Latest / The Bootleg Kev Podcast / #577 - Don Trip & Starlito Talk Step Brothers 4, “Letter To My Son”, Representing Memphis/Nashville

Transcript

#577 - Don Trip & Starlito Talk Step Brothers 4, “Letter To My Son”, Representing Memphis/Nashville · The Bootleg Kev Podcast

• 0:00
  Speaker 1: Yo.
• 0:00
  Speaker 2: Before we get into the interview, man, I want to
• 0:02
  Speaker 2: give a shouts to all my radio stations all across
• 0:04
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• 0:06
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• 0:09
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• 0:12
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• 0:26
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• 0:29
  Speaker 2: you want to know for on in your city, just
• 0:31
  Speaker 2: go to Bootleg cav dot com. The fullest of cities
• 0:33
  Speaker 2: is there. You might hear us. Let's get into the
• 0:35
  Speaker 2: interview boutlet CAV podcast.
• 0:40
  Speaker 3: Man.
• 0:41
  Speaker 2: We got special guests in here, a couple of Tennessee boys,
• 0:44
  Speaker 2: one from Memphis, one from Nashville. Don Trip Starledo, Welcome,
• 0:49
  Speaker 2: what's had to Step Brothers? Step Brothers are here, man,
• 0:52
  Speaker 2: all live, Yes, sir, you guys just drop the deluxe Yeah,
• 0:56
  Speaker 2: yeah yeah, step Brothers four and a half. It's crazy
• 1:01
  Speaker 2: because you guys have put together this like series of
• 1:04
  Speaker 2: projects over the last I mean, when was the first one.
• 1:06
  Speaker 2: It's been at least what like nine ten years long?
• 1:09
  Speaker 4: Twenty eleven Brothers.
• 1:11
  Speaker 2: One damn July Agent. I feel aged. I just watched
• 1:16
  Speaker 2: the Letter to my Son video and I just saw
• 1:18
  Speaker 2: how young you looked in that video, and I realized
• 1:20
  Speaker 2: how long ago.
• 1:23
  Speaker 1: Yeah, well, I definitely had fewer grades.
• 1:25
  Speaker 2: Yeah for sure, but you embraced the grades on the
• 1:27
  Speaker 2: new music too, which I appreciate.
• 1:29
  Speaker 1: You got man. Yeah, Man's life, you know, running from
• 1:33
  Speaker 1: it would would resolve nothing.
• 1:35
  Speaker 2: Man, I wonder man for y'all, Like, you guys have
• 1:37
  Speaker 2: always kind of been this underrated force in music, and
• 1:42
  Speaker 2: when you guys get together, there's just something special about
• 1:46
  Speaker 2: when you guys put these step Brothers projects together, or
• 1:48
  Speaker 2: when you guys get on each other's records. When was
• 1:50
  Speaker 2: the initial because you guys say that the music guys
• 1:53
  Speaker 2: two hundred miles away from each other. What's the initial
• 1:55
  Speaker 2: link up? What's the initial genesis of this relationship? And
• 2:00
  Speaker 2: I guess this crazy synergy you guys have.
• 2:02
  Speaker 1: Creatively, You mean, like where it started? Yeah?
• 2:05
  Speaker 2: Where did it all start at? Between y'all? Two it started.
• 2:09
  Speaker 2: I was on the road with Yo Gotti mixtape Gotti.
• 2:14
  Speaker 1: I don't know if he was working on mixtapes.
• 2:16
  Speaker 2: Like TV T Gott.
• 2:16
  Speaker 3: He probably after that. It was around the time probably
• 2:21
  Speaker 3: cocaine music.
• 2:24
  Speaker 1: Between four and he better with the timeline than me.
• 2:27
  Speaker 4: Yeah, I was there, it wasn't there.
• 2:29
  Speaker 1: Yeah I was. I was there and still wasn't.
• 2:33
  Speaker 4: So he's never yeah, never all the way there.
• 2:36
  Speaker 1: Yeah, I guess you could say that.
• 2:39
  Speaker 4: Well yeah, yeah, yeah, early.
• 2:44
  Speaker 1: Yeah, yeah yeah. So he made uh, he made a
• 2:48
  Speaker 1: stop in Nashville. He went to do whatever it is
• 2:52
  Speaker 1: he wanted to do. I ain't really I don't like uh, well,
• 2:57
  Speaker 1: I guess you, I don't like pocket watching. So he
• 3:00
  Speaker 1: was doing what he was doing. You know. We kind
• 3:02
  Speaker 1: of veered off to do other things and we ended
• 3:06
  Speaker 1: up making a stop over at a Star spot and
• 3:09
  Speaker 1: that was my first time meeting Star and from there
• 3:13
  Speaker 1: we kind of just you know, long story short. The
• 3:16
  Speaker 1: relationship kind of grew from there and went from I
• 3:18
  Speaker 1: guess me meeting him and being able to appreciate the
• 3:23
  Speaker 1: way you work and the drive he got and the
• 3:25
  Speaker 1: love he guy for what he do. And I would
• 3:29
  Speaker 1: like to say he saw the same you know, we
• 3:31
  Speaker 1: saw it in comparison to each other, and it went
• 3:36
  Speaker 1: from one record. As a matter of fact, I think
• 3:38
  Speaker 1: the first record might have been like a mixtape record
• 3:41
  Speaker 1: or something I can't really remember, but you know, we
• 3:44
  Speaker 1: went from one record to you know, here we are
• 3:47
  Speaker 1: stepbrothers for life, and you know, I don't even know
• 3:50
  Speaker 1: how many records we got together since then.
• 3:53
  Speaker 4: Yeah.
• 3:53
  Speaker 2: No, it's dope too because I feel like each each
• 3:56
  Speaker 2: project has like a timestamp of where you guys are.
• 4:00
  Speaker 2: And you know what I'm saying, because you guys take
• 4:02
  Speaker 2: your time with these projects is that you know what
• 4:04
  Speaker 2: I mean? So for you guys, like if you know,
• 4:07
  Speaker 2: I think I look at like the victory that Clips
• 4:09
  Speaker 2: just put on the wall with being guys who are
• 4:11
  Speaker 2: you know, either over fifty or knocking on their fifties
• 4:14
  Speaker 2: and push his case and just grow man rap like
• 4:16
  Speaker 2: real dope music kind of like finding a place in
• 4:19
  Speaker 2: the commercial landscape to be successful. YEA, how do you
• 4:23
  Speaker 2: guys kind of feel like because you guys are are
• 4:25
  Speaker 2: are very much like like I said earlier, you guys
• 4:29
  Speaker 2: are like independent powerhouses at this point, you know what
• 4:31
  Speaker 2: I'm saying, Like you guys have managed to kind of
• 4:35
  Speaker 2: navigate this weird space of hip hop where the major
• 4:38
  Speaker 2: labels are really kind of not looking for the most
• 4:42
  Speaker 2: highest integrity artists as much as you know, maybe in
• 4:45
  Speaker 2: two thousand nine, twenty ten, but you guys have been
• 4:48
  Speaker 2: able to put together this string of victories between the
• 4:51
  Speaker 2: both of y'alls catalogs at this point for the last
• 4:53
  Speaker 2: fifteen years or so. What do y'all feel like the
• 4:55
  Speaker 2: music game is now? And is it easier to fit
• 4:59
  Speaker 2: in with what y'all are doing? You feel like, I
• 5:02
  Speaker 2: think just the opposite.
• 5:04
  Speaker 4: We don't.
• 5:05
  Speaker 3: We don't aim to fit in, and that's part of
• 5:08
  Speaker 3: the sweet spot we existing. Like you mentioned the Clips
• 5:11
  Speaker 3: album and all of the stigma, the stigmadel like age
• 5:16
  Speaker 3: ageism and otherwise like to see that not matter as
• 5:20
  Speaker 3: much and just the crane rises to the top, as
• 5:22
  Speaker 3: they say. But I think not fitting in is what
• 5:27
  Speaker 3: works for us, one in the sense that I think
• 5:29
  Speaker 3: it stands out as something unique, something true, something inspired,
• 5:34
  Speaker 3: but also that us not being so trendy doesn't limit
• 5:39
  Speaker 3: us in terms of like shelf life and appeal, because
• 5:43
  Speaker 3: it just it works for who it works for, and
• 5:45
  Speaker 3: we're just kind of zeroed in on that. And if
• 5:48
  Speaker 3: that so happens to fit in you know, so be it.
• 5:56
  Speaker 4: But yeah, it just works. Man.
• 5:58
  Speaker 3: Like you said, we've tried to grow with our music
• 6:01
  Speaker 3: with our audience, and no one stays the same age
• 6:04
  Speaker 3: just stays in the science space for right.
• 6:06
  Speaker 2: Don I know you had like your run with the
• 6:08
  Speaker 2: major label stuff start, I'm not familiar. Did you have
• 6:11
  Speaker 2: that like a spurt where you had any sort of
• 6:13
  Speaker 2: situation where you're dealing with a major Yeah, it was
• 6:15
  Speaker 2: before mine.
• 6:17
  Speaker 4: Yeah, Yeah.
• 6:17
  Speaker 3: I signed with Cash Money in Universal Motown like two
• 6:21
  Speaker 3: thousand and five through y'all Gotti.
• 6:23
  Speaker 4: That's where the connection kinds.
• 6:25
  Speaker 3: I haven't working with y'all gotta about for about five
• 6:27
  Speaker 3: years at the time when they were in talks around
• 6:31
  Speaker 3: each other, and that's what actually placed us.
• 6:34
  Speaker 4: Around each other.
• 6:34
  Speaker 2: It's crazy.
• 6:35
  Speaker 3: I had I signed a deal and I was like
• 6:38
  Speaker 3: nineteen twenty years old with Gotti through Yeah, through Gotti,
• 6:43
  Speaker 3: when like a production deal with Universal Motown and Cash Money.
• 6:47
  Speaker 2: So I wonder too, because you guys obviously have seen
• 6:49
  Speaker 2: too many different areas of Tennessee hip hop kind of
• 6:53
  Speaker 2: you know, Nashville is one place. Memphis is you know,
• 6:56
  Speaker 2: Memphis kind of ran rap I would say the last
• 6:58
  Speaker 2: few years. If you look at some of the big
• 7:00
  Speaker 2: artist that came out, what is like your perspective, I
• 7:03
  Speaker 2: want to know your got on two artists. Obviously, we
• 7:06
  Speaker 2: just talked about Gotti to just see like what CMG
• 7:09
  Speaker 2: has become, how he's grown as an executives. It's pretty crazy. Yes,
• 7:14
  Speaker 2: it's impressive. Yeah, what about another person, you guys work
• 7:18
  Speaker 2: with a ton, somebody who is from your hometown, starts
• 7:21
  Speaker 2: like Jelly Row who's obviously started as a underground hip
• 7:24
  Speaker 2: hop artist and is now about to wrestle at SummerSlam
• 7:29
  Speaker 2: and American Idol Man.
• 7:34
  Speaker 3: That's that's just as impressive, not more impressive. We go
• 7:38
  Speaker 3: back twenty plus years, we're right around the same age.
• 7:42
  Speaker 3: We kind of had our start at the same time,
• 7:44
  Speaker 3: so we've always kind of kept tabs on one another.
• 7:48
  Speaker 2: And you guys have a ton of music together.
• 7:50
  Speaker 3: Yeah, we've done some music over the years and plan
• 7:53
  Speaker 3: to do some more here pretty soon. I think it's
• 7:57
  Speaker 3: just it's amazing to see him like fine and find
• 8:02
  Speaker 3: an audience and it be outside of the I guess
• 8:05
  Speaker 3: comfort zone or range, right like I saw.
• 8:08
  Speaker 4: Him battle rapping.
• 8:09
  Speaker 3: Yeah, around the time I graduated high school, early early
• 8:13
  Speaker 3: two thousands and to see him transcend rap. He's just
• 8:17
  Speaker 3: a star. I think he's just a star at large, Like, yes,
• 8:20
  Speaker 3: his music is at the centerpiece of it. But knowing them,
• 8:23
  Speaker 3: I feel like this is really cool that he's being himself.
• 8:26
  Speaker 3: And I think his personality shines through the music and
• 8:30
  Speaker 3: just presence and appeal seeing him on Super Bowl commercials and.
• 8:35
  Speaker 2: Just the saying on FaceTime with my daughter, it's the
• 8:38
  Speaker 2: same guy. I alway would tell him that I liked.
• 8:40
  Speaker 2: All you gotta do is get in front of the
• 8:41
  Speaker 2: world and they're gonna love you. Like everybody else who
• 8:43
  Speaker 2: knows you let you for sure. It's crazy. Don now
• 8:46
  Speaker 2: that your kids are grown right, like I saw the cover,
• 8:49
  Speaker 2: you have some older kids right right, right right? Do
• 8:52
  Speaker 2: you're like, I wonder how do your how does your
• 8:55
  Speaker 2: son take letters? Now that he unders stands and can
• 9:00
  Speaker 2: hear him like that? That has to be like a
• 9:02
  Speaker 2: crazy Yeah.
• 9:04
  Speaker 1: We had a conversation maybe like middle last year. I
• 9:09
  Speaker 1: would like to say, I try to I try to
• 9:14
  Speaker 1: make my kids comfortable enough to talk to me about
• 9:17
  Speaker 1: any and everything. And I can't remember how the song
• 9:21
  Speaker 1: came up, but he was sitting we was in the kitchen,
• 9:25
  Speaker 1: when when when the topic a role arrived, and you know,
• 9:32
  Speaker 1: it became like an awkward moment for everybody that was present,
• 9:36
  Speaker 1: y'all kind of you know, got quiet. And I looked
• 9:38
  Speaker 1: at him and I asked him, like, well, you know,
• 9:41
  Speaker 1: this is the first time we've ever had the conversation,
• 9:46
  Speaker 1: so you know, what do you feel about it or
• 9:49
  Speaker 1: how do you feel about it? And he told me
• 9:53
  Speaker 1: that of course, for his first time hearing it, or
• 9:59
  Speaker 1: up until that point, he had only felt, uh, felt
• 10:04
  Speaker 1: offended by He said, you know, it was pretty much
• 10:08
  Speaker 1: a dish to my mama.
• 10:09
  Speaker 2: I mean, yeah, I mean it was an anthem for
• 10:12
  Speaker 2: people who were going through that specific I agree.
• 10:14
  Speaker 1: But I explained to him, you know, I explained to
• 10:17
  Speaker 1: him what was going on in that moment, right, and
• 10:23
  Speaker 1: you know, for the most part, he understood. He's familiar
• 10:27
  Speaker 1: with how things kind of played out. So from that conversation,
• 10:33
  Speaker 1: he's like, you know, he understands where I was coming from,
• 10:36
  Speaker 1: and he understands the amount of anger and turmoil I
• 10:40
  Speaker 1: had to have felt to be you know, to to
• 10:44
  Speaker 1: be restricted from being able to be a father. And
• 10:49
  Speaker 1: he asked me if I would have made that same
• 10:52
  Speaker 1: song today, and I told him, knowing what I know,
• 10:57
  Speaker 1: I would have still. You know, I would have still
• 10:59
  Speaker 1: made the same song. I just wouldn't have called it
• 11:01
  Speaker 1: out a name. For the sake of you, I said.
• 11:03
  Speaker 1: Other than that, I didn't lie in the song. None
• 11:06
  Speaker 1: of it was fictitious, I said, I didn't make it up.
• 11:09
  Speaker 1: So you know, if telling the truth ruffle feathers, then
• 11:13
  Speaker 1: so be it. But you know, look at where we
• 11:15
  Speaker 1: were and look at where we are now. Yeah, and
• 11:18
  Speaker 1: you know, even now in my music, I can't help
• 11:20
  Speaker 1: but be honest that, you know, in most cases, that's
• 11:23
  Speaker 1: my therapy. I was fortunate enough to find a lane
• 11:28
  Speaker 1: or find a career path that could assist when it
• 11:35
  Speaker 1: comes to my therapy. But even if rapped and paid,
• 11:39
  Speaker 1: it still would be my outlet because that's what it was. Then,
• 11:42
  Speaker 1: you know, if you go back, like you know we
• 11:43
  Speaker 1: were speaking, before we started running the original Letter to
• 11:47
  Speaker 1: my Son record, I had no idea that it would
• 11:50
  Speaker 1: become what it became.
• 11:51
  Speaker 2: Yeah, I mean the label kind of jumped onto it
• 11:54
  Speaker 2: because it went crazy, right, But and then they put
• 11:56
  Speaker 2: see Though on.
• 11:57
  Speaker 1: It, right, But it already had a life of its own.
• 11:59
  Speaker 2: It was its own thing.
• 12:00
  Speaker 1: And you know, if you go back and watch that
• 12:04
  Speaker 1: YouTube video. You know, there was no Craig like to say,
• 12:09
  Speaker 1: I ain't putting nothing on it. You know, it wasn't
• 12:11
  Speaker 1: dressed up in no manner. That was me pouring my
• 12:13
  Speaker 1: heart out because at that moment that's what I needed
• 12:16
  Speaker 1: to do. It was either that or you know, the
• 12:18
  Speaker 1: pressure was gone, made me crack and it was gone.
• 12:21
  Speaker 1: Now I don't know where it would have went if
• 12:24
  Speaker 1: I didn't have music as an outlet.
