Latest / The Bootleg Kev Podcast / #110 - Capella Grey

Transcript

#110 - Capella Grey · The Bootleg Kev Podcast

• 0:00
  Speaker 1: Yo Boulet Cavs show special guests in here. A lot
• 0:02
  Speaker 1: of people are saying he has the song of the summer.
• 0:05
  Speaker 1: Mm hmm, Capella Gray. If you're in New York, it's
• 0:11
  Speaker 1: definitely the song of the summer, you know. Crazy Mahomie Uh.
• 0:14
  Speaker 1: Shout out to Bodega Fleet. He told me about your
• 0:16
  Speaker 1: record pretty early and then he was like, Yo, this
• 0:19
  Speaker 1: is the one, and then like I feel like a
• 0:22
  Speaker 1: month later it finally got over here and I was like, Okay,
• 0:26
  Speaker 1: what was like for you with this record? When what
• 0:29
  Speaker 1: was the moment where you realized this was like a
• 0:31
  Speaker 1: real thing? Went to People from out of state, from
• 0:35
  Speaker 1: out of town started you know what I'm saying, tapping in,
• 0:37
  Speaker 1: tagging me and ship. I was like, you're cursing everything. Yeah.
• 0:42
  Speaker 1: As soon as all the other states started tapping in
• 0:44
  Speaker 1: and stuff, I was like, yeah, we're out of here.
• 0:47
  Speaker 1: And did you originally drop this independently? So you went
• 0:50
  Speaker 1: from independent to sign and obviously off this record, but
• 0:53
  Speaker 1: like what what? Uh? It was going crazy in the
• 0:55
  Speaker 1: city for the months before I got months before I
• 0:58
  Speaker 1: got picked up all over the country on Stupid. It
• 1:00
  Speaker 1: was number one on Jazam nationwide before way before the deal,
• 1:04
  Speaker 1: before the deal, before the deal, number one on Hizam
• 1:07
  Speaker 1: number one. So it starts getting obviously heats up in
• 1:11
  Speaker 1: the club first, no outside TikTok and nah, so like
• 1:17
  Speaker 1: I don't know, I don't make songs for TikTok. No,
• 1:19
  Speaker 1: I'm saying it's not a TikTok record. But you know, bro,
• 1:21
  Speaker 1: there's no like no one knows what a TikTok song
• 1:24
  Speaker 1: is anymore. There's ship that goes wild that you would
• 1:25
  Speaker 1: never even know. That's a fact. I'm not gonna lie.
• 1:27
  Speaker 1: So but when Vietnam with this song, it was it
• 1:32
  Speaker 1: was just real organic. It was in the streets first,
• 1:34
  Speaker 1: like people were just playing outside the streets in New
• 1:35
  Speaker 1: York on they party. It's a little different, like you know,
• 1:38
  Speaker 1: sometimes we'll be in the club and stuff. Sometimes it's
• 1:40
  Speaker 1: just outside barbecues and stuff like that, like just wordy
• 1:43
  Speaker 1: of out just moving around the city. And then the
• 1:45
  Speaker 1: clubs picked it up and then it was over. It
• 1:49
  Speaker 1: was a rap and the Forrest Radio we was on
• 1:51
  Speaker 1: the radio rotation before the deal or anything like that.
• 1:54
  Speaker 1: It was just who was the first DJ to play
• 1:56
  Speaker 1: your song on the radio? The first DJ to play
• 1:58
  Speaker 1: it was DJ will probably want for sure, and then
• 2:02
  Speaker 1: it was not this someone, and then everybody else picked up. Wow,
• 2:07
  Speaker 1: that's big man. Congrats Bro. It's though too because it's
• 2:11
  Speaker 1: like a very it's like a national or a very
• 2:14
  Speaker 1: worldwide sounding record. We think in New York, you know
• 2:17
  Speaker 1: what I'm saying. Sometimes she comes out of New York
• 2:18
  Speaker 1: and it's like, this shit is cool. Same thing with La.
• 2:20
  Speaker 1: There'll be some shit that's popping out here, but we'll
• 2:22
  Speaker 1: be like, man, this shit is cool for La. Or
• 2:24
  Speaker 1: in New York. You go to New York and hear
• 2:25
  Speaker 1: some shit in the club, he be like, man, this
• 2:26
  Speaker 1: shit is fied, but it's probably not gonna get out
• 2:28
  Speaker 1: of this area. But your shit is like, Bro's got
• 2:32
  Speaker 1: that international sound or something like that. Yeah, I like
• 2:36
  Speaker 1: this like that, even though because I didn't like It's
• 2:40
  Speaker 1: not like I was on purpose trying to create some
• 2:42
  Speaker 1: kind of crazy international sound. I feel like the sound
• 2:45
  Speaker 1: of New York is, especially when we do it the
• 2:47
  Speaker 1: right way, it's a it's appealing enough, so it was
• 2:49
  Speaker 1: gonna go international, you know what I'm saying. You know facts, man,
• 2:51
  Speaker 1: you're from the Bronx, right, it's a uptown, uptown baby
• 2:55
  Speaker 1: shout out to the Bronx. Hey man, Uh, the Bronx
• 2:58
  Speaker 1: is like one of those burrows doesn't get enough love.
• 3:00
  Speaker 1: All things considered. It to where hip hop was birthed.
• 3:03
  Speaker 1: It is literally where hip hop started. Fact, you know,
• 3:07
  Speaker 1: I think like obviously some of the greatest rivers of
• 3:09
  Speaker 1: all time come out to bron shot out the punch
• 3:11
  Speaker 1: out to karras One, Yeah, Joey Crack. But like I
• 3:15
  Speaker 1: feel like lately, like you know, ron SUNO's doing this
• 3:18
  Speaker 1: thing you do, hey boogies. Of course, man shouts to
• 3:22
  Speaker 1: high Bridge. But like in general, do you feel like
• 3:24
  Speaker 1: the Bronx has somehow become like the most slept on
• 3:26
  Speaker 1: brown New York easily? Like, and it's weird because it's
• 3:30
  Speaker 1: where hip hop started. Yeah, but you know, Brooklyn was
• 3:33
  Speaker 1: making noise for a while, queens outside, you know what
• 3:35
  Speaker 1: I'm saying. Harlem is definitely Harlem is always going Harlem.
• 3:40
  Speaker 1: I feel like the Bronx just slept on for a while.
• 3:42
  Speaker 1: But I feel like we got it. It's it's back,
• 3:44
  Speaker 1: We're back. I'm not gonna lie the spotlight. We always
• 3:46
  Speaker 1: had the vibe. We just need a spotlight now you
• 3:48
  Speaker 1: got it? Yeah, Yeah, definitely a great energy uptown right now?
• 3:52
  Speaker 1: Are you? I don't know, this is probably after your generation,
• 3:56
  Speaker 1: but are you gonna? I mean, kress One's got a
• 3:58
  Speaker 1: verses with Big Daddy Kane mm hmm. And Kris Won
• 4:02
  Speaker 1: a lot of people just thinks he's the greatest of
• 4:03
  Speaker 1: all time. He's from the Bronx. You know what I'm saying, Like,
• 4:05
  Speaker 1: you're gonna, You're gonna, You're gonna. Are you? Are you
• 4:07
  Speaker 1: looking forward to that versus or is that some ship
• 4:08
  Speaker 1: where you're like this just for the coach? I am, yeah, man,
• 4:13
  Speaker 1: So I'm definitely. I make sure I'm dead too. You
• 4:15
  Speaker 1: know what I'm saying, Like, I'm really a fan of like,
• 4:18
  Speaker 1: so you're gonna be there. I have to be there.
• 4:20
  Speaker 1: Hey man, were you, like, did you ever listen to
• 4:22
  Speaker 1: carras one like trying to catch up on his older ship.
• 4:25
  Speaker 1: So I have to like go back and do more
• 4:27
  Speaker 1: research because of this whole versus thing. It wou presented
• 4:30
  Speaker 1: the opportunity for me to go back and do my
• 4:32
  Speaker 1: research and all that stuff like that. So yeah, Yo,
• 4:34
  Speaker 1: Cares held it down for the whole borough. Yeah he was.
• 4:37
  Speaker 1: He was actually versus mc sean man. Wow, Queen's Bridge.
• 4:41
  Speaker 1: It was what was Queen's Bridge versus the Bronx. Shout
• 4:44
  Speaker 1: out to Kress now that just should be forty year
• 4:47
  Speaker 1: olds and up and hip hop are very excited. I'm
• 4:50
  Speaker 1: not quite there. I'm thirty four, and I know all
• 4:52
  Speaker 1: my like Brian Samson's old asses excited. I'm sure Neil
• 4:55
  Speaker 1: was excited. He's like, hell yeah, add krs we out here, yo.
• 5:03
  Speaker 1: I'm sure that like hell of people were trying to
• 5:05
  Speaker 1: probably approach you. Did anyone approach you to do the remix?
