gonna be the biggest record of your career. It's
21:17
Speaker 1: gonna be one of the biggest ones. D da da da,
21:19
Speaker 1: And I was just like, I don't want to do it.
21:20
Speaker 1: He's like, what's gonna take you to do this record?
21:22
Speaker 1: I'm like, yo, call Jason at Beverly Hills and buy
21:24
Speaker 1: me an epic record Shane right now. And he called Jason.
21:28
Speaker 1: It probably came out my budget or whatever, but they
21:30
Speaker 1: made me an epic record chain and then where's that now?
21:34
Speaker 1: I gave it to one of the homies I used
21:36
Speaker 1: to wear it back in the day or whatever. That's
21:38
Speaker 1: such a random chain, Like I got an epic record chain.
21:41
Speaker 1: Literally have an epic record Shane with my face on
21:43
Speaker 1: the back of it in my album title and all
21:45
Speaker 1: that and shout out to Jason Beverly here. So in
21:47
Speaker 1: order for you to get on Sexy Canna, they had
21:49
Speaker 1: to provide you with the epic records chain. Yeah, damn,
21:52
Speaker 1: and Sexy Can I ain't gonna lie it still is.
21:55
Speaker 1: It's like diamond or some shit like that, like if
21:57
Speaker 1: you kind of like, I don't even know how to
22:00
Speaker 1: equated to added up because the sales was so different.
22:02
Speaker 1: I think it probably sold like six million singles. But
22:07
Speaker 1: then you got to think about ring tones and then
22:09
Speaker 1: see whatever, it was a bunch of shit going on. Yeah,
22:11
Speaker 1: it was a different, different era where you actually had
22:13
Speaker 1: to ring back ring tone, you had to actually set
22:17
Speaker 1: I remember going to the store and buying like a
22:20
Speaker 1: single on a CD like that. Shit was crazy. Yeah,
22:24
Speaker 1: they have the instrumental the remix. Yeah, so sexy Ken.
22:27
Speaker 1: I was like it was a blessing though, because I'll
22:29
Speaker 1: never forget when we did the final record. What year
22:34
Speaker 1: was that? Eight damn yep yep. So when we did
22:37
Speaker 1: when we were finalizing the record, I wrote my little
22:39
Speaker 1: verses or whatever. I wrote my verses like in Miami,
22:44
Speaker 1: and I went to the studio with my friend at
22:46
Speaker 1: the time, the girl who sang the hook on the business, Casher,
22:49
Speaker 1: and I went with and and ray J. We went
22:52
Speaker 1: to Encore and ray J was there. It's like after
22:55
Speaker 1: he did this Vivid deal or whatever, so like he
22:57
Speaker 1: was on a different level, like he was we've all everyone'
23:00
Speaker 1: seen his dick by this time. Bro, he's in a
23:02
Speaker 1: different bag. So we go in there and like he's
23:05
Speaker 1: asking cash or like, yo, you mind if I play
23:08
Speaker 1: these play these videos. He pulls out like DVDs and
23:11
Speaker 1: it's like vivid porns and ship or whatever, and like
23:14
Speaker 1: I'm like, bro, play that ship. I don't care, Like
23:15
Speaker 1: you know, this is different. It's my homie, Like this
23:18
Speaker 1: is my girl. Like it's just saying this ain't no
23:20
Speaker 1: super duper relationship. It's like my best friend. So Tierre
23:25
Speaker 1: Marie was there with him and I think that was
23:26
Speaker 1: his girlfriend at the time. While we're doing it crazy
23:29
Speaker 1: enough and he did that. We finished the record and
23:33
Speaker 1: we went to Miami. We shot the video and upon
23:36
Speaker 1: shooting the video, like the first take of the video,
23:39
Speaker 1: I'm smoking up a blunt. It's probably like a roach.
23:42
Speaker 1: Were about to shoot the first shot in hell at once,
23:45
Speaker 1: and I throw it out the Lamborghini. The police that
23:47
Speaker 1: was securing us on the set came and picked up
23:50
Speaker 1: the roach and took me to jail before the first
23:51
Speaker 1: shot of the whole video on sex. Yeah, we was
23:54
Speaker 1: in Miami because you threw a blunt out. Yeah, they
23:57
Speaker 1: took me to jail. On the set of Sexy Ken
23:59
Speaker 1: I I went into jail and the crazy to get
24:01
Speaker 1: Shaquille and Ray j was partners, and Shaquille O'Neil ended
24:04
Speaker 1: up bailing me out of jail and so I could
24:06
Speaker 1: come back to the video. I didn't get out of
24:07
Speaker 1: jail until probably wait, shaq bailed you out? Yeah, I
24:10
Speaker 1: didn't get out of jail until probably like I and PM.
24:14
Speaker 1: So it's from like nine am like it out to
24:18
Speaker 1: night jail. Yeah. Oh man, Yeah, I recently had a
24:23
Speaker 1: twenty four hour little jail sit down. That shit sucks. Ye,
24:27
Speaker 1: that terrible. Using the toilet paper as a pillow. Yeoh bro,
24:31
Speaker 1: jail is not it? It is not it. Stay away,
24:34
Speaker 1: ladies and jentlemen. Damn that's crazy. Yeah, out shack man.
24:39
Speaker 1: And then obviously, like I feel like, at what point
24:41
Speaker 1: in time did you make a conscientious effort to start
24:45
Speaker 1: branding hit Maker and start kind of not being necessarily
24:48
Speaker 1: the face of the music and working more behind the scenes. Probably,
24:52
Speaker 1: Like I mean, I was still after like because you
24:55
Speaker 1: were doing like love and hip hop and shit, right,
24:57
Speaker 1: I was put after that after that, so like but sweet,
25:00
Speaker 1: so boom, all that stuff happens, and my career kind
25:05
Speaker 1: of calms down as a rapper. I had the partner
25:07
Speaker 1: ways with Epic Records, and then I was just lost
25:10
Speaker 1: in the sauce for a while. I didn't know I
25:11
Speaker 1: was on. I just kept doing mixtapes. I ended up
25:13
Speaker 1: meeting DJ ill Will and Different I Will Yeah, and
25:17
Speaker 1: then doing mixtapes. And then when I finally made like
25:20
Speaker 1: the Conscious Effort. The first song I think anybody ever
25:24
Speaker 1: heard me say hitmaker on was for a DJ Infamous
25:27
Speaker 1: who's out of Atlanta. He had he had like a
25:30
Speaker 1: collap album. And then I did it single with a
25:32
Speaker 1: song called double Cup. It was WITHJ I was doing
25:36
Speaker 1: the hook, performing the hook, g Z and Ludacris. I
25:38
Speaker 1: remember that record, and that was a dope record. Time
25:40
Speaker 1: I said a hit maker and that was a record
25:42
Speaker 1: I delivered to him. That was a hard record too.
