Boosie,Webbie UGK Pimp C, Bun B Young Bleed Pimp C Protege Explain It All

in my work just just the instrumentation trying to stay to that that um true to that that sound but in my in my own way. >> Yeah. >> Because I I know I may sound crazy for saying this and I may catch some flak. >> Uh >> oh. >> But that formula that Pimp had, he took it with him. >> Wow. >> He took it with him. Can't nobody else >> replicate it. replicate that. There's been many that have tried, even me, and listening to it, I'm like, cuz he I mean, he didn't really like he really didn't have to to do that much because it was him. [clears throat and cough] >> It was him. >> Yeah, we on Boss Talk 101. Yeah, we going to talk. We going to have fun. We be on fire. We be lit. It's a unique hustle. >> Check it. Check this unique hustle. It's your boy EC CEO and I'm here with the lovely amazing official most dedicated Mr. Maker. What's going on? None. You know my dwelling. I want y'all to stop what you're doing right now. Go like, subscribe, follow us from all social media platforms. You know what I mean? All I mean all I mean Facebook, Instagram, Tik Tok, Snapchat, you name it. We're on it. Just Google us Ball Talk Podcast 101. We'll pop up first in line. I guarantee you. But y'all see us on the streets and talk about, man, I love what y'all doing. Keep up the good work. How can we be a part of Ball Talk? This is how you can be a part of Ball Talk. Under each and every interview, including this one right here in the description section below, there's a link that says join our membership. Click that link, follow all the instructions, and that's how you get to see all the exclusive content y'all been asking us. Where's this interview? Where's that interview? You got to be a member to see it or go ahead and download our app at Boss Talk 101 on any Apple and Google store. Thank you and we love you. >> Hey, listen guys, we got a special guest here today. This guy right here is my guy. I learned about this guy through Bun B. Bun B said he was the protege of PMC. I went and found this guy. Shout out to all the guys who helped me along the way. He's a Leo. Um, and that's about it really at that time. [laughter] >> My guy Steve Boowo is in the building. >> What's up? What's up? >> How you doing, man? >> Oh, man. I'm good. >> I'm happy to be back in your presence, man. You've been out. I don't know where you been. I've been working. >> Every time I look around, you just gone. >> I be want to do extra interviews. You never around. >> Yeah. >> He enjoying life. >> Yeah. He enjoying life. You're looking good, man. You got you got your hair down today. We got the afro. We had the braids, [laughter] right? >> And now we have the two strand twist. >> Two strand twist. Man, it's going down, man. >> Diversity. [laughter] >> Trying to switch it up, everybody. So, man, listen, man. Um been a lot going on. >> Yeah. >> Um did you really notice that Bun beating open up another trail burger? Let's go all the way in quick today. >> Location number >> Mo City. I seen the Mo City done. >> Mhm. >> Um Zero. >> Mhm. >> A big old picture of Zero in there. I said, man, they ain't got him another one. Have I'm I'm about to go down there. >> Okay. >> I don't know if I'm going to go >> I think I'm going to go after after Christmas. I think I'm going to sneak down there. >> Okay. >> I think I'm just going to sneak down there and come back. I don't know if they going to be out and about, but maybe on that say Saturday or Sunday, maybe Sunday, Monday. >> Mhm. >> I'm I'm going to sneak out here and go down there and get me a burger and hang out in Houston for about a couple days, maybe a day. I know if I want to interview somebody, I might just be chilling. I don't know. But me and the wife going to ride. I want to go down there and really go into the establishment because >> last time I I ate a trail burger, I ate it in Shreport at the popup. >> Then I ate another one in New Orleans >> at Currency Spot at the popup. We just keep, you know what I'm saying? >> Still haven't been to the location, >> but we haven't been to the location. So, I think I'm going to text Bun. I'm going say, "Hey, I hope you're in the city. It's the holidays. You should be." >> Yeah. [laughter] Yeah. I I know a couple of people that went and they text me and was like, "Man, you think you can hook me up?" Cuz this was back when they had the Lions around the corner. I'm like, "No, man. I you know, I know I ain't going to call and try to get you. I wouldn't do that either, man." >> Yeah. Like even even though I know him and if I showed up there and I didn't either call him or get the chance to call him or whatever, I'm not fixing to go up there and say, "Hey, I know Bun. Let me skip the line. I'm going wait in there just like everybody else." >> You know why I want to go so bad? >> Why is that? I love the burgers, but really I need me some uh trio burger uh >> memorabilia memorabilia. Yeah, I told him that last time I interviewed him. I didn't know I said I need some boxes or something or something, but I didn't get my hat or nothing. So, I'm going down there to get my my my setup. >> I I can almost guarantee if you let him know ahead of time, he'll he'll accommodate that. >> Oh, yeah. I'm going to have it setting in here. You know, I got to have it in here. I'm I'm Texas and I'm a UGK fanatic. So, I got to have I want it to be real though. I don't like to like even the pictures and stuff you see in here all mean something. >> So, I ain't going to just go put something up in here and it don't mean something, you know? >> Absolutely. >> At some point, I'm going to do me some whether it be a picture or something. I probably go to that original location. I seen a big pimp. I don't know what he got in the new one. I got to go check it out. But >> like a like a mural. Yeah, he's got a zero mural if I >> Yeah, he do in the new one. But I might have to go to the old one cuz I want to get that picture frame it and then it'll mean something if I do it in there. >> Yeah. >> You know what I'm saying? And picture it and then frame it and put it up. >> Yeah. >> Something like that. Something that means something significant to what's going on now. >> Absolutely. [snorts] >> Yeah. Let's get into it. Mr. Jamaica, I know you What you got for uh uh Steve Boowo? We fa to get all the way into it. You So you better >> You know you the music man. Well, I'm the music man, but then you talked about a song you didn't I never knew. Give me um >> we talked about songs outside of uh I want to hear the songs you had some to do with with PimpC, not just the one everybody know you for. >> Mhm. >> But [clears throat] I want I want you to give me the list of those. See, last time you got away. I didn't ask you nothing about nothing but the one everybody know you for. >> Yeah. So, you give me the list that everything you ever did with Pimp. I need to know. >> Yeah. Well, I mean, for starters, we did um uh headbuster with uh Leusy. >> Okay. Now, now we ain't going to just go We did a head busters with Leucey. We not going to do it like that. >> I need to understand how y'all end up doing it together. Uh and how the experience was when And it was That was the first one. That was the first one. Let's talk about it. That was one that I actually [snorts] did uh myself. And uh >> I remember we was at this uh rent house that that Mel had. We It was kind of like a makeshift studio. This kind of like a spot [snorts] where everybody came and and worked on music. But uh he came in and I had the beat playing and uh just like that, man. Head buster. >> Who said that? Pimp. >> He already said that once. He wouldn't it it probably wasn't a good 5 seconds after he heard the beat and the beat was going and uh he just started saying the hook. You know what I'm saying? >> It automatically start. >> Yeah. It it wasn't even a good five six seconds after he after he heard the beat and shoot not long after that they was they was on the mic recording it. Wow. cuz and the reason I want to ask is because the the one thing that people do like I did this cuz [snorts] you really I only get these interviews so I'm really special. I want to just say that to y'all. But usually people always just go to Swissers and DOA you know that's it you know. Uh that's what I was doing. I can't talk about >> but that's the one cuz that was the one that that that last did really some of the later work. But I started thinking about it after me and you was talking one day and we was just talking on the phone and you was like, "Yeah, I did he me and him did a B." I'm like, "What?" >> Yeah. >> So, it kind of ticked me off cuz it's like, "Damn, I ain't never Why wouldn't I asked this man?" And I But it's something like an interview style. You got to be able to bring these things out, >> right? >> And the more you talking, you're like, "Wait a minute. He had to do more than just the one." So, we need to get into that. So you say that how long and and he was on that track, wasn't he? >> Was he on the headbuster track? >> Yeah. Yeah. >> Yeah. And >> down with the gangster. >> Yeah, that's right. >> So bluffing. >> Yeah. Yeah. So So that's what I'm saying. So he jumped right on it. He had a way of getting on stuff that he would the beats that he would either make or, you know, the way he dealt with his was being on the beat a hook and all kind of stuff. You know, that's not normal. >> Yeah. I mean, his his whole creative process was was pretty random. because I mean he knew what he wanted, you know what I'm saying? So it it didn't really take him long to come up with with with things, you know what I'm saying? Uh like I think the ones you're talking about is uh on the UGK for Life Underground Kings. >> Underground Kings. >> Yeah, that was I thought you only did Swissers and Doing. I thought that was just it. I didn't think you played part in the other songs on there. And when you did that, you you said that to me. We was on the phone. I'm like, >> what? There were some other ones that I worked on and it was basically like uh cuz when when C had went to prison, he had left me his drum machine, his R8. >> Okay. >> And I think I had it for like the whole four years he was locked up. So I had made beats on it. And uh I did uh I did, you know, some some I produced some songs on it and the drums uh were still in the uh drum machine, you know, when he got the drum machine. And uh it was um the drums on heaven on the underground kings. >> That heaven. That's man. And heaven. Let's stop right there for a sec. You did the beats on the the drums on that. >> I did the drum programming. >> The drum programming on heaven. >> Right. I did the