 Get on. So here, check the levels. Mic check, one, two. Check the mic. Whoa, one, two, one, two. Yeah. Oh, how many water? We got some water right here. I hear it gave me one already. Oh, okay. Well, you got a lot of them. You want your water too? Okay, thank you. Yes, sir. Appreciate it, absolutely. Thank you, sir. How we soundin'? Kirkland not giving us no endorsement. No, take all that off. Let me take it off. We got some already, ready. That's what I was telling you. Oh, I ain't no, I ain't no with shit. I ain't want, he bought these out already, so I ain't want to waste this shit. Okay, but the water's no issue. I don't even know what Kirkland's is. Water. I don't know who keep buying them waters, but we have them done. Must be an endorsement. I mean, it's water. I drink this good volcanic water. I mean, too, man, I love it. That shit good, you know. I don't know what volcanoes got goin' on here. Yeah, yeah, yeah. Exactly, alkalizing water. Got them water, delicious, man. Shit hit different. Feel like I've been on vacation when I drank this shit. Oh, look, if everything is workin', I am too. Check this out. I'm talkin' to everybody who got some ears, man. I'm talkin' about my people right now, man. You ever heard a no limit record? You know exactly who I have in the building with me today, man. Oh my God, these men right here are Titans in the music gang. Several hundred million records sold and produced, all exclusively, by Beast Bottom. I got the L.C. in here. Come on, man. This shit don't get no greater for me. This one of them interviews where I got a million questions, but I ain't askin' shit. I'm just listenin'. Bruh, first of all, just know that the music that y'all produced and put together with no limit really had, is a soundtrack for a piece of my life that I wouldn't trade for the world. Just the excitement of going and grabbing them shits that I've been lookin' at in the back of them cases for months and just waitin' on that shit to come out. What was that shit like to be part of one of the biggest movements in hip hop? Well, oh, before we get started, KLC, the drum major album, P1. KLC, the drum major, P1, it's out. Get that understood, but that... Mobile dick, unapologetically mobile dick. Yeah, man, go get that. We out, back like we never left, you know what I mean? Go get that feeling as well, you know what I mean? Hell yeah, mixable defend. Now, to answer that question, when I first got with P, it started in Atlanta at the very last Jack-O-R-Rap convention. We in Atlanta right now. Hey, that's some shit. That's some shit right there, if I ever say so. But it's just like when we got in the mode of making these records, nothing didn't matter if it wasn't a tank. We had no restrictions on our workload. The artist didn't have a say so because of where we made records, we didn't have time to think about what you like or what you don't like. Oh shit, that's a cold approach. So the whole thing was, with us just get on the beats and you're gonna be straight and listen. And that was it. But we were in the straight zone that we couldn't get up out. Well, you was saying hooks and everything. Yeah. I mean, I was pretty much like the first version of Call of Duty, you know what I'm saying? Like it was a real army. It was a real military situation, you know what I'm saying? Like the tank was rolling over everything and he had the soundtrack to do it. But it was just a straight synergy, a straight vibe that I mean like only the most high I could create, bro. That's what I'm saying. Hit after hit, after hit, after hit, after hit. And it wasn't work to us, bro, real tough. We were having the absolute blast doing it. Right. I mean, having the time of our life just doing it and then when we found out people knew every word that we wrote. You know what I'm saying? Like, oh, shit, we got to give them home. Bro, let me ask you this. When C-Murder said, KLC got to be hitting hard like work niggas in the know you. No, man, it's big. That's got to be one of the code like shouting a nigga out in the song. Right. Bro, that shit. But you know something about that record though? Tell me everything about that motherfucker. Who was that nigga that boom, boom, boom, boom, boom. That shit will make you beat the hell out of somebody. I'm talking about if this nigga in the club that you just don't like a little bit, don't beat by me when that shit come on. It's still making them beat the shit out of you. Oh my God, that's just the, like if I do ever get to scrap it, I want that to come on. Especially if I want it. What you think I'm playing after I done won? Locker room music. Yeah, yeah. It was like, I remember, it is out of all of the songs that we've ever recorded. I don't remember a record. None of that shit, but this one. It's probably two of them and this one of them. I was in the studio, right? Just chopping up records. Put them in a machine. My phone call. Nigga, you had these motherfuckers on TV talking shit? Call magic, have a beat ready, I'm on my way. And the time it took for C to get off the phone and get to the studio, the beat was finished. Man. Listen. The urgency that I heard in his voice, when I went to getting into that shit, it didn't even register to me what I was doing. It just like, I zoned out and I was just hitting the pads and whatever came to me. That's what I did. And I just bang bang bang bang bang bang bang bang bang. And I just went up the keys with it and I sat back. You know, Pete and I a lot of smoking in the studio. You be smoking mind up. You smoking, you be smoking. I smoke, doesn't show you that I ain't bullshit. When Pete got there, I mean, when C got there, right, he was in a booth doing a hook. And magic was in a corner writing his verse. And I remember magic had a cigarette. He had his pad just writing. And C was like, I'm going first. So he laid the hook, he laid his verse. When that motherfucker finished, I sat back. First thing I did, picked up the phone, called Snoop. Nigga, I'm gonna have the hardest song on your album. Snoop was like, I don't know, nephew. Dre gave me some banging ass shit. I say Snoop. I didn't say I was gonna have the most banging of shit on your album. I say I'm gonna have the hardest shit on your album. So we got a phone, right? I called Snoop. Dude, you need to get on this fucking record. So see what I could pick me up from there. I'm gonna pick you up from the airport. Snoop picked me up from the airport. I popped the tape man, the bitch came on. Snoop was like, yeah dude, call me when you get a hit. Okay. So we get to the studio cause we did the symphony record with Snoop, right? I told Snoop about the record on the phone but he haven't heard it. So I was like, Snoop, we got this after he finished doing the symphony record. I was like, I got this one I was telling you about. He was like, man, if you let's just do it tomorrow. See when he say that, I know he was just ready to get the fuck. And I was like, well, let me put it on tape for you. So we popped tapes in, threw the faders up on the board, hit plate, zonk, zonk, zonk, zonk, zonk, zonk, zonk. Zonk, that bitch dropped. Oh, they went the Crip walking in that bitch. Snoop body girl, his niggas that he was roll with stood in front the door so he can leave it now and then you about to do this bitch. You about to do this. But the trip part about it is Snoop had to double back because when they heard that, they tell Snoop nigga, don't you know we shoot our movies and all our videos out here? Nah, you gotta bring that shit down, my nigga. Snoop versus worse than it was for that record. Man, I'm fucked up, right? You gotta understand that, listen, you got he just left that room, my nigga. And everything that he had in him, he was letting that shit out. That was the perfect song for it. Yeah. And I destroyed them fucking tapes. Him and Shug made it up because I remember I did something with him and him and Shug made it up. And a song that I did on my album, he told me, man, Shug good, man. So I'm just clean that shit up and just rock with it. Yeah. You say you only remember recording two of them songs. What was the second one? Was it about it? Gotta be. Tell me that story, buddy. Wait a minute. No, no, no, no, no. Was it? To my record and I'm making a beat. No, recording it. Okay. No, no, no, I'm making a beat with some shit because I'm having issues with my daughter about this shit now. Hold on, what? Behind about it. My daughter did the drums on about it. What? Wait a minute. No. She was too. Hold up. Wait. They're all shining, Chris Shell. Shining. Wait a minute. Drum lost this fucking drum. How did you know that the two of you could do the drums? That's the better question. Nah, it's just like, she used to always see me work, you know what I'm saying? And I'm basing it on the pulpit by my grandma. So one time I was just in that motherfucker working. The drum machine was to my side, my keyboard was right here. So I had the fucking music running. Just trying to vibe out with the pulpit to it. So she snuck down there and she used to always see me on the drum machine and she just slapped the pads. And that was the beat. No wonder that shit sounds so good, bro. It's coming from a two-year-old genius. That's right. Old-year-old. You're probably seeing the shiny. Yeah, but see, that's the point. When she got older and she understood what the fucking big-ass Manila Folders was, which was rar to check. She was like, oh, with daddy, if you see how I made the beat, why ain't she seeing no money? I was like, fuck the motherfucking people. Damn. Yeah, you feel it. So, but there had to be like that fucking Nolan Miss soldier, though, bro. That shit's so hard. What'd you want? The first one. See, like I was telling you, it was, we did it twice. I know. Well, I remember when we very first did it, Pee was, and I was the one you was talking about. On the True Album. That was on the remix. The True Album? No, man, that was on the remix. The Nolan Miss soldier one. Which one are you talking about? The one that's on the TRU album. It was only in the... The original. You talking about the original. On the TRU album, right? Okay, cool. Yeah. And that was... My favorite Nolan Miss soldier verse of all time is when C-Murder said, I'm a Nolan Miss motherfucking soldier time. We run in place and I say the same shit with a gun up in my face. I ain't scared to die, bitch. Like I said before, we're all third while I'm from the motherfucking Cali Yolk project supported worldwide by drug dealers. Transforming wimpy ass niggas in the killers. Competition gets smoked like we smoke in bloods. I take a player, hate a knock, got a fucking fuss. Don't slay a knapsack. See, these a million record platinum. They used to be some quarter keys, trim tattooed on my neck, bitch. That's my shit. We ready to have it till some motherfucking games this shit. I said don't leave me loud. Cause we ain't scared of nobody organized by a P or should I say John Gotti real niggas throw your guns up if you feel me. But if you talk shit, bitch, you better kill me. Like Skull, I'm a hoodlum for life. I'm about to talk. I told you. We be some motherfucking Nolan. Nolan Miss TRU soldier. Free C murder, man. Free C murder, man. Free my father. Come on, man. Bro, you know that she workin' with her. Bro, it's a whole lot of them motherfuckers. Banner told me, I'm like, Banner was like nigga, this nigga is, this nigga's a fan. I'm like, man, come on now. You see, bro. Banner, see, I called him and I was like, K.L. one new, you see, what? You see boy, that boy, I got excited. I'ma tell you some of my favorite ones. Primed suspects. Do you know my old lady? I fucked with that one. Son's a funk, pushing this out of you. I'm over it. Tell everybody, man. That's cause it's like, you're a producer, but I seen you as an R&B singer from the hood. I'm bro. Like the hood since shit is legendary to me, man. Like, we didn't know that, bro. Let me tell you something. But hold on, let me ask you this before we even get to that. When you makin' these big ass anthems that's historic like that, like, do you hear, like, you hearin' this shit first? Are you knowin' this about to fuck the game up or like? No. Change the, you know what I'm sayin'? Change the whole wave of where this shit is goin'. It was like, when we made these records, man, it was like, we didn't have time to actually see the effect that shit was having. Like, right now, after over 20-something years, I'm just like, my first time seeing the effect of what these songs did. Cause you gotta understand, man, like 1998 was probably one of the biggest years in hip-hop. That year, we dropped our album every two weeks one entire year. So, what 20, just say 20 plus songs, cause 20 songs was the least. Easily, easily. So if you do like, what is it, like 52 weeks in a year, right, something like that, if you multiply 20 times 26 albums, that's over like 500 of some songs. That's what I'm sayin', like none of this shit sound repetitive. Like, it's some sounds that came from y'all that you never heard again, like Swamp Nigger. Who did that be? That's what I'm sayin', it's like. Listen to me, my nigga. I never knew that record, look, like right, I'm just finding out like this record, that Swamp Nigger, I didn't know it was that big. Shit. Let me tell you, when we was on the legends tour, right, I'm learning some of this shit from Lightfoot, the comedian Lightfoot. He used to open up to like, like when he did Free Coast, I never knew that record was a hit. Shit, the hoes did. If hoes ever could pick a, bruh, these, I'm sayin', these, these are not just songs, like these are timestamps in history for a certain generation of people. Like when you say Free Coast, some of these women is in the church now, and ooh, don't play that one. That's the one that'll make a relapse. But we didn't know it. Us, beats by the palm of the nigga, we didn't have a life. Well, I wanna let y'all know that y'all definitely lived up to the name. It was, none of that shit is a disappointment. And every one of them songs got a different feeling. Burbets and lax. Appreciate it, man. I mean, the thing is, man, first you had five different members, which gave like Pete was telling you he got 31 flavors. Those 31 flavors was divided by five men, you know, at least five men. That's mine is, you know, Kalu, shout out to Kalu, DJ Daryl, you know what I'm saying? All the people we got work from. But what you about to say? Oh, so this is what I was about to say. I totally forgot. Now this is a whole new generation of internet people and shit and they don't know the whole history like that. So Moe, tell them what it was like to be on them world famous hits, like them hooks to Mr. Ice Cream Man. Like I keep bringing up my favorite song, pushing this out of you. Cause it's just like, bro, that was when Puzzle still had hair on it. That was like, man, I remember that this shit was my wife and I want you to talk about it. I'm gonna fuck some bad. Cause you was in the song. You know, I know. Come on, man. Let me clear this up. I want to send a shout out to Suggaphone. Right. You know what I'm saying? Rico, Dash, you know what I'm saying? The rest of them, man, like Josh, I mean, it was like a kind of spirit. So I'm gonna tell you the story of that record. A lot of people think that's me, but it's not. Because it's not me, you know what I'm talking about. I'm gonna clarify that for the record. Now, the thing is that we were like, we were birds with feathers, like it was designed by the most high. But the story about them getting on, I remember P bringing that record to me. We were working on the Boutta soundtrack. Yeah. And at that time, yep, he had had me on, like, you know, say, yeah, you in charge of the R&B stuff that's coming through here, you know, because you are a vocalist coming through here. And he brought that song to me. We were still playing