Latest / Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond / DJ Premier

Transcript

DJ Premier · Broken Record with Rick Rubin, Malcolm Gladwell, Bruce Headlam and Justin Richmond

0:15
Speaker 1: Pushkin. DJ Premier is one of the most celebrated producers
0:22
Speaker 1: in hip hop history. Known as the architect of hip
0:25
Speaker 1: hop's venerated boombab sound, Primo first caught people's attention with
0:29
Speaker 1: Guru and Gangstar during the late eighties. Guru's lyrical precision
0:33
Speaker 1: over Premiere's jazzy sample bassed beats made Gangstar one of
0:37
Speaker 1: the most influential rap duos of all time. Outside of Gangstar,
0:42
Speaker 1: DJ Premier has produced classic records for a long list
0:44
Speaker 1: of hip hop lluminaries, including New York's Big Three, Biggie
0:48
Speaker 1: jay Z, and Nas. His expert ability to create a
0:51
Speaker 1: patchwork of musical and lyrical samples is both instantly identifiable
0:55
Speaker 1: and impossible to replicate. On today's episode, We'll Hear, a
0:59
Speaker 1: live conversation are recorded with Premiere at the on Air
1:02
Speaker 1: podcast Festival. Premiere talked in detail about hanging out and
1:06
Speaker 1: working with his late friend, the Notorious Big. He also
1:09
Speaker 1: reminisces about when he and Guru lived with Branford Marsalis
1:13
Speaker 1: in Brooklyn. He also recalls what it was like to
1:15
Speaker 1: work with D'Angelo on that fateful night at Electric Ladies
1:18
Speaker 1: Studios when they recorded Devil's Pie. This is broken record
1:25
Speaker 1: liner notes to the Digital Age. I'm justin Mitchman. Here's
1:28
Speaker 1: my conversation with DJ Premiere live from Brooklyn. When they
1:33
Speaker 1: asked me if I was gonna do this, and I'm
1:35
Speaker 1: coming out from the West Coast and I know we're
1:36
Speaker 1: gonna be doing this in Brooklyn. I felt like, there's
1:39
Speaker 1: no way I could do a recording a broken record
1:42
Speaker 1: in Brooklyn without having a legend, someone who could really
1:46
Speaker 1: represent Brooklyn. And come on, y'all, we got DJ Premier,
1:55
Speaker 1: decent me want absolute hip hop legend. You were the
2:00
Speaker 1: greatest hip hop producer of all time. But no matter
2:02
Speaker 1: who you ask, you good And we top two, three, four,
2:04
Speaker 1: so this is.
2:05
Speaker 2: Yeah, they say top three, so I'll take one of
2:08
Speaker 2: those numbers.
2:11
Speaker 3: On two or three is fine.
2:13
Speaker 1: Maybe we can start with the fact that that you
2:17
Speaker 1: lived at one point in Brooklyn with Branford Marsalis and
2:20
Speaker 1: his wife.
2:20
Speaker 3: Yeah, and his son Reese.
2:22
Speaker 1: Shout to Reese in Clinton Hill. Yeah, And this is
2:26
Speaker 1: st at the beginning of Gagstar. How did you meet Branford?
2:28
Speaker 1: First of all, I.
2:30
Speaker 2: Just joined Gang Star officially in nineteen eighty eight. We
2:33
Speaker 2: did a single Gang Star. First of all, is originated
2:38
Speaker 2: in Boston, Massachusetts. I'm originally from Texas by way of
2:42
Speaker 2: Houston and through a town called Prairie View, which I
2:46
Speaker 2: went to Prairie U A and M University, which is
2:48
Speaker 2: an HBCU school was through the Texas A and M
2:52
Speaker 2: University system, which that's the Aggies. My father taught at
2:55
Speaker 2: the school and my mother taught art, so I had
2:59
Speaker 2: a little bit of both. My father, DA was a dean, right, yeah,
3:02
Speaker 2: he was a dean. He was my dean of arts
3:05
Speaker 2: and sciences. Because I took computer science and I was
3:09
Speaker 2: I was always like not going to school, you.
3:11
Speaker 3: Know, typical wasting your parents' money.
3:14
Speaker 2: And my father's like, you're not gonna be wasting my
3:16
Speaker 2: money going to college and then and not go to class,
3:18
Speaker 2: you know. So I even tried to uh sneak away
3:23
Speaker 2: for my eight o'clock class two or three times.
3:25
Speaker 3: One day.
3:25
Speaker 2: My dad act like he was going because he taught
3:27
Speaker 2: at eight o'clock class. I was drunk the night before,
3:30
Speaker 2: so I definitely didn't want to go from hanging out
3:32
Speaker 2: with my friends and he acted like he was going.
3:35
Speaker 2: I act like I was going. Then I went back
3:37
Speaker 2: to bed and he doubled back.
3:40
Speaker 3: So all of a sudden, I heard the door go kaboom.
3:42
Speaker 2: I tried to jump up and get dressed, and he
3:45
Speaker 2: was like, I knew you wasn't going to class and
3:47
Speaker 2: I was like, I want to.
3:49
Speaker 3: Go pursue music.
3:50
Speaker 2: He's like, and waste my money. You've been going to school.
3:53
Speaker 2: But I've always tell people follow your gut, and if
3:56
Speaker 2: your gut tells you to make a move, do it.
3:59
Speaker 2: The one thing I do appreciate by my dad, God
4:01
Speaker 2: blessing me, is he's why no, he's watching.
4:03
Speaker 3: God bless his soul.
4:04
Speaker 2: He He said, if you're gonna do this, show me
4:07
Speaker 2: you can make a name for yourself that people will
4:10
Speaker 2: will remember and that you leave a legacy behind. I said, Pop,
4:14
Speaker 2: I'm telling you, I'm that focused.
4:16
Speaker 3: I will do it. And everything transitioned.
4:19
Speaker 2: So Being at a Gang Star originated in Boston with
4:24
Speaker 2: a guy named He was called Sugar Bear at the time,
4:27
Speaker 2: but he changes to Big Sug, not to be confused
4:29
Speaker 2: with Sugar Night, who we also know it very well.
4:32
Speaker 2: Him and Guru formed the group. There was other members,
4:36
Speaker 2: but they moved to New York to pursue the career.
4:39
Speaker 2: Sug went to prison for three years, so the other
4:42
Speaker 2: two members that were in the group before I met
4:45
Speaker 2: Guru didn't want to move to New York to carry
4:48
Speaker 2: on trying to get more famous, so gru said, I'm
4:52
Speaker 2: doing it on my own. I'm gonna just look for
4:53
Speaker 2: a new DJ, because he had a DJ already and
4:56
Speaker 2: actually Sugs DJ was the first one. Then he left,
5:00
Speaker 2: then there was another DJ, then he left, and then
5:02
Speaker 2: I joined.
5:03
Speaker 1: You know what a wild amount of incarnations of Gangstar,
5:07
Speaker 1: like I'm.
5:08
Speaker 3: The third generation.
5:09
Speaker 2: Yeah, but then obviously when I joined, it became that
5:12
Speaker 2: the rest of the way.
5:13
Speaker 1: And in terms of like the discography, when you go
5:15
Speaker 1: through the albums, it's you and Guru from the start
5:18
Speaker 1: to that, but before that there are a couple of
5:19
Speaker 1: different iterations.
5:21
Speaker 2: So we were on an independent label called Wild Pitch Records.
5:24
Speaker 2: Gangster was already signed there. Once I joined the group.
5:27
Speaker 2: We did a word record called Words I Manifest and
5:30
Speaker 2: it blew up right away even as an independent from
5:33
Speaker 2: there we did it. The owner, Stu Fine, was like,
5:36
Speaker 2: we got to do an album real fast. So I
5:38
Speaker 2: was going back to college, came back to New York
5:41
Speaker 2: to do the album in like maybe twelve days, and
5:45
Speaker 2: it was called No Moments to Night's.
5:47
Speaker 1: Sky well and hold on, hold on, I mean hold on,
5:48
Speaker 1: I don't want to know the story. But like, were
5:50
Speaker 1: you at this point you were DJ in Texas, wax
5:53
Speaker 1: Master c yep, at some point you become DJ Premier, Yeah,
5:56
Speaker 1: but you do.
5:57
Speaker 3: Fine.
5:57
Speaker 2: Didn't like my name, so that's why I changed it
5:59
Speaker 2: to Premiere. So that's how they're like Wax's Master season.
6:02
Speaker 2: I'm very good at imitating people, so if I go
6:05
Speaker 2: into different voices, I pretty much sound like the person
6:08
Speaker 2: I'm talking to, and he's and my name is Christopher,
6:11
Speaker 2: but he'd call me Chris, but he would always sound like.
6:14
Speaker 3: He said, crass, crass.
6:16
Speaker 2: I don't really like wax Master, see, And I was
6:18
Speaker 2: like I do, and plus everybody in college just call
6:21
Speaker 2: me Wax. So I'm like, I don't want to change it.
6:23
Speaker 2: He goes, just just see if you can think of
6:25
Speaker 2: some other names. So I called my mom and said, hey,
6:27
Speaker 2: he wants me to change my name. She goes, why
6:30
Speaker 2: don't you make a list of different names and we'll
6:33
Speaker 2: pick one.
6:34
Speaker 3: Premiere was one of them. I remember one was.
6:36
Speaker 2: Called Scratch and Cut DJ platter, which there is a
6:40
Speaker 2: DJ platter now. The platter is what spins what you
6:43
Speaker 2: put the record on. All that spends.
6:45
Speaker 3: We call it.
6:45
Speaker 2: It's the platter, so DJs would get it. Everything I
6:48
Speaker 2: would do was so DJ's would get it. I would
6:51
Speaker 2: a DJ quick mix, which I'm glad I didn't take
6:54
Speaker 2: that one.
6:56
Speaker 3: Uh Premiere was one of them.