• 5:08
  Speaker 1: I'm not talk about the actual like Chris Brown or
• 5:10
  Speaker 1: popcor but where there's like people who hit you trying
• 5:12
  Speaker 1: to do a remix? Yeah, hell yeah. The whole industry remixes,
• 5:15
  Speaker 1: That's what's Yeah, it's like the whole industry. I kind
• 5:17
  Speaker 1: of piphed the vibes under so like fab did a
• 5:20
  Speaker 1: remix from Tory Cranium, Jada Kingdom, Busta Rhymes like It's
• 5:30
  Speaker 1: it Got create a boogie did a remix, and these
• 5:33
  Speaker 1: fave Like the list is low key, kind of crazy
• 5:36
  Speaker 1: people their own remixes. Just like yo, if you're a DJ,
• 5:39
  Speaker 1: just pick what remix you like the most. Yeah, it's
• 5:41
  Speaker 1: like a yeah, it's like a collectible or something like that. So,
• 5:43
  Speaker 1: like the different DJs are playing it in different regions,
• 5:46
  Speaker 1: they're playing different remixes in different regions. What's the biggest,
• 5:48
  Speaker 1: biggest remix. It's not the official remix. You think the
• 5:51
  Speaker 1: biggestars like what you hear the most when you're out.
• 5:55
  Speaker 1: I'm not gonna lie. I can't even do that because
• 5:57
  Speaker 1: there's like I go to certain places, like certain cities,
• 6:01
  Speaker 1: they're only going to play like certain like you go
• 6:04
  Speaker 1: certain place, they're going to play the A B one
• 6:06
  Speaker 1: and like the French Montana one that's in the same
• 6:08
  Speaker 1: there's got to be a French one. I didn't know
• 6:10
  Speaker 1: there was crazy shout out the French sir, you tap
• 6:15
  Speaker 1: Jan Roy Woods, every bro. Crazy You getting Chris Brown
• 6:22
  Speaker 1: and Popcorn to fit for the official one? Obviously Chris
• 6:24
  Speaker 1: Brown feels like a no brainer. Man. Yeah, that's not
• 6:27
  Speaker 1: even like, yeah it's Chris Brown. Yeah. He bought it
• 6:31
  Speaker 1: for like for R and B, for just the culture
• 6:33
  Speaker 1: periods like that. That goes signs O D with your project,
• 6:37
  Speaker 1: like the music that you're working on right now. Would
• 6:39
  Speaker 1: you say that, like your sound in general is in
• 6:43
  Speaker 1: tune with this record or do you have other pockets
• 6:46
  Speaker 1: you get in, I get in some different pockets. So
• 6:48
  Speaker 1: like even if you hear like the rest of the tape,
• 6:51
  Speaker 1: it's just real New York, but you could tell that
• 6:54
  Speaker 1: it's definitely inspired by a Caribbean upbringing as well. And
• 7:00
  Speaker 1: just it just has I just have mad different vibes
• 7:03
  Speaker 1: on this table, like it's it's what was the music
• 7:06
  Speaker 1: like you say, your Caribbean upbringing? What was the music
• 7:07
  Speaker 1: like in the household period? So we were listening to
• 7:10
  Speaker 1: it like a lot of gospel, were listening to a
• 7:12
  Speaker 1: lot of like Marley just just it was if you,
• 7:17
  Speaker 1: if you, if you finish at Jamaican, there's like a
• 7:19
  Speaker 1: playlist like it's a certain plate list, like it's just
• 7:23
  Speaker 1: you guys, was to everything right right, right right right.
• 7:25
  Speaker 1: So but I feel like that that inspired like a
• 7:28
  Speaker 1: lot of the cadences and a lot of the melodies
• 7:30
  Speaker 1: and harmonies and everything that's in my music right now.
• 7:32
  Speaker 1: So for you have it like sometimes when you come
• 7:38
  Speaker 1: out and your first record is this big, it could
• 7:42
  Speaker 1: be a gift and a curse. Sometimes that happens, and
• 7:46
  Speaker 1: like you know, the song, your first song will be
• 7:48
  Speaker 1: bigger than you as an artist forever. It's happened with
• 7:51
  Speaker 1: you know a lot of artists. You know, I don't
• 7:52
  Speaker 1: want to name drop sh it on nobody, but you
• 7:53
  Speaker 1: know it's happened. It happens all the time. Is that
• 7:55
  Speaker 1: something that you're conscious of, like trying to make sure
• 7:58
  Speaker 1: that your music isn't bigger than you if that makes sense. Yeah,
• 8:01
  Speaker 1: I'm not worried about that because I know, like I
• 8:04
  Speaker 1: don't want to sound no way, but there's no where
• 8:06
  Speaker 1: that came from, like I'm that guy. No, there's a
• 8:08
  Speaker 1: whole lot more. You gotta really understand. Yalous is a freestyle.
• 8:12
  Speaker 1: It is a minute forty five second long freestyle with
• 8:15
  Speaker 1: no hook, no bridge, no verse, no nothing. So let
• 8:17
  Speaker 1: me get this straight, because when you say freestyle for
• 8:20
  Speaker 1: people like who aren't in the studio a lot, like
• 8:22
  Speaker 1: there's freestyles and then there's like yeah, like punching off
• 8:27
  Speaker 1: the top of your head. I'm not talking about just
• 8:29
  Speaker 1: like a freestyle where it's like I just went in
• 8:31
  Speaker 1: one take and just there's different types of restoules with that.
• 8:34
  Speaker 1: I'm talking about freestyle terms like just the style of
• 8:37
  Speaker 1: the record itself, so like there's no real structure to
• 8:40
  Speaker 1: there's no real structure. I basically prove that point with this.
• 8:43
  Speaker 1: There's no rules to this music shit. So like with
• 8:45
  Speaker 1: the structure of a record, you know it's supposed to
• 8:47
  Speaker 1: be hook, verse, hook, bridge, whatever it is. You know
• 8:50
  Speaker 1: what I'm saying that that certain standard of how you
• 8:52
  Speaker 1: set up your songs. Again, like I said with Yallus,
• 8:55
  Speaker 1: there's no hook, no bridge, no verse, no Nathan, It's
• 8:57
  Speaker 1: just a series of moments back to back like a
• 9:01
  Speaker 1: DJ or something. And you're saying, like, we got, we got,
• 9:05
  Speaker 1: you got a lot more where that came from. You're
• 9:06
  Speaker 1: not worried about it, yeah, bro, because like, all right,
• 9:10
  Speaker 1: we have that joint, right, But then I'm a musician
• 9:14
  Speaker 1: musician for real, I play instruments and all that. I'm
• 9:17
  Speaker 1: really singing singing for real. But I'm really a fan
• 9:19
  Speaker 1: of hip hop hip for real. I'm really produced, like
• 9:21
  Speaker 1: I produced Giallus and everything. I really we really do this.
• 9:25
  Speaker 1: There's way more where it comes from. You keep all
• 9:27
  Speaker 1: the money, that's what you're saying, Make the beat, write
• 9:30
  Speaker 1: the song, mixed it, mixed the record everything. Damn. You're
• 9:34
  Speaker 1: like the Bronx Russ kind of wow, and you heard
• 9:38
  Speaker 1: the song that we did that Russ drop. No, I
• 9:40
  Speaker 1: did not you have dropped the joint two weeks ago.
• 9:42
  Speaker 1: Close Seduce is going crazy right now. Number you know,
• 9:46
  Speaker 1: Russ drops the song every week, so it's hard for
• 9:48
  Speaker 1: me to keep up at this point. Well, he puts
• 9:50
  Speaker 1: a lot of music out. Well, the seduced one, the
• 9:52
  Speaker 1: one that we got is going stupid right now. That's
• 9:54
  Speaker 1: all I know. How did you? How did how did
• 9:56
  Speaker 1: the rust connection happen? He reached out because he just
• 9:59
  Speaker 1: seemed energy, especially on Instagram and everything like that, like
• 10:02
  Speaker 1: just once you tap in and see how I move,
• 10:05
  Speaker 1: like we kind of moved, saying he produces a lot
• 10:08
  Speaker 1: of his stuff, He engineers a lot of his stuff.
• 10:09
  Speaker 1: I do the same. We both talk because you understand
• 10:12
  Speaker 1: when you do it yourself, you don't have to lower
• 10:14
  Speaker 1: your voice or lefe for no jokes that aren't funny.
• 10:16
  Speaker 1: It's a whole real energy. So with me and me
• 10:18
  Speaker 1: to him, people like Tory, there's certain people that are
• 10:20
  Speaker 1: just like once we tap in, I'm learning too much
• 10:23
  Speaker 1: from them to drive in too much Jewels, it's too far.
• 10:25
  Speaker 1: So once we connected, it was it was like nothing.