cassettes then, you know what I'm saying? Right. He had a cassette playing and we were just riding around me and Cuzz. You know, he said Cuzz, he popped a cassette in and he said, what you think about this, you know? That next first thing I came, they knew that's not how it come on. Right. You know what I'm saying? So then the dude come home saying, you know I know it's gonna be good girl. I'm like, oh my God, it's taking it right. I know I'm not screaming down all around. I'm like, what? I'm thinking this, I'm like, this dude sounds like me on the sleep. But I'm like, but it's not, it's like me listening to myself. Like, I'm saying, Cuzz, where you get these dudes from? He said, you like it, Cuzz? I said, hell yeah. And he kept, and the song kept on playing and just kept on going till, you know, kept on apexing and stuff, you know what I'm saying? Okay, check this out. You might not know this. A lot of people thought that was your group. It's not my group. They had their own group, man. All musicians, bro. That's the only. They're all musicians. But if I'm not mistaken, then the lead singer died, right? Yeah, he died. Damn. The one who was getting there high, the end, yeah, he died. He died. As soon as he got, as soon as they were signed to No Limit, they went back to Oakland. They were from the Bay Area. He got caught up with some dumb shit. Damn. And he never saw the light of day. And it was covered up for a while, man, because, you know, pretty much like a little beetle thing, you know what I'm saying? I don't wanna go on to that conspiracy. Oh, okay. But the thing is now, so when he told me, he said, but Cuzz, you think I ought to sign him? I said, but Cuzz, you don't sign him. I'm leaving. You hear me? So I'm like, man, this is, this is like our version of Jodeci. You know what I'm saying? But yeah, man, so far as the other hooks and material, like so far as the, you know, how I started singing hooks for my Cuzz. And she said, I already had my group called Critical Condition. That's made matter of fact, me and him met before No Limit. He had his group through Nine Posse. And that's how we met through Giles who's show promoter by Rest in Peace, Bob and my son. But anyway, it make a long story short. I was already, you know, that's what I did, make beats and sung on hooks. A lot of people don't know a rap as well. But the thing is, when we were working in the Bay Area, when he flew me out there, flew Kale out there, we were working on really many projects. The first TRU project, Mia X, Silk the Shocker, Trey, Trey 8. Down South Hustle. Down South Hustle. I mean, we worked on the shitloader, man. Skull of Duggery. Skull of Duggery in the body, where the body soundtrack came later. Yeah. But so when we were working in the studio, I would just like sing along with some things like, and then people would come out and say, Cuzz, go lay that. So I would go lay it. It was on that, on that silk. Niggas just don't know that I'm taxing. That was the first hook that I laid. I'm saying, say, yeah, Cuzz, go lay that. So when we started working on the ice cream man, in the other project, he said, well, Cuzz, you got something for that? Cuzz, come up with something for that. So I remember Kale was working on the beef first for the ice cream man. And then I put my two cents in on the track. And Mia started singing before you, get in the gang and say one thing on this. So she was laying her first part. And as she was laying her part, I said, Mr. Ice Cream Man. He said, Cuzz, go lay that. And then we just, you know what I'm saying? So it just kept on going. So that's, I became the hook man in no limit. And people was calling me the Nate Dawg of the South. And which, I didn't know. Because you, bro, they don't understand. This is, you was looking like a whole gangsta, bro. Gold grill, top and bottom, you know what I'm saying? Sinking these motherfucking hooks like a motherfucking hook. You know what I'm saying? But in the video with the bulletproof vest and all this shit up, how you do a bulletproof vest? Y'all and shit, well it looked like one. It was a bulletproof vest. Exactly. Man, one of my favorite No Limit albums out of the whole collection is that, That Life of Death by C. Murder. Cause it's just like those, those beats just, it's every, it seemed like every song, it was just, they was just jumping like that. Shit like a kick-dome. Oh my God. And where I'm from, you know what I'm saying? Like those type of ones that really just stand out, man. It's just amazing that y'all made all these fucking albums. You get what I'm saying? That's just crazy. When we did that album, all of the beats that I had on there was beats that Silk kind of didn't want. So he was always in the studio listening cause he was up next. Yeah. So the minute Silk was listening to something, he'll go listen to what I have, listen to what Cuzz have, listen to Craig B. Odell and on Carlos. So the minute he was listening to some shit that I had, he said, I'm gonna go peep out what Cuzz got. He's like, he won. Like he ain't said nothing, he said put it on the side for me. So, cause like I said, it was to a point to where like when we was making that, that record and put, C is probably the most prepared artist on the limit when it came to making records. Yeah. Him and Slim. Yeah, him and Slim, him and Soul the Slim. So they'll come up and now Cia come up in there cause you know, he was in the military. So we have this strategic way of doing shit. You have the whole song written. The first time I see them off I can use the highlighter marker, right? They'll come up and highlight all this ad-libs on what he gonna have on this track, one color ad-libs on this track, one color. And he'll just come up and now open his fold up. He'll be rehearsing and come on, let's go. So as we knocking them out, you know, he'll go up in there, he'll finish this one, he'll go to the other room over what you got, just pull it up. So we just knocking them out, knocking them out, knocking them out, knocking them out. And he had the most, I think he had like 26 songs on that album. I think he had the most out of all the projects. Let me ask y'all this, like what was the, what was the beat selection process? Like, was it just who was coming up? You get these or what? First come, first serve. First come, first serve. First of all, it was like, when we had that big year, 1997, with ghetto D. Yeah. He called a meeting at the end of the year. We all went in, he put on the bulletin board. This year I want to make a hundred million. And so after that, he came in the studio and this is the lineup for the year. These are the dates. We need to make that. So in the process of making these records, just think about this here. It takes, it's normal to take an artist a year to make a record. We're doing that shit. We did 26 in 98. We never had them about two weeks. You know what I'm saying? Now, just think about this here. We made all, we had to make all the beats. So each one of them albums took at least eight days to make. Not only that, we mixed them in engineering. So just think about this here. It took eight days to make. So just think about this here. Mixed and mastered. The whole album had to be done in eight days and turned in. So that means the album really gotta be done in six or seven days. It's about eight, cause I'm gonna break it down to you. So the album, we dropped, every two weeks we had to drop an album. So eight days we had to have the album done. So another two days, we had to fly up to California to master. Let alone, it had to be turned in to be pressed and released. Shh, that's a hell of a- And the credits. Cause we had to get the credits together. You know what I'm saying? So when you looking at a 20 plus song album. Every two weeks. Every two weeks for an entire year. We looking at over 500 songs a year. For that year. Who did that? R.R.K. Yes, indeed. Shit. You know, so we didn't have, like I said, we didn't have time, you know, how some motherfuckers are able to sit down and let me vibe on this. No, we didn't have that luxury. They should have this release date. They have to be met. And the thing is, at one point in time and it was so much work had to be done, we had to take shifts. Some of us had a night shift. Some of us had a day shift and we- Didn't rotate and switch. You know what I'm saying? So it never stopped. You know, the machinery, we were outlast the machinery. So, you know, like certain things would break down. We had to replace them in the middle of the production of the album. So we had to go buy. Cause we had this thing, this was before Pro Tools. So I'm saying, so and the thing is, think about the Pro Tools versus then, you had like, like he was talking about C had this thing organized, all his lyrics and songs organized to where he went, when you went into that booth, you had to perform a song. It was going to be like that. You couldn't go back and edit it and stuff like that. The only thing you could do is record over it. The thing is, but we was pressed for time. So you had to get it right, right then and there. You know what I'm saying? Damn. Yeah, bro. I mean, it was no joke, man. Like a lot of that stuff, like it was a blur to me. I mean, I don't remember like most of that shit. We in the middle, we in the middle of recording sessions, right? And the motherfucker machine break. So in the middle of that, we pulling this motherfucker out, popping in a new one. So are we doing that? We got to take this motherfucker and open the bitch up, fix it, clean it up. Now the one in the other room going bad. So this one that we fixed, we got to bring it over here, bring this motherfucker out, put it up in here and do go through all this shit. And um- I mean, I'm gonna ask you this, did you ever go in with certain people in mind for certain shit? Or it just didn't work like that. No, it didn't work like that. Damn. Now we say it first come first served. If you would like- Fuck! I thought you were the only one. Cause this was like ever, like when you listen to the catalog, it's like, like however the shit worked out, that shit, everybody had a unique sound and, you know what I'm saying? But this how I play it out. Just say if I'm finishing up C-Murda album, right? So while I'm at the end of C-Murda album, he already starting on the next album. Okay. So it was always like a relay. Man, I'm confused as hell right now. That shit crazy. Just to know that it was just, hey man, here goes some shit. Right. Get on there and figure that shit out. I mean, I thought about something, but I got shit to do. You know what I'm saying? I don't know. And don't fuck up. That's crazy. The thing is now it was like, I ain't show up and I ain't, we had it happen. Hell yeah, cause don't even break. Yeah. But you know, you had the goal for yours. You know what I'm saying? It's like almost like competition, the friendly competition like on the basketball team who gonna be the first starting five or the first starting 11 on the football team. I'm saying you had to really be, you know, fishing and everything you had to do lyrically and everything and all that. And you had to be hungry like Mac and Fiend and see they never left the studio. I mean, they're like an extension of us. So we never left the studio. But they, the reason why you heard Fiend, like he said the other day, Fiend and Mac and all that they was on so many, so much, you know, material because they were already always around. You know what I'm saying? Even after the projects were done. Always ready to go. Always ready to go, bro. Man. Yeah. Hell yeah. Well shit, hold up, man. We are deep into this interview with Beast by the Pound. This is the 85 South Show. Hey. This will be the perfect time to bring them in. Come on, bro. So we can do that and then, uh, huh? Two minutes. All right, Bet, we'll stop down and regroup. Okay. And we'll reset and bring everybody in. All right. That's perfect. We appreciate it. We appreciate it, too. We're not done. We're just gonna regroup and bring everybody in. Okay. All right. Hell yeah. What's up, Max? If you go around the corner by the piano. Okay. Man, once again. Oh, my God. Oh, man. This shit is heavy. Every time we try to come out and do some positive, they don't want to help. They be like, black people not gonna support that bullshit. Go to the website. 85apurl.com. Say it again. 85apurl.com. Man, put it on the screen. You know what I mean? And I know my accent a little heavy. When I say a pearl, it's not a you in it. A pearl. You know how to fucking spell pearl. Go get some a pearl. Go get some a pearl. Sick of this shit, man. Shit. Everyday. Do what the hell. Let me get a hat. Yeah, man. Let me get that. What's up, man? Take that off. When the 4X gonna be in. Yeah, man. Where you from? I ain't got nothing for babies. What the fuck? We all gonna get some water. Yeah, I know, man. Cut some of this shit. Man, by the shit we got. Yeah. Save it for your baby. That ain't gonna grow up one day. He gonna want this. I'm tired of telling them. Me too, man. I'm just gonna start wearing all this shit. I wear it every day. I like it. Me too. It's nice. Nice quality. Everything. You know what I mean? Shit soft, man. Made out of hooded material. Yeah. Even the pants. We got sweatpants made out of hooded material. Come on, man. And it ain't like this ain't no knock off shit. You can watch. You can watch this. Right. It's not the same. Better than that shit you used to. We make it short. Bro, I had this hooded for the whole five years. Yeah, I know. Look. Still bright. All the way. And niggas don't know how to wash clothes. Cause that's what it's not. Cause we have a good washing routine. Bro, and we got all the niggas colors. We got black. We got red. We got blue. We got some pink shit for the girl. White. Socks. Rolling tray. Lighters. Man, what else they want us to come out with? I better add, I guess. Cause we got to keep doing these motherfuckers. I'm about to call LL Cool J. Right. I'm about to pay somebody else to do this shit. I know, right? Cause that nigga just rolled his pants and neck up one time. I don't know what they want me to do. Everybody who come through here gets some of this dope ass shit and be like, I like this shit. It's nice. It's cool. Hey, man, why does that cost that much? Nigga, we don't own no factory. We have to cut a deal. We got to make some money off this shit, too. Exactly. I don't understand why y'all get stuff. Nigga, even the tag in our shit is better. They say it's imprinted on it. So my buck can't say, you know, like Biggie said, they go to nigga with the fake eyes. You ain't got to worry about that. It's real. It's our shit. It's real. Now, that's what I'm saying. You got to get our shit. Cause when we see y'all with the shit, we don't know how much the shit they be buying costs. Right. Our shit don't even cost that. Don't even cost that much. Man. I had somebody send me a DM and say, hey, man, this is every five south shows goodie. I'm marking up for y'all. What you think? I think you need to get that shit to fuck out of my pain. The bootlegger sent you the shit that they was bootleg. Fuck, you're going to get me to approve some bootleg shit. Taking boot out of my kid's mouth. Right. Well, my idea. Right. Wow. Mother fuckers, buy some of this shit, man. Okay? It's Christmas time. We ain't going to see the money tell April anyway. Just go ahead and get some of this shit. I don't know what else to tell them. Bruh. That's why we got the place, man. It took the hell of a place that we let it go. Yes, you can smoke it. We all had studios back in. You had two. We got to get you on the same tape. Oh, okay. Wow. Whatever you want to. Right here? Yeah, if you want to. Man, this is what it's all about. I keep saying that. Oh, man. What Pem C said, Southland took over a wrap, over a wrap, and we ain't giving it back. He ain't giving it back. No, it's