25:44
Speaker 1: I remember that ship. I think I was living in Tampa.
25:46
Speaker 1: Was that like twenty fourteen, way before that. I think
25:49
Speaker 1: that's like eleven in Vegas. That was yeah, that was
25:51
Speaker 1: when I was in Vegas. I was like, I remember
25:53
Speaker 1: the song though, Yeah, shout out to Infamous. That was
25:55
Speaker 1: like eleven. That was like mixtape Ara Juicy J. When
25:58
Speaker 1: Juicy had the mixtape Ship. It was like Bads and
26:00
Speaker 1: make You Dance Jay Like he was going crazy. He
26:03
Speaker 1: was going crazy. So that's the first time you said
26:06
Speaker 1: hit maker, did you Because at a certain point in time,
26:10
Speaker 1: like you said, like things kind of started to slow
26:12
Speaker 1: down for you in terms of like the young Berg thing,
26:14
Speaker 1: Like obviously a bunch of shit happened. You kind of
26:16
Speaker 1: had a stigma attached you. How hard was it to
26:18
Speaker 1: fight through that era of your career because some people
26:21
Speaker 1: aren't built to survive some of the shit that you
26:24
Speaker 1: had to go through. Yeah, it was pretty devastating, you
26:27
Speaker 1: know what I'm saying, because like all I knew was music,
26:29
Speaker 1: Like we just spoke, like I got my first deal
26:32
Speaker 1: at thirteen, I dropped your whole life. Yeah, I dropped
26:34
Speaker 1: out of high school in ninth grade, and so all
26:36
Speaker 1: I knew was music or whatever. And then then go
26:39
Speaker 1: through that and it not be something like a lot
26:42
Speaker 1: of the trial trip relations I went through went personally
26:44
Speaker 1: my mistakes. It was about me being around the wrong
26:47
Speaker 1: people or me not surrounding myself with people that wanted
26:50
Speaker 1: to see me win. So to no, it was like
26:52
Speaker 1: it wasn't self inflicted, Like it hurt even more so.
26:55
Speaker 1: Luckily I had enough finances or whatever, and my dad
26:58
Speaker 1: believed in me a bunch or whatever of it. And
27:01
Speaker 1: I just decided, like, man, one day, like they just
27:04
Speaker 1: don't want this shit for me, Like this shit is
27:06
Speaker 1: still fired, but they just don't want it for me.
27:09
Speaker 1: So then I just switched the whole player. That takes
27:12
Speaker 1: a lot of humility too, because we were just having
27:14
Speaker 1: a discussion about an artist that we both know who's
27:18
Speaker 1: a talented writer. But it's like egos a motherfucker, And
27:22
Speaker 1: it's very much like hard to take yourself out of
27:24
Speaker 1: the spotlight. Like it's like it's still your shit, You're
27:29
Speaker 1: still getting your money off it, but it ain't your
27:31
Speaker 1: face attached to it. But I think at that point, man,
27:34
Speaker 1: I did all the craziest things that I wanted to do.
27:37
Speaker 1: Like you got that out of your system? Yeah? Like bro,
27:40
Speaker 1: like I've literally like entertained seven women at one time
27:43
Speaker 1: or just like you had an eight suit, yes, like
27:45
Speaker 1: wild out, bugged out stuff. You gotta breakwall first of
27:48
Speaker 1: all seven women and you Yeah, that seems like it
27:53
Speaker 1: could be stressful. It was just a party. It was
27:57
Speaker 1: a party, yeah, like everybody was it really? Like are
28:00
Speaker 1: you like lining them up? Like I think everybody had
28:03
Speaker 1: attention on everybody. Okay, okay, it wasn't like specific to one,
28:07
Speaker 1: you know what I'm saying. Like, it wasn't no rules
28:09
Speaker 1: on it. It was just like we were all in,
28:10
Speaker 1: you know, like bang bros. Like they'll stack like ashes
28:13
Speaker 1: on top of it. Did you do that? I ain't
28:15
Speaker 1: do that. I was still young though. I was still like,
28:17
Speaker 1: you gotta think this sexy lady, sexy? Can I raise
28:20
Speaker 1: a eraror like you gotta remember I was like eighteen
28:24
Speaker 1: nineteen on Explosive on the Chronic two thousand and one
28:28
Speaker 1: one riding Dick one. Look at my toes, and what's
28:30
Speaker 1: this the case for you? I'm not really a feet
28:33
Speaker 1: type of guy. I'm not fun neither am I neither
28:36
Speaker 1: of my I'm not touching your feet. No, no no, no no,
28:39
Speaker 1: no no. I'll I'll suck at my wife's feet. But
28:41
Speaker 1: I would feel kind of strange if she wanted to
28:43
Speaker 1: suck on my feet. I'd be like, I'm a grown
28:45
Speaker 1: ass man, why are you sucking on my toes? I'm
28:47
Speaker 1: good off both. I don't want to suck no toes.
28:50
Speaker 1: You gotta suck myne So you had eight sims. You
28:53
Speaker 1: you kind of got a lot of shit out of
28:54
Speaker 1: your system. So you start running the behind the scenes
28:58
Speaker 1: plays and it's so crazy because I remember I might
29:02
Speaker 1: have been talking to it might have been like Geasy
29:07
Speaker 1: or somebody maybe in like twenty sixteen seventeen, where like
29:12
Speaker 1: I finally realized that hit maker was you the g
29:17
Speaker 1: and I did that. I think that was around the
29:20
Speaker 1: time I did nineteen forty two for G Easy. It
29:22
Speaker 1: was before that. It was before that, because I remember
29:24
Speaker 1: him bringing you up and I'd already know who you
29:27
Speaker 1: were in that right, because that was a later record.
