 Boss talk one on one, one on one. Yeah, we gon' talk, we gon' have fun. We be on fire, we be livid. It's a unique hustle, big shit. Big shit, big shit, big shit. It's a unique hustle, nigga, big shit. Big shit, big shit, big shit. Name another podcast like this. Who gon' bring it to the table? Boss talk, will your girlfriend fail? Boss talk. Check it, check it, check it. It's a unique hustle. It's your boy, E.C.O. And I'm here with the lovely, amazing official, Miss Jamaica. What going in on my dad? Man, hey man, listen man. We down here in H-town, man. Getting down, man, you know. These guys right here, man. Once I started looking and learning, I couldn't find out the sound is going down with these guys right here, man. You can't come down here and not talk to these guys, man. Yeah, G-Luck would be done. What's going on? GMB Productions, GMB Productions, man. Man, man, thank y'all for coming on the show, man. H-town. Thank you for having us. Man, y'all, y'all, I'ma be real with you, man. It's kinda intimidating dealing with y'all. Y'all done put the sound down, you know what I'm saying? You know what I'm saying? It's kinda intimidating. Like, man, we saw, that's a long time, man. We been going sometime. Man, it's 823. How do you keep it going, though? You got love, what you do? Love, what you do? How did y'all even get together? Because y'all are in high school together. We're from the same neighborhood and we met in high school. We met in high school. Is this what y'all always wanted to do when you were in high school? We started off rapping. We met each other rapping. He had a record label in school. I was borderline rapping. And we met, and it's like, you rap, all right, let's rap together. Yeah. And then you graduated, so how? No, before we graduated. This was like 10th grade. No, no, I mean, you graduated into producing. Oh, yeah, when we graduated, we were already producing. We already had a full fledged studio by the time we graduated. So what motivated you to switch from, because you know some rappers would be like, I don't want to deal with that part of it. I just want to rap. What motivated y'all to do it? I feel like, well, I'ma say personally, but I feel like I speak for him, too. The way rappers feel like that, I don't want to deal with that. I just want to rap. I think we both kind of like, I don't want to deal with that. I want to do the other stuff. I mean, when I looked at it like one day, we'd look up, we call ourselves rappers, and we'd look up a year later and we got two songs. Yeah. You know, rappers. Two songs? You know, rappers. But we talked to all the rappers, and with Ned worked with the rappers, and we were more in love with, like I used to want to be a DJ, little stuff like that. Being the behind the scenes, I feel like they did it the most in time. We came from because of when we were rapping, we didn't know where to get beats from. I think it's okay. Okay, so how old were y'all when you start, you say you graduated high school and that's when you started doing the producing? No, no, no. We were producing before. Before? Yeah. By the time we met when we were rapping in 10th grade, let's just say, probably about a few months later, we realized like we gonna stick on these beats. Yeah. So when did you switch from this, okay, I don't want to rap no more, and why? I think we did like one song. Yeah, we did a song. We liked making the beats better. We had to make our own beat for that song. So we fell in love with making the beats. Yeah. What about it? We don't need to rap, let's just keep making these beats. What about it that you fell in love with just? The creating process, just to see what you can create from nothing. It literally started with nothing and it was like, all right, we need to make a beat so we can rap to it. I didn't know what, and the time and the era where we started making beats, there wasn't as many as producers as there is. Okay. So like right now you can run in any 16 year old kid. Half the time when people say, I'm gonna bring my producer in today at the studio. He's 17, he's 18 with a laptop. We had NPCs and Tritons and stuff like that where you didn't have money to get that. So there was no producer. Oh my look, it doesn't make beats. It was not. You can only get a beat from Timberland at the time or something. Who was the first person you charged for a beat? You know what? To be honest, charged? No, I'm gonna go before that. It was a gospel. We did a gospel at high school with a guy named Romeo. You're not the Adams of people. Y'all don't know. It was a guy at high school named Romeo at the time and he was trying, he had an investor and he was like, I'm gonna pay him, pay y'all to make his beats and yada, yada, yada. And that was our first like chick. Like hollering hollering while we at in school. Like our friends working at Subway making $300 every two weeks. And here we is charging 500 a track or something like that. You know, my mom, my mom was trying to do her managing thing with us. So we were getting some kind of money out of it. And I think that made us kind of say, okay. Oh, we can make some money. We can just do this thing. Okay, so when I see producers, I usually see one person and they do the whole thing. With y'all working together, producing, what do I get more with y'all compared to me just hiring? More beats. More beats. Now you got a lot of beats. More ideas, more of more beats, chemistry, everything. Like we're both. We both bring something different to be sure of. So both of y'all working on the same beats? Sometimes. We can sometimes. Sometimes it just depends like, it just depends on what type of track it is. He's more of a drum type of guy. Like you need some hard hitting drums. I come in and I might play a melody or something. You know what I mean? And then they'll go the other way around from time. It never, it's never, hey, that's not your job. Never at that point. You know what I'm saying? That's why y'all stay together this long. Oh, you're just a ball going in the air and you catch it. Nick will run. You know what I'm saying? Like it ain't no, hey, you're not the running back. I ain't never done this. Who makes more money as in like rappers or producers? Depends. It's times have changed. It depends on the person. I'm gonna say producers. I am too. I'm gonna say producers. I'm gonna say that too, because it's expensive being a rapper. Yeah. Like they have this thing where they have to get out there and. Image. Image. They don't have to. Get the job behind the scenes. Be blackface. You don't have to. They don't have to. See us. You gotta talk us into doing stuff like this. That's right. That's right. We're gonna come to do this. We probably gonna land how many times we don't. Get back in that month. Interviews. Yeah, they get on us all the time because we don't have like a publicist or a manager. So they get on us all the time. Like for this many years, y'all did this and y'all did this. We just really started doing podcasts. Interviews and stuff like that. Because it's not even that. We're like, I think it's more of this. There you go. Yeah, we got a session today. So we can't do it. We got to work today. We can't do it. This is the New World Order. Yeah. It don't sound right. Like what? This is the New World Order. This is what's going on now. You guys are dope and you guys are definitely great. But at some point we gotta get a clue, man, that the people that's coming up in this era needs to hear from you. I'm just being real. If they don't hear from you, then they hear a lot of, you know what they hear. Think about it. We don't have no guidance out here for a lot of our youngsters, man. And they own that internet. They're trying to figure it out, man. They're not trying to figure it out through what they see more so than what they look at on that internet a lot of time. Right, right, right. So we need y'all. So when I say it's a New World Order. We cause, what it is. You see what I'm saying? Yeah. Right now we do it on a platform with cameras. That's hard. But we do that every day anyway. Yeah, yeah. Talking to rappers. Nah, bro, don't do that. In the studio, they used to call us rap boot camp. Like, you don't come over here and you showing blame and money and think we talk to them, hey, bro, you really shouldn't do that. You should deal with this. I know exactly what you're saying. You should deal with this. Anyway, a little older than some of you. But you gotta understand what I'm saying is you're talking about on the level of you guys dealing with them hand in hand. But I'm talking about the way this thing is happening so fast and people seeing you all over the world, you can help people that might not make it to a studio. Right, right. These guys, these kids need you, man. Thanks, thanks, thanks. You see what I'm saying? They watching. Exactly, they seeing all this other stuff developing around them and it's like, when I did this, that was my mindset. It's like, it's so much bad stuff out there, I need to do something to give them something to level this off. Am I right? Right, absolutely right. Because the studio, I'm not worried about it cause I know you're gonna do what's right. I know your integrity level cause you wouldn't have a business a lot of time if you wasn't doing it the right way. Exactly, that's the problem. I'm being real and it lasts this long. So I'm good with that part, but the part I'm not good with is when that kid's sitting at the house and he's like, my kids and they're isolated in that room and he ain't talking to nobody. All he's doing