6:57
Speaker 2: And my mom looked at the list and said, uh,
7:00
Speaker 2: Premiere sounds like the one because she said take the
7:04
Speaker 2: E off, you know, because like a movie premiere, the
7:08
Speaker 2: you know, the E is on it. But she says,
7:10
Speaker 2: take the E off and it'll be like you're the
7:12
Speaker 2: first at everything. We call stuffin from Texas and I say, hey,
7:17
Speaker 2: how about DJ Premiere. He goes, I love it, and
7:20
Speaker 2: I was like, all right, I'm now DJ Premiere.
7:23
Speaker 1: Incredible shout out to here. So when we did the album,
7:27
Speaker 1: when did you start doing beats? Like when did you
7:28
Speaker 1: start producing records?
7:30
Speaker 2: I was just starting to learn to perfect my craft
7:33
Speaker 2: on the first album, and we did a record called
7:36
Speaker 2: Jazz Music. When Spike Lee saw the words on Manifest video,
7:42
Speaker 2: he said that Guru looked like Malcolm X in the
7:46
Speaker 2: video when he's on the podium with the koofie and
7:48
Speaker 2: the glasses and.
7:51
Speaker 3: The cheek bones.
7:52
Speaker 2: He does resemble Malcolm X in the video that made
7:55
Speaker 2: Spike by the album, and when he heard jazz music,
7:59
Speaker 2: it just happened to be at the same time that
8:01
Speaker 2: he was shooting Mobeta Blues with Denzel Washington and we'sy
8:06
Speaker 2: snipe with that. Spike reached out and he knew we
8:10
Speaker 2: were living in Brooklyn. So but at that time we
8:12
Speaker 2: were at Branford Jed. I had just moved to the
8:15
Speaker 2: Bronx with Guru and we were about to move back
8:17
Speaker 2: to Brooklyn together. We had the studio apartment with our
8:20
Speaker 2: dancer and Guru had a big, king sized bed with
8:25
Speaker 2: no frame, just the mattresses and in a studio apartment
8:30
Speaker 2: that takes up all the space because the rest of
8:31
Speaker 2: the space was taken up by my records and my
8:34
Speaker 2: turntables and my speakers. So me and my dancer were
8:37
Speaker 2: sleeping sleeping bags on the floor with the mice crawling
8:40
Speaker 2: over it, squeaking and all that stuff, and Guru had
8:43
Speaker 2: the bed from there. When we got the call about
8:46
Speaker 2: doing a theme song to Mobeta Blues, Spike said, the
8:51
Speaker 2: one on y'all's album is not in depth enough about
8:54
Speaker 2: talking about jazz artists.
8:56
Speaker 3: I have a guy named Eric Eli who wrote a poem.
9:00
Speaker 2: He gave that to Guru and said, can you make
9:02
Speaker 2: a rap about this using this? So Guru looked at
9:05
Speaker 2: it like, oh man, I can just take this John
9:07
Speaker 2: Coltrane man Supreme, you know, it was the wise one,
9:10
Speaker 2: and just put little things in it and made it
9:12
Speaker 2: into a rhyme. He said, Branford, Marcellus is gonna oversee
9:16
Speaker 2: the song, so we got with him. Bramford had just
9:21
Speaker 2: gotten the job at the Tonight Show because Johnny Carson
9:24
Speaker 2: was stepping down. Jay Leno was just taking over and
9:28
Speaker 2: he hired Bramford to.
9:29
Speaker 3: Be the music director.
9:31
Speaker 2: So he said, Hey, we were like, we're looking for
9:33
Speaker 2: a crib to move to Brooklyn. He said, well, I'm
9:35
Speaker 2: about to move out of my place in about another
9:38
Speaker 2: month or two and moved to La He said, if
9:41
Speaker 2: you want to live with me and my wife and
9:43
Speaker 2: my son, fuck like a month or two, you could
9:46
Speaker 2: do that and then we'll be gone and you just
9:49
Speaker 2: pay the rent to my manager. And he said, and
9:52
Speaker 2: if you ever laid on the rent, we're kicking you out,
9:54
Speaker 2: which we got threatened several times. So we always laid
9:59
Speaker 2: on the rent, you know, regular young guy stuff. And
10:02
Speaker 2: from there we worked on the song.
10:04
Speaker 3: We put it together. We did two versions.
10:07
Speaker 2: The soundtrack has more of an in that version with
10:09
Speaker 2: the band, but when Spike decided to do a video,
10:12
Speaker 2: he said, I need the more simple version that you
10:14
Speaker 2: presented when y'all started to collaborate. So they used my
10:18
Speaker 2: original version for the video, which we were happy with
10:21
Speaker 2: just because it sounded more like what a gang starting
10:24
Speaker 2: sound like. And we shot the video to it, which
10:26
Speaker 2: is you know, you can find it anywhere, and that
10:29
Speaker 2: one's called jazz Thing.
10:31
Speaker 1: So it's jazz music.
10:32
Speaker 3: Jazz music is the Gangstar album.
10:35
Speaker 2: The Mobile the Blues soundtrack is jazz thing, and uh yeah,
10:39
Speaker 2: we all the the five of us lived together.
10:42
Speaker 1: What was that like? Because I think of Branford, you know,
10:44
Speaker 1: it was incredible talent, his brother went and all his brothers,
10:48
Speaker 1: the father, all of them incredible. But I think of
10:50
Speaker 1: them as being a little more, you know, on the
10:52
Speaker 1: conservative side of things. And you and Guru, you know.
10:57
Speaker 2: Yeah, I used to always be like, oh man, I
10:59
Speaker 2: don't like the fact that winning don't like hip hop,
11:02
Speaker 2: you know, And I was like, he's not official because
11:04
Speaker 2: he don't like hip hop because he was, you know,
11:06
Speaker 2: he at that time. He was like it's it's noise,
11:08
Speaker 2: it's not music, and y'all are just using machines. But
11:12
Speaker 2: me and went cool and uh. But Branford was always
11:16
Speaker 2: branching out because he used to get flack when he
11:18
Speaker 2: joined Stings band to you know, for Dreaming of the
11:21
Speaker 2: Blue Turtles. Everybody's like, ah, man, you're a pure jazz purist.
11:25
Speaker 2: Now you're doing stuff with Sting. You're ruining your your reputation.
11:28
Speaker 2: This before social media, he was getting a lot of
11:30
Speaker 2: flat and Branford is so cool because.
11:33
Speaker 3: He talks like a jazz cat.
11:34
Speaker 2: He'd be like, hey, brother, you know what I'm saying,
11:36
Speaker 2: but fuck these motherfuckers, you know, Like.
11:39
Speaker 3: That's what I like. Like he'll still curse and say
11:42
Speaker 3: stuff like that, man, fuck that bitch ass brother, I
11:44
Speaker 3: don't get fun, and then go to put it up,
11:47
Speaker 3: you know. So that's that's brand. I call him brand Lover.
11:51
Speaker 3: He's like, Yo, give me a hip hop nickname.
11:53
Speaker 2: I said, brand Lover. I even made him my hat.
11:56
Speaker 2: I went to the Compton Swap meet in La and
11:58
Speaker 2: where where all the sham bangers were, and made him
12:01
Speaker 2: a real hat in blue with brand.
12:03
Speaker 3: Lover on it.
12:03
Speaker 2: And you know, I was like, yeah, so one of
12:05
Speaker 2: the funniest things was coow and I had so many
12:09
Speaker 2: girlfriends and stuff at that time that were always coming
12:12
Speaker 2: by to see.
12:13
Speaker 1: Us, young man stuff and Branford.
12:15
Speaker 2: Bramford said that we could give the home number because
12:18
Speaker 2: he had an answer machine, so we were always hang
12:21
Speaker 2: out guys, and so we might come back two three
12:24
Speaker 2: in the morning, and it just happened to be a
12:27
Speaker 2: time that a night that Branford had an argument with
12:30
Speaker 2: his wife, so he was sleeping on the couch. But
12:32
Speaker 2: we didn't know that because the area where we're going
12:35
Speaker 2: to sleep at the answer machine, you get to see
12:37
Speaker 2: the number lit up, you know, if all the light's off,
12:40
Speaker 2: you'll see you know, one, two, three, four, five or six.
12:42
Speaker 2: And we're like, oh man, it's like eight or nine messages.
12:44
Speaker 3: We hit the thing big hey, Keith, we're looking at it.
12:47
Speaker 2: And also Brandna goes, motherfucker and he turns on the
12:51
Speaker 2: light because it scared us, and he's on the couch.
12:54
Speaker 3: I'm like, man, we didn't know you were on the couch.
12:56
Speaker 2: He goes, man, I had an argument with my wife,
12:58
Speaker 2: and now y'all are ruining my sleep checking the goddamn
13:00
Speaker 2: answer So you can't wait till tomorrow. And I was like, well,
13:02
Speaker 2: you said we can use your home numbers. So he's like,
13:06
Speaker 2: you know what, just forget it. I'm going back upstairs
13:08
Speaker 2: with the and I'll go go in the bedroom with
13:10
Speaker 2: her and we'd go okay.
13:12
Speaker 3: Okay, you know, like checking the rest of the messages.
13:15
Speaker 2: See how many people called us, you know, so that's
13:17
Speaker 2: how much the old answer machine. How many people remember
13:20
Speaker 2: the answer machine era? So yeah, so you know where
13:24
Speaker 2: I'm coming from. Even if he wasn't on the couch,
13:27
Speaker 2: everybody checks it when they get home and see who
13:29
Speaker 2: they called.
13:29
Speaker 3: You know, we didn't.
13:30
Speaker 2: It was either a pager or checked that. It wasn't
13:33
Speaker 2: cell phones yet unless you had a car phone.
13:35
Speaker 1: Right, And in the process, sounds like you saved his
13:37
Speaker 1: marriage maybe too.
13:40
Speaker 3: Well they're actually divorced now. Well so maybe I ruined
13:45
Speaker 3: it now. But nah, shout shout to his for his
13:48
Speaker 3: ex wife. Tests she's a sweetheart.