29:29
Speaker 1: But yeah, you did such a good job of like
29:32
Speaker 1: because I'm you know, at the time, I wasn't living
29:34
Speaker 1: in LA and I wasn't like going to studio sessions
29:36
Speaker 1: like I do now. I wasn't as like entrenched in
29:38
Speaker 1: like the industry side of things, So I just would
29:40
Speaker 1: hear your tag and shit, and I had no idea
29:43
Speaker 1: that it was. I'm like, oh shit, that was yeah,
29:45
Speaker 1: that was that was interesting. I used to do like
29:47
Speaker 1: different tags or whatever. That was also a struggle too,
29:49
Speaker 1: because a lot of people, like when you're coming up,
29:52
Speaker 1: they didn't want my tag on. They shit, you know
29:53
Speaker 1: what I'm saying now, People will pay me to put
29:55
Speaker 1: my tag on they shit like approach me. I don't
29:57
Speaker 1: do that, but I've had massive people approach me and
29:59
Speaker 1: be like, you put my tag on the package, I'll
30:01
Speaker 1: get like thirty grand, thirty grand, But I don't do
30:04
Speaker 1: it because it's hard to like not be able to
30:06
Speaker 1: explain a record. All these records, I'm pretty much I'm
30:09
Speaker 1: involved from the birth to the end. I'm the guy
30:12
Speaker 1: that has the demo, that does the demo with the
30:14
Speaker 1: co writer, that does everything, and then I'm the guy
30:16
Speaker 1: that mixes it and turns it into the labels. So
30:19
Speaker 1: I think, man, I was trying to sneak in. Another time,
30:23
Speaker 1: I got the hit maker shit off. I did my
30:26
Speaker 1: hoes they do drugs, a record for King Louis, Juicy
30:29
Speaker 1: J and Push your Teeth And that's when Push Your
30:32
Speaker 1: te found out that I was young berg still and
30:34
Speaker 1: I was hit making at the same time or whatever,
30:36
Speaker 1: and that was another sneaky one, and infamous one came out.
30:39
Speaker 1: And then after that I moved back to LA and
30:42
Speaker 1: I actually end up beating Vincent Herbert and this is
30:45
Speaker 1: when like he had God got and he was over
30:47
Speaker 1: an in the Scope and Tamar Braxton I ended up
30:50
Speaker 1: working with her and did a record with her, and
30:52
Speaker 1: I signed my publishing deal with Mike Karen based off that,
30:55
Speaker 1: and that's what brought me back to LA and it's
30:58
Speaker 1: I was, so I'm so connected from the love and
31:01
Speaker 1: hip hop shit that was twenty fourteen. So that was
31:03
Speaker 1: after you moved back to LA. Yeah, So I moved
31:06
Speaker 1: back to LA. I produced a couple cuts, and then
31:08
Speaker 1: I was working with a few different people doing the
31:10
Speaker 1: whole APG Mike Karen move and then from there I
31:15
Speaker 1: was at APG. Well, some life changing shit happened in
31:19
Speaker 1: those moments. I ended up meeting Jeremiah. Like during that
31:22
Speaker 1: time all you guys have had countless Yeah, Like I
31:24
Speaker 1: ended up meeting j and then damn, Like before Love
31:30
Speaker 1: and hip Hop, I didn't know Jay and I was
31:33
Speaker 1: just doing my cuts and like nobody knew that, Like
31:36
Speaker 1: it was no way to be like man to associate
31:39
Speaker 1: me with that or whatever. So I actually was like,
31:43
Speaker 1: fuck it, I'm gonna do love and hip Hop because
31:45
Speaker 1: I wanted to like let people know that I that
31:48
Speaker 1: I was doing shit. And now in the process of
31:50
Speaker 1: starting doing the love and hip hop, that's when I
31:53
Speaker 1: meet Jeremiah that's when I was at APG at Mike
31:56
Speaker 1: Karen Studio and popping. Okay, I stumbled across some of
32:00
Speaker 1: that beats and I went and I did a hook
32:02
Speaker 1: to it, and I named it Nicki and hit Maker,
32:05
Speaker 1: and I'm like, yo, I'm gonna meet Nicki Minaj. I'm
32:07
Speaker 1: telling you I'm gonna start working with it. Well, I
32:09
Speaker 1: was just talking shit, hyping myself up. And then one
32:12
Speaker 1: day I go to Glenwood Studio and a guy named
32:17
Speaker 1: Sounds who's like a producer, friend of mine or whatever.
32:20
Speaker 1: I was with him, just chilling with him and found
32:22
Speaker 1: out my boy was like, Yo, Nicki Minaj in the
32:24
Speaker 1: other room. I'm like, oh shit, go tell I'm here.
32:25
Speaker 1: I want to play some shit. When they came and
32:28
Speaker 1: got me, I played it some shit and from there, like,
32:30
Speaker 1: I got really close with Nicki and just was locked in.
32:32
Speaker 1: So then I'm doing love and hip hop and I'm like, okay,
32:35
Speaker 1: it's gonna really we ain't start shooting yet, we were
32:38
Speaker 1: about to start shooting. I'm like, okay, this shit makes
32:39
Speaker 1: sense for me to start shooting this shit becuz I
32:42
Speaker 1: could just go and tell everybody I'm working with Puffy.
32:44
Speaker 1: I'm working with Nicki Minaj whatever, and I was so
32:46
Speaker 1: cool with them that they wasn't mad at me saying
32:48
Speaker 1: it on TV? Was it like? Because I feel like
32:52
Speaker 1: the love and hip hop think can be good in
32:54
Speaker 1: a bat like it could either be good for your
32:56
Speaker 1: career or it can negatively affect what you got going
32:59
Speaker 1: on because there is a stigma to love and hip hop. Like,
33:02
Speaker 1: how did you how do you feel like it affected
33:03
Speaker 1: your ship? It was drama, you know what I'm saying.
33:08
Speaker 1: But that just come with the love and hip hop ship.
33:10
Speaker 1: But to me, honestly, like because who I was on
33:12
Speaker 1: that show on the show at the same time you
33:13
Speaker 1: run ray J. Was that when like Molly mal was
33:17
Speaker 1: on there and Molly Mal Soldier boy, little Fish Jesus ship.
33:24
Speaker 1: That is pretty little think about it. That's what that
33:29
Speaker 1: would omarion. So yeah, that was that first season and
33:32
Speaker 1: it was it was cool. I mean, you know ship
33:34
Speaker 1: at that point, I didn't have ship, you know what
33:36
Speaker 1: I'm saying. I was trying to get my exposure. I
33:38
Speaker 1: was somewhat trying to regroup. I had a couple of cuts.
