Latest / The Bootleg Kev Podcast / #412 - Erick Sermon

Transcript

#412 - Erick Sermon · The Bootleg Kev Podcast

• 0:00
  Speaker 1: Y know, what's up is Eric some of the Green
• 0:01
  Speaker 1: Knighted Bandit half of EPM D you throw the Death
• 0:03
  Speaker 1: Squad check me out on the Bootleg cat podcast.
• 0:06
  Speaker 2: Yeah, Bootleg Cab Podcast special guests. Didn't hear a legend.
• 0:14
  Speaker 2: Eric Sermon is in the building. Welcome, So what's up?
• 0:17
  Speaker 2: What's going on? Man?
• 0:18
  Speaker 1: H You know, just I was just telling my boy
• 0:22
  Speaker 1: that it feels strange because it's a long time to
• 0:25
  Speaker 1: be back on the to be back on the scene
• 0:26
  Speaker 1: and doing the promos and doing something that now is
• 0:29
  Speaker 1: podcast like you and different type of things. So this
• 0:32
  Speaker 1: is a little strings though, But I'm cool.
• 0:34
  Speaker 2: Yeah, man, I mean, look, you've been through it all,
• 0:35
  Speaker 2: you know what I'm saying. It's crazy because you somehow,
• 0:37
  Speaker 2: like not a lot of people can say that they
• 0:40
  Speaker 2: have the longevity to have been through every era of
• 0:44
  Speaker 2: music in terms of like you went from cassettes to
• 0:47
  Speaker 2: CDs to streaming napster.
• 0:52
  Speaker 1: I did all of it, yeah again, from nineteen eighty
• 0:55
  Speaker 1: eight to twenty twenty four. It's a long time.
• 0:57
  Speaker 2: That's a long time, man, And there was so many
• 0:59
  Speaker 2: different hats, whether it's being a record executive, whether it's
• 1:02
  Speaker 2: being behind the scenes producing right now it's just it's
• 1:05
  Speaker 2: a lot, man, this is a I flash back on
• 1:08
  Speaker 2: it again.
• 1:09
  Speaker 1: It's a it's a blessed career to be having and
• 1:12
  Speaker 1: to still be here and then being in front of
• 1:14
  Speaker 1: y'all doing you know, with all the young people and
• 1:17
  Speaker 1: letting them know what time it is, you know a
• 1:19
  Speaker 1: few things, what's going on, and so in the name
• 1:23
  Speaker 1: of music, you know.
• 1:24
  Speaker 2: Yeah, well, like let me give you my so I
• 1:26
  Speaker 2: as I'm thirty seven. I just turned thirty seven. So
• 1:29
  Speaker 2: when I was a kid, I first got hip to
• 1:33
  Speaker 2: Death Squad, right, yes, So that was how I was
• 1:36
  Speaker 2: introduced to you because I was a Red Man fan, right,
• 1:39
  Speaker 2: and Method Man and Red Man and and and that's
• 1:42
  Speaker 2: how I got hip to like Keith Murray. But I
• 1:43
  Speaker 2: was the kind of kid who I still have all
• 1:45
  Speaker 2: my source magazines on my double ex sales, so I
• 1:47
  Speaker 2: would go back and like do my research on the
• 1:50
  Speaker 2: five Mic albums and stuff like that. So the first
• 1:54
  Speaker 2: album of EPM D that I bought, I bought a
• 1:56
  Speaker 2: used at the warehouse and it was I think it
• 1:58
  Speaker 2: was your third album. It was the one that had
• 1:59
  Speaker 2: to with Redman and the record with LL.
• 2:01
  Speaker 1: Yes, that's business as usual. The RAM page, Yeah, with
• 2:04
  Speaker 1: the cops on the front.
• 2:05
  Speaker 2: Yeah. Yeah, and and so that was my first introduct
• 2:08
  Speaker 2: because I was like new E P, M D, E
• 2:10
  Speaker 2: P and D.
• 2:10
  Speaker 1: Right, so that was kind of like I have you
• 2:13
  Speaker 1: mentioned that because that would that ended up getting the
• 2:14
  Speaker 1: full mic on that record.
• 2:17
  Speaker 2: Right, yep. Yeah. But it's funny like just like like
• 2:19
  Speaker 2: like my era of like hip hop was like like
• 2:23
  Speaker 2: late nineties of course, yeah, I know, early two, but
• 2:26
  Speaker 2: I got to you know, I got to kinta go
• 2:28
  Speaker 2: back and like get the Brand Nubian album and get
• 2:31
  Speaker 2: all the Tribe ship and get the EP and D
• 2:33
  Speaker 2: ship and right. So but nah, man, it's been dope
• 2:36
  Speaker 2: to see just kind of like your like evolution. Talk
• 2:40
  Speaker 2: to me about like the new project, because it's you're
• 2:42
  Speaker 2: doing like collapse with everybody. I know, the new singles
• 2:45
  Speaker 2: got something pep on it.
• 2:46
  Speaker 1: Like yeah, well I had the idea of doing COVID time,
• 2:49
  Speaker 1: you know what I'm saying, So COVID stop things. But
• 2:52
  Speaker 1: before the Hip Hop fifty, I always had ideas of
• 2:55
  Speaker 1: just my colleagues not being here. I just figured that
• 2:59
  Speaker 1: you know, you never know, all of us are still
• 3:01
  Speaker 1: here just because you got young people, we still have
• 3:04
  Speaker 1: us that's living too. People want to hear music, but
• 3:06
  Speaker 1: they stop making music. So I wanted to facilitate that.
• 3:09
  Speaker 1: I wanted to be able to say, you know what,
• 3:11
  Speaker 1: let me make records on people that come from the
• 3:15
  Speaker 1: era that people would love to hear if they was
• 3:17
  Speaker 1: able to make music. So that's what the dynamic duels
• 3:19
  Speaker 1: came into play at. So so I wanted to get
• 3:22
  Speaker 1: of course, like it's like twenty five rap groups. Yeah,
• 3:25
  Speaker 1: that'll duels. So but I just picked it for the
• 3:28
  Speaker 1: volume one. What I can get off now.
• 3:30
  Speaker 2: So for you, it was the inspiration was like, let
• 3:33
  Speaker 2: me do this now because I have this idea now
• 3:35
  Speaker 2: because like you said, during COVID, we were losing people.
• 3:37
  Speaker 2: You never know when people are gonna be here, not
• 3:40
  Speaker 2: going to be here. Who all's on the project?
• 3:43
  Speaker 1: Yeah, the project is loaded. It's lowly, I got Biggie
• 3:48
  Speaker 1: Smolden Tupac. It's gonna blow everybody's away.
• 3:53
  Speaker 2: These are are these unheard verses.
• 3:56
  Speaker 1: It's not I don't to me, they are not unheard,
• 4:02
  Speaker 1: but the way I put it together, okay, it just
• 4:04
  Speaker 1: sounds new. Okay, low waiting game, Mob deep, m O
• 4:12
  Speaker 1: P whether meth.
• 4:13
  Speaker 2: Do you have mob deep and MP in the same home.
• 4:15
  Speaker 1: No, this is the dynamic duals. Let me get two people.
• 4:18
  Speaker 2: Okay, two people and you handing production, right, Okay.
• 4:23
  Speaker 1: Cyper's Hills, Dog Pound E P M D.
• 4:28
  Speaker 2: Of course this is impressive so far.
• 4:42
  Speaker 1: I think I caught anybody.
• 4:44
  Speaker 2: I think. I mean, that's a lot.
• 4:48
  Speaker 1: I said, Snoop and Nate though, right, no, you didn't.
• 4:51
  Speaker 2: Snoop and Ate. Jesus So for you, like I always
• 4:56
  Speaker 2: wonder as a producer, right like, if you know, like
• 5:00
  Speaker 2: let's say the Biggie and the Tupac song, do you
• 5:02
  Speaker 2: already have that beat made or do you get the verses?
• 5:05
  Speaker 2: And do you know.
• 5:06
  Speaker 1: I have it? As a producer, you got records.
• 5:08
  Speaker 2: You know what I'm saying.
• 5:09
  Speaker 1: You make certain stuff if you don't. If you don't
• 5:11
  Speaker 1: have it, then you make it.
• 5:12
  Speaker 2: I was gonna say, when you hear those two verses
• 5:14
  Speaker 2: from Biggie and POC, does that inspire you to make
• 5:16
  Speaker 2: the beat off of those verses or did you already
• 5:18
  Speaker 2: have it?
• 5:18
  Speaker 1: I already had something that I wanted. I wanted to
• 5:21
  Speaker 1: make sure that I didn't want to make a regular record.
• 5:23
  Speaker 1: I don't want to make just a hip hop record.
• 5:25
  Speaker 1: I want the rock because both of them is best
• 5:28
  Speaker 1: best on melody and more R and B's type situations.
• 5:31
  Speaker 1: So that's what I based my thing on when I
• 5:33
  Speaker 1: had when I was making it like Okay, I want
• 5:36
  Speaker 1: to make it a song song, something that Biggie will
• 5:39
  Speaker 1: rock on, something that pop will rock on too. It
• 5:41
  Speaker 1: feel comfortable, and most of them they records are melody. Yeah,
• 5:45
  Speaker 1: you know it's not really the hip hop you know.
• 5:48
  Speaker 2: You know we've had we have so many different attempts
• 5:51
  Speaker 2: at well known producers that we all love and know
• 5:54
  Speaker 2: that haven't done the best job. I would say with
• 5:57
  Speaker 2: certain Tupac or Biggie records after they passed.
• 6:01
  Speaker 1: I like, as the fun me, I just felt that
• 6:06
  Speaker 1: it wasn't something that I was trying to do to
• 6:10
  Speaker 1: make the biggest record. Just did what felt good to
• 6:12
  Speaker 1: me the day it was.
• 6:16
  Speaker 2: When something I feel like it's all about, Like if
• 6:18
  Speaker 2: I could hear them like actually being on that record
• 6:20
  Speaker 2: when they were alive, That's.
