April 16, 2025 • 48 mins
Listen to part 2 of our conversation with music mogul Jermaine Dupri. Known for his influential role in the music industry, Jermaine talks about his journey from a young music producer to a record label executive who has worked with some of the biggest names in music.
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Episode Transcript
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Speaker 1 (00:00):
Speaks to the planet.
Speaker 2 (00:01):
I go by the name of Charlamagne of God and
guess what, I can't wait to see y'all at the
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(00:22):
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Speaker 1 (00:47):
R and B Money, we second take balance out.
Speaker 3 (00:56):
We are the authority be mister Jermaine J.
Speaker 4 (01:07):
Brother.
Speaker 5 (01:07):
Come on intro, God damn.
Speaker 1 (01:11):
Got to be right. So they go back to the
hip hop ship that you wanted to do it. Yeah, okay,
okay with it.
Speaker 4 (01:19):
So I'm like, Brian, I guess we gotta come up
with you know, we gotta do some up tempo fun.
This is what they want to do now, not writing
it either, So it's making it harder for me because
I can't use my ideas, right, I know that they write.
So I got to just come up with a beat
(01:40):
a track to sound like something. And I got a
old guitar at my house out of key guitar, and
Brian started playing with it and fucking with it, and
I'm like, yo, we should use that. He's like what
(02:01):
this guitar, saying like make it getting key or whatever,
and I'm a sample your licks and he started playing
with a party at Lix and the guitar and I'm like, yeah,
just it. I started making taking the parts, making a beat,
and then Jake had come over to the studio and
they start singing and they start going. I'm like, oh yeah,
(02:24):
this sounded like it. This could be it right here?
Hey where the party at. I'm like, damn, this song
needs something though it still ain't. It ain't all the
way there yet. And by the way, I never used
no artists outside of my artists to break to do
anything like that. Right, So, but they like, Yo, gett
Nelly on the song. Nellie's smoking hot at this time.
(02:47):
I'm like, getting Nelly on the song.
Speaker 5 (02:49):
You sure? He's like, yeah, that's your boy. What you
think about?
Speaker 1 (02:52):
Call that?
Speaker 5 (02:52):
Nigga? I called Nelly universal two fifty.
Speaker 1 (03:05):
In a dumber bag.
Speaker 5 (03:06):
I said what I said?
Speaker 6 (03:08):
What ain't no trains, nothing that can't no bartery to fifty?
Speaker 5 (03:14):
I never had paid that type of money for a
million for a feature.
Speaker 1 (03:18):
Yeah, yeah, yeah, And Nellie's on top of the world.
They said two fifty, You're a diamond nigga.
Speaker 5 (03:23):
I said, damn.
Speaker 4 (03:25):
Now, I gotta call Columbia because I like, listen, Hey, hey,
hey listen so so but Columbia's they they stoked because
they jagget jagget the remix.
Speaker 5 (03:36):
Let's get married? Is Peak doing some shit?
Speaker 1 (03:38):
Yeah?
Speaker 4 (03:39):
They so they see now they see light with Jack.
They like you what you got. I'm like, I got
a song. I just got to put an Elly on it,
and I feel like we can we can follow up.
Let's get married with this song. You're putting Elly on
the record.
Speaker 5 (03:51):
It's a go.
Speaker 4 (03:54):
He's like, all right, well, what you want to do.
I said, we gotta give to fifty. They said two fifty.
What I said, you gotta send them two hundred and
fifty thousand dollars. Hena go in the studio. Donniana' was like, okay,
let's do it.
Speaker 5 (04:10):
Let's go ahead.
Speaker 4 (04:11):
I feel like I feel like this, this is gonna
this is gonna do it for him. I say, yeah,
so you get the verse from Nelly. I think the
song is a hit. I go to back, I go
to New York play the song for Donniana and he
listened to the song. He's like, it's cool, it ain't
there yet. I'm like, what you got, Nelly? You got
(04:35):
all these different parts it's going. He's like something, it's
just ain't. Dare ye something ain't. It's still missing something.
So I come back home. I call the guy to
the studio. I'm like, yo, he said a song missing something.
Speaker 5 (04:52):
Oh man, fuck him. We don't know what the fuck
you talking about? You know what I mean?
Speaker 4 (04:55):
So it's like all that. I'm like, man, we got it.
We gotta listen to him. He say, it is missing something.
We got to figure out what is missing. And then
wing goes like, so we start having a conversation about
party things that happened at the party. What is the
thing that call and repeat that happens at the party,
(05:16):
that happens all the time of the party, right, put
your hands up, let's side to put your hand to
my lady's running this motherfuck us. And we start just
bringing all the ideas of like what happens at the party.
Speaker 5 (05:29):
We put that on the song.
Speaker 4 (05:30):
So this is not on the initial we put that part.
We figured that part out, put that on the song.
I go back to New York the next week, I
play it for Donni. He's like, that's it, And I'm like.
Speaker 5 (05:40):
Are you fucking serious? Like this is eight bars? Are
just us my east side? Run this mother? He's like,
that's it. You got it, y'all figured it.
Speaker 4 (05:51):
Out, that's it, and where the party at gone?
Speaker 7 (05:57):
Gone?
Speaker 3 (05:58):
The art of making records, but it's also right. It's
also the respect of like listening to a guy say
you're close and taking all of your your producer ego
and writer ego, you're the things, the success that you've
(06:20):
already had up up to that point, taking that out
of the picture and say, hey man, there's got to
be another level we can get to. This guy says,
there's another level we can get to. Let's let's let's
fucking find it.
Speaker 5 (06:32):
Yeah, I mean, I'm always I'm determined to find it.
Speaker 4 (06:34):
I hate when people tell me though it's not that,
but I trusted they saying it for a reason. Right
Fast forward two thousand. I think we we because we're
from I think the last album at my house, my
mother's house, was jay E heartbreak Fast forward two thousand.
(06:55):
I build my studio Southside. The first record we make
it south Side is we start on Usher's first second album,
third album. Basically, the first song we write when we
move into that studio is you got it bad, so.
Speaker 1 (07:13):
You're just gonna pay for the studio.
Speaker 4 (07:21):
This so Brian. I heard him say this only when
he was here. He wanted to work with Usher is
so bad. He didn't know he was gonna get the
opportunity to work with Usher. I called him, like, man,
we would do jacket desh. He ain't know if I
was gonna keep using him. He thought, you know he
did jacket desh he ain't or whatever I called him.
(07:41):
I'm like, yo, I gotta start on this Usher record.
I need you to come over. He come to south Side.
We start working and I'm like, just we gotta do
an extension of Nice and Slow. I'm saying like nice
and Slow was like about it, people love it. Ran
was in love with nicest Love. I was like, I
(08:02):
want this next song to sound like it's that. It's
right there, but it's a something else, right, It sounded
like something else. So he started writing you Got It Bad,
and we were making the music. I'm not even I
don't have the lyrics yet. And then Usher comes to
the studio and Usher got a girl. Matter of fact,
(08:23):
we had another song, I think we had. We was
working on another song, matter of fact. That's how we
got to it. Was working on another song. He was
in the studio, so the girl called him on the phone.
Speaker 5 (08:32):
He hang up. They're going at it. I'm like, what's wrong, man?
Speaker 4 (08:37):
Can we get this fucking song? You know I'm watching.
I'm like, can we get the song?
Speaker 5 (08:40):
Guy?
Speaker 4 (08:41):
He like, shit, I'm gonna I'll be back right in
the middle of the session. So the girl got him
fucked up right, And all I could sit there and
think about was this nigga got it bad?
Speaker 5 (08:52):
Like you got you got It you got it bad.
Speaker 4 (08:56):
You got it bad, and I just start putting every
pieces that I saw to do. I started writing, and
I started thinking like and I called him when he left,
I said, come back, I got it.
Speaker 5 (09:08):
He came back. I had this song.
Speaker 1 (09:13):
I ain't got for you call it right back. You hate,
I hate this good city of it. This nigga is
so good.
Speaker 6 (09:22):
But you know the other part that I've noticed, your
humility in all of it.
Speaker 1 (09:29):
Is what makes it.
Speaker 6 (09:30):
In my opinion, just from the outside looking in, is
what makes it work because you're never above.
Speaker 1 (09:38):
The song.
Speaker 6 (09:39):
You're never above the situation. In all of these hit records.
You keep saying I was under pressure, all right, I
didn't know. Oh you know what I'm saying it was.
Speaker 1 (09:50):
It's not you know, cause you understand we've been in
music forever.
Speaker 6 (09:54):
We've done it one hundred and fifty interviews. You see
when s niggas is like, the humility may not be there, right,
and that's cool, that's fine. However that works for you.
But what I've found in talking to you is that
(10:15):
you get out of the way of of all the
bullshit and just fucking write a great song.
Speaker 1 (10:22):
Just write the record. Even if you got a tweak it.
Speaker 6 (10:25):
Even if you go like all of these things that
sometimes as we become successful, you do people do.
Speaker 1 (10:31):
Less and less self auditing.
Speaker 6 (10:35):
What you mean, what you mean, nigga, go buy somebody
else record.
Speaker 1 (10:38):
Then you're saying no, no, no no, I'm figure this figure
it out because that do.
Speaker 4 (10:43):
None of that worked for me. The only thing that
worked for me is your reaction. M If I play
a song, you don't react, I.
Speaker 5 (10:49):
Know it ain't no hit.
Speaker 1 (10:51):
That's it.
Speaker 4 (10:52):
I'm not even argue with I might think it's a hit,
I'm still not gonna argue with it because I'm saying
that reaction is what That's what I've that's what that's
all I got, that's all I know. If you and
I'll keep going till I find that reaction. Till you
give me that reaction, I'm not gonna stop on every project.