real tough. Without James Brown, where would our music be? Come on, man. That's yours. You know what I'm saying? Without Louis Armstrong, where would jazz be? Come on. Come up. Come on, man. What? James Brown was the other now personal business that we listened to them shit. Some of them had nothing. Jimmy ain't got a right. Yeah. I ain't getting home. I ain't getting home. I'm so good, man. Oh, that boy's talking mystical. It's a James Brown listening to motherfucker. For real? What? I can see that. He don't listen. Like, when we gone and do it, he put his phone up and put on all James Brown shit. We need a shit. We need a shit. We go to Wapahouse. Further, we go to Mother of G. Bars. Look at James Brown. Man, we got to get mystical on this bitch, too. Hell, yeah. I'm going to make that happen. We got to bring everybody on. Man, everybody to get out, too. Oh, man. Hell, yeah. Hell, yeah. Mm-hmm. You're still free, man. Man, got to come. Hell, yeah, man. Well, look, without further ado, I'm going to give you part two. Welcome back to the 85's episode. Because you already know how much I like one of the songs that he produced. Well, you like a lot of the songs, though. Look, man, we got Don Juan in here joining us for part two. Come on, man. Yeah. Tell him Don Juan. Oh, shit, you like a dog? Come on. Come on. Hold up. Let me tell you how managed we used to be. That's the one where you find the speaker in the shit. Yeah. I'm going to kick the tape. That's what I'm telling you. Rock the boat? Rock the boat. Come on, man. Joppa style. Yeah, that's the one. That's what I'm telling you. When I'm, even if I'm driving to Louisiana, when I see that sand, I turn that on. Come on, bro. Shout out to DJ J.M.K. You're a good pest. Shit. Look, man, you got to get your respect. Full effect. The rotation, too, of this whole cycle of creating all this music, right? Right. Right. Don stepped in right when we left. He did. Yeah. He had a lot of, he had some big shoes to fill. What? They came with the gangster music. We brought the pussy pop. There you go. Okay. How did you know? Not twerking. Pussy pop. It is different. It is? No, no. Let me tell you between like, like... Break it down. Twerking, it came from New Orleans. Chicky Black had a song that Man in Fresh produced called Twerk Something. But the word twerk was used as a clean and for sand pussy popping. Right. You just dropped some history right there. Give us that one long time. Say that one long time. Twerking, or like I say, Chicky Black had a song called Twerk Something that Man in Fresh produced. And a matter of fact, a lot of these bounce records that you hear, the sounds come from that record. And twerking was just a clean version of saying pussy popping. But in New Orleans, it's really called pussy popping. But when they had to go to the radio, it would change the twerking. Just to clean it up. See that? That was the birth of twerk. Birth of twerk. The birth of twerk, bro. And it came out of the pussy. Amen. It came out of the pussy. It came out of the pussy. A clap for your committee genius. It's the gay birth of twerking. What? Absolutely. Pussy popping gay birth of twerk. Y'all hear this. Look, this ain't no shit. Y'all white people trying to take that shit off of like, look, what you going to hand them on? I don't know. This ain't straight. Man, man. Fuckin' right. Cheeky Black. Cheeky Black had a song called twerk that Man in Fresh produced. Shout out to Cheeky Black. Amen. Man in Fresh. Fuckin' right. Yes, indeed. Man. They're pussy popping music because it's, New Orleans got such, it's all everything. I ain't never seen a city with its own type of food. All the energy. Like, y'all got your own type of music, the sounds, like, just let us, what was it like back there when pussy popping songs was going up? I ain't never been in there and seen them. Man, it like, when it became famous. Yeah. When it became famous, it was like, it was really like some natural shit, like, it was just, you know, it's like, you going to New Orleans, it's so big in music to where you just walk down the street and see somebody with some instrument in their hand. Right at the same time, you fucking drive down the street and you call bumping that shit in the broad outside, she going to hear that shit just, just out of, she thinking she in the club, she going, oh my bad, I forgot, I'm in public right now. You know what I'm saying? So, but that's just how it is, you know, and it's right now, it's just, we have to experience that shit. Man, could we have this thing called second line? You know what I'm saying, which twerking is a byproduct, you know what I'm saying? It's like, it's like, almost like a wide open, they call it soul train line, but it's in a wide open, bro. So everybody doing that thing too live, like you just said earlier. I mean, we got the brass band, the second line band going on the street and like Greg Street say they jumping out of trees and all that, they be grabbing on the poles or whatever on the handstand. They had, who came up with it, hit the wall hole. They should be, female to be on their hand and if feet are being on the wall and that beat going in the club, that's another thing, that beat. That's what they call it, that beat. That beat will make them do it, you hear me? Every time. So that's how they be, we'll talk to make a long story. For the female, that's how they be feeling when that beat come on. Let me tell you something, bro, if you been to war and it's like listen and understand of some of the shit that they say in real, that old school bounce music, the pussy pop music, bro, if you listen to some of the shit that they say you would never believe God damn like it must be your pussy because it ain't your face. Shout out to DJ Jimmy. You know what I'm saying? It's just shit like that, you know what I'm saying? It's just shit like that, you know what I'm saying? It's just shit like that. DJ Jimmy. Come on, man. You just slide and do the pussy pop. T-T Tupper. You know what I'm saying? Bounce, bounce started out as some gangsta shit though. Bounce really started out as gangsta music. If you listen to some of the old, old bounce music, there was gangsta niggas that wanted to rap couldn't, but they like, fuck it, I'm a bounce this bitch. That was something like get the gat, you know what I'm saying? Get the gat, get the gat. That just had a whole new life, man. They just regained that one that too long. Yeah, that song, we put that song on like 80, 90. 80, 90, 90. That was on his label on Parkway Pumping, man. Yeah, so. So really the world was just slow. The world was just slow. Y'all hit worldwide with... All of the bounce music that they sampled now it comes from the bounce music that was 20 years ago. And back then the rest of the world didn't matter to us. Right. Why should it? Yeah. Y'all have more of a, putting their feet on the wall bounce than they have. I wouldn't care about the rest of the world. He was a DJ in a club called Rumors where the most gangsta of the gangsta was going down. You know what I'm saying? Somebody was getting killed every other weekend. But you know, that's where the hotbed and all that music was being played DJ by him, man and fresh and what some other DJs were playing that about? DJ Duck? Yeah. Yeah, yeah, man. In the projects. Let me ask you this. Let me ask y'all this, man. For y'all to be, you know, creative of so many original sounds like now that that seems to be in demand with how... on what scale of ease is that to create for, you know, giants like y'all? Just the sound. Say for instance somebody wanted to buy a new bounce sound. A bounce sound? Where is that in the repertoire of this point in y'all career? Because that's what y'all did coming up and shit like that. Right. It's like as far as me, it depends on that artist. You know what I'm saying? It's like right now to where like the money is not like it is the way money is now and for selling beats. I'm not saying the same money is not coming to the table after sales making beats and selling beats to where like if somebody back then somebody wanted to get a beat from me, right? Right. If they have an artist they'll have to pay me 10 or 20 grand to come in the studio just to hear them and if they were going to buy the beat my price of selling the beat that 20 was going to go towards it just the fact that you got to pull me from doing what I'm doing to come hit it. Right. So what I'm doing is work more than what you pay me already. So it kind of forced they had to fuck if we going to pay them 20 to come listen we might as well work the difference out and just get something from them. But it was getting some dope shit though. You know. That was standard though. That was standard for producers like you know we were getting fucking just on the love of Sean niggas love on the beat to where we was getting okay I charge it 20-25 because it was budget you know what I'm saying. They had that kind of shit so I never got 20 grand from a beat Let me get a brief run down like your intro to the game how did you get to the level where you making hits for these artists you know an only man I started off DJing and met one of my partners who just passed away big first rest in peace I was in a little group and went from DJing to producing records to even on rapping ourselves after that when we stopped doing that and just concentrating on just doing the production it was pretty good at doing pussy-pop music so kind of started that. Shit 91 we put out Pym Daddy a local record of New Orleans called Gotta Be Real by Pym Daddy they had some good success. They made a lot of balanced versions of that song that's one of the ones that the DJ always dropped it in. Responsible for classics. Hell yeah This shit is wild. That's still being played today. Sampled man those who want to staple a lot of the records that they made full pack that's the name of the production crew and they were like part of a staple of bounce pussy-pop music it became Bro this is 85 cents pussy-pop definitely has its place but what I'm saying is known as bounce now but you know bounce music is synonymous with pussy bounce music making proper pussy. Let me get it from you then Don one what are the ingredients to a good pussy-popping trend? Kicks now how I had them just have that feel I ain't really about what you put in there is how you put it damn this shit got real it ain't about what you put in that's how you put it that's the shit you can live off and you gotta be from where we're from it's a culture man it's a beat now but it's a beat that represents a culture and a people man but you know now that they saying one of the biggest criticisms is that the ladies rapping about the pussy too much I think I was appalled when I heard this that is the most goofy shit that I've ever heard you mad about like that song WAP when that shit took off you saw all the backlash and criticism they took for having wet ass pussy but they enjoy the video it said does it have a Peruna advisory serious tag on it thanks to Luke Skywalker does it have that on it parents be parents please I ain't nobody telling you this if you don't like it you can close your ears you know it's hot but you're still gonna stick your hand in there to see you already know god damn it fuck you know who it was that was mad about the song who was it it's a dry ass pussy that should be a man if we ain't got it fuck this man it was a whole coalition they fucking over for us fuck that was a great one this is one of the questions I was going to ask those you said you spent so much time in this cycle of just creating creating creating not being able to really enjoy the success and you know not really even branching out to being able to say I'm going to work with this order for this order like have you had time to catch up with some of those projects that y'all put on the back burner to put you know your situation at hand first no I haven't man if you did you had won a bigger record for Luda yeah well you know what let me explain to you you know HB was the reason for DMX right what recipe's DMX recipe's DMX that was for him when fiends sound more rough hold on wait a minute you said stop you said you know we didn't we just banged up I should have put the do first do you know now I'm listening this is if I'm trivia nobody knows well um fiend when he sound more rough rather I sent him some beats and um because fiend was like nigga I'm in send me some shits while I sent him some beats he brought it up there and uh they heard one at J. Delight but unfortunately back then we didn't have the internet so we had to send shit back but when I made some I made this shit for J. Delight but they wanted changes in it so after the changes was made I had to change it send it back and he was at the tail end of his record so when they heard that shit they were like nigga you need to make some shit like this for X and that's when I did the move bitch beat I can see it I can't imagine that was oh my god man and then um the thing about it is by us going back and forth and it got too late J. Delight had to turn his record and I was like fuck so I just didn't send the beat and then we met Luda in New Orleans he was on tour with Outkast and we had met him on St. Charles at the trial stop because he called K. I'm in town boom boom get some beats to me so when we met him up boy this shit was so motherfucking funny so we stand and we out there by this restaurant and we playing some beats from our movie car right and while we're listening we're like BAM BAM BAM BAM BAM he was like what the fuck he was like man look we just uh shit let's just go we're like man just chill out chill out you know what I'm saying so chill out so we were like just listening you know what I'm saying and you know Luda he was just looking around you know just paying attention you know trying to focus on what's out there and it was in here and BAM BAM oh man look I'm gonna go man just give me the beat CD one more point so I get the CD he called me nigga he played he went through the beats he said is this one available because you gotta understand we was making beats on the limit we really didn't have time like even naming them bitches and I was like just play it so I could hear and he played that bitch right and I'm like now it's open because the thing about it was when it didn't get to X not in Senate I submitted it for mystical and Jive didn't want to fuck with it because he caught that stream and that chemistry with Pharrell so they wanted to keep it kind of like that and when I did the Luda um Luda heard it and he said when I get off tour I'm coming on there by you to record it and so when he got off he called me we record that record in my house and um he came down he laid the hook you know we recorded that part and the trip part of the body when he got dropped off at my house it was so fucking funny that he got dropped off and he walked in and he turned around and said all right I'm high like y'all you didn't let them in like I don't know them bros they just gave him a ride from the airport shit Luda so I'm like okay we uh we did the thing he took it he took it back with him the first thing he called me we got to get mystical on this bitch came back to him came back to him and mystical is the reason why I-20 is on that record because they were supposed to do a third verse mystical being lazy man what we need to do man what you need to do nigga is uh put one of your artists on that bitch you're trying to break them it's a masterpiece shit so um and I guess Luda was like yeah you know what and then that's when he put I-20 on the record that's I-20 they were supposed to do a third verse and split it mystical was just being lazy damn that's all Luda that's all moved crowds to this thing man this is his record yeah but that was originally done for DMX the move bitch beat that's why that's crazy the