• 6:22
  Speaker 1: When it makes it crazy because I think that they
• 6:27
  Speaker 1: probably would have been friends later on. I think that
• 6:30
  Speaker 1: all that be for the stop eventually because of what
• 6:33
  Speaker 1: they had before that. But but but the way I
• 6:36
  Speaker 1: did it, you would think they were in there together.
• 6:39
  Speaker 2: Oh that's fire. I was gonna say, you had like
• 6:42
  Speaker 2: a really early opportunity to work with Biggie right before
• 6:46
  Speaker 2: before we really knew who he was. Is that yeah?
• 6:48
  Speaker 1: I mean yeah.
• 6:49
  Speaker 2: I mean.
• 6:51
  Speaker 1: My story is ill on artists.
• 6:54
  Speaker 2: Because you do have you do have because.
• 6:56
  Speaker 1: You know, because but my sus documented as far as
• 6:59
  Speaker 1: people talk, Rick Ross on my basement, fifty cent in
• 7:03
  Speaker 1: my basement, fucking Luke crist on my door, the game
• 7:08
  Speaker 1: Wu Tang Clan, Ray Kwon says, I almost signed with Eric,
• 7:11
  Speaker 1: like you know, I mean this this thing of Mine's
• 7:16
  Speaker 1: what I was able to see. And Biggie Small's on
• 7:21
  Speaker 1: my first video set to Well my man brought him
• 7:24
  Speaker 1: to the barbershop. Okay, let me to see. And then
• 7:28
  Speaker 1: when I shot Hit and Switches, my first single, he
• 7:30
  Speaker 1: was around the whole time. Why I do every scene?
• 7:33
  Speaker 1: You know? Then he told Tracy Waple was like, yo,
• 7:35
  Speaker 1: I want to go on that Everic Sermon album. But
• 7:37
  Speaker 1: already had artists already, and then I had, you know,
• 7:40
  Speaker 1: I had my own groups, so I wasn't trying to
• 7:42
  Speaker 1: do something new. But at that time I could have
• 7:45
  Speaker 1: you know, probably would have had.
• 7:46
  Speaker 2: That, did you because I know Biggie had like a
• 7:50
  Speaker 2: buzz going around New York. But at that time, did
• 7:52
  Speaker 2: you kind of see what eventually ended up coming to be?
• 7:55
  Speaker 2: You know, like I didn't.
• 7:57
  Speaker 1: Again, my concentration wasn't on that because I had my
• 8:01
  Speaker 1: You had your own, Yeah, you know, I have my own.
• 8:03
  Speaker 1: Because his squad was the biggest thing running, right you know,
• 8:06
  Speaker 1: Like so that's the effects of Redman and Eric So
• 8:09
  Speaker 1: I mean e pm D. Yeah, the biggest ship running.
• 8:11
  Speaker 1: So it was like so at the time, it wasn't
• 8:14
  Speaker 1: me looking at anything else.
• 8:16
  Speaker 2: You know, talk to me about Redman Man because I
• 8:20
  Speaker 2: think somehow he's turned out to be one of the
• 8:22
  Speaker 2: more slept on rappers ever, because he's one of the
• 8:24
  Speaker 2: greatest of all time. And I think, like, you know,
• 8:28
  Speaker 2: I just saw the the reaction online from some of
• 8:32
  Speaker 2: the young people when Killer Mike won his Grammy, which
• 8:34
  Speaker 2: he deserved and he deserved to win it because he
• 8:36
  Speaker 2: had the best rap album. But I feel like these days,
• 8:40
  Speaker 2: like a guy like Red Man, like you know, when
• 8:42
  Speaker 2: I'm growing up, like Redman's like the Goat, you know
• 8:44
  Speaker 2: what I mean, Like Muddy Waters, there's a dark side
• 8:47
  Speaker 2: and blackout and go on and on and on. Death squad.
• 8:50
  Speaker 2: What was it like kind of like being around Red
• 8:53
  Speaker 2: Man early, Like, what did you see in him that
• 8:56
  Speaker 2: you know kind of had you bring him into the fold.
• 8:59
  Speaker 1: Is this the metaphors, the way that he rhymed, you know,
• 9:02
  Speaker 1: the the wordplay. Everything about me was as far as
• 9:08
  Speaker 1: the rappers that I was able to get like that's
• 9:10
  Speaker 1: affecting them as everybody was Keith Murray, everybody has something different.
• 9:13
  Speaker 1: Keith Murray had these big words. Reggie had you know,
• 9:17
  Speaker 1: I got a's bitch, you know, the eminem like you know,
• 9:20
  Speaker 1: as far as crazy they that effects changed the game
• 9:24
  Speaker 1: because you had all these groups that either immolated them
• 9:31
  Speaker 1: or made records doing the igoity. And when you get
• 9:34
  Speaker 1: a call from Ice Cube saying you want you know
• 9:36
  Speaker 1: what dotics, this is Cube calling you know what I'm
• 9:38
  Speaker 1: saying to put them on the record. You know that
• 9:41
  Speaker 1: these guys are making an impact. So but again, but Reggie,
• 9:45
  Speaker 1: it was this that I think that I saw him
• 9:48
  Speaker 1: at a club and knew it called Sensations and he
• 9:52
  Speaker 1: was with do it All from Lords of the Underground.
• 9:56
  Speaker 1: Do It All rhymed and Reggie was his DJ. But
• 10:00
  Speaker 1: then again he became Lords and but he was like
• 10:03
  Speaker 1: my man rapped and Reggie had one line. He said,
• 10:07
  Speaker 1: I float like a butterflies, thing like the rock group.
• 10:09
  Speaker 1: I thought it was going to be like, you know,
• 10:11
  Speaker 1: like a thing like a bee, but he the metaphor
• 10:14
  Speaker 1: went float like a butterflies thing like a rock group.
• 10:17
  Speaker 1: So order to make him like, yo, nobody does this
• 10:19
  Speaker 1: at this time nineteen ninety one or two.
• 10:24
  Speaker 2: Crazy.
• 10:24
  Speaker 1: He was already ahead, you know, so I'll talk to him,
• 10:30
  Speaker 1: and it was fast. I'm like yo. He Reggie was
• 10:33
  Speaker 1: so ill that I gave him my number, but not
• 10:38
  Speaker 1: I didn't write it down, he remembered. He remembered it.
• 10:42
  Speaker 2: That's how it used to be back at the day though.
• 10:44
  Speaker 2: You might meet a girl in the mall and like
• 10:47
  Speaker 2: she'll tell you her number, but she will write it down,
• 10:49
  Speaker 2: and it's.
• 10:49
  Speaker 1: Like and he said it a couple of days for
• 10:52
  Speaker 1: him to realize what the number was, and a few
• 10:55
  Speaker 1: days later he called the phone but he had to
• 10:58
  Speaker 1: remember the number.
• 11:00
  Speaker 2: That's crazy. What was that conversation like like I'm trying to.
• 11:02
  Speaker 1: No, It's just like it wasn't no coping me. I'm
• 11:04
  Speaker 1: just I'm a nonch a lot person. So at the
• 11:06
  Speaker 1: end of the day, like, yo, you want to do this,
• 11:07
  Speaker 1: and plus he's he's a fan. He don't believe this
• 11:10
  Speaker 1: is happening. Like, oh shit, I'm on the phone with Eric.
• 11:12
  Speaker 1: He's viting me over So that was it.
• 11:15
  Speaker 2: That's crazy, man. How do you feel about like, because
• 11:18
  Speaker 2: I feel like hip hop these days is like I
• 11:21
  Speaker 2: always tell people, if you want to find good shit,
• 11:23
  Speaker 2: you got to like it's there, you just have to.
• 11:25
  Speaker 2: It's just not being pushed, like like we just talked
• 11:27
  Speaker 2: about the Killer Marke thing. But in terms of like,
• 11:31
  Speaker 2: you know, you've been wrapped up in certain like hip
• 11:32
  Speaker 2: hop beef situations, and nowadays it's I feel like it's
• 11:36
  Speaker 2: it almost might be more amplified these days than it
• 11:39
  Speaker 2: was back then because back then you had to go
• 11:42
  Speaker 2: spend money to pick up the Source and or the
• 11:45
  Speaker 2: Vibe magazine and read the interview in which a rapper
• 11:48
  Speaker 2: was calling out another rapper, or go buy a DVD
• 11:50
  Speaker 2: or whatever. These days, you just open your phone and
• 11:54
  Speaker 2: there's thirty blogs talking about whatever contexts going on. Like, like,
• 11:58
  Speaker 2: how do you feel about like the current state of
• 12:00
  Speaker 2: like hip hop in terms of the media, Well, I mean.
• 12:04
  Speaker 1: Listen to me. It made it accessible to everybody, which
• 12:09
  Speaker 1: is a cool thing. But I just think that the
• 12:13
  Speaker 1: oversaturation of music took the excitement away from it.
• 12:16
  Speaker 2: Definitely, you know, if it's something coming out and something.
• 12:19
  Speaker 1: Like waiting for Tuesdays for two Yeah, waiting for that
• 12:21
  Speaker 1: though too. But to make a long story short, I
• 12:24
  Speaker 1: feel like, to me, music is making a comeback and
• 12:31
  Speaker 1: if people aren't seeing that, then they're going to be
• 12:34
  Speaker 1: in trouble because I'm here with you at this time
• 12:38
  Speaker 1: in my career, yeah, making music, and I'm gonna make
• 12:44
  Speaker 1: sure that the music is what we know music to be. Like,
• 12:48
  Speaker 1: I'm not trying to play the game of what everybody
• 12:52
  Speaker 1: else is doing. Everybody already doing that and people are
• 12:55
  Speaker 1: getting tired and it's being proven. The sampling that hit
• 13:01
  Speaker 1: maker is doing meanwhile, like taking old records, it's changing
• 13:06
  Speaker 1: the tempo back. Who caresus Foxy Brown? The Temple's back?
• 13:10
  Speaker 1: Who cares if it's branded, it makes the temples back.
• 13:15
  Speaker 1: So that's what's changing the game. Even if they are sampling,
• 13:18
  Speaker 1: it's still changing.