33:41
Speaker 1: But you know how it is when you're a producer
33:43
Speaker 1: and a songwriter. Initially You'll have a couple joints that
33:46
Speaker 1: were like when a bona fide hit, It wasn't like
33:49
Speaker 1: a holy ship moment, you know, and it was just like, Okay,
33:52
Speaker 1: you got a single, you got a couple of placements
33:54
Speaker 1: or whatever. And then from there I ended up. After that,
33:58
Speaker 1: I left, and then that's when Nikki came out. And
34:01
Speaker 1: which records did you do for Nikki? Shit? Want some more?
34:04
Speaker 1: Buy a hard Shanghai? I don't know. I think like
34:09
Speaker 1: five records on a pink remember, Yeah, that was like
34:13
Speaker 1: twenty fourteen. Yeah, that's crazy, man. Do you remember your
34:16
Speaker 1: first like the first record that kind of changed things
34:19
Speaker 1: for you as quote unquote hitmaker, like that first plaque,
34:24
Speaker 1: well plaques, I guess it was that. But the record
34:26
Speaker 1: that changed my whole career probably is Big Sean Bounce Back.
34:29
Speaker 1: And I was working this after Love and Hip Hop.
34:33
Speaker 1: I went on tour with Jeremiah and he was on
34:35
Speaker 1: tour with j Cole and Big Sean and YG and like,
34:39
Speaker 1: I went on the whole tour with Jay and then
34:41
Speaker 1: we got off tour and then I was just working
34:43
Speaker 1: with Jay, continually working, and then I formed a somewhat
34:46
Speaker 1: of relationship with Big Sean. So I was like, yo,
34:48
Speaker 1: like I want to get you records like I've been
34:50
Speaker 1: already vibing with Sean. Ended up getting him that record.
34:53
Speaker 1: Me and a lot of people don't know me and
34:55
Speaker 1: Jeremiah came up with the hook to bounce back or
34:57
Speaker 1: whatever like. We just did it at my crib up basement.
35:00
Speaker 1: I had like a big ass crib in Chatsworth. I
35:02
Speaker 1: bought like a seven seven thousand square foot crib in
35:05
Speaker 1: it by myself. I didn't have much furniture. I was
35:08
Speaker 1: just in that thugging with girls every day, and I
35:10
Speaker 1: set up a makeshift studio. J came to my crib.
35:13
Speaker 1: We did that record. I played it for Sean. He
35:15
Speaker 1: did it and he was like, yo, like I don't
35:18
Speaker 1: I don't know, like I like this record, A lot
35:20
Speaker 1: of people like it. Let's just throw it out there,
35:22
Speaker 1: like I don't know if it's a single, I don't
35:23
Speaker 1: think this, And I'm like, yo, this shit is out
35:26
Speaker 1: of here, and there metro booming that added on the
35:28
Speaker 1: record shot to Smash David, who also co produced the
35:31
Speaker 1: record with me, and then from there he threw that
35:33
Speaker 1: shit out and it was out of here, stupid, and
35:36
Speaker 1: then it was in all types of Super Bowl commercials
35:38
Speaker 1: and licenses and sinks, and then I think it was
35:41
Speaker 1: it performed his biggest record of his career, like sololy
35:44
Speaker 1: By hisself. I think it went number two on Hot
35:46
Speaker 1: one hundred, and the shit was like, no, it was
35:48
Speaker 1: a huge even time flying something like yeah, no, no,
35:50
Speaker 1: what is what was that twenty seventeen or eighteen? I
35:53
Speaker 1: was like, twenty sixteen wasn't it? Was it? What album
35:57
Speaker 1: was that was that on? No? No, it was twenty
35:58
Speaker 1: seventeen seventeen going into twenty eighteen, and then right then
36:02
Speaker 1: from there I end up becoming a vice president an
36:05
Speaker 1: R and Atlantic Damn. So when you're a vice president
36:08
Speaker 1: of an R, because like I get really I think
36:11
Speaker 1: I got a good grasp on the importance of an
36:13
Speaker 1: A and R. But I feel like most people who
36:15
Speaker 1: just hear that word don't really understand what an an
36:19
Speaker 1: R brings to the table, what they do, what the
36:22
Speaker 1: job description is, because I see a lot of people
36:24
Speaker 1: out here call themselves an rs, but they're they're not there.
36:27
Speaker 1: I don't know what the fuck they're doing but taking
36:29
Speaker 1: pictures in the studio session exactly. So what would you
36:32
Speaker 1: say is like the key role of like what an
36:35
Speaker 1: A and R, like a good an R brings to
36:37
Speaker 1: the table. To me, I think it's like it's one
36:40
Speaker 1: of two things. Like for me personally from what I've seen,
36:43
Speaker 1: Either you're a person like me who's a creative who's
36:48
Speaker 1: going to come in that if necessarily not gonna make
36:51
Speaker 1: the record with you or whatever, but it's going to
36:54
Speaker 1: be able to call a hit maker, call a metro booman,
36:57
Speaker 1: call of this person, whatever you need, whatever, you're the
37:00
Speaker 1: right people in the room together with you in the
37:02
Speaker 1: right place for this shit to happen for your shit
37:04
Speaker 1: to be good creatively. Or you could just be a
37:07
Speaker 1: guy that just knows the building and just gonna champion
37:11
Speaker 1: you in a building and knows how to connect all
37:12
Speaker 1: the dots. That's not creative, you know what I'm saying,
37:15
Speaker 1: So linking me with the right video directly, you know
37:18
Speaker 1: what I'm saying, Just putting all the the in the
37:20
Speaker 1: building type of shit together. You know what I'm saying.
37:22
Speaker 1: That's staying on a Guazi or standing on a Craig
37:25
Speaker 1: Calman and in a line raised face or in a
37:28
Speaker 1: teen of David's face, like yo, this is my art.
37:29
Speaker 1: You know what I'm saying like championing you inside the building.
37:32
Speaker 1: There's just kind of like two different types of an rs.
37:33
Speaker 1: Yeah for real, because like we think of like what
37:36
Speaker 1: you do right, You'll probably be like, Yo, I got
37:39
Speaker 1: this young artist that would sound dope with this writer
37:41
Speaker 1: that might sound dope with this producer, set up a session.