drum programming. >> What did What did uh Young Pimp say yesterday about heaven? You remember he said something about heaven? He said he come to tears when he uh listened to that uh that uh >> something like he got to be in a room by himself. that the one that wanted Lord I'm just a G out here living that's how long >> how long can they last and heaven [clears throat] them two he said >> when he riding or whatever he say he he have issues with those right there >> that's some heavy songs man this it's just the whole feel of them >> it's just like when I listen to them I'm like damn >> yeah because um those were like the ones that he and I truly worked on together because Swisses and DOA and uh like that remix were beats that I did, you know, by myself, but the ones that we had truly done together as a as a team were Heaven, How Long Can It Last, and um uh what's the other one? Underground Kings. >> Underground Kings. >> Underground Kings. So, I did the drum programming and we had the conversation. He was like, "Man, um you worked on these other ones." Cuz he played them for me. He said, "But Jive messed up the credits." >> Wow. >> Yeah. But, you know, we were You didn't care. You just >> I I wasn't tripping on him cuz you know, we were getting it straight. But, you know, >> he respect he respected you and and he he have showed you a lot of different things. But, and you and him was hanging out together. So, really when it came down to you and the music and him, you didn't even look at it like most people, some people, man, I need to do this and that. you were just a part of the process and you love being a student in the game when it come to dealing with pimp >> because we were a team. >> Wow. >> You know what I'm saying? We were a team and I don't think the world actually got to hear the things that he and I had truly done together as a team. Yeah. >> You know what I'm saying? And those songs were ones that we actually did as a team. >> But you say you had the drum machine when he was locked up and you he pull some of those songs that you had did when he was locked up. >> Mhm. and he would tell you, "Hey, I want to use these." Or he just did it and then you heard it and you were like, "Damn, that that is the ones I did." >> Yeah. Yeah. Once he used them, he told me, >> he told me, "Yeah." He said, "I took those drums that you had on this one particular beat and I put them with heaven or say for example, how long can it last?" Now, you know, he all of that everything else, you know, was was all him. The organs, the instrumentation, you know, the arrangements and everything. And even with the drums, you know, he did some some tweaking to some of the drums. >> So, just basically like the the basic programming on those was what I was a part of, but that whole the whole scope of things that was that was all him. >> Everything around it, he dressed it up the way. >> Yeah. He dressed it up and he put the color on it. You know what I'm saying? >> Yeah. Yeah. And when you was doing those beats, did you have any thought in your mind that he might use them or you >> Not at all. Not at all. Not at all until he actually used them. You was just doing something. >> Yeah, I was just doing something. I was just doing something. >> And he was like, "Man, I'm gonna go on and use though." That's >> because when he when he got out, he came and got his drum machine. >> Well, as he was, you know, he told me, "Hey, just hold this until I get out." >> So when he came out, okay, he gets out. You see, you said he just came and got it. You was in Dallas? >> Yeah, I was I was in Dallas and he I don't know why he came down here, but >> And he showed up a session with somebody. >> Okay. >> And he let me know he was coming. >> Okay. >> Yeah. It wasn't wasn't no surprise. And you like he just popped up. >> You was like, "He come get this damn drum machine." I >> wasn't like that. I wasn't like that. I was like, "Okay, it's time to buy my own." [laughter] You know what I'm saying? It's time, you know, because he taught me how to use it. >> Okay. Okay. I mean, let's talk about that for a minute. He taught you how to use the drum machine. >> Mhm. >> And Bobo always talking when David Bal was said that about the drum machines. He he was like, "Man, he knew how to do the drums." You know what I'm saying? He always had a problem with that. And uh Bobo did Bobo real sensitive about it. He don't play about pimp. Yeah. He don't play about nothing about somebody saying something about what pimp did or what pimp didn't do or what pimp couldn't do or if that happened or it didn't happen. I get to hear Bobo tell me a spill on no whatever you know or he'll call me if somebody say something. So he my watch guy when [laughter] it come when it come down to pimp stories he going to call me and he going to put me on game on no I don't know about daddy or and that's how I always do my checks and balances. But yeah, >> when it come down to it, you basically didn't know how to use the drum machine, >> right? >> You basically how Okay. How does he approach showing you how to use a drum machine? He just That's when I was in Atlanta. >> Of course. Yeah. So that's when I was staying with him for that summer. Uh he said, "Bo, I'm going to teach you how to use this drum machine." Cuz he always used to tell me like the the beats that I was doing before I got the drum machine, he told me straight up that my drums was weak. [laughter] Elo them drums kind of weak, man. >> And you had already been dealing with music. >> Yeah. Yeah. I had been making beats. I had already like had production credits with the concentration camp young. >> You thought you were the kind of right. You got I thought I KNEW WHAT [laughter] I was doing. >> But but you never you never too you you should never be too um too full of yourself to where you can't learn. And that's that's the kind of person I am. You know what I'm saying? I I don't care who you are. If if I feel like you teaching me something new, then I'm willing to listen. >> Okay? >> And some people won't tell you that your drums are weak, they'll just go ahead and just let you continue >> with them weak drums. >> With them weak drums. So I I felt like for him being honest enough to tell me that, >> then I trusted what he was saying, >> you know, and and just listening to the drum machine >> and the type of sounds that it was putting out because what I was using was what they call a a Roland W30. >> Okay. So all of those sounds, even the drum sounds were sampled sounds. So they weren't as of the same quality as a drum machine sound cuz drum machine sounds are a lot different. Yeah, they're samples, but they're they're coming like straight out of the drum machine and they're part of the uh the drum machine presets and and just the the the factory sound. So they're a lot punchier. They're a lot stronger. You know what I'm saying? as opposed to what I was using in the W30. Like a boom in the Roland R8 is very clear and very defined as opposed to the boom in the Roland R30 uh W30 was something that I'd probably sample from another record where I caught a empty >> empty boom sound because the Roland W30 didn't come with boom sounds. You had to go out and find those sounds and you had to sample them and you just sit there and you spend hours listening to tapes. Back then we was we was on cassettes. So just imagine how airy a cassette tape sounds. Okay. And just imagine finding an empty bass sound from a cassette tape and you sample it. Well, it's going to be airy, too. >> Yeah. Yeah. >> It's going to have air in. But back then, you know, you really couldn't you really couldn't hear it or I couldn't hear it until I was introduced to the Roland R8 and heard just how clear that was. And I'm like, "Yeah, >> they're rolling. >> My drums need some work." >> Wow. And And so he tells you that and then he now he starts to show you how he uses the drums. >> Yeah. Yeah. He basically he just said, you know, he he was telling me how to how to sequence and how to arrange the the um basically is how to work the machine. So during that whole summer while I was in Atlanta, I I basically took what he taught me and learned how to work it and started making making beats >> with that particular drum machine. >> Yeah. >> Because at the time >> I was really being at that time I was really being uh prepared or I was getting prepared or pimp was preparing me to work with male because I was actually uh under trail entertainment. I wasn't signed, but I was one of the first producers on Trill Entertainment and getting they were getting ready to get that started. >> Yeah. >> You know what I'm saying? So, um, >> so really he was getting you prepared to deal with Booy and Webbby. >> Well, anybody that cuz by that at that time, Booy and Webbby, they were young, wasn't there yet? >> Oh, this was even before they got there. >> This was uh uh Smitty. Young Smitty. Smitty the pimp. >> Yeah. Yeah. Yeah. that that I was I was originally uh I was originally brought on to work with Smitty the Pimp. Uh Smitty and myself, we did an album together. >> Wow. >> Yeah. Uh called Taking Over. >> Okay. >> Yeah. And I'm I'm I'm going to send it to you cuz Yeah. Cuz it's actually it's it's actually pretty hard. >> It's hard. >> Yeah. >> And so did y'all did put it out? >> Yeah. Well, Smitty put it out under somebody else >> because he ended up uh parting ways with Trill and parting ways with with Pimp and Smitty uh put it out with some some other I can't remember his name, but um they put it out independently. >> Okay. Okay. They put it How did it How did it do? It didn't do as good as it >> I I don't know how many copies it sold. >> Yeah. >> But I know he put it out again some years ago. Uh, I think he did it with Ramro, which is actually one of the guys who mixed the album. >> Wow. >> Ramro did a lot of mixing for um for UGK back in the day, and then Smitty and Ramro had gotten, you know, gotten tight on the relationship and they uh they put the project out again. But it's got some nice stuff on there. So your your your initial setup was to go down when you went to Atlanta to get some, you know, training to to be able to be stronger under male and and to under trial ent. >> Right. Right. That's that's that's what the original intention was. >> Okay. >> And then uh me and me and C had gotten close. You know what I'm saying? And you know, he was showing me how to work the drum machine. So we had we we had developed a relationship. But in in that time after all of that, after we left Atlanta, uh I went home because it really at that time it really wasn't anything happening. So I was >> I was just, you know, I didn't have any