• 13:19
  Speaker 2: People don't realize that tempo. Like, yeah, it's like like
• 13:21
  Speaker 2: the eighty five to like one hundred bpm records are
• 13:24
  Speaker 2: like faring few between these days.
• 13:25
  Speaker 1: It's like, but it's changing. So that means that music
• 13:30
  Speaker 1: is going to be put back in the forefront of
• 13:33
  Speaker 1: what music feels like to feel good inside, just soul,
• 13:38
  Speaker 1: to make you who if they're still dancing because I
• 13:41
  Speaker 1: went to a party whatever, they are sitting there with
• 13:43
  Speaker 1: their phones and bottle and we're standing at the intersections
• 13:48
  Speaker 1: anymore girls and talking to guys. God, ain't talking to girls,
• 13:51
  Speaker 1: Like what type of is this? This is what we're living in.
• 13:55
  Speaker 1: But I just feel that at this time, music is
• 13:57
  Speaker 1: making a change. That's why everybody's coming. We ain't gonna
• 14:01
  Speaker 1: name no artists though, but a lot of artists came
• 14:03
  Speaker 1: out and fucked up and they had to go back
• 14:04
  Speaker 1: in the studio and make rap records.
• 14:06
  Speaker 2: A lot of people, well, I want to shout out.
• 14:08
  Speaker 2: Twenty one Savage just put out an album that was
• 14:11
  Speaker 2: heavy on substance, heavy on raps, and a lot of
• 14:16
  Speaker 2: people wouldn't have exp I mean, I I've kind of
• 14:18
  Speaker 2: paid attention to his evolution over the years, but his
• 14:20
  Speaker 2: new album is crazy.
• 14:21
  Speaker 1: keV. What we're talking about is not foreign. The game
• 14:26
  Speaker 1: is done shifted, I agree. And if people don't wake up,
• 14:31
  Speaker 1: they're going to be in trouble.
• 14:32
  Speaker 2: They're gonna get left at the bus stop, man, exactly.
• 14:35
  Speaker 1: And then I'm not sitting here to be be hating
• 14:38
  Speaker 1: in the hole. And this and this and that. This
• 14:39
  Speaker 1: is just the way it's at and we and there's
• 14:41
  Speaker 1: there's moves being made that people don't know about yet
• 14:44
  Speaker 1: that that that some of the people that we know,
• 14:47
  Speaker 1: the powers that be, aren't gonna be in there. Yeah,
• 14:50
  Speaker 1: and they're about to move this thing forward. So now
• 14:53
  Speaker 1: talent gon with no no algorithms, no how many likes
• 14:58
  Speaker 1: you got, none of that stuff. It's all about are
• 15:00
  Speaker 1: you ill and are you dope? That's where we're headed to.
• 15:03
  Speaker 2: That's how it used to be. You know, when I
• 15:06
  Speaker 2: was growing up, it was like yo, of course it
• 15:08
  Speaker 2: was it was about the bars. It was about who
• 15:11
  Speaker 2: had the crazy you know, Neil Armstrong freestyle. You know,
• 15:14
  Speaker 2: like but all the big.
• 15:16
  Speaker 1: Writers like my man got a group coming out to
• 15:20
  Speaker 1: this Sun with Usher's the girl what's the Girl's name?
• 15:23
  Speaker 1: But not You're the Simions. But they didn't go to
• 15:28
  Speaker 1: the new people. They went to the Brian Michael Cox's,
• 15:32
  Speaker 1: the Dreams, the you know, these people who write music
• 15:39
  Speaker 1: like the Money Love song. This is where this is
• 15:41
  Speaker 1: where we're going. Even Victoria money. But what she did,
• 15:44
  Speaker 1: she wrote an incredible crazy for sure. So this is
• 15:48
  Speaker 1: where we at somebody who took her fifteen years he said.
• 15:52
  Speaker 1: So again, the talent is going to outweigh the popularity.
• 15:55
  Speaker 1: This is where we're at, and people can this is
• 15:58
  Speaker 1: where we're going. So and so me being out to
• 16:02
  Speaker 1: I give my assessment on what I feel for young
• 16:06
  Speaker 1: people to know, because this is important. I don't come
• 16:10
  Speaker 1: because I'm I'm a person who's who's the so called
• 16:13
  Speaker 1: old head, right, you know, I've never been broke in
• 16:16
  Speaker 1: my life, never gonna be. So I don't come from
• 16:18
  Speaker 1: a point where somebody who's mad because I'm not in
• 16:22
  Speaker 1: the game.
• 16:22
  Speaker 2: No, you ain't never went nowhere.
• 16:25
  Speaker 1: I'm in it. To also let you know that for
• 16:29
  Speaker 1: thirty five years, when you get called, you can go,
• 16:32
  Speaker 1: you can go perform, you come and watch you. Yeah,
• 16:35
  Speaker 1: this new era, nobody coming to see them. So if
• 16:38
  Speaker 1: they didn't save or have somebody do something for them,
• 16:41
  Speaker 1: that person who turns our age is not going to
• 16:45
  Speaker 1: be trying to go see fuck pussy as shit whatever.
• 16:48
  Speaker 1: It won't match.
• 16:49
  Speaker 2: Now I say this and like I don't you know,
• 16:52
  Speaker 2: fifties obviously generation after you, but I just went to
• 16:57
  Speaker 2: the fifty concert right the tour, and I was just like, God,
• 17:00
  Speaker 2: I miss this, like people not wrapping over their fucking tracks,
• 17:04
  Speaker 2: like you know.
• 17:04
  Speaker 1: What I mean, that's the that's the crazy too. And
• 17:06
  Speaker 1: some of our veterans are doing that. I'm like, where
• 17:09
  Speaker 1: you learning at that? How are you riving over to bea.
• 17:11
  Speaker 2: Yes like people did that.
• 17:12
  Speaker 1: It's crazy, so so so so this Shulman Ship, Yeah,
• 17:18
  Speaker 1: all this comes into play again with all the toys
• 17:20
  Speaker 1: that's going the new people is struggling, all the vetermans sold.
• 17:25
  Speaker 2: Out now sold out, fifty roll out, every beyond everybody
• 17:31
  Speaker 2: that's the veteran had no problem touring. Yeah, I know
• 17:37
  Speaker 2: you and DJ Quick have worked together. I always kind
• 17:39
  Speaker 2: of equate you, and first of all, Quick is one
• 17:42
  Speaker 2: of the greatest of all time, as are you. But
• 17:44
  Speaker 2: I always kind of equate both of you guys as
• 17:47
  Speaker 2: being like somehow underrated producers because I don't think people
• 17:52
  Speaker 2: understand like Quick as like one of the greatest producers
• 17:54
  Speaker 2: of all time, and you're not too shabby yourself. What
• 17:57
  Speaker 2: are some of your like bigger production place. But for
• 18:01
  Speaker 2: people who.
• 18:02
  Speaker 1: Don't know, I love David, but nobody did what I did.
• 18:10
  Speaker 1: When it comes down to records produced R and B
• 18:13
  Speaker 1: and hip hop music, I'm my track records too big.
• 18:16
  Speaker 2: I just mean, like explain, like tell us because I
• 18:19
  Speaker 2: feel like a lot of people who are.
• 18:20
  Speaker 1: Watching this don't know you're Yeah, because again I've been
• 18:22
  Speaker 1: starting off R and B and since Jodis sis Mary,
• 18:25
  Speaker 1: since Chico the Bar, since de Angelo says, s w
• 18:28
  Speaker 1: V sus in Vogue, since Black Street. These records were
• 18:31
  Speaker 1: done by me. These are all R and B records,
• 18:34
  Speaker 1: from the Keith Sweats all the way down. This is
• 18:37
  Speaker 1: me at R and B level, right with the biggest
• 18:40
  Speaker 1: of the biggest at the time, and so so so
• 18:42
  Speaker 1: now you're talking about when you're talking about rap music,
• 18:46
  Speaker 1: I did everybody and and so whatever you want to name,
• 18:49
  Speaker 1: you want to name, name.
• 18:51
  Speaker 2: Like what do you think is like like, because there's
• 18:53
  Speaker 2: people who are watching this who might not know who
• 18:55
  Speaker 2: you are. So give me like your if you had
• 18:56
  Speaker 2: to say top five biggest songs, people would just know,
• 19:01
  Speaker 2: it's off the top of your head, off the top
• 19:03
  Speaker 2: of your hand. You got so many. Yeah, just that
• 19:06
  Speaker 2: you made that that we don't know because you're not
• 19:08
  Speaker 2: rapping on him or not, you know what I mean?
• 19:09
  Speaker 2: Like people, nobody's looking at the credits anymore. Back in
• 19:12
  Speaker 2: the day, used to get the booklet, used to go through.
• 19:14
  Speaker 1: Yeah yeah, but but but the kids, the kids won't
• 19:16
  Speaker 1: know that because again how how how because the way
• 19:20
  Speaker 1: I'm again myself was mostly was mostly nineties, right, you
• 19:24
  Speaker 1: know what I'm saying. So again, if I said if
• 19:27
  Speaker 1: I did four three two to one, you know by
• 19:29
  Speaker 1: l with llokuj with with dm X, and then at
• 19:33
  Speaker 1: one time if I did both, how high is on
• 19:35
  Speaker 1: reather meth? People don't know that. Oh reather MEPhI is
• 19:37
  Speaker 1: your Yeah, that's my those are my boys. Yeah, I
• 19:39
  Speaker 1: did all of them, the Blackouts, Blackout one too, so
• 19:43
  Speaker 1: all them too, and then again me with fifty cent
• 19:47
  Speaker 1: in the beginning. My way He Wait was one of
• 19:50
  Speaker 1: the first singles before he got shot. You know what
• 19:53
  Speaker 1: I'm saying, Reservoir Dogs on Jay z on On on
• 19:57
  Speaker 1: the album Crazactly.
• 19:59
  Speaker 2: You know, Hey, what's it for you like being the
• 20:01
  Speaker 2: guy who made the beat? Because I always hear Ron
• 20:03
  Speaker 2: Browse talk about being the guy who made the Ether beat?
• 20:06
  Speaker 2: What was it like being the guy who made the
• 20:07
  Speaker 2: four three two one beat? Like with everything that kind
• 20:10
  Speaker 2: of came with that.