is this and he's focused. And when you talk to him, he won't even clean up or take out the trash. You gotta get off that phone boy. And he may be, he get to see something like this for a change, that's all I'm saying. Cause like I said, you guys got kids? Yeah, I was gonna have a one-year-old boy. That boy play up, play up on the Himalayas. Nah, nah, nah, nah, nah. That boy gonna be a bachelor til the day end. Nah, nah, nah, nah, nah. One couch with a pool table on the left side. I know the, I know the bathroom, I used to be a bachelor. I'm gonna be happy as I am. But now, we both laid bloom, it's like, yeah, he doesn't. You just got married? Yeah, he does. No, I'm not. Oh, you just had a baby? Aw, man, beautiful. Had my first million. Man, that's whole. How many more you want? A lot, it don't even matter. I like kids. You started late though. Yeah. You've been traveling all these years. Haven't been sitting down somewhere planted. Now I am. Now you are. Now they're gonna come back to back to back to back. I don't know. I don't know if they're gonna be back to back, but I do want a lot of kids. Probably five. Five? Yeah. That's hard. That's a hard name, I got four. I thought he was going to say a full ball to you. I got, well, it's nine brothers and sisters, I got nine of them. That's what I thought you was going to say, like nine or 10 or 12? Yeah, five is cool, I've been cool with five. Okay. 30 boys, two girls. What do you know when you think about y'all? What do you guys think that y'all have done to bridge the gap? I talked to Yeji, like I told Slim to come over here from the north side and come over here to screw in. That's how we end up linking with him. I mean, and then you hear, what's the boy we just interviewed? Rizzo, Rizzo? It's a man. Rizzo, Rizzo. Yeah, it's hot up here. Yeah, Sons came and he got me, but I'm from over here, but I came over there. And that's how we linked it up. And I think that helped a lot. What do you guys mean from the south side? How do you guys bridge those gaps? Bridging the old, the young with the old, a lot of times. Okay, okay. Like you say, Rizzo, the south factory. We've been working with them for day one. Wow. When they didn't want to work with all the cheese. We probably didn't even know who they was. When that first song with the... We made it. Walk and slimmed up. Yeah. When they did it to everybody. That was, they didn't really want to work with an older guy. Okay. And you know, Slim is kind of like, he going to work with anybody. Yeah. And we bridged that gap. That's cool. A couple of times in the game. A couple of times. Yeah, younger guys and an older guy getting them on the song with, you know what I'm saying, with older guys and stuff like that. For sure. Bless you, bless you. Yeah, yeah, bless you, bless you. Yeah, you funny. You funny, bro. Yeah, I don't think you're funny that much. You funny, bro. You funny. Yeah, you're a brother, bless you. No, you cameras on, bro. No, man. But no, like you guys, man, when you think about the Houston sound, man, you know, we interviewed B-King, man. And he got this, B-King, B-King career too. Correct. But he got this sound over here right to me. Like the music, he the new Luke. He used to. Yeah. I was serious. He never, yeah. And then you got, you know, that old sound, you know that basically when I hear Kiki rock, I know what I'ma get. You know what I'm saying? That's a H-Tile sound. Yeah, so like, for you guys to be able to switch, like you just said you did, you done some work with B-King, right? We done some work with B-King. Okay, now you done some work with Kiki, you done. Everybody. Yep, everybody. We came in at the tail end of the old generation. And we're in the new generation. Chose to? Chose, we got ready for the show. Yeah, we're working with Chose, yeah, Chose. Okay, we got in Houston and we're working here. But transparency becomes a thing, like how are you guys so, you know, because we've been around for so long, people are able to kind of reach out. Or we reach out. We don't wait for somebody to call us. We gonna reach out to them. Hey, we see you working. What you got going on? Yeah, we make this move, yeah. That's what we do is not on camera. So it's not posted, we post, but we don't post as much. So it's a lot of stuff that happens in the city that our name doesn't go on. Yeah, yeah. But we're not sitting there like, yeah, we don't, you know, I done that there. We don't be on there. No, no, no, no. Like we just be, it be genuine stuff, yeah. But baby genuine stuff, it be like a genuine, yeah, I'm on the phone with this guy and this guy standing next to me. Hey, pull up, they make a connection. Now they got something magical and you don't even know we had something to do with it. Wow. I like it. I like it. We don't put our name on a lot of stuff that happens out here. Yeah, I mean, but. But the artists know. Yeah, they're on the artist. Any artist you interview or some kind of way they'll bring us up. Yeah, yeah, yeah. But that's building relationships and building relationships. You really can't just show. That's better than money. Right, like that. For sure. Yep. You can make a lot of money with relationships. If you can go broke and come back and be a millionaire again, off a relationship. Working with Boosie. Boosie. After he had broke. While he was dealing with his chemo or after he came off his chemo. That had to be tough. And how did you got, could you even tell? Because I just seen that, you know, I read that and I was like, see. He was in the wheelchair so yeah, we could tell. You could tell. They told us though. He was in Houston. He was in Houston because we have the best medical center. Okay. Cancer Center in the world. So when he got cancer, his biggest thing which kind of mess you up in the world a little bit. When they told him, hey, it's gonna be six months. We booked up. We booked up. It's gonna be six months. He said, how much? They said 90,000. He said, I'll bring it to you tomorrow. We'll cut on you Tuesday. So he said he's money, that's the last month from now. So he stayed in Houston. Imagine all the people that didn't pass away because they didn't have the physical cash. He get the treatment. Right in there. I don't think I'm gonna make it that long. Some people are like, I can't wait. He's like, I can't wait six months, bro. I got the money, what you on with? And I'm fresh out of jail. I got money on me. I need to go, I need to be able to move around. I can't be sitting. I ain't worth more than this. I can turn around and make that money back. And then you guys start working with him at that from day one. The best money that you got in Houston. He went to a studio, I think the first day, I don't know what studio it is. I don't want to bad talking about his studio. But the first studio he went to, I mean, you come here to get a chemo and get your cancer situation going and people are taking pictures of you. It's one of the studios people can pull up at. Our studio is, everybody knows, even our closest friends says, you don't pull up at our studio without calling. It's private. You gotta call somebody when you pull up. So when he figured that out, he called Slim and Slim called us that morning, like eight o'clock in the morning, had Bootsie looking for the studio. We even got Gendres rushing to the studio at nine AM. You know, rappers, I don't hear from rappers till one or two o'clock, PM, and that's the early ones. And he pulled up with his crew and in a wheelchair, and they rolled him in there. And I think that first session, they rolled him straight to the booth. And he said in the booth all day and behind the microphone, he just wrapped. And I think then it kind of, that led to like, what, two months? Two, three months? Yeah, two, three months, every day. The very next day, that's how we locked in. The first day we locked in with him when he came to the studio, he don't know us from a camera point of view. Yeah, he gotta see that he's on. I refuse to refer him to the studio. He just thought, oh, y'all just stand in there and work in the studio. Record me. The next day he came back and they rolled him in the booth. Before they rolled him in the booth, he was trying to get the beats together. His team didn't have his beats ready. So he went off on the whole room, like on everybody like, I can't get no beats for who. And we sitting there like, we got beats and played one beat and it was a rapper. He did 17 songs with it. 17, 18 songs. From that one beat, we did 17 more songs. He's like, play another, play another, play another. He rapped to all of us. Man, all out with it. Man, now he's looking at us like, man, ain't nobody rapping on y'all shit, man. Who y'all is? Yeah. He's like, just what the other one at? If one not there, what the other one at? He couldn't tell us a point at one time. He did both of them. We both G&B. Hey, G&B. G&B. The other one to G&B. So he'll call me G&B. He'll call him G&B. G&B. Yeah, and then now. Now, we don't even know. Yeah, we go to Atlanta State House and everything. Let me go. It's been all the time. It's been all the time. That's hard, man. And how important is relationships and what you guys got? That's important, right? That's everything. We got to speak on that a little bit. So relationships, we're not all youngsters to know because a lot of them think is, you know, I know people who basically have, they meet somebody. I know these guys have done whole projects with major producers and then after me and them come together, they can't even make a phone call to them. No, they