13:50
Speaker 2: Her brother Michae who lived underneath us in the basement,
13:53
Speaker 2: and we all we all had a great relationship with
13:55
Speaker 2: each other. And son Reds, who I always talked to
13:57
Speaker 2: this very day. He moved from North Carolina back to
14:00
Speaker 2: New York. So he's in New York.
14:01
Speaker 1: So it's incredible.
14:02
Speaker 2: Man Brand brandfor came by to visit me recently and
14:05
Speaker 2: we had just a good time hanging and reminiscing. He's
14:07
Speaker 2: one of the greatest human beings ever. He knows sports, music,
14:12
Speaker 2: his philosophies on life is just really good to get
14:16
Speaker 2: to grab on whenever I have I need some advice.
14:19
Speaker 3: I still call him for that.
14:20
Speaker 1: He seems like an incredible person to be like. I mean,
14:22
Speaker 1: the fortune of moving from Texas to New York to
14:25
Speaker 1: do music and then getting to me, I mean, I
14:28
Speaker 1: guess first of all, Spike seeing the video, Yeah, you
14:30
Speaker 1: get on the soundtrack, but just getting access to guy
14:32
Speaker 1: like Brand from Marsalas, that your career.
14:35
Speaker 2: He's official man. Shout to Brand Brand lover.
14:39
Speaker 1: That house. Once he moves out, it seems like that
14:41
Speaker 1: kind of became the center of your world, and kind
14:45
Speaker 1: of like the hip hop world in general. Like the
14:47
Speaker 1: way who was in the neighborhood.
14:50
Speaker 2: Chubb Rock, the Lady of Rage who eventually moved to
14:54
Speaker 2: La to get with doctor Dre and became one of
14:57
Speaker 2: the first females on death Row records, you know, and
14:59
Speaker 2: that's how we messed you know her the Snoop Dogg
15:01
Speaker 2: for the first time.
15:02
Speaker 3: He was Snoop Doggie Dog then and Nikki d the.
15:06
Speaker 2: First female of Death Jam Records, and then uh Jam
15:10
Speaker 2: Master Jay, God bless him, and I'm glad he's getting there.
15:13
Speaker 2: His family's getting closure because they just found the killers guilty,
15:17
Speaker 2: so justice has been served.
15:19
Speaker 3: He used to date April.
15:20
Speaker 2: Walker, who had Walker Wear, which was very popular clothing
15:24
Speaker 2: line back then. Everybody knows Mike Tyson used to walk
15:27
Speaker 2: on in the ring with the towel with the WW
15:30
Speaker 2: on the front. That's her line, and she's actually back
15:33
Speaker 2: out now, still repping Brooklyn. I used to date her
15:36
Speaker 2: sister at the time, so we were all friends and
15:39
Speaker 2: I see JMSJA all the time.
15:41
Speaker 3: And uh.
15:42
Speaker 2: Then a couple years later, Kuru comes to the house
15:46
Speaker 2: and says, Yo, there's this guy named Biggie Small's down
15:50
Speaker 2: the block. You got to come here him Rome, And
15:52
Speaker 2: I'm like, yeah, Mr C who was Big Daddy Kynes
15:55
Speaker 2: DJ has been pressing me because he wasn't notorious big yet.
15:59
Speaker 2: And we went down to the corner because at that
16:01
Speaker 2: time we used to drink forty ounces of malt liquor.
16:05
Speaker 2: Old English was the preference, and we go down there
16:08
Speaker 2: and we met the little his Big and he would
16:10
Speaker 2: rhym in front of us, and he was like, what
16:12
Speaker 2: can I do to get a deal, And he.
16:13
Speaker 3: Said, Puffy wants to sign me.
16:15
Speaker 2: And I'm like, you know, if he wants to sign you,
16:18
Speaker 2: you know, just have all your business straight, have a
16:20
Speaker 2: good lawyer, and if everything works out, you could be
16:23
Speaker 2: the next star. And he became one of the biggest thing.
16:25
Speaker 3: In the world. They already knew who we work or
16:27
Speaker 3: we were established.
16:28
Speaker 2: We were on our third album, and he would just
16:31
Speaker 2: wrap every Friday. We would go hang out with Big
16:34
Speaker 2: and we met Lil Kim and hold you in your
16:37
Speaker 2: Mafia And that became the norm. To see him outside
16:41
Speaker 2: every every weekend and just drink and smoke weed and
16:44
Speaker 2: just have a good time with Big.
16:46
Speaker 1: That's incredible. Did he already have the chrisma? Did you
16:48
Speaker 1: know he was gonna be?
16:49
Speaker 2: He was funny naturally, not trying to be a jokester.
16:54
Speaker 2: He was just that naturally him and Big L always
16:57
Speaker 2: say that Big L God bless him. He was another
16:59
Speaker 2: one that was just naturally funny. They weren't sitting there
17:01
Speaker 2: trying to be the funny guy on the block. They
17:04
Speaker 2: just were naturally with that type of humor.
17:07
Speaker 1: Yeah, didn't you go with Big to pick up Guru
17:10
Speaker 1: from prison one time? Or from jail?
17:12
Speaker 2: Yeah, what happened was people doing a fraud on your
17:15
Speaker 2: credit card was a new thing. Somebody did a fraud
17:18
Speaker 2: on Guru's credit card and when they ran and h
17:21
Speaker 2: he was double part, cops told him to move your card.
17:24
Speaker 2: Matter of fact, let me see I D He checked
17:26
Speaker 2: his ID and it said that there was a fraud
17:28
Speaker 2: on his name, but that the cops are thinking he's
17:31
Speaker 2: the one that's that's fraudulent and uh, you know, using
17:34
Speaker 2: a fake card. They took him to jail at the
17:37
Speaker 2: precinct which was we call it LG but it's called
17:39
Speaker 2: Lafiat Gardens. And they call us and tell us that
17:43
Speaker 2: he got locked up. Biggie calls me and tells me
17:45
Speaker 2: he got locked up and h somebody that get him.
17:47
Speaker 2: I said, okay, I'm coming down the block, which we like.
17:49
Speaker 2: I said, we're only like five blocks away. Go there
17:53
Speaker 2: the old junior mafia. Biggie, everybody's on the corner. He said,
17:56
Speaker 2: I'm gonna go to the precinct. Can one of y'all
17:59
Speaker 2: move his car? And then once we get him out
18:02
Speaker 2: and figure out what's going on. We'll come get the car.
18:05
Speaker 2: And Biggie said, okay, I said, Biggie, won't you drive
18:08
Speaker 2: it and move it?
18:09
Speaker 3: Okay.
18:09
Speaker 2: Biggie gets in the driver's seat and just sits there
18:12
Speaker 2: looking like kind of like staring. I'm like, you're not
18:14
Speaker 2: gonna move the car because the police is still like
18:16
Speaker 2: move the car, and.
18:17
Speaker 3: Biggie goes, I don't know how to drive. Like, why
18:22
Speaker 3: you sit in the driver's seat, he said, because this
18:24
Speaker 3: is a Jaguar and it looks nice and I want
18:27
Speaker 3: to see how it feels to sit in one. He's like,
18:29
Speaker 3: cause I might buy one, he said, but I have
18:31
Speaker 3: to be driven around. And I'm like, big, like get
18:34
Speaker 3: out of the car.
18:35
Speaker 2: So one of the other guys do with his crew,
18:38
Speaker 2: hopped in, moved it and parked it on the corner,
18:40
Speaker 2: and we went got him out. They found they ran everything,
18:43
Speaker 2: found out he was legit, and we got him out
18:46
Speaker 2: and we drove back, brought him back to his car,
18:48
Speaker 2: and and we went home, still living at Branford's house.
18:52
Speaker 1: That's amazing. After this quick break, we'll come back with
18:56
Speaker 1: more from DJ Premiere. We're back with more of my
19:02
Speaker 1: conversation with DJ Premiere. Another person in the neighborhood is
19:07
Speaker 1: someone that I love, one of my FAVORIT producers, Easy Mob.
19:10
Speaker 2: Oh yeah, he used to come over to the house
19:12
Speaker 2: all the time when he was in wrapping this fundamental Yeah,
19:15
Speaker 2: shout to him, ab the whole crew. Yeah, one of
19:19
Speaker 2: the illess beat makers. I mean to me, he's the
19:22
Speaker 2: DJ Premiere of Biggie's first album because he did the
19:27
Speaker 2: ninety percent.
19:27
Speaker 1: I mean, you did unbelievable, which is.
19:30
Speaker 2: That was like after the album was done, like completely done.
19:33
Speaker 1: Okay, so well let's get to that then. But he's
19:35
Speaker 1: more be did like five the what with method Man.
19:38
Speaker 2: One of my favorite Warning Warning a machine Gun Funk,
19:42
Speaker 2: which is one of the best incredible track. He had
19:45
Speaker 2: so many records on there you know him Lord Finess.
19:48
Speaker 2: Mine was after the album was turned in. They needed
19:52
Speaker 2: a street record for the first single, which was Juicy,
19:56
Speaker 2: So I did unbelievable.
19:57
Speaker 3: But being there it popped off.
19:58
Speaker 2: They added it to the album even though it was
20:01
Speaker 2: already done mastered in sequenced, so they.
20:04
Speaker 1: Made album sequence disaster everything wow, because we had cops.
20:09
Speaker 1: It's not press everything else.
20:10
Speaker 2: Well, we back then, leaking your album was cool if
20:15
Speaker 2: your friends had it. It wasn't like now if something
20:19
Speaker 2: leaks and it ruins the first week sales and uh,
20:22
Speaker 2: it's all now everybody has it and hasn't even launched yet.
20:25
Speaker 2: This is just Bigieven would make copies for his whole
20:29
Speaker 2: crew so that they can have him memorized, so that
20:32
Speaker 2: if he has showed, everybody is singing the record, and
20:35
Speaker 2: back then we all did that. You know, I'd make
20:38
Speaker 2: asceepts for my whole team. He know, here's the album
20:40
Speaker 2: in advanced we didn't look at it as wrong. Where
20:43
Speaker 2: now it's like you don't want to leak out even
20:45
Speaker 2: an interlude, you know, because somebody will put it on
20:49
Speaker 2: on social media, and now your record's leaked, so.
