 But yeah, I remember one time when 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. Don't, don't, don't. Damn, it was go out of there. Woohoo. He ain't got it. Kill it. God damn. Don't boss talk one-on-one. One-on-one. Yeah, we gonna talk. 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 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 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 was like, man, I'm just chilling this weekend, you ought to come down and 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 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, trying to handle some things and we'd go out in the evening and just ride around. You know, 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 I was working with him before he got locked up and then, you know, he pretty much, 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 this, man. 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. Wherever he was on that song, he going to kill that whole thing. I don't care what nobody say. Yeah. He had that golden voice, man, his delivery was like no other, man. Yeah. You know? Yeah. So, how did, how was this process, because I know K.L. say he was like a genius when it comes to the music. How was this process when you've seen him make music? He just knew what he wanted, man. Yeah. He knew what he wanted. And he was quick, too. You could hear him, I remember when I was living with him in Atlanta, you could hear him like he'd be humming things in his head and he'd 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. Downstairs. Wow. 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'd say you was like his protege or something. That's what Bunn said. Yeah. Because really, man, because I had been making music before I had met him. Okay. But like, he knew that my drums could use some work. Okay. So, he introduced me to the Roland RA, which was a drum machine that he was using. And people used to tell me all the time. He said, man, I do much really like you, man, because I ain't never seen him show nobody how to work that drum machine. And yeah, so he showed me how to work that drum machine. So then I started incorporating the sounds from that drum machine into my music. You know what I'm saying? Yeah. And was just really getting familiar with it. Man. But yeah, I remember one time, man, he was working on the beat to Chopping Blades. 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. Damn. I was like, whoo, whoo. I said, got him. Got him. So, late on that day, the power went out. He was working on the beat. And back then, you know, you got the ASR-10. And I don't think he was working on the MPC back then. No. He was working on the R8 and the ASR-10. And he was working on the beat, working on the beat. He had it going. He had it going. The power went out. Man, he rapped that over. The 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. It sounded just the same. Same. Yeah. Man, that had to be because I would have hated not to get that one. Yeah. Boy, that one right there. That's a classic. Woo-hoo-hoo. You hit the club, but then boys kick it back. Yeah. That thing was a problem.