money. >> Yeah. So you But you had met you met them down in Louisiana, >> right? I met them in Louisiana and then they sent me up to Atlanta. How long was it before you went to Atlanta after you met them? Cuz I remember when you first met them, you was you say you were waiting to meet them and you had been messing with them drums that night. How long was this was the space between the time you met them and the time you went to Atlanta? >> I would say it was maybe a span of a year, I guess. >> Oh, it was a year. >> Yeah. >> So you after a year you and him y'all seen each other periodically. Did they come back after that and y'all was able to work together or that whole year you didn't see them? What happened was uh when I went home because what nothing was happening then when I went home u u mailing them I think they had discovered mouse. >> Okay. Okay. >> So mouse came in around that time and >> mouse on the track. >> Mouse on the track. And they they had a lot of success with him cuz he man even back then >> your homie was jamming. during that time when you think about I mean when you when you think about it it's like >> um >> who was he working with? >> He was working with Webby. So while I was gone they had discovered Yeah. That's when them came into the picture. >> Yeah. They had discovered all of those guys >> and they you know they just got it got it started and you know they found their chemistry. You know what I'm saying? They they they hung on to it which you know as they should have. You know what I'm saying? and they went and got the deal and uh they put Webbby out and then you know all of the other >> So they put Webbby and him out before you even met Webbby and him they had put him out. >> No actually uh well they did or >> did you get to meet him while you was down there? They did Ghetto Stories together. And then when it was time for Webbby to do um uh his first album, Savage Life, uh Mousie did the majority of it, but then they brought me in to do a couple of tracks, you know, just to bring in some some different stuff. So, >> okay, which name them two again? Let me get cuz I'm a big Savage Life. Ain't no other project better than Savage Life that they came out with for me. >> Yeah, >> that was the best. >> Yeah. >> Yeah. Yeah. >> So, which two did you do on there? >> I did Crank It Up and [ __ ] >> [ __ ] Yeah. You did that. >> Crank It Up. >> That the whole album was I I tell them that that's the one I tell them about on here. That's the educational process that >> that's why I hit Booy and all of them. And I'd say that there was no other project done >> fully. >> Yeah. >> Better than S. >> No, that was that was that to me incomplete album. And it's it's a classic. >> It's definitely a classic. That's dope for you to be a part of that and for them to call you back that shows they have respect for you. >> Oh yeah. Yeah. That was that was never no no bad blood or no >> cuz you know once I heard Mouse and once I heard the the chemistry that mouse had with Webby and Booy I was like man you can't deny that. >> You know that was it. >> You can't deny that. You can't you can't turn that down. >> And he was younger than you. >> Yeah. Yeah. >> So you like them boys got a little old rel they they got a bun too. >> Yeah they they >> and they from down there. All them from there, >> right? They all from the same place. So they they they essence of their sound was Baton Rouge. >> Yeah. >> The essence of my sound was more Texas. Where did you how did you end up that explain to me again how you end up down there like that? >> Going to school. I went to Southern University. >> That's how. >> Yeah. >> And you and and and you basically say, "Well, [snorts] [ __ ] I'm doing music." And they they basically found you was doing that music there. >> No. What happened was my partner Kurt B. Okay. A good friend of mine, one of my best friends. He he, you know, he knew everybody. He knows everybody in Baton Rouge. So, he he knew Mel and uh he introduced me and Mel. >> Okay. >> And then after he introduced me and Mel, Mel had Smitty the pimp. >> Uh you call him Young Smitty >> because I was brought in to work do music for Young Smitty because Smitty was more so a Texas artist. So, we had that blend. But that didn't work out and Smitty went his way. Then I came home to work and then uh Mel and Turk had, you know, started, you know, the thing with Booy Webbby and and Mouse and and all of that. So they found their chemistry and and that's what they stuck with and it worked out for him. >> Okay, I got it now. I got it now. And then and and all this is going on and you still you end up meeting Pimp and then going up there with Pimp, >> right? Right. because I met Pimp before all of that, you know, Booy and Webbby stuff happened and I went and worked with Pimp and then that's after that that's when, you know, I kind of went my way and then Smitty went his way and then in the in in that gap that's when Trill and T found >> and well found Webbby and then and Mouse and then they you know started putting all >> but Booy Booy said because of the relationship ship with Mel and Turk because of their link to pimp is the only reason he went with them. I've heard him say that. >> Okay. >> Because of their linking. >> Yeah. >> He said that's how come he went I heard him talking on the interview and said that. >> Right. >> He was happy about the the the cuz Pimp was still already UGK, >> right? >> So he thought he was linking with this the the whole link was because of him that pimp see I'm linking with Pimp, >> right? >> You see what I'm saying? Yeah. And and pimp pimp was basically the face of trillant t. You know what I'm saying? >> How did how did you see that? How did you when you looked at pimp being the face of it? How did you what made you what make you say that? >> Um just because like male was like in the background. >> Oh. And pimp was so already an artist. >> Yeah. Yeah. You know, Mel really never sought the the foreground cuz you know, Mel just real lowkey, just chill. He ain't he ain't trying to be You know what I'm saying? He ain't trying to be on no forefront. >> No way. >> Yeah. So, >> so Pimp was the face. They knew that already. That's how they laid it out. >> Right. Right. And then it it all it all just kind of disassembled when Pimp got locked up. >> That's where Pimp was act was, you know, he was a he was a active part of the whole Trill ENT. So, with everything he had going on, you know, Melan was having to wait on things, you know what I'm saying? and they just kind of and then once he got locked up they were just kind of like okay we got to we got to find a way to push forward and they did and that's what and that's when they start establishing theirel >> right >> as he was locked up >> right >> I'm pretty I I'd love to talk to them guys and see how they link did they link with him during the process of him being locked up were they communicating with him you know >> I'm pretty sure they were >> yeah I'd love to talk to them go I got to they like me too not not but the the guy to be with him to be with he I think I I need to go down there again. I went to that funeral. Uh, Young Bleed brought you up on here now that I said that. Young Bleed brought you up on the last >> uh not the last episode, but the I hadn't even put that one out yet, but the one I kind of was in the middle of putting out when he passed away, >> he brought your name up in the interview. How was it meeting him? >> Uh, it was it was dope because >> RIP to Young Bleed. >> Yeah. God rest his soul. Good dude, man. He was there. He He He definitely The last that one we did, we went for about two hours. I still ain't put all of it out. It was something that I now it's it's kind of I don't know. It's weird for me. >> I don't know why heels was weird for me putting out because I was with him. >> Mhm. >> I think that's what make it weird for me. >> So, it's a little bit more personal now. >> It really messes with me. I got to figure it out. Um I don't know. I talked to the mom, they ain't saying nothing to me. And I got paperwork showing that you know, you know how I am. You just signed paperwork. So, it ain't even about that. It's something I'm dealing with. >> Yeah. >> Right. Well, you know, it I don't know why. Well, I mean, probably cuz you know, you're hard. You You might It might be one of those things where you don't want to make it seem like you're capitalizing off of >> Yeah. >> off of his his demise. >> But it ain't even It ain't like he wouldn't want me to put it out, >> right? I Yeah. I I >> Do you see what I'm saying? >> I couldn't imagine him having a problem with it. >> No, cuz cuz we we we did it together. Yeah. And >> he was uh he was proud of those interviews. I know he was. That's why he wanted to do them. And I you know the the time when we did the last one, I tell people we had got we had our issues. It was weird a little. It wasn't weird. It was just being real. We had an issue and we got past it and we talked about it on the interview. So, >> okay. We talked about the fact of how it ended up happening. It was funny cuz he was trying to get on the show and through managers and I wasn't letting it happen. >> Yeah. >> Like you trying What are you trying to This dude's calling me trying to take I can get Bleed on your show and all that. Can Bleed come through? No. Bleed need to call me. Bleed got my number. My number been same for 28 years. But you got to you got to realize the the the the era that Bleed and all of the artists in that era came up in, most things were handled through managers. >> Yeah. Yeah. >> You know what I'm saying? So he he probably had absolutely no idea that that was the the incorrect approach. >> Well, until or the least efficient or the least effective. >> He learned because we started out without that, >> right? We started out my brother introduced us, >> right? So, it's more personable. >> Okay. >> It was it never started with a manager. So, it ain't going to pick up with no manager. >> You see what I'm saying? >> And so, >> even back then, even even if you would have uh met him personally back then, >> he probably would have been like, "Hey, holl at my manager." >> Correct. And that's that's because so many times, you know, things get >> misconr. So you feel like if you have a a middle person, that middle person is always going to work in the best interest of of his artist. And that would have worked out that way if we hadn't had a falling out in the mix. You know what I'm saying? If we hadn't had a he called my brother and they get your brother did this, blah blah blah, you know, and then it's like, okay, my brother called me. What'd you