• 12:27
  Speaker 2: Do you guys, Because I feel like, what what your
• 12:30
  Speaker 2: superpower is? Obviously you guys have such a great chemistry together,
• 12:33
  Speaker 2: but you guys are also like, besides being the lead MC's,
• 12:38
  Speaker 2: I appreciate it, you guys are very very like. You
• 12:40
  Speaker 2: guys are't afraid to be vulnerable on records.
• 12:42
  Speaker 4: You know.
• 12:43
  Speaker 2: That's I feel like a lot of artists these days,
• 12:45
  Speaker 2: like the younger generation at least, might be a little
• 12:48
  Speaker 2: more hesitant to be vulnerable because they're worried about people,
• 12:51
  Speaker 2: what people think about them. You know what I'm saying.
• 12:53
  Speaker 2: I feel like you guys, that's what that's where you
• 12:54
  Speaker 2: guys thrive. It's like being vulnerable and talking about shit
• 12:58
  Speaker 2: that like grown motherfuckers can relate to you know what
• 13:02
  Speaker 2: I'm saying, Like, how you guys have to I can
• 13:04
  Speaker 2: imagine between the two of you guys, when your fans
• 13:06
  Speaker 2: come up to you, it's like the conversation's got to
• 13:09
  Speaker 2: be different when someone says, like, Yo, you got me
• 13:11
  Speaker 2: through this or this.
• 13:12
  Speaker 4: Verse, no doubt.
• 13:13
  Speaker 3: And I think that's the driving force, is the reaction
• 13:19
  Speaker 3: that people have to it as much as is therapy,
• 13:22
  Speaker 3: as much as it I think helps us as individuals,
• 13:26
  Speaker 3: as artists to just express ourselves.
• 13:30
  Speaker 4: The fact that it has their reach or that appeal.
• 13:32
  Speaker 3: That affect on people, because at meeting greets and passing
• 13:35
  Speaker 3: in traffic, like you'd be surprised the things that people
• 13:38
  Speaker 3: share in terms of their experiences or the impact of
• 13:43
  Speaker 3: something in the music right and to us it may
• 13:46
  Speaker 3: have just been something to express in that moment, But
• 13:49
  Speaker 3: I mean I had people explain that how the music
• 13:52
  Speaker 3: saved their life or they went through some extremely trying times.
• 13:55
  Speaker 3: I had people going through like being hospitalized, dealing with
• 13:59
  Speaker 3: cancer treatments. Listen to your music and every chemo treatment
• 14:03
  Speaker 3: until it improved. And that was the only thing that
• 14:05
  Speaker 3: gave me like some sense of like piece or solid otherwise.
• 14:08
  Speaker 3: And that's deep because I always ask like what song
• 14:11
  Speaker 3: was and what were you listening to, just because it's
• 14:14
  Speaker 3: almost always surprising, you know, it's just something there. But
• 14:17
  Speaker 3: as far as vulnerability, I think that's something that rap
• 14:21
  Speaker 3: especially is very very shy of. And that's like humanity,
• 14:25
  Speaker 3: Like everyone is so like charged up, so super powered,
• 14:28
  Speaker 3: that we don't get the human condition. We don't get,
• 14:34
  Speaker 3: you know, reality, a certain sense of gravity in the music.
• 14:37
  Speaker 3: And I don't mean in a sense of just making
• 14:39
  Speaker 3: sad music. I just mean for making real music. Sure,
• 14:41
  Speaker 3: there's a lot of times like life, life is real,
• 14:45
  Speaker 3: you know, and I think a lot of us have
• 14:46
  Speaker 3: more in common than we have, like different differences.
• 14:49
  Speaker 2: We always focus on the differences. That's always getting pushed
• 14:51
  Speaker 2: in front of our faces.
• 14:52
  Speaker 4: I got this and you don't have this.
• 14:54
  Speaker 2: I'm doing turn on the news, they're gonna talk about
• 14:56
  Speaker 2: what why you should hate your neighbor as opposed to
• 14:58
  Speaker 2: what y'all agree on, you know what I'm saying.
• 15:01
  Speaker 3: Sure, and so I think it's like bringing it close
• 15:03
  Speaker 3: to the home in that sense. But we're humans and
• 15:06
  Speaker 3: we made records collectively that brought us to tears, and
• 15:12
  Speaker 3: that's just I mean, I think that's necessary. You need
• 15:14
  Speaker 3: the clings, You need that purerge. Like we just walked
• 15:17
  Speaker 3: around like everything was all right all the time. Eventually
• 15:20
  Speaker 3: we did implode.
• 15:21
  Speaker 2: Or you know, I can imagine when you have those
• 15:23
  Speaker 2: interactions with people too. It just it just has to
• 15:25
  Speaker 2: put like gas in the tank to be like, Yo,
• 15:27
  Speaker 2: we got this, this this thing, this is like, this
• 15:30
  Speaker 2: is touching people's lives.
• 15:31
  Speaker 3: It's worth It reminds me that's worth doing, yes, regardless of.
• 15:35
  Speaker 2: Like because at this point in time, I feel like
• 15:37
  Speaker 2: you guys could invest in real estate. I mean, I'm
• 15:39
  Speaker 2: not saying you guys aren't doing whatever y'all doing on
• 15:41
  Speaker 2: the side, but at this point in time, it's like
• 15:43
  Speaker 2: you you're doing this shit to feed your flock. You
• 15:45
  Speaker 2: have a fan base that is very much like depending
• 15:48
  Speaker 2: on y'all's music. Like people like I know, anytime I
• 15:51
  Speaker 2: post like a best of list or some ship, because
• 15:54
  Speaker 2: I always wuld apply to beat outs list. Man, every year,
• 15:57
  Speaker 2: I got somebody in the comments banging on me about
• 16:00
  Speaker 2: both of y'all, Like, no, they definitely go hard. Hey,
• 16:07
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  Speaker 2: most viral interview of all time. Throw the shirt up
• 16:38
  Speaker 2: so you could see it. I turned it down. Shout
• 16:40
  Speaker 2: out to that boy Big Boogie, a big college in Jacksonville,
• 16:44
  Speaker 2: and we just threw these on sale half off for
• 16:47
  Speaker 2: the five hundred episode t bootleg keV dot com. Go
• 16:50
  Speaker 2: get you a shirt. Let's get back to the interview.
• 16:52
  Speaker 2: You guys, your approach to visuals, specifically with this new
• 16:56
  Speaker 2: project has been super aggressive and it reminds me like
• 16:59
  Speaker 2: very much alike just O g Era blog era shit,
• 17:02
  Speaker 2: where you might get five six videos off of an album.
• 17:06
  Speaker 2: You guys have such great visuals in general. I know
• 17:09
  Speaker 2: you got the Michaelangel and Bugs record, which is like
• 17:11
  Speaker 2: a Tooby movie record, right, Would you guys ever do
• 17:14
  Speaker 2: like a comedy, like a buddy comedy for Tube self funded?
• 17:17
  Speaker 3: I mean, I think that's that was in the subtitle there.
• 17:20
  Speaker 3: I think that was.
• 17:21
  Speaker 1: I don't think you mean for that song.
• 17:24
  Speaker 2: Would y'all do a real movie? I feel like y'all
• 17:26
  Speaker 2: could do like a low budget Tooby movie crack.
• 17:29
  Speaker 3: That particular song was written by design to be converted
• 17:33
  Speaker 3: to the too Be format and that's in the works.
• 17:36
  Speaker 3: But as far as just laying into the there was
• 17:40
  Speaker 3: an undertone on one of the other videos, a shot
• 17:42
  Speaker 3: and floid that.
• 17:43
  Speaker 4: We wanted to borrow elements of the movie Life.
• 17:45
  Speaker 2: Which got great murat that might be the most slept
• 17:48
  Speaker 2: on Eddie Murphy movie.
• 17:49
  Speaker 3: Honestly, the Step Brothers brand and large from bud.
• 17:54
  Speaker 2: This is very much the wedding Crashers vibe with the artwork.
• 17:57
  Speaker 3: Yeah, we have a we have a song called Wear
• 18:00
  Speaker 3: and Crashes on the Deluxe, but it was that was
• 18:04
  Speaker 3: the cover was actually from the job interview seeing and
• 18:07
  Speaker 3: Step Brothers when they were whiting in the lobby, and
• 18:09
  Speaker 3: it was just like why you were in tuxedo was
• 18:11
  Speaker 3: to a job interview kind of thing. But yeah, I
• 18:14
  Speaker 3: mean we just leaning into the the whole tandem vibe
• 18:19
  Speaker 3: and even with this one, we were just influences of
• 18:23
  Speaker 3: even the Hoop Dreams record on the deluxe is you know,
• 18:28
  Speaker 3: two lead characters, two main characters, Like you said, a
• 18:31
  Speaker 3: buddy film, if you will. We went through listing all
• 18:34
  Speaker 3: of our favorite buddy moves Leatha, Weapon, rush Hour, et cetera,
• 18:39
  Speaker 3: just in a brainstorm and thing.
• 18:41
  Speaker 1: Like so, yeah, that's that's dope. But yeah, for sure, Yeah,
• 18:45
  Speaker 1: I don't know. Acting is tricky. I think if I think,
• 18:53
  Speaker 1: if if we ever truly entertained the idea, I would
• 18:57
  Speaker 1: want to do it right. I'm not not as far
• 18:59
  Speaker 1: as it being I think I think at the anything
• 19:04
  Speaker 1: you going into, you're supposed to get it. Thing you got,
• 19:07
  Speaker 1: So if I was to, you know, ever step into
• 19:10
  Speaker 1: that space, I would have to get an acting coach.
• 19:12
  Speaker 1: I would want to do.
• 19:13
  Speaker 2: It right right. You want to give that art form
• 19:15
  Speaker 2: to respect the desert.
• 19:16
  Speaker 1: Right exactly exactly, no matter what platform, it will wind
• 19:19
  Speaker 1: up being restricted, because that's really what tubit is. But
• 19:23
  Speaker 1: besides that, I would want to like truly dedicate time
• 19:27
  Speaker 1: and effort to it. I sure, you know, I would
• 19:29
  Speaker 1: want to give it the grace of deserve. Yeah.
• 19:31
  Speaker 2: I just talk with I just tervijoyed Badass last week
• 19:34
  Speaker 2: and we're talking about and I was like, yo, is
• 19:35
  Speaker 2: it possible for you to be in acting mode and
• 19:38
  Speaker 2: rapper mote at the same time. He's like, man, I
• 19:40
  Speaker 2: think so. He was saying that. He said that he
• 19:43
  Speaker 2: has so much respect for both art forms, so when
• 19:45
  Speaker 2: he does both, he's like, I have to like something's compromised,
• 19:50
  Speaker 2: even if it's ten compromise, because because I'm putting so
• 19:54
  Speaker 2: much into the hip hop that I can't then go
• 19:57
  Speaker 2: put that much into being on set one.
• 20:00
  Speaker 4: Of the other. You gotta respect the art, you know.
• 20:03
  Speaker 3: I think I like the idea leaning into it with
• 20:05
  Speaker 3: the music, like doing like musical style for sure, like
• 20:10
  Speaker 3: the I.
• 20:10
  Speaker 4: Think Carmen was one, Yeah, what's that?
• 20:14
  Speaker 3: Yeah, I believe so the one with it was like
• 20:19
  Speaker 3: Othello adaptation did have some music to it, but regardless,
• 20:23
  Speaker 3: like making it.
• 20:25
  Speaker 2: Making it kind of like a music, like if you
• 20:26
  Speaker 2: guys were to do it, make kind of the music
• 20:29
  Speaker 2: the the base like the movie.
• 20:31
  Speaker 4: The dialogue musical Yeah, something to that effect.
• 20:35
  Speaker 3: I mean, I feel like effect the music videos do
• 20:38
  Speaker 3: do that in the way, like one of our biggest
• 20:40
  Speaker 3: record season, Brutus, we were acting out what we're rapping,
• 20:44
  Speaker 3: and I think that presentation like kind of covers both ends.
• 20:49
  Speaker 3: But like you said, I mean, well, we're not professional actors,
• 20:52
  Speaker 3: but we are very descriptive in these lyrics and we
• 20:55
  Speaker 3: bring that to lif. We have the good Hot bad
• 20:57
  Speaker 3: Hot record, which is very cinematic, and we've been intentional
• 21:01
  Speaker 3: about that on this project as well. The shot and
• 21:03
  Speaker 3: Florida where we're in character for the sec of the
• 21:06
  Speaker 3: video and it's not ourselves.
• 21:08
  Speaker 2: You guys, we got the whole ring and everything for
• 21:10
  Speaker 2: the World Rumble video. You guys like wrestling fans.
• 21:14
  Speaker 4: But we had a common that we grew up as wrestling.
• 21:17
  Speaker 2: There's a whole match behind.
• 21:19
  Speaker 1: You grew up wrestling.
• 21:20
  Speaker 2: You guys are o g wrestling?
• 21:22
  Speaker 3: Yeah?
• 21:22
  Speaker 2: Yeah? Are you? Are you hip to the new stuff
• 21:25
  Speaker 2: at all? So like what y'all's era, My ever is
• 21:33
  Speaker 2: nineties probably like Attitude of Air, Stone Cold and before.
• 21:38
  Speaker 1: So my well, I guess I got into it like
• 21:43
  Speaker 1: during the Monday Night Wars.
• 21:45
  Speaker 2: Yeah, that shi was great.
• 21:48
  Speaker 1: Yeah, you click on the w C wall tell you
• 21:52
  Speaker 1: everything that's gonna happen on Yeah, it was just crazy
• 21:57
  Speaker 1: looking back at it, that even though he told told
• 22:01
  Speaker 1: us what was going to happen, who was gonna win,
• 22:03
  Speaker 1: still wanted to go watch, still switch the channel to
• 22:06
  Speaker 1: watch it. You know.
• 22:07
  Speaker 2: It's funny because when they started to get come back
• 22:09
  Speaker 2: a little, the WWF is win d X pulled up
• 22:13
  Speaker 2: to the Monday night tro outside you remember that in
• 22:16
  Speaker 2: the tank. That is when it felt like the tide started.
• 22:19
  Speaker 2: You're like, oh, these fools put up on them and
• 22:21
  Speaker 2: stood up.
• 22:22
  Speaker 1: Ones and then and then that that last realm evinciful
• 22:27
  Speaker 1: man stepped on them and say, yeah, you know I'm
• 22:29
  Speaker 1: here because I bought it. Yes, it's different just entertainment,
• 22:34
  Speaker 1: no more some of it. Some of this is for real,
• 22:36
  Speaker 1: you know, maybe maybe not the finishing moves. But you know,
• 22:40
  Speaker 1: he stepped on them when he said that, So you know,
• 22:43
  Speaker 1: but that's more I error than it than than now.
• 22:47
  Speaker 4: What's going on now? For me, it started prior to that, like.
• 22:52
  Speaker 3: Nineteen ninety is I remember having a Royal Rumble on
• 22:56
  Speaker 3: HS tape.
• 22:57
  Speaker 2: And probably cog days World Water Ultimate Warrior.
• 23:01
  Speaker 3: Yeah, and my granddad used to collect wrestling figures. Oh,
• 23:06
  Speaker 3: so that was kind of my introduction to it. He
• 23:08
  Speaker 3: was like that was his gift. He had like a
• 23:11
  Speaker 3: bookshelf full of wrestling figures.
• 23:13
  Speaker 2: Then I got Georgs at my house.
• 23:15
  Speaker 3: None of the kids could touch, and so he would,
• 23:17
  Speaker 3: you know, he would give us our own.
• 23:18
  Speaker 4: But that was kind of up right.
• 23:21
  Speaker 2: What happened to the figures I got?
• 23:22
  Speaker 1: I got actually.
• 23:23
  Speaker 4: Figured I got a few.
• 23:24
  Speaker 3: I have a few of them that he gave me
• 23:26
  Speaker 3: from back then and I kept over the years.
• 23:27
  Speaker 2: Yeah, I just I got break waret autographed. There he
• 23:30
  Speaker 2: passed away, but at the crib, I got a bunch.
• 23:33
  Speaker 1: I know that I'm familiar with him, but not to
• 23:36
  Speaker 1: I played the I played.
• 23:38
  Speaker 2: The game so much fun, the game so much fun.
• 23:40
  Speaker 1: I'm familiar with. Yeah, yeah, he had your sting and
• 23:45
  Speaker 1: you andret and holding.
• 23:48
  Speaker 2: Yeah, I'm a wrestling guy. I mean, that's why I'm excited,
• 23:50
  Speaker 2: because I'm going to Summerslane to watch my friend wrestle
• 23:53
  Speaker 2: our buddy. He's about to have a fifteen minute match wrestling.
• 23:57
  Speaker 4: He wrestling.
• 23:58
  Speaker 2: He's having a tag team at him and Randy Orton
• 24:01
  Speaker 2: versus Drew McIntyre and Logan Paul.
• 24:04
  Speaker 1: One of the brother Logan Paul is one of them. Uh,
• 24:07
  Speaker 1: that's not the one that fall Tyson. Which one faul
• 24:11
  Speaker 1: Ja Wait no, no, lo wait who fought Tyson? Jacob
• 24:15
  Speaker 1: Ja Logan fought Floyd. Oh that was two different people.
• 24:21
  Speaker 2: Yeah, both whites with blonde hair for sure, but they
• 24:25
  Speaker 2: got the same They have very similar names similar.
• 24:27
  Speaker 1: That si one fault Tyson and fault uh Floyd.