• 20:11
  Speaker 1: Yeah. Again it was track messages the original record, okay,
• 20:16
  Speaker 1: and then it was like it didn't fit. So I
• 20:21
  Speaker 1: told Kevin Lee.
• 20:22
  Speaker 2: There was the remix, and you didn't get it. The remix.
• 20:24
  Speaker 1: Yeah, but my my song was the remix but ended
• 20:27
  Speaker 1: up being the main the main record exactly because nobody
• 20:30
  Speaker 1: never heard that. Ye yeah, but again I just wanted
• 20:34
  Speaker 1: to make my own what I thought it should sound like.
• 20:38
  Speaker 1: And then I wanted to put the rappers in the
• 20:41
  Speaker 1: order that I wanted to put the rappers, and because
• 20:43
  Speaker 1: I wanted to put by the meth, but the Meth
• 20:44
  Speaker 1: wasn't together on the stuff the one I heard, so
• 20:47
  Speaker 1: of course I'm putt them two together back to back.
• 20:49
  Speaker 1: And then I had the piece Lookhoj's vocals together because
• 20:56
  Speaker 1: it wasn't it wasn't it wasn't flowing right on the beat,
• 20:59
  Speaker 1: so to chop it. Oh ship, yeah, and that's why
• 21:03
  Speaker 1: you hear me add living on top of him, so
• 21:05
  Speaker 1: I could fill the holes in the l in the holes.
• 21:10
  Speaker 2: That's crazy. What about uh being there? Like like do
• 21:15
  Speaker 2: you do you remember like when the idea came to
• 21:17
  Speaker 2: be to put like methan reds, like their chemistry was
• 21:21
  Speaker 2: so crazy. But to make him a group, you know
• 21:23
  Speaker 2: what I mean the.
• 21:24
  Speaker 1: Label they was doing that, you know, the documentary.
• 21:29
  Speaker 2: First, the show show. Yeah, I had it on VHS.
• 21:33
  Speaker 1: They wanted a single, let the Meth so that record
• 21:36
  Speaker 1: I did, the original one, that one to the hardcore version.
• 21:40
  Speaker 2: Great movie by the way, it needs to get on
• 21:42
  Speaker 2: Netflix because there's you'll see whutang arguing and ship. I
• 21:45
  Speaker 2: think it's like you got it.
• 21:47
  Speaker 1: So how high it was with something that was made
• 21:50
  Speaker 1: and it was like again it was I remember being
• 21:53
  Speaker 1: a real smoky session, you know, as far as like
• 21:56
  Speaker 1: you know, well you can't see contact. People probably think
• 21:59
  Speaker 1: I'm just like just saying that, but it was really
• 22:02
  Speaker 1: and I'm not a smoker, so you know that was whatever,
• 22:05
  Speaker 1: and I don't I think that's probably where that came from,
• 22:08
  Speaker 1: you know.
• 22:09
  Speaker 2: So once.
• 22:12
  Speaker 1: That was gonna happen, I was like, like, we're gonna
• 22:16
  Speaker 1: shoot the video. I'm like, wait a minute, you know
• 22:19
  Speaker 1: what I'm saying, Like the first those two together, We're
• 22:23
  Speaker 1: gonna shoot this this record, nah, because again there wasn't no,
• 22:27
  Speaker 1: it wasn't. It was a hardcore record, just rhyming everywhere.
• 22:32
  Speaker 1: I don't forget. I had to piece that together to
• 22:34
  Speaker 1: make the song work when I did the the radio version,
• 22:41
  Speaker 1: so long story saw it. Once they get to the
• 22:43
  Speaker 1: video shoot, don't forget they never heard the song.
• 22:45
  Speaker 2: Oh so they haven't heard that and heard your final
• 22:47
  Speaker 2: product yet.
• 22:48
  Speaker 1: So they had the video shoot and Fly Robin Fly
• 22:52
  Speaker 1: comes on and they cursing everybody out me Diale Motel,
• 22:57
  Speaker 1: Leo Russell, what the fuck is this? Because these are
• 23:01
  Speaker 1: hall core people. I got this shit fucking commercial as
• 23:04
  Speaker 1: a motherfucker singing fucking melody Old nine and they ended
• 23:10
  Speaker 1: up shooting it and the rest is history.
• 23:13
  Speaker 3: And then the rest of it and we got movies
• 23:15
  Speaker 3: and TV show out of the record exactly right, no
• 23:19
  Speaker 3: doubt because because there is even say you're Eric, great job,
• 23:23
  Speaker 3: you know again, because everybody was kind of not knowing
• 23:26
  Speaker 3: where it was going.
• 23:27
  Speaker 1: But Leo and them liked it, so they was like,
• 23:30
  Speaker 1: but you can imagine not showing up. I know they
• 23:33
  Speaker 1: didn't hit the record, so you're going to be mad too.
• 23:35
  Speaker 1: Show put the video on you here and you hear
• 23:37
  Speaker 1: some ship that you never even heard before, exactly, and
• 23:40
  Speaker 1: your vocals are cut. So where's the intro to this verse?
• 23:44
  Speaker 1: So where's the my other eight bars to this one?
• 23:47
  Speaker 1: So all that's going.
• 23:48
  Speaker 2: To talk to me about your production process these days
• 23:53
  Speaker 2: because technology has uh obviously evolved so much from when
• 23:58
  Speaker 2: you first started producing. So what is your production set
• 24:00
  Speaker 2: up these days? Because what was your OG setup?
• 24:03
  Speaker 1: A rolling w threety, a workstation like people that used
• 24:06
  Speaker 1: the ASR ten Yeah whatever, I had it, but I
• 24:10
  Speaker 1: didn't like the way it was what was moving for me.
• 24:12
  Speaker 1: So it worked for Timulin, for Kanye West and people
• 24:15
  Speaker 1: like that, but to me it didn't. But this station
• 24:17
  Speaker 1: only have fifteen seconds for yeah, fifteen seconds compared to
• 24:21
  Speaker 1: a whole bunch of temple time. So it was treated
• 24:23
  Speaker 1: like an SP twelve hundred the way I had it going.
• 24:26
  Speaker 1: But I was able to play with it. So because
• 24:29
  Speaker 1: me being able to play, I wanted to not have
• 24:33
  Speaker 1: just a drum machine. I wanted this too, So the
• 24:36
  Speaker 1: workstation is what I what I like, what I worked
• 24:40
  Speaker 1: on better, even though I got every machine possible and
• 24:43
  Speaker 1: just stayed with that, you know, it was better.
• 24:45
  Speaker 2: Fast forward to twenty twenty four.
• 24:47
  Speaker 1: Did I move to a motif because the motif had
• 24:52
  Speaker 1: mad samping time and it had eighty eight keys too,
• 24:56
  Speaker 1: that was heavy like a real piano. Because again and
• 25:00
  Speaker 1: I got I want to play. I don't want to
• 25:01
  Speaker 1: minty nothing, you know, I want to do this right.
• 25:04
  Speaker 1: So and I could also program too. So I'm used
• 25:07
  Speaker 1: to a workstation like when I was doing Kanye West
• 25:10
  Speaker 1: for the last since May, as soon as I came
• 25:14
  Speaker 1: into the session with me and him workstation asr TI
• 25:20
  Speaker 1: no matter what, all those years in nineties, one machine.
• 25:23
  Speaker 1: So if it's not broken, you know what I'm saying.
• 25:26
  Speaker 1: So again, and I watched I watched Jamaine Depri on
• 25:29
  Speaker 1: his thing when he's sitting down to MP and Rodney Jokers.
• 25:33
  Speaker 1: Everybody's back on that one machine.
• 25:35
  Speaker 2: Yeah, because it's like nowadays, like I'll see these younger
• 25:38
  Speaker 2: producers and they don't even it's just the computer.
• 25:40
  Speaker 1: Technology can't give you that. It can't give you that
• 25:43
  Speaker 1: analog you're looking for or that field or whatever like that.
• 25:46
  Speaker 1: That old machine is so weird that everybody went back.
• 25:50
  Speaker 1: And now the NPCs has came up with the STEM thing.
• 25:52
  Speaker 1: So now they got the STEM. So that's what the
• 25:54
  Speaker 1: best part of technology right now is that STEM thing.
• 25:56
  Speaker 1: So now the ship that we dreamed about, like did
• 25:59
  Speaker 1: they talking of you know, no, but you can just
• 26:01
  Speaker 1: take beat out based on whatever.
• 26:04
  Speaker 2: You can sample anything now.
• 26:06
  Speaker 1: But even if you do have the technology, do you
• 26:09
  Speaker 1: know what to do with it? They're still gonna be whack.
• 26:10
  Speaker 1: You can be whacked with with this machine.
• 26:14
  Speaker 2: You're a whack DJ. It don't matter if it got
• 26:15
  Speaker 2: easier to be a DJ.
• 26:17
  Speaker 1: People that that know how to get busy. Oh, it's
• 26:20
  Speaker 1: a fucking it was a miracle worker.
• 26:23
  Speaker 2: So you've been named with Kanye in the last few months,
• 26:25
  Speaker 2: six months in.
• 26:26
  Speaker 1: May doing the first album. Then after I went to Italy,
• 26:33
  Speaker 1: ty dollad Sound was there. So they have put something
• 26:37
  Speaker 1: called Voltures together. Yeah, even though I still made that project.
• 26:40
  Speaker 2: I've heard a lot of it.
• 26:41
  Speaker 1: Yeah, even though I still made the project, that wasn't
• 26:44
  Speaker 1: what I was working on with him.
• 26:46
  Speaker 2: So you were working on a YA album three Yes, okay,
• 26:50
  Speaker 2: and then you ended up making the Vultures project though.
• 26:52
  Speaker 1: No, I ended up going to Italy in the e
• 26:55
  Speaker 1: fact that when I got there, Tie already had sung
• 26:59
  Speaker 1: on one of my songs already. Then I ended up
• 27:02
  Speaker 1: doing another record too when when I when I got
• 27:04
  Speaker 1: to Italy so too. So I was in between. So
• 27:07
  Speaker 1: hopefully when this is done, we can get back.