do? I'm like, [laughter] "What? You and him?" I said, "I did say that cuz he did he ain't called me." And I've been calling for a long time like that. And my brother's like, "He say you messed up this." And I was like, "Well, whatever. He can call me if he need got a problem with it." And then he wouldn't call me. And then finally, >> cuz I kept denying them managers, he called me. And I was like, and we was in California when he called me and I was like, you know, to call me, you know, you and then we straightened it out. Yeah. >> Now we can move forward. You can tell managers or anybody call me now, but you going to call me cuz you said that to my brother. Like got >> that's how that got you. >> And so he did and he was like, "Bri, you was right." He said it on here. I just ain't put it out. You know, I need to put the full interview out. And I will eventually. But I got was a good dude, >> man. I knew it. >> He was a good I met Bleed through uh concentration camp, you know. >> Yeah, that's what he told me. >> This is way before pimp and trill and all of that. >> Yeah. Yeah. Yeah. You met him early before everybody? >> Yeah. Yeah. So, and [clears throat] that was the time even Booy was with them before he was with Mel and Terry, >> right? That's that's the crazy part. >> I met Bleed. I came I came in to the concentration camp as they were mixing my balls and my word. So, really? Yeah. So, I actually got the opportunity to sit in and watch a a huge part of that process happening. Like, I was there like I heard a lot of those songs before the world heard them. Uh, I sat there. I, you know, I used to go to the studio and be right in there with Happy Happy Perez. >> Really? >> Happy mixed the whole album itself. And I I just sat there and just soaked it up. So I I I came in around that time. They basically had already recorded that album and like I said was mixing it down when I started hanging around. >> What was the What was the Which one [snorts] of them songs uh stuck out to you? Did was it How You Do that there or was it My Balls My Word? Cuz he you heard it before Pete was on it. Yeah. Yeah. Because you heard it before locally in Baton Rouge before P had ever jumped on it. So, yeah, I I'd been hearing the song. >> Which one stuck out to you in that? Did you hear all of them? The whole project? >> Mhm. >> Which one stuck out to you uh during that time? >> Uh so many of them, man. I like that. My balls are my word. >> Balls of my word. Um the way that be it's got a it's got a sound to it. >> One of them that stuck out to me was the one that that Pimp had produced uh Bring the Noise. >> Yeah. Bring the noise. >> Yeah. I was actually I remember hearing that beat for the first time. Uh we were outside the studio cuz the studio was at Clo's house. >> Okay. >> And he had a detached garage back there and that's where the studio was set up. So this was like towards the end of the album and they uh I think we were sitting outside. I was sitting in a truck and uh CEO came in and he he put the uh he put the tape in his tape deck. He had like a Ford Expedition at the time, [laughter] something like that. It was clean though. Oh yeah. >> But uh yeah, he had some blades on it that clean. >> But he had them hammers or them stars on them. >> Those three uh three spoke blades. >> Oh, three spokes. Yeah. Yeah. Yeah. >> And uh he uh he played that uh >> that bring the noise beat. And then uh Happy looked at me, he said like Pimp did that beat. I was like, "Pimp?" I was like, "Yeah." >> Oh, it was serious. You had even met Pimp at that time? >> I No, I I hadn't even met him yet. And uh I remember hearing that instrumental and then that night they went in and recorded it. >> Wow. >> Yeah, >> man. That had to be tight. [clears throat] So it it was that one that that that album was jamming. >> That whole album jam. I jam. I put it in uh way before before he passed when I knew I was getting ready to interview him and I was thinking we might have been coming from Houston or somewhere and I put it in and I I mean I put that in my on my uh on my phone. I was like we listen that whole thing cuz I knew I was going to have to interview him, >> right? And I was like man this whole this thing bumping the the the the beats the way the beats was dropping on >> it was an extremely colorful album. Yeah. >> As far as production was concerned. >> Yeah. >> And it was it was very distinctive from everything else that No Limit was putting out. >> Yeah. Yeah. Yeah. >> Very different. >> Uh not taking anything away from theirs, but it was it was a lot different. And it it was like I think what people perceived it as at the time was no limit coming out with a with a different sound. >> Wow. because everybody thought it was a No Limit album. >> Yeah. >> So, it was just another another notch under the belt for No Limit as far as it just being another sound uh that No Limit was going to be able to offer, but you know, time didn't didn't work it out like how was it? How was uh you and Young Ble's conversation when you first met him? >> Oh, real real cool. You know what I'm saying? >> He real He got some knowledge. He got Was he spitting that knowledge back then? He was young then. >> Yeah. Yeah. He was uh he was he was heavy into the Bible. He and I actually did uh we uh >> we took a road trip together from from Baton Rouge to Houston one time. >> Okay. >> Yeah. And and we talked a lot during the trip. >> And he was about God, wasn't he? >> Yeah. Yeah. Just God and family, man. He was just real real grounded cat, man. He he never >> he [snorts] never got that that Hollywood bug. >> Never did. And and that's way that's why I love our interviews. >> Yeah. Cuz I I ain't going to lie, the one we did here, he was more a little, you know, he was he was raing a little bit. >> Yeah. >> Yeah. But the more the one we did in Vegas before the verses, he was more he was more laidback. He was more poised. It's probably cuz, you know, he had gotten used to y'all by by that time. >> I think it was more he was used to me when we did the first one. We did three. >> Okay. We did one virtual. The first probably our first ever virtual interview was done with Young Bleed. He was living in Kentucky. >> That was our fir when we first did Boss Talk. This was before I met you. Before I met I knew he's Leo, but before I met Boa any of that before you introduced me to Bo It. This was early on. >> Might have been what? Probably one of our first interviews. >> Really? >> Yeah. Okay. That's what I'm telling you. We It was the first He was telling me he was telling >> it was in that first year. It was in the first time when we first started up. >> So you just you you uh you knew about Young Bleed and you what did you just recognize that like he really doesn't do a lot of interviews? >> No, my brother. >> Okay. >> My brother, my oldest brother, that's my my everything. >> Young Bleed and him used to go fishing. >> They used to go fishing together when he lived in Dallas. >> Okay. >> And I ain't know nobody like that. >> Okay. >> And my brother was like, "Uh, I'm put you on the phone with Young Bleed and y'all can chop it up." It wasn't even about boss talk when I first started talking young bleed. >> Okay. >> It was more just my brother and him used to fish together and he Young bleed and >> so Okay. So that's why when the managers came into the >> That was Yeah. It was nothing about what? Yeah. >> Now it makes sense, right? [laughter] >> So we was we did that first one with no manager, nothing. It was just he said, "Man, turn your phone sideways. Move over to the left." You know, [laughter] >> and I like that. >> Oh yeah, man. And we talked about P and everybody. We talked about his mama and how he learned how to mu listen how to music sound of music through his mom reading him poetry. He was still in his mom womb. >> We talked about stuff like that. >> And so we we built a relationship over over the think about it. That's a long time. >> Yeah. That's four years with me and him talk we and and that's why when I got upset with him cuz we had talked in year and he going to tell him I'm his brother and somebody in California. I said was I'm his damn brother. He need to pick the phone up and call cuz I ain't talked to that [ __ ] in a while. You know how I am. Same way if you did like it's going to be me. And that's how and we end up see how God work. We fixed it >> before. God made us fix it before. >> And not only we fix it >> was inevitable though. Just being the type types of person that y'all are. >> Yeah. Me me me me me me me me me me me me me me me me me me me me me me know knowing him like I know him and me knowing you like I know you that Yeah see it going nowhere. >> No, it didn't go nowhere cuz as soon as he we fixed it, he and he got his butt right back here. He done had his with this thing on the back [laughter] of it. You know, my background and everything when he when he made it to the store >> and then after that we campaigned about going to to Versus >> and he called me when he got to Dallas and say, "Hey, I'm in Dallas. I'm going to be in Vegas." Uh with I'm like, "Don't try to get there early." Cuz he drove they drove to Vegas. >> Okay. >> The whole uh his partner the uh from here >> what's that boy name? I don't remember his name. He going to kill me. >> He live here now, too. He's his manager. >> What? Uncle Polly, was he? >> Yeah. >> Okay. >> Yeah, that's him. >> Yeah. >> Yeah. The one He was big. He ain't big no more. >> Oh, he not. I had seen Uncle Paul years. >> Oh, at one point. >> He ain't big no more. He smaller than you >> for real. >> Yes. I probably wouldn't recognize. >> You wouldn't? >> He probably be coming to do my interview. That's another reason why I want to get the whole family. I think that's what I'm trying to do. His son in the music, too. I'd love to get all of them on here and talk to him before I put that interview out. That's what I'm doing. >> That'll be dope. >> That's what I want to do. >> Yeah, >> cuz that was his last interview and I get to talk to him about it and then boom, pushed it all out. Even his mama cuz me and his mother done got a great relationship ever since that happened. We I stuck with them and that's how I end up I'm just who I am, brother. >> Yeah. I mean, I I I think I think his son would be a a great interview because I saw some of the things that he put out about his father. >> Yeah. And you seem to be a very intelligent and grounded cat. >> Very intelligent and grounded. >> And I want to get him up here. I think I'm going to call him. He text me one day. I'm going to call I calls him. So I'll call him and try to set that up. >> Yeah. >> To where I can get