• 24:31
  Speaker 2: The Little brother fought Tyson and then the Big brother
• 24:34
  Speaker 2: fought Floyd vice versus the Little Brother's actual guy who
• 24:38
  Speaker 2: like takes boxing series right. And then Logan has He's
• 24:42
  Speaker 2: been like on ww TV for like two years now.
• 24:44
  Speaker 2: He's like a real wrestler, Like, h that's crazy, but yeah,
• 24:48
  Speaker 2: Jelly rose about to wrestle.
• 24:49
  Speaker 1: I thought that was the same person almost like super multitask.
• 24:53
  Speaker 2: He just choke slammed Logan Paul into the desk on
• 24:56
  Speaker 2: Jimmy Kimmel Live Jelly Roll. Jelly Roll chokes. He's doing
• 25:05
  Speaker 2: all the side quests, definitely the side quest God, it's
• 25:09
  Speaker 2: like him and Snoop. Right now, for you guys, talk
• 25:15
  Speaker 2: to me about the business model being an independent artists
• 25:17
  Speaker 2: and what you guys have been able to learn and
• 25:19
  Speaker 2: advice you would give two artists who are independent who
• 25:23
  Speaker 2: want to go that route, who maybe have a following
• 25:26
  Speaker 2: you know that they're that they're building that. You know,
• 25:29
  Speaker 2: maybe the major label thing doesn't make sense because you
• 25:31
  Speaker 2: guys have had so much success just putting numbers on
• 25:35
  Speaker 2: the board of the catalog game. You know what I'm saying.
• 25:38
  Speaker 2: Do you guys have any advice for anybody who wants
• 25:40
  Speaker 2: to be independent?
• 25:42
  Speaker 1: Well, I would say, I mean, one, I wouldn't call
• 25:45
  Speaker 1: it advice because the way I went about it ain't
• 25:49
  Speaker 1: the only way to go about it, So I wouldn't.
• 25:52
  Speaker 2: Yeah, not every every shoot don't fit everybody ship.
• 25:55
  Speaker 1: Definitely, But one thing I will say that that you
• 25:59
  Speaker 1: can't do this with out. You got to have a
• 26:01
  Speaker 1: business mind state. I think you gotta. You have to
• 26:04
  Speaker 1: understand that you are a brand, and if you don't
• 26:08
  Speaker 1: approach it like that, then I don't think you in
• 26:10
  Speaker 1: the right right space for this. You got it because
• 26:14
  Speaker 1: you got to invest. And in most cases, even when
• 26:18
  Speaker 1: you get up the louder and you got you know,
• 26:22
  Speaker 1: great situations, it's still mainly depends on you putting everything
• 26:26
  Speaker 1: you got into it. And you gotta be willing to
• 26:29
  Speaker 1: put everything you got into it. And that's you know,
• 26:32
  Speaker 1: that's time, that's money, that's I mean you know nothing.
• 26:37
  Speaker 1: I don't think nothing worth having comes without sacrifice. But
• 26:40
  Speaker 1: if if you your own boss in this, you gotta
• 26:43
  Speaker 1: understand that you know it's your fault if you fail,
• 26:47
  Speaker 1: and when you win, it don't really feel like a whining,
• 26:54
  Speaker 1: don't feel like achievement, if that makes any sense. It
• 26:59
  Speaker 1: feels more like it feels more more like more like
• 27:06
  Speaker 1: a landmark, like you kind of gotta treated like like football.
• 27:11
  Speaker 1: You ain't so much paying attention to the touchdowns because
• 27:14
  Speaker 1: you know that's end all, be all, But you're trying
• 27:18
  Speaker 1: to get first down. So just about every achievement in
• 27:22
  Speaker 1: this is you making it to the first down.
• 27:24
  Speaker 2: And that's a good way to put us.
• 27:26
  Speaker 1: Yeah, and you know, and I think I think that's
• 27:29
  Speaker 1: the best way for me to describe it. Like everything
• 27:33
  Speaker 1: everything we do, we you know, we're fighting and hustling
• 27:38
  Speaker 1: to get to first down. Once we make first down,
• 27:41
  Speaker 1: then you know we got three more downs to get
• 27:43
  Speaker 1: another first down.
• 27:44
  Speaker 2: Not everything has to be a touchdown.
• 27:46
  Speaker 1: Right, Well, you know it take a while for us
• 27:48
  Speaker 1: to touch down.
• 27:49
  Speaker 2: Is it might be a ten minute drive as opposed
• 27:53
  Speaker 2: to like a you know, one hundred and ten yard
• 27:56
  Speaker 2: bomb from the back of the endact.
• 27:57
  Speaker 1: Those are are few and far between. The you know,
• 28:02
  Speaker 1: the the ninety nine yard Russias and shit, you don't
• 28:05
  Speaker 1: much get those. I think in this you kind of
• 28:07
  Speaker 1: gotta be prepared for that. Now, for some of us,
• 28:09
  Speaker 1: it happens, you know, you you know, sometimes it lined.
• 28:12
  Speaker 2: Up like like sometimes you do.
• 28:14
  Speaker 1: Yeah, sometimes you get it from there. But I think
• 28:17
  Speaker 1: if you're gonna be independent, you gotta be prepared for
• 28:21
  Speaker 1: the loan, you know, the long road. It ain't you know,
• 28:24
  Speaker 1: this don't happen overnight. It and sometimes it get discouraging.
• 28:28
  Speaker 1: I think for me and him, we just happen to
• 28:31
  Speaker 1: be the kind of people who aren't easily discouraged. Like
• 28:35
  Speaker 1: I I know, well I can, I can. I can
• 28:40
  Speaker 1: say for both of us, I've seen you know, I've
• 28:42
  Speaker 1: seen them in that mode. Right, But like you know,
• 28:45
  Speaker 1: if you tell me I can't do it, I got
• 28:47
  Speaker 1: a point to prove now. And Craig worked the same way,
• 28:51
  Speaker 1: like you know, if if you know, if if it
• 28:53
  Speaker 1: seems impossible, that's only impossible to to the person that
• 28:56
  Speaker 1: said it. For us, it's a challenge, all right, Well
• 28:58
  Speaker 1: you say I can't, let's see, let see how we
• 29:00
  Speaker 1: make this shape and when it don't work out, we
• 29:03
  Speaker 1: don't fall apart. I don't mean like as a as
• 29:07
  Speaker 1: a as a group, I mean as.
• 29:08
  Speaker 2: People as people. Yeah, because when things don't work out,
• 29:11
  Speaker 2: a lot of people they get down.
• 29:12
  Speaker 1: There and that be it. That you know, that that
• 29:14
  Speaker 1: that be the end of the run. But for us,
• 29:16
  Speaker 1: you know, I think the adversity is part of what
• 29:20
  Speaker 1: what makes you and part of what makes it worth it.
• 29:23
  Speaker 2: For you, guys, what would you say throughout this musical
• 29:26
  Speaker 2: journey was the closest you had been to be pitting
• 29:29
  Speaker 2: rock bottom and being like the hardest maybe the hardest
• 29:32
  Speaker 2: low point to come back from.
• 29:37
  Speaker 3: Yeah, I mentioned it at a time before, but I
• 29:47
  Speaker 3: think grief and compartmentalizing like life things was a tough
• 29:55
  Speaker 3: hurdle a few different times from losing some close friends,
• 29:59
  Speaker 3: people around you that may have been part of just
• 30:01
  Speaker 3: your life and your day to day operations. But namely
• 30:05
  Speaker 3: one time pronounced because I was already on account of
• 30:08
  Speaker 3: a hiatus, if you will, after I got a six
• 30:10
  Speaker 3: year old daughter, So about a year or so after
• 30:13
  Speaker 3: she was born, I kind of stepped away just to prioritize.
• 30:17
  Speaker 2: You know, around the tavy drop maternity, to leave around
• 30:19
  Speaker 2: the same.
• 30:21
  Speaker 4: Appreciate it. Yeah, yeah you are.
• 30:26
  Speaker 2: You might be on that as well.
• 30:28
  Speaker 3: But she was like one year everything for sure. She
• 30:32
  Speaker 3: was like one years old then. And around that time,
• 30:34
  Speaker 3: I just took took a step away. And about two
• 30:37
  Speaker 3: years or so later, when a young Dolph passed, it
• 30:41
  Speaker 3: was deflating. And as a peer, as a comrade, as
• 30:47
  Speaker 3: a collaborator, et cetera, just homie, it just it took
• 30:51
  Speaker 3: the fight out on me a lot. As you know,
• 30:56
  Speaker 3: I guess take an inventory of where I was career
• 30:58
  Speaker 3: wise and life wise, and I just was it was
• 31:00
  Speaker 3: difficult to find a value of all of this at
• 31:03
  Speaker 3: large because to watch someone from relative unknown to go
• 31:06
  Speaker 3: to like superstar status, and but for the way everything happened,
• 31:09
  Speaker 3: I just was like.
• 31:10
  Speaker 2: I got Dolph on the I got a mirror Dolph
• 31:12
  Speaker 2: on the wall outside. That was my guy, good guy
• 31:15
  Speaker 2: that suck the room, like the life. Had a lot
• 31:17
  Speaker 2: of people who are close to him because it just
• 31:19
  Speaker 2: I feel like it was so unexpected.
• 31:21
  Speaker 4: Yeah yeah, and that was that was definitely like a
• 31:23
  Speaker 4: low point in terms of I just.
• 31:26
  Speaker 3: Didn't really care about like rap overall, because I mean,
• 31:30
  Speaker 3: rap brought us into each other's lives and so many
• 31:33
  Speaker 3: other people on my peers. I've been rapping professionally my
• 31:36
  Speaker 3: entire door life, so I am tethered to a lot
• 31:39
  Speaker 3: of the experiences and relationships that have come with it,
• 31:43
  Speaker 3: and that was I would say that was a low point.
• 31:47
  Speaker 3: And I mentioned on this album it was just kind
• 31:48
  Speaker 3: of echoed in my head some of those conversations we
• 31:51
  Speaker 3: had along the way, even early on, and I let
• 31:55
  Speaker 3: the same thing that was deflating and discouraging like empowered
• 31:58
  Speaker 3: me just the same because I value like legacy so much, right,
• 32:03
  Speaker 3: And I wouldn't want my story to end on a
• 32:06
  Speaker 3: low point or on a like a tapping out kind
• 32:08
  Speaker 3: of thing, because one, I've already grossly overachieved what I
• 32:12
  Speaker 3: set out for myself and going on this journey, and
• 32:16
  Speaker 3: I still feel like.
• 32:17
  Speaker 4: We got so much left to contribute.
• 32:21
  Speaker 3: And so I mean, it's that's also a joy, is
• 32:24
  Speaker 3: working out of those low points, because everything's ebbs and flows,
• 32:27
  Speaker 3: and there's been tons of things individually collective of course
• 32:31
  Speaker 3: for us. But when you, I mean, for the sake
• 32:33
  Speaker 3: of the question, that was that was a spot for me?
• 32:36
  Speaker 2: What about you done for me?
• 32:40
  Speaker 1: It would have to be, It had to It wasn't grief. Well,
• 32:47
  Speaker 1: I guess grief was kind of blended in it at
• 32:49
  Speaker 1: some point. I want to say, maybe like twenty into
• 32:55
  Speaker 1: twenty nineteen. I'd like to say, I think that is
• 32:58
  Speaker 1: when so right, So I guess it was mostly grief.
• 33:02
  Speaker 1: But I lost my I lost my brother, and I
• 33:05
  Speaker 1: think that was that was, like he said, grief. I
• 33:08
  Speaker 1: guess that was the probably the lowest for me because
• 33:15
  Speaker 1: for the first time in a very long time, music didn't.
• 33:20
  Speaker 2: Help the therapeutic part of your outlet.
• 33:24
  Speaker 1: Yeah. Yeah, I don't know. I couldn't. I couldn't get
• 33:28
  Speaker 1: it to work right then, So I don't want to
• 33:33
  Speaker 1: get emotional, so, you know, just a lot of a
• 33:36
  Speaker 1: lot of what I experienced during that time. No, I
• 33:43
  Speaker 1: don't know. I think I think I was dealing with
• 33:46
  Speaker 1: so much pain from you know, from from from that
• 33:51
  Speaker 1: moment in time, with that incident that I lost my
• 33:54
  Speaker 1: brother too, that I ain't really have room for I
• 34:02
  Speaker 1: ain't have room for tolerance with people and people's behavior.
• 34:08
  Speaker 1: So I cut a lot of people out of my
• 34:10
  Speaker 1: life around that time. And it was a lot going
• 34:15
  Speaker 1: on around that time, so it was expensive for me too,
• 34:19
  Speaker 1: and the combination of both one I couldn't you know,
• 34:22
  Speaker 1: I couldn't release music. Well, I couldn't record music, you know,
• 34:27
  Speaker 1: that's step one, and can't release it if I never,
• 34:29
  Speaker 1: you know, if I never don't have a song, right.
• 34:32
  Speaker 1: But it was becoming expensive, all the you know, all
• 34:36
  Speaker 1: the shit I had to deal with, you know, just
• 34:40
  Speaker 1: no death is on time. But it couldn't have happened
• 34:43
  Speaker 1: at the worst time financially. And my brother was in
• 34:47
  Speaker 1: the mix, so he ain't have no life insurance or
• 34:50
  Speaker 1: nothing short, so just about everything I ain't I'm not
• 34:53
  Speaker 1: complaining about having to cover it. I you know, I
• 34:57
  Speaker 1: feel like it's at least I could do. You know,
• 34:59
  Speaker 1: it's not like he asked me to do it or
• 35:01
  Speaker 1: begged me to do it. That was I mean, it
• 35:04
  Speaker 1: was I mean, you know, it was the only way
• 35:08
  Speaker 1: I could pay my respects. You know, I wouldn't want
• 35:12
  Speaker 1: him to go out any other way. But either way,
• 35:15
  Speaker 1: you know that that point in time, that moment in
• 35:18
  Speaker 1: time was was the toughest for me, and and it
• 35:23
  Speaker 1: took a lot for me to shake back from it.
• 35:26
  Speaker 1: I don't know what it was. I don't know what
• 35:28
  Speaker 1: what what gave me the you know, the the push
• 35:32
  Speaker 1: to turn the corner. Maybe you know, maybe it was
• 35:36
  Speaker 1: just the time of the timing of me not really
• 35:42
  Speaker 1: meeting but I already knew it. But it might have
• 35:44
  Speaker 1: been the timing of my relationship with my wife. It
• 35:47
  Speaker 1: could have been that, It could have could have been
• 35:49
  Speaker 1: a number of things. I can't really say. I never
• 35:51
  Speaker 1: really sat and evaluated, but that was a space I
• 35:57
  Speaker 1: never want to return to.
• 36:00
  Speaker 2: Do you feel like you were able to heal it
• 36:02
  Speaker 2: all by putting out like the projects with your brother
• 36:06
  Speaker 2: on them, paying homage.
• 36:07
  Speaker 1: To him, Well, you said, he'll at all he'll like.
• 36:11
  Speaker 2: Hell like he'll at all? Like what was it was it?
• 36:13
  Speaker 2: Did he give you some sort of peace to be
• 36:15
  Speaker 2: able to like his gift with the world, to and
• 36:17
  Speaker 2: pay homage with him with the project?
• 36:19
  Speaker 1: Definitely it was. It was relieving. I wouldn't say you
• 36:24
  Speaker 1: know that it cured degree of course, of course, right,
• 36:28
  Speaker 1: but it definitely was a great it was it was
• 36:33
  Speaker 1: neo sporing, definitely, because one, you know, it was one
• 36:40
  Speaker 1: thing to create the music because he recorded very Pitt
• 36:47
  Speaker 1: was ridiculous, man go and record. He didn't care if
• 36:50
  Speaker 1: the mic was too too hot. He just was recorded.
• 36:53
  Speaker 1: He didn't carry that he had seven people in the
• 36:55
  Speaker 1: booth with him. He ain't cared if he didn't own
• 36:58
  Speaker 1: that beat, like he just didn't carry just was recording.
• 37:01
  Speaker 1: So fast forward when it's time to well, when it
• 37:04
  Speaker 1: came time for me to try to put it together
• 37:06
  Speaker 1: and create well, you know, create music from it, I
• 37:09
  Speaker 1: had a lot of swording out and cleaning up to
• 37:13
  Speaker 1: clean the vocals, right, clean up agreements so because you know,
• 37:20
  Speaker 1: those didn't exist for him at least, But either way
• 37:23
  Speaker 1: from doing that, that was you know, that was one thing,
• 37:28
  Speaker 1: but the way it was received was that it ain't
• 37:32
  Speaker 1: never really I won't say if anything helped. That's what helped, Yeah,
• 37:36
  Speaker 1: to see how to see people really tuned in and
• 37:39
  Speaker 1: like you know, I started to see so many people
• 37:44
  Speaker 1: say how much they wish they could have got a
• 37:47
  Speaker 1: PIF project from Piff when he was here, right, and
• 37:50
  Speaker 1: you know I wish the same thing. I just I
• 37:54
  Speaker 1: ain't a big if person. I think if it's the
• 37:56
  Speaker 1: biggest word in the dictionary. And we Creig no Piff
• 38:01
  Speaker 1: well enough to know that if he was alive, it
• 38:05
  Speaker 1: would have been harder for me to create these projects.
• 38:09
  Speaker 1: Because Piff was my older brother. He was a year older,
• 38:13
  Speaker 1: but he had like a big brother complex. So the
• 38:17
  Speaker 1: last person he's gonna listen to.