• 27:10
  Speaker 2: To Yes what because I know, like Yay has this
• 27:15
  Speaker 2: thing where he likes to go like certain cities and
• 27:18
  Speaker 2: like you know, my beautiful dark twist of fantasy was Hawaii.
• 27:22
  Speaker 2: The click stuff was like I think it was like
• 27:24
  Speaker 2: in Paris. I mean he moves around, but what was
• 27:26
  Speaker 2: like the Italy sessions? Like what was that?
• 27:28
  Speaker 1: Like? It's crazy, yeah, because we was in things place
• 27:33
  Speaker 1: sing yeah fire so his his villains was fantastic. Yeah.
• 27:40
  Speaker 1: And and the vibe in the room, it's crazy, how
• 27:44
  Speaker 1: yay like PA speakers.
• 27:48
  Speaker 2: Yeah, not like not like what you would think, right,
• 27:51
  Speaker 2: it's literally like you.
• 27:52
  Speaker 1: Don't care about the bleeding, don't care about how loud
• 27:55
  Speaker 1: is He's one of the loud. Yeah, it doesn't matter.
• 27:57
  Speaker 1: The two pas and and and and in the two
• 28:00
  Speaker 1: subs on both of them, and that's it.
• 28:02
  Speaker 2: I was in this.
• 28:03
  Speaker 1: I was in every room at the hotel we had it,
• 28:07
  Speaker 1: at the warehouse we had it, and where was at
• 28:10
  Speaker 1: South Centee.
• 28:12
  Speaker 2: I was in Vegas, Tie inviting me out to Vegas
• 28:15
  Speaker 2: when the album was supposed to come out, and we
• 28:17
  Speaker 2: ended up in Yeay's suite and same thing. It's just
• 28:21
  Speaker 2: two speakers and he's Tiger was in there, YG was
• 28:25
  Speaker 2: in there. Uh, Little Dirk was in there all recording
• 28:29
  Speaker 2: while just the room is still rooming like it was
• 28:32
  Speaker 2: never like everybody shut up, it.
• 28:33
  Speaker 1: Was we was in the addition hotel crazy. That's crazy
• 28:39
  Speaker 1: on the eighth floor. Just that's wild, and no guests.
• 28:42
  Speaker 1: Nobody says ship, did you entie? Were you guys able
• 28:45
  Speaker 1: to bond a bit? I mean obviously guys. Yeah, yeah,
• 28:48
  Speaker 1: because because his brother when I got when I first
• 28:51
  Speaker 1: saw a tie, he stopped playing, or Eric Swimmon, shit,
• 28:53
  Speaker 1: he's because he was saying that my ninety five album
• 28:58
  Speaker 1: is what his brother put them on. Or I told
• 29:00
  Speaker 1: you he played six records and knew them all. Shut
• 29:03
  Speaker 1: the shit out of me.
• 29:04
  Speaker 2: You guys got to do the Green Eyes things, the
• 29:06
  Speaker 2: Green Eyes duo. But he's one of the greatest guys
• 29:09
  Speaker 2: in all the world. He's a great songwriter and he's
• 29:12
  Speaker 2: a great guy though, like a great human.
• 29:14
  Speaker 1: Yeah, I he was mad, Nonchalot stayed smoking, you know
• 29:21
  Speaker 1: what I'm saying. But again I'm the old head inside
• 29:24
  Speaker 1: the place because again I'm nine years old than Yay
• 29:28
  Speaker 1: though too so even though it's me and him and
• 29:31
  Speaker 1: and the writers, you know whatever, such and such, you know,
• 29:34
  Speaker 1: give by too much. But Yay is a person that
• 29:39
  Speaker 1: whatever people say is not what I experienced. He music
• 29:43
  Speaker 1: is music, and that passion that you have as a
• 29:46
  Speaker 1: producer when you hear something dope, it's like, y'all same ship. Yeah,
• 29:50
  Speaker 1: And that's all it was about about yo being whatever.
• 29:54
  Speaker 1: The You can't take nothing from his ear, the vibe,
• 29:59
  Speaker 1: the rhyme, the contexts, all of it. That's all I saw.
• 30:03
  Speaker 1: I don't know none other shit. I just know what
• 30:06
  Speaker 1: we was doing and how he felt about me.
• 30:09
  Speaker 2: Right.
• 30:09
  Speaker 1: You know, He's like, he said, everybody in here, that
• 30:13
  Speaker 1: person who's doing my wardrobe, the person who's building my building,
• 30:17
  Speaker 1: the one who's doing my president campaign. He said, these
• 30:20
  Speaker 1: people over here, everybody here geniuses. That's why you here.
• 30:24
  Speaker 2: Hey, man, you know that's some real shit. Hey, take
• 30:27
  Speaker 2: me back to you guys taking on Rappers Delight, because
• 30:32
  Speaker 2: another terrible uh. I have to admit that I'm I
• 30:36
  Speaker 2: only knew the Death Squad rappers Delight. So even when
• 30:40
  Speaker 2: I even to this day, like I know the og
• 30:42
  Speaker 2: Rappers Alight, but even to this day, like when I
• 30:44
  Speaker 2: see like when the O g Rappers a light comes on,
• 30:46
  Speaker 2: I see the Death Squad version. But what was that like,
• 30:50
  Speaker 2: did you guys initially get any sort of like blowback
• 30:52
  Speaker 2: for like remaking Harold Records.
• 30:55
  Speaker 1: Listen, it wasn't something to do, it was it was
• 30:59
  Speaker 1: a project that went on TV. Yeah, and they had
• 31:05
  Speaker 1: all the groups picked old records.
• 31:07
  Speaker 2: Oh so you guys picked that, Like it was kind.
• 31:08
  Speaker 1: Of like so Master P did six in the Morning
• 31:11
  Speaker 1: whatever that it's called. In the beginning, Oh, I remember
• 31:15
  Speaker 1: that there was like the Knuckles with the yeah the
• 31:19
  Speaker 1: album right in the beginning, everybody did something on there.
• 31:23
  Speaker 1: So when they came and got us, this is what
• 31:26
  Speaker 1: we chose because it was three of us three not
• 31:28
  Speaker 1: knowing that it was going to see the video m
• 31:31
  Speaker 1: TV the number one video.
• 31:33
  Speaker 2: Like yeah, we had the record back, like.
• 31:37
  Speaker 1: We beat Maxwell by ten thousand records to be number
• 31:39
  Speaker 1: one album in the country. Crazy the Squad went number
• 31:42
  Speaker 1: you know, you know because of what that was. But
• 31:45
  Speaker 1: we didn't do it on purpose, but we did it
• 31:47
  Speaker 1: blowback from the original people because I don't forget they're
• 31:50
  Speaker 1: still torn with it. So now the Death Squad then
• 31:53
  Speaker 1: came and now it took away from them. It took
• 31:56
  Speaker 1: a long time for them to be like yo, because
• 31:58
  Speaker 1: now we're not see like yo, what's everything is love?
• 32:01
  Speaker 2: But I was sure the Hell Gang went vicoated at first.
• 32:03
  Speaker 1: Right, because you're going to stop them from from from
• 32:06
  Speaker 1: moving around. You know, we don't know that.
• 32:09
  Speaker 2: I feel like the other way to look at it
• 32:10
  Speaker 2: is like thanks for putting some more life into this song.
• 32:13
  Speaker 1: And but that's what eventually happened.
• 32:15
  Speaker 2: Yeah, because like there, did you see the Grammys Tracy
• 32:18
  Speaker 2: Chapman performed with this country singer who she has a
• 32:21
  Speaker 2: song called fast Card from like nineteen eighty jac Yeah,
• 32:24
  Speaker 2: and uh, this country singer covered it, wow, and like
• 32:28
  Speaker 2: it was a huge country song. But they did it
• 32:30
  Speaker 2: at the Grammys. And so now Tracy Chapman's song it's
• 32:34
  Speaker 2: number one, number one. Now it's number one, so it's craziest.
• 32:37
  Speaker 1: But believe me, I was telling my man the other day, like,
• 32:41
  Speaker 1: and this is this is not no no bos or nothing.
• 32:43
  Speaker 2: Yeah, but.
• 32:47
  Speaker 1: Me onwed my own publishing. Anybody calls me. So if
• 32:50
  Speaker 1: it was for all the fifty cent shows, you know whatever,
• 32:54
  Speaker 1: my placements, they got to call me direct. I was
• 32:57
  Speaker 1: telling my man that music, I mean, the Weekend is
• 33:01
  Speaker 1: one of the most streaming artists in the world. Right,
• 33:04
  Speaker 1: so him and metro Booming did I don't want to
• 33:07
  Speaker 1: know op? Yeah, which is your customer right, only four
• 33:12
  Speaker 1: percent of that four percent of that of that record, right,
• 33:17
  Speaker 1: four percent of the original of no of that record
• 33:21
  Speaker 1: of metro booming of your customer on that song.
• 33:26
  Speaker 2: So you owned four percent of creeping of the publishing.
• 33:30
  Speaker 1: Right. Listen every four months get so much it brings.
• 33:36
  Speaker 2: In two hundred dollars.
• 33:42
  Speaker 1: That's crazy, yo yea yo yo, but that's two forty.
• 33:45
  Speaker 1: But that's crazy. How he was on the money. Yeah,
• 33:51
  Speaker 1: four percent?
• 33:54
  Speaker 2: Talk about tracks and track Wait, hold on, so let
• 33:57
  Speaker 2: me get this straight. So when you because you have
• 34:00
  Speaker 2: to hear the song first before you clear it.
• 34:01
  Speaker 1: Yes, even when they did the mad singer and the
• 34:04
  Speaker 1: mad somebody on the madd singer sung did the record, Yeah,
• 34:07
  Speaker 1: mass singer called me. Everybody has to call because again,
• 34:11
  Speaker 1: anybody's not fortunate. Because luckily Leo calling his brother made me,
• 34:16
  Speaker 1: made me and made me me so I didn't have
• 34:20
  Speaker 1: to sell the publishing because people sell publishing when they
• 34:24
  Speaker 1: need to get the money. So luckily I was able
• 34:26
  Speaker 1: to survive without doing.