him up here if I can get the mom and the brother and then get Paula Uncle Paul. That'll be dope >> cuz he'll he'll probably he'll probably be able to to give you some insight on bleed that you probably weren't even able to get from Bleed. >> No, no, no, no. Definitely. And I learned that going to his mama house. >> Yeah. >> I got all that footage. Yeah, >> I went there afterwards and all and talk with him and it's it's I man I I feel like I feel like that whole process will be very important because Bleed never really got his flowers man. >> No, >> Bleed never really got his flowers. Uh and I think I think by you doing those interviews, I think we'll really really contribute to to helping his name >> and his legacy >> because he he deserves that. That's how I look at it. I'm real I'm real strategic. >> Yeah. >> Oh, you know how I am. You know me now. I call you about all the stuff. >> Yeah. I'm real strategic about how I handle people's stuff, you know. So, and and she whole thing. She just along for the ride. She don't know what I got going. Hey, >> she keeping you going though. >> Yeah. Yeah. Yeah. She riding with me, man. We went all the way down there and we we definitely had a great uh homegoing for him and I thought that was dope. So you and him rode all the way to to to Houston together. That's a long ride. How far is that drive? >> About four four and a half hours. >> Four and a half hours. And y'all just chopped it up. Chopped it up. >> Listen to music. Listen to music. >> Listening to music. Riding. >> Who who was driving? You or him? Me? >> Oh, you were rolling. >> Yeah. I had a little red Mazda truck at the [laughter] time. Um and uh I you know I worked on that second Young Bleed album my own and Okay. >> Uh I had a bunch of Young Bleed stickers on it. You know what I'm saying? >> Yeah. Yeah. Yeah. Yeah. You had to go down through that. >> I was advertising, man. I You know, I I did what I could, you know. >> That's dope, man. And that and and you really like the way his artistry was. >> Yeah. Yeah. I think that's just hearing them on on my balls and my word and and not have an opportunity to work on that project. I was really looking forward to working with him on on the next project. >> Wow. >> So, yeah, it turned out pretty nice. >> He had a spiritual side to him, man. That's what people don't realize. He had a real That's what I loved about his from the time every time I interviewed him. >> Yeah. >> God was going to be in the mix. >> Yeah. >> And I'm the type of person that talk about God a lot. >> Oh yeah. >> So that was that that was an easy interview when me and him were lock in. >> Yeah. >> We get to we get to uplifting, you know, and talking about the music, you know what I mean? I think that's important in these days like what happened with him like to be 51 >> and me and you, you know, we passed those ages. like, man. And for me to be up there with him like that and then that happened, it it made me like God got me here for a reason and I got to do what what I know God would want me to do in this situation. >> Absolutely. I mean, it all it all came together the way that it did so so you you could >> um send yourself on that mission. I had to do a lot of different things that um [sighs] >> other than I mean other than be high I haven't seen him on any other platforms as big as yours. >> Yeah, I know. >> You know what I'm saying? >> And then >> he didn't do a lot of interviews. Not not that from what I've seen. >> No. And then you think about like I say my brother and him and my brother real spiritual. >> Mhm. And that made it to where it even made it more prevalent while I was there. >> That make sense? >> So the conversations me and him were having the stuff that I know him and my brother talked about how he is about God, right? >> It really makes sense when you think about it. >> And [clears throat] it's like, man, I got I know what now the way I'm moving and shifting in this. I got to be a part of it all the way through, >> right? >> Ain't nothing else I can do but do what what I'm supposed to do in this situation. >> Yeah. I mean, you know, look at some of what you got out of it. You know what I'm saying? By being able to go to the verses. That's probably going to be one of the most historic verses. >> Yeah. >> Ever recorded aside from uh Gucci Mane and and Jez. >> That's that's that's probably crazy. >> Because it just all, you know, I I watched that versus, man, and it just the way that everything fell in line. You know what I'm saying? It was it was it was really interesting to see all those table tables turn the way that they did. >> It was crazy. >> Yeah. >> That was the most you know I wasn't even supposed to be getting in. >> Yeah. >> I was at the gate with no way in. >> Yeah. >> When I got there, I had the Escalade parked at the store next door. >> Mhm. >> And I Everybody said I was getting in, but I wasn't didn't have no ticket. >> Yeah. >> So, I'm standing outside the gate. I got all this recorded, too, cuz my camera guy was with me. >> Yeah. And Pete Jugie gets me in. He gets get me gets me in the door. Once he gets me in, um, Hot Boy Hot Boy, he going to be mad cuz I remember his Birdman's right hand man. >> Okay. >> He He embraced me soon as I come through and take me to Birdman. I just told you Jug and PM was at the gate. That's who got me in. They only had one band. >> You see what I'm saying? >> And I go from cash. Now I got cash money and >> no limit on my back of my shirt. >> Okay. >> And on the front I got half camo and half black with the sequins that she done this woman here done made. She got the re, you know, she make these custom made. So >> it's like, dang, man. Cuz I know I'm rocking with both camps. I'm from Texas. >> Yeah. >> But I love both of these camps. >> Mhm. Absolutely. >> You see what I'm saying? So, I come in the way I I got to come in. But >> I'm telling y'all this cuz the way I get through the through the sequence to get to that stage is crazy. >> Yeah. >> I don't know which stage I'm going to be on. >> I don't even know if I'm going to be on stage. I just know that I'm supposed to be in here. >> Mhm. >> And as I'm going in, I get to the front. We can't get in. She can't get in. I had to get the tags. Birdman gave me the tags to get all of my people people in. He made sure. Yeah, that's what's up. And then when I get in, she can't get in. We I keep going cuz Silk the Shaka gives me the band. They switch the bands up when we going in. I told this story before. And once I go in, I only go in so far. The lady with the headset on, the white lady say, uh, I said, I'm supposed to be on stage. That's all I told. >> Yeah. >> She said, and she took me to somebody. He was like, no. And then she said, here, come here. Let me take you here. Screw what he's saying. And she took me to go to toward the stage. Now I told you Silk the Shaka gave me the band to get in BG right here. So I go back with BG in the green room. >> Okay. >> And I think I'm going to go on the stage with BG. >> Okay. >> And when I get ready to go up, they denied me. He said he with me. It don't matter. You need to go. Your song for play. This his song for play. They they stopped me. They high security at that thing. >> Yeah. >> While I'm standing there, some dude hate on me. He know who he is if he watching this. Cuz me and him talked about it after. I said, "You a hater, [ __ ] baby." He was hating with baby Hollywood baby. I said that [ __ ] right there a hater. I don't know who he is with Birdman them camp. [ __ ] you was a hater. Then I tell him, "You seen that part? You a hater. You know how I talk. You a hater. You would let me on the stage." But I end up >> uh cuz I couldn't get up there. >> I had to go around the dude, black dude, took me around the other side >> and that's where uh Rizzo, shout out to Rizzo. And that's where my boy Rizzo and who else was it? Um, what's his name? >> Big Boss. >> Big Boss. Big Boss. Okay. >> He was the one who signal and Big Boss brought me up on stage cuz look how much I went through. I had both of them on. >> You see what I'm saying? How crazy. >> Yeah. >> That was a lot of shifting. I could have ended up on any side. >> But that's I mean that's a that's really like a normal >> atmosphere for for situation like that >> like that. It was cuz Yeah. cuz you got you got all of those camps both of those camps with all of those people. >> It was a lot of people. >> So it it would have been extremely >> got Tamar Braxton and they passed me up. >> Yeah. >> And uh what's and and uh his girl and BG's girl. >> I couldn't get up. I'm standing there. I can't get up. But they letting them up and that dude. Yeah. They can go. But he didn't want me to go. Other people that were trying to get in. You know what I'm saying? It it could have very well easily >> slipped by anybody. So, everybody was trying to probably be just extra careful to make sure wasn't nobody on stage that wasn't supposed to. Cuz I mean, there >> it's a lot of room for error. You know what I'm saying? You you let the wrong person backstage, >> it could be bad. >> And and and by them having the history that they've had with each other. >> You know, there was a lot of I'm pretty sure a lot of people were kind of on edge. >> Oh, it was. It was. Yeah. But Bos knew. >> I He soon I knew if I It's on Boss. That's my guy, man. B. Uh, shoot. Silk the Shaka. Uh, Birdman. I'm good. Birdman would have seen me. I was up on that stage. I don't care what you say. I know I was up on there. Birdman see me. >> But it was just it was so hectic trying to get understand how to They couldn't do that cuz they out there, you know, they working. They up there doing performing. There's verses going on now. I get in. I'm I'm trying to get up there, but the verses is popping. >> Yeah. So when I see when I get up there, Young Bleed and all of them, they sitting out there. I think Snoop was sitting downstairs. I'm more into the music than even dealing with them, >> right? >> I should have been focused on getting to talk to Snoop. I'd already text him. He had hit us back. I'm should have been focused on that cuz I hadn't got to really officially I'm right with him. >> Yeah. >> But the music took me there, bro. >> He thought he was one of the rappers. >> The music got me, dog. Bro, the I'll tell you what happened. Well, that's that's what it's supposed to do. >> It got me, dog. That's what it's supposed to do. >> It got me. I I got mad at him. She was upset cuz I supposed to holler at Snoop. >> Okay. >> That's why I told him, "Go ahead and go. Go." >> She thinking I'm going to get to holl at Snoop and we going to get wasting this whole trip. >> And make