ain't got no personal evidence. No, because they never, I'm telling you, I've seen this happen. I ain't going to speak on that. It would be too cool to talk to people, man. That's what it is. We're trying to stay so professional. We don't have management. We're just trying to stay so professional. We're not, we don't have management. We don't have PR. We don't have none of that. So we don't say nothing to nobody. We're not going to get to see this person again. Yeah. I'm going to say something. Right here, right then and then. So that's how we build up. And a lot of times they make the person look at you like that kind of boat. It's a lot. Then I'm going to use it. That's how. But you know, it's who I notice. We have we have a lot of relationships with people that we haven't even worked with. So when you'll see us work, you don't even realize this relationship that's been going on for three years that we would come by, come by the studio. We've never made a song. And then now we're making songs and you think, oh, yeah, y'all met now. Now we've been rocking with them two years already. Just every time they come to the city, they come for orders. Wow. You know what I'm saying we'll have those kind of relationships also. So, you know, outside of yourselves, who who who do you think? And then this goes to both y'all because y'all are both not going to have the same answer. Hardest producer ever. Ever. They might not have the same. That's what I said. They're not going to have the same answer. I'm I'm I'm I'm I'm I'm I'm I'm I just want to hear that. I want to hear what they say. Let's not repeat this. That's impossible to answer. But I have to break it down. Like how hard to produce an error. I have to break it down. Like in our world. Yeah. You're saying in our world. As a matter of fact, top three. Let's do the top three. Because we do it every time. Top three of all time. Dead or alive. I think we can agree on number one. No, no, no, no, no. I won't yield separate from yours. OK. I would say. Drummer Boy. You like Drummer Boy. Let me tell you what. Let me tell you why. That's your number one. Let me tell you why. It's not number one because I can't put them in order. But let me tell you why. Drummer Boy is one of the greatest because we are we friends with Drummer Boy too, by the way. Well, let me just say that Drummer Boy was one night when me and you was in Vegas and I shut it down. I had him all white and my guys with me wasn't all white party, nigga. And you came to me and asked me, hey, man, let's take this picture, nigga. You remember that because the old man still got it. And the picture on the wall at the store, I got proof. Yeah, we kicked it. All right. So boom. Drummer Boy, I'm going to say this because from in our era, we're the same exact age. We come up at the same time. Hard, man. He was like he tore up every thing. He had an era, didn't he? He was. He had a run. He had a run. And you couldn't escape him. Yeah. And that made he made a he single handedly made us our gamer. Yeah. In producing. He's like, oh, no, because he's doing what we trying to do. Yeah, we were trying to be those guys that I mean that guy that he was like working with everybody. Yeah, we were trying to do that already. That's all we had Houston on like he just had the whole world because he was in Atlanta. And the whole world was going to Atlanta at the time. Right. So yeah, he was he was thinking that the eyes were coming to Houston because of the steel tipping and all that. So we come in and Houston and we're going to do it. You know what I'm saying? Yeah. He went to Atlanta and that's what the whole game went. Yeah. So that's good stuff. But Dr. Boy, Dr. Dre, that third one will be hard, man. Because Dr. Dre. Dr. Dre for sure. He's going to always been what's the hardest song he ever produced? Hardest song he ever produced? Let me see if the nigga will get it right. Nigga, I got mine. Let me see if the nigga will get it right. I'm going to say to me, Hardest song ever. Let me see if the nigga going to get it right. Let me write. Hell no, man. Off the chronic. Hell no. Hell yeah. That's what he said. Hell yeah. That's my favorite. That's my favorite. No, I'm going to say that that in the club. I'm going to say I love that beat. He didn't even make that. No, we always heard if you made it. Dr. Dre for this tap on it. That nigga bad. Whoever it is. I'm talking to Dre before he had a program. That's what he wrote. I mean, you had Timberland. You had Nephew. You had Millman. You had Danger Hands. All these guys. Oh, you had Scott Storch. All these guys were Dr. Dre at one point in time. He signed them and they made the beats. He put his snap on it. Yeah. But the song I'm talking about in the real world, Dr. Dre made that. Yeah, but at the crime, you go back to the chronic album, man. I'm not. I don't know, man. I don't know if I'm right. Let me write. That's a bunch of bangles on this song. Am I right? What you think? That song is just I'm going to get started. You ain't even know. I don't know about that. You can put that song on right now. And it sounds like what you think? Let's be honest. Oh, let me write. No, just that happened. That chronic album. You that chronic album. All right. Let me ride with the hardest one to me on the chronically. So you got to listen to it, man. It's mixed perfect. It sounds good. And it still sounds like it was mixed and mastered yesterday. I can't put it up against me. What do you say? What do you say is your favorite? I'm trying to think, man. Because that's a remake. He really made that beat to it. You thought he used the the I forgot who sample it was. But you thought it was their songs, then. He remade that song. That nigga was bad, man, on that album. That whole album was banging, man. I had that. I had that hole in the car. I was playing that when we leave everybody back. It was it was a dude he had on there, man. It was a man. Man, I'm trying to think. I know the song is in my head, but I can't. I think it was it was it was a it was a nigga. Dang, high powered, man. It's just dude. High powered. It's on there. Yeah, yeah, dude. That dude that's talking on there. Yeah, yeah, yeah, yeah. Who is that? I don't know, but I'm just saying. I'm like, oh, yeah. Yeah. No, I'm just thinking about that beat. That was a good hard beach. What? That was a hard beat. So I'm just looking at the beats. I'm trying to, you know, these songs got to come old. We got to put it back in. And I got, you know, the album had to leave. I see the leaf, nigga. I see the leaf, yeah. Look, when you ask me, I say, I'm looking at the leaf. I'm looking at the leaf. You got to go too far as to leave. And then you can ride on through there. You know Snoop was on there. Then they down. That was an introduction. Did they did Snoop on there? I mean, easy on there? I think easy. No, he's not on the crime. He's not on the crime. Mr. Buster, where you at? He's not on the crime. Is that a different album altogether? At that time, when they, he dissed them on Let Me Ride, I think, on that album for sure. Was it Let Me Ride? No. You remember in the video, he had Easy Home for five. That's what I was talking about. That was from the crime. That was so far. That was a big song. He passed away too. Yeah, he did. Oh, Johnson. Yeah. Yeah, I posted that. AJ Johnson. I remember when he passed away. But that wasn't on the crime. It was right after the what? Yeah, yeah, yeah. No, no, no, no. What was right after? That, when he dissed Easy on that. He dissed Easy on the crime. That's what I'm saying. But I'm talking about that song. It wasn't on there. Or what, if it was, that might be the hardest beat on there. It might be on Snoop album. I know what you're talking about. Is that song on Snoop album or on the crime? I just remember the video. The one we were holding the sign up. Yeah, he running around. He running around for food or whatever. Yeah, yeah, yeah. I remember all that. That was all, that was all. Y'all young, y'all don't know nothing about that. No, I'm gonna tell you what, when you come to talk in there, especially the West Coast, his dad was standing in LA. Oh, that's why he got here. I wish I could find a picture. It's a picture with him and not him and not him and not him. Mac 10s in my pants. He's standing with Mac 10 like this. He's a kid, little big kid. Oh, like you read that shit, boy. I'm on Mac 10 album. Based on the true story from like 1998. Damn. So his daddy was out there. I feel like when the chronic was out, I was so age down at the time, because I was here. You were not trying to hear? I did not, I just didn't know. I got on it later. You were poppin' Trump. Like when you say the leaf to me, I think of 2000. I'm thinking of the first. He thinking of the first and I'm thinking of 2000, because I got on the first and don't be wrong, but when it came out, I wasn't on it. Wasn't on it? I wasn't on it. Well, I had to be on it, because I was selling chronic at the time. How old were you when it came out? I was old though, it was in the 90s. So I would have been by 22, 22. I was rollin' in the 80s. So he was still a kid, but he still had his dad. He was in the West Coast, taking him to studios and stuff. That's hard, man. I was in the studio with all of them. So when he came back to me. I was in the studio with all of them, as a kid. Really? My old man worked for Prince, and he worked for Priority Records. So when I was in, for the summertime, my mom would send me to LA. Damn, you out there. I see how you got in the business then. Yeah, you all got musical