That's what I have to get. I have to have
that reaction, the same reaction that I got on every record.
(11:13):
It got to be the same thing. Somebody gotta come
from the back, Somebody gotta jump in, somebody gotta do something.
Speaker 1 (11:18):
If they do.
Speaker 5 (11:19):
If they don't do that.
Speaker 4 (11:21):
That song is not coming out and ain't that ain't
that ain't the song?
Speaker 7 (11:24):
Nope, that ain't it.
Speaker 5 (11:25):
I don't care how.
Speaker 4 (11:26):
Niggas jumping around in the studio that I got to
see somebody, somebody else got to show me the natural reaction.
Speaker 5 (11:35):
They gotta show me a.
Speaker 4 (11:36):
Natural reaction before I actually believe it's a go still
to this day, still to this day. So soon where
y'all want to go next? I'm guaringady to tell y'all
got no LA was here and I saw La, but
I was gonna say that what you said about I mean,
(12:02):
oh you both of y'all saying that about me, not
like really cared about what people you know what I mean,
I always get knocked down, So I'm already it's not
like JD, we believe you. It's almost like my success.
They used my success against me to be like you
can't eat I bet you can't do that shit again.
Speaker 5 (12:21):
You think you got.
Speaker 1 (12:21):
Another one of them?
Speaker 5 (12:22):
You think you got another one.
Speaker 1 (12:23):
Of them in there? Yeah?
Speaker 4 (12:25):
Right, So I'm always mentally I'm going into the studio
already thinking like these niggas don't believe we can do
it again. We gotta do it, we gotta find it,
we gotta do it. That's all that matter to me.
I'm not thinking about nothing else. None of that us,
none of that shit matter, even to the song go
nomber one. Cool, it went number one. They want to
(12:45):
know if we could do it again, right, so you
got it bad came out eighty seven o one popping whatever, whatever,
and then it's time to make us a new album, right,
which confessions and me and us should go to LA's house.
Speaker 5 (13:03):
And we pull up to l a house and we
have I think we did.
Speaker 4 (13:07):
We started, we made a song and we go in
there and play the song for him and he's like,
I'm not just saint it and he was like.
Speaker 5 (13:17):
He's like, uh, you're not.
Speaker 4 (13:18):
You're not interesting enough. Like people, they don't care about
you till your album come out. And then when your
album come out, that's when people care about you. Then
when the songs go away, you go away. Y'all need
to write something that's interesting that make people want to
think about you. It was like you need to get
a girlfriend or something. He said, all kind of wild shit.
(13:39):
I'm just sitting there listening like, damn, man, I just
told this nigga. He not interesting. He just sold like
five million records.
Speaker 5 (13:47):
Cool, but I also understand what he's saying.
Speaker 4 (13:50):
I also understand, like, yo, you know, you make a record,
the promotion got you popping, but that it's that in
between shit. People don't know who USh is. People don't,
they don't, they don't, they don't connect with you. Is
like doing some regular ship and this you know rappers
is coming out.
Speaker 5 (14:08):
You see the rappers doing.
Speaker 4 (14:10):
It's more reality type of thing. And we go back
to the studio. We both like fucked up. I'm like,
this man just told us, man to his face, you're
not interesting enough.
Speaker 5 (14:23):
And when I heard him.
Speaker 4 (14:24):
Saying, my mind start trying to figure out what can
I write to make this nigga interesting? What can I
do to make him interest? How do we make this
nigga interesting through music? So I'm on more like it's like, yo,
you should get you should you know, start dating the
hot girl though, find it? You know what I mean
to do some ship that's like more internet driven. I'm
not thinking about the music. There's no way in.
Speaker 5 (14:43):
Hell, right.
Speaker 4 (14:44):
So we start trying to work on the records, and
then he tells me that the girl that he was
dating it's over with, but it's feels like it's burning
his soul. Man feels like it's burning me, burning, Like
it's like a burning feeling that I have. And I'm like,
(15:05):
what I'm thinking, like nigga burning, Like.
Speaker 5 (15:12):
Yeah, I was.
Speaker 1 (15:12):
Loaded to come through. Bring your penicilin wherever your kneed.
Speaker 4 (15:16):
So he's saying this, that's the first thing coming to
my mind. I'm like burning. He's like, yeah, man, make
something that got that burning in there. Say something about
me burning or something like this. And I'm thinking, like,
I don't even know where this nigga act with this ship.
Speaker 5 (15:30):
I don't know what we're at with this. I can't.
I can't.
Speaker 4 (15:33):
I ain't never felt the burning feeling, right, I'm not.
I can't get into them that space. He like, I
gotta go say, he runs out the studio. He left
me with the burned idea, and I'm saying, like I'm
trying to flip the word to me and many things.
(15:55):
I'm writing sentences to see what makes it sound like
it's cool, like burn. I don't know how this was
gonna work. And then it just hit me and I
was like, let it burn, let it burn, like right,
(16:16):
so I start I get it. I'm like, yeah, I
got it, I got it. He come back to the studio.
He listened. He's like, yeah, yeah, that's exactly what I
was talking about. And I'm like, okay, cool, were on
the good We're on a rail to this new album.
(16:38):
Then the next day he comes, he say, man, you know,
I don't think we should work in Atlanta. And I'm
superstitious about leaving Atlanta, right right, And I just got
my studio, just the new studio. We just got the
new studio. You want to go somewhere else. He's like, yeah, man,
we should go to La. Man, y'all should come out
to La and we should do it. I'm like no,
(17:00):
I'm like, we just got let it, bron Let's let's go. Nah,
I'm too distracted in Atlanta. I'm like, all right, cool,
I come out here me and Brian comes here us.
Should we meet him at Brandon's Way and we don't
(17:21):
really know what we're doing, right? We just in there
rush just once again. He come in. He say whatever,
he say, he got ideas. Whatever he leaves. I'm like,
ship Broun, we got La. Told his nigga he wasn't
he wasn't interesting. We got to start trying to make
some music. That that feel like we gotta make him interesting.
Speaker 1 (17:45):
Now.
Speaker 4 (17:45):
I don't know how what that's supposed to sound like,
but I'm just like, we gotta make something. It's gotta
feel like people gotta he gotta have some kind of.
Speaker 5 (17:52):
Little drama to it.
Speaker 7 (17:53):
Right.
Speaker 4 (17:54):
So my homeboy used to be saying all bad. He
was like, man, that's all bad. This shit all bad,
everything all bad. So I'm like, all bad. Everything that
I've been doing is all bad. Got a chick on
(18:14):
the side with the crib and the write. I've been
telling you so many lives ain't nothing good, it's all bad.
I just want to confess I've been doing it so long.
They put the beat up, let's go till Brian started
playing the chords.
Speaker 5 (18:25):
I'm like, I got it.
Speaker 4 (18:27):
They start doing everything it's all bad. I got a
chick on the side of the crib and the rider
telling you so many lines ain't nothing good, It's all bad.
Speaker 5 (18:36):
I got the hook, and then.
Speaker 4 (18:40):
I wanted to be a writer.
Speaker 5 (18:44):
So I said, I got writer.
Speaker 1 (18:45):
His block.
Speaker 5 (18:47):
You know that's bullshit, right, his block to some bushes.
Speaker 4 (18:49):
But niggas that right, they said, just as like a
way to get away from the song. You' you don't
really have writers like you. Right, you can just write
about anything you want to you. It might not sound
I'm good, but you still can write.
Speaker 3 (19:02):
Right.
Speaker 4 (19:02):
You don't just have complete block. Right, So I said
I had writer his block. I'm like, Brian, just give me,
give me the burn the CD. I got my Lamborghini
out here in l A. Right, I'm like, ship, I'm
gonna get ready, I'm staying. I'm staying a malleable y.
Speaker 5 (19:21):
Yeah, I'm good. I get, I get to get.
Speaker 4 (19:24):
I put the CD in the in the car and
I'm going down Beverly and I'm thinking about Kais. I
don't know why I'm thinking about Kais, but I'm thinking
about k And I'm thinking about the movie Usual Suspects.
(19:48):
And Kais was in the when he went to the jail.
He looked around the room and he made a story
up of everything he saw on the wall, and he
made all the ship just go. He figured out how
to make everything that he saw in that room work
to his story. And I'm driving and I'm like, shit,
(20:08):
I might try to do that. Let me shoy this,
let's try this Cossos shit. And I stop it to
light and I'm like every time I was in La.
I'm with my ex girlfriend. Every time you call up
to your baby, I'm running. No, I was not doing
my work. Oh one thing about you getting hurt. I
was hand in hand in the Beverly Center.
Speaker 1 (20:27):
It's right there. Damn yes, yeah, yeah.
Speaker 5 (20:33):
Oh.
Speaker 4 (20:35):
If I wouldn't have been here, none of them words
would have been in that song. I would have never
been in La. I was here in La. I'm writing
the song as I'm seeing what's going on.
Speaker 5 (20:44):
You know what I mean?
Speaker 4 (20:45):
And this verse, this verse goes to all bad. This this,
this verse goes to the all bad song.
Speaker 5 (20:50):
It's not even.
Speaker 4 (20:51):
Confessions yet, this is you know what I mean. So
I'm writing this to everything that I've been doing.
Speaker 5 (20:56):
This all bad.
Speaker 4 (20:57):
This is the first verse of all Bad. I told
them niggas, I had writer's block. But by the time
I passed the Beverly Songer, I had the whole verse doing.
Speaker 5 (21:05):
I was ready to go back to the studio. They
had left.
Speaker 4 (21:07):
So I'm like, God, damn, now i gotta wait till
tomorrow to try to cut the ship.