motherfucker ever thought about if you were to make a beat for DMX what it would be like listen to move bitch because that was his that was made for him man that's the wildest thing somebody just gonna have a dog give us a little blend with that they just taking edge mercy already got and put it on there just a week same shit I don't think that would be dope though I don't know if they know how to do this but y'all know how to do it once they see this somebody will definitely do that and it's gonna go crazy too the bounce version too oh yeah yeah I did we had a lot of fun making the motherfucking record I had a lot of fun listening to whatever you intended like that's what I was saying I was just cranking them out do you ever be surprised where they end up or what they turned into once they out your hands oh man be honest with you once we reached a certain height in our career like when the ice cream man when we got our first gold plaque we knew that it was real at that point but just coming into it we just was doing making our contribution even beyond that point man like K.L. said we didn't have time to enjoy you know what I'm saying we just like I didn't know I was talking to K.L. the other day we were just reminiscing on certain times and periods I didn't know that that making moves with Doug even had any type of impact in the club I didn't know that until I went to a club we didn't know the effect that our records had because we were always confined in the studio 24-7 man like 25-8 people getting their ass whooped in our news fucking something we didn't know it was nice I found out this I found out about some of the records because like I said at one time we was on the legends tour and Lightfoot used to come out on some of these records and I didn't know they were that hot but one time me man it did a beat battle here so with me I didn't know what the fuck to play other than you know like down from my niggas move bitch and some records but like the like the songs on the album that wasn't you know I didn't know what people was bumping so look it got to the point where I started just playing shit with the crowd and so I'm up there and T.I. was hosting the bitch right so here go the man it doesn't make a play this I'm telling you if you play this here I'm telling you it's going to be done with he go the toon, toon look you know how we get down you already know what to play but play this one it's going to be you know it's done deal he'll come over there by me KLC I promise you my nigga you play this one it's over with so he just going around the table just thinking I'm like okay and they're telling me I'm just playing that shit I'm just going to see how I'm going damn I didn't know that shit was like that out here I didn't we just didn't know bro we just didn't know we did not know we did not have a fucking life man we had to have our fun and being creative of making this shit because you look at artists like once their album is done you may not see them until next year or when their next album come or if they're going to be doing features nah nigga when they done we are on to the next one to the next one to the next we had to do that shit for a whole fucking year five years oh yeah five years you know what I'm saying look look the fucked up part about it people talk about 98 but they don't think about 96, 97 and 99 right yeah we just talking about that one year we did them like we produced over like 500 songs I'm not talking about the two years before in the year after 98 if folks were buying everything yeah they were buying everything I bought it I was telling niggas to get this nigga get fan shit so I can get you to do your pay you shit nigga we can smile but like I said we can't I came in with a bang and left them with a bang you know my first song was about it my last song was down for my niggas yeah that's a great intro and a great I gotta bring up the legend man soldier slim rest in peace man number one real he came through KLC man he came through parkway pumping a lot of I would say at least 85% of the artist came through that man real tough at least 85% of them came through that man because he like I mentioned earlier he had a record label called Parkway Pumping in his group that he was called 3-9 Posse and they had other ones that he can go down to Rossi and tell you himself but yeah soldier slim is pretty much like you know his experience and he shared soldier slim with us and I appreciate him because to me he was one of the most prolific writers and like I bounced off of him when he said uh see murder was one of the most prepared artists and I said besides soldier slim magnolia slim he got signed to us directly when he got released from prison you know what I'm saying and when he got out so you know in prison free time outside of defending himself and stuff like that but when he got out of prison and when he got when we got him this boy had notebooks of albums already written right so you know what I'm saying so it was like a no-brainer and the thing is like KL would tell you I want him to tell you he could tell you better whatever he experienced in real life he put that on you know from the pen and pad and then relay that to the microphone and get in that booth when he was already all you needed was a beat yeah he coming straight off the street with okay nigga play on me come on man I gotta go call it this shit man fuck all that like that slim damnit was about to be with cash money but he was like nah fuck all that funky beat whatever you go I'm going cause me and baby talk cause he wanted I had slim and I had this other artist named reg called slugged up nigga grilled up from the top front all the way to the back to the bottom all the way to the back that's a peace slug up there yeah and um I remember me and baby had a talk and he's like man what you gonna do with these artists you know what I'm saying I'm like shit I'm trying to you know he said well let's work something out man get slim over here and I bought that idea to slim slim like man fuck all that man nah man I'm gonna get out and hustle nigga if I have to take my money and you put your money we gonna do this shit ourselves you know that that that was his lawyer to for me he said whatever the fuck you gonna go that's where I'm going or FYI man he ain't gonna tell you this but tell him him and baby got a history oh yeah tell him how far you and baby go back man baby shit man baby played something like football together nigga we was in middle school man and baby knew each other before man and baby knew each other me and man I know both of them before they knew each other that's a small New Orleans you know what I'm saying cause you got me I was like the top DJ Uptown and man he was the top DJ downtown and we wind up working in a club together called Club Rumors that Moby was telling you about early you know what I'm saying that's the legendary club that's where you bounce music rumors and big mads streamlining you know what I'm saying so that was some of the the magic clubs where you bounce what we know where pussy pop music started pussy pop that's just so important for the coach man most of the people who listen to this show was all pussy pop I can believe that if you think about it anybody who about 30 right now see man how can you not if you a grown as a man you hot and bother and you seeing something on the wall and then they been in the open you seeing something about that big from the back how you not going to bust on yourself you know what I'm saying yeah you don't want to some of them some of them baby were actually made in the club on the dance floor it was going in naked head man how the album call that one what the fuck I got my gangsta shit I got my clothes on I need a pussy pop I need a pussy pop I need a pussy pop I got a lot of cars like that too that's what brought us to know them stuff we did you know he was shaking like a dog he wanted that song but he got us after they left man you did a good job keeping that shit going yeah but that motherfucker slum bra he was something that he was no wrong in him from the city if you had a problem with him if he was right or wrong if he had a problem he had a problem with the city it was like that yeah this is a lot when they talk the best now when you talking about the best lyricist you know what I'm saying we talking Max Fiend Wayne Mystical you know what I'm saying we have some other legendary niggas but the people that's noticed that everybody know we talking about Mystical Wayne you know what I'm saying Fiend Magnia but when they come down to nigga that they sit slum hands down you're not even a question and they know that they know that you just don't know what it's like to hear that from people who know first hand we always got to see it from Fiend right slum with the balance for no limit being in the magnolia you know what I'm saying so you look at you look at slum juvenile and turret they were from that project you know what I'm saying and then you had like you know P you know C silk they were from the cali so you know slum kind of bridged that shit when Fiend came he said that he didn't even realize he was living like four blocks down the street from you know what I'm saying yeah right around the corner and Mack stayed right up the street from where Fiend was staying oh man speaking of Mack they just gave him some clemency right oh yeah they just went for his coat they need out there finally come on bring Mack on now seeing this whole digital music age take off man how do y'all see it you know from being in the time there wasn't no internet and you had to get it right there to see how easy it is for artists to create this music and you know rap and speak damn it to me I mean things had the technology always evolved just about how you adjust to it you know what I'm saying and now the difference between then and now is that it's made like anybody could do it almost which is a blessing in the curse because a lot of these artists figure pop and don't know that it takes a machine at the end of the day to become notice in the industry which makes it pretty much a clusterfuck and puts them in a car shuffle to be found you have to really know the business side of things and how to market yourself you know what I'm saying but you know I think it's good I don't see nothing wrong with it do y'all still create at that pace um do y'all kind of do shit the whole way because it's like um when you have a sound that's familiar that the people know and they still want it you just can't say man fuck that I want to do some other shit like I said before like McDonald's have never changed the way they make their fucking burgers or their fries that's what you want they definitely want it right fucking Big Mac and then fucking whatever they make the motherfucking fries with but I had to do some adjusting because you know before I go through and deal with any changes you know I have to be forcing to okay now I have to do this shit yeah you know but once you learn it there's a convenience to it you know what I'm saying but it takes away your creativeness to where like we made music back then we had to think about okay how in the fuck I'm going to make this one sound sound like 10 but with today's shit you could you could just go and fucking download some sound banks and you know what I'm saying and just pull a shit from it that's why like a lot of producers they make a lot of great shit today but you could tell that they could go to each one and say yeah I know where you get that from right see we come from an era of building drum kits and sound designing it's still possible you know with this technology you know what I'm saying but I'm going to tell you it was a big advantage to it we could take our whole studio we have our studio our whole studio with us right now we have portable studios in the software world speaking of software we do have our own you know what they call a VST or a plug-in where we have all the beats I would say a good degree amount of the beats by the pound sound that we are known for making those records we are all talking about right now we got to definitely get that to you because VST yeah we got to push the poppin' kit for you we got to push the poppin' kit for you shout out the studio link man studio link we did a deal with them two years ago well three years ago now it's 2021 and it's out on the market you know what I'm saying you know what I'm saying we got all those sound that's the beauty about this technology now that we can actually share ourselves and our sounds with it it's a self-titled VST called beats by the pound I mean it makes sense so we put that out we did that deal and put it out and our sounds could be shared and they could just do their own version with our sounds with this technology now man it's simplified things and it made it to where we can still be creative in the music world and also in the business world I love it it made me be honest with you it's just about when you get accustomed to it it's like anything that you get new that you never dealt with once you find a way to maneuver through that you'll be good I know I could be stubborn on some shit when I'm in my ways about how I do shit I will have to be forced to change you ever made some shit that was too good that the artist couldn't rap on you know what the mystical had that problem every time we fucking record because the shit that I make that I like nigga this isn't like nah man I ain't feeling that I just can't get it but the shit that I make that I'm like man I can't I don't like this shit nah nigga that's the one bro I'm telling you like what he said yeah bro he said man look I want that one bro I don't fuck what you talking about but just give it to him I'm right to the hell right I was about to say have you ever but watching this motherfucker record a record is some unbelievable shit by nigga I believe it listen to it look every time every time when we record his record that no limit in the booth we had to put fucking pillows and cushion on the floor he rapped how he performed he stopped like a forward he be moving the way he perform is how he record that's why when he perform he don't lose a beat because he record how he perform well he beat his own self up in the booth his own self we don't see it he beat all that shit like that I'm like what the fuck he go the fuck off and then he loud and he loud and he loud you know what I like we talk about that the other day we always talk about Mike Minke always talk about it you see Mia when we do a Mia session she give you no reason to leave like she cooking for a family reunion she bring all that shit to the studio if y'all hungry y'all don't have to leave the food right here like she cooking for a family reunion everything fried chicken jambalaya gumball all of that shit is in the studio we about to get my album done I'm trying to get this motherfucker done and I'm not trying to hear so y'all don't have a reason to leave you know what I'm saying but she fed you yeah I know I already know Mia's food good by the way she got her own you know cook and show cookbook and all that and proud of she got a seasoning call what it's called for whatever I got some too put it on anything put it on yourself and your hand and lick it you ever took the seasoning all man and took it out of your mind when you were licking your hand yeah it was a bad ass yeah you got that everybody had that motherfucker moment but that motherfucker mystical and then Mia was calling their record now serve was like when we record a serve on record that motherfucker was like they had a ball in the studio at a club oh yeah I mean like we go in his session everything you need to drink is just all across that picture mr serve on mr serve on yeah child to serve on man matter of fact me mr serve on this man we were all roommates first went to no limit at first had us