backgrounds. He got a musical background too, ask him. Ask him about his musical background. I heard this one here is LaToya's brother. So when he was in studios in the West Coast, I was sitting around more on and on. Can you see him? And behind him. Why did you see him? Not even gonna try. Never try. Never try. It was crazy. My whole family was like, you know you can sing. Right. You know you can sing. I was like, I just don't see me. Let me kick something to you. I'm not gonna do it, man. Whoa, whoa, whoa, whoa. So I'm gonna try, I'm not gonna try. I'll be in the studio sometime, I'll not give somebody a note and they be like, and I'm like, nah, let me do it. You do it, let's keep on. We're not even gonna get on that. See, you know you got it. That's not my knowledge. No, but when that first happens, how old are you when she first end up with Destiny Child? She was a kid. Kids, y'all was young, y'all. Was she older than you? Yeah, she's three years older than me. So a handful of years. Yeah, so when she met Beyoncé, we were going to a school called St. James in Third Ward in Houston. And that's, we were kids. So you know, I might've been in the third grade. Damn. Well, grade, maybe, maybe third grade. So she was probably in the fifth, sixth grade when they met each other. So it wasn't studios then, it was as we went on and they got bigger, I would be in the studio with a lot of these guys. So yeah. No, that's hard, man. So when you think about that whole being a brother of, I didn't know you existed, man. I'm gonna be real with you. I ain't that wrong. Bro, you did that on purpose. Bro, you was incognizant. You did that on purpose. You were not trying to be a scene. You were not trying to be a scene. You were not trying to be a scene. We could've, right now, he would've been wearing it on his shoulder 15 years ago. We probably would've been bigger than where we are. Exactly. Ray J embraced Brandi as he got older. Like, I should've been doing that from day one. That's right. But he didn't want to come up under a shadow. So I feel, bro. But on the backside of things, we get older than you should have possibly. For sure. Cotel sits a little longer. You know what I'm saying? No, but you still, you found your own way. Cause it's not like they're doing the same thing. No. You see what I mean? If it was a case where he was singing to and whatever. But I think it's different when you're a male and female. If it was, if you were a girl now, it would've felt more pressuring. Right, right. It never, it never felt like pressuring me. That phase right there for you though. What do you mean? Like, for you being, you know, that phase of life, going to the studio, did you really know that this was what you would be doing? Not at all. You were just doing it cause the family was doing it. What you good? I was cool. I feel like I never really got to crack it out open cause it was like my, you gotta realize I have a, my parents wanted us to do that though. Yeah, yeah. So anytime I'm talking sports, it's like, yeah, but you ain't picked up a guitar. And it's like, I don't want to play the guitar, man. I don't want to play the piano. You know what I'm saying? It was that kind of life for me. So I never really, I never sat in the studio and was learning because I didn't care as much. I know I like music, but everybody like music. Your parents into music too? Oh, my dad sings. My dad will, but my dad has said. He laugh, won't you laugh? Why you laugh? That's what he has to say. He laugh at my nigga man. All right, my dad sings the national anthem for like the Astros, the Rockies, the Texans. To this day. I don't know the numbers. I don't know the numbers. About a year or two. Right, yeah, but I don't know the numbers, but he can give you the numbers. I'm a, I'm sitting in, I'm sitting in old with the Astros on there. Like so whenever he sings they win is what he feel like. So my dad sings, my mom is more of a business lady, 100%. So like even when my sister was getting out to group, that was my mom looking over the contracts doing it. My mom's real good and stuff like that. She's still even active with my sister when it comes to business and stuff. So. So it's just two of y'all? Just us two. So when y'all was asking about the kids, when I say five stuff, it's like me, I'm like two and I think we go. That's right. What, but producing that album and going platinum, which is sister, that's hard. Yeah, we got, we were on her first. How old was you at that time? That was a high school. We were fresh out of high school, old five. So like 20, 1920. How did that make you feel? You was ecstatic or you didn't even know what was going on? We didn't really know. I mean, we didn't know what the hell was going on. We didn't know how did that make us feel to get a platinum pack. We sure we was on top of the world. Oh, y'all did? Y'all were. Y'all didn't know y'all done it. We, I mean, we felt like that. We felt, when you get a platinum pack, you feel like that. We also realized we understand what we had and where we are in this music shit. So at that time, we knew we weren't. Yeah. Even though we got this platinum pack, we know we ain't shit. Drummerboy was right here. We sitting there like, yeah, we got a platinum pack and shit. We got run a lot of a Gucci and yo got it. Whoop that L.A. on him, man. You came stillin' like that, man. We had real life checkin' though. We had real life checkin' cause dealing with my sister, we would go to L.A. And she was citizen in the studio with nephew. Citizen in the studio with Scott Storch. It just to be flies on the wall, J.R. Stuff, people like that at the time that was poppin'. And we knew. That ain't what we're trying to do. We probably need to go back to Houston and figure it out. Because they were, oh, well, I'll just make you just kind of beat on the spot. They could play the piano, do all this. We couldn't do none of that. You know, this is before the fruit loops. You know, right now you go in the studio with a guy who started makin' beats. Hey man, I wanna make beats. Oh yeah, that's messed up. And then you see him, I've never made a beat before. Cool, you see him six months later, he has Chris Brown's new single. Cause he's workin' on a lab top and stuff. It wasn't like that when he was comin' up. It wasn't all pitchers and loops and stuff like that. You had to figure it out, you know? So I think that intimidated us a lot to come home and... It was discouraging. Yeah, discouraging. I don't mean they're tryin' to learn everything, tryin' to figure it out. Nah, it was impossible though, because we knew from the curse to us. We knew the level of what they're doin'. It's leveled to that. We ain't even at the first level yet, so let's go back in this song. We'll come back home and they felt like we were on that level, but it's like nah, we went there, they out the, it's crazy. Wow. It was shit that we ain't never seen before. Like we too, inexperienced. I like your cousin talkin' back home. Man, you shoulda readin' that touchdown. Nah, kid, you ain't been in the pro's. Yeah, but wait a minute. It ain't like that. Let me say this first of all, cause I'm a southerner, I'm a Texas hard head. When you think about PMC and what UGK done. That's the P.M.C. On me and P.M.C. Listen, I had to say that because of his production. I was a man, I was a different level for me. I was just a P.M.C. That was my then Mr. Lee. All them dudes, yeah, all them dudes. So there were some people. There was P.M.C. too. He played P.M.C. before. That's what I just said. That's what I just said. P.M.C. was ridiculous. P.M.C. was ridiculous. I miss that part. I miss that part. People saw him as a rapper. Us, a producer sees P.M.C. as a producer. And I'm just a fan and see him as a producer. Don't always talk about it. So that's why I say, I hear you what you say when you was out there, y'all was dealing with that, but we still had some, we had some stuff down here at that time. But we didn't have that though. It was a different man. But I didn't need that. I don't care what you say. That's what the money at. Remember when the gang made you feel like you didn't do it? That's what the money at when I get it. What's this over there doing? But I'm in love with my son. You had Scarface and them down here too that already dead and dove in. Yeah, for sure. Stop playing. Not for sure. You know, Joe, we had people. Yeah. You know, I'm a pretty offensive as hell. The R&B were different when it came to R&B producers and hip hop producers. I've had a lot of R&B producers that don't even respect hip hop producers. Yeah. They don't scale. They don't scale and never needed to do that. Because they bumped into the bump, they bumped into the bump. Man, man. Because they're basing up. R&B is different. You don't have to know what you're doing. You got to know what you're doing. So it's harder to do R&B producing. But so. Oh, I was saying that. Now that you're mad, I'm still here. Now that you're mad, I feel like the level that we had. You're talking to R&B producers, they'll say what we do is hard though. Because we're sitting in the studio with R&B. I don't say R&B producers. And they're from training to play. And they'll be playing, I want to get some beats to this guy, this guy. And when we give them their time to shine at the studio, that ain't sounding like what they want. You think that's what they want. But it ain't grungy enough. And they don't understand how to be grungy, how we can be grungy. How to make our drums sound like this. Y'all stuff too. You think it's a rap beat, but