Speaker 5 (21:11):
But I'm singing this shit all the way down.
Speaker 1 (21:13):
P h.
Speaker 5 (21:14):
I'm I'm writing.
Speaker 4 (21:16):
The whole song all the way down pch I'm flying,
but I'm listening and I'm saying, I got it this
shit right here, so come back tell us hear it?
Speaker 5 (21:30):
Yeah, we're fucking with it? Cool, all right?
Speaker 1 (21:34):
All right?
Speaker 5 (21:36):
But what happened after that?
Speaker 1 (21:37):
That's what he said.
Speaker 5 (21:39):
I'm like, what do you mean? Wild happened after that?
Speaker 1 (21:42):
They locked into the movie?
Speaker 4 (21:43):
Yeah, like, what's gonna happen after you? You know, you
got a chick on the side. What happened with it?
And just so happened that my real life, my real life,
this is happening.
Speaker 1 (22:00):
You know.
Speaker 4 (22:00):
I got a girl pregnant, and I had to tell
my girlfriend that I had a girl at the time.
I had to tell my girlfriend at the time that
I got a girl pregnant that I barely even knew, right,
And I called my homeboy and I'm like, Yo, how
(22:20):
do I tell my girl this? He's like, you gotta
call her and tell her. I'm like, shit, now, I'm
gonna just lead on answer machine. I'ma call him. I'm
gonna just calling leave it on answer machine. So I
called her. I left a message on answering shit. She
called me back. She wanted to know all the information
about it.
Speaker 5 (22:40):
What how, what?
Speaker 4 (22:43):
And I'm just like, I'm fucked up. I'm actually not
even thinking about the song no more. I'm just actually
I'm in this real life. So then Usher and Mark
comes to the studio and they're like, man, we gotta
make part two of this. It's gotta what's gonna happen?
The girl gotta get pregnant. And I'm like, oh, I
(23:03):
know this too well. This is too this is too easy,
Like this story you really want me to say this?
It's like, yeah, what is the story? And I'm like, Okay,
these are my confession. Just when I thought I said
all like I said, the chick on the side say
she got one on the way. Man, I'm throwing and
(23:25):
I don't know what to do. I guess I gotta
get y'all part to My Confessions.
Speaker 1 (23:29):
Two because they asked for a part too.
Speaker 4 (23:32):
Because they asked for a part two. Yep, we wouldn't
even made that.
Speaker 5 (23:38):
That song.
Speaker 4 (23:39):
Confessions would have never came out if they didn't ask
for a part two. The song was all bad That's
what the name of the song was. I mean, it's
that's what it's on the album.
Speaker 5 (23:48):
It's all bad to.
Speaker 4 (23:50):
Which but I say, I confess I've been doing you
so wrong. I say it in that song. So that's
how it became. Like that's when I start connecting it,
like these are my confessions. I just took that part
from that song and put it into that. But it
was like this was.
Speaker 5 (24:05):
And by the way, this is a remix of all
Bad basically of a song.
Speaker 4 (24:10):
That nobody ever heard. It never worked, like these records
never came out.
Speaker 1 (24:14):
We just made were already on the part too.
Speaker 5 (24:16):
Yeah, we made part two before the song even came out.
Speaker 6 (24:20):
And that's how you get the number one on be
your Record of the century. That's how you get that
that because congratulations on that too than you give me.
Speaker 7 (24:32):
Yeah, but it's the life.
Speaker 1 (24:42):
In the song.
Speaker 3 (24:44):
Yeah, it's like you gotta live writer, You gotta gotta
live writer. It's not gonna always be pretty. That's always
my advice. Just write your life. There's gotta be something
going on. Don't make it too hard on yourself.
Speaker 1 (24:56):
And going on.
Speaker 4 (24:57):
Get something something that that you're not interesting lying that.
I mean, it's a bunch of things that went into Confessions.
Him telling us that usher, telling me about the burning
thing we're getting to l a like I said it
was just like and then I'm asking for part two
of All Bad, Like, what's the continuation of this song?
(25:18):
We gotta make a continuation of this song. And I
was like, all right, well, I know this story pretty fast.
Let's just start coming out like this like clock like
super you're talking like that. I think I wrote that
song in like five minutes.
Speaker 6 (25:33):
I never forget coming to Atlanta, flying in to go
see my partners here, going up to hit Coole and
him playing me burn hm, and.
Speaker 1 (25:44):
I'm like, Nigga, what the fuck is this?
Speaker 6 (25:49):
Like yeah, nigga, this is this that ship nigga, Nigga
jadn that's.
Speaker 1 (25:53):
Your back in nigga.
Speaker 6 (25:55):
You know that ship down the time I'm telling you. Nigga,
I'm like, so, when are you coming out? He's like yeah,
this ain't a single thought.
Speaker 1 (26:01):
I said, what you do? What?
Speaker 7 (26:02):
What?
Speaker 1 (26:03):
What are you talking about? Nigga? I've heard everything of
the year. You're out of here.
Speaker 4 (26:08):
I thought that was a single too, by the way,
I'm like, yeah, this is the single. La La is like, nah,
that ain't a single. I'm like, man, this nigga's different.
Speaker 1 (26:20):
This niggas different, but it's it's continuous. Chess is y'all.
He's he's setting the chess board in a certain way.
Speaker 6 (26:29):
He because as an executive you have to be able
to see something that the creatives maybe don't fully see yet.
Speaker 4 (26:37):
Yeah, I mean, listen, it ain't my label. So I
just start falling back, like, this is your label. I
just making music. You do what you want to do
it that's what you feel like, then cool. When I
saw the track listing for Confessions, he took All Bad
off the album.
Speaker 1 (26:57):
So then I'm like, how does it make sense.
Speaker 4 (27:00):
I'm like, people don't even gonna know about the first
part of the song. I don't care about the first
part of the song. This is the song.
Speaker 5 (27:10):
So then.
Speaker 4 (27:13):
They shot the video for it, and they put the
first verse from All Bad at the beginning of part
two video. So then they made the song go like this,
that verse is not in that song.
Speaker 1 (27:27):
No, no, it's not.
Speaker 5 (27:29):
You know what I mean.
Speaker 1 (27:33):
Don't say that man put that on put that on something.
He was in full Michael Mother.
Speaker 4 (27:40):
Yeah, so that whole we did all that here in
LA that call and oh that's a real phone call.
Speaker 5 (27:47):
Uh, and yeah, l A scrapped.
Speaker 4 (27:53):
LA didn't put All Bad on the first release of confessions,
So all people heard was confessions too, and I.
Speaker 5 (28:00):
Thought that was crazy.
Speaker 4 (28:01):
I'm like, we sang in the song I'm Gonna give
You Part two, part one, but it didn't.
Speaker 1 (28:08):
Make is it?
Speaker 3 (28:10):
Is it accidental genius that you end up having to
circle back to it and and that is now new
interest in a re release or even in the video
for that matter.
Speaker 1 (28:24):
Yeah, that's crazy to think of it like that. Yeah,
you know what I'm saying. And it worked work.
Speaker 4 (28:31):
It worked like a Star Wars thing, like the Star Wars,
like the way they wrote Star Wars backwards backwards, right,
So it's like the same type of mentality.
Speaker 3 (28:38):
And well, the first was that don't you don't you
don't have to call what the first single from that one.
Speaker 4 (28:44):
No, you don't have to call yeah first yeah, yeah, yeah, yeah, yeah,
yeah yeah yeah, yes yeah.
Speaker 6 (28:49):
I always called to me, I always called that sugar
on the vegetables. Right, It's like, when you have kids.
We all got kids, how do you get your kids
to eat vegetables?
Speaker 1 (29:00):
Something?
Speaker 6 (29:00):
You gotta give them something sweeter, You gotta give them
something with it that makes them take in ship that
they need. And that's how I looked at the body
of work of Confessions was the ship that the world
needed from an R and B artist. I felt like, yeah,
it was the Yeah, it was the dangling carrot. I
(29:21):
want the world to come in and now y'all getting
this ship though, Yeah you get what I'm saying. Yeah,
it was the only thing like that on the album.
Speaker 4 (29:30):
Yeah, it actually doesn't match the album.
Speaker 1 (29:34):
But it's but it's was a hell of a commercial.
It made everybody. Yeah, it's like a super Bowl times an.
Speaker 6 (29:42):
Amazing record, amazing record, but it does not fit the album.
Speaker 5 (29:47):
I mean what it does, but it don't. No, I
don't know, had nothing to do with the confession.
Speaker 3 (29:51):
Yeah, because the rest of that is like, is that
like the party after I get done?
Speaker 1 (29:55):
It's core R and B. Yeah, it's not core R
and B.
Speaker 5 (30:00):
Yeah, it's new R and B.
Speaker 6 (30:01):
Everything else is core R from the records that you did,
the records that Drama Dow did, Jimmy Jam, Like, this
is an.
Speaker 1 (30:09):
R and B R and B album and yeah it's
like what the fuck?
Speaker 6 (30:14):
Yeah, like you said, it's the commercial's bringing everybody in.
Speaker 1 (30:18):
It's the shock value.
Speaker 5 (30:19):
It's definitely shock value on a whold on the left.
Speaker 1 (30:22):
I'm so angry whatever it was because it's like SnO competing.
Speaker 3 (30:27):
Because I had been in my little Dirty South record
with cash Money.
Speaker 1 (30:31):
I was like R and B Dirty South collapse. I'm
about to kill him. Ship out to go crazy, dud,
he said, dud.
Speaker 3 (30:45):
Itself like Paul, you like a thug, drinks up in
the sky like thug.
Speaker 6 (30:54):
No sparkle, no sparkle, spark nobody.