20:51
Speaker 1: It's basically done. Why does he hit you up to?
20:54
Speaker 2: He said, I need a street record because Juicy was
20:58
Speaker 2: more radio oriented. You know, everybody knew the M two
21:00
Speaker 2: May record.
21:01
Speaker 3: Just in any.
21:02
Speaker 2: Black household, everybody's gonna have the M two May album, right,
21:06
Speaker 2: and everybody's gonna have Juicy Fruit. That's that's standard than
21:09
Speaker 2: any black household. I can't speak for outside of that.
21:12
Speaker 2: I'm just going by how I was raised. But in
21:15
Speaker 2: a black household, you. Yeah, So now the Rolling Stones
21:21
Speaker 2: are blending in with with him too, man. But even that,
21:24
Speaker 2: like even in the Black Household you have the Rolling Stones.
21:27
Speaker 2: You may not have led Zeppelin, but the Stones kind
21:29
Speaker 2: of crossed a certain line where they had got saying
21:33
Speaker 2: with hip hop. That's how a lot of rock records,
21:35
Speaker 2: like like Run didn't call it Arrowsmith. They say you'll
21:38
Speaker 2: get the toys in the attic album and and cut
21:41
Speaker 2: that break that was name of the album.
21:44
Speaker 3: The song was called walk this Way.
21:46
Speaker 2: But but from a hip hop perspective, like you'll get
21:49
Speaker 2: to put that toys in the attic joint on.
21:51
Speaker 3: You know that, that's just how they do it.
21:52
Speaker 2: Like even assembly Line by the commodorees that the part
21:56
Speaker 2: where it breaks down and.
21:57
Speaker 3: Goes hut good good to hut.
22:00
Speaker 2: Every DJ calls you'll put hout on. But it's called
22:03
Speaker 2: assembly line.
22:04
Speaker 1: That's from the first Commodore.
22:05
Speaker 2: You can't find it if you look for hut, but
22:08
Speaker 2: if if you sing it to back in music factory days,
22:12
Speaker 2: you could go in the store and go, what's that
22:14
Speaker 2: record that goes, Oh, comodos right there on.
22:17
Speaker 3: Row one down two. That's that's how it was.
22:21
Speaker 1: Let's go back to Biggie and unbelievable. Okay, when Biggie
22:24
Speaker 1: hits you, he says, I need a street record. What
22:26
Speaker 1: are your thoughts?
22:27
Speaker 2: Everybody that knows my my My formula is I like
22:31
Speaker 2: to make the beat. It's like cooking your dinner. Come
22:34
Speaker 2: by and I'll cook you something.
22:36
Speaker 3: That's what it is. Show up.
22:38
Speaker 2: Oh yeah, absolutely, it's gotta be tailored. One thing I
22:41
Speaker 2: love about Guru God Bless him from Gangstar was he
22:45
Speaker 2: always said in the interviews. DJ Premire is a beat tailor.
22:48
Speaker 2: He will tailor it to you, like Gambling Huff. I
22:51
Speaker 2: saw them do an interview. You know, anybody know who
22:53
Speaker 2: Gambling Huff is and one of the best producing crew
22:57
Speaker 2: in the world. They're like Holland does You're Holland from Motown?
23:00
Speaker 2: But they you know, they did all the Philadelphia International stuff.
23:04
Speaker 2: They did the Old Jays, they did the Jones Girls,
23:06
Speaker 2: they did Harold Melvin and Blue Nose. He did Teddy
23:09
Speaker 2: d Grass and the Jackson's. When they left Motown, then
23:12
Speaker 2: they went to Epic. They produced the I think the
23:16
Speaker 2: first two albums.
23:17
Speaker 1: And I didn't know that.
23:18
Speaker 3: Yeah, they did enjoy Yourself in good times.
23:21
Speaker 2: So during that time I watched their interview, and they said,
23:24
Speaker 2: we always make the track right there that we think
23:28
Speaker 2: you would have a hit.
23:30
Speaker 3: Record on, and we presented to you.
23:31
Speaker 2: We don't just you know, like now it's all the
23:35
Speaker 2: producers these days, it's like, oh, here's thirty beats, pick
23:37
Speaker 2: which one you like, and we make a song. I'm
23:40
Speaker 2: literally looking at you. If I had to make a
23:42
Speaker 2: record for you, I'm gonna be like, Okay, I'll listen
23:44
Speaker 2: to what you've done and then I'll know where I
23:47
Speaker 2: fit in and I'll make it for you.
23:49
Speaker 1: And you do it in your student D and D
23:51
Speaker 1: would have been with you.
23:52
Speaker 2: At that time, and that was the studio. A lot
23:55
Speaker 2: of people were scared to go there because it was
23:57
Speaker 2: a Heroin Street. So it was Heroin fin Fiend's walking
24:02
Speaker 2: around like zombies and everything, and it was Crack on
24:05
Speaker 2: the block. It's funny because I just did an interview
24:07
Speaker 2: with us Sway and the Heather b the last week,
24:10
Speaker 2: and Heather used to always come there and there's a
24:13
Speaker 2: deli that we go to, but we call it Crack Deli.
24:16
Speaker 2: So we go, hey, man, go get me a sandwich
24:18
Speaker 2: for Crack Deli and she goes, yeah, crack Desk.
24:21
Speaker 3: She was like, I remember Crack Deli because all the crack.
24:24
Speaker 2: Dealers are on the corner selling crack and you're just
24:28
Speaker 2: going to and they're like, yo, premiere, what's up man?
24:30
Speaker 3: Look your music?
24:30
Speaker 1: Man?
24:31
Speaker 3: You know you anything? I'm like no, and they're selling
24:34
Speaker 3: crack around the corner. So we called it crack Deli.
24:36
Speaker 3: So those are the days, you know, and y'all you
24:41
Speaker 3: know rappers always tough and macho.
24:43
Speaker 2: A lot of them that we worked with were like,
24:45
Speaker 2: I'm not coming back. Yeah, it's too scary.
24:47
Speaker 1: Wow.
24:48
Speaker 2: Yeah, So shout to Crack Deli, shouts all, shout all
24:51
Speaker 2: the fiends you know, and shout the D and D,
24:55
Speaker 2: Dave and Doug. That's D n D D Doug, Dave
24:59
Speaker 2: Bodwin and Doug Grammar.
25:01
Speaker 1: So is that where you made unbelievable? Did you figg
25:03
Speaker 1: it down?
25:04
Speaker 3: They came with his crew.
25:04
Speaker 2: He's not worried about anything, you know, I being And
25:08
Speaker 2: it got to a point when jay Z started working
25:10
Speaker 2: on working on Reasonable Doubt. He was an everyday guy.
25:14
Speaker 2: We're there every day. He's in one room.
25:17
Speaker 3: I'm in my room.
25:17
Speaker 2: And the beat miners who produced Black Moon, Smith and
25:21
Speaker 2: West and help to scale to recipes to Sean Price,
25:25
Speaker 2: they would be in the other room.
25:26
Speaker 3: So it was just a rotation.
25:28
Speaker 2: Jay Z would go in one room, work, come to
25:30
Speaker 2: my room and work, and he would always.
25:32
Speaker 1: Be in there with the other like Ski or whoever else.
25:35
Speaker 2: During that time, Ski, Sean and l V. A guy
25:39
Speaker 2: named Nobody IRV God. He was there, but you know
25:42
Speaker 2: he was DJ IRV back then. You know, he wasn't
25:45
Speaker 2: Nerve Gody with the murder ink with Joe Rule.
25:47
Speaker 3: And all that.
25:47
Speaker 1: Yet.
25:48
Speaker 3: Wow, so he's there early days.
25:50
Speaker 1: Well, BIG's an interesting story because Big kind of told
25:52
Speaker 1: you what to make right, Yes, unbelievable.
25:55
Speaker 2: Well unbelievable, he didn't. He just told me what to scratch.
25:59
Speaker 2: He was just like, man, make anything.
26:01
Speaker 3: I'm like, dude, because I told him, I turned him down.
26:04
Speaker 2: I was like, dude, I'm too busy. I'll get you
26:06
Speaker 2: on the next album. He's like, I just need a
26:08
Speaker 2: quick joint for the Prez please, And I'm like, yeah,
26:11
Speaker 2: but I don't even know what to squeeze it in.
26:12
Speaker 3: He goes, man, I don't even care if you use
26:14
Speaker 3: M Piece of President.
26:15
Speaker 2: And if you know hip hop, M Piece of President
26:18
Speaker 2: by the Honey Drippers.
26:20
Speaker 3: It's one of the.
26:21
Speaker 2: Biggest break records of all time in hip hop culture,
26:26
Speaker 2: So to use that you have to manipulate it and
26:31
Speaker 2: be creative. So I said, all right, come meet me
26:33
Speaker 2: there and I'm gonna chop it up and just come
26:35
Speaker 2: up with some things. And I found this note that
26:38
Speaker 2: had a vibration at the end of the note.
26:40
Speaker 3: It was one note.
26:42
Speaker 2: I just gave it to quest lover. I don't give
26:43
Speaker 2: my sessions out. I took all the sounds off the
26:46
Speaker 2: discause they wanted to re make it, but with the
26:49
Speaker 2: original sounds of that sample?
26:51
Speaker 1: Was that sound from and Peach the President discuss the break? Yeah,
26:55
Speaker 1: but I'm gonna ask what's that sound from?
26:57
Speaker 3: But it's chopped into a different drum pattern?
27:00
Speaker 1: Where do you hear that note? What is that note
27:02
Speaker 1: with the dun dum?
27:03
Speaker 3: I'm you know.