living in like putting us up in hotels but then he saw that we were going to be up there for a while I said nah man because he started the label in the big area when he had his home people around him he couldn't just let that go like that at first it went to like a little trip to see how california was then he went got us an apartment up in uh I think that's what Hayward you know what I'm saying and Hayward California out in the big area so that was me him serve on and we called ourselves three niggas in a bra three niggas in a bra yes indeed bruh three niggas in a bra bruh would love to tell us something about me all these three niggas in a bra we working on something bring it bruh we got busy I don't think nobody I work in the studio though oh man he was dead with y'all yes I mean he would do the man was so many hats man I mean it was amazing like man what does this dude sleep right he come off the plane off the road and like clockwork not missing the beat man I mean shout out to master p but nobody I mean this music industry wouldn't be what it is now y'all know it without that man making his contribution in that ground and he put it down man it's a lot of podcast now with a lot of artists saying that you know he was the first one that really had some money in the game for real man that was the game changing right there absolutely man real tough he gets in all that shit yeah 85-15 that was unheard it's still out of shit let me tell you I remember like some of the shit when they tried it when he was getting signed to the company every Wednesday they'll do like a staff meeting at the record companies and shit and his man used to always come up man you keep bringing up this masterpiece shit if you wouldn't fuck with me you like them fuck a sign and you just deal with them we got this ice cream record we're worried about lo and behold bow to drop that was a wrap a whole movie came out a whole movie came out after that we saw that one that was a nail in the coffin and they still tried to deny him but you know what I'm saying he intended for it to come out on a big screen and they you know they black-balled okay a VHS I'm gonna put it in the hood everything in that body nigga just show it up they found a location man we're gonna shoot right here nigga roll the camera and it wasn't even a fucking script nigga to get on that bitch and do something they had one but said fuck it they rolled the camera and he just freestyle every part of that motherfucker man no script they had one but like man fuck that this one is it that's how he was in the book when they talk about niggas don't write shit down on freestyle he literally did it like some niggas made they probably don't write it down but they're thinking some shit and remember it but with him like I'll format of how we recorded a lot of these records and why they impact because we did not lose the moment of how that shit felt when we first when he first came about because like we could be in the studio having some beats knocking right and all of the artists could just be right there by the door wide open and they're just talking laughing having a joke and having cracking jokes and shit and they could just say some funny shit like um I always say this thing like yeah we want someone man this bitch came up to me she had mother gum in her head niggas thought laughing oh yeah this bitch had gum in her head come on man let's go record that shit that's how we recorded music right man and he and he had getting a boot and he had get up and had just he had freestyle and that shit somebody shit didn't make no sense but the shit was so hot the people made it make sense nah nigga this what he meant this what he meant they gonna tell you what you mean right right I still don't know what the six inch girder mean six inch girder put somebody in a six inch girder put your body in a six inch girder I remember he asked mother fucker he said some shit about the sob hop you know buzz buzz uh he was saying nigga I'm like an ostrich nigga you want some sausage nah we were talking about the other day not sausage sausage not sausage sausage that nigga round that whole ostrich what what he said bro I said one more time nigga I'm like an ostrich he want some sausage let's see the thing about it I don't remember what him I don't remember him saying that shit we were working too much I grew up on eggs and lunch and meat nah that's the truth they don't sell lunch and meat no more man I mean why we would get to the days where kids won't even be able to participate in lunch and lunch and meat man the reason why I love that Han video by Jewel would be because you feed the puppy the lunch meat in the video holding it up too holding it up I remember as a kid they got busy though we had don't know get me wrong when shit had to come to the end you know it was like we put in some time we try to work that shit out my nigga so don't think like whatever you hear like man that nigga got the fuck no that's not the truth we literally tried to work this out but you know he just wasn't giving in you know we really really tried we met with him like two or three times after we left but he just was on his road man and in his ways you know what I'm saying man I mean it is what it is man we just had to agree to disagree you know what I'm saying and the thing is like it was this time I mean we had a five year run think about this five year run and what we accomplished within those five years people still can't keep up with that to this day like you were talking about how we made all those records in one year five years and stuff like that I mean it was time you know what I'm saying then cash money was already on the bubble and it was good to pair that baton and keep it in the city you know what I'm saying and they came through that with that 400 degrees and the block is hot you understand what I'm saying so you know shout out to Manifred shout out to baby Slim man love them do and they from the same side of town all from uptown that was a cool thing I ran it for a minute and then when it was just a little slow down we tagged them in you know what I'm saying so yeah man shout out to the city even man we got some sleepers right now in the city of New Orleans I mean one thing about New Orleans we have a plethora of talent I mean it's because we don't it's not industrialized or monetized like the Atlanta's like the New York's the LA's man I mean he a dope ass man Jack Joe shout out to Jack Joe we got another sleeper working over there for JZ right now Crack Tracks Crack Tracks Crack worked with J Electronica shout out to J Electronica you know what I'm saying so yeah man it's the city man it's like we'll never run out of gumbo we'll never run out of crawfish you know I mean it just a mind of talent I was talking to Don earlier you know what I'm saying I was just about to ask Don one just knowing that all of this was going on like you said before you got there man and then you're stepping up after you know you stepped away what was it like to have to keep that same pace going I ain't really getting into it to really keep the pace going Rouge is really making music having fun making music the attention was brought to us to come up there and help and we just pretty much did what we did in New Orleans with him and we just blessed to hook up with a weaving and make that the hits we did and with Chopper it was natural that's the piece 5th World Weaver that's one of my favorite 5th World Weaver let me find out he was talking this shit on there I think him going to play basketball was a big part of it too was the beginning of it because before he played we never had problems but when some came up we was able to address him to where because his office was right there next to the studio so we were like man look but when he left to play ball all his numbers changed and we have to talk to him to talk to him and then the message would come back from P to him to us when we talking about what we need to do to get fixed it's getting back to P man him niggas trippin exactly he ain't even telling what you said right man him niggas trippin he ain't taking a while to see him up oh bruh said man he basically just said him niggas trippin bruh bruh he told him he was a huge man oh and by the way I got somebody who made beats too at the same time plugging somebody else in somebody who made beats I mean you know I could get you a fight so even with family that can be an awkward situation outside of the business well him and Morbis is literally blood cousins that's what I'm saying I mean you know like they try to say don't make family in business you know what I'm saying but we were a different kind of family real talk we were able to be 100 with each other I mean P never played any favoritism with me you know what I'm saying it was business like they were brothers I was the cousin but you know like pretty much one way or another the whole tank was king you know what I'm saying me was king of somebody served new C murder before that's how serve on came to the tank through C murder because they played ball together you know what I'm saying I mean everybody uptown knew everybody like you said him and baby knew everybody family affair it was pretty weird because like at one time like he said I was able to just call you and it got to where I had to go through somebody else who ain't my cousin you know you call me cuz you know what I'm saying but you know I understand the business he had to do what he had to do as a CEO to keep his name which was the face of you know what I'm saying it was pretty much you know too much too many eggs in one basket where we had a lot of talent on there man to where it could have really went for a while but yeah man the communication line got kind of diluted and distorted and you know it was weird man real talk I can't even front man it was kind of weird man because it started out one kind of way and it went another kind of way you know what I'm saying so look man like you got this long ass list of songs you know a long list of music that's been you know created and produced by y'all you ever had to listen to some shit and be like do I do this oh we always did this man let me tell you something we recorded a lot of them records just that and the credit no no you boys but god I did that one right but that's how it was like fucking with me right there I'm starting it all let me hear me right quick who you listen to who you listen to me this is some of my wisdom shit too I only got that laptop no more this is some of my wisdom so much shit I deal with it could have just got to the point that he could have just produced by beats by the pound you know what I'm saying because they got man hold on hold on hold on hold on hold on man because I saw what he was going he was about to fuck us up with one more and I had to get you that one before we got to this no that a two year old did the drums like recently or then no real shit is done by a two year old your son your daughter before his son was born two years old to bout it bout it do she know don't watch this she can click with my check no no no no I didn't mean to cut you off but I saw what that was going hold on hold on I need all that all that explaining well I'm gonna make it quick like I said when I'm in work mode I came up with all the parts I have my drum machine here my keyboard here I finished playing all the parts but my daughter she used to always come see me just hit on the machine so I had the parts I had the machine in loop mode playing while I was just listening to it and she just came down and just slapped the pads and that was the drums to the body beat and the thing about when she slapped the pads I spanked her and brought her upstairs and I walked down like and it came now oh that shit though that's it my brother Charlie told you man that was one of the ones that fucked me up that's crazy and the thing about it was like I said when she learned about when I used to get the manila she saw that folder before they started sending all your raucous direct to your checking you know what I'm saying and she understood what raucous was so when she saw that folder she already knew what was coming with it and she was like well um but daddy if I did the drums why ain't getting paid I'm like fuck if I didn't pay me fuck I didn't pay for the bitch so that's hilarious man that's a classic that's black history that song that song kind of solidified because you gotta understand when me and Moby got there he was working with a lot of other dope niggas you know what I'm saying like E.E. Ski DJ Dara who may keep your head up for pot K. Lou and a lot of other Al Eden and a lot of producers from the base but about it me and Moby that album was done but when me and Moby got there at the end he was like well let's just go to the studio and let Moby and K.L. get a beat on that album he did fuck them hoes and I did bought it that was it he just said that shit's so casual with me he did fuck them hoes and I did bought it and from that moment he was like I got me that's my sound I got my sound but where he had an identity I just wish I had a piece of work called fuck them hoes so in 40 years when somebody go over me another original creator of fuck them hoes sampled from a beat Moby Dick but just think like man we did do I mean the album was done my nigga we got that at the time when he was about to turn that he was about to turn that motherfucker in and he was like man let's just go to the studio and put two more on there so K.L. and Moby could get a song on that album and that was the beautiful thing about Cuzz man I called him Cuzz he called me Cuzz but he wanted everybody involved he wanted it's like what they say in the military like when they had war leave no man behind you know what I'm saying so if you were there you're going to get you some these get you an opportunity to get your name on the credits you were hollering the screen you're going to say something you're going to get your recognition for that and if you notice that was the no limit way of doing things because every album was a compilation and that's like when y'all went to seeing those those inside inserts those albums that were coming out because it was a genius marketing if you know these albums coming out we got to feature them on this album so you can get a taste of what it's going to be like on their own album right he did do that when he dropped this album whoever the artist was that was coming out after him was going to have a song on his album by himself and that shit worked my fuck was waiting on it his marketing skill was off the chain and I hate that that shit ain't work all the way out I wish it did you never know where the shit would be the pride got to the point the way out of the cash money was probably been working and see that's the tripped out part everybody on no limit in the cash money knew each other like fucking jam tight it was why it didn't work out with the heads we don't nobody know but them too damn but we could see man in juve out on the street we out the motherfucking chilling like motherfucking hanging and like people see us like you see that but it's still working in today's time now because him and man do they do DJ about the verses you know what I'm saying like I'm saying they already knew the same club and to be honest with you man I'm just saying this right now one of my biggest dreams is to make that happen right to make put P and baby on the record one day fuck do a tour we're gonna make it happen man real talk P and baby y'all listen y'all getting on the record together you said it right on 85 south you making that happen bro but it was more you know what it was too it was more like each one of them niggas had some street niggas with them out the Cali out the Magnolia and a male for me and a male so it wasn't the artist it was them street niggas that they had