Speaker 1 (30:58):
Ain't nobody run from.
Speaker 5 (31:01):
That's what problem Problem.
Speaker 3 (31:03):
Fresh told me all the sweet thom Fresh like you
have fun do do that ship, nigga, you're killing that ship.
Speaker 1 (31:10):
The baby came around, so I said, nigga, you can't
tell me to say that wasn't that I needed you?
J were.
Speaker 5 (31:18):
I went to call and say, anybody look like they
liked that song?
Speaker 3 (31:24):
And then that song came out and I'm in the
I'm in the club on Librea and Hollywood.
Speaker 1 (31:30):
What did they call that club? Then my house?
Speaker 3 (31:36):
Boom boom, Yeah yeah yeah.
Speaker 1 (31:47):
I don't think I had a good time that night.
Speaker 3 (31:49):
Fuck you ever for everybody, nigga, Yeah, everybody, Sorry, there's
too much. Here's too much. How do you feel about
because you're like you're always you the cool nigga, that beetle,
(32:10):
that you guys see it, it's always you. It's never
too eigh it's never too loud. Nigga comes like Nigga
got no more record. That's that's that. That's dope. Thank
you appreciate it.
Speaker 1 (32:22):
It's this.
Speaker 3 (32:23):
How do you feel about being? First of all, you're
one of two in the Hall of Fame, but what
you're what you've accomplished in music, you're you're one of
you were one of one. How do you feel about that?
Do you feel like you can bang on your chest
(32:44):
at times and appreciate yourself?
Speaker 5 (32:47):
No, Because the people that idolized they did more with less.
Speaker 1 (32:53):
Mmm mm hmm.
Speaker 5 (32:55):
Explain that Motown, you know what I mean?
Speaker 4 (33:01):
Barry took what eight hundred dollars from a bang and
made more Town eight hundred dollars.
Speaker 1 (33:09):
I mean, that's the equivalent to a lot, even.
Speaker 4 (33:14):
Eight hundred dollars. There's a lot of thousand, eight hundred dollars.
Borrow money, borrow money, put all of these writers and
people inside this house, has mother cooking the food, and
made everybody sit in there. And he made Moltetown records with.
Speaker 1 (33:34):
Things that were just connected to his block too.
Speaker 3 (33:35):
Though, Yeah, I don't disagree with that.
Speaker 1 (33:39):
I don't. I'm not gonna argue with it.
Speaker 3 (33:40):
I'm not even gonna say, but I just want to say,
you wrote and produced and then performed Beg Gordy. Did
with Beg Gordy? Did you my friend?
Speaker 1 (33:57):
Were? You were Smoky Robinson, you were also whatever band
he called in to do the instrumentation, and then you
were also Barry Gordy. Again, I respect, I respect your answer,
(34:21):
but only you. No, not just rap and army and
army and pop and pop.
Speaker 6 (34:33):
Bro, like the things that you've done in this in
this business. Once again, you've been the first to us.
You know, listen, I'm I'm all. I'm with all the ship,
I'm with all the arguments axon argue all they want to.
Speaker 1 (34:49):
You can't argue with me about your main depris.
Speaker 6 (34:53):
That's why we want you on this show so bad, bro,
because you are that important to us, and it bothers me.
Speaker 1 (35:02):
That you don't get as much credit as you deserve.
I don't care if you care about it or not.
Speaker 6 (35:06):
I'm talking about me caring about it as somebody who
loved this shit that we all do, that we give
our lives to.
Speaker 4 (35:12):
Yeah, I mean I have I have come to the
realization of why that is. Though, when you don't have
a two then the people don't have no conversation about it, right,
So it's not like you just said, it's not another
(35:34):
Jumaine dupri in the music industry, not.
Speaker 5 (35:39):
Today, and it wasn't you know before.
Speaker 4 (35:44):
So then when people like try to you, you know,
like everybody always tried to pit me against Puff. That's
the person that they thought was the closest to me. Right,
I've been telling niggas the whole time. Me and Puff
is not alike, Like, you know, he don't write songs.
I write songs. He don't do it. He don't make
the beats, He don't do half of the shit that
I do. He's a great producer in the mentality of
(36:05):
how he hear music. But that's the only person that
people have ever pitted against me.
Speaker 5 (36:12):
Right.
Speaker 4 (36:12):
They ain't never put Rodney Jergins against me. They ain't
never put none of these other guys. Puff is the
guy that they said JD trying to be like Puff,
you know what I mean, They try to put us
against each other, and I just start realizing, like if
it's if you only got one person and they ain't
no really no other person that they can compare it to.
Then they not even gonna have the conversation. They're just
(36:32):
gonna start. They're gonna just like not even talk about you,
you know what I mean, Like I've seen what y'all
did with La he had him and Face, jim and Terry.
Speaker 5 (36:43):
Right, it's one and two, like you go here, you
go there, you can go here, go there.
Speaker 4 (36:49):
When you come see me, whatever you get after that
ain't gonna be like what you get from me.
Speaker 5 (36:54):
It just ain't. It ain't gonna be like that. And
I think that's what I think.
Speaker 4 (36:58):
That's why people people have It's not a lot of
that going on in the world where you only have one.
And I just that's just what it is. And I
realized this when I went into the Hall of Fame.
Is the Hall of Fame is a writers for the
last forty years or even longer, maybe fifty years of writing.
(37:20):
And I'm looking at all these writers and I'm like,
you know what, I'm different. And that's the first time
it dawned on me that I was different. Because Babyface
don't got no number one rap song, Jimmy, Jamey, Terry
Lewis don't have no number one rap song, la REI
don't have no number one rap song, right, I have
(37:42):
number one rap songs right, not alone these R and
B records. I got number one rap songs that Quincy
never had. Quincy, you know, he never had number one
rap song like you said, Berry Gordy never had. They
never had number on rap song. So that's what That's
(38:02):
the day that I realized, Oh, I'm not I'm trying
to be like them, but I'm actually different.
Speaker 5 (38:08):
Right, That's the first time.
Speaker 1 (38:09):
It hit me.
Speaker 5 (38:09):
So it took a long time for me to even.
Speaker 4 (38:11):
Realize that, you know what I mean, Like because I
just put all of it together. I never paid no
attention to it. But like you know, he ain't got
no pulling me back. He ain't got you know, that's
a number one record with Chinky and Tyrese y right,
they don't.
Speaker 5 (38:27):
Got them songs.
Speaker 4 (38:29):
That's why I kept saying, like when niggas was like
me doing versus, I'm like y'all, niggas, I get it,
y'all think that y'all know what's going on. But I'm
saying I'm gonna start pulling out records that you ain't
even you're not even really bringing into the you know,
you're not even thinking about it. No, it's not like that.
It's just like people leave it out. It's like you
(38:50):
just leaving the stuff out.
Speaker 5 (38:51):
You know what I mean.
Speaker 3 (38:52):
Like that's what this space is for. What they're talking shit,
this space is to let motherfuckers know. Yeah, in case
you didn't know, y'all must have forgot y'all. Now y'all
know what it is.
Speaker 5 (39:03):
Yes, now y'all know what it is.
Speaker 4 (39:04):
Yeah, No, for real, It's like it's not it's not
a bunch of people that first one hundred writers talk
right and then writing the whole concept of song, then
producing the song.
Speaker 5 (39:17):
That's just not happening.
Speaker 1 (39:18):
It's not happening. So back to my one of one.
I take that.
Speaker 5 (39:24):
I take it.
Speaker 1 (39:34):
That isn't here arm your money. We write for is
what it is. It's always happen before we had this platform.
Speaker 5 (39:46):
Conversations.
Speaker 1 (39:47):
You know that studios niggas start talking about this. Hey man,
Jamaine the.
Speaker 4 (39:51):
Pre dog by the way, you got it bad. I
told the story before you got it bad. It was
like a battle between me and Rodney Jerkins because I
think I don't know Rodney and Michael was in the
studio during Your Rock My World. I mean Usher was
Usher and Brown, I mean, yeah, he's doing you got
it bad? And Michael called to the studio or something
(40:13):
like that. They called to the studio and they was like,
what y'all over there doing.
Speaker 1 (40:17):
Michael called to the studio and asked, what you're doing?
Speaker 4 (40:20):
Yeah, him and Rodney Jerkins, they was on the phone
like some had some kind of way this happened. I
don't know why it happened, but he called. They called
the studio.
Speaker 1 (40:31):
Yeah, and.
Speaker 4 (40:35):
I put on a speakerphone right because Usher was there
so you can hear it. And uh Ridney was like,
what y'all over there working on? Michael's like, yeah, what
y'all working on? And uh I said, I'm sure. I said,
I'm doing Usher And the nigga Michael said who Ushers
on the speaker phone and I'm like, oh, this niggas thirty.
(41:01):
This nigga just said who you know the fuck Usher is?
Speaker 1 (41:04):
Nigga? Mike knew everything that was going and he's like
He's like.
Speaker 5 (41:08):
Who, And I'm like did he just say who? So
I got mad. I'm mad as a month. I'm mad
for Usher, right, I'm like righting, Man, fuck this ship.
Speaker 4 (41:18):
We got a song right now that's better than your
whole album.
Speaker 5 (41:25):
I'm just I just shot my gun. But you got
it bad. It is I'm sitting on you got it bad? Yeah,
And you know I was. I was that that.
Speaker 4 (41:37):
That's what fueled me that day. Like, man, I gotta
that's all. I'm just fueled by, like the competition. You know,
social death is created because you death. But I'm so
so much deafinite you. That's how the company, that's where
the name comes from. It's like, it's about the competition.
Speaker 1 (42:01):
I like that. I love it. I love it. I
like that a lot.