connections [screaming] to who he's supposed to make connection. Not just Snoop, but anybody. >> If you seen me on stage, you would have been proud of me. >> Yeah. >> If you seen me, I was focused on the music. I The music got me. them boys had me up there in the midst of this stuff, man. I ain't I don't know. I lost it. >> But I think ironically it it might end up working in your favor because they saw you enjoying yourself >> and that they were there to enjoy themselves as well. >> I had a damn good time. >> So next time you [clears throat] see them, then you can hit them with the aid. >> Well, you both BE ON BALLS TALK. BUT SEE, [laughter] but see when I got up there, the one thing I can say, the real reason Young Bleed performed on a whole another level, bro. >> This here, >> I don't think I've ever seen him enjoy enjoy himself like that. >> Good time. We had talked about it. If you go see the interview when I put it out, we had talked about it. I always talk about that that five. I asked him, me and OG was talking about five smooth. He told us, "How you going to defeat him?" He was like, "How you going to defeat that that your Cash Money been they they got the hottest newest songs, you know? How y'all the the most re relevant songs to the crowd?" Yeah. >> If it's the right wrong crowd in there, if it's a younger crowd, if it's a Cash Money crowd. >> Yeah. >> And he said, "Man, I'm we going to defeat him with uh like David and Goliath." That's what he said. >> Yeah. >> He said, "I got my my slingshot in my five smooth stone." That's what he told me. Yeah. On the interview. >> I'll give that part up. I can't wait for you to put that part because that was one of the most impactful parts to me, but I'm like I >> got to wait for the family. I just got to try to do it the way I want to do it. And >> when he came out, he had that that slingshot in his hand. >> Yeah, >> that's the part. Did you go back and look at it? I think I told you. No, I haven't. I haven't seen. >> You got to go check it back. Did you go back and check it out? >> Yeah, >> he had it in in his hand. That messed me up after I thought about it. >> But when you told me that, it didn't it didn't surprise me. I was like, that sound like something he would do. >> Something like he would do. Yeah, that was dope. >> Yeah, because he he was he he he believed in in symbols and and and signs and stuff like that. So, >> yeah, I could see him. >> He was jamming, too. that song that song impressionable and then for what Mia said to him that night and I'll get off of it but it's just a touching situation for me because because of the way me and his relationship me and Silk Silk to Shock and me talked a lot before that versus >> Mhm. >> about who was coming, who would be there and all that and he showed me love and he helped me to understand what was going to be going on before we even got there. >> Yeah. >> You know, far as on the no limit side. >> Yeah. And I talked to KL that night, that morning. We interviewed all of them before. It was just a dope time, man. How big? You say you think it was big as the Jeezy and and and for the South, Jeezy and uh Gucci, for them to be on the same stage. They had talked like it was going to keep going, you know, like they was going to put something together and do a tour like that. >> That That would be hard. >> That would have been hard, man. >> That That would be hard. >> That's crazy. >> Yeah, >> man. I cuz both of those both of those camps had complete movements, >> right? >> You know, No Limit had their movement and then Cash Money came in behind them and had their movement. You know what I'm saying? And >> you know, regardless of what, you know, people may say, you know, Cash Money made everybody forget about No Limit. But one one thing about that verses was P and the whole whole no limit camp reminded everybody just how significant those songs were and really they were the preerequisite to Cash Money. >> That's right. >> I don't think Cash Money would have been as big as they became if No Limit hadn't come first. >> I agree. >> Because No Limit had everybody looking at New Orleans. So Cash Money didn't have to get that fresh attention. The attention was already there. Cash Money just came in. >> Wow. >> You know what I'm saying? >> You explain the hell out of that cuz that's true. >> Yeah. >> That's exactly the way it happened. >> So that's why it was just so it was so interesting to see how the verses went down because yeah, you know, Cash Money had a lot of hits back then and they got a lot of hits now. But that that whole thing when that uh that bowed about it when it came in the way that it did when it did, I'm like you couldn't even have planned that a better way. Yeah. You know what I'm saying? And that I was like that ain't that ain't nothing but just faith in God right there because the way it came in after Birdman saying what he said >> and then Pete, you know, he he held his he held his ground but he kept his cool and he dropped [laughter] he dropped it back. >> He didn't say he didn't say a lot either. He said it and it was the way that man it was just that camel and the way that whole look was when you look at it was crazy. >> It was dope man. It was a dope look. >> It was crazy man. [laughter] >> It was crazy. I was like wow man. >> Mia Mia killed that. So you know and that's another element that woman essence there that was a little bit more of a >> she shined. >> Mhm. >> And it's like wow man this is crazy how this thing going. But you again, you know, you the talent was there, the music was there, all the hits was popping, and they didn't get to do a lot, but what they done was impactful enough to get the job done on both parties. You know what I mean? Yeah. >> I I think you um you when you stayed in Atlanta, you tell me about that. You said that chopping on Blaze. You say he was playing that thing. I told the story wrong. I think earlier when I was talking about it when I I Who was I talking about it with? But I told it a little wrong. I said, [laughter] But you said the lights went off or something happened and he lost it and he had to redo it. >> Power went out. >> That's what I'm saying. And so I did tell it, right? >> Yeah. The power went out while he was Well, he wasn't in the midst of making it. He had he really had it damn near complete. >> Yeah. >> You told it to play earlier. >> I told it to play earlier and I was trying to tell it and I said the lights went off, didn't I? >> I didn't want to tell it wrong. I was going to flash it back. But now that I got the man here since I just told it wrong. All right. I was Let me tell it again so I don't mess it up here. >> Yeah. >> The legacy is to be held tight. >> Yeah. >> Now, now tell me y'all was he was playing that that that chopping on blaze. >> Mhm. >> And all of a sudden them damn lights went off. Was it a storm outside? Cuz I think I said it was a storm. >> Well, no. That was >> See, I messed up. [laughter] >> It was just one of those uh just one of those situations where the lights went out. I was Yeah, just went out. Y'all were overdoing it. You had [ __ ] going on. The power was probably downstairs. >> I think it was one of those. It was just like an outage. >> Okay. >> Yeah, it was an outage. >> How long did it stay off? >> Probably what about 10 15 minutes. >> Oh, so it did it stayed off a little while. >> Yeah. >> Yeah. It stayed off enough to >> What did he say when when it was out? What did he say? >> He just yelled. He was like, "Fuck." >> Oh, he like once [clears throat] cuz the beat wasn't rolling at the time when the electricity went out. He had he had worked on it and he was cuz I had heard he was damn near done with it. >> Oh. So he wasn't even playing at the time. It wasn't he wasn't actively playing and I think he had went upstairs or something and he was in another room >> and then as soon as them lights went out [laughter] >> that's he knew he lost that beat >> and it's so when he put it back together >> it pretty much it sound the same as as it did and that's what he said about skills when he lost his >> m some kind of way they lost it and he had to remake it. That's what made me tell >> his was exactly the same when >> he said he went and made it exactly the same cuz they they were like, "Man, they lost it." I don't know how they lost it. What was their reasoning for? It wasn't the lights went off and nothing. It was something some kind of way they lost something. These tracks. >> Yeah. >> And they was upset about it and Skill was like, "I can I I can do it again." >> Yeah. >> And he done it. >> It that that happens, man. I've I've had situations where I lost tracks and you go back and you remake it and it sometimes it come out a lot better than what you you had before. Really? >> Really? So that you had to have a photographic memory to do that. >> Yeah, pretty much. And if you know what sounds you used, then you know you can get it back and you can you remember the tempo, you can get it back sometimes. You know, make it better than what you made it before. >> Well, let's talk about Let's get a little bit more relevant for you. Um, I didn't talk to you since uh Timberland came out with this AI artist. >> Mhm. >> You've heard about it, huh? >> Yeah. >> What do you think about it? [snorts] Uh, I got I got mixed feelings about it. I mean, well, one thing I know for sure is uh it's here and it ain't going nowhere. >> Wow. So, uh it's going to be one of those situations to where you either learn how to use a technology or or no. What what I what I what I think is going to happen is throughout time people will get more and more used to listening to AI artist and they won't won't even care about whether it's a real person or not. >> That's bad. >> Yeah. That just means that real artists are going to have to really come with it. >> Let me show you something. >> And people can create their own artist if they feel if they too shy or don't have no confidence or whatever. They can create that whether that perfect body in their mind. What is a perfect body? What is the perfect tone? What's a perfect look? They can >> boy send me send me this. He made himself. Didn't I show this to you? >> And uh this ain't him. He just made no pill in the game. Straight out of Texas. And I live a real luxurious life. One I built from the ground up in the Lonear State. >> But that ain't even that ain't him. It ain't him just but it looks just like his face. and he just put it all together, make it look like So now, but even how many times are we on social media and we're scrolling through and you see some things and you're like, "This has to be fake. This this this can't be real." I was