• 10:28
  Speaker 1: We dropped the joint like a week after we recorded,
• 10:30
  Speaker 1: and now it's going stupid. Wow, rest stuff was that
• 10:33
  Speaker 1: someone who you like actually fucked with prior to like
• 10:35
  Speaker 1: him reaching out because like, oh yeah, you know, I
• 10:38
  Speaker 1: think Russ is like has been giving people so much
• 10:40
  Speaker 1: free game for so long and like showing people the
• 10:43
  Speaker 1: way on so many different things. Like but he always
• 10:45
  Speaker 1: for some reason, motherfucker's like really like the SoundCloud era
• 10:49
  Speaker 1: of hip hop hated him for whatever reason because their
• 10:51
  Speaker 1: haters and there because he kept telling people where he
• 10:54
  Speaker 1: would shoot from and say, Yo, stop me, I'm going
• 10:57
  Speaker 1: to shoot from there, to stop me, and then he
• 10:58
  Speaker 1: would shoot from there and take it every time, every
• 11:01
  Speaker 1: single time, I'm going to sell out the Stable Center.
• 11:03
  Speaker 1: Sold out the Stable Center, right, because when you when
• 11:05
  Speaker 1: when you say I'm going to sell out the Stable Center,
• 11:08
  Speaker 1: it's he's being cocky, he's being arrogant until he sells
• 11:12
  Speaker 1: out the Stable Center. Then it just stop speaking. It's
• 11:16
  Speaker 1: all now, you guys just have to right. That's why
• 11:19
  Speaker 1: I appreciate this gallous run. I was gonna say, like
• 11:22
  Speaker 1: you were you said earlier. When you record yourself, it's
• 11:25
  Speaker 1: a different vibe because you know, sometimes when you're in
• 11:28
  Speaker 1: the studio, like you said, you gotta sometimes it's hard
• 11:32
  Speaker 1: to control the vibe. If there's too many variables that
• 11:35
  Speaker 1: pull pull up, come through. Maybe the producer brings a homie,
• 11:38
  Speaker 1: maybe the engineer brings you know what I'm saying, No,
• 11:40
  Speaker 1: because the producer brings homely file one day he got it. Anyway,
• 11:44
  Speaker 1: So with my sessions, I feel like it's two different
• 11:47
  Speaker 1: types of sessions. Sometimes I might want, like some of
• 11:50
  Speaker 1: my sessions, like if you see my blocks and stuff,
• 11:52
  Speaker 1: it be it'd be mad people in there just be
• 11:54
  Speaker 1: a vibe, mad producers, engineers, mad just different, right, just
• 11:58
  Speaker 1: pople just you know what I'm saying. But like some
• 12:02
  Speaker 1: of my other sessions, it might just be me and
• 12:04
  Speaker 1: the piano and the lap chob just creating and stuff
• 12:07
  Speaker 1: like that. So it's just it varies. But either way
• 12:10
  Speaker 1: that the environment is always controlled though, I'm not gonna
• 12:12
  Speaker 1: have people freestyling my session. I saw you just were
• 12:14
  Speaker 1: I believe it today. You were in the Hit Boy
• 12:17
  Speaker 1: Yeah kind of. Well then like that shout out to
• 12:20
  Speaker 1: hit Boy, shout out to hit one of the greatest
• 12:22
  Speaker 1: of all time. Yeah, definitely the goal. So it was
• 12:26
  Speaker 1: hit Boy and shawing in with you. So what's that
• 12:29
  Speaker 1: is that for your ship or for their ship? I'm
• 12:30
  Speaker 1: just you know what I'm saying, just moving around, staying
• 12:33
  Speaker 1: this decade. It's a little Wayne t Pain runner and
• 12:36
  Speaker 1: be on everybody's so like you're about to go on
• 12:38
  Speaker 1: that kind of run. Everybody hooked, everybody bridge, everybody verse.
• 12:41
  Speaker 1: I might produce to beat, I might write it for you.
• 12:43
  Speaker 1: I might be the one on the boards. That's That's
• 12:46
  Speaker 1: a good goal to have because when T Pain and
• 12:48
  Speaker 1: Lil Wayne had that run, it was like for programmers
• 12:52
  Speaker 1: on the radio side, it was a lot. It was like, Yo,
• 12:54
  Speaker 1: we can't do no artists, separation everyone this fucking ta
• 12:57
  Speaker 1: pains on everyone's hook. That's that's the Goalah, absolutely ambush.
• 13:02
  Speaker 1: You know what's crazy is that on the West Coast
• 13:04
  Speaker 1: we have Blast, who's kind of like the other guy
• 13:06
  Speaker 1: doing that. Right, have you guys connected or broke in Brooklyn?
• 13:11
  Speaker 1: That's crazy? So you and so have you? Blast is
• 13:14
  Speaker 1: another guy who does everything himself. He records himself, makes
• 13:17
  Speaker 1: the beat, does all that. You guys work on any music.
• 13:20
  Speaker 1: Just just knows that be a good decade. Just know,
• 13:23
  Speaker 1: so you and Blast got music together. You know what
• 13:25
  Speaker 1: I'm saying. It's just a lot going on. So that means, yes,
• 13:29
  Speaker 1: nice who made the beat though, if both you guys
• 13:31
  Speaker 1: make the beat, like you guys both make beats, so
• 13:34
  Speaker 1: who made them? Who made the beat? Did you handle
• 13:37
  Speaker 1: the beat? Or did the Blast handle the beat? It's
• 13:41
  Speaker 1: a lot going on. I can't wait until everybody sees
• 13:44
  Speaker 1: what's in store for this decade, you understand, man? I
• 13:46
  Speaker 1: like how you talking in decades? Yeah? Absolutely, because it's
• 13:49
  Speaker 1: not because I'm not here for for this record, here
• 13:52
  Speaker 1: for this year, right, I'm taking the decade at a time.
• 13:55
  Speaker 1: That Bro, most people don't look at shit that way.
• 13:57
  Speaker 1: They're just trying to They're just trying to get to tomorrow. Yeah.
• 14:01
  Speaker 1: I feel like that's how you fuck up the longevity though,
• 14:03
  Speaker 1: because you make stupid, short minded decisions and then you know,
• 14:06
  Speaker 1: two years from now, you ain't ship, You're you're relevant,
• 14:09
  Speaker 1: you know what I mean, You're gone. Yeah. Nah, you
• 14:10
  Speaker 1: gotta come up with this energy because you know what
• 14:13
  Speaker 1: I'm saying, even though I'm very grateful to be here,
• 14:15
  Speaker 1: it's not just happy to be energy. You gotta be ready.
• 14:18
  Speaker 1: I'm ready. So a new new Russ and Capella Grade
• 14:22
  Speaker 1: joint project coming soon. Executive produced. Uh my Blast. I
• 14:32
  Speaker 1: feel like there's a couple of people in the industry
• 14:33
  Speaker 1: that I'm meeting that I'm I feel like it's it's unpleasant,
• 14:36
  Speaker 1: not pleasantly surprised. That sounds crazy, but I'm just really
• 14:38
  Speaker 1: grateful that they're really nice at what they do. Like
• 14:41
  Speaker 1: meeting Rust in person, he's really dumb nice, Like he's
• 14:44
  Speaker 1: a dumb nice in person. Meeting Cranium in person, like
• 14:48
  Speaker 1: when he was recording Gather Makes Another all the other music,
• 14:53
  Speaker 1: he's really nice. Like it's not like a team. I'm
• 14:55
  Speaker 1: thinking I'm about to walk in as a team of
• 14:57
  Speaker 1: writers and a team that's always disappointing. Man. I've had
• 15:01
  Speaker 1: a couple of you know what I'm saying, Like I'm
• 15:03
  Speaker 1: just seeing the who who is who? And I'm like,
• 15:06
  Speaker 1: who actually, Like, you know, especially with producers, you'll be thinking,
• 15:10
  Speaker 1: like a producer is so crazy and you're getting the
• 15:12
  Speaker 1: studio with them, and you'll be like, oh no, they're
• 15:14
  Speaker 1: just putting their tag on it. And they got like
• 15:15
  Speaker 1: three little homies that make the beats and ship and
• 15:19
  Speaker 1: then and then you getting with hit boy and hit
• 15:21
  Speaker 1: Boy will be nah. But I just going crazy though
• 15:24
  Speaker 1: in the same breath though, just you know what I'm
• 15:25
  Speaker 1: saying in the same breath, Then you respect them more
• 15:28
  Speaker 1: as businessmen too, because even though you're disappointed on the
• 15:31
  Speaker 1: creative side, then you understand, all right, cool, yeah, you
• 15:34
  Speaker 1: put it on artists, and it's not like those artists
• 15:37
  Speaker 1: aren't getting credit or or getting their pub anything. That
• 15:41
  Speaker 1: whole sound is from the hand of that literally from
• 15:44
  Speaker 1: the hand. But sometimes it's like puff where it's like
• 15:48
  Speaker 1: the record might be your brain shot, where it's like,
• 15:51
  Speaker 1: all right, I want something that has the vibe of this,
• 15:53
  Speaker 1: I want snaps in this, I want this type of vibe,
• 15:55
  Speaker 1: this whatever. So you're still producing the record. I guess
• 15:57
  Speaker 1: you know what I'm saying. It's just not pressing the button.
