 I was totally amazed by P.M.C., even when he was doing a lot of stuff, like for Big Mike. I was sitting next to him when he was in the studio. I see how they rock into a certain song, I'm like, okay, I gotta go do a song that's making them drums pop like that. Because I know the elements of a song is just like a chef when he's eating something, he can tell what's in it. Same thing with a producer. I can tell what kind of instruments was used to make a hit song. And finally, B. King said the same thing. And I hear the beat, I was in the band, so that's a gift from the curse. When you're in the band, you can't hear music normally no more. Anything you hear, you pick it apart instrument by instrument. So anytime I hear a song, I can see what you did. I can see what you pressed, but when I can't see what you did, that's when you're good to me. Yeah, I can tell exactly what you're running through. He can tell exactly what, he hears songs different because of the way his musical background is. Exactly, that's exactly right. You know what I'm saying? Because you can tell what's going into it by the rhythm of it. It doesn't necessarily have to be the speed of it. You just speed up the hi-hats in the song, and that'll make it move. You know, it's just little techniques and strategies that you can do within a beat. You know, I like the kind of song. I like 808 a lot, but I studied Dr. Dre a lot. Dr. Dre, don't use a lot of 808s to boom, boom, boom. You don't hear that a lot from Dr. Dre. You hear a knock that, boom, boom, boom, that's what Dr. Dre uses because it's going to hit. It's going to sound like gorillas in your trunk as opposed to just your trunk vibing. You're going to hear a lot of hum bass. What did you think about, because we talked about UTK earlier, when PMC first started pushing that music and he was, when you first hear super tight, but the one before that, the first one, what did you think about to tell me some goods and all that? I was totally amazed by PMC. It messed me up. Even when he was doing a lot of stuff for Big Mike, and holding things and string and string. I was sitting next to him when he was in the studio. Like holding things? Yeah. Like holding chains and swinging things. I was sitting next to him in digital services at the studio when he said, but I heard it before Big Mike. You know what I'm saying? Because we were in that recording. Did he sing it first or did he? He just made the beat. Then he sung the hook. Let me ask you this, because this is a big thing me and Bobo talk about. Bobo Luciano, shout out. He got super tight down in Dallas too. He named his whole podcast that. When you worked around PMC, there was a big misconception or it may be the truth. David Banner, Bobo gets pretty much upset about this all the time. Someone said that he taught PMC how to use a beat machine. That I don't know. I'm trying to understand how was he making his music that you were just talking about without a beat machine or without making beats. Well, how do you do that? Well, how do you make the beat? OK, well, I understand exactly what you're asking, but my thing is to do, OK, I'm not a pianist. I play good enough to have my pianist or my musicians do what I need and they can take it to that next level or whatever, but it starts with the idea that I give them. So a producer is more or less a conductor of the orchestra. That's the producer. Like, prime example, I have people that are major musicians that working in the same room, doing some stuff I need to do. I know all of their parts, but they may not know each other. You know what I'm saying? Like the bass player might not know to a certain extent how he want the pianist to do this or even a horn player to do this part or whatever. But I can hear a part for every one of them. I'm like, OK, in the break, I want you to come right there. And you make I'm going to give it to me a little bit more busy right here or whatever, just to signify that this is the break and not the normal main verse of chorus, stuff like that or whatever. This might be the bridge right there. We're going to rise up right here. You know, I know how to. How do you make this fly hoes and he made that beat? Or how do you make this produce that sound? What did he do? Well, he did the track or whatever. And he he just heard he heard what he heard to it. That's what he was here, you know, here and to it, whatever. And his the way he sang hooks was amazing. The way he sang hooks was amazing. And Bun would, you know, Bun would even tell you that. Like, man, you know, Bun doesn't have to tell me that he misses Pepsi. You can tell. Now, we know he missing that. But you know, because it's because Bun is a phenomenal rapper. I mean, phenomenal artist. He phenomenal. But it's like making a it's like making up. The I mean, like the best tasting cake you ever, you know, you ever taste in your life is missing the icing. Well, you got to understand. And that's my thing. But that's real, you see? Because Bun could be. I mean, like we saw two people. We saw them cameo kings, Bombie and three, two. Yeah, any one of them, you can give you to give you lunch. You know, if we want them on your song, because they going to tear it down. And, you know, I can hear a bun on anything. Like, look, they get big pimping. Yeah, I don't care who you are. Bunking. Bunking, you know, put it at work. DJ Burn one down in Atlanta, said that bun showed him a lot when it come down to his craft as well. So my thing is, but like for you, you're really strong, you're like myself. You miss that Pepsi coming with a hook or you miss being born over a temp beat. You know what I'm saying? You miss that. Yeah, I think, like I said, we and you see it. You see it in his interviews. I haven't got a chance to interview him yet, but you see it. I interview Steve Bielow. I interview the Bobos and all of them say this about the fact of how the the Pepsi, you know, the way it affected them once Pepsi passed away. Right. You know what I mean? Right. Because it affected everybody. And more so even when I interviewed Julia Beverly, like it's like these people, they they it's an empty spot. They're, of course, because of the impact that he brought to the game and to the music, you know what I mean? Right. And to their lives. But the music was a big thing because that's their careers. And right. And for bun, of course, that's a that's a that's a big empty space. Yeah, you can't replace it. I mean, well, and because it was a sound that we were so used to. Man, I loved it. I loved it.