Speaker 4 (42:06):
It's just about I'm just about competition. I'm into the
competitive nature of making music and the fight of it.
Like let's go, let's see what, let's get in, let's
do it, let's get the ring.
Speaker 6 (42:19):
Then you've had all the success, right And I mean
I know the answer to it because you said it's
the competitive nature. But for you then to say, you
know what, I'm gonna make some new R and B
for y'all too. I'm gonna go in with our Lennox.
(42:40):
I'm gonna make this pressure after I go in with
our Lennox. I'm gonna go in with money long and
I'm gonna make this made for me. Like, the shit
does not stop, bro Like. When people say, oh, well
a person can only do this for so long, they
were not talking about remain de pre at all, especially
(43:02):
in urban music.
Speaker 1 (43:04):
You know this.
Speaker 6 (43:06):
It started off with you being too young but at
a certain at a certain stage, and this business is
oh it is he can't get the way too old,
and you proved them wrong in both spaces. You did
not stop making hit records, bro Like. You have current
records right now made for me. It just literally held
(43:31):
the year.
Speaker 1 (43:33):
And a joke.
Speaker 5 (43:35):
Yeah we won that Grammy too.
Speaker 6 (43:38):
Yes, yes, yes, yes, come on, bro like. And and
what's that thirty years since your first hit?
Speaker 7 (43:47):
Yeah?
Speaker 1 (43:50):
Insane, insane, insane.
Speaker 4 (43:53):
But I mean, like I said, I just I just
don't get into the I don't get into I understand
that one hit record only pushes people to ask you
if you could do it again. So therefore I never
get into the success of records. I just get into
the Okay, let's go.
Speaker 1 (44:14):
And you know how many hit records you have? No?
Speaker 4 (44:22):
No, I mean, and like I said, this year, this
is the year that I've really just been paying more
attention to it. So when I DJ, I've been trying
to like when I do these R and B parties,
and so I have a different set than anybody. I
don't do it just because I'm trying to be cocky.
I just be like, you know, you got a bunch
of DJ's doing sets. You be trying to figure out like, oh,
this nigga just played the record. I was gonna play
(44:43):
God damn, so now you gotta you don't right back
there trying to figure out my playlist because this nigga
just played the record. I wanted to play my first set, right,
So I started saying, Man, fuck the shit, I'm gonna
just play my music.
Speaker 5 (44:55):
It's all R and B.
Speaker 4 (44:55):
I could do R and B records for a whole hour, right,
we could do I could do I own R and
B records for a whole hour. And I just tell
the d J don't play no Jermaine the pre records.
That's gonna be my records. You can play everything else
R and B you want to, just don't touch my
my my little ship.
Speaker 1 (45:12):
And I still have a full set.
Speaker 5 (45:13):
And then I come out and I just play all
my records.
Speaker 1 (45:15):
I was there, turn that my funk up played all
his records. They all work, they all work.
Speaker 6 (45:25):
Congratulations, Thank you, congratulations man's.
Speaker 1 (45:29):
I had him him up in the back of the kitchen.
My week man, I need my week man.
Speaker 4 (45:37):
Man, come on, you gotta see he gotta really, you
gotta come.
Speaker 1 (45:43):
You got you gotta come. You ain't welcome to Atlanta, man,
you want to come do it. You ain't got to
convince me that I'm.
Speaker 5 (45:51):
Saying, you know, I know, I know, but I'm saying,
you know, you know he.
Speaker 3 (45:54):
You know here here thespian now though you know what
I'm saying like he's on Broadway now.
Speaker 5 (46:00):
Congratulations, this is my hand.
Speaker 1 (46:07):
You gotta to think of. That's your new that's my
new one. That's my Broadway. No, bro, if we learned
anything from Maine the pree stay come on, bro, don't
give nobody doubles.
Speaker 3 (46:23):
Shake to me earlier he gave you at what is
this bullship?
Speaker 5 (46:30):
Great? That's what you're doing.
Speaker 1 (46:32):
What is it? Hell's kitchen? Alicia?
Speaker 5 (46:34):
Alicia? What's up?
Speaker 1 (46:36):
Incredible? Incredible? I brought on Broadway man every day, huh.
Speaker 5 (46:41):
I wanted three times a week, every day.
Speaker 3 (46:45):
Every day stuff on Monday, eight shows a week. Yeah,
I had them vocals, right, believe that's what you win?
What is it, Emmy or what a Tony Tony? Okay, yeah, yeah, yeah,
it's the least you got a Tony that working on
award nominees and the director Tony Ward like it's a thing.
Speaker 1 (47:04):
Wow, it's a real thing. Have you said it?
Speaker 5 (47:07):
Nah? I didn't even think about that.
Speaker 4 (47:10):
Like right now with you back to your question that
you asked me about, do I ever think about And
I'm like no. Last night I was watching the Oscars
and they was playing all Quincy music, as you know,
all the songs that was in the Oscars was all
Quincy's the soundtrack of Quincy Jones. And I was just
thinking to myself, like I don't think. I don't think
(47:31):
I've hit that mark yet. Like if I passed, they
ain't gonna do that for me. So my my challenging
life now is to try to get to that space.
Not the Oscars, the Oscars, Soul Training Awards, maybe.
Speaker 1 (47:47):
The Grammys better do Grammy.
Speaker 4 (47:50):
Might give me a little they might give me a
little space. But I'm saying I want, right, I want
saying that Oscar look to just be like.
Speaker 1 (48:00):
But he also scored movies too, Yeah he did, he did.
Speaker 4 (48:04):
That's what I'm saying. This is what I'm talking about,
the final frontier for JD. I gotta get to it.
So that's what I'm saying. It's not I still I
still see so much stuff that I haven't done that
I need to do.
Speaker 5 (48:17):
That's all I'm thinking about.
Speaker 6 (48:18):
Hey, Ryan Coogler, Uh, come on now, you from the
crib area, niggas man listen tapping with JD.
Speaker 5 (48:24):
Bro Let me do the whole soundtrack.
Speaker 6 (48:26):
Come on, man, watching ship. You know you got the
movie Theater with the with the Rose Royce.
Speaker 1 (48:34):
Uh that yeah and all that.
Speaker 4 (48:36):
Yeah, yeah, let me do it. Let me do the
small track. I promise you I get it right. I
never did it before, but.
Speaker 1 (48:44):
Everything done it before. It's gonna be great.
Speaker 6 (48:49):
Yeah.
Speaker 5 (48:49):
I won't try to figure it out.
Speaker 1 (48:51):
I won't figure it out.
Speaks to the planet.
Speaker 2 (00:01):
I go by the name of Charlamagne of God and
guess what, I can't wait to see y'all at the
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(00:22):
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Speaker 1 (00:47):
R and B Money, we second take balance out.
Speaker 3 (00:56):
We are the authority be mister Jermaine J.
Speaker 4 (01:07):
Brother.
Speaker 5 (01:07):
Come on intro, God damn.
Speaker 1 (01:11):
Got to be right. So they go back to the
hip hop ship that you wanted to do it. Yeah, okay,
okay with it.
Speaker 4 (01:19):
So I'm like, Brian, I guess we gotta come up
with you know, we gotta do some up tempo fun.
This is what they want to do now, not writing
it either, So it's making it harder for me because
I can't use my ideas, right, I know that they write.
So I got to just come up with a beat
(01:40):
a track to sound like something. And I got a
old guitar at my house out of key guitar, and
Brian started playing with it and fucking with it, and
I'm like, yo, we should use that. He's like what
(02:01):
this guitar, saying like make it getting key or whatever,
and I'm a sample your licks and he started playing
with a party at Lix and the guitar and I'm like, yeah,
just it. I started making taking the parts, making a beat,
and then Jake had come over to the studio and
they start singing and they start going. I'm like, oh yeah,
(02:24):
this sounded like it. This could be it right here?
Hey where the party at. I'm like, damn, this song
needs something though it still ain't. It ain't all the
way there yet. And by the way, I never used
no artists outside of my artists to break to do
anything like that. Right, So, but they like, Yo, gett
Nelly on the song. Nellie's smoking hot at this time.
(02:47):
I'm like, getting Nelly on the song.
Speaker 5 (02:49):
You sure? He's like, yeah, that's your boy. What you
think about?
Speaker 1 (02:52):
Call that?
Speaker 5 (02:52):
Nigga? I called Nelly universal two fifty.
Speaker 1 (03:05):
In a dumber bag.
Speaker 5 (03:06):
I said what I said?
Speaker 6 (03:08):
What ain't no trains, nothing that can't no bartery to fifty?
Speaker 5 (03:14):
I never had paid that type of money for a
million for a feature.
Speaker 1 (03:18):
Yeah, yeah, yeah, And Nellie's on top of the world.
They said two fifty, You're a diamond nigga.
Speaker 5 (03:23):
I said, damn.
Speaker 4 (03:25):
Now, I gotta call Columbia because I like, listen, Hey, hey,
hey listen so so but Columbia's they they stoked because
they jagget jagget the remix.
Speaker 5 (03:36):
Let's get married? Is Peak doing some shit?
Speaker 1 (03:38):
Yeah?
Speaker 4 (03:39):
They so they see now they see light with Jack.
They like you what you got. I'm like, I got
a song. I just got to put an Elly on it,
and I feel like we can we can follow up.
Let's get married with this song. You're putting Elly on
the record.
Speaker 5 (03:51):
It's a go.
Speaker 4 (03:54):
He's like, all right, well, what you want to do.
I said, we gotta give to fifty. They said two fifty.
What I said, you gotta send them two hundred and
fifty thousand dollars. Hena go in the studio. Donniana' was like, okay,
let's do it.