37:45
Speaker 1: Shit me personally, Hell now, if i'm your A and R,
37:48
Speaker 1: I'm making the songs with you. Yeah, but then you're
37:50
Speaker 1: the producer that Yeah, so I'm pretty much your producer.
37:53
Speaker 1: If you get me a an R, I'm your producer.
37:54
Speaker 1: Damn yeah. Because I always feel like, you know, we
37:57
Speaker 1: hear people say what the fuck does an an R do?
37:59
Speaker 1: I'm like, it's there's a lot of shit, but it's
38:02
Speaker 1: also like some people are just holding titles. I feel like, yeah,
38:05
Speaker 1: but if you and some people, that's because it's just
38:08
Speaker 1: a big revolving door in the music industry as far
38:10
Speaker 1: as like positions and shit like that or whatever, because
38:13
Speaker 1: people have relationships. But to me, I would empower all
38:16
Speaker 1: the young producers like myself or whatever like that, don't
38:19
Speaker 1: be scared to get in a building. Being a building
38:21
Speaker 1: has been super beneficial for me. I talk to a
38:24
Speaker 1: lot of people a lot of people be like, man,
38:26
Speaker 1: like it might stifle me creatively, and I'm like, hell no.
38:30
Speaker 1: When I work with Atlantic, shit, they bought my studio
38:33
Speaker 1: for me. They paid for me to be in a
38:34
Speaker 1: studio twenty four to seven. So like I really I
38:37
Speaker 1: went to the A and R meetings and I did
38:39
Speaker 1: all the different stuff or whatever, but it was just
38:42
Speaker 1: like empowering me. Yeah, you gotta. It's like any situation
38:45
Speaker 1: you got to figure out. How Like I don't use
38:47
Speaker 1: the word finesse, but kind of finessas in it like,
38:49
Speaker 1: if you can have Atlantic pay for your fucking recording studio,
38:52
Speaker 1: imagine how much more money you're gonna get out of
38:54
Speaker 1: that studio. And my deals are not exclusive with only
38:56
Speaker 1: one company. I've never I've yet to do a deal
38:58
Speaker 1: to where it's just like, yeah, I'm only making records
39:01
Speaker 1: for this company and no other person can pay me
39:04
Speaker 1: for a record. How cause you know, nowadays, I feel
39:09
Speaker 1: like the producer market is more saturated than ever. It's
39:14
Speaker 1: kind of like DJ's Once Serrado came out, everybody could
39:16
Speaker 1: be a fucking DJ, right, And I feel like nowadays
39:19
Speaker 1: with production, it's kind of the same with Splice and
39:21
Speaker 1: you know, shit like that. You know. So, if there's
39:23
Speaker 1: like up and coming producers, how like, what would be
39:26
Speaker 1: the advice you would give them to stick out and
39:29
Speaker 1: to just kind of break through? Because I feel like
39:32
Speaker 1: there's once you break through a certain ceiling as a producer,
39:35
Speaker 1: it seems like things just start coming to you. What up, y'all? Hey,
39:38
Speaker 1: we gotta stop the interview to tell you about our partners,
39:41
Speaker 1: the presenting sponsor of the Bootleg cav podcast, our family
39:44
Speaker 1: at odds Socks. Man, they're dropping so much heat at
39:48
Speaker 1: odd socks right now. Go to odd socksoficial dot com.
39:51
Speaker 1: Use the promo code bootleg keV. One word bootleg keV.
39:55
Speaker 1: You will save twenty percent off of checkout Listen. They
39:58
Speaker 1: got the socks, you know what I mean, shout out
40:00
Speaker 1: to the Ninja Turtles. I totally just dropped my Mike flag.
40:05
Speaker 1: And then they got the odd Socks basics, which are
40:07
Speaker 1: just kind of like these boys my favorites. I love
40:10
Speaker 1: the odd Socks basics. And let's not forget ladies and gentlemen.
40:13
Speaker 1: Odd Socks now has the underwear that's right, tap of
40:15
Speaker 1: TiO draws on that ass. Remember oddzosofficial dot com. Muse
40:19
Speaker 1: that promo code Bootleg CAV save twenty percent off at checkout.
40:23
Speaker 1: Let's get back to the podcast. Yeah, I think, man, shit,
40:28
Speaker 1: be selfless. You know you don't sign help me as
40:30
Speaker 1: many people as possible change their lives, you know what
40:33
Speaker 1: I'm saying, Like, put as many people in position as
40:35
Speaker 1: you can. That's why I work with anybody. I don't
40:37
Speaker 1: have like a souper like, oh no, you can't come
40:40
Speaker 1: make a record with me. Like if you hot and
40:42
Speaker 1: you dope, like and you a co writer and you
40:43
Speaker 1: a co producer, I'm gonna welcome that in because it
40:46
Speaker 1: might be a point to where I'm not HoTT and
40:49
Speaker 1: you could throw me a bone. I think it's just
40:51
Speaker 1: creating a whole community around yourself to where you can
40:54
Speaker 1: look back and you change so many people lives and
40:56
Speaker 1: like a circle of successes like Dame and like they
41:00
Speaker 1: talking about it, because like somebody can pull you right
41:02
Speaker 1: up or and make sure you keep your relationships good
41:05
Speaker 1: with all the people that you work with if you
41:07
Speaker 1: just start, and it would be dope. And my thing
41:10
Speaker 1: is like if you could catch one artist that you
41:12
Speaker 1: feel like is somebody that has the same driving mentality
41:16
Speaker 1: as you and y'all blow up together. Then that's super
41:20
Speaker 1: beneficial to build an artist sound. And that's one thing
41:23
Speaker 1: that I really didn't have the opportunity to do as
41:27
Speaker 1: a producer because I was already operating on such a
41:29
Speaker 1: high level once I was in a position that I
41:32
Speaker 1: was just working with everybody. But I didn't really like, well,
41:34
Speaker 1: I'm doing that now. I feel like with Tink or
41:36
Speaker 1: whatever and all the stuff that we got going on,
41:38
Speaker 1: But I didn't really come up with one guy like
41:41
Speaker 1: how also, and you didn't come up with Tink she
41:46
Speaker 1: already for years. Yeah, But I'm just saying, like doing
41:49
Speaker 1: a whole album like how a Metro would do Future
41:52
Speaker 1: or south Side, you know what I'm saying, all the
41:54
Speaker 1: different you know, you kind of did that with the
41:56
Speaker 1: I mean I just in terms of doing the whole album,
41:58
Speaker 1: the Jeremi Tie record, yeah, which, by the way, that
42:01
Speaker 1: shit was so criminally slept on. You know why I
42:04
Speaker 1: was fucked up two labels. Yeah, that's all every time
42:07
Speaker 1: it happens. I think that Depth Jam was kind of
42:09
Speaker 1: like in a weird space at that time too when
42:12
Speaker 1: we put it out, and because I don't know if
42:14
Speaker 1: anybody was at the seat, you know what I'm saying,
42:17
Speaker 1: remember like of that moment where nobody was actually the pressure.