• 15:59
  Speaker 1: So either way, what do you produce your beats? On? Logic?
• 16:03
  Speaker 1: Logic all the vocals everything, So you do everything through logic.
• 16:06
  Speaker 1: You don't need pro tools. No, I just haven't entered
• 16:08
  Speaker 1: that yet yet. I soon learned all the those. But hey, man,
• 16:11
  Speaker 1: logic is a lot you know, quiets kept a lot
• 16:15
  Speaker 1: of people only use logic, Like Mike Posner only uses logic. Yeah,
• 16:19
  Speaker 1: I know, te Pain uses logic. He was using garage,
• 16:23
  Speaker 1: but he was making mad hits like on garage. Man,
• 16:25
  Speaker 1: A lot of it says are like on garage. That's
• 16:27
  Speaker 1: wild to think for people who don't know. That's like
• 16:29
  Speaker 1: the free software that comes on your your very limited capabilities.
• 16:33
  Speaker 1: Like he was making like platinum hits off of that,
• 16:36
  Speaker 1: and like with yeah, with logic, with Yells, I did
• 16:41
  Speaker 1: everything logic, the vocals recorded right into it, right, everything
• 16:47
  Speaker 1: that's huge, like the workflow. Did you did you have
• 16:50
  Speaker 1: a moment at Summer Jam this year? I wasn't there.
• 16:53
  Speaker 1: I was before I performed twice though. Who brought you out?
• 17:00
  Speaker 1: A book? Game making? Right? Oh? Nice? Like that? What
• 17:03
  Speaker 1: was the third? Third time? You're supposed to? What happened
• 17:06
  Speaker 1: with the third time? Always create another moment with the
• 17:08
  Speaker 1: same vibe? So good? You know what I'm saying, that's
• 17:11
  Speaker 1: going to create the biggest moments in hip. What was
• 17:12
  Speaker 1: that like? Though? Like crazy? Because I've been to Summer
• 17:15
  Speaker 1: Jam three times and it's like people don't who've never been.
• 17:20
  Speaker 1: It's like the energy's crazy. It's like, I've never been
• 17:23
  Speaker 1: to Summer Jam before this time. I said, just as
• 17:26
  Speaker 1: an artist thing that I was writing and producers, So
• 17:28
  Speaker 1: in my head, I was just like I don't even
• 17:29
  Speaker 1: want to go to Summer Jam unless like I'm maybe
• 17:31
  Speaker 1: you hear your ship that you produced her or you're
• 17:34
  Speaker 1: performing you know what I'm saying, or something like that. Yeah,
• 17:37
  Speaker 1: So like with some especially as a New Yorker summer gym,
• 17:40
  Speaker 1: that's like that's like the Grammys, that's like the Holy
• 17:43
  Speaker 1: grail Man, you know what I'm saying. And it was
• 17:45
  Speaker 1: like rainy as fuck, right, it was stupid rainy. That's
• 17:47
  Speaker 1: why to perform the third time, And that's why it
• 17:49
  Speaker 1: was fired because when it rained, the festival stage got
• 17:54
  Speaker 1: canced the one outside, right yeah, and everybody was like,
• 17:57
  Speaker 1: oh man, so it's over if it was any because
• 18:00
  Speaker 1: I wasn't. It wasn't no advertising that I was going
• 18:02
  Speaker 1: to perform. Everybody thought I was gonna perform at all.
• 18:04
  Speaker 1: So when the rain started and they canceled the festival stage,
• 18:07
  Speaker 1: everybody thought it was clipped for that I was the
• 18:11
  Speaker 1: main stage. So that was definitely a good vibe. Let
• 18:13
  Speaker 1: me ask you this, because you seem like somebody who's
• 18:15
  Speaker 1: who's got your head on your shoulders. With the music ship,
• 18:18
  Speaker 1: with the business ship, what I'm sure you could have.
• 18:22
  Speaker 1: I mean, I'm sure obviously having a record as big
• 18:24
  Speaker 1: as this, you probably had crazy leverage with the label situation.
• 18:27
  Speaker 1: What made you want to actually do the major label
• 18:30
  Speaker 1: things you really probably didn't need to. Like what made
• 18:32
  Speaker 1: you do that? There was just certain things from them
• 18:35
  Speaker 1: that I wanted and it was just that's why it's
• 18:38
  Speaker 1: a joint venture. It was just it was just certain
• 18:40
  Speaker 1: things that by the way, off of one record, not
• 18:41
  Speaker 1: a lot of people are getting joint ventures. It doesn't
• 18:45
  Speaker 1: very rare, if ever, But I mean, you know a
• 18:50
  Speaker 1: lot once you hear some of the other stuff, like
• 18:51
  Speaker 1: when you here the follow up, I'm telling you yealous
• 18:53
  Speaker 1: like it's dope, But just the intro, just to just
• 18:57
  Speaker 1: to taste were like a lot, and I gave a
• 19:00
  Speaker 1: little preview kind of of what you're about to do
• 19:02
  Speaker 1: it because you heard a little bit. A lot of
• 19:03
  Speaker 1: people's favorite part of Galous is a little three bars
• 19:06
  Speaker 1: where I'm rapping snugget in there. I feel like she sleeps.
• 19:09
  Speaker 1: There's gonna be a lot more rapping. Not a lot,
• 19:11
  Speaker 1: but you know what I'm saying when I feel like
• 19:13
  Speaker 1: and now people understand that I can tap in when
• 19:15
  Speaker 1: I feel like that, Man, that's dope. I mean, because
• 19:17
  Speaker 1: you can kind of just do what that you could do.
• 19:19
  Speaker 1: You could do your own hooks and then wrap the
• 19:21
  Speaker 1: verses or wrap the hook and single verses, we could
• 19:25
  Speaker 1: do whatever, and I feel like we're kind of breaking
• 19:26
  Speaker 1: all the rules now, Like hey man, like you said earlier,
• 19:29
  Speaker 1: and I think that the last few years has proved this.
• 19:32
  Speaker 1: There is zero rules to what makes a hit record anymore,
• 19:34
  Speaker 1: absolutely like zero, Like there used to be like, uh,
• 19:38
  Speaker 1: something that you would hear record but that don't sound
• 19:40
  Speaker 1: like a single. And it's like sometimes that doesn't even
• 19:42
  Speaker 1: matter anymore, you know what I'm saying. We're just trying
• 19:43
  Speaker 1: to again, like I said, I'm trying to create just
• 19:45
  Speaker 1: the biggest moments in hip hop history this decade. So
• 19:48
  Speaker 1: it's like whether who want to call it a record
• 19:51
  Speaker 1: or whatever like that, Like right now, Gallous is a
• 19:53
  Speaker 1: big It's a big moment, a moment. Sure, people are
• 19:55
  Speaker 1: running it back four or five times like that. For
• 19:58
  Speaker 1: my next single, it's going to be another the moment.
• 20:01
  Speaker 1: I'm trying to do that with Slow. So what were
• 20:03
  Speaker 1: some of those moments for you growing up? Like that
• 20:05
  Speaker 1: you remember like hip hop moments and it was like, yo,
• 20:07
  Speaker 1: that was I remember that the way that felt when
• 20:09
  Speaker 1: it know, it's so crazy. I wasn't I wasn't allowed
• 20:12
  Speaker 1: to be like out like during like those big times,
• 20:15
  Speaker 1: like those big, huge moments, I wasn't really allowed to
• 20:17
  Speaker 1: be outside. I was. I was able to go to
• 20:20
  Speaker 1: a couple of boogie concerts that was like I was.
• 20:23
  Speaker 1: That was a pretty big but I wasn't. I wasn't around.
• 20:27
  Speaker 1: I wasn't outside for like the like I was around
• 20:29
  Speaker 1: for the tunnel and those type of things that I
• 20:31
  Speaker 1: see those from like the documentaries. So I'm trying to
• 20:34
  Speaker 1: I'm trying to bring moments like that because I feel
• 20:36
  Speaker 1: like I want to see that on my generation, to
• 20:38
  Speaker 1: see that in person. So, yeah, we all just hear
• 20:40
  Speaker 1: about the tunnel. But yeah, I'm too. Yeah I wasn't.
• 20:43
  Speaker 1: I mean obviously not that I'm not. I'm not. I'm
• 20:45
  Speaker 1: probably older than you, but I ain't that old. You
• 20:47
  Speaker 1: know what I'm saying, Neil, you've been in the tunnel? Never? Okay,
• 20:54
  Speaker 1: should I heard the tunnel? Yeah, that's where it was
• 20:57
  Speaker 1: breaking regularly like that. There's no like place right now
• 20:59
  Speaker 1: where you go if you want to hear like the
• 21:02
  Speaker 1: the New Fire, there's no like one place. Yeah. Well,
• 21:06
  Speaker 1: I mean, from what I understand, the New York club
• 21:09
  Speaker 1: scene is kind of weird since COVID, right like because
• 21:11
  Speaker 1: a lot of didn't a lot of places like not
• 21:13
  Speaker 1: make it like yeah, but it just made the place
• 21:16
  Speaker 1: that did make it more problem fair enough. I mean,
• 21:20
  Speaker 1: it just is COVID is so weird because it's terribly
• 21:24
  Speaker 1: unfortunately got all the disclaimer, you know what I'm saying.