it's still technically not. We get that a lot with R&B producers. So I feel like it's both sides. Because you could be technically a R&B producer trying to give out rap records, and they not feeling them. It's G, G don't want to hear that. You know what I'm saying? Like, the term don't want to hear that. Sounds don't want to hear that. It's too soft. We've been through that so much. And they'll pick our beats. And we've been in pretty much battles. You know, it's a battle in the studio. We're in the studio with different producers. And they're like, y'all, everybody get a chance to play beats. That's taking me to beat battle. That's just what it is. And we've been in the studio with people that we, I don't want to say intimidated by, but like, damn, he played, he did. He did. And we'll play our beats. And we pretty much get the record for the night. And a lot of times, that's just experience in the rap game, knowing what these rappers want. And an R&B guy who's been in with Eric Billinger doesn't understand what Peezy want. You know what I'm saying? He doesn't understand what a rapper would want. You know what I'm saying? So that's, we've been in that game so long. And I think that's when it comes to my sister and the R&B thing, we never, we co-tailed for some time. But we knew to get our feet wet. Yeah, get our feet wet. But we knew rap back home is what we're really good at. They love what we're doing over here. So we stayed on that side instead of trying to be on that side. Like we we've been on. No, we don't want to be, we don't want to be personal. We want to roll with this for a long time. For sure. We going to roll with her for a long time, but it got to a point where we say, that's not what. We got to go back home. Yeah, we got to go back home. When you came back home, was that when you got linked in, like with Slim Thug and. No, I was part of that. We looked at it with Slim in high school. So how I mean, how was that? I thought Slim escalated the prom. Slim escalated. Yeah, yeah, yeah. But he was talking to my sister at the time. That's what he had to talk. I remember that. They were a couple. So that's how long we've been like it. So he went from like big bro to I mean, I don't tell him this to this day. He technically R.O.G. to with him every day. We with him every day. This is our brother. So every single day. I play with him so much that I can't see him in a podcast. Like, well, that's really R.O.G. And we are learning a lot from him. But you know, I'm kind of playing him every day. You know what I'm saying? But I'm just saying, you know what he means to us, though. You know what he means to us. I always loved Slim. He let us, after we got off the road with big sis, he let us come on the road with him. That's how I like it. Come on. That's how I learned anything we need. Me, G, and Mr. Rogers. For sure. Anything we need to need. Yeah. Well, he was part of the Boss Hog. Mr. Rogers used to be a producer, too, you know what I'm saying? So he was on the road, too. There's really a lot of producers in Houston that came through that Boss Hog, through that building. It's a lot of people, young Sam. Si-Fi. Si-Fi, yeah. T.A. Mr. Lee. Mr. Lee, all of us came through. We were just in the same building, yeah. Wow. And so dealing with Slim, I didn't mean to cut you. But dealing with Slim, I want to stay on that a little bit. Just do voice. My nigga was deep, you know what I'm saying? Y'all knew Jackle how to make the beat to what y'all wanted to do. We know what he like. Y'all knew what he did. He is not bad for us with Slim, because that's really our bro. So I think when I was talking about putting other producers in the studio and playing beats with Slim, we would sit there and be kind of laughing like, that nigga don't want to hear that shit. You know what I'm saying? But they don't know that, you know? But we're with him every day. We know what he wants. Y'all hear somebody else doing that, y'all, like this. But then that's where that we know that with Slim, we understand that with other people, other artists, sending beats don't work. You got to be in the studio to get to know somebody and know, yo, y'all think he own that. And he ain't on that no more. Imagine when Rick Ross dropped his first album and everybody on his second album was probably sending him runner's beats when he was on Justice League at the time. I'm on this Justice League way, but you haven't heard me on the Justice League because it hasn't came out yet. You know what I'm saying? So we're like that with a lot of artists. Like we have a personal relationship. Y'all think Souths want to hear that. And he's been off that. You know what I'm saying? So that's what we realize. I feel like we learn that with Slim. People will always try to play him beats. And it's like, y'all don't even realize, they don't even want to hear, I'm a boss, I'll be disinterpreting. Yeah, a lot of people, you know, they do that every time he's playing beats, you hear that and they be like, bro, he don't like rapping on that shit. He hates that shit. You know what I'm saying? But we don't know what he wants. Y'all know him. That's what he wants. So we know he don't want that, but we realize that. Did he ever pick one that y'all didn't think you would pick? Yeah, for sure. Yeah, he does that. And you like, damn. He picked that one and then when he did it, was it hot or was it not? I lost a bit before. That's something to bet on. He was like, yeah, play that right now and again. I ain't been running again. So go ahead, babe. So, okay. So if you talking about Houston producers, compared to like New York producers, LA producers and stuff like that, have y'all caught up with the game, with the technology, with everything now? Are all y'all on the same level? Or do people think that, okay, New York, California, all of those are Atlanta, is like way ahead than... No, no, they're not ahead. I think at one point in time in the game, it used to be that it was like that. And I think that's what we was talking about. It's an equal playing field now. When he said, when he was saying, nah, we had shit going on down here. And he was saying, nah, but over there, I think there was a point in time in the game where if you was from here, it wasn't about shit. Yeah. You know what I'm saying? And I can't say that we didn't get hit with that wave. Like, man, we gotta leave. We gotta leave to make it, you know what I'm saying? So we caught that wave a lot. We gotta leave to make it. And nah, now I feel like everything's, we're Instagram and social media, everything's on the same level. Even when they come to, you know, back in the game, you can say, oh yeah, he from New Orleans the way he dress, he from New York the way he dress. He brought, there is none of that now because of Instagram. You know what I'm saying? Everybody wears the same thing. You wasn't waking up looking at people from New York dress every day. You wasn't waking up, you know what I'm saying? So now you can see what they're doing and all that, I feel like all that goes together. Well, I said something about ESDG and the Beatsy rap on, you would, some people would say he raps on Detroit Beats. Yeah. You know what I'm saying? Yeah. And that's just really a style of music kinda. So I feel like that territorial stuff is kinda going away. What's big in 2023 that you guys, it's foresee coming, y'all can't tell it? Well, nah, we can, we know a lot of work with Lil German for sure. Lil German is God 3 right now. He out of town right now. Yeah, yeah. I'm trying to get him right back to us. Bob was so going to get him this time but everybody was like, you gotta get Lil German. They like him. I'm gonna tell you how to get Lil German. Get your nap, okay? You wake up at three in the morning and then call him. Yeah, night out. Yeah, night out. You ain't gonna catch him in the night. This is Lil German, call you at 416 AM. Big bro. I'm just saying. Y'all at the lab? Me and him. And he's gonna work until 10 AM in the morning. Yeah. So we've missed a lot of records realizing, you know, we grown, grown at men right here. Yeah, yeah, yeah. Now, don't get me wrong, we go. We go. We'll stay up all night. That ain't nothing, but we starting at four? That's hard. I mean, we used to starting at one and just really locking in, staying at seven or whatever we got to. We starting at four? That's me. So we start. So we figured out to work with German. That's what we got to do. I'm the same way. Sounds the same way. Like I get up, I'm up there. I get up. All right, you say you get up. He takes a nap and then he'll be up at one. At three, one o'clock all the way through. Every time. You know, see, I wake up. I wake up naturally every morning at seven, 30 a.m. Not me. All right, right. So half the time, if you see me at the studio at three, four in the morning, I've been up. I didn't go to sleep. You know what I'm saying? And that's the, we grown man. Like I said, he got a child. He got to, you know, he on a schedule at home. So missing with the rappers, there's, you know, taking what they got to take, drink what they got to drink to stay up, whatever. You calling me at three a.m.? But we realized we missed a lot of records like that. Yeah. So now we realized we got to stay up. Be done, be done. You got to go home because you got them honey dudes. I got them honey dudes. Who's that? Honey dude is. Honey dude is. Oh yeah, for sure. Honey dude is. Can you get that? She like, honey dude. Thank you, thank you yours. I've been asking him to do this for the longest. Right. Yeah, for sure. I get that a lot. Yeah. As soon as I feel so bad. Yeah, why you, you think you're going to do that today? Right. Sometime or another? Right. So that's the different lifestyle. But I get it. But I still like, I love to, I love to get up, like, get up, man. I had them, my team conference calls it, what, from 12 to three. 