rolling with them that was you know what I'm saying into it yeah that's the shit that kind of um make what we was doing not work working together and from the same side of the town each one of them each one of them project you can walk from the beginning of this building to the end and that's how close some projects are to each other the Mac, the Mel from the Cali don't worry can I get you a top 5 pussy poppin song cause we want you to to a new audience of 85 south ohhhh you know when you when you round this type of energy oh jeez man it's more listening than talking but I want to get into some of this pussy poppin music with my man Don I want your top 5 pussy poppin songs of all times this is a whole internet audience and they gonna go and listen to them so give me a few people who may not be so familiar with the pussy poppin jump pimp daddy gotta be real pimp daddy gotta be real shake it like a dog shake it like a dog I can't enable if you're for a weed PNC mystical is on the remix mystical is on the remix chopper style and this is not really a new all in a pussy pop song but I have nothing to do with it now that's your list throw that P throw that P who's the artist look sky walls it's a lot of them at this point you talking about the original the time to change throw that P put a T got one this is about without a dope did you know that you missed a lot of shit I was that sad they have some motherfuckers like throw that P you got fuckin jimmy where they at eat the cat juicy rest in peace juicy rest in peace I don't wanna hear that it was just like get the cat eat the cat I like it already damn which one that was twerk something about cheeky black of course can't forget that we got a lady rare smoking at five but this is a weed record it was called smoking at five but they put the pop out there too I know all these songs I'm a huge fan of New Orleans culture music I watch all them hood stories from the youtube page that shit just randomly pop up out in the scene every little documentary about every hood all that shit that's why it's just so dope to hit this shit man your name come up and every time they bring up music man they gotta bring up KLC you give what I'm saying and it's just like hell I didn't even know that you had all of these you know pussy popping the anzels you a whole goddamn y'all just gave him a whole playlist a strong little playlist right there oh yeah song similar to this let me song monkey on the dick oh yeah monkey on the dick that's what it was damn monkey on the dick top five the verbiage of that is classic yeah monkey on the dick top five there's so many of them so many fucking fans we got that was created off of this music y'all definitely gotta be responsible for the population increase man it was so much fucking going on I know when they see this on this part here we gonna have it they gonna fuck around and have a listen to shit we missed I know man it's so many that cause they just in the whole fucking hall of fame y'all they miss on damn they're none of them or something y'all sound still needed I don't know shit that shit still necessary you still gotta go back to some of that old shit just to hear shit but I can't even say that it's old shit cause a lot of this shit was just a one off there wasn't nothing that sounded like that after that and like they said they were just they was a thousand miles ahead of that shit why we still like y'all even like you look at the Baton Rouge music it's called jig music you look at Mouse, Q-Rid B-Rail these niggas they started happy to happy for us they started out with webbing and booze and the drill and that you know it just that type that jig music is like you have to be on it to understand it you know that's why that bounce music or push it pop of music you gotta they starting to get a whiff of it now they starting to get a whiff of it now the aroma look Collin Park will tell you Collin Park he'll tell you god damn fucking back that ass up nigga that's the number one how the fuck we forget that record that song is over a billion spins already they got on the wall for that shit a billion spins my nigga white women do yoga to that song to back that ass up the exercise class, spin class cause that's the whole the seminar the twerking is part of exercise now twerking classes it's about to be an olympics twerking olympics it's always gonna be in the olympics you think America got this shit with you too the russian girl i could believe it i could really believe it the african girl the african girl is gonna kill it they gonna be the fuck with it come on yeah brazil just checked in oh shit oh shit ass gotta be real though ain't nobody beating that lady with the baby on her chest from south africa don't know about this beat african gonna win it african gonna win it they gonna change the rules cause it's the olympics i don't know what i've seen some amazing things on the streets it was too steep it was some real talent on the streets of new august oh my god i've been to a few modern girls i've seen grandmas put the baby down oh yeah in the middle of the street some of the babies started toward a daiquiri right between them ooh i gotta get down here some more this is where they've been saying louis throw down this shit is just so natural they gotta have brought out the bus stop they just passing they call go and she forgot all god damn shit i'm not in the club that beat trigger man and browns beat yeah that trigger man what's one of the ones that you forgot that was your son like one that you had to hear again to be like uh i can tell you a song that i did that was big that i don't like what who do you why do you like that one because he took the outcast and really thought he made that shit up oh it's not the song it's not that the song bad just the fact that um you know somebody told him to give him the idea to do it and um they really thought he really thought that he made it up or they convinced him that there's some new shit to say but the song dope though i just don't like it because of that a lot of songs that i do it's late to me you know what i'm saying not that that that mystical record i think that was one of the one of the uh dope songs that's the nigga that's the nigga that's the nigga i think that was the first one that he did on the tank huh turn your head towards your ass and say bye bye dude stop stop now he did that um what you think about it everybody out of here that drunk smack nigga how the fuck you know you're crazy throw it all toot toot like cuckoo nigga don't eat tofu that nigga not be sassy shit i don't remember having a nap mosquito you know what i don't twit with your ass nigga nigga i be i never would second guess any of mystical's nigga because if he said it it got this whatever and it be so precise i'd be like that nigga must know to put them shits together nigga yeah it's the only nigga that get away with it i came here with my dick in my head don't make none of you put your ass in cuckoo that that motherfucker don't worry about how i get you just what i do are you go places with your dick in here this is post office he did a song called he put his dick on the track make it sound i put my dick on the track that motherfucker had a way to move he moved because there was always it was either him or me it was going to close out because they had to balance the record when they do like a lot of those soldier records check this out you put the dick on the track with the pussy pie in there no no no they got some songs together i'm about to go listen give me one that bitch he didn't fuck them hoes he did come on give me that come on trip them hoes a song give me one give me one i didn't do no they had this over there i didn't do no pussy popping music i did bounce that ass in the pussy's neighbors remember if you account frecoes as one when that song came out that's when stripper start really getting money money that's when stripper start getting rich did you know that since we talking on this subject we keep this pussy popping this pussy just keep coming up i got a question i got a question for yall too you put it on them or you put it in them i'm on i believe i'm on you put it on them i damn sure put it in them because i'm the one in my life what pussy don't scare me i'm already somebody dead i'm brah i put it on them and on up in them on up in them i put it around them i might do part of my life too where they said i miss wherever i am it ain't going right there in here i didn't totally miss what i was on i'm shit what is this i'm just trying to get there where it goes we gonna have to send you some of these poppin shit that we did i want to hear some unreleased pussy poppin music that's too nasty to be at we got a shit load of that did you get that intro this nigga didn't put a clitoris and it got down to who's fucking mythic though i put my cock at where she fought that shit most of us said a lot of shit that we might not be able to stuff that's on record i put my cock at how you said it you said i put my cock at where she fought that not for it fight we don't know if we're gonna be able to produce that it was good for the time but that shit might not fly that nigga have a way with sending some motherfucking sexual shit that nigga say some wild shit he said it did crooked like a bro who the fuck had time to look at her and be like you know what that look like something i know something that look like that i'm harder than a nigga watching jenna jackson and draw shit that was hey that's how you know that she was here that's how he exacted that motherfucker he's an amazing rider though when that motherfucker was going i'm on fire what he rapping he was talking about that shit was crazy you stacked your chips that record that was the first beat i did that i did not put a hi hat in that bitch it was just a kick in a baseline in the snip i did that bitch i did that whole you stepped it off on purpose or you just said i just didn't hear it in there no no no you're right you're right come to think of it because when he wrote it i think he was trying to go somewhere he was like man let me just rap on it how it is and he did it and i just mixed it and just didn't even put shit in there like fuck on to the next still jamming though that was a dope ass story though the way he did that bitch it's hot it's hot steam sweating tossing whole house on fire that nigga went the fuck off that nigga said i went milling in the dirt and that didn't work but he on i just see these the memories when you're talking about that kind of shit god damn in that moment when we first did a show and did Bowie and Mia did her verse oh my god behind everybody and did her verse we was in Ohio i don't know if it was mother fucking Cleveland i don't know where in the fuck were we at the stadium or something like that no the stadium was too small we moved it outside at the fairground the fairground yeah so that shit laying you can hear her saying some shit under the shit how did it she rapped her verse and she did another verse and put it all the way in the back that shit crack you can hear if you listen to that bitch i was like i want to hear that verse too i can't hear it all the way though i was like can i flip the tape over how the fuck does this work i always listen to the extended version of that shit bro when she did that it never failed bro cause what she would do she would just duck all the way off in the back so that nobody would see her cause Mia would do her part and just get the fuck out the way like every time she came up and did her part her and mr. would do the same way they do their part and get the fuck out every time they came out it was like the first time stepping in made them miss them but when she came up there niggas know i'm powering all the whole thing going up yeah man that's happening they're all missing it was the wrong one nobody never wanted to rap after them damn oohhh mic too hot after that shit they're like man what the fuck i'm gonna do coming behind this shit niggas do everything niggas was playing slick you heard what she said i didn't hear it i don't even wake up man i knew it was your turn no doubt what's yours why you got it with you bro he got it with drink him on when he played the first is he done or does he he trusted us when we did our part it was like here come in what you got let me get in the booth he was one he was like some of the one of the bigs of the success of no limit was by P not knowing what a good beat was so anything we played he just got on that bitch oh my god not starting with the movie huh this is new face hip hop collector the cassettes oohhh we wow steady mob i would never forget this see this tape wow and missy got on this bitch oh wow they came in that mother fucker on the set oohhh we magic oh he signed this too yes indeed new face go hard with the hip hop big A oh he signed all of them bitches yes indeed young B missy oh that's my boy oh come on man you might have temptations yeah man yeah some peace man oh no i need to take a picture i forgot about you do have the on the card man wow man god bless man we appreciate your love support brother look at all this man yes indeed wow wow wow wow wow wow y'all look at this man what do you see memories man see now he brought up another conversation another three hours come on just looking at this mother fucker show the camera that show that to the camera man don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't don't He gave that hook, he laid that hook, and after he laid that hook, he said, man, put me on another track. Niggas buzzing the globe, and a horn in the scope. I still don't remember this fucking lyrics to that record. Because I'm the hardest motherfucker. I would hear why you niggas bugging me cocking me. Now, you know a lot of niggas started using that flow on the record. Yeah, Pemcee and Mullum. I heard it, listen to Jay-Z on Hey Poppy. Yeah. It was either Hey Poppy or dirt off his shoulder. No, dirt off his shoulder. Dirt off his shoulder. Mm-hmm. Holy, don't want to position. Man, that's rockin', know ya. Yep. That's what it was. That record, you know what I'm sayin'? That's the truth, whoa, come on. That's the same person. Baby and Bird, man. The same person? Baby and Pete. Baby and Pete. That's the Pete. Yeah, you know, it was Baby and Pete. I didn't think that a new friend of Pemcee would leave it either, man. Baby and Bird, man. Yeah, it was for me, man. Shit. This is probably a third of it. Probably like a quarter of 98. 