• 21:26
  Speaker 1: It was a rough year for all of Everyone had
• 21:28
  Speaker 1: a rough year. People divey yes, low key for the industry.
• 21:31
  Speaker 1: At least for me on my side, it was like
• 21:34
  Speaker 1: just the best period that it just because the best
• 21:37
  Speaker 1: thing that could have happened for like my career, because
• 21:39
  Speaker 1: the whole industry was in the crib yep. And then
• 21:42
  Speaker 1: because a lot of things shut down, it just gave
• 21:45
  Speaker 1: opportunity for just new things to arise, fast systems, new
• 21:49
  Speaker 1: new ways of doing things. Now it's like the old
• 21:52
  Speaker 1: way of doing things that we've been doing for mad long,
• 21:54
  Speaker 1: things that didn't make sense that we were just doing
• 21:56
  Speaker 1: just based off a tradition and just you know what
• 21:58
  Speaker 1: I'm saying. Now it's like, Okay, let's do would make
• 22:00
  Speaker 1: sense now and now we're wild and now I feel
• 22:03
  Speaker 1: like this new this decade we're about to go into
• 22:05
  Speaker 1: for music, it's about to be crazy. I think too,
• 22:07
  Speaker 1: like guys like yourself, who like handle so much of
• 22:11
  Speaker 1: the workload themselves. It's kind of like gotta be the
• 22:14
  Speaker 1: new wave man, because like I think, like when you
• 22:16
  Speaker 1: think about how many rappers were really fucking hurting because
• 22:20
  Speaker 1: they couldn't get show money and they only had so
• 22:24
  Speaker 1: much to do with their actual songs, you know what
• 22:26
  Speaker 1: I mean, It's like there's so many other revenue streams
• 22:29
  Speaker 1: if you're handling the beat, if you're handling writing, if
• 22:31
  Speaker 1: you're handling all these other things, where hey, if shit
• 22:35
  Speaker 1: shuts down and you don't got to hit the you know,
• 22:37
  Speaker 1: the shows, you still got bread coming in sink licenses.
• 22:43
  Speaker 1: Once you learn the business of this music stuff, it's
• 22:45
  Speaker 1: like a big ass game. So it's like then you
• 22:47
  Speaker 1: start learning like what real leverage you have by doing
• 22:51
  Speaker 1: certain things or whatever. Like it's just prior to this record,
• 22:55
  Speaker 1: what was your buzz, like, like what was your like,
• 22:57
  Speaker 1: like how long had you been making music up until it?
• 23:00
  Speaker 1: For a while, But I was a writer and producer
• 23:01
  Speaker 1: for that long, Like I was behind it. You were
• 23:03
  Speaker 1: behind the scenes, like like who was you writing? Like
• 23:04
  Speaker 1: anybody would know that you were producing and writing for eventually,
• 23:07
  Speaker 1: you know what I'm saying it's not time yet right now.
• 23:09
  Speaker 1: I was there. I like that abode fuck because of
• 23:11
  Speaker 1: Gallus for right now. But but yeah, I was definitely
• 23:15
  Speaker 1: moving and shaking and stuff like that in the back
• 23:17
  Speaker 1: and behind the scenes for a while. But like twenty twenty,
• 23:21
  Speaker 1: I decided to be an artist myself, so I put
• 23:24
  Speaker 1: together a lot of songs I was writing for other people.
• 23:26
  Speaker 1: I used to do them together and put out like
• 23:28
  Speaker 1: a quick tape real quick, and then a job Gallus
• 23:31
  Speaker 1: and then now some movie. So those other records that
• 23:34
  Speaker 1: you were writing, if we like look up the credits, well,
• 23:36
  Speaker 1: your name will beyond those records. You got your pup
• 23:38
  Speaker 1: rite on those some some some of them and some others.
• 23:43
  Speaker 1: Just so we could all just go search. We could
• 23:45
  Speaker 1: just go search for the credits on a bunch of albums.
• 23:51
  Speaker 1: Are you still interested in like handling production for other artists? Yeah,
• 23:55
  Speaker 1: Like someone wants to hit you, like, yeah, I need to.
• 23:57
  Speaker 1: I need to beat bro Like let's let's let's lock
• 24:00
  Speaker 1: in and figure it out. Let's make it makes sense,
• 24:02
  Speaker 1: because you know, every time like producer turned rapper really
• 24:05
  Speaker 1: starts to pop or someone who does both, like I
• 24:08
  Speaker 1: remember when Cole first came out he was giving Kendrick
• 24:10
  Speaker 1: beats Big Krit first came out, Krit was passing beats
• 24:14
  Speaker 1: off to people, Kanye obviously, you know, and then like
• 24:16
  Speaker 1: they slowly, we slowly stopped hearing their production. I mean,
• 24:20
  Speaker 1: I understand what people because right now it's you know
• 24:23
  Speaker 1: what I'm saying, it's it's a good period where you
• 24:25
  Speaker 1: know what I'm saying, I'm getting to connect with everybody,
• 24:27
  Speaker 1: and it's all you know what I'm saying, it's dope,
• 24:28
  Speaker 1: but it's a collab and you know all that. And
• 24:31
  Speaker 1: then I understand why eventually in your career you might
• 24:34
  Speaker 1: start making music just solely, just like you want to
• 24:37
  Speaker 1: produce to help tell your story. You want to do everything,
• 24:41
  Speaker 1: just you know what I'm saying. So I understand it
• 24:43
  Speaker 1: why they wouldn't want to give away after a while.
• 24:45
  Speaker 1: But right right now where I'm at my career, I'm
• 24:48
  Speaker 1: trying to with everybody, so including Big Sean and hit Boy.
• 24:51
  Speaker 1: For Big Sean's album De Troy three coming out, I'm
• 24:58
  Speaker 1: I'm pointing, it's all good. No, those guys are always
• 25:01
  Speaker 1: like literally, I feel like Big Sean and hip Boy
• 25:03
  Speaker 1: just live there and then Nas comes over sometimes and
• 25:06
  Speaker 1: then they just make albums and yo, I don't know.
• 25:09
  Speaker 1: All I know is hip like that chemistry is O
• 25:12
  Speaker 1: D and they haven't really missed it's crazy. So who's
• 25:16
  Speaker 1: your favorite rapper? Ever? My favorite rapper is probably it's
• 25:22
  Speaker 1: weird because I like different rappers for different reasons because
• 25:25
  Speaker 1: I'm not gonna give me three of them Andred thousand,
• 25:28
  Speaker 1: Biggie Wayne all elite or you know, see, just different reasons.
• 25:34
  Speaker 1: What's okay? Give me the reason for each one. Andre
• 25:37
  Speaker 1: D thousand is like storytelling and like how it like
• 25:41
  Speaker 1: it'd be sounded like he's just talking facts like he
• 25:45
  Speaker 1: just he's just talking telling the story and it's like
• 25:47
  Speaker 1: every Just what's your favorite Outcast album? I don't have
• 25:51
  Speaker 1: a favorite Outcast album? You know what's so crazy? I
• 25:53
  Speaker 1: like feature Andre D thousand, but like album oh yeah,
• 25:57
  Speaker 1: You're wild, I hear. I understand you, and I understand
• 26:00
  Speaker 1: why people would would argue with that too. You've listened
• 26:03
  Speaker 1: to a Quemini bro just I've listened to a lot
• 26:06
  Speaker 1: of his music. I want to make sure that I
• 26:08
  Speaker 1: really like. So I'm like, man, I love that Walking
• 26:10
  Speaker 1: Out remix that DJ on verse, Man, that shit was crazy.
• 26:14
  Speaker 1: Well have you heard of Quemini. Now nah, this certain
• 26:17
  Speaker 1: artist was like features. They just kind of just be Wow,
• 26:20
  Speaker 1: you give him sixteen in the topic and they just there, Dude,
• 26:24
  Speaker 1: that Kanye Andre song that didn't come out on Donda
• 26:28
  Speaker 1: would have been the best song on Donda. Did you
• 26:30
  Speaker 1: hear that record that leaked? I did. I thought that
• 26:33
  Speaker 1: shit was gas. That shit was a great Andre verse.
• 26:36
  Speaker 1: That just was. I was like, fuck, man, was that was?
• 26:39
  Speaker 1: That was? That was? You know what I'm saying an
• 26:41
  Speaker 1: interesting decision by Kanye. It was a terrible decision, maybe
• 26:47
  Speaker 1: because maybe the album did what it did because of
• 26:50
  Speaker 1: the final product that it came out with. You know what,
• 26:53
  Speaker 1: though I appreciate about Kanye is like you never know,
• 26:56
  Speaker 1: we might wake up tomorrow and he'll be like, I
• 26:57
  Speaker 1: added seven new songs to Donda and it's everything we want.