42:19
Speaker 1: It seemed like for a while def Jam was very
42:22
Speaker 1: what the fuck are they doing over there? It was
42:23
Speaker 1: an interesting time. And then I be honest, the record
42:27
Speaker 1: that we use is a single. The higher ups at
42:31
Speaker 1: Atlantic didn't want it to be the single on the
42:34
Speaker 1: group album. They wanted it to be the single on
42:36
Speaker 1: Ties album. And I'm like, nah, like Tye already got hits,
42:39
Speaker 1: we got Pineapple, we got this, when we got that
42:42
Speaker 1: one or whatever, like let's leave this for the group.
42:44
Speaker 1: And I think that they just both were uninterested on
42:46
Speaker 1: pushing it like how it was and that shit is
42:49
Speaker 1: a fire great project. And it's crazy because I feel
42:51
Speaker 1: like any time that happens where there's like two labels,
42:54
Speaker 1: somehow it gets like it just happened with them. The
42:58
Speaker 1: six tape two with being on Black. I just talked
43:00
Speaker 1: to Blast about this. I was like, Yo, there was
43:02
Speaker 1: like hits on that album. It's just two labels, two
43:08
Speaker 1: men cooks in the kitchen. Man too many cooks in
43:09
Speaker 1: the kitchen, and like you know these motherfuckers, they're like, well,
43:12
Speaker 1: what about your ship? Yeah, And they didn't what we
43:15
Speaker 1: said they wanted it to tie. You know what I'm saying,
43:17
Speaker 1: Like everybody, when you think about two different labels and
43:21
Speaker 1: two different artists on two different labels, their intentions is
43:24
Speaker 1: to keep the smash for them and their building, you
43:29
Speaker 1: know what I'm saying, more so than share a smash
43:31
Speaker 1: with another label. I saw. I think it was last
43:34
Speaker 1: year you had uh brought up a versus against Mustard potentially,
43:39
Speaker 1: and a lot of people thought you were absolutely crazy.
43:41
Speaker 1: I know it didn't just him, well, he thought you
43:44
Speaker 1: were crazy. And it was funny because when I was
43:47
Speaker 1: talking to I was like, you know what, like, wow,
43:50
Speaker 1: Mustard has bigger records. I mean, you know in terms
43:54
Speaker 1: of like uh, the Rihanna, the fucking I'm not saying
43:59
Speaker 1: you don't. What I'm saying is I just thought that,
44:01
Speaker 1: like people didn't really dive enough into real like realize
44:05
Speaker 1: like what records you could bring to the test, Sleeper
44:07
Speaker 1: records that people don't even know. I was involved with
44:09
Speaker 1: John by Rick Ross and Lil Wayne. I'm involved in
44:12
Speaker 1: that record. Shot to al a producer Orlando like bro
44:15
Speaker 1: like he can what is it twenty records? I have
44:20
Speaker 1: three records as me at our points, he don't have
44:22
Speaker 1: any of those I have three records as me that
44:24
Speaker 1: our points. You just said the business like people like,
44:27
Speaker 1: come on, I still have three records as me, Like
44:29
Speaker 1: that's easy. I just think I don't think people were
44:32
Speaker 1: giving you enough respect when you brought that up. You
44:35
Speaker 1: know what it was. I think that, you know, me
44:37
Speaker 1: and him have a personal relationship and we've worked together
44:40
Speaker 1: and collaborated before, so I think that it probably may
44:43
Speaker 1: have rubbed him the wrong way just for somebody, like
44:46
Speaker 1: because he's been DJ Muster the whole time and I
44:48
Speaker 1: was I was burg a nigga that was just in
44:51
Speaker 1: the studio bringing him records, writing records. We have plaques together,
44:55
Speaker 1: like I put Nicki Minaj on his single, like I've
44:58
Speaker 1: done records with him, but we had a fun It's
45:00
Speaker 1: because it was some bad business that was done behind
45:03
Speaker 1: a record and he just has had it which record record,
45:07
Speaker 1: the Whatever you Need Record meets Meek featuring Chris Brown
45:10
Speaker 1: and Ti dollar Sign, And I came and brought to
45:13
Speaker 1: him that record first, like it was my record. I
45:16
Speaker 1: had to hook done Aaron Ray. Shout out to Aaron Ray. Yeah,
45:19
Speaker 1: he me and him wrote the hook on that record.
45:21
Speaker 1: The whole young lad who's a producer that works for
45:23
Speaker 1: me right now. We had the same beat, same samples,
45:26
Speaker 1: same everything or whatever. I gave Mustard the record and
45:30
Speaker 1: me and Mustard to stopped working at the time. He
45:31
Speaker 1: went and sold the record and did it. You know
45:33
Speaker 1: what I'm saying. I remember, like fast forward the time.
45:35
Speaker 1: I'm sitting at the ASCAP Awards or whatever, and I'm
45:37
Speaker 1: sitting next to Meek and all them, and I won
45:40
Speaker 1: my award for dangerous or whatever I think, and then
45:43
Speaker 1: like they called me back up there for whatever you Need,
45:46
Speaker 1: and I'm like, what the fuck, this is my song whatever.
45:49
Speaker 1: So I ended up hitting up the powers that be
45:52
Speaker 1: and shout out to rock Nation. We ended up getting
45:53
Speaker 1: the squared away. So he just don't fuck with me.