27:05
Speaker 2: Sampling is an art form, especially in the hip hop culture,
27:08
Speaker 2: but we have brought back a lot of records that
27:12
Speaker 2: probably wouldn't even be popular now. I mean this record
27:15
Speaker 2: is that I've sample where you'll go to a store and
27:19
Speaker 2: it was only like three dollars, and now that I
27:22
Speaker 2: used it, or doctor dre used or a diamond d
27:25
Speaker 2: or large Professor Pete Rock or dz MO B you
27:29
Speaker 2: name it, even public Enemy with the bomb Squad. Now
27:33
Speaker 2: you'll look, that record is two hundred dollars because they
27:37
Speaker 2: know how Premiere use that, and a lot of people
27:40
Speaker 2: get put Yeah, people want to own that record. So
27:43
Speaker 2: now it's two three hundred dollars, and I'm like, well, shit,
27:45
Speaker 2: do I get a cut of that?
27:47
Speaker 1: So you ain't gonna tell us where that staff came from?
27:49
Speaker 2: Au No, Hey, honestly, I can't remember for that one
27:55
Speaker 2: because it's just one note.
27:56
Speaker 3: But but when you play it, it goes boom, So it.
28:00
Speaker 2: Doesn't just go boot. If you hear it on it,
28:03
Speaker 2: it's gonna pull. So the fact that it has that
28:06
Speaker 2: little curl on it. I just that one note and
28:10
Speaker 2: just pitched it on different drum pads on the drum
28:13
Speaker 2: on the machine, so now it's gonna boo boo boo.
28:18
Speaker 2: And then just made it dancing the lyricals, and he
28:23
Speaker 2: came in like that's it, that's it, And then he
28:27
Speaker 2: we chilled for damn near eight hours because that's when
28:31
Speaker 2: Bacardi Lamone had just come out, you know, and so
28:35
Speaker 2: he has mad bottles. And not only that, a lot
28:37
Speaker 2: of rappers started mentioning that in their rhymes, you know.
28:40
Speaker 2: So he started drinking that eight hours past is getting
28:43
Speaker 2: really late, and I'm like, yo, big, if we ain't
28:45
Speaker 2: gonna record anything tonight, let's.
28:47
Speaker 3: Come back tomorrow. He goes, oh, I'm ready. I'm like,
28:51
Speaker 3: we've been sitting there for eight hours smoking and playing
28:54
Speaker 3: pool and rolling dice and drinking Baccardi lamone. He's like, Okay, well,
28:58
Speaker 3: I'm ready, let's do it. And he goes in the
28:59
Speaker 3: booth and I'm like, you, did you write it down?
29:02
Speaker 3: He goes, no, it's up in here. And that's my.
29:06
Speaker 2: First time witnessing him record with no paper, and I
29:12
Speaker 2: was like wow. And then jay Z did the same
29:14
Speaker 2: thing no paper.
29:16
Speaker 1: And jay Z did a similar thing too. He the
29:18
Speaker 1: Evils from Recentable Doubt Jason's record.
29:21
Speaker 2: Yeah, called me, did the rhyme over the phone, explain
29:25
Speaker 2: what scratch sequence he wanted.
29:27
Speaker 3: I'm good either way most of them. Most of the time.
29:29
Speaker 2: Obviously, I come up with it, but I have no
29:31
Speaker 2: problem if an MC like jay Z or Biggie knows
29:35
Speaker 2: what they want, and then I'll see if it works.
29:37
Speaker 3: Scratch it in.
29:38
Speaker 2: If if it's I'm like cool, it's still gonna have
29:41
Speaker 2: my style. Of input, but jay Z told me exactly
29:46
Speaker 2: what he wanted. The other two songs, he I just
29:49
Speaker 2: made the beat on the spot and then he was like, oh,
29:51
Speaker 2: I got something for that, like friend of friend of foe.
29:53
Speaker 2: And then with bring it On, he said, I'm bringing
29:56
Speaker 2: to him. Well, jazz O was already down with jay
29:58
Speaker 2: Z but saw some money we had never heard of,
30:01
Speaker 2: and he brought him in and we did Bring it On.
30:03
Speaker 1: That's incredible. You do two other biggie records on Life
30:08
Speaker 1: after Death, Yeah, one of them being Kicking the Door,
30:11
Speaker 1: What made You settle?
30:12
Speaker 3: On?
30:13
Speaker 1: The I Put a Spell on You sample.
30:16
Speaker 2: I Put a Spell on You was a very well
30:19
Speaker 2: known record in Texas because, like I said, I come
30:21
Speaker 2: from a town where we didn't call it R and B.
30:24
Speaker 2: Back then, it was called soul music. If you go
30:26
Speaker 2: to the record store, it was rock jazz. They didn't
30:30
Speaker 2: say pop, and it didn't say R and B. It
30:33
Speaker 2: said soul. So me and my mother, who was a
30:37
Speaker 2: very big record collector aside from being an art teacher,
30:40
Speaker 2: and she taught me aret in junior high and high school.
30:43
Speaker 2: You know, and everybody knows my mom, you know, so
30:46
Speaker 2: and everybody in my neighborhood has a painting that she
30:49
Speaker 2: did in their house.
30:51
Speaker 3: Even the funeral home where our funerals.
30:53
Speaker 2: Were held, there's pictures in the viewing room that my
30:56
Speaker 2: mom did in the bathrooms.
30:58
Speaker 3: I was like, damn, I can't escape her anywhere.
31:00
Speaker 1: So that's beautiful though, Oh yeah, by leaving a legacy,
31:04
Speaker 1: oh yeah, many. Basically, it was just a record you
31:07
Speaker 1: heard around Texas.
31:08
Speaker 2: It's a record that was popular and where we're from,
31:11
Speaker 2: you know, screaming Jay Hawkins is I Put a Spell
31:14
Speaker 2: on you as a popular record.
31:15
Speaker 3: We all knew the lyrics to it.
31:17
Speaker 2: I never planned on making it into a hip hop
31:20
Speaker 2: record for Big but when it came to him even
31:23
Speaker 2: that I only charged him five thousand dollars for Unbelievable,
31:27
Speaker 2: and I said, if you go platinum and you get paid,
31:30
Speaker 2: I'm charging you triple. The next time he said done deal.
31:34
Speaker 2: He ended up paying six times the amount. Yeah for
31:38
Speaker 2: each record. Yeah, for kicking the Door and tenk record man.
31:41
Speaker 2: So he kept his word. I said, you know you're
31:43
Speaker 2: going to pay what I told you? He goes, oh, no,
31:46
Speaker 2: I got you. Oh like Biggie was say doubt.
31:52
Speaker 1: Puff didn't like that record though, right Kicking the.
31:54
Speaker 3: Door night didn't. He didn't.
31:56
Speaker 2: I dropped off the beat. That's where we used to
31:58
Speaker 2: put it on those little ten minute cassettes. I drop
32:01
Speaker 2: it off, and later on that evening they call us
32:05
Speaker 2: and say, hey, you're ready to die. Platinum albums plaques
32:08
Speaker 2: came in, so I was like, ooh, so I'm going
32:10
Speaker 2: to pick that up, not thinking about the new track.
32:13
Speaker 2: Buff sees me in the in the lobby and he's like, yo, man,
32:18
Speaker 2: can you work on a new beat to give to
32:20
Speaker 2: Big because I don't like the one that you that
32:22
Speaker 2: you gave him. And I'm like, okay, no problem. You know,
32:25
Speaker 2: if you don't like it, I'm not offended. But uh
32:28
Speaker 2: he said, yeah, I need something a little more like
32:30
Speaker 2: that's gonna rock in the tunnel. I said, that's gonna
32:33
Speaker 2: rock in the tunnel? I said, mark my words. I said, why.
32:36
Speaker 3: Don't you live Big here?
32:38
Speaker 2: And he said, oh, I'm gonna give it to him
32:39
Speaker 2: and let him hear it, but still work on something else,
32:42
Speaker 2: because they already hired me for two records, even though
32:46
Speaker 2: Crack Commandments wasn't a thought yet.
32:48
Speaker 3: I was like, okay, I'll work on another one. Big
32:51
Speaker 3: calls me.
32:51
Speaker 2: Maybe a couple hours later, and he's like, yo, you
32:53
Speaker 2: could come down and uh we could work on on
32:56
Speaker 2: that beat. And I'm like, well, I'm working on a
32:58
Speaker 2: new one now. He goes, no, the one you gave
33:00
Speaker 2: Puff earlier. And I was like, oh, well he don't
33:03
Speaker 2: like that one. He goes, man, fuck, then I'm gonna
33:06
Speaker 2: kill this record. And that's that's he said. I'm going, Oh,
33:11
Speaker 2: I got some shit for this. I said, all right,
33:13
Speaker 2: and you know, it's so dope. After we did the record,
33:17
Speaker 2: Buff was like, you know what, once I hear the
33:19
Speaker 2: lyrics to it, I love it. It's a go and
33:22
Speaker 2: he's a boss, so if he says no, it's not
33:25
Speaker 2: coming out.
33:26
Speaker 3: But he ended up liking it.
33:27
Speaker 1: One other big thing I heard is that you were
33:30
Speaker 1: with Big and Jy like about a month before Big
33:33
Speaker 1: went to LA for his last trip YEP to LA
33:38
Speaker 1: and he was conflicted about going.
33:41
Speaker 2: Yeah, he at that time they were working on Brooklyn's
33:44
Speaker 2: Finest and there was just talk about him going to
33:46
Speaker 2: LA and he just said he didn't want to go
33:48
Speaker 2: at that time. I don't know what transpired later because
33:51
Speaker 2: I always tell this story.
33:54
Speaker 3: If you saw the.
33:55
Speaker 2: Notorious movie, at the end of the movie where he's
33:58
Speaker 2: in the studio and he's smiling and they're playing Sky's
34:01
Speaker 2: the Limit. That session was really my session because the
34:06
Speaker 2: tin Crack comandments was the last song we did, and
34:09
Speaker 2: the part where he's smiling, he goes, Yo, it's over,
34:12
Speaker 2: I'm the greatest. That was really my session. But you know,
34:15
Speaker 2: earlier in the movie they played ten Crack of Mammas.
34:18
Speaker 2: They when his son played him and they were selling
34:21
Speaker 2: the crack to on the street and they played tin
34:24
Speaker 2: Cracker mammers there.