• 34:28
  Speaker 2: That for you. Like, I think most people don't understand
• 34:33
  Speaker 2: that how important the pub game is because we always
• 34:36
  Speaker 2: are pushed like, well, the streaming only pays this if
• 34:38
  Speaker 2: you get a million streams, it's like thirty eight hundred bucks.
• 34:40
  Speaker 2: But like the real money is really in the pub right,
• 34:43
  Speaker 2: Like if you can like own your publishing.
• 34:45
  Speaker 1: It's back this up. Yeah, even though streaming might be
• 34:48
  Speaker 1: less than one cent, there's still more money being made
• 34:51
  Speaker 1: than you signed to a label.
• 34:54
  Speaker 2: It's still more money being made if you don't sign
• 34:57
  Speaker 2: to a label.
• 34:58
  Speaker 1: You was signed to a label, Okay, and you and
• 35:01
  Speaker 1: and you are independent streaming, you it's a chance that
• 35:06
  Speaker 1: you can make more money than being on a major exactly. Yeah,
• 35:09
  Speaker 1: for sure, even with the less than one penny. Yeah,
• 35:12
  Speaker 1: it's rough because you I mean, but but but but
• 35:15
  Speaker 1: people don't know. If you're not in the game, you
• 35:16
  Speaker 1: wouldn't know that. But I have a streaming company, so
• 35:18
  Speaker 1: I'm witness to what.
• 35:21
  Speaker 2: It makes right on the pub side though, because I
• 35:23
  Speaker 2: feel like the publishing side of music is not talked
• 35:26
  Speaker 2: about enough. And I also feel like.
• 35:27
  Speaker 1: Oh, no, people know nobody just what you've seen all
• 35:29
  Speaker 1: the arguments with the locks and puff and anybody would
• 35:32
  Speaker 1: publishing that's always been a big deal.
• 35:35
  Speaker 2: No, I mean I'm talking about this new these new kids.
• 35:37
  Speaker 1: Man, Oh, they don't have a clue, They have no
• 35:38
  Speaker 1: idea because the three sixty as.
• 35:40
  Speaker 2: They're just coming to be like how much is my advance?
• 35:42
  Speaker 1: That's it?
• 35:44
  Speaker 2: And then they're be like, oh shit, I don't know
• 35:45
  Speaker 2: my master's and my publishing or they'll rush into a
• 35:48
  Speaker 2: pub deal. They'll they'll get one placement and then everybody.
• 35:53
  Speaker 1: Here with Kevin is talking about because Kevi don't got
• 35:55
  Speaker 1: to do this, but he is doing this. He's just
• 35:57
  Speaker 1: trying to not to to to downplay y'all, but to
• 36:00
  Speaker 1: let y'all know what y'all have to do, because this
• 36:03
  Speaker 1: thing is not gonna it's not a lasting thing at
• 36:06
  Speaker 1: this time. We live in in moments times of popularity
• 36:11
  Speaker 1: where things are fast food, every new every hour. Something
• 36:14
  Speaker 1: is coming.
• 36:15
  Speaker 2: Yeah, And if you catch one placement as a producer,
• 36:18
  Speaker 2: someone's going to offer you a co pub deal, not
• 36:20
  Speaker 2: an ADMIN deal. And that co pub deal it could
• 36:23
  Speaker 2: be I mean that means your full partners with a
• 36:26
  Speaker 2: publishing company, and it could be ten years, it could
• 36:29
  Speaker 2: be in perpetuity, it could be a lot of differents.
• 36:31
  Speaker 1: Whatever people somebody a full one K or your timement plan.
• 36:34
  Speaker 1: This is what publishing is, is your life. If you're
• 36:37
  Speaker 1: able to have some of it, please have as much
• 36:40
  Speaker 1: as you can.
• 36:41
  Speaker 2: Because you're gonna get that mailbox money every all the time.
• 36:44
  Speaker 1: It never stops. And then all of a sudden you
• 36:46
  Speaker 1: might catch a placement like I just told.
• 36:49
  Speaker 2: You, yeah, which is crazy how many years.
• 36:51
  Speaker 1: Later I know, but it happens. But I'm just giving
• 36:53
  Speaker 1: you one. Yeah, this happens all the time. I'm just
• 36:56
  Speaker 1: giving me one thing about having publishing and what it
• 36:59
  Speaker 1: can do for.
• 37:00
  Speaker 2: You for sure, man for you on this on this
• 37:05
  Speaker 2: new album? How cool was it to give the fans?
• 37:08
  Speaker 2: I mean, I know we're gonna when's the.
• 37:10
  Speaker 1: Album drop April? I think first week in April.
• 37:13
  Speaker 2: First week of April, But how cool is it going
• 37:15
  Speaker 2: to be to give the fans some new apm D.
• 37:18
  Speaker 1: Yeah, I mean it's so crazy how the label be like, Yo,
• 37:22
  Speaker 1: I like the e p m D record And I'm like,
• 37:24
  Speaker 1: are you saying because of me? You know what I'm saying.
• 37:26
  Speaker 1: But I think that I just think that the fans
• 37:30
  Speaker 1: are going to be happy if I was on there
• 37:31
  Speaker 1: Burpen right, because it's it's just a because it's a
• 37:36
  Speaker 1: new EPMD song or new Ciprus Hills red right, you know,
• 37:40
  Speaker 1: the new mob D so people, oh yeah, the mob
• 37:42
  Speaker 1: deep shit is crazy because because of Prodigy. So but
• 37:46
  Speaker 1: again when people hear it, they like, oh okay, And
• 37:51
  Speaker 1: then hopefully I did my job for it to feel
• 37:54
  Speaker 1: like it's supposed to feel like, because don't forget our
• 37:57
  Speaker 1: colleagues don't go because they either scared or like you said,
• 38:03
  Speaker 1: the records don't come out correctly, you know, So hopefully
• 38:07
  Speaker 1: I was able to correct it to too, like when
• 38:11
  Speaker 1: I was when I was here with Dre. I you
• 38:14
  Speaker 1: see on my Instagram, when I was me and Dre
• 38:16
  Speaker 1: stuyo everybody with viral, Me and Dre made five records,
• 38:22
  Speaker 1: you know, and he made three in one night, crazy,
• 38:26
  Speaker 1: you know, off of my production though, and then I
• 38:31
  Speaker 1: did we did another one with Snoop that post on
• 38:35
  Speaker 1: the new Snoop record, and I also did one with
• 38:39
  Speaker 1: him that me and him rhyme doing, which is crazy wow,
• 38:43
  Speaker 1: you know. But again, Kevin, it's just a blessing because
• 38:48
  Speaker 1: I don't want to. I never talked, so I hate
• 38:52
  Speaker 1: to be bigger, bigg enough myself because I'm not used
• 38:54
  Speaker 1: to doing that. I would always been introverted, always been quiet.
• 38:57
  Speaker 1: But again, at the end of the day, a lot
• 38:59
  Speaker 1: of dopes that has happened in the last couple of
• 39:01
  Speaker 1: years for this to be what this is because it's
• 39:04
  Speaker 1: only volume one, So.
• 39:05
  Speaker 2: Is is it going to be a duo's thing after?
• 39:08
  Speaker 1: Of course that is my my brand, I mean of course,
• 39:12
  Speaker 1: so so now it's a brand of me maker. So
• 39:15
  Speaker 1: I'm over there and like saying, you know, you know
• 39:19
  Speaker 1: what with saying about the Larry Junes and the and
• 39:23
  Speaker 1: the Source Walkers and all these people that I'm looking
• 39:26
  Speaker 1: at to do music with. You know, the Core days
• 39:30
  Speaker 1: that Freddie Gibson all these other you work with Freddy. Yeah,
• 39:34
  Speaker 1: I worked with Freddy back in twenty fourteen.
• 39:37
  Speaker 2: He was on Interscope or no no twenty fourteen, No, no, no,
• 39:39
  Speaker 2: that was that was That was around the time he
• 39:41
  Speaker 2: put out Bandana or Pinata.
• 39:44
  Speaker 1: Yeah, but that was I was there before that time.
• 39:46
  Speaker 2: I've been. He's been one of my best friends in
• 39:48
  Speaker 2: about twenty.
• 39:49
  Speaker 1: Of the DJ that was what's the DJ name? The
• 39:52
  Speaker 1: one that that he was signed to first in two
• 39:55
  Speaker 1: thousand and eight, two thousand and nine did the Ski. Yeah,
• 39:59
  Speaker 1: I'm back then working the Ski from that time. So
• 40:03
  Speaker 1: I told listen, keV, no rappers that rapped didn't come
• 40:10
  Speaker 1: to me nothing.
• 40:12
  Speaker 2: He was rapping if he was a rapping ass motherfucker.
• 40:14
  Speaker 2: You know what I mean?
• 40:16
  Speaker 1: Because the only a few of us did production. You
• 40:18
  Speaker 1: only can go for a few people.
• 40:20
  Speaker 2: Right, that's crazy? Tell me about Uh there was the
• 40:29
  Speaker 2: Martin Lawrence Danny DeVito soundtrack. I forget the name of
• 40:32
  Speaker 2: the movie.
• 40:33
  Speaker 1: What's the worst it could happen?
• 40:34
  Speaker 2: What's the worst it could happen? But it sparks your
• 40:37
  Speaker 2: biggest solo hit because I remember it being a kid,
• 40:39
  Speaker 2: and like, I could not turn on the fucking radio
• 40:42
  Speaker 2: without hearing music. It was every believe it.
• 40:47
  Speaker 1: I couldn't to me again. Music was not supposed to
• 40:51
  Speaker 1: leave my downstairs. The guy's my friend, but no, he
• 40:55
  Speaker 1: stole my CD. I played it for him and he
• 40:58
  Speaker 1: stole out my CD play. Then he went to California
• 41:01
  Speaker 1: and went to a clear channel the Direcord convention. And
• 41:07
  Speaker 1: then I'm sitting on the steps of the w A
• 41:09
  Speaker 1: lady comes down and says, Yo, your song with Marvin
• 41:11
  Speaker 1: Gaye is great. So now you can imagine me Kevin.