Speaker 5 (04:10):
Let's go ahead.
Speaker 4 (04:11):
I feel like I feel like this, this is gonna
this is gonna do it for him. I say, yeah,
so you get the verse from Nelly. I think the
song is a hit. I go to back, I go
to New York play the song for Donniana and he
listened to the song. He's like, it's cool, it ain't
there yet. I'm like, what you got, Nelly? You got
(04:35):
all these different parts it's going. He's like something, it's
just ain't. Dare ye something ain't. It's still missing something.
So I come back home. I call the guy to
the studio. I'm like, yo, he said a song missing something.
Speaker 5 (04:52):
Oh man, fuck him. We don't know what the fuck
you talking about? You know what I mean?
Speaker 4 (04:55):
So it's like all that. I'm like, man, we got it.
We gotta listen to him. He say, it is missing something.
We got to figure out what is missing. And then
wing goes like, so we start having a conversation about
party things that happened at the party. What is the
thing that call and repeat that happens at the party,
(05:16):
that happens all the time of the party, right, put
your hands up, let's side to put your hand to
my lady's running this motherfuck us. And we start just
bringing all the ideas of like what happens at the party.
Speaker 5 (05:29):
We put that on the song.
Speaker 4 (05:30):
So this is not on the initial we put that part.
We figured that part out, put that on the song.
I go back to New York the next week, I
play it for Donni. He's like, that's it, And I'm like.
Speaker 5 (05:40):
Are you fucking serious? Like this is eight bars? Are
just us my east side? Run this mother? He's like,
that's it. You got it, y'all figured it.
Speaker 4 (05:51):
Out, that's it, and where the party at gone?
Speaker 7 (05:57):
Gone?
Speaker 3 (05:58):
The art of making records, but it's also right. It's
also the respect of like listening to a guy say
you're close and taking all of your your producer ego
and writer ego, you're the things, the success that you've
(06:20):
already had up up to that point, taking that out
of the picture and say, hey man, there's got to
be another level we can get to. This guy says,
there's another level we can get to. Let's let's let's
fucking find it.
Speaker 5 (06:32):
Yeah, I mean, I'm always I'm determined to find it.
Speaker 4 (06:34):
I hate when people tell me though it's not that,
but I trusted they saying it for a reason. Right
Fast forward two thousand. I think we we because we're
from I think the last album at my house, my
mother's house, was jay E heartbreak Fast forward two thousand.
(06:55):
I build my studio Southside. The first record we make
it south Side is we start on Usher's first second album,
third album. Basically, the first song we write when we
move into that studio is you got it bad, so.
Speaker 1 (07:13):
You're just gonna pay for the studio.
Speaker 4 (07:21):
This so Brian. I heard him say this only when
he was here. He wanted to work with Usher is
so bad. He didn't know he was gonna get the
opportunity to work with Usher. I called him, like, man,
we would do jacket desh. He ain't know if I
was gonna keep using him. He thought, you know he
did jacket desh he ain't or whatever I called him.
(07:41):
I'm like, yo, I gotta start on this Usher record.
I need you to come over. He come to south Side.
We start working and I'm like, just we gotta do
an extension of Nice and Slow. I'm saying like nice
and Slow was like about it, people love it. Ran
was in love with nicest Love. I was like, I
(08:02):
want this next song to sound like it's that. It's
right there, but it's a something else, right, It sounded
like something else. So he started writing you Got It Bad,
and we were making the music. I'm not even I
don't have the lyrics yet. And then Usher comes to
the studio and Usher got a girl. Matter of fact,
(08:23):
we had another song, I think we had. We was
working on another song, matter of fact. That's how we
got to it. Was working on another song. He was
in the studio, so the girl called him on the phone.
Speaker 5 (08:32):
He hang up. They're going at it. I'm like, what's wrong, man?
Speaker 4 (08:37):
Can we get this fucking song? You know I'm watching.
I'm like, can we get the song?
Speaker 5 (08:40):
Guy?
Speaker 4 (08:41):
He like, shit, I'm gonna I'll be back right in
the middle of the session. So the girl got him
fucked up right, And all I could sit there and
think about was this nigga got it bad?
Speaker 5 (08:52):
Like you got you got It you got it bad.
Speaker 4 (08:56):
You got it bad, and I just start putting every
pieces that I saw to do. I started writing, and
I started thinking like and I called him when he left,
I said, come back, I got it.
Speaker 5 (09:08):
He came back. I had this song.
Speaker 1 (09:13):
I ain't got for you call it right back. You hate,
I hate this good city of it. This nigga is
so good.
Speaker 6 (09:22):
But you know the other part that I've noticed, your
humility in all of it.
Speaker 1 (09:29):
Is what makes it.
Speaker 6 (09:30):
In my opinion, just from the outside looking in, is
what makes it work because you're never above.
Speaker 1 (09:38):
The song.
Speaker 6 (09:39):
You're never above the situation. In all of these hit records.
You keep saying I was under pressure, all right, I
didn't know. Oh you know what I'm saying it was.
Speaker 1 (09:50):
It's not you know, cause you understand we've been in
music forever.
Speaker 6 (09:54):
We've done it one hundred and fifty interviews. You see
when s niggas is like, the humility may not be there, right,
and that's cool, that's fine. However that works for you.
But what I've found in talking to you is that
(10:15):
you get out of the way of of all the
bullshit and just fucking write a great song.
Speaker 1 (10:22):
Just write the record. Even if you got a tweak it.
Speaker 6 (10:25):
Even if you go like all of these things that
sometimes as we become successful, you do people do.
Speaker 1 (10:31):
Less and less self auditing.
Speaker 6 (10:35):
What you mean, what you mean, nigga, go buy somebody
else record.
Speaker 1 (10:38):
Then you're saying no, no, no no, I'm figure this figure
it out because that do.
Speaker 4 (10:43):
None of that worked for me. The only thing that
worked for me is your reaction. M If I play
a song, you don't react, I.
Speaker 5 (10:49):
Know it ain't no hit.
Speaker 1 (10:51):
That's it.
Speaker 4 (10:52):
I'm not even argue with I might think it's a hit,
I'm still not gonna argue with it because I'm saying
that reaction is what That's what I've that's what that's
all I got, that's all I know. If you and
I'll keep going till I find that reaction. Till you
give me that reaction, I'm not gonna stop on every project.
That's what I have to get. I have to have
that reaction, the same reaction that I got on every record.
(11:13):
It got to be the same thing. Somebody gotta come
from the back, Somebody gotta jump in, somebody gotta do something.
Speaker 1 (11:18):
If they do.
Speaker 5 (11:19):
If they don't do that.
Speaker 4 (11:21):
That song is not coming out and ain't that ain't
that ain't the song?
Speaker 7 (11:24):
Nope, that ain't it.
Speaker 5 (11:25):
I don't care how.
Speaker 4 (11:26):
Niggas jumping around in the studio that I got to
see somebody, somebody else got to show me the natural reaction.
Speaker 5 (11:35):
They gotta show me a.
Speaker 4 (11:36):
Natural reaction before I actually believe it's a go still
to this day, still to this day. So soon where
y'all want to go next? I'm guaringady to tell y'all
got no LA was here and I saw La, but
I was gonna say that what you said about I mean,
(12:02):
oh you both of y'all saying that about me, not
like really cared about what people you know what I mean,
I always get knocked down, So I'm already it's not
like JD, we believe you. It's almost like my success.
They used my success against me to be like you
can't eat I bet you can't do that shit again.
Speaker 5 (12:21):
You think you got.
Speaker 1 (12:21):
Another one of them?
Speaker 5 (12:22):
You think you got another one.
Speaker 1 (12:23):
Of them in there? Yeah?
Speaker 4 (12:25):
Right, So I'm always mentally I'm going into the studio
already thinking like these niggas don't believe we can do
it again. We gotta do it, we gotta find it,
we gotta do it. That's all that matter to me.
I'm not thinking about nothing else. None of that us,
none of that shit matter, even to the song go
nomber one. Cool, it went number one. They want to
(12:45):
know if we could do it again, right, so you
got it bad came out eighty seven o one popping whatever, whatever,
and then it's time to make us a new album, right,
which confessions and me and us should go to LA's house.
Speaker 5 (13:03):
And we pull up to l a house and we
have I think we did.
Speaker 4 (13:07):
We started, we made a song and we go in
there and play the song for him and he's like,
I'm not just saint it and he was like.
Speaker 5 (13:17):
He's like, uh, you're not.
Speaker 4 (13:18):
You're not interesting enough. Like people, they don't care about
you till your album come out. And then when your
album come out, that's when people care about you. Then
when the songs go away, you go away. Y'all need
to write something that's interesting that make people want to
think about you. It was like you need to get
a girlfriend or something. He said, all kind of wild shit.
(13:39):
I'm just sitting there listening like, damn, man, I just
told this nigga. He not interesting. He just sold like
five million records.
Speaker 5 (13:47):
Cool, but I also understand what he's saying.
Speaker 4 (13:50):
I also understand, like, yo, you know, you make a record,
the promotion got you popping, but that it's that in
between shit. People don't know who USh is. People don't,
they don't, they don't, they don't connect with you. Is
like doing some regular ship and this you know rappers
is coming out.
Speaker 5 (14:08):
You see the rappers doing.
Speaker 4 (14:10):
It's more reality type of thing. And we go back
to the studio. We both like fucked up. I'm like,
this man just told us, man to his face, you're
not interesting enough.
Speaker 5 (14:23):
And when I heard him.