98. Yeah. I was in school that day for Tuesdays. As a matter of fact, I'm gonna find that clip and you know the Billboard Top 100, right? It was a time to where we had 16 albums on the Top 100. I'm gonna find that clip. That's 10% of the Top 100. Not everything, the Top 100. The Top 100, yeah. That's more than 10%. Like when you dropping the record every fuckin' week, like I said, man, we didn't have time to think about what was dope or not. Shit, this is dope. Yeah. All this shit is dope. It is crack. Herald. Shout out to Fiend, man. Oh yeah, man. You know what's so dope? He named every album on his business. Yeah, he sure did. The only one he didn't name, I named it. And that was true to, not true to the game, Charged to the Game. Oh, you guys still got time to know? I didn't know that. Yeah, they couldn't, they didn't know what to name the project. I said, Charged to the Game. Yeah, that's it, cause Charged to the Game. That's the only one I named. Oh, stupid. Yep. Time, I'm getting my feelings okay. And just think, bro, we have, we have a plaque, we have a plaque for every last one of these fucking albums, man. Every one. Every one. I know Matt. Come on, it's way home, boy, it's way home. I'm in a minute. This one of the songs that broke the mold for No Limit, the song Never Did Against the Fire. Hell yeah. This is for the real true gangsta. They needed that one, the gangsters needed that one. Yeah, bro. This kind of, you know, it wasn't the beginning of No Limit, cause No Limit was established before we got there. But when it came down to building the foundation and building that bitch, this was one of the motherfucking records. That project, let me hold it. Man, this project here, I remember we were working, I think we were just working on about it soundtrack. Right. And they go to show you freestyle and the whole thing. Man, I remember him bringing them to us. We were in KLC, Grandmother's basement, and we were working on a soundtrack, that soundtrack there. And he said, stop what you're doing. Yeah. Stop what you're all doing. We need y'all to work on these guys right here. Their first name was DoubleVision. And he said, nah, man, I can't roll with that. They ain't named them, Cain and Navel, you know what I mean? So we just, this was the first complete project that we produced from beginning to end, A&R and everything. We had Steph, Steph at the time, her name was China White. You know what I'm saying? And another chick named Scanlon's, we had a group called, that we're gonna make with them two and me are called the Lady Thugs, right? It never worked out though. They're on this project and we produced it. Mack showed up on his project as well. And that we were able to conceptualize. He only named it. He named it Seven Scenes. We just kept everything consistent with that title. Me and Kel produced that whole motherfucker, bro. This is a real special project to me, you know what I'm saying? Real touch. I'll tell you about the inside. I bought a Can't Enable. I bought it, pull it out. There you go. I'm about to, and this is cassette man, man, I'm tripping. Well now just think about this here though. And that two week process of us making these albums. Homo. That shit fresh, just bought it off. That's the CVS we're seeing. This one's right. That shit is fresh now, but you self check out. I see the upper seat. Bad. Everybody over there, Mercedes. Where Mercedes at? We remember that one. Oh yeah. Young man, I remember that one. We like went in the funk, Mercedes drop. Bro, this shit crazy, man. It is crazy, man. God damn. That just knowing this is this, I was telling New Face this shit is, this is a whole, this defines a whole generation. Come on, man. I'll never forget the day Ben came to my house. And then he was like, God damn. You see, in all the fucking plaques, he was like, shit. Fuck. And that pushed him though. He did, Matt Cadillac 22s, he recorded that in my house. Yeah. Craig be mixed it. He recorded that motherfucker in my house. He learned how to, he did that song and I'm learning how to use the 4,000. To my band, right? Yeah. Love that dude, man. He's speaking in plaques, man. It's his birthday. It's his birthday, it's his birthday, it's his birthday. Got him at birthday, man. At birthday band. The thing about those plaques, man, like, you know, Ben, I always talk about, he always tell a story about those plaques. One thing that was special about Cuzz, man, Master P, if you wore a tank, he had so many tanks that was on our label, how many people wore tanks in the last? My house. If you wore a tank, you got a plaque, man. If you cleaned the windows at the building, he got you a plaque, you know what I'm saying? Everybody had a plaque, man. You got some people in the industry now, like me and K.L. got music with people out here that we did post no limit, we still ain't got plaque from. They know who we are, we're not gonna name no names, you know what I'm saying? We ain't got no plaques, bro. You know what I'm saying? But it's all good. But yeah, man, I just had to throw that in there, man. Pee Pee looked out at one time, man, for everybody. It was a family business, and that's the fine memory that I got of it, man. I'm really tripping out of these cassettes, but it's just for my head out. This 28 cassettes, and I ain't counting the movies. Yeah, he probably got everything from over there. Look, Italy, bro, that was K.L. Alders, man. That was K.L. Alders, man, we had a new project. Shout out to Romeo, shout out to Lil Cuzz. Yeah, man. We had, man, look, we had our times doing that shit. I remember we came here and we did two dates. Where was that, when was that? I think in 97, 98, that's when we were at 559 in a bomb. In a bomb, in a club bomb. Oh, the bounce, oh, like it? Yeah, yeah. We did two nights back to back, man. I think one of the stages collapsed. Yeah, one of the stages collapsed. And we packed both nights. It collapsed, and I remember we came here and we did two dates. Where was that, when was that? It collapsed, and we was pepper spraying. Sure was pepper spraying, yeah. Right here in Atlanta, bro. And that's back in them day-to-day club. Nicky's, you know what I'm saying? Of course, the blue flame, all those were the staples. Yeah, man. Yeah, man, you kind of went back to the club right now. That's 28 cassette tapes. The cassette. That's a lot of music. The cassette, though, bro. And they're not no short album, right? They're at least 20 songs. Come on, at least 20 songs. Each album had a lease. Remember the double album, West Coast Bad Boy? T.R.U. Now, see this album right here? Oh, yeah. History Life album? It was at the moment where we left. He was trying to work things out with P. And when we recorded it, I told Fane, man, do you really want to get this nigga this album? Yeah. Because I didn't want it. In the process of recording, we heard the dopeness in this bitch. And I was like, we about to get this nigga this album, and I knew we ain't going to get paid because we left. I knew it. We didn't see a penny off that bitch. Man. That's a good album. But Fane wanted to work it out and fulfill this commitment with it. I'm like, man, you know what? I'm going to put it in your hands. I'm going to be good with it or not. That's love right there, bro. Yeah. You had the same experience with it, with the two done one? As far as leaving? Yeah. It was a different experience with us when our relationship kind of stopped. It was just because he wasn't really calling us anymore. He was just looking for whoever was hot at the moment. You know? But we talked though, before Don and Dick Fess went over there, I wasn't like, man, don't fucking go over there. I was like, man, look, this is my experience and this will happen. You know what I'm saying? So, um, I'm not telling you don't go. There's money there. But expect this. Yeah. Yeah. So we had that blessing and we knew it was going to be a short, short trip. They're going to pop some pussy though. Yeah. Of course. I ain't saying that's all you do. It's interesting as fuck to me, man. I know you got a wide range of shit. So much shit doesn't happen. But when you know what you're known for, you know what you're known for. I wouldn't change that recipe. That's what this whole platform was created to do, man. It's to just show love to people who we think are dope and y'all don't know that this is the soundtrack to a lot of moments in our life. High school. God damn. I don't want to break these motherfuckers out, man. Oh, man. If he would have had a proper head up, he probably would have found some shit. Anyway, he got so much hip hop memorabilia, man. This is just what he could grab at the moment, I'm sure. Beyond what you meant, I couldn't think of a better platform for us to really express ourselves and showcase our talents, man. The end of the way it ended, but I wouldn't change a thing. To be honest with you, man. If I could do it over again, man. I mean, we had fun doing it. We know that our true value. We still know our value to this day. But that platform right there, this bringing back so many memories right here. I appreciate you for that, man. Did you get to have y'all even to enjoy all of this music that you know? No. I'm going to go even further than that. Like right now, this is like our first time doing interviews, man. We didn't do none of that. We didn't do none of that back then. We probably had some beat riders coming and give us some questions and put in a quarter of a magazine. But just being on the forefront of doing a full-fledged interview, we have never did that shit. All of this shit is like what? You get it here first. Right here. All right. So seeing all of this work on the table, man. What are some of these songs that you think got slept on? You want to know if some of the first thing came to mind though? Yeah. How the Royce is that one paid? Damn. That's fucking. That's a hard one to swallow right there. You tell my song that was slept on? Yeah. I just named albums that was slept on. This one, Big A was slept on. Big A definitely. Big A and Prime Suspect. Prime Suspect, bro. Prime Suspects. Yeah, he is. I mean, because you know, we had a Magic Album was slept on. This was slept on. Magic Album was slept on, Rest in Peace Magic and His White Chastity. I think this one was slept on. Oh, definitely. You know what I'm saying? I mean, whole albums, man. Like y'all said earlier, it was impossible for all that music to get to look, because you look at the rotation on radio and television. Yeah. Like, you know, radio, you know, you already know right these days, not thinking for the last 10 to 15 years, you hear the same song in rotation every 15 minutes. Because you already know that's corporate things that's intertwined with that. So, you know, it's been three full days to play all this shit. Absolutely. So, you know, that's why it surprised us till this day that like K.L. said earlier, the album feelers, that's the whole unique thing about our music is that our album feelers were bigger songs than the video and radio songs. This is what I was asking earlier, so you get used to creating do y'all still work at that pace like you gotta do, like you're doing 500 songs a year. Oh, hell no. This man the grandfather. We don't have an artist. We have artists, but we don't have that artist. But see, that's why like a lot of these songs, like this album wasn't slept on, so just let me give it to him wrong. She is. If it wasn't slept on, it didn't get if it really got to push. Catch a bullet in the fly. You're right, it wasn't slept on. It was a promoted product. What? Like you said earlier, I don't think we had a loyal following. Like y'all said, y'all were one of those ones and you said it's already evident that she went to the store on Tuesday and you still got them in your collection. You still made the impact and the movies. These are songs that we still listen to on the regular. We don't listen to it on the tape, but that shit is only got there. Because it's a cult, what we created was like a cult, man. Just like religion. Our religion started as a cult, and the fact that we're on the shows because y'all like you said this was the soundtrack of a lot of people's lives, man. You know what I'm saying? You know what I'm saying? We appreciate y'all real talk. I got to say it for the record. We appreciate y'all for being the supporters. I don't like to use the word fan. Shit, shit. We fan the fan. Nigga, you think I won't come out there and blip them off? Chess Day Park this weekend. Nigga! You fuck them off! I appreciate that, bro. I appreciate it. If you want to get it with me tonight, my main point is to have them to be here tonight. Yes, indeed, man. Get you in the room, sitting on Don Perignon, just whatever you want to do, baby. Nigga, freaky as hell. Nigga, you got to make him come out. Thank you, bro. I'll finish some kind of way at that time. Who pushed you inside of him? Sons of phone. That ain't even him. Sons of phone, bro. Everybody thought that was his group. Yeah, Nigga. I get that all the time, bro. Shout out to Rico, shout out to Joss, shout out to Des, man. Look, bro, y'all did that, bro. I can't, man. I can't. I'm an artist, man. I mean, I'm dead, only one. We never got to see him. Yeah, man. A lot of people think that I did that, but them boys, man, their whole album, man. You had to co-sign to get him on it. To come in as a group. You know what I'm saying? Get out of respect. He asked more, but what you think? He sure did. This another slump, though. Oh, yeah. Oh, my God. Y'all listen to this one, bro. Got a song called Feels Like The First Time. Man, this whole album rocks, bro. Mobile. Pop, pop, pop, pop. It was my night. You was getting this, motherfucker. Plastics. Oh, yeah, man. This is about shooting, nigga. And it's beautiful. Oh, my God. Shout out to Rest in Peace, Jill Laverg. You know what I'm saying? I pretty much did the interpolation of that. You know what I'm saying? We did a lot of interpolations and stuff. That's what made us special because we just made our version, you know, slow jams, you know what I'm saying? Or even some classics, man. It's bad. Oh, gang stuff. Now, that was the first song Beats by the Pound produced together. Me, him and Craig B. That was the first song that we produced as Beats by the Pound. Before we go out, shout out to Craig B. Shout out to O'Dell. Shout out to Loves, man. See Loves. You know what I'm saying? We expanded the Beats by the Pound from a production situation to all our brand. That's why we are here like this here, man. We have a revival going on right now of a suscitation because, you know, a lot of this generation, you know, they don't know where the sound comes from. And a lot of them give credit because they really get them to discover all of this for the first time. We got a lawyer following, man. Shout out to them for our percentage. Appreciate y'all, man. Man, I really love y'all platform. And Fiend told me about it, you know, his experience here. I already know him about you. Like I'm saying, I really love your platform. Thank you for inviting us. Don't let this be the last thing. We still got 47 more albums. Oh, man. Already, man. It's just so much stuff that we didn't... Bruh, you need to speak on our documentary. Oh, yeah. Whatever y'all need, man. Yeah, we do have a documentary coming out. We can do that. I would be the motherfucking that making them lyrics make sense. Absolutely. In the fact... He's talking about a metaphorical ass. Because sometimes life gets hard. You have to put your knees on your elbows. Tom, bruh. Tom, bruh. Speaking of which, we will be looking for a lot, like Kel said. Man, we were working around the clock. We didn't have cameras, you know, around us all the time, or camcorders. We're going to put the whole playlist together of just beats by the pound. That'll be the one that'll really fuck us up. Yeah. Just to sit here and be like, nigga, listen to this. And I know y'all got more stories, too. Who put them goddamn flukes right there? Tom, bruh. That's for the documentary. That's the documentary. It's still on... How does it work when... Say for instance, you said that was the first record that y'all produced just beats by the pound. What does that look like? To a person who may not understand what it... You know what I'm saying? How you can have three producers on a track like that. Kel can explain that, too. Well, we... I gotta smoke to this. This shit ain't too good. This episode will be five hours long. And I'm at the crib, bruh. Every one of these songs in the video. If y'all want to. If y'all do a club one, club two. Nigga, y'all can host this. We'll leave. I will leave. Talk about what y'all want to talk about. I don't want you to say shit. You have to, bruh. I told him I did chop his bow. Nigga, that's what he said. No, bruh. There is nothing else to say. Motherfucker. Yes, indeed. But it's like... We all... As far as beats about a pound. Me, Moby, Craig, B. O'Dell and C. Lo's. We all can do everything. But it's just certain things that each one of us is really good at. So I know when we did Heavens for Gangster Craig B. did the bass line. His bass lines and his guitar was like... His bass lines and his grooves and shit is like... His ear for funk, you know what I'm saying? It's on some