• 41:14
  Speaker 1: I'm losing my mind, Like what is she talking about?
• 41:16
  Speaker 1: And who told her about this?
• 41:18
  Speaker 2: Crazy?
• 41:19
  Speaker 1: The whole convention had heard the record. Next thing you know,
• 41:23
  Speaker 1: I go to Miami. I'm number one and next you know,
• 41:26
  Speaker 1: just whatever. Because the head of Clear Channel I've got
• 41:29
  Speaker 1: his name was at the time, he loved it and
• 41:33
  Speaker 1: I was it. And then Jimmy Iveen, of course I
• 41:37
  Speaker 1: worked with him before ninety five. He was like for
• 41:44
  Speaker 1: the soundtrack. Yeah, so the soundtrack was moving. But Clive
• 41:48
  Speaker 1: Davis and Tommy Mottola was like, listen, what do what
• 41:53
  Speaker 1: do you want? So I went to Tommy Mottola and said, yo,
• 41:56
  Speaker 1: two million dollars you know whatever like that. But now
• 41:59
  Speaker 1: went to Clive class said I give him four million
• 42:01
  Speaker 1: dollars and I give him half as far as fifty
• 42:04
  Speaker 1: to fifty.
• 42:04
  Speaker 2: Me and him.
• 42:05
  Speaker 1: He make money. I make money.
• 42:06
  Speaker 2: Wow.
• 42:07
  Speaker 1: That's how huge the song was.
• 42:09
  Speaker 2: Was that because it was there already a buzz for
• 42:12
  Speaker 2: it before it like officially was like.
• 42:14
  Speaker 1: The buzz yeah, because it happened in La.
• 42:16
  Speaker 2: Okay, so everybody had already heard the record and knew it.
• 42:19
  Speaker 1: It was already that was at everybody that was at
• 42:23
  Speaker 1: the convention.
• 42:23
  Speaker 2: It's Clear Channel. So it was so then you have
• 42:25
  Speaker 2: to worry about it, like okay, as long as y'all
• 42:27
  Speaker 2: go get this cleared, because then you got to clear it.
• 42:29
  Speaker 1: But that's what happened. Yeah, we got stuck up because
• 42:32
  Speaker 1: it was one hundred fifty thousand dollars to the state
• 42:35
  Speaker 1: and then faded down to the lawyer. So it cost
• 42:37
  Speaker 1: two hundred to clear the record yep, for the whole process.
• 42:40
  Speaker 1: Such a great record though, man, But it was worth
• 42:42
  Speaker 1: it two hundred because it gave me. It gave me,
• 42:45
  Speaker 1: It gave me a career, it gave me another half
• 42:46
  Speaker 1: of my life.
• 42:47
  Speaker 2: Yeah, because then after that you have React and.
• 42:49
  Speaker 1: All of it. Yeah, nobody, nobody knew that I was
• 42:52
  Speaker 1: going to come back with something like that afterwards, because again,
• 42:55
  Speaker 1: when something that big happens, they're like, oh no, that's
• 42:57
  Speaker 1: it for him. And I came right back mm hmm
• 43:01
  Speaker 1: with with that.
• 43:01
  Speaker 2: Yeah, for sure. Man, talk to me, keV Kevin.
• 43:06
  Speaker 1: You know you're part of one of the greatest duos
• 43:12
  Speaker 1: of all time.
• 43:12
  Speaker 2: Who's Who's the Mount Rushmore of rap duos? For you?
• 43:14
  Speaker 2: Give me the top four rap duos of all time?
• 43:22
  Speaker 1: Outcasts?
• 43:23
  Speaker 2: Yeah, you can't say yourself.
• 43:26
  Speaker 1: But then you can't let me see wow duos, I'm
• 43:33
  Speaker 1: stuck right now.
• 43:35
  Speaker 2: Give me the top four man mount Rushmore so far.
• 43:38
  Speaker 2: You're two for two though.
• 43:39
  Speaker 1: Yeah, but but but why am I going blank?
• 43:44
  Speaker 2: There's so many. There's there's there's Mob Deep, the.
• 43:48
  Speaker 1: Bye okay, you got okay, Well I'm gonna go.
• 43:53
  Speaker 2: And then that's the other thing that considered the producer.
• 43:58
  Speaker 1: The Mob Deep start definitely, and then you have see
• 44:06
  Speaker 1: I don't look at the dun never do it because
• 44:10
  Speaker 1: because they put both names. But that's my favorite apping. Well,
• 44:13
  Speaker 1: but again you have M O P, which is an
• 44:18
  Speaker 1: underrating group, and like that's when it comes to underrated lyrically.
• 44:27
  Speaker 1: I mean this fantastic.
• 44:29
  Speaker 2: Fucking m He was one of my favorite rock groups
• 44:31
  Speaker 2: of all time. I saw them perform live and they
• 44:34
  Speaker 2: used to roll with that chick Fox, the girl who's
• 44:37
  Speaker 2: on four alarm blaze and uh, the sound guy kept
• 44:40
  Speaker 2: he was fucking with their sound at the show. And
• 44:42
  Speaker 2: I'm like in the front row and Fox beats the
• 44:45
  Speaker 2: funk out of the sound guy. Sound sound turns off.
• 44:48
  Speaker 2: There's no more. The concerts over it. I haven't even
• 44:50
  Speaker 2: done any up yet. These fuckers got into the crowd
• 44:53
  Speaker 2: and did anie up a cappella with the crowd.
• 44:55
  Speaker 1: It was sick is snoop and no.
• 44:59
  Speaker 2: I think they gotta be. I mean they are, but
• 45:01
  Speaker 2: I think they got to be.
• 45:02
  Speaker 1: Like it'd be like.
• 45:03
  Speaker 2: Saying Ray Kuana Ghost. It's like, well, like they were,
• 45:06
  Speaker 2: I know nothing outcast, I think E P and D.
• 45:10
  Speaker 2: When I think Duo's I think, I think Gang Star.
• 45:13
  Speaker 2: I think, uh, but but not but again.
• 45:17
  Speaker 1: You you you like you said when you think about
• 45:21
  Speaker 1: the Pepper Pepa, you think about again.
• 45:24
  Speaker 2: But run DMC, of course.
• 45:26
  Speaker 1: Eric in Paris.
• 45:27
  Speaker 2: What I'm saying is run DMC at Duo. There's three
• 45:29
  Speaker 2: of them, right.
• 45:31
  Speaker 1: But run DMC is run DMC even though they say
• 45:35
  Speaker 1: damn ja message.
• 45:36
  Speaker 2: But I'm saying, but that's why I said, do we
• 45:38
  Speaker 2: qualify Gang Star because Primo is just the producer?
• 45:42
  Speaker 1: Right?
• 45:42
  Speaker 2: Do we qualify Eric B and Rock here because Eric
• 45:45
  Speaker 2: B was making beats? That's what I'm saying. So it's
• 45:49
  Speaker 2: like it is if we're if we're saying just the
• 45:52
  Speaker 2: two are like you have to also rap, then it's
• 45:54
  Speaker 2: you guys, it's outcast. It's probably mob deep.
• 45:58
  Speaker 1: But you gotta think about the impact of a ball and.
• 46:05
  Speaker 2: K. I would put GK is my fourth spot because
• 46:09
  Speaker 2: you think of you GK and like how they influenced.
• 46:12
  Speaker 1: Every I like UGK on the record, Wow you got
• 46:16
  Speaker 1: pimpcy worse? Oh Man, Kevin, I think you'll know me
• 46:21
  Speaker 1: man like that. Man, I don't, I know.
• 46:23
  Speaker 2: I know. We always like like there's you know, the
• 46:24
  Speaker 2: most influential list, and I think you know it's Jay,
• 46:27
  Speaker 2: It's Pocket's you Go Rock Camp. But Pimpsy's in that discussion.
• 46:31
  Speaker 2: It's crazy how much Pimpsy.
• 46:34
  Speaker 1: Even though it was only one album though, but I'm
• 46:37
  Speaker 1: looking at that Clips still.
• 46:38
  Speaker 2: Too, Clips no, no.
• 46:40
  Speaker 1: They have three albums, three yeah, but I'm saying with
• 46:42
  Speaker 1: the impact of.
• 46:43
  Speaker 2: Their first two albums obviously Lord Willing. Now you know
• 46:46
  Speaker 2: what if you're talking about my personal favorite, that's a
• 46:48
  Speaker 2: different list because to me, the Clips, as you dangerous,
• 46:52
  Speaker 2: they're highly dangerous in my life. Dangerous, yeah for sure.
• 46:55
  Speaker 1: Man.
• 46:56
  Speaker 2: So first week in April, the Dynamic Duos is coming.
• 47:00
  Speaker 1: Yeah, and again at the end of the day, like
• 47:02
  Speaker 1: it's a it's a a situation. Oh too, I got
• 47:08
  Speaker 1: to help the sculor too.
• 47:10
  Speaker 2: Hey man, rest in peace to Sean Price.
• 47:12
  Speaker 1: Again. I don't know if if I'm dropping everything at
• 47:16
  Speaker 1: once because there's so many and I want to be
• 47:19
  Speaker 1: able to to to keep the excitement. But I can
• 47:23
  Speaker 1: go on and tell you that nobody said no to me.
• 47:26
  Speaker 1: People love the idea, love the concept and everybody was like, yo,
• 47:29
  Speaker 1: I got you, I got you, I got you, I
• 47:32
  Speaker 1: got you.
• 47:33
  Speaker 2: Is it like working with because you've already and Jason?
• 47:38
  Speaker 2: I mean, but I was gonna say the fact they
• 47:41
  Speaker 2: never did that album together, just the two. You know,
• 47:44
  Speaker 2: they need to do just that. They need to do
• 47:47
  Speaker 2: their version of Iron Man or you know, only Built
• 47:50
  Speaker 2: for Cuban.
• 47:50
  Speaker 1: Links right, Well, well they did two two purple tapes.
• 47:56
  Speaker 2: No I'm talking about Ghost Fate or I'm talking about
• 47:59
  Speaker 2: Jada and Styles.