34:25
Speaker 3: I guess it was more fitting for that part of
34:27
Speaker 3: the movie. But that scene when he said prem is over, I'm.
34:31
Speaker 2: The greatest, and I told Cho Coca about that, And
34:35
Speaker 2: even though I know he had a lot of input
34:38
Speaker 2: with the shape of the movie along with Biggs family,
34:42
Speaker 2: that scene is really should have been him listening to
34:45
Speaker 2: the Crack of Mammas and when he said it's over,
34:48
Speaker 2: I'm the greatest.
34:49
Speaker 3: He was still in the vocal booth, you know, in
34:51
Speaker 3: a wheelchair. Right he got the car accident. He broke
34:55
Speaker 3: his hip when seeing him easy crash to a car.
34:58
Speaker 3: So and I.
34:59
Speaker 2: Remember he said, hey, my first video is called Hypnotized
35:02
Speaker 2: Prima and I'm gonna I'm doing physical therapy.
35:04
Speaker 3: I'm gonna dance and he did you know? He did
35:07
Speaker 3: the little Yeah.
35:08
Speaker 2: If you look at the the hypnotized video, he's dancing
35:10
Speaker 2: in it and he looks so happy too.
35:13
Speaker 1: How did it feel for you knowing you were with
35:15
Speaker 1: him a month before and he's feeling like, maybe I
35:18
Speaker 1: don't want to go to La. Very weird you get
35:20
Speaker 1: the news.
35:21
Speaker 2: He's very weird because to get the news, my former
35:26
Speaker 2: manager shot the fact. Gary, his girl at the time,
35:29
Speaker 2: was best friends with Nino's girlfriend. Everybody knows that knows
35:33
Speaker 2: Junior Mafia knows Nino. He is one of the guys
35:35
Speaker 2: close to Big. So we got the news early because
35:39
Speaker 2: obviously since he's a family member Big, they're already making calls,
35:43
Speaker 2: you know, six in the morning saying that he's been killed.
35:46
Speaker 3: So and I was like, how did you know?
35:48
Speaker 2: He said, you know, Nino's girl is best friends with
35:50
Speaker 2: my girl and they just called us in the middle
35:52
Speaker 2: of the early morning and just told us that they
35:54
Speaker 2: just he just got killed in La So we knew
35:57
Speaker 2: before it was even We turned on the radio, turn
35:59
Speaker 2: on TV.
36:00
Speaker 3: Nothing.
36:01
Speaker 2: It's probably like almost an hour to two hours later
36:05
Speaker 2: they started making the announcement.
36:06
Speaker 3: So we already knew.
36:07
Speaker 1: That's wild Man and that whole that whole thing with
36:11
Speaker 1: with Pock and Big Too must have been interesting for you.
36:13
Speaker 1: You're you're interesting because you always like at the you're
36:15
Speaker 1: kind of always in the middle of everything, Like like
36:18
Speaker 1: Jerrew the Damager, who did a lot of work with
36:20
Speaker 1: Incredible MC. He's beefing with with Bad Boy Records.
36:25
Speaker 3: He wasn't beefing, it was they were mad at him. Yeah, well, yeah,
36:30
Speaker 3: what it was. It's real simple.
36:32
Speaker 2: At the time when we were at the Sauce Awards,
36:36
Speaker 2: we were very hot. At the time, Jay Ru was
36:38
Speaker 2: very hot. We thought we was gonna get Producer of
36:41
Speaker 2: the Year and Jay rw was so big at that
36:44
Speaker 2: time come Clean and his Sunrises in the East album,
36:47
Speaker 2: and the Sauce Awards was the first televised one. It
36:51
Speaker 2: was a pre taped one the year before that aired,
36:55
Speaker 2: but this one is live. So when we were there
36:59
Speaker 2: with all the stuff going back and forth, we were
37:01
Speaker 2: a little more hot headed back then. We're not now
37:03
Speaker 2: we're grown, but you know, you remember we're we're in
37:07
Speaker 2: our twenties going into our thirties. We're very, very gung
37:11
Speaker 2: hole about sticking to the script of not ever bound
37:15
Speaker 2: down to watering down the music. So when when all
37:18
Speaker 2: the back and forth was going on with Sugar and Puff,
37:22
Speaker 2: we went to the studio and I was working on
37:25
Speaker 2: Jayrew's second album, Rath of the Math, and I put
37:27
Speaker 2: this track on. It was called one Day, but he
37:31
Speaker 2: talked about what happened all in one day, almost like
37:35
Speaker 2: a fictional story. But he but he wasn't afraid to
37:38
Speaker 2: mention anybody's names because that's just how Puff, Yeah, and
37:42
Speaker 2: the others, Foxy Brown, a guy named Jay Black, you know.
37:46
Speaker 2: So when he mentioned all of that, we were still
37:49
Speaker 2: on some you know, let's put this out as a
37:52
Speaker 2: leak before we dropped the first single.
37:54
Speaker 3: Yes, it pierced a lot.
37:56
Speaker 2: Of people in that and the bad Boy crew, and
37:59
Speaker 2: they took it the wrong way. But one thing I
38:01
Speaker 2: got to say is when it got to that point,
38:05
Speaker 2: Puff called Jay Rwe he called the label, told we
38:09
Speaker 2: got to have a talk about this, and they got
38:11
Speaker 2: into a big back and forth about you know, don't
38:14
Speaker 2: say my name on the record. Jay R was like,
38:15
Speaker 2: I'll say whatever I want, and they're going back and forth,
38:17
Speaker 2: back and forth, back and forth. And one thing I
38:20
Speaker 2: gotta say about Puff was he said, you know what,
38:24
Speaker 2: I gotta respect jay Ruth for not being afraid to
38:27
Speaker 2: say my name no matter how he felt where he said.
38:31
Speaker 2: I know a lot of people probably say stuff about
38:32
Speaker 2: me and their raps, but they just do it subliminally.
38:36
Speaker 2: He said, jay Ruth was man enough to say it
38:38
Speaker 2: and tell me that he's standing on it, like what
38:40
Speaker 2: they say now stand on business. We've been standing on business.
38:43
Speaker 2: And he gave him his respect, and then it just
38:45
Speaker 2: finally fizzled out.
38:46
Speaker 1: But I love that you never get in the middle
38:48
Speaker 1: of it either, Like you made the beat, your name's
38:50
Speaker 1: mentioned in it.
38:51
Speaker 3: I told I told all of them.
38:52
Speaker 2: I told Big it cause even Big was like, man,
38:55
Speaker 2: he's gotta be talking about me too, because he said
38:57
Speaker 2: hip hop had on a Vasace suit. I'm like, you're
38:59
Speaker 2: not the first one wearing Vasace. Mad people wearing VASACEI
39:03
Speaker 2: before you, and we would have said your name too,
39:07
Speaker 2: you know, if we wanted to say your name. Everybody
39:09
Speaker 2: mentioned with the specific people that were brought up, and
39:12
Speaker 2: that was it. But it did finally fizzled out of
39:14
Speaker 2: the years later. And uh and like I said, the
39:16
Speaker 2: respect was given because I was in the session to
39:19
Speaker 2: hear all the talk you know, Jay Rudy was like,
39:21
Speaker 2: let me go with.
39:21
Speaker 1: You, and you were on the response, but you I
39:23
Speaker 1: mean he Big responds on kicking the door.
39:26
Speaker 3: Kicking the door. He always said, I got some.
39:30
Speaker 1: Of your friends with Big, your friends with Park, your
39:32
Speaker 1: friends with Lady of Rages on death Row. You're kind
39:34
Speaker 1: of always in there, all of us.
39:36
Speaker 2: Yeah, and I'm not doing it to be a trouble maker.
39:40
Speaker 2: But still, back in that time when we were much younger,
39:43
Speaker 2: we were very rebellious and hard headed, you know, a
39:46
Speaker 2: little ignorant. But as you grow you look back and
39:49
Speaker 2: you go, wow, we went through some ship but at
39:52
Speaker 2: the same time, everybody got got respect for each other.
39:55
Speaker 2: It's just so sad that Pock and Big had to
39:58
Speaker 2: leave us so soon, and Big l because we all
40:01
Speaker 2: were in the same clubs together, we were all hanging together.
40:04
Speaker 3: We were all cool.
40:05
Speaker 2: You know, I knew Pocking Big seeing them together for years,
40:09
Speaker 2: being good friends with each other, you know. So it's
40:12
Speaker 2: sad that they're both gone. And then it was never
40:15
Speaker 2: an East Coast West Coast beef. You got fans that
40:19
Speaker 2: fuel it like that, but the fans are not in
40:23
Speaker 2: the mix of the situation that was going down I
40:25
Speaker 2: had nothing to do with the music.
40:26
Speaker 1: Right right.
40:27
Speaker 3: Yeah.
40:27
Speaker 1: So it's incredible too because I think you said something
40:30
Speaker 1: and I never heard this that Big wanted to get
40:32
Speaker 1: Doctor Dre to do records with him. Yea life after that,
40:37
Speaker 1: which would have been amazing.
40:38
Speaker 3: It was the day after the Source Awars.
40:40
Speaker 2: Yeah, he has suged you know, how can we connect
40:44
Speaker 2: to do a record? So that shows you right there, Big,
40:47
Speaker 2: they're not thinking about all the talk that happened at
40:49
Speaker 2: the Source Awards. He's like, let's get some work done
40:52
Speaker 2: with some music again.
40:54
Speaker 1: After one last break, we'll be back with the rest
40:56
Speaker 1: of my conversation with DJ Premiere. Here's the rest of
41:03
Speaker 1: my conversation with DJ Premiere. Hold up, I want to
41:07
Speaker 1: play Let's play the song and I want to play
41:10
Speaker 1: with you with your sample. Yeah, man, it's impossible to
41:24
Speaker 1: not it's hard to turn that off.
41:25
Speaker 3: But you know, out to DiAngelo man, one of the greatest.