• 38:18
  Speaker 2: You because he knows better right right, and every big better.
• 38:24
  Speaker 1: It dot matter how far I've made it, and this
• 38:26
  Speaker 1: he knows better than me. So me saying, hey, MANOK,
• 38:29
  Speaker 1: we've had this conversation. Hey brother, you know, maybe you
• 38:33
  Speaker 1: should record with not so many people in the booth
• 38:35
  Speaker 1: so when it's time to make your vocals, we can
• 38:38
  Speaker 1: hear you. He said, all right, I hear you. And
• 38:41
  Speaker 1: then here we are, got this song and I don't
• 38:44
  Speaker 1: know who's rapping because it's so people having a conversation.
• 38:48
  Speaker 1: It ain't even in the backgroun like they. I felt
• 38:51
  Speaker 1: like he might have been in the conversation because it's
• 38:53
  Speaker 1: too close. I'm like, man, I don't know what y'all
• 38:55
  Speaker 1: was doing, but that's not how you record. But he
• 38:59
  Speaker 1: knew better, he knew how to record. It just didn't care.
• 39:02
  Speaker 1: But I think for him it was more like I
• 39:05
  Speaker 1: don't know if it was therapy or now. We never
• 39:07
  Speaker 1: really had that conversation, right, but I feel like it
• 39:09
  Speaker 1: maybe that was the case. Maybe he was recording to
• 39:12
  Speaker 1: get you know, or maybe to scratch his creative itch.
• 39:16
  Speaker 2: Yeah, maybe it wasn't about the music as much as
• 39:18
  Speaker 2: it was about, like you said, the process, right, the
• 39:21
  Speaker 2: therapeutic guys.
• 39:22
  Speaker 1: But the trigger pod always came from the shows.
• 39:26
  Speaker 4: You know.
• 39:27
  Speaker 1: Pele would come with me. Pe was like the ultimate
• 39:29
  Speaker 1: hype man, right, and when we go and perform, well,
• 39:35
  Speaker 1: before we perform, p would count my back end six
• 39:38
  Speaker 1: hundred times and I'll say, man, you can you know
• 39:42
  Speaker 1: you can get show money. Yeah, let's just do step
• 39:45
  Speaker 1: one first. We get that together, we can move forward.
• 39:47
  Speaker 1: We could get to that, and Pete just wouldn't listen.
• 39:50
  Speaker 1: He was like, man, you know whatever. You know, he'd
• 39:53
  Speaker 1: be on board and the next day we talking about
• 39:55
  Speaker 1: getting the studio. Can't find him, right, And you know
• 39:58
  Speaker 1: I said that to say even though it was you know,
• 40:02
  Speaker 1: it was relieving it and you know, people wanted to
• 40:04
  Speaker 1: hear a full project from Piff. I can't really say
• 40:08
  Speaker 1: if he was president, we would have been able. It
• 40:10
  Speaker 1: would have been possible, right, And I hate that's the
• 40:13
  Speaker 1: you know, I hate that one is the outcome of
• 40:15
  Speaker 1: the other. But I can do about it right, true
• 40:18
  Speaker 1: to true. Definitely the civil line.
• 40:20
  Speaker 2: Hey, you gotta stop the interview. You want to give
• 40:22
  Speaker 2: a shout out?
• 40:22
  Speaker 1: Man?
• 40:22
  Speaker 2: The only thing we smoke ladies and gentlemen is slap woods.
• 40:25
  Speaker 2: That's right. Make sure you follow them at slap woods.
• 40:29
  Speaker 2: And you know the reason why we smoked flap woods,
• 40:32
  Speaker 2: it's literally because they slap You ain't smoke a slap woods.
• 40:35
  Speaker 2: What the fuck are you doing?
• 40:37
  Speaker 4: Get back to you.
• 40:39
  Speaker 2: Last year you went on a pretty prolific run of
• 40:42
  Speaker 2: dropping projects. Well it was it was really like yeah,
• 40:45
  Speaker 2: twenty twenty four or twenty twenty three, twenty twenty four,
• 40:48
  Speaker 2: it was very much like it.
• 40:50
  Speaker 1: Was a tape?
• 40:50
  Speaker 2: Was it every month?
• 40:51
  Speaker 4: Yeah?
• 40:51
  Speaker 1: Yeah, twenty four tapes secutively.
• 40:54
  Speaker 2: You know, like that is something that is for anybody,
• 41:00
  Speaker 2: just the process of going to the studio, song structure,
• 41:04
  Speaker 2: having that much inspiration to write beat clearances, the agreements,
• 41:08
  Speaker 2: Socide agreement. I mean, my goodness, bro.
• 41:11
  Speaker 1: It was a lot of work. It was definitely a
• 41:13
  Speaker 1: lot of work, but it was it was it was invigorating.
• 41:20
  Speaker 1: It was almost like I need to like you know
• 41:23
  Speaker 1: some people. He wanted the people now wake up really shit,
• 41:26
  Speaker 1: to go run right, even when you don't feel like
• 41:29
  Speaker 1: going to run right.
• 41:30
  Speaker 2: It was like that for me, like that was instead
• 41:32
  Speaker 2: of exercise, and you were like I gotta.
• 41:34
  Speaker 1: Yeah, well I was it was still I was. It
• 41:36
  Speaker 1: was what jay Z called it, a lyrical exercise. Okay, yeah,
• 41:40
  Speaker 1: So for me, I don't I don't record the way
• 41:44
  Speaker 1: I used to record when I was younger. We used
• 41:46
  Speaker 1: to record hundreds of songs, and then you got a
• 41:48
  Speaker 1: hard drive, got a hundred songs on it, and when
• 41:51
  Speaker 1: it's time to put a mixtape out, I go in
• 41:53
  Speaker 1: and record thirty songs. Pick fifteen of those songs. Now
• 41:56
  Speaker 1: I got one hundred and fifteen songs on the hard drive.
• 41:59
  Speaker 1: So at some point when I just said, fuck that,
• 42:01
  Speaker 1: I can't really rock with this. I can't keep doing this.
• 42:04
  Speaker 1: And after fifth passed my I don't know, my head
• 42:09
  Speaker 1: was all over the place. So I sat down one
• 42:12
  Speaker 1: day and when I started it was in January. As
• 42:15
  Speaker 1: a matter of fact, when I started recording, I I
• 42:19
  Speaker 1: called myself trying to like format the song, and I
• 42:24
  Speaker 1: was like, all right, okay, I know I got what
• 42:26
  Speaker 1: I want to say in the verse, how I want
• 42:27
  Speaker 1: to do that hook? And I was just like, man,
• 42:30
  Speaker 1: fucking pif didn't care. He a you know, I ain't
• 42:33
  Speaker 1: care about if it had a hook or what. He
• 42:35
  Speaker 1: just me he was in there with other people in
• 42:37
  Speaker 1: the booth with him. So I'm like, you know, maybe
• 42:42
  Speaker 1: maybe me thinking this hard about it, I ain't as
• 42:44
  Speaker 1: constructive as I as I once thought it was. So
• 42:48
  Speaker 1: I just went in and just you know, it was
• 42:51
  Speaker 1: free flowing. And from that, since I don't record every
• 42:55
  Speaker 1: day like I used to, I was January days, January
• 43:00
  Speaker 1: thirty one.
• 43:02
  Speaker 2: I was born in January, so I should now well
• 43:04
  Speaker 2: the tape.
• 43:05
  Speaker 1: Whatever day the tape came out, I want to say
• 43:07
  Speaker 1: it was the last Friday of January is when the
• 43:09
  Speaker 1: first tape was released, and all the records were recorded
• 43:14
  Speaker 1: that same week. Every recorded a couple of days before.
• 43:17
  Speaker 2: It was like a kind of like a real time thing,
• 43:19
  Speaker 2: every table, every twenty four times.
• 43:22
  Speaker 4: He's a cycle man.
• 43:23
  Speaker 1: We was. I was in New York when he fit
• 43:27
  Speaker 1: when he discovered this. I was in New York. It
• 43:31
  Speaker 1: was October. As a matter of fact, I want to
• 43:34
  Speaker 1: say one in October. Yeah, I'm in New York. It's October.
• 43:37
  Speaker 1: And he hit me. He was like, man, you know,
• 43:40
  Speaker 1: what's the end goal? What's the plan when you do
• 43:43
  Speaker 1: your December tape? Because it was the first three right right?
• 43:47
  Speaker 1: Initially our come you know, we we intended to do
• 43:52
  Speaker 1: Step Brothers four, right, right after the.
• 43:56
  Speaker 2: Three yeah.
• 43:59
  Speaker 1: Yeah, yeah, yeah, but see after the twelfth tape, I
• 44:03
  Speaker 1: don't know. Well, part of why I went for twelve
• 44:07
  Speaker 1: more is a comment I kept seeing. It was recurring.
• 44:11
  Speaker 1: You know, you would get one person or a few
• 44:13
  Speaker 1: people would praise me for having twelve consecutive tapes, and
• 44:17
  Speaker 1: then you got the people that they got to come
• 44:20
  Speaker 1: and say that currency did it, and Pat Poos did.
• 44:26
  Speaker 1: I said, you know what, I'm sick of it, and
• 44:30
  Speaker 1: I'm you know, I'm I'm aware enough to understand that
• 44:34
  Speaker 1: a lot of the times they just be baiting you,
• 44:36
  Speaker 1: because what people wanted was for me to be like,
• 44:38
  Speaker 1: well fuck currency, it ain't about currency, but that all
• 44:42
  Speaker 1: that does is create a riff between me and currency
• 44:44
  Speaker 1: because they had nothing to do with so sad. All right,
• 44:47
  Speaker 1: you know what, Let's see if you can still say
• 44:49
  Speaker 1: that after I do it twelve more times. And while
• 44:52
  Speaker 1: we was having this conversation, Craig said, okay, you know,
• 44:58
  Speaker 1: at the end of that conversation, I was telling them
• 45:00
  Speaker 1: I gotta get our engineer on the phone because I
• 45:02
  Speaker 1: can't get this equipment to work. This is like, this
• 45:05
  Speaker 1: is last week of October. Well, you know, the last
• 45:08
  Speaker 1: week with a Friday. So he was like, what it
• 45:12
  Speaker 1: how much you got I was like nothing. He was
• 45:15
  Speaker 1: like what I said, I don't have a single song.
• 45:17
  Speaker 1: You can't be serious.
• 45:19
  Speaker 2: I'm like, man, Friday, it's like Tuesday. Wait, so it's
• 45:22
  Speaker 2: Tuesday and you were playing on dropping an album that
• 45:26
  Speaker 2: doesn't it hasn't even been recorded.
• 45:28
  Speaker 3: He's telling me, you know a verse for me. I'm like, cool,
• 45:31
  Speaker 3: how much you got done? And he's like nothing, I
• 45:34
  Speaker 3: don't have to.
• 45:36
  Speaker 1: I didn't have a song. How's your distributor? Connect Connect
• 45:41
  Speaker 1: Music Group? Okay, so what that's right? Connect Music Group?
• 45:45
  Speaker 4: Right?
• 45:48
  Speaker 1: Okay, it's just Connect.
• 45:49
  Speaker 2: Connect Music to you, guys, this is crazy. So you
• 45:53
  Speaker 2: record this October album and two days, three days?
• 45:57
  Speaker 1: Two or three days? Well about two days because it's
• 45:59
  Speaker 1: gotta be turned in Thursday morning.
• 46:01
  Speaker 2: You yourself at the very least to make your life easier. Okay,
• 46:05
  Speaker 2: thank god, Well it does.
• 46:07
  Speaker 1: That does not make my life easier because I'm recording
• 46:11
  Speaker 1: at home with eight kids, so not so much.
• 46:18
  Speaker 2: Trust me. I recorded my radio show at home. Sometimes
• 46:20
  Speaker 2: I'll be in my fucking office and the kids got
• 46:23
  Speaker 2: the dogs going crazy in the living.
• 46:24
  Speaker 1: Room, and I'm like, well, you got shut the fuck up. Well,
• 46:28
  Speaker 1: for me, what I did was was what Piff would
• 46:32
  Speaker 1: have did. Some of my songs got your kids, you
• 46:35
  Speaker 1: hear my kids. I respect it. But I sat down
• 46:38
  Speaker 1: with my uh, with my distributor for the first tape,
• 46:41
  Speaker 1: and I told him I had a plan to do
• 46:44
  Speaker 1: like twelve straight and they said with anybody would have
• 46:47
  Speaker 1: said it was like okay, yeah, yeah. That's then three
• 46:52
  Speaker 1: tapes in and it was like okay, all right, all right,
• 46:54
  Speaker 1: and then we got to like take five or six
• 46:57
  Speaker 1: and it's like, okay, it's time to sit down. We
• 46:58
  Speaker 1: got let's let's figure with music. Is because you did
• 47:02
  Speaker 1: a serious and you know, they they they really helped
• 47:07
  Speaker 1: become a partner in that to help me, you know,
• 47:09
  Speaker 1: streamlining along because me being able to record it is
• 47:13
  Speaker 1: just one part us being able to come up with
• 47:15
  Speaker 1: a game plan immediately after it's recorded or sometimes while
• 47:19
  Speaker 1: it's being recorded. That was the contributing factor because you know,
• 47:24
  Speaker 1: it's a two part thing, you know, me recording and
• 47:27
  Speaker 1: it being released there you know, it being released it
• 47:29
  Speaker 1: is the most important part of this. So with that,
• 47:33
  Speaker 1: like I said, you know, I recorded every tape the
• 47:36
  Speaker 1: same way. I didn't do it on purpose. You know
• 47:38
  Speaker 1: in real time, I spent you know, the first three
• 47:41
  Speaker 1: weeks I spent with my family and.
• 47:43
  Speaker 2: Then the last week the last week him. So in
• 47:47
  Speaker 2: the fourth quarter, you start from scratch.
• 47:49
  Speaker 1: Yeah. Every time my enginet uh said I should name
• 47:53
  Speaker 1: my record label Last Minute Records. But you know, my
• 47:58
  Speaker 1: my guy hit me and he was like, man, you
• 47:59
  Speaker 1: know how looking well, you know we no no no
• 48:04
  Speaker 1: for for for he's wild connect so yeah, he ma
• 48:08
  Speaker 1: and he ask you know how we're looking, uh, you know,
• 48:12
  Speaker 1: trying to upload this might be Monday when he asked this,
• 48:16
  Speaker 1: and I give him the same dope boy lie every
• 48:18
  Speaker 1: time he got him like yeah, yeah, yeah, yeah, Uh,
• 48:21
  Speaker 1: it's getting mixed and mastered right now. Meanwhile, there's nothing,
• 48:24
  Speaker 1: there's nothing there. It's invisible. It don't even exist. But
• 48:28
  Speaker 1: by the time, you know, once I get it wrapped,
• 48:31
  Speaker 1: that's the other thing I got it. I don't know
• 48:33
  Speaker 1: if they you know, you never really know when people
• 48:36
  Speaker 1: are tuned in. But for that's Cavin Zula Yela. I
• 48:40
  Speaker 1: hope I say your name right no you forever, but
• 48:42
  Speaker 1: no one you can't say it right. So Cavin Zula
• 48:45
  Speaker 1: Yella was my mixing engineer. He's been my engineer since
• 48:49
  Speaker 1: twenty teams recorded every record I've done or you know,
• 48:52
  Speaker 1: recorded and mixed except for you know, the records I've
• 48:55
  Speaker 1: done recorded myself. But he had to mix all those
• 48:59
  Speaker 1: two and Kevin Knicks, Kevin Knicks stood in and mixed
• 49:04
  Speaker 1: twenty four projects straight, I mean mastered twenty four projects straight.
• 49:08
  Speaker 1: And you know, like I said, that was like it
• 49:10
  Speaker 1: was a true team effort.
• 49:11
  Speaker 3: You know.
• 49:12
  Speaker 1: I get through dropping vocals and I sent it to
• 49:15
  Speaker 1: my mixing engineer. He sent it back to me. We approve,
• 49:18
  Speaker 1: and then we sent it to mastering and then from
• 49:21
  Speaker 1: there we get it to distribution.
• 49:24
  Speaker 3: So then to cut you off though with that whole
• 49:28
  Speaker 3: process when we were talking about downtimes, down period, that process,
• 49:34
  Speaker 3: like witnessing that was like ultimately inspiring.
• 49:39
  Speaker 2: Yeah.
• 49:40
  Speaker 3: I was in that same time when he said when
• 49:42
  Speaker 3: his distributor started to take it seriously, like all right,
• 49:45
  Speaker 3: let's get some structure to this and see, you know,
• 49:48
  Speaker 3: take it further. Simultaneously, I was going through like the
• 49:51
  Speaker 3: worst writers block. I wanted to snap out of it
• 49:53
  Speaker 3: and get back in the mix. And we had conversations
• 49:56
  Speaker 3: like I just asked, like, how are you doing this?
• 49:58
  Speaker 3: I think I may have made released five or six
• 50:01
  Speaker 3: projects in the calendar year, and now it's still impressive,
• 50:04
  Speaker 3: living and breathing rap music. So I'm like, monthly, this
• 50:07
  Speaker 3: is this is crazy and how are you able to
• 50:09
  Speaker 3: do this? I can't put four bars together right now.
• 50:12
  Speaker 3: He's like, you're thinking too hard. Some of the same
• 50:14
  Speaker 3: things he said. But but when you asked earlier about
• 50:16
  Speaker 3: the independent thing, I would share that as an ND
• 50:21
  Speaker 3: you have to be willing to work and do the work.