12 a.m. to 3 a.m.? Yeah, I did that for a while. You a teacher? I'm a teacher. Yeah, but I wanted to do that to see if they really wanted it. Right. No, but that's good though. That's, I mean, that's how you got there. Ain't no clock. We realized a lot of, a lot of, a lot of connects we didn't make it been like that. Yeah. And that's where our studio has done a lot because we have a relationship with a lot of these armed strip club DJs. Yeah, yeah. Who will have people in, you know, at, you know, they'll text us at 3 a.m. Hey, we got such and such in town and somebody's trying to do a feature with him. We open. Come on. We like that. And we've made relationships with other people that didn't want to make that relationship. So talking about relationships. So how did you build your relationships with your Goddy? With your Goddy. That was June James. Yeah, we actually don't have a relationship with your Goddy. That was June James, which is another producer out here. He has a relationship with your Goddy. And that's how you end up working on his last album. Clap it. Now we, we got a relationship with other people in Memphis, not your Goddy. Like all the P.R.E. guys, those are our guys. They come to the studio all the time. Wow. So that's who you guys are. J. Philz or they, when every time they come to use and they call in us, G, B, where y'all at? Pull it up, we on the way. They wanna rock out, do some music. Sure. That's hard. We realized how we made friends back then. We worked with dog too. Like it was, it was indirectly. We worked with them with Paul Wall. And we worked with them with a, was it Slim? What was it? Doff, Doff record. Paul Wall, we had another one with Slim, Slim or somebody, yeah. That's hard. But we worked with his artist directly, Big Mutual Grave, Big Philz, J. Philz or who else? A lot of times that's how the relationships happen too. We'll link with the guys that are right up under the guy. And then you talking a two year relationship. Like I said, we haven't done any work, but in two years, you're the guy. Yeah, that's cool. You know what I'm saying? And now you're the guy making the moves and we've been locked in. Wow, we've been rocking. Have you ever been in a studio where somebody wanted to come in and record? And they started recording, but the song that they were rapping to or how they were rapping, cause you know, I look at it all music now, like I listen to it and I'm like, okay, no, that's Rico stuff that you talking about. Like, has anybody like you, her people, the way how they talking and rapping, you're like. No way incriminating yourself. Yeah. You might need to. Hey son, don't do that one. That's not how they do it. You be like, do you have a bang or what the hell? Do you say anything to them? Do you be like, no, you might need to take that out. We might get pointers on little stuff, but you can't control. Yeah, they gonna say what they want to say at the end of the day. I think recently we had artists. We might tell them it's not a good idea, but you can't do anything. We had a recently have an artist that was fighting case and um, a gang related case. And he had like a red flag in his video hanging in the back on the microphone. And we was like, you know, say it to the guy like, hey, take the red flag, you know, right now, you already fighting the game case. You try to help him. But we coached a lot. We a lot of times tell him, bro, that ain't it. Don't do that. That ain't the one. Now, whether you listen, you listen, you don't, you don't. But we do, cause they're man, y'all OG, they're there. I mean, you did tell me, man, we hit that all the time. You did tell me nothing. Let's talk about the elephant in the room. What's up? I always got elephant in the room. It'd be something I done made up. Propane, that's the guy who pretty much, you know, linked us with y'all. Yeah. The elephant in the room is what have y'all, what kind of work? I know y'all done work together, but how is it working with propane? Propane is working. He's, he's different. He's, he's different. He's definitely different than most artists. Um, and I'm gonna say this is why. And we know him, we his brother. So we know how he worked. The most producers don't. Okay. So with pro, pro's process is different. A lot of people go on the booth, they on whatever they on. And they just tell it, the guy to go, they rap four bars, what up? Pro, you give him the beat and let him go to never, never land or wherever it is that he goes. You don't rush him. But when he gives you back the product is always a good product. He's always out rapping everybody. He's always, you know what I'm saying? He's always doing that. So that's our brother. So we know how he worked. So we don't rush pro. Yeah. You know what I'm saying? We don't rush pro. Be done. I want to hear from you. Cause you ain't gonna just say that. You might have another perception or y'all just everything the same. You might have a little different perception. Soft set up a little bit for me. Done? Man, pro trash. No, working with pro. I'm gonna put it like this. Working with pro, I actually like working with pro more than I like working with a lot of people. And I ain't trying to offend nobody. But why I say that? Because pro is the only artist we have here that puts songs together. He don't just get a beat and throw a version of hook and it's done. Pro's gonna do that. And he gonna say, I want to bring in a guy to come replay these guitars. I want to bring them through to play a saxophone. Hey, you know what you do? I'm gonna have such and such narrate this song. He's going to talk over the song at Samuel L. Jackson type shit. Or he allows us to do it. Pro puts songs together. He allows us to do that. And that is fun. That's fun. It's a breath of fresh air when you're working with pro because it's something different. Like everybody else you're playing with beat, they rap through it, box down, it's over. Pro is going to dissect the whole thing. Wow. You want to put some raindrops somewhere? Yeah, you put some thunder right there. Hey, make it, you're going to make this song come alive. Wow. And I like that about pro. Wow. When the last time y'all walked out the studio and say, you know what? I can't do this right now with you. Me and you been together since high school. Nigga, you tripping. I got to go. Never. Never. Never. Never. You know what it is? I'm gonna tell you what it is. I'm gonna tell you what it is. I'm gonna make this. I think y'all had disagreement. No, we don't agree on everything, but as a personality trait, we're not emotional guys. We're not emotional creatures. A lot of rappers are emotional. A lot of artists are emotional. He's sensitive about that shit. We're not really sensitive niggas like that. Like if I disagree with something he doing, I don't got to fight him about it. It's like, that's what you think. Yeah, that's what you think about it. That's how we, I feel like a lot of relationships could work because of that. You know what I'm saying? We don't fire off at each other. In no relationship in my life do I say something to somebody that I got a call back and say, all right, look man, I was tripping. I didn't mean to say that. I'm not gonna say it. Okay, well have your sister ever pulled you up and be like, don't do, you work with this or you done that, I didn't like what you done that? Yeah. She gon' do that. She gon' do that. Yeah, cause she emotional. I had to go to somebody that I know gon' be emotional. Yeah, yeah, yeah. She not gon' just, she do this for sure. We're not, everybody say, y'all the most national producers I ever saw. Even when we play beach, you know, people be in your face. We be sitting in the back of the room when one nigga might be talking or whatever and it's like, y'all don't sell us the beat. No. Nigga, cause if you like it, you like it. If you don't go to the door, it's a mean of them all. Right. Why? Which beat you guys gave out? And y'all was like, didn't know that. No, not gave. I'm just saying. I'm just saying. That there ain't no beat. The door ain't trying to be done like hell no, we ain't give a nigga nothing. You ain't even sure. But I'm just saying one that y'all, y'all, somebody picked that they got from you guys that y'all didn't know it was going to blow like it did. Robyn O'Sillum. It messed y'all. Our first one. It messed y'all head up. And summertime. Summertime. It messed y'all head up. But it did. Okay. Robyn O'Sillum was our first radio song. That was our first late check. That was with J.Dawg and our first label check. That was with J.Dawg. What's it know? Robyn O'Sillum was before or after the plaque. Robyn O'Sillum was before the plaque. Nah, the plaque came first. Okay. So that was our second label check. Yeah. And these weren't radio songs. Yeah. Small Toys album. Yeah. We just didn't throw an outro to that. I mean, you wouldn't have heard it. You had to hear it right. Yeah. Robyn O'Sillum here played every time we got in the car. Every, every, every time. And we, that was a beat. We was going to sell to somebody for $300 a year prior. Wow. And Ray Fast Call said, hey man, we y'all got one of the songs when Robyn O'Sillum was going to, you know they played it to the left when you got to sing it. They