Speaker 4 (14:24):
Saying, my mind start trying to figure out what can
I write to make this nigga interesting? What can I
do to make him interest? How do we make this
nigga interesting through music? So I'm on more like it's like, yo,
you should get you should you know, start dating the
hot girl though, find it? You know what I mean
to do some ship that's like more internet driven. I'm
not thinking about the music. There's no way in.
Speaker 5 (14:43):
Hell, right.
Speaker 4 (14:44):
So we start trying to work on the records, and
then he tells me that the girl that he was
dating it's over with, but it's feels like it's burning
his soul. Man feels like it's burning me, burning, Like
it's like a burning feeling that I have. And I'm like,
(15:05):
what I'm thinking, like nigga burning, Like.
Speaker 5 (15:12):
Yeah, I was.
Speaker 1 (15:12):
Loaded to come through. Bring your penicilin wherever your kneed.
Speaker 4 (15:16):
So he's saying this, that's the first thing coming to
my mind. I'm like burning. He's like, yeah, man, make
something that got that burning in there. Say something about
me burning or something like this. And I'm thinking, like,
I don't even know where this nigga act with this ship.
Speaker 5 (15:30):
I don't know what we're at with this. I can't.
I can't.
Speaker 4 (15:33):
I ain't never felt the burning feeling, right, I'm not.
I can't get into them that space. He like, I
gotta go say, he runs out the studio. He left
me with the burned idea, and I'm saying, like I'm
trying to flip the word to me and many things.
(15:55):
I'm writing sentences to see what makes it sound like
it's cool, like burn. I don't know how this was
gonna work. And then it just hit me and I
was like, let it burn, let it burn, like right,
(16:16):
so I start I get it. I'm like, yeah, I
got it, I got it. He come back to the studio.
He listened. He's like, yeah, yeah, that's exactly what I
was talking about. And I'm like, okay, cool, were on
the good We're on a rail to this new album.
(16:38):
Then the next day he comes, he say, man, you know,
I don't think we should work in Atlanta. And I'm
superstitious about leaving Atlanta, right right, And I just got
my studio, just the new studio. We just got the
new studio. You want to go somewhere else. He's like, yeah, man,
we should go to La. Man, y'all should come out
to La and we should do it. I'm like no,
(17:00):
I'm like, we just got let it, bron Let's let's go. Nah,
I'm too distracted in Atlanta. I'm like, all right, cool,
I come out here me and Brian comes here us.
Should we meet him at Brandon's Way and we don't
(17:21):
really know what we're doing, right? We just in there
rush just once again. He come in. He say whatever,
he say, he got ideas. Whatever he leaves. I'm like,
ship Broun, we got La. Told his nigga he wasn't
he wasn't interesting. We got to start trying to make
some music. That that feel like we gotta make him interesting.
Speaker 1 (17:45):
Now.
Speaker 4 (17:45):
I don't know how what that's supposed to sound like,
but I'm just like, we gotta make something. It's gotta
feel like people gotta he gotta have some kind of.
Speaker 5 (17:52):
Little drama to it.
Speaker 7 (17:53):
Right.
Speaker 4 (17:54):
So my homeboy used to be saying all bad. He
was like, man, that's all bad. This shit all bad,
everything all bad. So I'm like, all bad. Everything that
I've been doing is all bad. Got a chick on
(18:14):
the side with the crib and the write. I've been
telling you so many lives ain't nothing good, it's all bad.
I just want to confess I've been doing it so long.
They put the beat up, let's go till Brian started
playing the chords.
Speaker 5 (18:25):
I'm like, I got it.
Speaker 4 (18:27):
They start doing everything it's all bad. I got a
chick on the side of the crib and the rider
telling you so many lines ain't nothing good, It's all bad.
Speaker 5 (18:36):
I got the hook, and then.
Speaker 4 (18:40):
I wanted to be a writer.
Speaker 5 (18:44):
So I said, I got writer.
Speaker 1 (18:45):
His block.
Speaker 5 (18:47):
You know that's bullshit, right, his block to some bushes.
Speaker 4 (18:49):
But niggas that right, they said, just as like a
way to get away from the song. You' you don't
really have writers like you. Right, you can just write
about anything you want to you. It might not sound
I'm good, but you still can write.
Speaker 3 (19:02):
Right.
Speaker 4 (19:02):
You don't just have complete block. Right, So I said
I had writer his block. I'm like, Brian, just give me,
give me the burn the CD. I got my Lamborghini
out here in l A. Right, I'm like, ship, I'm
gonna get ready, I'm staying. I'm staying a malleable y.
Speaker 5 (19:21):
Yeah, I'm good. I get, I get to get.
Speaker 4 (19:24):
I put the CD in the in the car and
I'm going down Beverly and I'm thinking about Kais. I
don't know why I'm thinking about Kais, but I'm thinking
about k And I'm thinking about the movie Usual Suspects.
(19:48):
And Kais was in the when he went to the jail.
He looked around the room and he made a story
up of everything he saw on the wall, and he
made all the ship just go. He figured out how
to make everything that he saw in that room work
to his story. And I'm driving and I'm like, shit,
(20:08):
I might try to do that. Let me shoy this,
let's try this Cossos shit. And I stop it to
light and I'm like every time I was in La.
I'm with my ex girlfriend. Every time you call up
to your baby, I'm running. No, I was not doing
my work. Oh one thing about you getting hurt. I
was hand in hand in the Beverly Center.
Speaker 1 (20:27):
It's right there. Damn yes, yeah, yeah.
Speaker 5 (20:33):
Oh.
Speaker 4 (20:35):
If I wouldn't have been here, none of them words
would have been in that song. I would have never
been in La. I was here in La. I'm writing
the song as I'm seeing what's going on.
Speaker 5 (20:44):
You know what I mean?
Speaker 4 (20:45):
And this verse, this verse goes to all bad. This this,
this verse goes to the all bad song.
Speaker 5 (20:50):
It's not even.
Speaker 4 (20:51):
Confessions yet, this is you know what I mean. So
I'm writing this to everything that I've been doing.
Speaker 5 (20:56):
This all bad.
Speaker 4 (20:57):
This is the first verse of all Bad. I told
them niggas, I had writer's block. But by the time
I passed the Beverly Songer, I had the whole verse doing.
Speaker 5 (21:05):
I was ready to go back to the studio. They
had left.
Speaker 4 (21:07):
So I'm like, God, damn, now i gotta wait till
tomorrow to try to cut the ship.
Speaker 5 (21:11):
But I'm singing this shit all the way down.
Speaker 1 (21:13):
P h.
Speaker 5 (21:14):
I'm I'm writing.
Speaker 4 (21:16):
The whole song all the way down pch I'm flying,
but I'm listening and I'm saying, I got it this
shit right here, so come back tell us hear it?
Speaker 5 (21:30):
Yeah, we're fucking with it? Cool, all right?
Speaker 1 (21:34):
All right?
Speaker 5 (21:36):
But what happened after that?
Speaker 1 (21:37):
That's what he said.
Speaker 5 (21:39):
I'm like, what do you mean? Wild happened after that?
Speaker 1 (21:42):
They locked into the movie?
Speaker 4 (21:43):
Yeah, like, what's gonna happen after you? You know, you
got a chick on the side. What happened with it?
And just so happened that my real life, my real life,
this is happening.
Speaker 1 (22:00):
You know.
Speaker 4 (22:00):
I got a girl pregnant, and I had to tell
my girlfriend that I had a girl at the time.
I had to tell my girlfriend at the time that
I got a girl pregnant that I barely even knew, right,
And I called my homeboy and I'm like, Yo, how
(22:20):
do I tell my girl this? He's like, you gotta
call her and tell her. I'm like, shit, now, I'm
gonna just lead on answer machine. I'ma call him. I'm
gonna just calling leave it on answer machine. So I
called her. I left a message on answering shit. She
called me back. She wanted to know all the information
about it.
Speaker 5 (22:40):
What how, what?
Speaker 4 (22:43):
And I'm just like, I'm fucked up. I'm actually not
even thinking about the song no more. I'm just actually
I'm in this real life. So then Usher and Mark
comes to the studio and they're like, man, we gotta
make part two of this. It's gotta what's gonna happen?
The girl gotta get pregnant. And I'm like, oh, I
(23:03):
know this too well. This is too this is too easy,
Like this story you really want me to say this?
It's like, yeah, what is the story? And I'm like, Okay,
these are my confession. Just when I thought I said
all like I said, the chick on the side say
she got one on the way. Man, I'm throwing and
(23:25):
I don't know what to do. I guess I gotta
get y'all part to My Confessions.
Speaker 1 (23:29):
Two because they asked for a part too.
Speaker 4 (23:32):
Because they asked for a part two. Yep, we wouldn't
even made that.
Speaker 5 (23:38):
That song.
Speaker 4 (23:39):
Confessions would have never came out if they didn't ask
for a part two. The song was all bad That's
what the name of the song was. I mean, it's
that's what it's on the album.
Speaker 5 (23:48):
It's all bad to.
Speaker 4 (23:50):
Which but I say, I confess I've been doing you
so wrong. I say it in that song. So that's
how it became. Like that's when I start connecting it,
like these are my confessions. I just took that part
from that song and put it into that. But it
was like this was.
Speaker 5 (24:05):
And by the way, this is a remix of all
Bad basically of a song.
Speaker 4 (24:10):
That nobody ever heard. It never worked, like these records
never came out.
Speaker 1 (24:14):
We just made were already on the part too.
Speaker 5 (24:16):
Yeah, we made part two before the song even came out.
Speaker 6 (24:20):
And that's how you get the number one on be
your Record of the century. That's how you get that
that because congratulations on that too than you give me.
Speaker 7 (24:32):
Yeah, but it's the life.
Speaker 1 (24:42):
In the song.