• 50:23
  Speaker 3: But there's no shortcut, there's no side stepping because it's
• 50:26
  Speaker 3: only your primarily that that's what you're asking for, is
• 50:29
  Speaker 3: what you're signing up for to do that willingly. And two,
• 50:32
  Speaker 3: you have to have a plan. It has to be
• 50:35
  Speaker 3: about executing the planing. So to here on the front end,
• 50:38
  Speaker 3: I'm doing I'm gonna do this. The main ingredient was
• 50:42
  Speaker 3: he put the work execution, if it was two or
• 50:44
  Speaker 3: three days at a time. It was just like seeing
• 50:47
  Speaker 3: that and you know, that candid conversation we had in
• 50:51
  Speaker 3: the first you know, early on in this process helped
• 50:55
  Speaker 3: get me out of that that rut. I wrote a
• 50:58
  Speaker 3: song called Writer's Blood on the back end of us
• 51:01
  Speaker 3: having that conversation, I'm like, man, I'm having writers. Well,
• 51:04
  Speaker 3: he was like, I think your audience would like to
• 51:07
  Speaker 3: hear you talk about that. You should write a song
• 51:09
  Speaker 3: about having writers. Sure, And I was like wow.
• 51:11
  Speaker 2: It was just like y'all so transparent with your lives. Man,
• 51:14
  Speaker 2: that's sort They ended up being an intro to my
• 51:17
  Speaker 2: next solo project. Like you said, toward the end of
• 51:20
  Speaker 2: the year, I'm like, all right, I'm dropping in December,
• 51:23
  Speaker 2: and now number twelve, let's lock in on Step Brothers four.
• 51:27
  Speaker 3: And he was like, oh, yeah, I'm about to do
• 51:28
  Speaker 3: it again. I'm about to do thirteen through twenty.
• 51:31
  Speaker 2: He's like, I have to prove these comments wrong, and yeah.
• 51:34
  Speaker 3: OK, so for everybody out there, he technically he do
• 51:41
  Speaker 3: one of those years of the delay Step Brothers three
• 51:44
  Speaker 3: and four, But that was a blessing.
• 51:46
  Speaker 2: So my question for you don because like, I feel
• 51:47
  Speaker 2: like there's got to be a gift in the curse
• 51:49
  Speaker 2: to releasing so much music, because do you feel like
• 51:51
  Speaker 2: some music doesn't get worked a proper way? Do you
• 51:53
  Speaker 2: feel like it doesn't give your fans time to really
• 51:55
  Speaker 2: just these albums.
• 51:57
  Speaker 1: Or you're just like I used to look at it
• 52:01
  Speaker 1: like that. I used to not did notice this twenty
• 52:04
  Speaker 1: four takes. I used to look at music like that,
• 52:07
  Speaker 1: and then I started seeing I think Craig called him something.
• 52:12
  Speaker 1: I liked legacy artists. I started seeing legacy artists stepped
• 52:17
  Speaker 1: backwards and shoot videos to the songs that was twenty
• 52:22
  Speaker 1: five years old.
• 52:23
  Speaker 2: Yeah, Juvenile shot that four hundred right.
• 52:25
  Speaker 1: Project Pat did it. I can't remember what.
• 52:27
  Speaker 2: I't remember that he did.
• 52:29
  Speaker 1: I can't remember what record that was, but Project Pat
• 52:31
  Speaker 1: did it. When he did it, I said wow. And
• 52:34
  Speaker 1: then Juvenile did it, I was like, oh, okay, and
• 52:37
  Speaker 1: then I saw what's my guy? I saw shock Glizzity
• 52:42
  Speaker 1: put out a video to a song.
• 52:44
  Speaker 4: It was a white girl, yeah right.
• 52:46
  Speaker 1: I think it was like ten years old when he
• 52:47
  Speaker 1: put a video to it. And then on on the
• 52:50
  Speaker 1: highest level, I watched that uh Chris Brown record.
• 52:55
  Speaker 2: Pop Yeah, And the Chris Brown record was from like
• 53:00
  Speaker 2: it was like three or four years old. I remember
• 53:02
  Speaker 2: the radio guy and I remember seeing that the song
• 53:04
  Speaker 2: on the chart and I was like, yo, that can't
• 53:05
  Speaker 2: be the same song from Mike.
• 53:07
  Speaker 1: Well, see, I ain't in tune. So I'm round with
• 53:11
  Speaker 1: my wife. Well in the rare occasion that she drives,
• 53:14
  Speaker 1: so she's driving.
• 53:15
  Speaker 2: That's that statement. Because the same thing goes for my
• 53:18
  Speaker 2: fucking wife.
• 53:18
  Speaker 1: Yeah, she's a attitude, yeah, Bud, her ass cheeks are
• 53:23
  Speaker 1: engraved in the seat. But either way, man, she was
• 53:28
  Speaker 1: playing that the she was playing the Chris Brown record.
• 53:31
  Speaker 1: I'm like, you know, I've been seeing a lot of
• 53:33
  Speaker 1: that on the internet, and I was like, damn, you
• 53:35
  Speaker 1: know that it's cool to see, you know, to see
• 53:38
  Speaker 1: artists maintain a longevity. And I was like, you know,
• 53:42
  Speaker 1: that's cool. I saw somewhere that the video was coming
• 53:45
  Speaker 1: and she was like, yeah, that song came out three
• 53:48
  Speaker 1: years ago. It was like three years ago. She was,
• 53:50
  Speaker 1: you know, she was saying it almost like you know,
• 53:52
  Speaker 1: she want to hear new music now. I'm thinking like
• 53:56
  Speaker 1: this nigga pulled a video out from a song he
• 53:58
  Speaker 1: released three years ago. It's okay, well, ship, if Chris
• 54:03
  Speaker 1: Brown can reach back and pull a record out, and
• 54:05
  Speaker 1: you know, cause a game and whatever traction in the game,
• 54:07
  Speaker 1: it gained it three years later for sure, somebody. Man,
• 54:10
  Speaker 1: I couldn't help but look at my music the same way.
• 54:13
  Speaker 1: So with twenty four projects, it's like three hundred plus songs,
• 54:18
  Speaker 1: and with that I kind of view it. I kind
• 54:21
  Speaker 1: of view it like a show on Netflix.
• 54:24
  Speaker 2: You can be and people can go back and rewatch right.
• 54:27
  Speaker 1: You ain't caught up the season seven years.
• 54:29
  Speaker 2: I didn't watch Breaking Bad when it came out.
• 54:31
  Speaker 1: I didn't either. I won't hire to go back exactly.
• 54:34
  Speaker 1: But that's that's how I look at it. I look
• 54:35
  Speaker 1: at like, all right, you know, you might have called
• 54:37
  Speaker 1: on Lake and if you call it on late go
• 54:39
  Speaker 1: dive in, you welcome the goal, go binge watch and
• 54:43
  Speaker 1: you know what being's listen right, it's more there and
• 54:48
  Speaker 1: it gives you the space to to live with some
• 54:52
  Speaker 1: of it. If you know, you go back twenty four tapes,
• 54:56
  Speaker 1: let's say five or six tapes in, it's a song
• 54:59
  Speaker 1: that that you living through right there, right in that moment,
• 55:02
  Speaker 1: and that's the one that speaks to you. And all
• 55:05
  Speaker 1: you've heard is that you know, you've been playing that song.
• 55:07
  Speaker 1: That's part of the soundtrack to your life. Now that's fine,
• 55:10
  Speaker 1: you you know, when you get to the rest of
• 55:12
  Speaker 1: the records, then so be it. But if one of
• 55:14
  Speaker 1: those records out of three hundred some records, and one
• 55:18
  Speaker 1: of them became the soundtrack to your life, then I
• 55:20
  Speaker 1: did something right.
• 55:21
  Speaker 2: That's amazing. So you guys, get through the twenty four albums, right,
• 55:26
  Speaker 2: and then you finally have his attention?
• 55:28
  Speaker 4: Yeah? Right?
• 55:30
  Speaker 2: Could you finally have attention to work on Step Brothers fourth?
• 55:34
  Speaker 1: Right? What for you guys like it?
• 55:38
  Speaker 2: Like we talked about the intent earlier on you guys
• 55:41
  Speaker 2: kind of meeting up and going through some of your
• 55:43
  Speaker 2: favorite buddy cop movies and all. I mean, I feel
• 55:45
  Speaker 2: like the intent was was it comes through the music.
• 55:48
  Speaker 2: But just break down to me what it was like
• 55:51
  Speaker 2: to finally like lock in. Cause twenty seventeen was Step
• 55:54
  Speaker 2: Brothers three, So that's seven years later. You guys have
• 55:58
  Speaker 2: each been through a ton eight years later.
• 56:00
  Speaker 1: I take the last year it was my fut.
• 56:04
  Speaker 2: What what is like? How does it feel to get
• 56:06
  Speaker 2: back in and just be super locked in with intent,
• 56:09
  Speaker 2: with purpose to do this album?
• 56:11
  Speaker 4: It felt it felt great. Honestly, it felt nostalgic.
• 56:17
  Speaker 3: I think it is one way of viewing it because,
• 56:21
  Speaker 3: like we said, we go back to twenty eleven with
• 56:25
  Speaker 3: this collective brand and working in tandem and getting back
• 56:31
  Speaker 3: in to like make this project. The focus and the
• 56:34
  Speaker 3: priority was just it was a breath of fresh air.
• 56:37
  Speaker 3: Because I say it all the time, it lightens the load,
• 56:42
  Speaker 3: you know, in a sense, of I don't have to
• 56:46
  Speaker 3: do half the work, I don't have to split half
• 56:48
  Speaker 3: the balls, and my counterpart is prolific. So on one end,
• 56:54
  Speaker 3: I got like all the confidence in the world that
• 56:58
  Speaker 3: you know, he's gonna fill in the blanks or whatever
• 57:02
  Speaker 3: is there. And then also it gives me it sets
• 57:05
  Speaker 3: the bar so high that it's not really possible to
• 57:09
  Speaker 3: like half step, you know, with what I bring into
• 57:13
  Speaker 3: the fold.
• 57:14
  Speaker 2: So that's that's like.
• 57:17
  Speaker 3: A cool feeling of like still sharp and still as
• 57:20
  Speaker 3: they say. And also it was almost effortless, you know,
• 57:27
  Speaker 3: we felt like listening to the music, it feels like
• 57:29
  Speaker 3: y'all were just in there. Yeah, we recorded seventeen songs
• 57:32
  Speaker 3: to deliver the sixteen records that were Step Brothers for
• 57:36
  Speaker 3: Life originally and for the deluxe the eight new records
• 57:39
  Speaker 3: that we just dropped and added to the album.
• 57:41
  Speaker 4: We recorded eight songs and you got eight of them.
• 57:44
  Speaker 3: So it's not it's not just like throwing, you know,
• 57:48
  Speaker 3: painting at the walls, they say, or just doing a
• 57:50
  Speaker 3: lot and picking the best of it.
• 57:52
  Speaker 4: What you got is is what we came up with.
• 57:56
  Speaker 4: And all those other than origins, all those are new record.
• 58:00
  Speaker 3: Origins was recorded almost immediately after Step Brothers three and
• 58:03
  Speaker 3: as they say, the truth doesn't change.
• 58:05
  Speaker 4: We're telling our origin story and that's just.
• 58:07
  Speaker 3: What it was.
• 58:09
  Speaker 2: I feel like more artists need to do that where
• 58:10
  Speaker 2: they're like, I feel like so many people going to
• 58:13
  Speaker 2: the studio with a half assed approach and then picked
• 58:15
  Speaker 2: through a bunch of half assed records.
• 58:17
  Speaker 3: And most deluxeies are the leftovers a correct and so
• 58:20
  Speaker 3: we were intentional of like not one, to just give you.
• 58:27
  Speaker 4: One. There was only one song that didn't make it,
• 58:31
  Speaker 4: but also.
• 58:32
  Speaker 1: Didn't make for I mean, which is great.
• 58:35
  Speaker 2: If it didn' make the original, shouldn't make it.
• 58:37
  Speaker 3: And that's how we we agreed on that as artists,
• 58:40
  Speaker 3: and not to mention, we put the project out as
• 58:43
  Speaker 3: being well received. We immediately got on the road start
• 58:46
  Speaker 3: touring off of it. We added six of the records
• 58:48
  Speaker 3: to our live show, and it's like, man, people are
• 58:51
  Speaker 3: really feeling this. We kind of made it our duty
• 58:54
  Speaker 3: or almost felt and dead it like we need to
• 58:56
  Speaker 3: give them more, Like this is working, it's just text.
• 59:00
  Speaker 1: Now.
• 59:00
  Speaker 3: Yeah's take that energy and double down on it. And
• 59:03
  Speaker 3: that's why I was four and a half, like truly
• 59:06
  Speaker 3: like its own thing or supplement to what we are
• 59:08
  Speaker 3: presenting because after all, people wait to eight years, so
• 59:11
  Speaker 3: it only had to wait two months.
• 59:13
  Speaker 2: Even like a call back to like clips earlier, they
• 59:15
  Speaker 2: said the same thing. They said there was nothing to recorded,
• 59:17
  Speaker 2: didn't make the album. What you heard was the album,
• 59:20
  Speaker 2: and that's how we recorded it. There was not like
• 59:23
  Speaker 2: fat that we had to cut in the process. How
• 59:26
  Speaker 2: many records on it's twelve or thirteen, okay, but it's like,
• 59:31
  Speaker 2: you know, it's like when you go into the studio
• 59:33
  Speaker 2: and you actually take time and intent with your with
• 59:36
  Speaker 2: your music. It's sure it's gonna take you longer.
• 59:39
  Speaker 3: But I think that's a different that's a difference in
• 59:42
  Speaker 3: synergy as well, Like we we get along where we
• 59:47
  Speaker 3: have a camaraderie that extends past beats and bars and
• 59:51
  Speaker 3: making music. So making the music together is the second
• 59:55
  Speaker 3: nightra thing, like I was in his wedding, Like we
• 59:57
  Speaker 3: around the family functions.
• 1:00:00
  Speaker 2: You guys got the kids on the cover.
• 1:00:01
  Speaker 1: Yeah, sure it was.
• 1:00:02
  Speaker 3: Intentionally a family portrait because that's the bond we forged
• 1:00:06
  Speaker 3: over time. That is not it's not an aesthetic, it's
• 1:00:09
  Speaker 3: not something that we're presenting. So even in those eight years,
• 1:00:12
  Speaker 3: we spent more time together and had more experiences than
• 1:00:17
  Speaker 3: between two and three, not just because it's more time,
• 1:00:21
  Speaker 3: just we just grew closer. And so that's what I
• 1:00:24
  Speaker 3: heard from the Clips album is just the it seems.
• 1:00:28
  Speaker 3: It appears as though I imagine so. But they like
• 1:00:32
  Speaker 3: making music together. They seem to be in a good space,
• 1:00:35
  Speaker 3: you know, even presenting the album on the marketing then
• 1:00:38
  Speaker 3: and as on a fan level, like think about how
• 1:00:41
  Speaker 3: many collaborative projects we've seen in the last I guess
• 1:00:44
  Speaker 3: ten years or so, where that's all you got from
• 1:00:46
  Speaker 3: those two artists.
• 1:00:47
  Speaker 4: They did that at each.
• 1:00:51
  Speaker 2: Other, collaborative, mutually beneficial, primary artist see him right, And
• 1:00:58
  Speaker 2: a lot of times they do those albums and then
• 1:00:59
  Speaker 2: they fuck with each other when the album's coming zactly
• 1:01:02
  Speaker 2: like there's a money Bag, you know, and Be a
• 1:01:03
  Speaker 2: Young Boy tape that came out. And by the time
• 1:01:05
  Speaker 2: the tape came out and Be a Young Boy was
• 1:01:06
  Speaker 2: like I with this album.
• 1:01:09
  Speaker 1: But it's like it's interesting because I'm maybe what you
• 1:01:13
  Speaker 1: what you're talking about. I never quite understood that. You know,
• 1:01:17
  Speaker 1: I don't know either of them, so I don't know
• 1:01:19
  Speaker 1: they the dynamic of it. But I agree a lot
• 1:01:22
  Speaker 1: of the a lot of the tandem projects. You here
• 1:01:26
  Speaker 1: don't have an actual camaraderie.
• 1:01:29
  Speaker 2: You said, synergy, it's just the cash.
• 1:01:31
  Speaker 4: I like working with people that like one I'm fans of,
• 1:01:35
  Speaker 4: or that you know, I like them as people. That
• 1:01:38
  Speaker 4: makes it a whole lot easier.
• 1:01:40
  Speaker 2: I mean, because if this works out, we're gonna maybe
• 1:01:42
  Speaker 2: going the road together, We're gonna.
• 1:01:44
  Speaker 4: Have to be money in scenario. But if it's just
• 1:01:48
  Speaker 4: the business in front of it, it's kind of like.
• 1:01:51
  Speaker 2: I wonder if you done, what are your thoughts on
• 1:01:55
  Speaker 2: on just Memphis in general right now? Because I believe
• 1:01:58
  Speaker 2: it was Steven Ace s Myth who came out and
• 1:02:01
  Speaker 2: said that there's players who don't want to get drafted
• 1:02:03
  Speaker 2: to the Grizzlies because of maybe some of the negative
• 1:02:07
  Speaker 2: connotations about Memphis. It feels like, you know, like I
• 1:02:12
  Speaker 2: said on the hip hop side, Memphis has had.