always played it to the left. And then we was like, all right, cool. And then when we find out what it was and we heard it and then they put it out every day, that song. B.E.T., I come home and cut B.E.T. on, you see the video up on there. That was like our first like, I can say that was one of our first biggest song that got us like, looks outside of Houston. Yeah. Because they were still huge. They were still signed at that time to Geffen. So that music was everywhere. People heard that name, our phone star ring. Well that's hard. Yeah, our phone star ring. I like it. We up and doing some shit. Soldier boy, Gucci man back on they mixtaped them gangsta grills back then. I ain't wrong. That was a mixtape era. It's hella beats that we played for people that, when it's time to play beats, it's like, damn, I'ma skip over this one, I'ma skip over this one. And they pick the ones you skip over and that being one of their favorite songs. Now that's happened to me in times. But as far as like, Robyn was still in blue. We didn't think nothing of that song. We didn't think nothing of the beat. You know, beat jam, but it was like, we make beats in the time. I don't know about you. I felt like that about summertime. It wasn't known like when we did summertime with Zero and Snooker. It wasn't known that it wasn't said that this gonna be all singing. We were just working on a project. And we had them, we had them three days a week at the time we was working on it. That was just another song in the pow. Man, that's, that's favorite too. The night, no, no wrong. The night, the night, okay, it was a different beat. And they were like, we need something brighter that can play on the radio. So when we played that beat, and I remember Zero going in the booth and doing the swing, and then it was, I think I was recording, I was sitting at the, what's the name, you know, late night, you know, you tired, and he did that out. What's the Folger's Commercial? When you went to the, you heard something. Okay, but Zero's good for taking that, that all, taking something from somewhere else and singing it on top of and going, oh, shit, that's the Nate dog. Okay, now that I think we was gonna hear it to the point where it was every day. Yeah, I remember I was walking in the club one time. Oh, I ain't gonna lie about it. He was doing it, he was doing it to the DJ. He was tired of hearing it. Yeah, he was doing it to the DJ. He was tired of hearing it. He was tired of hearing it. I didn't, I'm gonna be real, when we first made this song, it wasn't one of my favorite ones. It was an animal. So that mean that whatever your favorite might not be the hit. The second one was, Love and You. Love and You is the song I wanted to run with first. Yeah. That's the one I thought, I knew that was gonna do something. I was like, yeah, that's the one. And that other one stuck his head up and said, yeah, I'm here summertime. I'm here summertime. I'm here summertime. I'm here summertime. I'm here summertime. See it was perfect. We gonna hear it this song. They still play it. They still play it. They don't rotation how it was, but they still play it. I'm gonna hear it. When that song, that song come out and get hot. That's all that he's been coaching forever. That song's not going nowhere. Just like Ride On Foes or Robin Hood sitting in that song. Those songs ain't going nowhere. What? Man, they move Ride On Foes. You did that? Man, they all got the chance to do it though. I can tell you a quick story on that song though. Okay, go ahead. All right. So for one that you didn't know. The whole world might not know this, but we're gonna lay it on the table today. The way J-Dogg used to record, he didn't rap to your beats. He rapped to instrumentals. Eminem beats. Whoever beat was on the radio, that's the beats J-Dogg rapped to. Okay. He didn't sit in the studio and say, play me some beats. He rapped to whatever he liked that was out. So boom, Ride On No Sending. I mean, Ride On Foes was recorded on an Eminem song. Eminem Rayface, which is Slim's brother who was the owner of Bonsong Outlaw. Everybody thought it was Slim, but it was Rayface. No, I knew. Rayface said, hey, I like the song he did on this Eminem beat. I need to send it to the producer to see who make the hardest beat for it. Now he didn't know it was gonna be a classic. He just liked the song. Yeah. So he sent it to us. He sent it to the TA. He sent it to Mr. Lee. Well, we got the best beat I'm gonna use. And of course, Mr. Lee won, but... No, but look, but we had one. So at that time, you know, everybody sent the beats. Ray was like, okay, I think this it. So, you know, we young, we all right. This nigga, I remember he came in probably one in the morning, maybe two in the morning. We probably about to leave. He walk in there with a hard drive. He go in the main room at the hall, peeing, that's Slim throwing them all studio. He walk in. He's like, y'all listen to this. Now I don't even think he told us to come in here. I think we was in our room. And when that them bells came in, whatever. And you heard J-Doc go, yeah, we knew the eggs. We just made a beat to that, to that acapella. And when them came in, it was like, oh, shit, we lost kid. I don't think we gonna be, well, I don't, ours was so nice, dad. Mr. Lee took it out. Dad, man, that's, it's sounding. You gotta read, we heard the raw in the studio loud with the Wolfers playing that night fresh from the stuff. Man, that song sounding incredible. Man. That song sounding probably better that night than I've ever heard. It was like, this is some crazy shit. What is it? What do you think about Mr. Lee? I had him on the show recently, just. Love. What does he mean? What does he mean to you guys? Everything. Everything, like Mr. Lee was. He don't understand. He was our mentor. Yeah, he don't know we were the one that was motivating us all these years. Wow. I think Ray used to do that to us too, though. Like, like, man, well, Lee did it. You know what I'm saying? He'll do that to us. You know what I'm saying? But Lee is somebody we watched, you know what I'm saying? And just had love for. He pushed us to be who we are today. He don't even realize it. And that wasn't him physically or saying anything to us just by being around him. And man, and knowing he was the hit man. We slim little bro. So wherever slim that we at. So we go to Lee House. If Slim go to Lee House, we with him. So we was around for all of those Mr. Lee classics and everything. And like that motivated us more than what anybody could have done at that time. Yeah. Mr. Lee man, like I said, when I started this podcast, man, I linked up with him through a couple of sources. And me and him grown a relationship to where he going to hit me up and check on the show and everything else, man. And I always try to help, you know, get to something other, whether it be a younger person or a lawyer or something just seen on the show, man. That's the part where like when I came in this game, I love music. I just love the music. So you're more than music though, right? No, but I just love the music. I didn't never do music. I just love the music. You know, I'm a fan nigga. Like if I see y'all and I know y'all produced nigga, I'm gonna talk to y'all real, they're gonna be like, what y'all, what man? I'm that guy. But then at the same, right? But at the same time meeting a lot of these people, you know, it's opened up a door for me to where I've been able to link a lot of people together. You know what I'm saying? Rock with different people that I never would have rock with it, whether it be on the West Coast, down in New Orleans or whatever. So man, it's a big deal for me for y'all to even be on this show, man. You know what I'm saying? Like, like propane, when he hit me up, I'm like, who? He like, yeah, you gotta do them. He, you don't even know. That's how I'm broke, bro. It's like, damn, for real, damn, I love y'all. I'm like, damn, me boy's heavy. It's more than pro to probably say that about it stuff. Wow. Not even to talk like that. Pro is the one that's like, man, y'all too, man, y'all got too much going on. I hear from pro. You gotta talk about this shit, man. He be mad at us. All right, so how I was saying earlier, we don't do interviews. We don't really do parkas. I don't say we don't do them. It's just, it's pulling teeth. When you don't have PRs and managers, and nobody's reaching out. I'm like, I'm like, me. Yeah, like, you make your own decision. That's how you say it. We just go, we go, it's work. And then, and then even when we look at our, in our catalog, lots of people say, man, how do you feel about this? I was like, bro, it's just work. That was another day of work. Yeah. You know what I'm saying? So we do this every day. It's stuff that's gonna come out next year that we probably thought nothing of. It was just, that was last night at the studio. You think it's not interesting to tell your story. That's what you think. I think, and it's hard to, but the story is hard. You know what I mean? If people have told me that, they be like, bro, people wanna hear that shit. That's right. You know, people just say, how was your day at work? I don't talk about that shit. Some niggas and some backwoods rolled. We make some music. You know what I'm saying? But yeah, my thing is definitely the fact that- And these are classic nights. It's right. And we don't realize they're classic nights to three years later. Some of this stuff, y'all ain't telling me right now that it'll happen in that studio. Well, it's a lot of stuff. Some stuff you