• 48:00
  Speaker 1: There's version of that, but I don't know, but they
• 48:05
  Speaker 1: don't want to leave exactly.
• 48:08
  Speaker 2: With that being said, though, is it is it like
• 48:12
  Speaker 2: because you you have a lot of people on that,
• 48:15
  Speaker 2: on this project or on these projects that aren't with
• 48:17
  Speaker 2: us anymore. Yes, uh Prodigy Sean Price. But I was
• 48:23
  Speaker 2: gonna ask you, like, is it is? How is it like?
• 48:27
  Speaker 2: How much is it like when you hear Sean Price's
• 48:31
  Speaker 2: vocals for the first time, Like I feel like I
• 48:32
  Speaker 2: would get goosebumps and just be like damn, Like is
• 48:36
  Speaker 2: the pressure higher knowing you got to have to kind
• 48:38
  Speaker 2: of like deliver because.
• 48:41
  Speaker 1: Because again it doesn't you know, it's like you dope,
• 48:44
  Speaker 1: but what you do. I ain't whack, So when that
• 48:49
  Speaker 1: beat come on, it's going to be like, oh why
• 48:52
  Speaker 1: not back? You know, because I don't have it. It
• 48:57
  Speaker 1: sounds deaf pose that come from his brother Leo Cohen.
• 49:00
  Speaker 1: You know, like if sounds deaf posse means somebody said, yo, ho,
• 49:03
  Speaker 1: do you like that? Or that's dope. I don't have
• 49:05
  Speaker 1: the people that's agreeing. You know, they don't don't agree
• 49:08
  Speaker 1: with me. You don't fuck with it, don't fuck with it.
• 49:10
  Speaker 1: Just tell me the truth, you know what I'm saying.
• 49:11
  Speaker 1: So that's what I like about people who I'm around,
• 49:15
  Speaker 1: you know, and I know if it's not good because
• 49:17
  Speaker 1: I sit there and sit there myself and be like,
• 49:18
  Speaker 1: oh nah, just I could add some better dums.
• 49:20
  Speaker 2: You know what I'm saying? What uh? What did you like?
• 49:23
  Speaker 2: Because coming up like eighties deaf jam is kind of
• 49:26
  Speaker 2: like hip hop fucking a loure. Like when we think
• 49:29
  Speaker 2: about what def jam meant it was, we think about
• 49:32
  Speaker 2: the eighties, right, I think your guy's logo, you know
• 49:34
  Speaker 2: what I mean?
• 49:35
  Speaker 1: The nineties.
• 49:36
  Speaker 2: Yeah, So for me it's like, uh, I want to know,
• 49:39
  Speaker 2: what is something that you were able to learn from
• 49:43
  Speaker 2: being around Leo and Russ. Yeah, that's and also the
• 49:47
  Speaker 2: fact that you were able to kind of like just
• 49:49
  Speaker 2: thrive under them in like a way that I don't
• 49:51
  Speaker 2: think a lot of people would expect.
• 49:52
  Speaker 1: Like yeah, because I was, I was one of the
• 49:54
  Speaker 1: producers and along with the group, you know what I'm saying.
• 49:58
  Speaker 1: Like Leo tells story sometimes when when when when death
• 50:03
  Speaker 1: Jam was was in trouble, Redman came the bail out.
• 50:07
  Speaker 2: Yeah, that was like that that weird era where it
• 50:09
  Speaker 2: was like jail felony, the R.
• 50:11
  Speaker 1: The R E L things with that that was moving
• 50:14
  Speaker 1: in transition between polygramm and whatever.
• 50:17
  Speaker 2: I would say, warrant g's regulate help saved the label.
• 50:20
  Speaker 1: I mean, Leo the whole no punches about what he
• 50:22
  Speaker 1: speaks about how things were, the money, the whole thing
• 50:26
  Speaker 1: up too. But again e PMD was the fifth group
• 50:29
  Speaker 1: sounded Death Jam. So at the early time when we
• 50:32
  Speaker 1: were at when Russell came and got us from seeing
• 50:34
  Speaker 1: Baker Records because they had to audit and we came,
• 50:38
  Speaker 1: that was the first time that we saw that that
• 50:44
  Speaker 1: we was in that it things could be better because
• 50:48
  Speaker 1: we had number one albums in the country back to
• 50:51
  Speaker 1: back and we didn't have any money because at first
• 50:55
  Speaker 1: you don't look at the money in the beginning, but
• 50:57
  Speaker 1: then when you when time goes by and and were
• 51:00
  Speaker 1: on fire like that, it didn't match. Yeah, and Russell
• 51:04
  Speaker 1: was like, we got to get them off of there
• 51:06
  Speaker 1: and then and they got us off for there and
• 51:08
  Speaker 1: we signed for one point six million dollars at death Sham.
• 51:10
  Speaker 2: At that time, what was your first nationwide tour like run.
• 51:17
  Speaker 1: DMC was eighty eight. It was e pm D, Public Uennemy,
• 51:23
  Speaker 1: Jay Jeffin, First Prince Jesus, you know, and the Running
• 51:27
  Speaker 1: House Tour was the tour, and Russell was run told Russell,
• 51:33
  Speaker 1: go get them boards from Long Island, you know, because
• 51:35
  Speaker 1: don't forget we're the up and comings. This is run DMC.
• 51:40
  Speaker 1: So they so at this time the projectory of trying
• 51:43
  Speaker 1: to make the tour run, make sure we got the
• 51:47
  Speaker 1: highest people on it because j Jeffin first person is
• 51:49
  Speaker 1: on fire fire, so public enemy is on fire. And
• 51:53
  Speaker 1: then all of a sudden, these two guys from Long
• 51:55
  Speaker 1: Ol epm D is on fire. To the point where
• 51:58
  Speaker 1: when we was on the on tour and Fresh Prince
• 52:02
  Speaker 1: had stopped it show and said, hold, look, when to
• 52:03
  Speaker 1: congratulate EPMD for number one alum in the country. Me
• 52:06
  Speaker 1: and Powers know what that means on Billboard? What do
• 52:09
  Speaker 1: you mean? But EPMD was that phenomen We was number
• 52:14
  Speaker 1: one in the country back to back on both albums.
• 52:17
  Speaker 2: What was it like backstage though, like at the hotels
• 52:21
  Speaker 2: during those days, because it was crazy.
• 52:23
  Speaker 1: Because it was Arenas so so again to be and
• 52:26
  Speaker 1: Arenas and have like the colzone cases full of clothes
• 52:29
  Speaker 1: or Adidas or like basketball rims in the back. Like
• 52:32
  Speaker 1: the stuff that you hear about is what it was.
• 52:34
  Speaker 1: But I'm a kid, so all the stuff is still
• 52:37
  Speaker 1: brand spanking new. And don't forget me and Powis Rode
• 52:40
  Speaker 1: or run them seas bus. We didn't have the money
• 52:42
  Speaker 1: for a bus and run invite us to ride with them.
• 52:45
  Speaker 2: Now automatically, you guys got your own bunk on their bus.
• 52:49
  Speaker 1: I'm on the bottom though, but I'm watching the Adidas
• 52:51
  Speaker 1: walk by every morning to get off the bus, you know.
• 52:54
  Speaker 1: But it was something special because they didn't have to
• 52:56
  Speaker 1: do that, but they did.
• 52:57
  Speaker 2: That's so crazy to think that that tour happened. Public Enemy,
• 53:01
  Speaker 2: run DMC p m D and Fresh Princes and Jazzy Jeff. Wow,
• 53:06
  Speaker 2: that's crazy.
• 53:06
  Speaker 1: Runts House and I don't know where the footage is.
• 53:09
  Speaker 1: I always ask Charlie Mack says, oh, no, I haven't.
• 53:11
  Speaker 1: I'm like, this is the only thing on on YouTube
• 53:14
  Speaker 1: that we can't see.
• 53:16
  Speaker 2: Yeah, there's footage for everything else. It feels like this, but.
• 53:19
  Speaker 1: One of the biggest tours, like after you know, Fresh
• 53:22
  Speaker 1: Frest and all that stuff, somebody's.
• 53:23
  Speaker 2: Got on VHS or something somewhere in a.
• 53:25
  Speaker 1: Closet haven't came out yet.
• 53:27
  Speaker 2: Yeah, that's gotta be Yeah, that's crazy, man. Well, look,
• 53:29
  Speaker 2: I appreciate you pulling up too.
• 53:32
  Speaker 1: A great interview. I appreciate that.
• 53:33
  Speaker 2: Thank you man. The new albums coming first week in April. Yeah,
• 53:36
  Speaker 2: fully produced.
• 53:37
  Speaker 1: By It's gonna be crazy because you're gonna be like,
• 53:39
  Speaker 1: you know, Eric was here talking about this ship. Now
• 53:41
  Speaker 1: I heard this ship. You can't wait to hear hopefully
• 53:43
  Speaker 1: Monty lets you.
• 53:44
  Speaker 2: How many how many volumes do you think you're gonna
• 53:46
  Speaker 2: be doing?
• 53:47
  Speaker 1: Well? I'm gonna do another dynamic duo with with with
• 53:50
  Speaker 1: the young people, with all young rappers though they're the
• 53:53
  Speaker 1: ones that know right so, and then I'm gonna do
• 53:57
  Speaker 1: with soloists okay, still under the names I never do.
• 54:02
  Speaker 1: They did them do a R and B thing where
• 54:04
  Speaker 1: all the R and B acts that people are not
• 54:06
  Speaker 1: talking about. I'm putting them together too.
• 54:08
  Speaker 2: M hmm. That's gonna be hard there.
• 54:10
  Speaker 1: It is, no, because it's an easy process. This is
• 54:13
  Speaker 1: like doing your sleep. As much as it might be
• 54:15
  Speaker 1: like a lot, it's nothing.
• 54:16
  Speaker 2: Well, I appreciate you pulling up. I look forward to
• 54:18
  Speaker 2: hearing Eric hermy boom keV.
• 54:20
  Speaker 1: There you go.
• 54:21
  Speaker 2: Fire