• 1:02:13
  Speaker 1: Such a huge stephen A.
• 1:02:15
  Speaker 2: Smith is he wasn't for He's allowed.
• 1:02:20
  Speaker 1: It's definitely can't be fad stephen A.
• 1:02:24
  Speaker 2: Smith from ESPN. Okay, so they're talking about a draft
• 1:02:29
  Speaker 2: and he was saying how certain players don't want to
• 1:02:31
  Speaker 2: go to the Grizzlies because of how dangerous Memphis. But
• 1:02:36
  Speaker 2: I wonder for you man like obviously Memphis has became
• 1:02:39
  Speaker 2: like a you know, we were coming up, it was
• 1:02:42
  Speaker 2: like Atlanta, New York, LA, and then the rest of
• 1:02:45
  Speaker 2: the country. But now Memphis is one of those cities
• 1:02:48
  Speaker 2: as og from Memphis, like, what is your kind of
• 1:02:51
  Speaker 2: perspective of where Memphis hip hop is?
• 1:02:54
  Speaker 1: And just like the city in general well as far
• 1:02:57
  Speaker 1: as music, I think Memphis has come along way. I
• 1:03:00
  Speaker 1: think we should have got some ways to go. A
• 1:03:03
  Speaker 1: lot of Memphis artists aspire to have the kind of
• 1:03:09
  Speaker 1: the kind of what's the word they always use. Unity.
• 1:03:14
  Speaker 1: They have the kind of same kind of unity that
• 1:03:16
  Speaker 1: they have in Atlanta. And I think part of why
• 1:03:23
  Speaker 1: we don't really have the unity they have in Atlanta
• 1:03:26
  Speaker 1: is because in Atlanta when artists don't really at least
• 1:03:31
  Speaker 1: when I was coming up, when artists didn't get along
• 1:03:33
  Speaker 1: in Atlanta, Atlanta's the only people that knew it. We
• 1:03:36
  Speaker 1: never knew.
• 1:03:38
  Speaker 2: Yeah, there wasn't like YouTube documentaries, right, you got a.
• 1:03:42
  Speaker 1: Little tricky when they had like real, real thick beef,
• 1:03:46
  Speaker 1: you know, like you know, we just about knew everybody
• 1:03:49
  Speaker 1: Gucci Man was beefing with.
• 1:03:50
  Speaker 2: But of course, of course, yeah, but you.
• 1:03:52
  Speaker 1: Know, past that, the people that just didn't get along.
• 1:03:55
  Speaker 1: We didn't hear about it. We didn't know about it.
• 1:03:57
  Speaker 1: And in some cases they would have like a mutual
• 1:04:01
  Speaker 1: friend or something, so they end up on the same
• 1:04:03
  Speaker 1: records even though they don't rock with each other. And
• 1:04:05
  Speaker 1: in Memphis it is a little different, and it's like
• 1:04:11
  Speaker 1: I would like to say, it's kind of the same
• 1:04:13
  Speaker 1: way everywhere with the gang coaches. You know, we grew
• 1:04:16
  Speaker 1: up it was you know, it was designated sets. It
• 1:04:20
  Speaker 1: was like, you know, it was bloods, it was crips,
• 1:04:22
  Speaker 1: vice lords and gd's, and now they got like hybrid gangs.
• 1:04:26
  Speaker 1: So the hybrid game might have all of those blood
• 1:04:30
  Speaker 1: crip and GD and when certain people in that game
• 1:04:35
  Speaker 1: stopped getting along, a branch out and spawned a new
• 1:04:39
  Speaker 1: hybrid gang. And for you know what, the city is
• 1:04:42
  Speaker 1: filled with hybrid gangs. And now when with music, now
• 1:04:48
  Speaker 1: everybody's record labels really the name of their gang.
• 1:04:51
  Speaker 2: I mean yeah, I mean we've seen it over and
• 1:04:53
  Speaker 2: over with the way the ricos are working on the
• 1:04:56
  Speaker 2: speculated records that are coming in.
• 1:04:57
  Speaker 1: But see what I think that's part of by musically
• 1:05:01
  Speaker 1: the unit is not present. I think, you know, like
• 1:05:04
  Speaker 1: I said, I think we got some ways to go
• 1:05:06
  Speaker 1: before we get to that space. I don't really have
• 1:05:09
  Speaker 1: a stake in any of that. I always I never
• 1:05:14
  Speaker 1: really been into being the other people's business, right, And
• 1:05:17
  Speaker 1: for me, I think the respect that that that I
• 1:05:20
  Speaker 1: do receive from Memphis artists old and young, it's at
• 1:05:25
  Speaker 1: a level where they understand that whatever they got going
• 1:05:28
  Speaker 1: on don't got nothing to do with me. I ain't
• 1:05:29
  Speaker 1: picking the side of nothing that that didn't involve me
• 1:05:33
  Speaker 1: as far as Memphis as a whole or as a culture.
• 1:05:36
  Speaker 2: Like for what just just say Steve Stephen Smith when
• 1:05:40
  Speaker 2: he was saying that certain players wouldn't sign there or
• 1:05:43
  Speaker 2: don't want to be drafted there because of the perception
• 1:05:47
  Speaker 2: of how dangerous city, I don't think.
• 1:05:50
  Speaker 1: I don't think they play a factor. I think it's
• 1:05:52
  Speaker 1: dangerous everywhere. I mean, you know that that just is
• 1:05:55
  Speaker 1: what it is, the same way you know you got
• 1:05:58
  Speaker 1: crime and Memphis you got it, everybody in l A.
• 1:06:00
  Speaker 2: You got it in the Bay, you got it, in
• 1:06:03
  Speaker 2: Nashville got it.
• 1:06:05
  Speaker 1: It's there's people getting killed in Nebraska. So I think
• 1:06:11
  Speaker 1: I think that was I think that might have been
• 1:06:15
  Speaker 1: an ignorant statement to make. Probably I don't think that
• 1:06:18
  Speaker 1: he got a lot of help for it. Okay, well
• 1:06:22
  Speaker 1: he deserved it if that was your statement, because I
• 1:06:25
  Speaker 1: mean again, you know you got you got some fucked
• 1:06:28
  Speaker 1: up places in America, for sure.
• 1:06:31
  Speaker 2: They Gary Indiana exists.
• 1:06:34
  Speaker 1: Michael Jordan played for Chicago right right in Chicago. Ain't
• 1:06:39
  Speaker 1: you know? It ain't sucking? It ain't it ain't what
• 1:06:41
  Speaker 1: was Mayberry for sure. So I don't know the.
• 1:06:48
  Speaker 3: Job.
• 1:06:49
  Speaker 2: You said that when you said that earlier about the
• 1:06:51
  Speaker 2: Atlantic guys being on I think back to the remember
• 1:06:55
  Speaker 2: the Young Buck songs stomp. Yeah, it was talking about
• 1:06:58
  Speaker 2: and then and t I on the on the same record,
• 1:07:01
  Speaker 2: and then the album version came out and they replaced.
• 1:07:03
  Speaker 2: I forget who got replaced with the game. I think
• 1:07:04
  Speaker 2: it relaced with the Game.
• 1:07:06
  Speaker 3: Yeah, I was in the studio when when Buck got
• 1:07:09
  Speaker 3: the Ludacris verse. I was actually there when he first
• 1:07:12
  Speaker 3: heard through.
• 1:07:13
  Speaker 2: What was what was his reaction?
• 1:07:17
  Speaker 3: Well, I heard the t I versus the studio and
• 1:07:19
  Speaker 3: I'm miss telling I'm telling the story wrong. I heard
• 1:07:22
  Speaker 3: the t I verse with Young Buck in the studio
• 1:07:26
  Speaker 3: like before I ever dropped the project. Yeah, and I
• 1:07:30
  Speaker 3: was in the club with a bunch of the BMF
• 1:07:33
  Speaker 3: guys in two thousand and four, I was at the
• 1:07:36
  Speaker 3: After I Was club in Atlanta. I think Atrian was
• 1:07:38
  Speaker 3: in the name of it. I was Jesus flew me
• 1:07:40
  Speaker 3: to Atlanta trying to signon the CT at the time,
• 1:07:43
  Speaker 3: and I'm in after I was third club we went
• 1:07:45
  Speaker 3: to that night and the DJ played the Ludacris verse
• 1:07:49
  Speaker 3: in the club and one of the BMF guys, I
• 1:07:51
  Speaker 3: want to say, got like a thousand dollars for the.
• 1:07:53
  Speaker 4: CD because this was not you weren't sending files.
• 1:07:57
  Speaker 3: Right, But they played it a bunch of times, and
• 1:08:00
  Speaker 3: I remember I had heard the Tiavars it was unreleased.
• 1:08:03
  Speaker 3: I heard that maybe six months prior, and I knew
• 1:08:06
  Speaker 3: he kind of di Ludacris on there. And I played
• 1:08:08
  Speaker 3: this in the club, like I said, four in the morning,
• 1:08:11
  Speaker 3: and I was like, I was like, man, that's a
• 1:08:13
  Speaker 3: missy shit right.
• 1:08:14
  Speaker 4: Then you got two people on the sun so on
• 1:08:16
  Speaker 4: this and each other. But like you said, they came
• 1:08:18
  Speaker 4: out differently than that.
• 1:08:19
  Speaker 2: But they should have put that out because it was
• 1:08:21
  Speaker 2: out of the mixtape scene for so long, and then
• 1:08:23
  Speaker 2: when the album came out, you're like, ah, come on.
• 1:08:26
  Speaker 1: Well yeah, it was like the Southern verb not to
• 1:08:30
  Speaker 1: the same extent, but like the southern version of full
• 1:08:34
  Speaker 1: three to two one.
• 1:08:35
  Speaker 2: Right, yeah, the cannabis ll shit, yeah that's fair. Hey,
• 1:08:39
  Speaker 2: we gott to wrap up this interview, another one presented
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  Speaker 2: by hard Dang baby, you already know what it is.
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• 1:09:25
  Speaker 2: salute to them. Let's get back to the interview. What
• 1:09:26
  Speaker 2: about you start legal Because I feel like Nashville has
• 1:09:29
  Speaker 2: kind of been a city that's always had like an
• 1:09:31
  Speaker 2: interesting you know, there's been successful artists out of Nashville, yourself,
• 1:09:36
  Speaker 2: we mentioned Young Buck. I'm glad you guys squashed your
• 1:09:38
  Speaker 2: issues too. But uh, then there's like a guy like
• 1:09:42
  Speaker 2: Jelly Roll who and Struggle, and you know there's kind
• 1:09:46
  Speaker 2: of like the kind of that white boy like side
• 1:09:48
  Speaker 2: of the Nashville hip hop scene. There was a Haystack
• 1:09:51
  Speaker 2: was from Nashville, you know what I'm saying. But for you, like,
• 1:09:55
  Speaker 2: you know, Nashville is very much like countries like so
• 1:09:59
  Speaker 2: big right now, and so as a city like Nashville
• 1:10:02
  Speaker 2: is probably bigger than it's ever been in terms of
• 1:10:05
  Speaker 2: like people coming there, writers coming there for obviously that genre.
• 1:10:09
  Speaker 2: But on the hip hop side, where do you kind
• 1:10:10
  Speaker 2: of see Nashville right now? And is there any up
• 1:10:12
  Speaker 2: and cooming artists that you think are dope that maybe
• 1:10:14
  Speaker 2: have a.
• 1:10:14
  Speaker 4: Chance to Yeah, there's there's a bunch of them. That's several.
• 1:10:18
  Speaker 3: I think we're right at that on the cusp of
• 1:10:21
  Speaker 3: blossoming and creating more of a presence overall, hopefully in
• 1:10:26
  Speaker 3: the hip hop space.
• 1:10:27
  Speaker 4: I mean, obviously that's what my roots are. Like you said,
• 1:10:30
  Speaker 4: the scale of music.
• 1:10:31
  Speaker 3: Business in Nashville's I hope all my peers and comrades
• 1:10:35
  Speaker 3: that are working just keep working because I think genres
• 1:10:39
  Speaker 3: are starting to overlap more than anything. Shaboozi record is
• 1:10:42
  Speaker 3: a rap record reworked in the country.
• 1:10:44
  Speaker 2: He reworked.
• 1:10:47
  Speaker 4: What his name Shaboozi the artists.
• 1:10:51
  Speaker 2: By the way, this is the number one most successful
• 1:10:53
  Speaker 2: Billboard song ever. It's spout more weeks in number one
• 1:10:56
  Speaker 2: than any song.
• 1:10:56
  Speaker 1: And it's around is Shaboozi.
• 1:10:58
  Speaker 4: Yes, it's a wrap. Yeah, he's a loose that's.
• 1:11:05
  Speaker 1: Completely not I heard the country version of Tipsy. I just.
• 1:11:11
  Speaker 3: And to see a rap song being reworked reformatic for
• 1:11:16
  Speaker 3: country and having that kind of success, I think it's
• 1:11:19
  Speaker 3: very much an indicative of how close music is music.
• 1:11:23
  Speaker 4: And so, like I said to.
• 1:11:27
  Speaker 2: Don't, I don't believe I think it's I think he's
• 1:11:30
  Speaker 2: from Virginia.
• 1:11:31
  Speaker 4: Yeah, I don't think he's from Nasville.
• 1:11:33
  Speaker 2: But I don't mean to cut you off, but he's
• 1:11:36
  Speaker 2: been in Nashville for a while.
• 1:11:37
  Speaker 1: But yeah, okay, he was making me.
• 1:11:41
  Speaker 3: Country music is the lifeline of music business in nash
• 1:11:45
  Speaker 3: like people come there to establish themselves in that genre.
• 1:11:49
  Speaker 4: I think we got some rich history as far as
• 1:11:52
  Speaker 4: rap goes. You mentioned some of it. There's quantity cash pistol.
• 1:11:57
  Speaker 3: Artists that early on for me, even before I was rapping,
• 1:12:01
  Speaker 3: that I saw have presence, you know, get the surface level.
• 1:12:06
  Speaker 3: And even now there's a ton of artists that I
• 1:12:08
  Speaker 3: feel like, all right there. It's Tim Jent. I think
• 1:12:11
  Speaker 3: he's promising. Got a lot of talent from the area.
• 1:12:14
  Speaker 3: The producer band play as you know, multi platinum producer
• 1:12:20
  Speaker 3: and all over the place. We're working on an album
• 1:12:23
  Speaker 3: together to tell a different story in Nashville musically, and
• 1:12:27
  Speaker 3: then tends to have some of the mash up and
• 1:12:30
  Speaker 3: overlap from genres because.
• 1:12:33
  Speaker 4: We're piers with neighbors.
• 1:12:34
  Speaker 3: I mean, for a long time, I just started like
• 1:12:37
  Speaker 3: really getting my foot in the door on music Row
• 1:12:40
  Speaker 3: is where a lot of the studios.
• 1:12:43
  Speaker 2: Man like you just go in there and jump in
• 1:12:45
  Speaker 2: any of those writer rooms.
• 1:12:46
  Speaker 3: And I've been doing it recently, and I challenged those
• 1:12:51
  Speaker 3: around me. I see some of my peers, some of
• 1:12:53
  Speaker 3: my buddies like Little Vags, Sweet Poison. These are some
• 1:12:58
  Speaker 3: Nashville based artists that I feel like doing the footwork
• 1:13:02
  Speaker 3: and trying to rap hustle, which is something that our
• 1:13:05
  Speaker 3: champion and admire. Like I said, I mean there's too
• 1:13:09
  Speaker 3: many tonight, but uh, Big Top and Trapping Man del
• 1:13:14
  Speaker 3: that both artists on my label ground hard that that
• 1:13:18
  Speaker 3: are right there. And you know, I just think, like
• 1:13:22
  Speaker 3: I said, you just got to put the work in
• 1:13:23
  Speaker 3: or figure out how to make yourself stand out amongst
• 1:13:28
  Speaker 3: what's going.
• 1:13:28
  Speaker 4: On, you know, globally or everywhere.
• 1:13:31
  Speaker 3: But I think with Nashville is like the fastest growing city.
• 1:13:36
  Speaker 3: It's been the fastest growing city in the Middle State.
• 1:13:38
  Speaker 2: Tax got to Tennessee. Yeah, I got it figured out
• 1:13:42
  Speaker 2: out there rough out here. It's fucked out here, but.
• 1:13:45
  Speaker 3: But yes, I mean, like I said, is we're right there,
• 1:13:50
  Speaker 3: you know, on the cusp of emerging and breaking through
• 1:13:53
  Speaker 3: that has been you mentioned some of the artists and
• 1:13:56
  Speaker 3: it's like a cultural divide. I just think we got
• 1:14:00
  Speaker 3: a rise above all those like labels and stig model
• 1:14:03
  Speaker 3: and just just do the work and if we get
• 1:14:06
  Speaker 3: like behind each other. There's a big record out of
• 1:14:10
  Speaker 3: Nashville from Black Wizzle called Cashville Be Balling, and I've
• 1:14:14
  Speaker 3: seen it this summer, like in his own way, unite
• 1:14:16
  Speaker 3: people and create a sense of unity and pride, and
• 1:14:22
  Speaker 3: that was it was refreshing that it almost felt like
• 1:14:25
  Speaker 3: throwback to just see people.
• 1:14:28
  Speaker 4: Where I'm from get excited about something. Musically.