45:55
Speaker 1: He just got to distaste for me anyway, so he
45:57
Speaker 1: wanted to go and do that. But it's kind of
45:58
Speaker 1: like yo, like fam like we all multi millionaires. So
46:01
Speaker 1: that record Whatever you Need was a record you brought
46:03
Speaker 1: to him. It's my record. It's not even you brought
46:06
Speaker 1: to you. It was your record. And then he sold
46:09
Speaker 1: it without giving you any of the credit of one
46:11
Speaker 1: thousand percent Me and Aaron Ray. That's crazy. That seems
46:15
Speaker 1: like a wild thing. To do in twenty twenty, twenty nineteen.
46:18
Speaker 1: What was that? That was twenty eighteen? Yeah, eighteen. Yeah,
46:21
Speaker 1: it seems like a wild thing to do. I feel
46:23
Speaker 1: like there's so much transparency. Like now it's like, dude,
46:25
Speaker 1: I have the session. Bro, Like this shit is dated
46:27
Speaker 1: and I got love for Musting Man, I ain't gonna yeah,
46:29
Speaker 1: Mustards are collaborated, We've done great work together. Whatever. He
46:32
Speaker 1: a cool guy. I don't got no bee for him
46:34
Speaker 1: or whatever. But my thing was just funny to me
46:36
Speaker 1: because it's like, oh, like you're really bothered by this,
46:40
Speaker 1: you know what I'm saying, Like, who am I supposed
46:42
Speaker 1: to say I'm gonna do a versus with? Like it's
46:44
Speaker 1: only a few different people. Like what I'm gonna say
46:47
Speaker 1: that make rap music and R and B music at
46:50
Speaker 1: a certain level that I make it. So I was thinking,
46:52
Speaker 1: what Mustard London on the track? Who can I really
46:55
Speaker 1: say that's in a tier to actually be in a
46:58
Speaker 1: versus that does both of those. That's my type of
47:01
Speaker 1: you know what I'm saying, Rain, Yeah, that makes sense.
47:04
Speaker 1: So I mean he took it personally, but I know him,
47:07
Speaker 1: so I know why he took it personally and it's
47:08
Speaker 1: just funny to me, like it tickled me a little bit.
47:11
Speaker 1: I think the Versus thing, man, I really think it's
47:14
Speaker 1: they got to figure something out because they've lost some
47:16
Speaker 1: steam because I totally did not even realize the ugk
47:19
Speaker 1: ape on m j G shit was happening. Yeah, by
47:21
Speaker 1: the time I realized that happened and it already happened. Yeah,
47:24
Speaker 1: they got to reinvent it, you know, they got to
47:26
Speaker 1: reinvent it. I feel they got to take it back
47:27
Speaker 1: to the gram man, or they might have just got
47:30
Speaker 1: the bag, you know, like, hey, we had a two
47:33
Speaker 1: year run. Every business meant forever, and there's only so
47:37
Speaker 1: many verses you can do. Last time I checked, the
47:39
Speaker 1: whole game plan is to start a business, crank it up,
47:42
Speaker 1: excel it. Yes, I think the only thing they gotta
47:46
Speaker 1: they gotta try to do Usher versus Chris Brown, or
47:49
Speaker 1: they got to get like Kanye, right, Drake Usher verse
47:51
Speaker 1: Chris Brown. But they just did Kanye and Drake said,
47:53
Speaker 1: We're not doing a versus sell out of the whole stadium. Yeah,
47:57
Speaker 1: that's not happening. Drake walked into it versus not knowing that.
48:00
Speaker 1: That's kind of how it felt on TV I was
48:02
Speaker 1: on vacation watching that shit, and I was like, oh,
48:06
Speaker 1: but you got it. So I wasn't in my you
48:08
Speaker 1: know what I'm saying, Like, I wasn't in a way
48:09
Speaker 1: and I wasn't meaning no disrespect with that whole versus
48:11
Speaker 1: shit or whatever. But you gotta really, this is a
48:14
Speaker 1: commentary what's going on in our culture right now. I
48:16
Speaker 1: work every day and I'm busting my ass for this shit.
48:18
Speaker 1: So it's kind of like dall like for the last
48:21
Speaker 1: six years, like there's not been a summer off, there's
48:23
Speaker 1: not been a not plaque had like for six years straight.
48:27
Speaker 1: One hundred million records. Man, it's a big deal. Yeah
48:29
Speaker 1: for sure. So are you getting back to getting on
48:32
Speaker 1: the mic? No? Okay, so you got new music coming though?
48:36
Speaker 1: New single on the Way Down Bad is my new
48:38
Speaker 1: single off my producer album Still. That's about the drop
48:41
Speaker 1: shot to the ladies with the first single, thought Box
48:43
Speaker 1: and the homies that jumped on it, and then this
48:45
Speaker 1: new single. Like how we was talking about me working
48:48
Speaker 1: with songwriters that might empower to be artists or whatever,
48:52
Speaker 1: that's just so fired of me. I got Ivory Scott,
48:55
Speaker 1: who I brought into the session. I was able to
48:59
Speaker 1: help him do a couple of things that was big
49:01
Speaker 1: with Empire. One we did Baddest together and then we
49:04
Speaker 1: did he did Peru and fire Boy, you know what
49:07
Speaker 1: I'm saying. So that's another way you could be an
49:09
Speaker 1: a n R two. Technically, I put Ivory in a
49:12
Speaker 1: room to go do Peru for that record. So from
49:15
Speaker 1: there he's on the record, Jeremiah and Fabulous on the record.
49:18
Speaker 1: He's my normal collaborators. But man, I ain't gonna lie like.
49:22
Speaker 1: This is one of the one summer smash video shots. Beautiful,
49:26
Speaker 1: The women were beautiful, had like thirty girls with me. Man,
49:29
Speaker 1: it was just good vibes. Thirty Yeah, you gonna see it.
49:34
Speaker 1: It's a nice it's a nice mix. Nice. Not quite
49:37
Speaker 1: the eight though. Yeah for the seven Nah, Nah, I
49:44
Speaker 1: ain't know that no more. That's over them days over. Yeah.