can't talk about. Some stuff you can. But at the end of the day, some stuff you'd be like, damn, that was a hell of a night. But to you, you just say, you really ain't tapped into it like that because to you, it was a hell of a night. But you like, to somebody else, it might be nothing. You know what I'm saying? We talk about this all the day like how we don't do interviews and stuff and we never really got our story out there because nobody has brought it out of us. Anytime we do interviews, they don't ask the right questions. So we don't, that's why I was like, I don't like doing interviews. They don't really ask the right stuff. I think- Somebody has to ask you to do it, to ask you to get it out. But I think the thing is, you gotta understand, they gotta know your world too a lot of the time. But also, the way we do it is more open format. So it just pops out. Yeah, yeah, yeah. It pops out. I think ours is dope, but that's because of it. No, not like this. This is way better than a lot of the interviews we have done because they ask the questions and it's like- No, they're too serious. That wouldn't happen. I don't give a damn. It's the truth. Now, we had- I love the culture. This is for the culture for me. Now, what you about to say? God, cut the hell out. No, no, you're good. I was saying that we love what we do. And like I say, it's going to work every day. So that's like asking a lawyer, how's it at work today? How's it in court today? He's like, man, it's probably a drink, bro. Let's go play pool. Like, you don't want to talk. Now I'll say you want to talk about it, but it's work. You know what I'm saying? But it's not work where it's like I hate going to work. You love going to work, but everybody don't got a job. But like you say, we'll have a classic night on Tuesday. And here comes Thursday. There's another one. Yeah. And Friday, there's another one because they still in town. You probably have one tonight. Yeah, right. And we don't really know. We don't really, it's just work to us. And then later on, talking about it on a podcast, you go, eh, we had a time left. It'd be like this. So a lot of time and nothing's really planned. You know, a lot of people, you know, nothing's really planned, especially sessions. You know, a lot of times the best sessions are the one where, hey, let's give a little germy or something. And we just think it's a little germy tonight. Wow. But such and such in town, such and such in town, such and such. And they all like a little germy. So they're calling him. Well, we're coming to wherever you are. Yeah. I'm at GNB. And they come here. We got this nigga in the studio, that nigga in the studio, this nigga in the studio. They try to come up with something to do a track. Yeah. And it's like, damn nigga, what's the name of here? What's the name of here? I don't feel like my star-strung moment was Bootsy though. Well, it was. Why? It was because it was the moment that the first time we were playing a beat and it wasn't even our beat. I think I was recording them. Sitting at the What's The Name. He was out before you said that. The reason why he said it is because Bootsy and Webby were our favorite rappers, period. Before, man. I can't say. Bootsy and Webby was our favorite. Yeah. I love your bro, but goddamn, Bootsy and Webby was our favorite. Well, Pym was the reason that happened. But at the end of the day, Pym's my favorite. Pym was my older nigga. Mine too. You know what I'm saying? But I get it. I understand why. Because we've been in them with Horde. They lose time. They're all uncut. They lose like Savage Life. When we would do early interviews and they would say, who do y'all want to work with? This is before we ever worked with them. Who would y'all want to work with? Most people say Jay-Z. We answered the same. We always say Bootsy and Webby. Let's go. Bootsy and Webby. We would always say that. That's because we're from here. We were so close to there. That was the, oh, that's the kind of music. We like, it was when the first time I was recording Bootsy, he was right here to the right of me. And it'll beat was playing. He was rapping. What'd he do? He'd rap everything and then he'd get somebody his phone and he literally raps to them. And they write it. You be on your shit. You know what I'm saying? He'll do that. He gon' do that. He gon' be like, huh, huh. He'll rap all around. Somebody's supposed to be writing it down in his phone. You gotta start rapping with what he doing. That's what he do. That's how he record his verse. And I remember him rapping. And he hit me on my shoulder and was like, you like that shit? What'd you think? It was like, you're the greatest. Did I say that? No, no, you can't say that. I said nigga, that shit go off. Nigga go on the boob. Nigga, I put my gangsta shit off. And it's like, you're the fucking greatest boob. No, because you love, yeah, man. I had times listening to Bootsy. Any ex-girlfriend I had in high school, a little bit after high school knew, like, bitch, we jammin' Bootsy. Bootsy. You know, like, we playin' Bootsy in the web. But we ridein' around vibin', we jammin' Bootsy in the web. And that was my thing. They had songs to me. Well, you with that cheap ride to do that dead man. Come on, pop out. Come on, pop out. Come on, man, I was just gnawing that. So that was all, that was our favorite rapper. So when that Bootsy thing came, it was kinda like, damn, we really workin' with the idol of ours. Ours. And it's ours. I can say that about him, too. He from Band Rouge. What? Not bad. You know, I'm sorry, Bill Platt. Bill Platt, Bill Platt. I didn't mean to say that. But I feel a lot of time in New Orleans. Yeah, yeah. So he already had the culture on him of, you know, being out there away. So, and I just loved it, regardless. Man, let me tell you something, man. Thank you guys for comin' on show and blinding it down. Thank you for having us. Thank you for having us. How can people get ahold of y'all if they tryin' to link and purchase some, and then y'all make them YouTube beats, too? Them YouTube beats, man. See, that was a question that I had. We'll see niggas to YouTube when they all pay it off. If you look and be done, somebody's like a GNB type beat. Y'all just throw that beat on the YouTube. I don't know if I've ever done that. Tell you what they do. I know what they do. I always tell people to go to the YouTube. I be like, man, now I'm like, you know, you know, I mean, I don't got beats that can't rap. You know, you can go to YouTube and get any fuckin' beat you. Most people out in the U.K. and still, you gotta double back if it broke. Had time, they don't know them niggas. But most people that put their beats on YouTube were tryin' to get discovered. We weren't tryin' to get discovered. I got a bunch of people. If we wanted to get beasted, somebody A-Slim, A-Boost, A-Big-Sist, you could send this off to us. We already had people that we can get up. We didn't have to put them on YouTube to get discovered by people. So that's because you guys are from a different era, right? Yeah, and then we looked at the internet and stuff like that. Throwin' my beats out. That's right. YouTube. I got quit, I got quit. He was able to say it earlier, propane trash. Can I say it propane trash? Yeah, yeah, yeah. Y'all did say it. Oh, I did say that, bro. I was gonna let it come out. I was gonna come out. I was gonna let it come out and let it be some part. Can we talk about that? Yeah. Thank y'all so much, man. Love you guys, man. I appreciate y'all. Keep God first. Yes, y'all. And man, always a family and God. Always, you know what I'm saying? If you're in Dallas, come see me. If I'm in H-Town, I ain't gonna lie and put y'all back behind these mics cause y'all stories need to be heard. We got some more. We got Traveller for you. We got Traveller for you. Later on this week. Y'all, we're in Dallas too. We ain't askin' about that, though. Yeah, we be in Dallas. Well, I swear, my sister's been there and lived in Dallas for a second, I know that because of Mike. You mighta know Mike. Money Mike. Mike, money Mike. I know that name. You talkin' Mike with Pookalero, brother? I think I know what Mike got to talk about. He was in that wedding. I know exactly what Mike got to talk about. Shout out to Mike. I know exactly what he's talking about. Shout out to Mike. I rocked with him, man. So, at the end of the day, bro, just make sure you guys, don't forget about Boss Talk 101 cause we gonna come back. We got numbers now. We locked in. I'm definitely gonna make show. I'm gonna lock y'all in. I'm gonna make show, like I did at Pro-Bringing, like one of y'all did at our studio. I'm come over there. We gonna sit up over there. We gonna sit up over there. I heard about it. That's why y'all here, cause I'm like, man, if I get them, it's up. You might have just some other interviews, why you're there too? That's all I got. We gonna be on the West Coast doin' about another three weeks, two weeks. Okay. So we be on the West Coast. We be everywhere. California, we be everywhere. California, we be everywhere. California, we be everywhere. California, we be everywhere. Put up the cameras, talk to people there. I need to go to Memphis. Memphis, Memphis on fire. Yeah, you wanna do that. We haven't been to Memphis. Not for that, but I've been down there a lot. Oh yeah. Memphis on fire. Check it, man. Hey man, appreciate you guys. I'm talking one-on-one. Yeah, man. Hey, man. GMB, man. Check it, man. It's been another great segment of Boss Talk, one-on-one, what a boss to start. And we out. Yeah.