 I remember one time, man, he was working on the beat to Choppin' Blaze. Yeah, yeah, yeah, yeah. And I was downstairs and I could hear the beat going, don't, don't, don't. Yeah, yeah, yeah, yeah. Don't, don't, don't. Damn, he was going like, whoo, whoo, whoo. Yeah, he got it. He got it. He on Boss Talk 101, 101. Yeah, we gon' talk. What was, give me a story between you and Pimp, something that you remember that stuck out to you that happened with you and him. Oh, man. Something that was something that just something that nobody would know. I don't know because like me and Pimp, like I went down and stayed in his house and that when he was living in Atlanta, like the whole summer, I think that was back in, oh man, I want to say 98. I remember when he was living down there. Yeah, yeah. And I just, I went down there and pretty much locked myself in his basement. Wow. And barely came, came up for air. Like he would be upstairs. I'd be down in the basement and they go out and party and stuff like that. I'd be down in the basement working on tracks, man. Wow. But one thing that really, really stood out in my mind. We never really hung out one-on-one until this particular time. And I was in Dallas and he was in Houston. This was not long after he had gotten released out of prison. Okay. He's like, man, you know, I'm just chilling this weekend. You ought to come down, you know, holler at me. So I went down there. And it was really, man, the whole weekend it was just me and him. Wow. He was living at the, you know, the high rise apartment down in Houston over there by the mall. And we just hung out, man. We just hung out like we hung out in his apartment. We didn't really even work on no music. Really? No music? Yeah, he was just like taking a bunch of business calls, you know, trying to, you know, handle some things. And we go out, you know, in the evening and just ride around. That sticks out because he was just focused on just hanging out. Yeah. It wasn't even on no music thing. It wasn't even on no business thing. It was just, you know what I'm saying? Because we, we, I was working with him before he got locked up. And then, you know, he pretty much, he went, when he went and got locked up, you know, that kind of just things came at a standstill. Yeah. Man, I missed him during that time. Oh man, we all did. Man, that Tiro unit. I know he's on Tiro unit. I was keeping up with whatever was going on. Yeah. Yeah, that's when you're fanning out, you know what I'm saying? Like, man, I can't do, I can't do this, man. Yeah. We got a house on that because when you hear him with the songs, he stick out in every song from when he was with Master Pete and him doing songs. Oh yeah. Whatever he was on that song, he going to kill that whole thing. I don't care what nobody say. Like, yeah. He had that golden voice, man. Yeah. His delivery was, was like, like no other man. Yeah. You know. Yeah. So how did, how was this process? Because I know K.L. said he was like a genius when he come to the music. How was his process to those, to when you've seen him make music? He just knew what he wanted, man. Yeah. He knew what he wanted. Like, and he was quick too. You could hear him like, I remember when I was living, living with him in Atlanta, you can hear him like he'd be humming things, you know, in his head and he, he go right then and go work on it. You know what I'm saying? Like he'll go because he had his equipment set up, you know, upstairs and then mine was set up downstairs. Wow. Yeah. I remember. He always say, hey man, you know, you ain't got nothing like this right here. He ain't know. No, it wasn't, it wasn't never like that. Never like that. It was y'all just making music together. Yeah. Like I'd be downstairs. He said he was like his protege or something. That's what Bunn said. Yeah. Cause, cause really man, cause I had been making music before I had met him. Okay. But like he knew that my, my drums could use some work. Okay. So he introduced me to the Roland R8. Okay. Which was a drum machine that he was using and people used me all the time. He said, man, I do much really like you, man, cause I ain't never seen him show nobody how to work that drum machine. Wow. And uh, yeah. So he showed me how to work that drum machine. So then I started, uh, incorporating the sounds from that drum machine into my music. You know what I'm saying? Yeah. And it was just really getting familiar with it. Yeah. But yeah, I remember one time, man, he was working on the beat to a chopping blades. Yeah. Yeah. Yeah. He was working on the downstairs and I could hear the beat going. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. So later on that day, um, the power went out. He was working on the beat and back then, you know, you got the ASR 10 and, uh, I don't think he was working on the MPC back then. He was working on the R8 and the ASR 10. He was working on the beat, working on the beat. He had it. He had it going. That's how it's going. Power went out. Man, he rapped that over. Power went out. He lost that beat. What? Yeah. He lost the beat and all I could hear him upstairs, he was like, ah. He was like, fuck. He had to make that one again. He had to start it all over again. He went back and got it in. Yeah. It was in that era. Yeah. Just the same as he had it before. Man, that had to be because I would have baited not to get that one. Yeah. Boy, that one right there. That's a classic one. Woo, you hit the club, but then boys kick it. Yeah. That thing was a problem.