looking at something earlier. I Everybody know this is fake. Well, not everybody cuz some people in the comments was like, "I hope that is fake." But they I guess everybody jumping on the Cowboys right now. >> Oh man. So they showed the cowboys walking out and they all have on heels. >> I seen that. I didn't like that. I'm I seen that. That's all. >> You know it's AI. But the way But but I'm talking about just when AI first begun, you can look at it like, "Oh, that's AI." But now it became so good that you're like looking at them like you hardly see any imperfections in it that much that you're like okay is this really air or is this really you know you don't ever know >> and it's only going to get better. >> Yeah. >> Yeah. I mean if it's if it's where it is now next two or three years it's it's going to be almost impossible to to really uh distinguish especially especially to a new generation that that hadn't even been born yet. like us will be able to tell just by, you know, because we're at a certain age and we've seen so much in our lives to where we can look at it and be like, "Yeah, that ain't real." >> But the kids, think about the kids that haven't been born yet or the kids that have just been born. By the time they get to the age of where they can even pay attention to to either whether it's real or AI, it's going to be hard for them to distinguish because the technology is going to be so much more advanced. >> I wish they would make them have to put something on it to tell. That's my biggest >> my thing is um my thing is it's it's going to have its pluses and its minuses, its pros and its cons for uh to me it's going to make real people have to get more creative in in their art and um because it's it's competition, you know, so they're going to have to really make some some music to to really captivate people. I think they >> but the only thing only one of the cons is you you're creating an AI artist. So whoever's creating that artist are going to be doing a lot of things for shock value >> things that a real human couldn't get away with and that's that's going to that's going to be hard to compete with. So, you know, it's it's going to be it's it's going into a new new era. And like I said, um and what Trump just uh Trump just turned down uh to where states can't really regulate AI. >> Really? >> Yeah. Do you be using chat GPT? >> Sometimes I use >> voice activated. >> No, just I type in >> Why you don't like voice activated? >> I just don't I asked about use it. I asked it about you for you guys. Really? Yeah. I told her to give me a list of what to ask you and I didn't go by it, but I did try. >> Oh, for real? >> Yeah. [laughter] >> I never I never looked myself up. >> One thing it says I [snorts] asked uh it says this is a question they told me to ask you. Some of these I already asked you. Early life and background. Pimpy whose real name was Chad Butler was born in Port Arthur, Texas. He was co-founder of UGK with Bun B in the late 1980s. Let me see that. I didn't go back to the to the to the uh to the thing. Um I didn't I think I didn't go to the Oh, here it is right here. Yeah. Influ influence and legacy. How did PMC influence your music style and approach um to the to the industry? >> Uh he influenced me in a way that >> because you you you do it good here. Go ahead. I got your questions there. Yeah. In a in a way that, you know, to to really pay more attention to my instrumentation. >> Yeah. >> And and and the quality of of my of my sounds and the particular uh pieces of equipment that I need to use. Uh before I met him, I thought that everything that I was using was was okay when really I needed some other things, you know. >> Wow. >> And and it took took my music to another level. And it made me not only look at the R8, but it made me look at the MPC cuz I I I didn't start off on the MPC like most producers did. I started off on a rolling W30, which believe the only person that I know that that really made a lot of stuff with that same uh piece of equipment was Eric Surman. >> Oh, that's my boy. I just talked to him the other night. >> Yeah. Yeah. >> See how they come around? I just talked to him on the phone. We put the interview. I got I got that coming. That's my That's one of my guys. I I really He's one of them ones for me. >> Yeah. >> Like I met him in New in in Vegas and Greg Street just put me back on the phone with him. >> U man I always had a liking for this dude. But >> not only just the beat, but his rhyme scheme. >> Oh yeah. >> Yeah. You got to chill. It was It was the It was the It was the way his lisp was. He were helling that. He would make it. It was hard, man. >> Nobody else sounded like That's why I like it. He had he he had that voice where like I remember when your customer first came. >> Oh, you're a customer, man. That >> listening listening to those guys rap the way that they rap. We were so used to hearing rah and hype hype. But that laidback Evo take a nap. Yeah, >> we weren't used to that. We weren't used to that to the point to where it was like when it first came on. I remember talking talking about it with my friends like you heard that new EPMD and we were like at first we like I don't know about that man. Dude's sounding kind of kind of tired, kind of sleepy, man. But really it ended up working out for us once we got used to it >> and we really started listening to it and we lived with that music and we saw exactly how significant that music really was because it was something different for us to experience life with then it it came into its own. You know what I'm [clears throat] saying? Oh yeah. And you >> you had a balance to it too. We danced to music back then. Yeah. >> You had to have something to make you dance to it. You what you got what you got for us? A lot of these questions on here we've asked. >> Okay. Well, just just go with the AI movement. Quit trying to hate on AI. >> I'm gonna ask you this. So, how do you keep PimpC's legacy alive in your own work and in your community? >> Wow. >> Uh, in my com Well, in my work, just just the instrumentation trying to stay to that that um true to that that sound, but in my in my own way. >> Yeah. Because I I know I may sound crazy for saying this and I may catch some flak. Uh >> oh. >> But that formula that pimp had, he took it with him. >> Wow. >> He took it with him. Can't nobody else >> replicate it. >> Replicate that. There's been many that have tried, even me, and listening to it, I'm like, cuz [snorts] he I mean, he didn't really like he really didn't have to to do that much because it was him. >> It was him. >> Wow. It was him. >> Yeah. He took the formula with him, bro, which he should have. It It was his. You know what I'm saying? And but I think there's things that we can we can do in our instrumentation to keep those those basics going, but um present it in a way that he would have presented it like with soul. >> Yeah. And there's a lot of guys that that do a good job of it. I think I think Cory Mo does a phenomenal job. >> Yeah. Yeah. Yeah. Cory Mo, he he he sound good. >> Yeah. Yeah, but ain't nothing like the P. >> I think I think I think Crit does a really good job with it. >> Yeah, Crit. Yeah. Yeah. Yeah. He's another one. >> Crit got some crit ra I've been trying to get a hold of him. He the one I want to interview too. I just ain't got to meet him or know nobody that really links with him. Yeah. >> And I'm I'm okay. I'm keep the emails going and and one day I'll bump into him. You know what I mean? It have to be a bump into thing cuz I don't like to do stuff uh I don't I like to make it organic. I don't know what that is like. It got to be somebody that I really trust >> that link me with somebody, >> right? >> Cuz it got to fit, right? I don't want it to be cuz it got to be organic, >> right? >> If it's something where it's somebody you got to do this, do that. I'm not doing all that. >> It got to be something that you got to you got to like the show. Yeah. >> If you don't like the show, don't come on. No, I'm just kidding. >> Yeah. [laughter] >> I'm just being real. Yeah. Because it ain't for everybody. Yeah, you know, um >> uh the the last one I have >> Oh, you have more than three. >> How do you think PIMC would view the current state of hip hop? And what would he have? What would he want for the UGK future and the new generation of artists? I think what he would want for the future is for just everybody to be themselves and to be honest and and and be true to their crowd. I I honestly feel like he wouldn't want everybody to to try to sound like, you know, what he was doing because Pimp was a big fan of a lot of uh other artists and and what they were doing and I think he drew inspiration from them in a lot of ways. So if everybody is sounding the same, you can't be inspired by different things. So I I think uh and and then on the question with how he would view hiphop right now, I think he would have his his criticisms. >> Uh exactly what those criticisms are, I really couldn't say. But then I think by this time if he was still alive, he would he would he would know that technology is is something that you you just you can't avoid and you can't fight it. just once once it shows up, you either learn how to deal with it or get left behind, you know. And I think, you know, I think he would have found a way, you know, he he probably would have >> made up some kind of a AI show, you know, once he once he realized you could control and and make people do whatever you want them to do just by telling a computer to do it, he probably would have came up with something crazy, man. He he would have found a way. Yeah, he he basically was and he was >> probably would have made his own self as an AI character. Yeah. Yeah. That that's that or something like that. >> Yeah. Yeah. He he was he was dope, man. That that one uh I fell in love with my chromeplated woman when he singing on that on the highway. He playing on that music, man. [laughter] >> Yeah. >> He I you could tell he loved doing it when he was doing that song. I was like I could feel like he he he enjoying the hell out there. Yeah. >> You know what I [snorts] mean? [laughter] >> Yeah. Yeah. >> So, um, how long you worked with him? How many years have you worked with him? >> Uh, I would say about three. >> Yeah. >> Three years. >> Three. >> During those three years, have he ever um gave you any advice personally like about your personal life or everything you do is all about just business? >> We just we just hung. You know what I'm saying? It was never like >> So you wasn't never having like some problems with a girl or something like that and you be like, "Hey, such and