41:29
Speaker 1: Ridiculous Yeah, let's play where that comes from? First Teddy
41:43
Speaker 1: Pendergrass first record, That's where it comes from. Right.
41:49
Speaker 3: Uh, maybe.
41:53
Speaker 1: It sounds like.
41:54
Speaker 3: It sounds like it?
41:57
Speaker 1: Am I wrong?
42:00
Speaker 3: You could be.
42:05
Speaker 1: I want to play this game with you, man. Okay, Well, let's.
42:10
Speaker 3: Assume it's that, okay, allegedly.
42:12
Speaker 1: Allegedly it's Teddy Pendergrass for his record produced by Gambling Huff, Yes, sir,
42:19
Speaker 1: And it's a shuffle in three dun du un dun dun.
42:23
Speaker 1: It's like a shuffle, it's a waltz.
42:25
Speaker 3: Right.
42:26
Speaker 1: If this is the song allegedly, you turn it into
42:28
Speaker 1: like a call and response, dunda dun dun dun starts
42:32
Speaker 1: over dun dunda dun ridiculous.
42:35
Speaker 2: Right, Hey, that's the part of the creativity of sampling.
42:39
Speaker 2: If you're deep rooted into respecting the art form of
42:43
Speaker 2: HAIs a ton you know when you have people like
42:46
Speaker 2: you know, Larry Smith.
42:47
Speaker 3: And Molly Ma who was my idol.
42:50
Speaker 2: Mally just revolutionized sampling first and brought it to the
42:55
Speaker 2: forefront with records like The Bridge and Eric bi as
42:59
Speaker 2: President and Coogi rapping DJ Polo Rode to the Riches
43:03
Speaker 2: and records like that Big Daddy Kane. We just took
43:05
Speaker 2: it to another level after Mally taught us how to
43:08
Speaker 2: do it. So part of my creativity comes from being
43:12
Speaker 2: a DJ, because I think DJs have more of an
43:14
Speaker 2: understanding of how to manipulate sounds and make it into
43:18
Speaker 2: a whole new thing because when we DJ, or if
43:22
Speaker 2: especially if you're a battle DJ, you're taking records and
43:25
Speaker 2: destroying your opponent in a battle by taking the departs
43:29
Speaker 2: and reworking it a way where the cold crowd's going, oh,
43:32
Speaker 2: you know, and it's only more understood by people in
43:36
Speaker 2: the culture that are into DJing and whatnot. But that's
43:39
Speaker 2: my always my approach before our program, it is, how
43:43
Speaker 2: could I make this turn into something else?
43:45
Speaker 3: And you gotta you know, you gotta hurt your neck.
43:48
Speaker 1: So yeah, not only is it crazy the way you
43:50
Speaker 1: manipulated the sample allegedly, but the other the other incredible
43:57
Speaker 1: thing is it's in a record that's a classic record,
44:00
Speaker 1: one of the great records of all time, that's pretty
44:02
Speaker 1: much only produced by D'Angelo and Rafael Sadek. You come
44:06
Speaker 1: in second track, fit seamlessly in that.
44:09
Speaker 2: Yeah, we were labelmates, me and D'Angelo, so we knew
44:12
Speaker 2: each other before he did the Brown Sugar album and
44:16
Speaker 2: I was on tour at the time with the nas
44:19
Speaker 2: mop and uh Jay Ruth's debut album, and he asked
44:23
Speaker 2: me to do a remix to Lady, which I did
44:27
Speaker 2: a version where I took I used to call it
44:29
Speaker 2: just the drums or just the basse. This one, I
44:32
Speaker 2: took the music out and just had the drums and
44:35
Speaker 2: played these stabs. Stabs is just a note.
44:38
Speaker 3: Bam bam, bam, bam bam. We got those stabs, so
44:41
Speaker 3: it was just stabs.
44:43
Speaker 2: And he I remember I was on tour and he
44:45
Speaker 2: was like, Yo, I'm shooting a video to your version
44:47
Speaker 2: with the stabs, which he did and he had everybody
44:50
Speaker 2: in America's that.
44:51
Speaker 1: Video was all white in the back.
44:53
Speaker 3: Yeah. Yeah, I remember Erica.
44:54
Speaker 2: My dude was pregnant with with the Andred three thousand
44:57
Speaker 2: son and and he just joy was in it and
45:01
Speaker 2: just so many people. A Z was our labelmate as well,
45:04
Speaker 2: who had got famous through nas ze Matic album, and uh,
45:08
Speaker 2: he did the verse and it was just a dope video.
45:10
Speaker 2: And and then from there he's like, I'm working on
45:13
Speaker 2: my new album Voodoo what you Got? And I said, man,
45:15
Speaker 2: I'm actually leaving the studio now. I was working with Cannabis.
45:19
Speaker 2: It was a track that we worked on that didn't
45:22
Speaker 2: turn into what we.
45:23
Speaker 3: Were gonna work on.
45:26
Speaker 2: Yeah, because he was doing he was doing a record
45:28
Speaker 2: called Nignometry and he called me and said, I.
45:31
Speaker 1: Want to.
45:35
Speaker 2: Uh, okay in word nometry and uh and he's and
45:39
Speaker 2: he said, I want a real driving baseline. So I
45:42
Speaker 2: started just looking and did that. He said, no, you never.
45:47
Speaker 2: I wish he would have. Yeah, shout the Byss man.
45:50
Speaker 3: He's uh.
45:50
Speaker 2: If you know him, we call him Biss. He he
45:53
Speaker 2: didn't do the record. I'm literally leaving this me and
45:55
Speaker 2: Biss and leaving the studio. I said, we'll work on
45:58
Speaker 2: something later. And Dee and I were already friends. So
46:01
Speaker 2: when he said, yo, man, I'm an electric lady. Which
46:04
Speaker 2: is his sacred place, which is if y'all know, it's
46:07
Speaker 2: Jimmy Hendrick Studio still to this day, I said, I
46:10
Speaker 2: got this record I was doing with Bess, but uh,
46:13
Speaker 2: it's on some hip hop rahym and shit. He was,
46:15
Speaker 2: I want to hear it, and I was like, nah,
46:17
Speaker 2: it's not really, it's not that type of vibe. I'll
46:21
Speaker 2: work on something and meet you tomorrow, but I'll come by.
46:23
Speaker 2: He said, I want to play these stuff anyway. He said,
46:25
Speaker 2: Jay Diller is here, Qus Love is here. We're working
46:27
Speaker 2: on some stuff.
46:29
Speaker 3: I go there, Jay Dillar, we miss you, brother.
46:32
Speaker 2: Quest Love is their work doing the drums to Untitled
46:36
Speaker 2: is the one with where he was naked in the video.
46:40
Speaker 2: They was there working on that and Jay Dilla was
46:42
Speaker 2: in there playing the drums and laying some stuff down,
46:45
Speaker 2: and then he said, let me hear the one that
46:47
Speaker 2: you that you were working on. I played and Dangel
46:50
Speaker 2: just goes, whoa yo, I want that? Like, he goes,
46:55
Speaker 2: I'm gonna kill this, and we laid it down, and
46:58
Speaker 2: that there's a picture of me Alchemists, who was just
47:02
Speaker 2: starting to work on bes. We were about to go
47:05
Speaker 2: on tour together. Alchemist was a roadie for Cyprus Hill,
47:09
Speaker 2: but we will yeah, so so we were about to
47:12
Speaker 2: go on tour. So that's why we were together. And
47:15
Speaker 2: I asked de could I bring my friend with me?
47:18
Speaker 2: And he goes, got something smoker. I said, oh, yeah,
47:20
Speaker 2: he's from California. He got the crazy and we came
47:23
Speaker 2: over there and J Diller that that picture is to
47:25
Speaker 2: this day a classic picture Me di'angelo, J Dillon, Alchemist
47:29
Speaker 2: and that's from that session of me bringing to be
47:33
Speaker 2: Diler recording the some music for di'angelo and Questlove laying
47:38
Speaker 2: the how does it feel drums?
47:39
Speaker 1: You know what? The third amazing thing about that is then,
47:42
Speaker 1: is that there couldn't be two songs with a different
47:45
Speaker 1: feel on that record than unentitled how does It Feel?
47:48
Speaker 1: And Devil's Pie and you know what else?
47:50
Speaker 3: He said, Yo, I'm gonna be nigging in my first video.
47:52
Speaker 3: He knew what that, Yeah, because because his trainer is
47:56
Speaker 3: not in the picture, but his trainer had in this
47:58
Speaker 3: late night.
47:59
Speaker 2: It's late night, and his trainer came there to get
48:01
Speaker 2: his abs tight because he said, I want to, he said, praying.
48:05
Speaker 3: I'm gonna be glistening and I'm gonna he said, He said,
48:08
Speaker 3: the women are going to go crazy, and they did
48:10
Speaker 3: every you name it. The women went crazy for that video.
48:14
Speaker 3: You know.
48:15
Speaker 1: Are you still in touch with d Yeah?
48:16
Speaker 3: I just hit him up. I'll tell you what day
48:18
Speaker 3: it was, chuck us out.
48:21
Speaker 2: It's to where I'll hit him up and go, yo,
48:24
Speaker 2: we need you, motherfucker.
48:26
Speaker 3: Like he's like, I know, I know, I know you know.
48:28
Speaker 2: And it's to tell him, like, you know, you're such
48:32
Speaker 2: an important beast to this music puzzle man, and we
48:35
Speaker 2: need you, bro. So I just hit him on that.
48:39
Speaker 2: I do it every now and then just to just
48:41
Speaker 2: to uh, to let him know I love that.
48:44
Speaker 1: You won't tell me where that sample comes from, You'll
48:46
Speaker 1: show me that was February.
48:49
Speaker 3: It was February fifteenth.
48:50
Speaker 2: And there is the reason why I hit wow because
48:53
Speaker 2: on Instagram there there was a post of di'angelo, Rick,
48:58
Speaker 2: James Prince and like two other artists that were doing
49:03
Speaker 2: classic songs and DiAngelo was doing a song that's rare
49:08
Speaker 2: by funk a Delic and it's one of my favorite
49:10
Speaker 2: songs from the Hardcore Jolly's album called soul Mates. It's
49:15
Speaker 2: not one of their big records. And when I saw
49:18
Speaker 2: d look what I wrote. I said, Man, I never
49:23
Speaker 2: knew you shot a clip of singing soul Mats.