• 27:02
  Speaker 1: That's why I was so worried when he did all
• 27:04
  Speaker 1: the listening parties, and each time he do the listening party,
• 27:07
  Speaker 1: like the last time, all the ship that like like
• 27:09
  Speaker 1: jay Z's Verse he didn't play, and then the Style
• 27:12
  Speaker 1: ship was gone or the other Lock ship and all
• 27:14
  Speaker 1: the Grizela ship was missing, and I was like, but
• 27:17
  Speaker 1: he put the album out and it just all was.
• 27:19
  Speaker 1: It was like the main it was like a triple
• 27:21
  Speaker 1: disc album or some ship. Like you know what I'm saying.
• 27:23
  Speaker 1: I like the fact that Kanye just does whatever he wants.
• 27:25
  Speaker 1: I agree with all their toes because we don't know
• 27:27
  Speaker 1: what he's going to do next. A lot of artists,
• 27:29
  Speaker 1: we get bored with them because they are so predictable.
• 27:31
  Speaker 1: We know exactly where they're about to do next. Okay,
• 27:33
  Speaker 1: single single album, we get cool ep. Kanye, he just
• 27:39
  Speaker 1: just doing whatever. Even with the sound. We don't even
• 27:41
  Speaker 1: know what sound to expect from him for the next album.
• 27:43
  Speaker 1: That's some real ship. We really like, we really get
• 27:46
  Speaker 1: we really get this. Like with that right there, we
• 27:47
  Speaker 1: saw the evolution of Kanye, whereas a lot of artists
• 27:50
  Speaker 1: they age in the game. And Kanye is my favorite.
• 27:52
  Speaker 1: He's He's not my favorite rapper ever, he's my favorite
• 27:54
  Speaker 1: artist ever, artists artists wise. I think he's got the
• 27:57
  Speaker 1: best discography. And you know what's so crazy is like
• 28:00
  Speaker 1: Jesus is probably like my third favorite Kanye album, and
• 28:02
  Speaker 1: everyone always ships on that album. I'm like, Bro, this
• 28:04
  Speaker 1: ship was ahead of his time. Bro's third. Yeah, Jesus
• 28:10
  Speaker 1: is facts. Jesus is a perfect album is that the
• 28:14
  Speaker 1: one that had doing with Charlie Wilson had black skin
• 28:17
  Speaker 1: head on it and they had blood on the leaves.
• 28:22
  Speaker 1: The Nina Simone sample. Bro, he just hold my liquor.
• 28:25
  Speaker 1: Come on, man, he's finding different because we know we
• 28:29
  Speaker 1: know hip hop, we know sampling, we know the drums
• 28:31
  Speaker 1: that's going to people, cars, speakers, we know this certain
• 28:33
  Speaker 1: standard of hip hop. With him, he's finding different ways
• 28:35
  Speaker 1: of using samples. He's just finding different ways of using
• 28:38
  Speaker 1: sense and all this. He's experimenting with it. I also
• 28:40
  Speaker 1: think he'd be sampling people, yeah, like the people he
• 28:43
  Speaker 1: keeps around him, like you'll think about aways and heartbreaks.
• 28:46
  Speaker 1: He was hanging out with Kid Cuddy kind of sampled
• 28:48
  Speaker 1: Cutty's whole ship inspired but no, but I mean sampled
• 28:52
  Speaker 1: like in the respectful way. Chance was hanging out during
• 28:55
  Speaker 1: the t L O P. You know what I'm saying,
• 28:57
  Speaker 1: and we got like some gospel. Like I really think
• 29:00
  Speaker 1: he's like mastered that and there's like a talent in
• 29:03
  Speaker 1: that to where because't growth. I feel like, but I
• 29:07
  Speaker 1: think what's dope is like he kind of is like
• 29:08
  Speaker 1: the think about yuses, Like he was around Travis a
• 29:11
  Speaker 1: lot before we knew the fuck Travis was during those times,
• 29:14
  Speaker 1: and it's like he kind of like introduces sounds to
• 29:17
  Speaker 1: people and they almost got to come through him for
• 29:20
  Speaker 1: them to be commercially acceptable, at least at a certain point.
• 29:22
  Speaker 1: They did something like that. Okay, okay, yes, you think
• 29:28
  Speaker 1: about like a kidnamed Cuddy mixtape came out and like
• 29:31
  Speaker 1: it did it staying, but it was like underground as fuck,
• 29:33
  Speaker 1: like it was cool. Cuddy was rapping more on that.
• 29:36
  Speaker 1: But then Ata Waits and Heartbreaks comes out and it
• 29:38
  Speaker 1: just kind of made it okay for everyone to use
• 29:40
  Speaker 1: auto tune again because people are off auto tune. People
• 29:44
  Speaker 1: are people are shitting on t Pain And after Aight
• 29:49
  Speaker 1: o eights, which is, oh, wait, comes Drake, comes, Cuddy, comes,
• 29:53
  Speaker 1: Man on the Moon, comes all this ship that's like
• 29:55
  Speaker 1: just like a tree from a of course, so at
• 30:00
  Speaker 1: Eights was two thousand and eight, Okay, so far Gone
• 30:04
  Speaker 1: was nine? Okay? When was T Pain's album that was
• 30:07
  Speaker 1: like a death of auto tune? Was? Oh, that's death
• 30:11
  Speaker 1: of Voter's seven six. That's that's that's that's j But
• 30:15
  Speaker 1: what I'm saying is after j that T Pain did
• 30:18
  Speaker 1: with Circus, that joint, Yeah, I can't do it. I
• 30:21
  Speaker 1: think Circus was six ro O seven seven. Look that
• 30:26
  Speaker 1: because was that the beginning of that run? Because that
• 30:28
  Speaker 1: t paint run like, I feel like that's Kanye j.
• 30:31
  Speaker 1: It was a cool It was a it was a
• 30:32
  Speaker 1: cool little alley. But nah, but went in to when
• 30:37
  Speaker 1: wit and heartbreaks happened. That was Hey, what up? Man?
• 30:41
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• 30:43
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  Speaker 1: go do that shout out to odd Socks. Let's get
• 31:49
  Speaker 1: back to the interview. Ato eights came at a time
• 31:52
  Speaker 1: when people were off the autotune shit because everyone thought
• 31:56
  Speaker 1: it was like do you remember when Ron Brows did
• 31:58
  Speaker 1: pop Champagne? Of course that ship. I was in New
• 32:01
  Speaker 1: York at the time that ship was hold. There was
• 32:04
  Speaker 1: ways to use auto tune that were fire, and that
• 32:07
  Speaker 1: wasn't one of them, you see. And that's what I'm saying,
• 32:10
  Speaker 1: that's the fan. That's just because I'm not gonna lie everything.
• 32:13
  Speaker 1: I'm sure it was a moment. No, I'm sure it was.
• 32:15
  Speaker 1: I mean it was a record that I played on
• 32:16
  Speaker 1: the radio in Phoenix. No, it wasn't just a hot
• 32:18
  Speaker 1: record after that period. There's a lot of people in
• 32:21
  Speaker 1: New York that was sounding like that. So it was
• 32:22
  Speaker 1: like it was just that sound. We liked how he
• 32:24
  Speaker 1: kind of used it. So it was you mentioned Biggie.
• 32:27
  Speaker 1: Why Biggie. I like his cadences, So he he was
• 32:33
  Speaker 1: one of the first people I heard use like almost
• 32:37
  Speaker 1: Jamaican cadences and flows in a rap. But he just
• 32:41
  Speaker 1: with our lingo, just with the New York lingo, but
• 32:43
  Speaker 1: just the cadences that you hear and like reggae and
• 32:46
  Speaker 1: stuff like that. You heard it in his wrap that
• 32:48
  Speaker 1: you love, like just the certain flows that he was using.
• 32:53
  Speaker 1: It was just like, I feel like his flow. He
• 32:55
  Speaker 1: was just skating on songs, and I feel like he
• 32:57
  Speaker 1: kind of said he has the best flow ever. That
• 32:59
  Speaker 1: was It's not it's butter Man, you know who I
• 33:02
  Speaker 1: think is only the only person who comes close as
• 33:04
  Speaker 1: far as this Buttery flows man the way Rose be
• 33:08
  Speaker 1: skating on some ship, Rick Ross ship be sounding. So
• 33:13
  Speaker 1: I'm putting Biggie first still, but he Biggie's first, for sure,
• 33:16
  Speaker 1: not and he does. But Ross is the only person
• 33:18
  Speaker 1: who like sometimes he'll you'll hear him on some shit
• 33:20
  Speaker 1: be like God damn, it's just so he's different. And
• 33:25
  Speaker 1: then you said, Wayne, yeah, because he just just pieing it.
