 Let's talk about the elephant in the room. What's up? I always got an elephant in the room. Is that elephant in the room? And it'd be something I done made up. Propane. That's the guy who pretty much, you know, linked us with y'all. Yeah, propane. 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 different. He's different. He's definitely different than most artists. And I'ma say this is why. And we know him, we his brother, so we know how he work. And most producers don't. Yeah, we on boss talk one on one, one on one. Yeah, we gon' talk. So talking about relationships, so how did you build your relationship with Yolgati? With Yolgati, that was June James. Yeah, we actually don't have a relationship with Yolgati. June James. That was June James, which is another producer out here. He has a relationship with Yolgati. And that's how you ended up working on his last album. Clabby. Now we got relationships with other people in Memphis, not Yolgati. Like all the P.R.E. guys, those are our guys. They come to the studio, so that's who you got. 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, show. That's hard. We realized how I make friends with them. We worked with D.R.E. too. Like it was indirectly, we worked with him with Pa Wa. And we worked with him with, was it Slim? What was it? D.R.E. record was. Pa Wa, and I think it was with Slim. Slim, somebody else. That's hard. But we worked with his artist directly, Big Mucci Grave, Big Fizzle, J Fizzle, 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're 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 what I'm saying. And now you're the guy making the moves and we been locked in. Wow. We 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 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 heard people the way how they talk to you about rapping. You're like. No way to incriminate myself? Yeah, you might need to do that. Son, son, don't do that. That's not how they do it. You be like, this is it, you gotta bang over the damn. Do you say anything to them? Do you be like, no, you might need to take that out. We might get appointments on little stuff, but you can't control. Yeah, they don't say what they want to say I think recently we had on this. We might tell them it's not a good idea, but we're gonna do it anyway. We had a recently have an artist that was fighting in case and 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 right now. You know, right now you already fighting a gang case. You try to help him, but you try to help him. But we coached a lot. We a lot of times, 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 call them, man, y'all, you did tell me, man, we hit that all the time. You did tell me not to. Let's talk about the elephant in the room. What's up? I always got an elephant in the room. And 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 different. He's different. He's definitely different than most artists. And I'm gonna say this is why. And we know him, we his brother, so we know how he worked and most producers don't. Okay. So, with Pro, Pro's process is different. A lot of people go on the booth, they own whatever they own, and they just tell the guy to go, they rap four bars, well, Pro, you give him the beat and let him go to Never Never Land or wherever it is that he goes. And you don't rush him. But when he gives you back the product, it's always a good product. He's always out rapping everybody. He's always, you know what I'm saying, 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? I'm gonna be done. I wanna hear it from you, because 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. Sauce it 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 the hook and it's done. Pro's gonna do that. And he gonna say, I wanna bring in a guy to come replay these guitars. I wanna bring in Drew to play a saxophone. Hey, you know what you do? I'm gonna have such as narrate this song. He's gonna talk over the song at Samuel L. Jackson type shit. Or he allows us to put songs together. He allows us to do that, too. 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 to it, bounce down, it's over. Pro is gonna dissect the whole thing. Wow. You wanna put some raindrops somewhere? Yeah, put some thunder right there. Hey, he gonna make this song come alive. Wow. And I like that about Pro. Yeah, we on boss talk one-on-one. One-on-one. Yeah, we gonna talk.