• 1:14:32
  Speaker 3: Me and Jelov had some conversations about that record specifically,
• 1:14:35
  Speaker 3: just he told me it was like, it's two things
• 1:14:37
  Speaker 3: he's been waiting on, and it's for me to want
• 1:14:41
  Speaker 3: to put myself back out there in the whole mix
• 1:14:45
  Speaker 3: of everything with my music. And he was like, he's
• 1:14:46
  Speaker 3: been waiting on someone from Nashville to make a hit.
• 1:14:50
  Speaker 3: And he was like, man, both of those things that
• 1:14:51
  Speaker 3: happened simultaneously with me working the album with Don Tripp
• 1:14:55
  Speaker 3: and also with Black Wizzles Records. So it's a lot
• 1:14:58
  Speaker 3: to look out for. I just I just think we
• 1:15:01
  Speaker 3: just gotta keep working like and creating. I mean, I've
• 1:15:05
  Speaker 3: seen other cities of the markets like blossom, like Detroit
• 1:15:11
  Speaker 3: is going to Texas, you know.
• 1:15:14
  Speaker 2: Obviously, yeah, Dallas is doing this. The big action is
• 1:15:17
  Speaker 2: going crazy. You talk about the genre stuff, he's doing
• 1:15:19
  Speaker 2: country stuff, right. I do think it's interesting too, because
• 1:15:22
  Speaker 2: it's like, you know, Nashville literally is one of the
• 1:15:26
  Speaker 2: biggest music I mean, it's where the entire country industry exists. Like,
• 1:15:30
  Speaker 2: if you want to sign a country record deal, you
• 1:15:32
  Speaker 2: ain't coming to LA You ain't going to New York, right,
• 1:15:34
  Speaker 2: you got to go to the office in Nashville. So
• 1:15:36
  Speaker 2: it's such a big music city. But on the hip
• 1:15:38
  Speaker 2: hop side, it's always been like I feel like far
• 1:15:41
  Speaker 2: and few between in terms of like the artists that like,
• 1:15:44
  Speaker 2: you know, I'm from Phoenix, lived in Vegas, lived in Florida.
• 1:15:47
  Speaker 2: That I like, it started with Young Buck obviously Nashville's
• 1:15:51
  Speaker 2: cash feel as a kid, you know what I'm saying.
• 1:15:52
  Speaker 2: But I think it's you know, it's been dope to
• 1:15:55
  Speaker 2: see like some of the energy, like you said, like yo,
• 1:16:00
  Speaker 2: the genre shit like you said, it's like, Yo, if
• 1:16:03
  Speaker 2: you're a talented writer and you live in Nashville, you
• 1:16:06
  Speaker 2: could be a rapper. But if you got a pain,
• 1:16:08
  Speaker 2: like you could go get a pub bag.
• 1:16:10
  Speaker 3: Yeah yeah, I mean as a kid, a little bree
• 1:16:14
  Speaker 3: from there that's doing some interesting overlap things. My buddy
• 1:16:18
  Speaker 3: Broadway Bow actually just play NFL football. It's definitely like
• 1:16:25
  Speaker 3: being super experimental, like he's got a dope pin and
• 1:16:29
  Speaker 3: trying to like take it there. In terms of the
• 1:16:32
  Speaker 3: genre bending, meltwy things and you know, working amongst all that,
• 1:16:37
  Speaker 3: Like you said, it's right there. It's had a finger
• 1:16:38
  Speaker 3: to I do think one thing, with the Internet and
• 1:16:42
  Speaker 3: how small makes the world, I think we got to
• 1:16:45
  Speaker 3: erase those geographical boundaries and whatnot kind of.
• 1:16:49
  Speaker 2: I mean, they've kind of been a race, to be fair,
• 1:16:51
  Speaker 2: But you gotta put yourself.
• 1:16:52
  Speaker 3: Out there, like when you mentioned young Bug, even for myself,
• 1:16:55
  Speaker 3: even for Jelly, Like I think our ability to navigate
• 1:17:00
  Speaker 3: the music realm and business outside of just what was
• 1:17:05
  Speaker 3: contained in Nashville, it rights our selling and our growth potential. Like,
• 1:17:10
  Speaker 3: you got to put yourself out there. You got to
• 1:17:12
  Speaker 3: get uncomfortable. I'm two thousand miles away from home sitting
• 1:17:15
  Speaker 3: there talking to you. That's a part of the process.
• 1:17:17
  Speaker 3: Like I know, the difference in just putting the music
• 1:17:19
  Speaker 3: in the marketplace and thinking it's gonna push yourself. Sure
• 1:17:22
  Speaker 3: I have a core audience and following, but you gotta
• 1:17:25
  Speaker 3: do the work. You got to introduce yourself and try
• 1:17:27
  Speaker 3: to grow audience.
• 1:17:28
  Speaker 4: That's the name of it.
• 1:17:29
  Speaker 3: And I play on my feet in Memphis, Tennessee, and
• 1:17:32
  Speaker 3: I've lived in Atlanta at different times, even early in
• 1:17:35
  Speaker 3: my career. Just for the second networking because Nashville didn't
• 1:17:39
  Speaker 3: have an urban music scene like that.
• 1:17:41
  Speaker 4: But some of these other places have.
• 1:17:44
  Speaker 2: You had to go. I mean you said you were
• 1:17:45
  Speaker 2: hanging out with BMF at the Strip Woman in Atlanta
• 1:17:46
  Speaker 2: probably two thousand and four.
• 1:17:48
  Speaker 3: Yeah, yeah, it was about virtual, just trying to see
• 1:17:51
  Speaker 3: something else. I was down in New Orleans for the
• 1:17:54
  Speaker 3: Essence Festival that same summer, you know, rubbing shutters and
• 1:17:57
  Speaker 3: cash money, and which led to that deal.
• 1:18:00
  Speaker 2: We're going to one of these crazy bingth parties we
• 1:18:01
  Speaker 2: hear about that was the Tis.
• 1:18:05
  Speaker 4: It was in that same time.
• 1:18:06
  Speaker 3: I mean, they had like millions of dollars worth of
• 1:18:09
  Speaker 3: cars parked out front when we left.
• 1:18:12
  Speaker 2: Just always hear about the wild Animals, which is like,
• 1:18:14
  Speaker 2: you know.
• 1:18:15
  Speaker 4: Yeah, I think that was somebody's birthday party.
• 1:18:17
  Speaker 2: So yeah, but I do.
• 1:18:18
  Speaker 4: I can't say I was around enough to see that
• 1:18:20
  Speaker 4: a lot of that was was real, But that's to
• 1:18:23
  Speaker 4: my point. I was able to see that the.
• 1:18:25
  Speaker 3: World was bigger than what I knew in Easter Nashville,
• 1:18:27
  Speaker 3: and so we thought we were bowling. We were young,
• 1:18:30
  Speaker 3: getting some money and putting on locally when I went
• 1:18:33
  Speaker 3: down there, and I'll never forget this. My manager at
• 1:18:36
  Speaker 3: the time shout out to Linel Matthews works with Juvenile.
• 1:18:41
  Speaker 3: He's Junile court clerk and you know, doing great things.
• 1:18:45
  Speaker 3: But at this time we're traveling with down there and
• 1:18:48
  Speaker 3: like I said, third club, like, uh, drinking a bottle
• 1:18:52
  Speaker 3: of champagne some like PJ is period aro. I'd never
• 1:18:57
  Speaker 3: seen this kind of champagne before. It was probably five
• 1:19:00
  Speaker 3: was a bottle on the club. Somebody with them gives
• 1:19:03
  Speaker 3: me a bottle. I'm I'm drunk, I'm exhausted, I'm tired
• 1:19:05
  Speaker 3: of partying. By this time, I passed him a bottle
• 1:19:08
  Speaker 3: and somebody taps me on the shoulders like, hey, you
• 1:19:10
  Speaker 3: was such and such like yeah, hands men know the
• 1:19:13
  Speaker 3: bottles like man, we don't even shut cigarettes and just
• 1:19:15
  Speaker 3: walks off.
• 1:19:16
  Speaker 4: I don't know who this was, and at that time
• 1:19:18
  Speaker 4: it was like, yeah, he's just stunning on me. But
• 1:19:20
  Speaker 4: it also gave me something to aspis to him, like
• 1:19:23
  Speaker 4: now we're not really doing it big.
• 1:19:25
  Speaker 2: Yeah. I always tell people, because you know, I'm from
• 1:19:27
  Speaker 2: Phoenix and so like I always tell whether it's a
• 1:19:30
  Speaker 2: you know, DJ or artist, I'm like, yo, get out,
• 1:19:33
  Speaker 2: you got to see the world because perspectives everything right
• 1:19:36
  Speaker 2: right right, it's real easy to get wrapped up in
• 1:19:39
  Speaker 2: your local hip hop politics. I'm like, funk all that,
• 1:19:42
  Speaker 2: get out right, shake hands, see the world, see the country,
• 1:19:46
  Speaker 2: and understand that it's bigger than just your shitty and
• 1:19:48
  Speaker 2: just the same.
• 1:19:49
  Speaker 3: I got around artists in different pockets, different spaces and
• 1:19:52
  Speaker 3: saw that they were working. They were working harder than
• 1:19:56
  Speaker 3: me and my peers were at that time, Like we
• 1:19:58
  Speaker 3: we wanted it and we were we were at it.
• 1:20:01
  Speaker 3: But to see people like living and breathing and ship
• 1:20:03
  Speaker 3: it was like, Okay, this is why they are where
• 1:20:06
  Speaker 3: they are. That was the main thing I took from
• 1:20:08
  Speaker 3: my time of cash money like it was an operation,
• 1:20:11
  Speaker 3: like it was.
• 1:20:12
  Speaker 4: It wasn't just.
• 1:20:15
  Speaker 3: Basking in it. And they were who they were when
• 1:20:17
  Speaker 3: I met them, but they were working like they weren't.
• 1:20:20
  Speaker 2: Sure, like they weren't already you know. Yeah, it was
• 1:20:22
  Speaker 2: a compound. And I took that with me, like yeah,
• 1:20:26
  Speaker 2: you gotta got I mean that was around.
• 1:20:30
  Speaker 4: That was around Card one was.
• 1:20:34
  Speaker 3: The around of time I drove the Essence Festival listening
• 1:20:38
  Speaker 3: to a bootleg version of the Card One and we
• 1:20:41
  Speaker 3: got there. That gave us advanced copies of it, and
• 1:20:44
  Speaker 3: I had to act like I hadn't heard it already.
• 1:20:48
  Speaker 4: You know.
• 1:20:49
  Speaker 2: That's honestly, I still think Carter to me. I know
• 1:20:54
  Speaker 2: a lot of people say Card three, I'm a Carter
• 1:20:56
  Speaker 2: one of Carter two guy, depending on the day. Card
• 1:20:58
  Speaker 2: one was Burman Junior. We're talking about that, that Burman Jr.
• 1:21:04
  Speaker 4: Oh my god, shout out the t mix they produced it.
• 1:21:13
  Speaker 2: Don When you guys, when the label decides to get
• 1:21:15
  Speaker 2: behind a letter to my son, was there an artist
• 1:21:18
  Speaker 2: that was in consideration besides Celo or was it just
• 1:21:21
  Speaker 2: like hey Selo? Like like like, because I know how
• 1:21:23
  Speaker 2: the major labels work sometimes they're like, what name can
• 1:21:26
  Speaker 2: we get on this song to take it to the
• 1:21:27
  Speaker 2: next level?
• 1:21:28
  Speaker 1: Yeah, they should marry j Blige.
• 1:21:31
  Speaker 2: Mm hmm.
• 1:21:32
  Speaker 1: And that said no, see the whole, the whole. Uh.
• 1:21:39
  Speaker 1: Everything about the release of that song was tricky because
• 1:21:43
  Speaker 1: in real time, that song's never been added to radio.
• 1:21:46
  Speaker 1: It seems like it was, but it never really was.
• 1:21:52
  Speaker 1: Around this time, Cool and Dre going to the to
• 1:21:56
  Speaker 1: the office to you know, to network politics, and I'm
• 1:22:00
  Speaker 1: a firm believer of your United Front, even though we
• 1:22:03
  Speaker 1: weren't on the same page, you know, individually. Yeah, I
• 1:22:07
  Speaker 1: didn't want to go in and be pressing for one
• 1:22:10
  Speaker 1: thing and they're pressing for the opposite thing, because then
• 1:22:13
  Speaker 1: we look foolish. So, you know, I'm under the impression
• 1:22:17
  Speaker 1: that they're going in and they fighting for you know,
• 1:22:19
  Speaker 1: this situation. Later I find out they weren't. So I
• 1:22:22
  Speaker 1: don't really know what if anything they told me was true.
• 1:22:27
  Speaker 1: But at that point in time, they told me that
• 1:22:31
  Speaker 1: jim Iveen requested that we put a hook on the
• 1:22:35
  Speaker 1: Letter to My Son record, and I'm asking why, and
• 1:22:38
  Speaker 1: they like, you know, you can't go to radio without
• 1:22:42
  Speaker 1: a hook. So we battled with that for a second,
• 1:22:46
  Speaker 1: and I explained to him, you know, the record is
• 1:22:49
  Speaker 1: too I'm too connected to this record for me.
• 1:22:53
  Speaker 5: To change it, right, Yeah, you know, if it's got
• 1:22:57
  Speaker 5: to be the way I hate the Sea Low version
• 1:23:00
  Speaker 5: I love No, I love I Love Good, the same
• 1:23:04
  Speaker 5: way I felt.
• 1:23:06
  Speaker 2: Listen to that song.
• 1:23:08
  Speaker 1: Yeah, well see, because I love the original alone and
• 1:23:11
  Speaker 1: that that that that was a fight that I just
• 1:23:14
  Speaker 1: had to bow out on because they was expressing it
• 1:23:19
  Speaker 1: as if Jimmy and I been made this call, and
• 1:23:22
  Speaker 1: I'm like, you know, that's who beat the money on it.
• 1:23:24
  Speaker 1: And we're having the conversations and I'm like, man, maybe
• 1:23:27
  Speaker 1: I need to speak to Jimmy. And of course, you know,
• 1:23:29
  Speaker 1: everybody voted against such. But we sat down. It was like,
• 1:23:33
  Speaker 1: you got to have a hook, and I'm like, man,
• 1:23:34
  Speaker 1: I don't even know how you split this song up
• 1:23:36
  Speaker 1: into three verses. You know, I'm like, there's no ain't
• 1:23:40
  Speaker 1: no stopping points in that.
• 1:23:41
  Speaker 2: Yeah.
• 1:23:42
  Speaker 1: Yeah, So you know, they came with a few versions.
• 1:23:45
  Speaker 1: I picked the best one of the you know how
• 1:23:48
  Speaker 1: the man it was that they played for me, and they,
• 1:23:52
  Speaker 1: you know, it's like, we need a hook, and I'm like,
• 1:23:54
  Speaker 1: I can't think of a hook. I can't. You know
• 1:23:56
  Speaker 1: this is you gotta keep in mind, I'm living this
• 1:23:59
  Speaker 1: song like it's my real life. They wanted a letter
• 1:24:03
  Speaker 1: to some part two, so even that was out the
• 1:24:06
  Speaker 1: question for me.
• 1:24:07
  Speaker 2: I'm like, man, you know, I would have even preferred
• 1:24:09
  Speaker 2: you named the version of Celo part two.
• 1:24:12
  Speaker 1: That probably would have been, but that would have been
• 1:24:15
  Speaker 1: a nice alternative, you know, compromise. But they were like,
• 1:24:19
  Speaker 1: you had to have a hook. I couldn't really agree.
• 1:24:23
  Speaker 1: And one day I was on Twitter and I didn't know,
• 1:24:26
  Speaker 1: you know, I had no idea that they had reached
• 1:24:28
  Speaker 1: out to people. So I don't really know how it
• 1:24:30
  Speaker 1: got to to you know, to her desk, but esther
• 1:24:33
  Speaker 1: Dean hit me on Twitter and she was like, I
• 1:24:36
  Speaker 1: sent you a surprise, and I'm like, okay, I don't know.
• 1:24:39
  Speaker 2: What about the time she had she had a big record, well,
• 1:24:42
  Speaker 2: she was pumping, she was she had a huge record.
• 1:24:44
  Speaker 1: She had a lot of ship going. So I was
• 1:24:47
  Speaker 1: already familiar with her and familiar with most of the
• 1:24:50
  Speaker 1: you know, the projects she worked on. So when she
• 1:24:53
  Speaker 1: sent me this, I was confused. I was like, maybe
• 1:24:55
  Speaker 1: she like, you know, tweeted me on accident. And then
• 1:24:58
  Speaker 1: shortly after I want to say, Dre hit me and
• 1:25:02
  Speaker 1: he was like, you know, we got the hook back.
• 1:25:05
  Speaker 1: I want to play the hook for you. So they
• 1:25:07
  Speaker 1: played over the phone, so you know it's Esterdean who
• 1:25:10
  Speaker 1: really wrote the hook. So I heard them like, okay,
• 1:25:13
  Speaker 1: I can I can fuck with that. You know, I
• 1:25:16
  Speaker 1: don't think that's a bad contribution to it. I mean,
• 1:25:18
  Speaker 1: since you know I'm forced to.
• 1:25:20
  Speaker 2: You're gonna have to do it.