49:26
Speaker 3: That's my fucking song.
49:28
Speaker 2: I looped that guitar lick at the end and do
49:31
Speaker 2: a routine at my shows.
49:33
Speaker 3: Man, you are the funk and he gave me the
49:36
Speaker 3: little yeah.
49:37
Speaker 1: He gave me a little heart man.
49:38
Speaker 2: And and check this out everybody's that they posted on there.
49:43
Speaker 3: He was the only one that just put a funkadelic song.
49:46
Speaker 3: All the rest of them they posted had.
49:48
Speaker 2: The song that they sang and I put the dummies
49:51
Speaker 2: that posted it called it a funk Adelic song.
49:53
Speaker 3: They don't be knowing.
49:54
Speaker 2: I said that Hardcore Jolly's LPI is phenomenon on He
49:57
Speaker 2: put another one to see him playing that on the guitar,
50:00
Speaker 2: and I never knew he played that, And that clip
50:03
Speaker 2: lets me know he's another level of funky, you know
50:07
Speaker 2: what I'm saying, Like he's a whole nother level of funky.
50:11
Speaker 2: And I love him so much, man, because he's deep.
50:15
Speaker 2: Got to kind of know him to understand him.
50:18
Speaker 1: Have you worked with him since then? Like have you done?
50:21
Speaker 2: I just gave him some music to work on, and
50:24
Speaker 2: d definitely marches to the beat of his own drum.
50:27
Speaker 2: When he feels like moving, then he'll move. You can't
50:31
Speaker 2: tell him when.
50:32
Speaker 1: His feel on the guitar too is you know, he's.
50:35
Speaker 2: A keyboardist, but he plays that guitar too.
50:37
Speaker 1: It's just a unique feel, like just his sense of timing,
50:40
Speaker 1: you know what I mean, Like the way when you
50:41
Speaker 1: hear Stevie Wonder play drums and a sense of time
50:43
Speaker 1: and drums that's a little like it's sound like Stevie
50:45
Speaker 1: like he has just his own.
50:47
Speaker 3: Yeah, his own pocket.
50:49
Speaker 2: So seeing that just got me amped, Like I wanted
50:53
Speaker 2: him to know that badly, like dude, and I.
50:57
Speaker 3: Sent That's why I sent it to him, because he's like, Yo,
50:59
Speaker 3: where'd you find that?
51:01
Speaker 2: And I was like, somebody posted you Prince, Rick James
51:04
Speaker 2: and like two other artists I can't even remember doing
51:07
Speaker 2: a cover of a song where they are.
51:09
Speaker 3: Everything was acoustic.
51:10
Speaker 2: Versions with them on just guitars. So that was his
51:13
Speaker 2: choice and he was first and.
51:14
Speaker 3: He just said a Funkadelic song. It's like, you don't
51:17
Speaker 3: know the name of that.
51:19
Speaker 1: Prince was a fan of Gangstar, right.
51:21
Speaker 3: Yeah, man, because of DiAngelo.
51:23
Speaker 2: He took me to a show that he was doing,
51:26
Speaker 2: I think at Tramps, and that used to be one
51:28
Speaker 2: of the venues that where a lot of New York
51:31
Speaker 2: shows were done.
51:32
Speaker 3: And he knew we would just talk Prince all the
51:34
Speaker 3: time because him and Prince used to hang a lot.
51:37
Speaker 2: And he said, Prince's gonna make a surprise performance. He said,
51:41
Speaker 2: I gotta go do a little bit of press. Go
51:43
Speaker 2: in that room over there, and I'll be back in
51:45
Speaker 2: a few minutes. I was like, okay, and I ought
51:48
Speaker 2: to open the door and there's a pool table and
51:50
Speaker 2: Prince sitting there looking at me, and you.
51:52
Speaker 3: Know, Prince gives you those looks and you're just like, yo,
51:57
Speaker 3: you could be the thug. You could be the most
52:00
Speaker 3: gangster dude. When you see.
52:01
Speaker 2: Prince, you're gonna buy down and give him his give
52:04
Speaker 2: him his flowers. Basically, d knew he was in there.
52:08
Speaker 2: He tricked me and said, Yo, you just go in
52:10
Speaker 2: that room and just wait for me for a few
52:11
Speaker 2: minutes while I go do a couple of interviews, and
52:14
Speaker 2: Treash from Naughty by Nature was there.
52:16
Speaker 1: Oh man, I remember the greats.
52:18
Speaker 2: I remember when Prince said, hey, man, I love Stepping
52:20
Speaker 2: the Arena, which was our second album. Tretch punched me
52:23
Speaker 2: in the chest and.
52:24
Speaker 3: Goes, see, nigga, Prince love you.
52:26
Speaker 2: And and I'm like, I'm like, I see that, and
52:29
Speaker 2: we had we had a cool conversation and it's just
52:31
Speaker 2: like Prince Man like like like my second album, did
52:36
Speaker 2: you guys like changing And we weren't even at that
52:39
Speaker 2: stage where you could change nothing. That was more than
52:42
Speaker 2: enough for me. We had a conversation.
52:44
Speaker 1: And he knew that he named the album. It's not
52:46
Speaker 1: even like yo, like.
52:47
Speaker 2: Yeah, Stepping the Arena, he said, one of my favorite albums.
52:49
Speaker 2: And he's not into sampling really, but he understood the
52:53
Speaker 2: artistry of how we constructed our music, so he appreciated
52:56
Speaker 2: it in a different way than just looping a hit, you know,
53:00
Speaker 2: which a lot of people do they loop hits and
53:02
Speaker 2: then from there it's a hit again.
53:05
Speaker 1: You know, I could keep you forever, but I feel
53:08
Speaker 1: like we could end on this out, which is that
53:10
Speaker 1: speaking of Prince wasn't a fan of samples. There's a
53:12
Speaker 1: lot of people at the time, in the early days,
53:15
Speaker 1: late eadies, early nineties not a fan of sampling. But
53:17
Speaker 1: I think maybe I want to know if you have
53:20
Speaker 1: if we can get confirmation. Ezy Mob, who were talking
53:24
Speaker 1: about earlier in ninety two. I love that someone here
53:27
Speaker 1: loves Eazy Mob, whoever that is, love God love Mob man.
53:30
Speaker 1: He's the best. But in ninety two.
53:32
Speaker 3: He produced Tupac and Biggie and.
53:35
Speaker 1: Like we said, some of the best Biggie records and
53:37
Speaker 1: some of the best Park records on Me against the World.
53:40
Speaker 1: But he produced the Miles Davis record. Yeah, I do
53:44
Speaker 1: Miles Davis's last record. So I want to play the
53:46
Speaker 1: title cut off of Dubac real quick, and then I
53:48
Speaker 1: got a question for you based on that. Okay, So
54:00
Speaker 1: that's Miles Davis at a time when people like Winton
54:03
Speaker 1: et cetera are like, you know, we don't sample, here's Miles.
54:06
Speaker 1: He's like, I'm gonna go work with Eazy Mobs.
54:08
Speaker 2: Said, and I'm doing everything and I don't care how
54:11
Speaker 2: you feel about it.
54:12
Speaker 1: And so that's a cool in the Gang loop in
54:16
Speaker 1: the back Summer madness allegedly allegedly, but I think really
54:22
Speaker 1: what he's looping it from DJ Premier in deep concentration
54:25
Speaker 1: from the normous a nice.
54:26
Speaker 2: Guy and I did not sue.
54:34
Speaker 3: So you want.
54:35
Speaker 1: Allegedly you want a Miles Davids record. I'm pretty sure
54:38
Speaker 1: with them.
54:39
Speaker 3: Yeah.
54:39
Speaker 1: Yeah, it's the fucking craziest thing ever, because I so
54:45
Speaker 1: the reason I think that is from that because there's
54:47
Speaker 1: like that. I think you added that piano over the
54:49
Speaker 1: loop that no no, no over the because that's not
54:52
Speaker 1: in the Cool in the Gang song, but that's in
54:54
Speaker 1: the Miles version.
54:55
Speaker 3: Yeah.
54:56
Speaker 2: So friends, like I said, me and easy Mode be
55:00
Speaker 2: a friend to this very day. And uh, he's just
55:04
Speaker 2: one of the greatest slept on underrated producers.
55:07
Speaker 3: He should be always on. And when it comes to.
55:10
Speaker 2: The top top five question love mob Man.
55:15
Speaker 1: No question, Well amazing we got DJ Premiere. Everybody give
55:19
Speaker 1: it up. Thank you, thank you, appreciate you man, Thanks
55:26
Speaker 1: to everyone, Thanks to DJ Premiere, thanks for having us.
55:30
Speaker 3: Appreciate y'all allegedly, peace and love everybody.
55:41
Speaker 1: Thanks the DJ Premiere for making it out to on
55:43
Speaker 1: AirFest and Brooklyn. It was incredible getting a chance to
55:46
Speaker 1: speak with them, and I hope we get to do
55:48
Speaker 1: a part two sometime soon. You can hear a playlist
55:51
Speaker 1: of all of our favorite DJ Premiere and Gang Star
55:53
Speaker 1: songs at broken Record podcast dot com. Subscribe to our
55:57
Speaker 1: YouTube channel at YouTube dot com slash broken Record Podcast,
56:01
Speaker 1: where you can find all of our new episodes. You
56:04
Speaker 1: can follow us on Twitter at broken Record. Broken Record
56:07
Speaker 1: is produced and edited by Leah Rose, with marketing help
56:10
Speaker 1: from Marek Sandler and Jordan McMillan. Our engineer is Ben Tollinday.
56:15
Speaker 1: Broken Record is a production of Pushkin Industries. If you
56:18
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Speaker 1: back Anny Beats. I'm justin Richmond.