49:46
Speaker 1: I mean I feel like we got a shout out
49:49
Speaker 1: to my wife. You know, I got all that crazy
49:51
Speaker 1: shit out of exactly man. Yeah, super executive time. It's
49:54
Speaker 1: executive time. Man. Do you feel like do you do
49:56
Speaker 1: you feel like nowadays? Man? Like because you're in a
50:01
Speaker 1: position that I think people look to you as like
50:04
Speaker 1: a leader, as like somebody who could change an artist
50:08
Speaker 1: or songwriters, like do you feel that weight on your shoulders? Nah,
50:13
Speaker 1: it's happening organically, like man, like I've seen an interview
50:16
Speaker 1: with Dame Dash or whatever, and like I used to
50:19
Speaker 1: like I literally used to be saying this shit on
50:21
Speaker 1: my gram, Like, Yo, the name of my company is
50:23
Speaker 1: not trying records or not trying LLC because like literally,
50:27
Speaker 1: like me and my homies and my team, we go
50:29
Speaker 1: to the studio and it's not like we're trying to
50:32
Speaker 1: make a song, you know what I'm saying, Or let's
50:34
Speaker 1: make a song for Beyonce today, or let's make this,
50:36
Speaker 1: or let's make a song with Taylor's. We just going there,
50:40
Speaker 1: have some drinks, smoke a little bit, and just let
50:43
Speaker 1: you have activity flow. And like that just turned into
50:46
Speaker 1: ten songs a night, ten songs a night. You do
50:48
Speaker 1: that for years straight and then you just able to
50:51
Speaker 1: load everybody up. So I don't know, like I'm just
50:55
Speaker 1: what was we talking about again? What was we saying?
50:57
Speaker 1: What was the question again? I'm just saying, do you
50:59
Speaker 1: feel like the weight on your shoulders that like you're
51:00
Speaker 1: kind of happening organically like all the stuff that I'm
51:03
Speaker 1: doing or whatever, like even with me, like I think
51:07
Speaker 1: I was, well, I don't even think I know that.
51:09
Speaker 1: I kind of like I set out maybe four years ago,
51:13
Speaker 1: five years ago, six five, six years ago, and I'm like, yo,
51:16
Speaker 1: I'm gonna flip every record that I love from my
51:19
Speaker 1: childhood growing up, and I'm gonna make this sound. I'm
51:21
Speaker 1: gonna be the puff Daddy of this generation. I'm gonna
51:23
Speaker 1: bring all these sounds back. And I really did it.
51:26
Speaker 1: And then now you see, like ever, but it's turned
51:28
Speaker 1: into a thing now, you know what I'm saying. So
51:31
Speaker 1: I just I was like, damn, well, I just need
51:33
Speaker 1: to follow my first instinct. So whatever feels good and
51:35
Speaker 1: whatever my my initial like reaction is, I just go
51:39
Speaker 1: with it for real. That's stuff, man. Well listen, when's
51:42
Speaker 1: the single drop? Oh? The single seventeenth this month? June?
51:46
Speaker 1: Next Friday, Yeah, next Friday. Fin the seth of Something
51:48
Speaker 1: on Fire. When's the album coming out? The album's coming
51:50
Speaker 1: out in September. It was supposed to come out when
51:52
Speaker 1: I sold one hundred million records, but thank you God,
51:54
Speaker 1: that happened a little bit faster and I thought it
51:56
Speaker 1: was gonna happen, so like shite, it comes out in September. Man,
52:00
Speaker 1: it features everybody, the whole game, and salute to everybody
52:04
Speaker 1: that they ever made a produced album. Salute to cal It.
52:07
Speaker 1: Like I said, I just seen an interview with south Side,
52:09
Speaker 1: Salute to him doing a produced album. Shooting man. Anybody
52:11
Speaker 1: to try to ship man, This ship is a nightmare.
52:14
Speaker 1: It is so many different moving parts, different labels, different
52:18
Speaker 1: legal teams, management, because Yo, you might know the artists
52:21
Speaker 1: and the artist is like, yeah, of course I got you,
52:23
Speaker 1: But then you got to talk to their fucking people,
52:25
Speaker 1: and then that's when it's just really political. You know
52:27
Speaker 1: what I'm saying. It's just getting everybody on the same
52:29
Speaker 1: page and a lot of moving parts. So I salute
52:31
Speaker 1: anybody that does this type of album. It's a great
52:34
Speaker 1: body of work. We already got one gold single with
52:36
Speaker 1: thought Box. I'm about to put out this next single,
52:38
Speaker 1: get another play. Wait, thought Box isn't gonna been the album,
52:41
Speaker 1: is it? Yeah? I took it off. I took took
52:43
Speaker 1: the records from Atlantic. Oh Ship, Yeah, shout out to Atlantic.
52:46
Speaker 1: Did you do like a remix with like fucking ten chicks? Yeah?
52:48
Speaker 1: I did a remix with dream Doll, Mulatto, Chinese Kitty,
52:52
Speaker 1: Dreazy and Young Young in May and the ship went
52:56
Speaker 1: super do remember man, it was bigger than a record,
52:59
Speaker 1: my initial record. But the guys was a Buggie Meeque,
53:02
Speaker 1: two Chains, the Mirror, and Tiger. I had them all
53:06
Speaker 1: on the record, all five on Damn. Yeah, it didn't
53:09
Speaker 1: work out. I think it was because the title was
53:11
Speaker 1: called thought Box and you got five guys on the record.
53:14
Speaker 1: You know what I'm saying. That might move. But when
53:16
Speaker 1: I was literally in Vegas just turned up on a
53:19
Speaker 1: fucking We were working this back when the Poems had
53:22
Speaker 1: the studio on the Palms and we were just did
53:23
Speaker 1: they get rid of that? Yeah? Yeah, that was a
53:25
Speaker 1: great studio. That shit was amazing. We was in there working,
53:28
Speaker 1: just turned up and I'm like, man, Yo, the singles
53:30
Speaker 1: not moving like I wanted to move. Fucking I'm gonna
53:32
Speaker 1: go put all girls on the song. But I'm not
53:34
Speaker 1: gonna go reach for like Nikki or Cardi or the
53:38
Speaker 1: top tier usual suspects. I'm gonna come get all the
53:40
Speaker 1: up and coming any girl that got over a million
53:43
Speaker 1: Instagram followers that I like and I fucked with their music.
53:45
Speaker 1: I'm gonna go put them on a song, and I
53:47
Speaker 1: felt like that way when they all press go at
53:49
Speaker 1: the same time, it could turn into pandemonium and just
53:52
Speaker 1: it became a thing, and that's what happened there. It
53:55
Speaker 1: is Man album coming out in September. Yes, single out
53:57
Speaker 1: next Friday. Appreciate your time, bro for pulling up Man
54:01
Speaker 1: my guy