• 1:25:21
  Speaker 1: Yeah, right, I'm forced to format it somebody, all right,
• 1:25:24
  Speaker 1: so be it. And it was like we Rea reaching
• 1:25:29
  Speaker 1: out or reached out, I'm not sure which one, but
• 1:25:31
  Speaker 1: they you know, they had Mary J. Blige in mind,
• 1:25:34
  Speaker 1: and I said, no, I don't think that works because
• 1:25:36
  Speaker 1: it's a letter to my son, and the perspective that's
• 1:25:41
  Speaker 1: always been missing when it comes to single parenting is
• 1:25:44
  Speaker 1: the father's perspective. So it's like, nah, I don't I
• 1:25:47
  Speaker 1: don't think that fits. And I love Mary J. Blige.
• 1:25:49
  Speaker 1: I just felt like that didn't make much sense sonically,
• 1:25:53
  Speaker 1: so I told him I used the example. I was like, man,
• 1:25:56
  Speaker 1: it's a record from a BMJ G it's called paid Dues,
• 1:26:00
  Speaker 1: like the way see Low sings on that. That's part
• 1:26:02
  Speaker 1: of the reason why I loved this record. I feel
• 1:26:04
  Speaker 1: it like it give me chills and like, if anything,
• 1:26:07
  Speaker 1: it should be something like this. I played the record
• 1:26:09
  Speaker 1: for him and you know, uh, not too long after
• 1:26:14
  Speaker 1: Dre hit me again. It was like, man, we got
• 1:26:16
  Speaker 1: the word back. Uh, I want you to hear this,
• 1:26:20
  Speaker 1: So you know, he played play it over the phone
• 1:26:22
  Speaker 1: like this last one and it's see Low singing it.
• 1:26:24
  Speaker 1: And later he told me, you know, part of how
• 1:26:27
  Speaker 1: they got it connected him knowing, uh, was Dre was
• 1:26:31
  Speaker 1: close with Gip and somehow you know, they lined it up. Yeah,
• 1:26:36
  Speaker 1: definitely shout out the big Gip GIPB. I always hold
• 1:26:38
  Speaker 1: me down. But they they know. They worked it out
• 1:26:42
  Speaker 1: and ended up being see low on the record, and
• 1:26:46
  Speaker 1: we put we put the move in place, and we
• 1:26:50
  Speaker 1: had to do we didn't have to do. I thought
• 1:26:53
  Speaker 1: we had to do. Well, had to shoot the video.
• 1:26:56
  Speaker 1: And right before we shot the video, I had to
• 1:27:00
  Speaker 1: sign the agreement to you know that for Sea Loo
• 1:27:03
  Speaker 1: to be a part of it. And I'll never forget that.
• 1:27:06
  Speaker 1: We paid pay Selo one hundred for the vocals, a
• 1:27:12
  Speaker 1: hundred to do the video. And in the contract it
• 1:27:17
  Speaker 1: says that he's not obligated to perform in any medium,
• 1:27:21
  Speaker 1: you know, after he do the video. I mean yeah,
• 1:27:23
  Speaker 1: after you do the video, he not obligated to be
• 1:27:26
  Speaker 1: present for any performance of the song. So we paid
• 1:27:29
  Speaker 1: him two hundred and then paid another hundred to get
• 1:27:31
  Speaker 1: the video filmed, and then it was in limbo. Every
• 1:27:36
  Speaker 1: every other day they tell me we're going for an
• 1:27:38
  Speaker 1: AD date and they gonna be this day and they
• 1:27:41
  Speaker 1: gonna be that day, and it never got an ad date.
• 1:27:44
  Speaker 1: So after a year of them doing that, doing like
• 1:27:48
  Speaker 1: for for a whole year, they was coming back to
• 1:27:51
  Speaker 1: me saying they gonna be this day that day. So uh,
• 1:27:54
  Speaker 1: not a calendar year not January to December, you know,
• 1:27:57
  Speaker 1: whatever month we was on it made it way back around.
• 1:28:01
  Speaker 1: I picked that in my email. You know that. I'm
• 1:28:05
  Speaker 1: reading the email and I just happened to tap the
• 1:28:09
  Speaker 1: button to see what the original email. I'm like, man,
• 1:28:13
  Speaker 1: it's been a year, not a year to that day,
• 1:28:15
  Speaker 1: but a year to the month. So if it happened,
• 1:28:17
  Speaker 1: if this conversation started in October, here we are a
• 1:28:20
  Speaker 1: year later in October and you're telling me we're gonna
• 1:28:23
  Speaker 1: go for an ad date. So that was the conversation
• 1:28:26
  Speaker 1: or the email they let me know that one old
• 1:28:30
  Speaker 1: salvage and the record or the record deal, Oh the deal, okay, right,
• 1:28:36
  Speaker 1: because I can't see that. You mean you told me
• 1:28:38
  Speaker 1: it came from Jimmy. If it came from Jimmy, then
• 1:28:40
  Speaker 1: it's supposed to been urgent. I can't see something being
• 1:28:42
  Speaker 1: urgent and taking twelve months to be accomplished. And I'm
• 1:28:46
  Speaker 1: watching people get ad dates a lot sooner. I was
• 1:28:49
  Speaker 1: signing at the same time as Kenjrew Lamar and Mindless Behavior.
• 1:28:52
  Speaker 1: Kenj youw Lamar had a record before that, Swimming Pool's record.
• 1:28:56
  Speaker 2: Yeah, he had.
• 1:28:59
  Speaker 1: He had the name of it.
• 1:29:01
  Speaker 2: What was the original single? It was on the recipe.
• 1:29:04
  Speaker 1: No, no, they started with records with with Dre. But
• 1:29:08
  Speaker 1: either way, I watched songs that weren't.
• 1:29:11
  Speaker 2: Even created yet. You're talking about going to radio, right,
• 1:29:14
  Speaker 2: That's what I mean.
• 1:29:15
  Speaker 1: I said.
• 1:29:16
  Speaker 2: I was in the studio with Dre White was recording
• 1:29:19
  Speaker 2: one you you were signed to and Dre to their
• 1:29:22
  Speaker 2: production cover.
• 1:29:22
  Speaker 3: Right.
• 1:29:23
  Speaker 1: But I'm telling about doctor Dre. I was in the
• 1:29:25
  Speaker 1: studio with doctor Dre when he was recording one of
• 1:29:28
  Speaker 1: the records that kenchy Lamar ended up being on. So
• 1:29:31
  Speaker 1: I watched the record that can't that was recorded after me, right,
• 1:29:35
  Speaker 1: come out and be worked to radio right, well after me?
• 1:29:38
  Speaker 1: And now I understand it's doctor Dre. But I've seen
• 1:29:40
  Speaker 1: it a few times. I saw Mindless Behavior record the
• 1:29:42
  Speaker 1: same thing, and a few other people that wanted to
• 1:29:45
  Speaker 1: in the scope. So I gathered then that maybe this
• 1:29:49
  Speaker 1: is not in the scopes doing. Maybe what I've been
• 1:29:52
  Speaker 1: told ain't legit. Maybe all of this was a play.
• 1:29:55
  Speaker 1: And then you know, it's a few people in in
• 1:29:57
  Speaker 1: the scope.
• 1:29:57
  Speaker 2: I got to know Mark Brown and Mail Carter first
• 1:30:01
  Speaker 2: Peace Tomorrow we're.
• 1:30:02
  Speaker 1: Both when it both passed. I don't know, but yeah,
• 1:30:05
  Speaker 1: those were two of the people who helped me navigate
• 1:30:08
  Speaker 1: through through the whole situation. I ended up getting out
• 1:30:12
  Speaker 1: of the situation and not owing anything. Especially you know,
• 1:30:15
  Speaker 1: we spent three hundred grand on it.
• 1:30:16
  Speaker 2: That's a lot of Mila went ready. But you never
• 1:30:19
  Speaker 2: like that's like what that's in twenty twenty, like, yeah,
• 1:30:21
  Speaker 2: that's crazy, it's like eleven Yeah, yeah, but that was wild.
• 1:30:26
  Speaker 1: But from that so the letter to my son record
• 1:30:30
  Speaker 1: this gout. You know, it always has had a different,
• 1:30:34
  Speaker 1: uh effect on me.
• 1:30:37
  Speaker 2: Then then you went through so much of it.
• 1:30:39
  Speaker 1: Yeah, I went through quite a bit. I was going
• 1:30:41
  Speaker 1: through it in real life and I went through it
• 1:30:43
  Speaker 1: in business.
• 1:30:44
  Speaker 2: Both sides. I was played. I've had a because I
• 1:30:47
  Speaker 2: had my show in Vegas at KVG. I did the
• 1:30:50
  Speaker 2: night show, but then I had Sunday nights from ten
• 1:30:53
  Speaker 2: to two to twelve. Yeah, that night I was playing
• 1:30:56
  Speaker 2: the original. But I had like a I was all,
• 1:30:58
  Speaker 2: you know, every weekend we'd get together, me and my
• 1:31:00
  Speaker 2: dask and we would and we would no no. But
• 1:31:03
  Speaker 2: I wasn't playing I wasn't playing the Sea Loo. I
• 1:31:05
  Speaker 2: mean we played the Selo version when it came out.
• 1:31:07
  Speaker 2: We're playing the original version just self edits like we
• 1:31:10
  Speaker 2: were a blog era. So you get the z fire share. Yeah,
• 1:31:13
  Speaker 2: and then you hit you dope boys, you'd hit not right,
• 1:31:16
  Speaker 2: you'd hit you know whatever, and then you download ship.
• 1:31:18
  Speaker 2: What are we cleaning this week?
• 1:31:19
  Speaker 4: Oh?
• 1:31:19
  Speaker 2: We got down Trip, We got fucking mac Miller. You
• 1:31:22
  Speaker 2: know what I'm saying. Definitely such a great era, all
• 1:31:26
  Speaker 2: time great era. Man, we'll listen the new album, uh
• 1:31:29
  Speaker 2: and the deluxe are out?
• 1:31:30
  Speaker 4: You guys?
• 1:31:30
  Speaker 2: Are you guys? Are you guys? You know you're talking
• 1:31:32
  Speaker 2: about torn Is it any more tour dates coming? Is
• 1:31:34
  Speaker 2: there any more hitting the road or Yeah?
• 1:31:36
  Speaker 3: We're going on a couple of days going through the Midwest, Indianapolis, Cincinnati.
• 1:31:41
  Speaker 3: So let's coming to Kentucky, Columbus, Ohio, and we're in Omaha.
• 1:31:46
  Speaker 3: You just mentioned Nebraska there next week.
• 1:31:48
  Speaker 2: And Omaha just thinking the guy in Nelly or in
• 1:31:50
  Speaker 2: Belly eating the banana.
• 1:31:53
  Speaker 4: Yeah, he gonna be there.
• 1:31:57
  Speaker 3: Yeah, Atlanta, we got Atlanta coming up, bar Man, I'm
• 1:32:00
  Speaker 3: Alabama and Jackson, Mississippi, Mobile Alabama.
• 1:32:03
  Speaker 2: So do you guys do vinyls for this album?
• 1:32:05
  Speaker 4: We got one on the way to you.
• 1:32:10
  Speaker 2: Know what's crazy? So I was just talking with the Alchemist,
• 1:32:12
  Speaker 2: me and him hung out the other night for hours
• 1:32:15
  Speaker 2: just smoking waiting for Freddy Gibbs. Won's the most tardy motherfuckerlive.
• 1:32:19
  Speaker 2: But anyway, so him and I we're just talking because
• 1:32:22
  Speaker 2: Alchemist is really like his business model's insane. So what
• 1:32:26
  Speaker 2: he does is he's got his distro deal and then
• 1:32:29
  Speaker 2: he presses all his vinyl on his own. And what
• 1:32:33
  Speaker 2: he does is and it's very smart because you guys
• 1:32:38
  Speaker 2: have some diehard fans. So he does three or four
• 1:32:41
  Speaker 2: tiers of vinyl releases, so they all come out on
• 1:32:44
  Speaker 2: the same day. But there's like the normal black version,
• 1:32:47
  Speaker 2: which you could just order whenever. But then he'll have
• 1:32:50
  Speaker 2: like a tier where it's like a splatter white and
• 1:32:55
  Speaker 2: red copy that's numbered and those are one hundred of pop.
• 1:33:00
  Speaker 2: But when they're gone, they're gone forever, so maybe there's
• 1:33:02
  Speaker 2: like five hundred of those. So then he has another
• 1:33:05
  Speaker 2: one that's also limited, but it's not as limited. It's
• 1:33:07
  Speaker 2: like maybe it's a thousand copies instead of five hundred,
• 1:33:10
  Speaker 2: and he'll sell that one for like seventy nine ninety nine.
• 1:33:13
  Speaker 2: You bitches sell out by this. But then he's got
• 1:33:16
  Speaker 2: the normal black, normal vinyl that you knows mass produced,
• 1:33:20
  Speaker 2: but man, it gives you. And then now you have
• 1:33:23
  Speaker 2: like fans who are like collecting. They're like collect you
• 1:33:26
  Speaker 2: guys are gonna have fans will buy all three. It's
• 1:33:29
  Speaker 2: just a way to like, you know, give your fans
• 1:33:31
  Speaker 2: like items that they can like cherish and also ultra
• 1:33:35
  Speaker 2: monetize the music.
• 1:33:37
  Speaker 3: You know.
• 1:33:38
  Speaker 2: But listen, man, the album is out. It's incredible body
• 1:33:40
  Speaker 2: of work. You guys are legends.
• 1:33:42
  Speaker 1: Appreciate it.
• 1:33:42
  Speaker 2: Appreciate you guys hanging out. We're gonna have you guys
• 1:33:44
  Speaker 2: freestyle two sat of we separate YouTube video. I'm assuming
• 1:33:48
  Speaker 2: just are you are? I mean, you guys are probably
• 1:33:50
  Speaker 2: never not working. Are you guys working on new solo stuff?
• 1:33:54
  Speaker 2: I know that we don't have to. Yes, there might
• 1:33:58
  Speaker 2: be an album coming out that to drop.
• 1:34:02
  Speaker 4: Who knows, But yeah, we're working.
• 1:34:04
  Speaker 1: Yeah, it's got to be of course.
• 1:34:07
  Speaker 4: Yeah, we're working. We're working on some things. We're still
• 1:34:10
  Speaker 4: working collectively as well.
• 1:34:12
  Speaker 2: Like I think we're not gonna wait eight years for them.
• 1:34:15
  Speaker 1: No no, no, no no, no, We're gonna make you
• 1:34:18
  Speaker 1: way fade.
• 1:34:19
  Speaker 3: I mean, it's fun, man, We're back to the roots
• 1:34:23
  Speaker 3: of it all, just enjoying it. I think it would
• 1:34:26
  Speaker 3: be a disservice to our to our brand and to
• 1:34:30
  Speaker 3: our audience to not keep moving on it and moving
• 1:34:33
  Speaker 3: with the energy of it. But even individually, I think
• 1:34:37
  Speaker 3: I was sitting in the studio with him this past
• 1:34:39
  Speaker 3: week while he's working on some solid stuff, there's still
• 1:34:43
  Speaker 3: that's value to our input, right because we almost the
• 1:34:48
  Speaker 3: fact like an rs for each other, because he ain't
• 1:34:51
  Speaker 3: gonna listen to too many people.
• 1:34:53
  Speaker 4: And we work kind of and quiet. You know, he's
• 1:34:58
  Speaker 4: always said, don't.
• 1:34:59
  Speaker 3: Get a will he never played well with others and whatnot,
• 1:35:02
  Speaker 3: and just like I'm the only child, so I'm it's
• 1:35:06
  Speaker 3: kind of second night, You're to just go in and work.
• 1:35:08
  Speaker 4: But I really do.
• 1:35:09
  Speaker 3: Cherish and value like collaboration with Like we said on Engineer,
• 1:35:14
  Speaker 3: we share the science mixing Engineer and.
• 1:35:16
  Speaker 2: You guys both, did you move to Nashville or you
• 1:35:18
  Speaker 2: guys were you guys still spread out across the state.
• 1:35:22
  Speaker 3: Okay, we just commute like it's down the street or
• 1:35:24
  Speaker 3: something like, y'all be there, or we meet somewhere else.
• 1:35:28
  Speaker 3: Even with this project, we'll meet somewhere, you know, neutral
• 1:35:31
  Speaker 3: I guess.
• 1:35:32
  Speaker 1: You could say land at the same time. You know,
• 1:35:35
  Speaker 1: sometimes sometimes it's what's needed because at home, he's got responsibilities.
• 1:35:40
  Speaker 1: You can't escape in same for me, and you know,
• 1:35:43
  Speaker 1: if I'm out of pocket, then I got to.
• 1:35:45
  Speaker 2: Know if you're listen, if you're in town, your wife's
• 1:35:48
  Speaker 2: gonna make your driver places if you if you're out
• 1:35:51
  Speaker 2: of town, she's just gonna have to just this all
• 1:35:56
  Speaker 2: the time.
• 1:35:58
  Speaker 3: Give me a.
• 1:36:00
  Speaker 2: Yeah, Well, appreciate you guys. Pull it up, man, we're
• 1:36:02
  Speaker 2: gonna have you all'll do what you do best.
• 1:36:04
  Speaker 3: Man.
• 1:36:04
  Speaker 2: The new album is out, the deluxe just dropped, and
• 1:36:06
  Speaker 2: uh so many videos off the project too. So go
• 1:36:09
  Speaker 2: support star a Liedo, Don Tripp boom
• 1:36:16
  Speaker 3: H