other shit. And he started out with the bass line and passed it to my homie and now you hear it. I did the drum passed it to my homie and passed it to Moby to where we knew exactly what we had to do. You did them drums and your baby girl did them drums. No, I didn't do it. You been had to do them. No, he did that. You just turned the baby loose in the studio. I'll never forget when we did kick though, right? Come on, man. Shit dropping, man. Man, let me put this out again. That shit is smoking, big dog. I don't know. Is that a Popeye? It definitely is, bro. Part of the game. When we did kick though, right, I'll never forget. I walked in that bitch and I think Pimp was behind the machine. He was behind the drum machine. You know, as soon as I walked up in that mother of a... Man, come do that drum shit you do, man. You know what I'm saying? Because the song was pretty much done. And Pimp he is not a selfish motherfucker behind music. Right. About four nights. And when I walked in, he was already about to do the drum. As soon as I came in, he said, Man, man, do that drum thing that you do. And after I did that, you know, that was... the song was in. It was done. You know the best part about this story is that you never denied that it's a drum thing that you do. But you never mentioned what the drum thing was. Mm-hmm. I was so credit for having that cold ass drum shit and didn't even really say it. You can care, do that cold ass drum shit you do. I did it. Man, that was it after that. That's hard. Pimp, his mind... Let me tell you something. I learned a lot from him just based off mixing and you know what I'm saying? You know, I think we were doing Fiend Down South slinging. Yeah. He showed me a trick on how to record his vocals and shit. You know what I'm saying? I would have never thought to do that shit. He recorded his vocals. When we go to mixing and engineering shit, we always put little effects on it to season it up. He went up in there and actually recorded his effects with his real vocals. We'll put our effect on it and try to give it a spread on the vocals. And I did the visual. I think he said nah, just take that and turn it straight up. Take this one and this one and pan it that way. Pan it that way. He said turn them down a little bit. And he said not listen to it. I put the headphones on and I had to look to see if I had the effect on that bitch. I'm like nah, fuck a pimp. You know there's less and pimp see man. Yeah, bro. That's one of the hardest opening lines I had no friends and I spent my last $70,000 on the drop top band. I'm thrilled, man. I'm about to put the phone back to his real figure. Lay it down. Y'all know this. What y'all get these gigs done? We got some D's. He rockin' with us, man. That's how I love it right there. I'm about to throw a kick stone laid out on the floor. That's one of them ones. See when that motherfucker, my mama was actually saying pimp recall when him and Fina Bun did down south sling it. I'll never forget that shit. That nigga came and that bitch dressed like fucking one DMC boy he had his leather jacket on he had his glasses on like DMC right. And he wrote his verses on some paper about the size of this phone right. You did too. That nigga came and that motherfucker he wrote his verses down on some little B-dance paper. I think he did his verse I got the gold cane little white little body key he ran through that bitch and he switched the rest of the verse on this one and while he switched to this verse he had the other verse wrote on the back of this one so while he rapping he flipped this bitch over like this then he went to here and then the last verse was here and then he finished that whole all. That shit was so fucking funny that nigga came up in that bitch I got the gold cane little white little body key he was running that bitch and he went to the other part and while he was going to that bitch he was flipping this over for the you know what I'm saying and when he finished he went to this one and flipping this over to finish the verse like that I'm like I've never seen this shit. You know what I'm saying? The finger worked the flip shit. Damn. And Bunge is sitting in the cut. Now that dude, yeah, shout to Bunby man. How did nigga know it was going to be long enough for the song? He wrote it. He wrote it on both sides. That's gotta be enough nigga. Right. He wrote that motherfucker, my nigga. It's the fact that he was in that bitch standing up in the booth You know what? I was talking about writing how but I don't, what I really don't get is how can I mean just because they say Wayne ain't writing his verse and Jay-Z don't write his verse my thing is now how can you be a songwriter without writing a song now? See a lot of these they like to have bragging when I say I don't write that, I just go in there. You know what I'm saying? I wrote it. I wrote it in my mouth. I'm just saying like I understand certain lyrics you know couldn't be freestyle or whatever. A lot of stuff don't make sense to me now. I'm saying like be responsible songwriters, especially if you want that song to be memorable. So I think there's a difference between this generation and that generation because you understand the test of time. Like you say you write it with your mouth because it came from a certain place. You know what I'm saying? I don't know what it is. I'm not trying to hate on this new generation because I do like a lot of this music out here right now. But I think that artists should really at least write it here. What advice do you find yourself giving young producers these days? Let me start with Don one. Give up. That's life. Get back up and keep going bro. I would say be original. Be original study music some kind of way even if you don't know how to read it study the best who did it. Beyond hip hop going to the jazz going to the rock study some old music and be a real connoisseur with this thing. You know what I'm saying? That's what I suggest. I can work in a lot of things. I would tell you I would tell you remember why you started it because it's like everything we did pretty much no limit first ten albums knowing that we weren't going to get paid to put the company in position and win. And be serious about it because this shit can be a real expensive hobby. That's what I was saying if you took that approach how do you sustain it? You got to take a hit like that just to take home. Because you look at it like right now the value of I'm not going to say the value of production has changed and you got to understand the shit that I pay for this equipment so I'm not just going to give you when they come up to me like do you have any mixtape beats what the fuck is a mixtape beat? Is that like dude this fucking drum machine was $3,500 this compressor was $28,000 so the producer they have to learn the value on what music is and just don't give it away but some got lucky and it worked for them but that one time I always say man look remember why you doing it because you're not going to go through and you're going to have to come up to a point where you're going to have to pay for something I'm going to give a damn it is because how we came up to where we actually had to buy even back then if you was bootlegging you still had to pay you had to buy the CDs you had to find a negative pressure you had to get J-cost you had to buy jewel cases even when you was bootlegging you had to pay regardless of how you put it and remember man it's like when you getting up in this just always remember that remember why you started it may not work out for you it may take fucking five years before you get your brain you know what I'm saying I put my first record out on 89 my nigga and I when we got with P and like just say like the end of 94 you know what I'm saying and we started putting out records where the man Mobe went 95 hit I mean he got our first paycheck you guys have got us some shoes man we've never seen that type of money right and you look at it like this it's like how beast by the pound farm Monday goes when we got out there we wasn't making no money so man Mobe we were like man we got to make some money out here so we was like man Mobe was like well shit let's start a production team around this bitch and he was like we yeah he said let's get a production team around this bitch and he was like what we gonna call that motherfucker he was like I don't know what we gonna call it yet but I do got this hook stuck in my head right and he was like it was what I always said we don't know which one came over the park because I think Mobe came over the pound and I say beast by the pound it was vice versa so we went like fuck it while we was out there you know he was never there so we had to try to find a way and so man Mobe found a way we got out some business cars made KLC Mobe we had our little pigeon numbers on that bitch and P got one and saw it right the next day he came up handed us some cars said no limit beast by the pound car yes indeed and when he started hiding on the record I got beast by the pound and one thing I want to add to the production to you know the question you ask about what advice do we have to give these young producers first of all know what the definition of a music or record producer is see just because you paid you could spend a million dollars on equipment and push some buttons make some beats or copy and paste whatever the case may be whatever what works for you but it's more to that than production the music production you got some people who even touch the equipment like the Quincy Jones like the Michael Jackson like the Parfee you know what I'm saying but the true definition of a record producer is the one who actually puts the record together supervises the session the songs you know oversees that process just like a director behind the film film director of a film or movie you know and the producer they put together the talent and compiles that and then and consider and hires the musicians how they do the delegation each artist and the songwriters you know what I'm saying and considers the budget and how it's going to get paid for that's what a record producer is you know what I'm saying a beat maker is just so happened to be it's what you call a drum programmer if you read old credits like that had drum programming like we have a beat machine like the 808 so on and so forth the NPC 60 that particular process really is called a drum programmer you know what I'm saying so first of all just because you made a beat doesn't make you a producer we said there we oversaw the sessions we engineered at that time we didn't know that was a separate job from engineering to wiring up the studio and stuff like that we thought that was part of a producer but when we found out just like meeting with Russ at that time you know it's a certain thing that he didn't know technically that we did know we thought that all encompassed being a producer and not necessarily so yeah first define what is a music producer or a record producer before calling yourself that and then know what comes with that territory you can sit up here and have ideas don't know how to work their equipment that's my fucking problem right now see if y'all want to do some of the work I understand that damn beat machine was 35 you could come up and be like man like I got this fucking bass line and you hum it to me you know what I'm saying because I'm creative if I do that what they consider producing is really song writing absolutely people that works the machine is an engineer right because sitting here doing this interview with y'all man I know I need one beat by the panel I can't get beats I can't afford beats by the panel I think I'm going to be able to do one and then I'm going to get one Puzzle Poppin Trailer I'm going to be done I'm just going to do an A and a B side right right right then do like two minutes of the instrumental but I I know you got beats by the panel it was one beat that is all I told you to go long I looped it that whole beat could have been a pound they made me pay for this beat so y'all can listen to it watch when the foods come in oh yeah but that's what it is though bro I like you know produce that's why I want people saying then they can fucking pump it on produce yeah you do because like when you got to look at an essay let's give one scenario to where like say an artist may be in the booth and they say yeah I want sweet potatoes nah don't say sweet potatoes say man's potatoes so that's the suggestions he's actually the one who's directing that who is producer saying like hey man do it this way or say it dictate it in a certain kind of way you know what I'm saying I'm supposed to get no goddamn 80% of the publisher for saying this shit well now we're talking about song right now you know what I'm saying I ain't never that's another thing another thing about this industry do your research on the business because I like to always tell artists this talent is born every day and it dies every day you know what I'm saying so we can always find like two parts are dead DMX just died but another one is always being born look at this equation music business is this 90% 90% business and 10% talent you know what I'm saying mystical even said that on one of his records you know what I'm saying so if you be on that 90% you know what I'm saying creativity always happen you know but you gotta know how to monetize that creativity you know how to really protect yourself by number one getting copyright you know what I'm saying and also knowing how to find which publishing company that fits what you want to get out of the deal you know what I'm saying you got BMI, ASCAP, CSAC you know what I'm saying and then you know how to monetize it from the performance of it just know how to study the business when I came up that was before the internet we used to go to the library and go get the forms and you know what I'm saying and go to bookstores and find book back in the day there was this book that Kashif called what you better know about the music industry so I know there's many more books that came out since then that you gotta study this because it is a job it's an industry you know what I'm saying people like us and like these guys who are hosting this show we make it look easy you know what I'm saying you make it look easy it is work you know what I'm saying they don't know how to do it they don't know how to do it real tough man it's work that goes into it you never had to be nice to a man that's a librarian named Miss Pat real tough you ain't never had a late fee you ain't never been banned from the library because you all fired out and have a team that believes you outside of the music we got two lovely ladies over here man shout out to Mimi shout out to Sissy D yeah man they do what they do man having a team that you can have confidence in they have confidence in you it takes a team to make this happen man I mean the music is one thing but there's a whole other business outside of this that gets it to y'all that gets it to this part you know what I'm saying and it's a whole machine that runs this you know if you so happen to have you know a product that's you know you ready to put out in the public expect what comes with it because there's some politics that come with it a whole lot of it you know what I'm saying so you just got to put that out got that business to teach you the business you're just proud of it I definitely hope this ain't the last time y'all come through the traffic and thank y'all thank you man appreciate y'all appreciate y'all appreciate y'all man appreciate y'all man man look let's y'all grab a little gun this is the 85 south shore oh god man we out of here damn man wow oh god oh god oh god I ain't fucking American man where's my hat man I asked for it when I first came out I ain't forget about it we need to get on the strap we need to get on the hook