such and such." And he gave you some advice. >> No, cuz at that time I really wasn't like I really wasn't dating a lot. Like I was so into my music. Uh and I'm I'm the type like I'm I'm not if I'm if I'm at a studio, I'm not bringing a woman to no studio. No way. >> Yeah. And you know >> why what's wrong with bringing her to a studio? because um you just you just leave room for a lot of lot of things to happen because uh it's not it's not the artist, it's a lot of times it's it's people that are with them that cause issues. So if you bring a woman with you, it sometimes it don't matter. a person can know that that's your woman and and just just for some reason or another they feel like they can be disrespectful and and holler at her just to mess with you. >> You've seen it many times. >> Oh yeah. >> You know, somebody come in and a man brings this woman and this dude is jealous of that dude like, "Okay, I'm going to get at him by messing with this woman just to, you know, and cats do all kind of crazy stuff." >> Yeah. Yeah. And when you you you [laughter] think about most rap beefs >> start over. >> 98% of rap beefs got a woman in the middle >> or it either stem from from >> women. So I I don't think I don't think you you I don't think you bring in somebody that you love or care about around that environment. Like you can bring them to shows and stuff like that, but like in the studio in a creative environment uh is just too much room for >> you. A female would want to go with an artist to the studio because most artists live in the studio 24/7s. They're always working. And if you have a serious woman at home, >> she's going to be complaining cuz you're never home. She don't get to see you. Da da da. So, she'd want to come, you know, if that's where you are all the time, >> right? >> Okay. That's where I'm going to be because I want to be with you, >> right? And I I agree because it it it and don't get me wrong, it's it's all about the circumstance and the situation. Like say if uh okay so let let's take let's take Bun for instance Bunn and Queenie >> right >> if I was in the studio with Bun and Queenie I would feel a lot more comfortable with bringing my woman to the studio because >> nine times out of 10 her and Queenie are probably going to conversate and talk and and have some things in common and Bun don't travel with a lot of people. Bun don't have a he don't really roll with an entourage like that. So when he comes to the studio, most times it's just going to be him and Queenie. >> So I would bring a woman to a situation like that. >> But say, you know, if you you working with a bunch of artists and you got, you know, three cats on a on a feature or something like that and then they got they partners with them and then you got, you know, all you know, the drinking and the smoke going on, you know. Uh I wouldn't I wouldn't bring a woman in that environment. >> I think that's you making music. You got to work in there. >> Yeah. >> You looking at from that perspective. I'm just in there messing around. you got to worry about the music. [laughter] Then you got to focus on, you know what I'm saying? >> You know, so >> No, it's different when you when you really >> I've seen a lot of things happen in the studio, especially when it comes to to to women. Uh I've seen guys bring, you know, women to the studio with them and then, you know, other people trying to holl at in the studio and then it it cause causes a rift between the person that you're trying to do work with and it's just it's it's uncalable. I mean, you you wouldn't bring if you if you in a 9 to5, you working in a store, you you not going to bring your wife with you. >> No. [clears throat] And the studio, like I said, the studio is um is is is definitely uh I don't even like going to the studio, >> but that's not an environment for everybody. >> No, no. I even I know I'm talking right now. I'm talking right now. [laughter] I don't like going to the studio because it seemed like that's where all the hell break loose at. >> A lot of times it is. I that's when I went down there with uh Big Pudd >> and uh you got a cameras all up and you trying to figure this out. You know what I'm saying? Make sure nobody come to the door. >> And like I said, >> it's like a trap house. >> Yeah. And like I said, I mean, you you get you you got the artists and all the people that come with them. >> Well, it ain't no telling what kind of stuff they got going on in the streets that may follow them to the studio. So, by you bringing somebody that you love and you care about to the studio, you're really putting their life in danger cuz your life is already in danger. You know what? And now that I think of it, we've been to a lot of studios, right? The one in Miami, the two in Miami, and then the where the one in Houston, >> the one the three in Miami. >> I don't remember all of them. >> There were three because we ended up doing it. Yeah. But a lot of interviews I did was in studios. >> Yeah. But it was people that I rock with and it didn't seem like no studio. It's like we could shut the whole dang down for a session like we just took and put this whole setup in there. >> What's the craziest thing you've seen in a studio that happened? You don't have to call any names of anybody who was involved in anything but just situations. What's the craziest thing? >> I haven't really seen anything too crazy. Me myself, I've been very fortunate. I've I've I've heard about things that happen or uh I've seen I've seen guys bring they women or girls significant other to the studio and other guys trying to holl at them in the >> So that's the main thing you've seen. >> Yeah. Stuff like that, you know. Um >> no no shootings or anything like that. I and I' I've been fortunate enough not to really have worked with people that that have been in them kind of >> work with professionals. >> Yeah. I want I want to ask you your last and final question before I get you out of here. I would have never knew about you if Bun B hadn't put you as the protege of PimpC. He says you don't you the really true and when Bun say things is it sends out volumes. >> Mhm. >> I I guess this is a two-part question before I get you out of here. A do you regret him do you regret him doing that? because it kind of puts I put pressure on you, I ain't gonna lie to say, "Hey, what was you doing with PMC?" Because I'm a PMC fan. But I'm pretty sure that people see my interviews and see you and they heard Bun say that as well on Behi and they watch that. What does that do to for you? Or did you already feel that way? Or did you know it before Bun said it that day? Yeah, I mean I I knew it. Um, but I wasn't, you know, going to jump jump up and say, "Hey, no, I'm the protege [laughter] of pimpson." You know what I'm saying? >> Yeah. >> Cuz >> I'm just trying to figure out cuz it would have it can't you didn't you he never discussed it with you. >> No, >> he just said it because that's what it was. >> Yeah. Cuz he was there. >> Correct. But he was there. >> Before that, I would have never knew that. >> Yeah. So it kind of >> Well, we never like we never we formed the 808 Boys because really the 808 Boys was the production team that me and Pimp had had started. >> Okay. >> Well, Pimp started it. I was one half of the 808 Boys and then some other producers and Okay. >> He brought some other producers in towards the end there. >> Okay. >> But the 808 Boys and what the 808 Boys were supposed to be had never really materialized. Okay. because he had passed away. Like after that Underground Kings album, you know, the 808 Boys was supposed to, you know, we we we were going to be that production team that was going to be doing all the music for all of the all of his upcoming projects. >> But that never got to materialize because he had, you know, passed away. >> And that's what he was saying about Twisters and Does. It were going to be a lot more stuff coming like that because we y'all were going in. >> Hey, boy. we man just the just the stuff that we were coming coming up with uh our our chemistry and then at that time me even myself I was I was my production was getting on another level you know what I'm saying and the UGK sound was something that that fit what I was doing and and the core the core sound of my of my music. You know what I'm saying? So it was it was all coming together like like Bun said. >> And uh >> I think that I think there was some kind of confusion as to you know who who his protege really was and >> I think he just wanted to wanted to clear the air. >> Wow. You know I didn't never heard nothing about it. I just heard him say that and I'm so uged out when Bun said I automatically was tuned in. >> Yeah. I mean, you just never really got the opportunity to see everything materialize like we were planning on on it doing. And uh I was just I was happy enough or blessed enough to be able to get in on that underground kings album so the world could see hey where it was headed. >> Hey, we was about to we was about to bust. [laughter] We was about to hurt him, man. I'm telling you, >> man. Thank you so much, man. I appreciate you so much. I appreciate Bun and you and just the whole, you know, the legacy of UGK and just the fact of coming and spend time with me talking and uh today is Pimpy birthday. Uh man, celebrating the pimp birthday, man. What What does that mean to you, man? Uh uh this is the born day of PimpC means the birth of a legend, man. the the birth of the birth of a man that uh that brought a whole new sound to Texas and the birth of a man who when people think of Texas, he's one of the first people and UGK is one of the first groups that they think about because his sound is Texas. Wow. Wow, man. Man, I'm just happy to be celebrating his birthday. I always try to do something on his birthday to signify that, man, in these interviews. And I'm just so happy to uh just really celebrate it with you, man. Steve Boowo, the protege uh of PMC by way of Bun B because that's how I found out about it, man. Thank you so much, man, for everything you've done for Boss Talk 101, giving us these great legendary stories of what happened with you and Pimp during the time you work with it, man. Love it, man. I appreciate you, bro. >> In the next interview, man, I'm going to have some music coming out. So, we going have some more stuff to talk about, >> man. Say man, we love you, man. Steve below, man. We appreciate you for your time, man. And it's been another great segment of Boss Talk 101, where the bosses talk. >> And we out. >> Yeah, we on Boss Talk 101. Yeah, we going to talk. We going to have fun. We be on fire. We be lit. It's a unique hustle, [ __ ]