• 33:31
  Speaker 1: He just changed again, like he just really did. What
• 33:34
  Speaker 1: you want, what's your favorite little Wayne album? I probably
• 33:36
  Speaker 1: ask you that, right. I want to say Carter Carter three,
• 33:44
  Speaker 1: And I hate saying because I know that's like everybody
• 33:46
  Speaker 1: like you know what I'm saying. But that album is
• 33:48
  Speaker 1: really low key o D low key. It was actually
• 33:53
  Speaker 1: obviously it's over a million in the first week, but
• 33:56
  Speaker 1: but you do a million. I like Carter too. I'm
• 33:59
  Speaker 1: a Carter two guy. This is a good album. I
• 34:01
  Speaker 1: love Carter toon man Carter two. But you know what,
• 34:04
  Speaker 1: I'll take all the mixtape weezy shit over all his albums.
• 34:07
  Speaker 1: If I had to make a trade, give me all
• 34:09
  Speaker 1: the mixtapes, keep all the albums. I'm good because I
• 34:12
  Speaker 1: think the last like I don't know how many Carter
• 34:15
  Speaker 1: two was great. I mean the first three Carters were amazing,
• 34:18
  Speaker 1: Like fatherlike Son is very slept on Birdman. Wayne's album
• 34:22
  Speaker 1: was crazy. It was outside of that. I just I'm
• 34:25
  Speaker 1: not crazy about like any of that. I am not
• 34:27
  Speaker 1: a human beings or the fucking revolver shit or I
• 34:31
  Speaker 1: thought Carter four was some straight mid If I'm being honest,
• 34:35
  Speaker 1: he had better work. Carter five was. You know, you
• 34:38
  Speaker 1: could tell, like, man, Carter five was. There was like
• 34:41
  Speaker 1: maybe a handful of songs that were cool, but like
• 34:45
  Speaker 1: still a little disappointed. Obviously I did one a little
• 34:48
  Speaker 1: bit more out of Carter five for sure. So then
• 34:51
  Speaker 1: all right, said, I'm thinking about the initial statement with
• 34:53
  Speaker 1: the mixtape. I'm not gonna lie, and maybe my thing
• 34:56
  Speaker 1: with Wayne is the last time that I really thoroughly
• 35:00
  Speaker 1: enjoyed a Wayne project was nine and that was the
• 35:05
  Speaker 1: first No Ceilings and then I think ever since then, Yeah,
• 35:09
  Speaker 1: I mean, tell me the albums after nine, give me
• 35:13
  Speaker 1: the project after nine, because because Carter three came out
• 35:18
  Speaker 1: in Oha, no Ceilings was nine, and then it was
• 35:23
  Speaker 1: like revolver, and I mean there was like moments versus singles.
• 35:27
  Speaker 1: There were singles that were cool, like Wayne had some
• 35:29
  Speaker 1: fucking great singles, But like I'm just thinking of the
• 35:34
  Speaker 1: body of work that I really fucking functioned with. It
• 35:36
  Speaker 1: really was. There was really not another body of work
• 35:39
  Speaker 1: that I was like, man, this ship is crazy. There
• 35:41
  Speaker 1: was record and then I'm thinking about it because you
• 35:42
  Speaker 1: definitely opened a different perspectives and then you might be right.
• 35:46
  Speaker 1: But overall as an artist though, as a rapper, he
• 35:49
  Speaker 1: has to be he like, he has to be like
• 35:51
  Speaker 1: in my top three because of how no. I mean,
• 35:53
  Speaker 1: of course, you know, he He's the reason while everybody
• 35:56
  Speaker 1: rap body wrap fair enough, either him or Keith. Yeah,
• 36:02
  Speaker 1: I think you know, it's so crazy. I feel like
• 36:04
  Speaker 1: it might sleeps on the influence of the future, Chief Key, Future,
• 36:09
  Speaker 1: Yeah and Wayne, Like I feel like this whole generation
• 36:11
  Speaker 1: it's like Chief Key Future and Wayne kids and a
• 36:15
  Speaker 1: little bit and a little bit of Drake. But basically yeah, yeah, yeah, yeah, yeah,
• 36:19
  Speaker 1: shout out to Drake. I remember those are paid for
• 36:21
  Speaker 1: like two years where everybody would sounding like take care Drake,
• 36:24
  Speaker 1: I was just doing the singing what do you call it?
• 36:26
  Speaker 1: Over the film. I hear that. I hear generic Drake
• 36:29
  Speaker 1: want to be his every single Like, dude, you know
• 36:30
  Speaker 1: how many times like people come here play me records
• 36:32
  Speaker 1: and I'm just like, bro, what the fuck are you doing? Yeah,
• 36:35
  Speaker 1: this ship is like you should write songs because write
• 36:37
  Speaker 1: songs for Drake, because this is you trying to do Drake. Like,
• 36:41
  Speaker 1: That's why I say it's gonna be a good decade.
• 36:42
  Speaker 1: Because I feel like everybody right now is really priding
• 36:44
  Speaker 1: themselves on just the like individual sounds like I feel
• 36:48
  Speaker 1: like we're about to get I feel like we're slipping
• 36:50
  Speaker 1: into a an error like and yes, I'm staying behind
• 36:54
  Speaker 1: this too. I'm standing behind this where I feel like
• 36:56
  Speaker 1: tag eventually people are going to stop putting tags on beads.
• 37:00
  Speaker 1: I think that that would be great. Yes, because you're
• 37:04
  Speaker 1: sat now people aren't gonna know you by your tag.
• 37:07
  Speaker 1: They have to know you by your sounds. So now
• 37:08
  Speaker 1: your sound has to be unique or you're gonna well. Also,
• 37:11
  Speaker 1: it opens up the lane for producers to actually get
• 37:15
  Speaker 1: some looks to deserve it because right now, like I see,
• 37:17
  Speaker 1: especially with these major labels, Bro, I see you with
• 37:21
  Speaker 1: my own eyes, like these motherfuckers are trying to push
• 37:23
  Speaker 1: you to go he yo, you got to get in
• 37:24
  Speaker 1: with take Keith, you gotta. And I'm not saying that
• 37:26
  Speaker 1: these guys are all incredible, right, but what if there's
• 37:29
  Speaker 1: another guy who's your boy, who's got pro opportunity that
• 37:33
  Speaker 1: has nothing to do with the tag because they had
• 37:34
  Speaker 1: they were playing favorites in the nineties. Two This is
• 37:38
  Speaker 1: you know what you're right? The error though, when you
• 37:40
  Speaker 1: were like, you hear Timbaland, but you know it is
• 37:41
  Speaker 1: a Timberlin beat you knew was Alba or Scott Storcheb.
• 37:45
  Speaker 1: You would know because it's the keys. So I feel
• 37:48
  Speaker 1: like people are gonna now make their signature be the
• 37:50
  Speaker 1: sound as opposed to just the tag. Mustard had that too, Yes, Mustard.
• 37:56
  Speaker 1: I actually think Mustard is the only person that's had
• 37:58
  Speaker 1: that in a long time because everyone else's should I
• 38:00
  Speaker 1: think is they're all hard, but they could be interchangeable.
• 38:03
  Speaker 1: So yes, Mustard has had his own sound where he
• 38:05
  Speaker 1: didn't have to put his tag. He just did so
• 38:08
  Speaker 1: and shout out to the League of Stars. Low key
• 38:09
  Speaker 1: they had that sound together, but Mustard was bigger. He
• 38:12
  Speaker 1: had a bigger record. They're from l A. They had
• 38:14
  Speaker 1: some they did r I P by g Z. They
• 38:16
  Speaker 1: did a bunch of records, but they don't get enough
• 38:18
  Speaker 1: like love. Got to show them love because they were
• 38:20
  Speaker 1: doing some shit. When's your album coming out soon? I
• 38:24
  Speaker 1: don't have a date on it yet because I'm really
• 38:26
  Speaker 1: trying to make sure that it's is right first before.
• 38:29
  Speaker 1: Even this feels like a type of record Drake would
• 38:32
  Speaker 1: have gotten on g Yeah, it just feels like As
• 38:36
  Speaker 1: soon as I heard it, I was like, wow, this
• 38:38
  Speaker 1: is dre here comes just when happened. I mean a
• 38:43
  Speaker 1: there'll be other records and be he did what he
• 38:46
  Speaker 1: did practice with the same sample. What was like, what
• 38:50
  Speaker 1: do you think? Like, you know, obviously Drake dabbles in
• 38:52
  Speaker 1: the Jamaican accents m quite convincingly, but I mean, you
• 38:59
  Speaker 1: know what his face. At first I was I was
• 39:01
  Speaker 1: on some like oh yeah, Drake doing his fake accent thing,
• 39:04
  Speaker 1: until like you start meeting people from Canada, well Toronto,
• 39:07
  Speaker 1: people don't realize how much of a melting pot just
• 39:09
  Speaker 1: Toronto is. Like they sound like they sound like Harlem
• 39:13
  Speaker 1: featuring Jamaica writing some other like so so it's like
• 39:18
  Speaker 1: you told to other people from Toronto, you'll be like,
• 39:20
  Speaker 1: oh he talks like the city, right, Yeah. I think
• 39:24
  Speaker 1: that people. I think when people put that label on him,
• 39:26
  Speaker 1: like yo, man, you're fucking appropriate, Like man, you've never
• 39:29
  Speaker 1: been to Toronto? Yeah no. In fact, like if you're not,
• 39:32
  Speaker 1: if you're not a part of that coature, you're not
• 39:33
  Speaker 1: gonna understand it. And no matter how much he tried
• 39:36
  Speaker 1: to shine a light on Toronto, we still only saw Drake,
• 39:39
  Speaker 1: so we didn't also I'd like to point out Drake
• 39:41
  Speaker 1: does a good job of like helping bring up people
• 39:45
  Speaker 1: from whoever. Like of course, you know what I'm saying,
• 39:48
  Speaker 1: Come on, everybody gets the Drake Cole sign and goes crazy.
• 39:51
  Speaker 1: That's that's like he did a lot for the UK
• 39:53
  Speaker 1: music scene, you know what I mean. Like between Drake
• 39:56
  Speaker 1: and Chris Brown, they put on everybody Drake, I mean,
• 40:03
  Speaker 1: Kanye Kanye and put on Travis put what I mean,
• 40:09
  Speaker 1: and even a lot of people you have put on
• 40:12
  Speaker 1: Chancellor and chances already that motherfucker has like a big five.
• 40:16
  Speaker 1: It's like it's his strong five. Yeah yeah, yeah, yeah,
• 40:18
  Speaker 1: But Drake's got like a fucking He's got a whole
• 40:21
  Speaker 1: forest of trees. Yeah yeah, you're right, You're right. Now,
• 40:25
  Speaker 1: Drake's got the you know what's crazy about Drake because
• 40:27
  Speaker 1: he's put on a lot of one hit wonders. Like
• 40:30
  Speaker 1: if you think of like, by the way, shout out
• 40:32
  Speaker 1: to mcconaan because I think mccona is a great writer,
• 40:34
  Speaker 1: great artists, But like if you think of like the
• 40:35
  Speaker 1: amount of artists like Drake just decided to just tap
• 40:37
  Speaker 1: in on a record with and then like what happened,
• 40:40
  Speaker 1: Like I mean it's it's it's weird. They their biggest
• 40:44
  Speaker 1: song might be this song with Drake, but he definitely
• 40:46
  Speaker 1: I'm waiting to see what happens with Smiley. They can
• 40:50
  Speaker 1: a little crazy, even with the Maconaan guy that I love.
• 40:53
  Speaker 1: The club going up on a Tuesday. No, he's no.
• 40:57
  Speaker 1: He had what was the record that I don't sell
• 41:01
  Speaker 1: Molly no more? That ship was fire. I think Wiz
• 41:03
  Speaker 1: was on the remix. Now he has some joints. But
• 41:05
  Speaker 1: I just mean like they're going like he did. He
• 41:07
  Speaker 1: gives them the care package. They go crazy and then
• 41:10
  Speaker 1: they do what they do. Their biggest song might be
• 41:12
  Speaker 1: thee with Drake, so we might say damn they fell
• 41:14
  Speaker 1: off because they don't have another song to that magnitude,
• 41:16
  Speaker 1: but it's the Drake song. No, for sure, we'll listen. Man.
• 41:19
  Speaker 1: I can't wait to hear your album. It's gonna get crazy.
• 41:23
  Speaker 1: I can't wait to hear these because I'm gonna just
• 41:25
  Speaker 1: hit hit Boy and be like, yeah, I'm gonna come
• 41:26
  Speaker 1: to Challis and go see what what this record sounds like? Crazy?
• 41:31
  Speaker 1: You and Blast have a whole album coming out together.
• 41:34
  Speaker 1: He's dope, fuddy, that's manifesting. He's going crazy blast fifty
• 41:40
  Speaker 1: percent of the beats. He'll do fifty percent of the
• 41:42
  Speaker 1: beat sound a great idea. Blast. You guys are joint tour.
• 41:47
  Speaker 1: It'll be New York to l a big for our coach.
• 41:50
  Speaker 1: That's big for the coachre fucking what not? Yeah like that.
• 41:54
  Speaker 1: Drake's gonna be on the album. Yeah, manifest at all
• 41:58
  Speaker 1: We here, Yeah, yeah, shit me board, I'm here for it. Yeah,
• 42:02
  Speaker 1: that'd be big for the coature. We gotta do something crazy.
• 42:05
  Speaker 1: We got to create the biggest moments in hip hop
• 42:06
  Speaker 1: history period. I like the way you talk, man, the
• 42:09
  Speaker 1: way you're talking about moments in decades. I love that energy.
• 42:12
  Speaker 1: You have to, bro, have to listen the coach you needed.
• 42:15
  Speaker 1: This is what we need. Yeah, man, that shit is big, bro.
• 42:18
  Speaker 1: So hopefully we are. The follow up singles that coming
• 42:21
  Speaker 1: sooner than I mean there, terribly soon. It's called talk Nice,
• 42:24
  Speaker 1: Talk Nice, so nice. That's tough. Trust me, when you hear,
• 42:29
  Speaker 1: you're gonna be like, Okay, I understand. You know what's crazy.
• 42:31
  Speaker 1: We haven't had a record like this out of New York.
• 42:33
  Speaker 1: I feel like since Like I Like that was like
• 42:35
  Speaker 1: the number one song in the club since Panda. It's
• 42:39
  Speaker 1: the last time, right, Since New York had the number
• 42:42
  Speaker 1: one song in the club all over the country, I'm
• 42:46
  Speaker 1: not talking about in New York Welcome to the Party.
• 42:50
  Speaker 1: It was not the number one song in LA. It
• 42:52
  Speaker 1: wasn't respectfully Big Drip dow York maybe no, no, no no,
• 42:55
  Speaker 1: Big Drip was not the York. Might have been it
• 42:58
  Speaker 1: low key, no disrespect. I left out Fat Joe all
• 43:00
  Speaker 1: the way up, All the way up was crazy like that.
• 43:04
  Speaker 1: I didn't I didn't know. I didn't really think about
• 43:07
  Speaker 1: I don't know why I didn't think about it. That
• 43:09
  Speaker 1: was a fucking missile. Missile You still play all the
• 43:13
  Speaker 1: way up now at like eleven forty five and get
• 43:15
  Speaker 1: it off early and everyone crazy. Yeah, so I would
• 43:18
  Speaker 1: say Dior all the way up then Panda yeah, and
• 43:24
  Speaker 1: Gyellous Yeah. I'm glad to be part of conversation. Yeah,
• 43:28
  Speaker 1: and watch don't we draft the next giant. I'm telling you,
• 43:31
  Speaker 1: I'm well and okay, we're gonna say, hey, man, I
• 43:33
  Speaker 1: believe you. Now. Not everyone comes up here and talks
• 43:37
  Speaker 1: like this. All right, we're gonna see this guy for
• 43:39
  Speaker 1: the next ten years, at least, at minimum, at minimum
• 43:42
  Speaker 1: the next ten years, he's gonna be the new Nate Dog,
• 43:46
  Speaker 1: the new team Pain, the new Puff, the new Tyler Perry,
• 43:49
  Speaker 1: the new Master p. You heard all that. He's gonna
• 43:51
  Speaker 1: be a fucking billionaire opening a movie studio in the Bronx.
• 43:57
  Speaker 1: They're gonna in the Bronx after him. Come on, she's
• 44:00
  Speaker 1: like that and like that. He's going to be at
• 44:02
  Speaker 1: the battle jumping out on stage of kress One doing
• 44:05
  Speaker 1: Joala's you know, yeah, yeah, what I'm saying so good? Now,
• 44:08
  Speaker 1: that's so good. We don't get put that good o
• 44:11
  Speaker 1: the Caucasian pronunciation. So good. You're actually going to the battle.
• 44:16
  Speaker 1: I'm a thousand percent. Have you met carras One? I haven't.
• 44:19
  Speaker 1: Guys me just post that picture. Please get the photo
• 44:21
  Speaker 1: with kress Oh, of course, let me, but you it both.
• 44:25
  Speaker 1: Karris One Temple of hip hop. Man, he's a legend, bro.
• 44:27
  Speaker 1: You know he's different him and Big Dad. You know
• 44:28
  Speaker 1: Big Daddy Kane used to fuck Madonna, bro. Really, he
• 44:31
  Speaker 1: was piping Madonna. Madonna like that was like his bitch
• 44:35
  Speaker 1: for like a little bit, and she's in the pop.
• 44:38
  Speaker 1: He was fucking Madonna when she was like the biggest
• 44:40
  Speaker 1: lady in the world as a rap that's dope. I'm not.
• 44:45
  Speaker 1: He was giving her that cane bro smooth operator bro
• 44:49
  Speaker 1: shout out to shout out to the guy Daddy Caine,
• 44:52
  Speaker 1: a legend too, Yes, sir, anyway, man and you're and
• 44:55
  Speaker 1: you're a legend. Capella Gray, Yes, sir, we're here. Boom