Speaker 3 (24:44):
Yeah, it's like you gotta live writer, You gotta gotta
live writer. It's not gonna always be pretty. That's always
my advice. Just write your life. There's gotta be something
going on. Don't make it too hard on yourself.
Speaker 1 (24:56):
And going on.
Speaker 4 (24:57):
Get something something that that you're not interesting lying that.
I mean, it's a bunch of things that went into Confessions.
Him telling us that usher, telling me about the burning
thing we're getting to l a like I said it
was just like and then I'm asking for part two
of All Bad, Like, what's the continuation of this song?
(25:18):
We gotta make a continuation of this song. And I
was like, all right, well, I know this story pretty fast.
Let's just start coming out like this like clock like
super you're talking like that. I think I wrote that
song in like five minutes.
Speaker 6 (25:33):
I never forget coming to Atlanta, flying in to go
see my partners here, going up to hit Coole and
him playing me burn hm, and.
Speaker 1 (25:44):
I'm like, Nigga, what the fuck is this?
Speaker 6 (25:49):
Like yeah, nigga, this is this that ship nigga, Nigga
jadn that's.
Speaker 1 (25:53):
Your back in nigga.
Speaker 6 (25:55):
You know that ship down the time I'm telling you. Nigga,
I'm like, so, when are you coming out? He's like yeah,
this ain't a single thought.
Speaker 1 (26:01):
I said, what you do? What?
Speaker 7 (26:02):
What?
Speaker 1 (26:03):
What are you talking about? Nigga? I've heard everything of
the year. You're out of here.
Speaker 4 (26:08):
I thought that was a single too, by the way,
I'm like, yeah, this is the single. La La is like, nah,
that ain't a single. I'm like, man, this nigga's different.
Speaker 1 (26:20):
This niggas different, but it's it's continuous. Chess is y'all.
He's he's setting the chess board in a certain way.
Speaker 6 (26:29):
He because as an executive you have to be able
to see something that the creatives maybe don't fully see yet.
Speaker 4 (26:37):
Yeah, I mean, listen, it ain't my label. So I
just start falling back, like, this is your label. I
just making music. You do what you want to do
it that's what you feel like, then cool. When I
saw the track listing for Confessions, he took All Bad
off the album.
Speaker 1 (26:57):
So then I'm like, how does it make sense.
Speaker 4 (27:00):
I'm like, people don't even gonna know about the first
part of the song. I don't care about the first
part of the song. This is the song.
Speaker 5 (27:10):
So then.
Speaker 4 (27:13):
They shot the video for it, and they put the
first verse from All Bad at the beginning of part
two video. So then they made the song go like this,
that verse is not in that song.
Speaker 1 (27:27):
No, no, it's not.
Speaker 5 (27:29):
You know what I mean.
Speaker 1 (27:33):
Don't say that man put that on put that on something.
He was in full Michael Mother.
Speaker 4 (27:40):
Yeah, so that whole we did all that here in
LA that call and oh that's a real phone call.
Speaker 5 (27:47):
Uh, and yeah, l A scrapped.
Speaker 4 (27:53):
LA didn't put All Bad on the first release of confessions,
So all people heard was confessions too, and I.
Speaker 5 (28:00):
Thought that was crazy.
Speaker 4 (28:01):
I'm like, we sang in the song I'm Gonna give
You Part two, part one, but it didn't.
Speaker 1 (28:08):
Make is it?
Speaker 3 (28:10):
Is it accidental genius that you end up having to
circle back to it and and that is now new
interest in a re release or even in the video
for that matter.
Speaker 1 (28:24):
Yeah, that's crazy to think of it like that. Yeah,
you know what I'm saying. And it worked work.
Speaker 4 (28:31):
It worked like a Star Wars thing, like the Star Wars,
like the way they wrote Star Wars backwards backwards, right,
So it's like the same type of mentality.
Speaker 3 (28:38):
And well, the first was that don't you don't you
don't have to call what the first single from that one.
Speaker 4 (28:44):
No, you don't have to call yeah first yeah, yeah, yeah, yeah, yeah,
yeah yeah yeah, yes yeah.
Speaker 6 (28:49):
I always called to me, I always called that sugar
on the vegetables. Right, It's like, when you have kids.
We all got kids, how do you get your kids
to eat vegetables?
Speaker 1 (29:00):
Something?
Speaker 6 (29:00):
You gotta give them something sweeter, You gotta give them
something with it that makes them take in ship that
they need. And that's how I looked at the body
of work of Confessions was the ship that the world
needed from an R and B artist. I felt like, yeah,
it was the Yeah, it was the dangling carrot. I
(29:21):
want the world to come in and now y'all getting
this ship though, Yeah you get what I'm saying. Yeah,
it was the only thing like that on the album.
Speaker 4 (29:30):
Yeah, it actually doesn't match the album.
Speaker 1 (29:34):
But it's but it's was a hell of a commercial.
It made everybody. Yeah, it's like a super Bowl times an.
Speaker 6 (29:42):
Amazing record, amazing record, but it does not fit the album.
Speaker 5 (29:47):
I mean what it does, but it don't. No, I
don't know, had nothing to do with the confession.
Speaker 3 (29:51):
Yeah, because the rest of that is like, is that
like the party after I get done?
Speaker 1 (29:55):
It's core R and B. Yeah, it's not core R
and B.
Speaker 5 (30:00):
Yeah, it's new R and B.
Speaker 6 (30:01):
Everything else is core R from the records that you did,
the records that Drama Dow did, Jimmy Jam, Like, this
is an.
Speaker 1 (30:09):
R and B R and B album and yeah it's
like what the fuck?
Speaker 6 (30:14):
Yeah, like you said, it's the commercial's bringing everybody in.
Speaker 1 (30:18):
It's the shock value.
Speaker 5 (30:19):
It's definitely shock value on a whold on the left.
Speaker 1 (30:22):
I'm so angry whatever it was because it's like SnO competing.
Speaker 3 (30:27):
Because I had been in my little Dirty South record
with cash Money.
Speaker 1 (30:31):
I was like R and B Dirty South collapse. I'm
about to kill him. Ship out to go crazy, dud,
he said, dud.
Speaker 3 (30:45):
Itself like Paul, you like a thug, drinks up in
the sky like thug.
Speaker 6 (30:54):
No sparkle, no sparkle, spark nobody.
Speaker 1 (30:58):
Ain't nobody run from.
Speaker 5 (31:01):
That's what problem Problem.
Speaker 3 (31:03):
Fresh told me all the sweet thom Fresh like you
have fun do do that ship, nigga, you're killing that ship.
Speaker 1 (31:10):
The baby came around, so I said, nigga, you can't
tell me to say that wasn't that I needed you?
J were.
Speaker 5 (31:18):
I went to call and say, anybody look like they
liked that song?
Speaker 3 (31:24):
And then that song came out and I'm in the
I'm in the club on Librea and Hollywood.
Speaker 1 (31:30):
What did they call that club? Then my house?
Speaker 3 (31:36):
Boom boom, Yeah yeah yeah.
Speaker 1 (31:47):
I don't think I had a good time that night.
Speaker 3 (31:49):
Fuck you ever for everybody, nigga, Yeah, everybody, Sorry, there's
too much. Here's too much. How do you feel about
because you're like you're always you the cool nigga, that beetle,
(32:10):
that you guys see it, it's always you. It's never
too eigh it's never too loud. Nigga comes like Nigga
got no more record. That's that's that. That's dope. Thank
you appreciate it.
Speaker 1 (32:22):
It's this.
Speaker 3 (32:23):
How do you feel about being? First of all, you're
one of two in the Hall of Fame, but what
you're what you've accomplished in music, you're you're one of
you were one of one. How do you feel about that?
Do you feel like you can bang on your chest
(32:44):
at times and appreciate yourself?
Speaker 5 (32:47):
No, Because the people that idolized they did more with less.
Speaker 1 (32:53):
Mmm mm hmm.
Speaker 5 (32:55):
Explain that Motown, you know what I mean?
Speaker 4 (33:01):
Barry took what eight hundred dollars from a bang and
made more Town eight hundred dollars.
Speaker 1 (33:09):
I mean, that's the equivalent to a lot, even.
Speaker 4 (33:14):
Eight hundred dollars. There's a lot of thousand, eight hundred dollars.
Borrow money, borrow money, put all of these writers and
people inside this house, has mother cooking the food, and
made everybody sit in there. And he made Moltetown records with.
Speaker 1 (33:34):
Things that were just connected to his block too.
Speaker 3 (33:35):
Though, Yeah, I don't disagree with that.
Speaker 1 (33:39):
I don't. I'm not gonna argue with it.
Speaker 3 (33:40):
I'm not even gonna say, but I just want to say,
you wrote and produced and then performed Beg Gordy. Did
with Beg Gordy? Did you my friend?
Speaker 1 (33:57):
Were? You were Smoky Robinson, you were also whatever band
he called in to do the instrumentation, and then you
were also Barry Gordy. Again, I respect, I respect your answer,
(34:21):
but only you. No, not just rap and army and
army and pop and pop.
Speaker 6 (34:33):
Bro, like the things that you've done in this in
this business. Once again, you've been the first to us.
You know, listen, I'm I'm all. I'm with all the ship,
I'm with all the arguments axon argue all they want to.
Speaker 1 (34:49):
You can't argue with me about your main depris.
Speaker 6 (34:53):
That's why we want you on this show so bad, bro,
because you are that important to us, and it bothers me.
Speaker 1 (35:02):
That you don't get as much credit as you deserve.
I don't care if you care about it or not.
Speaker 6 (35:06):
I'm talking about me caring about it as somebody who
loved this shit that we all do, that we give
our lives to.
Speaker 4 (35:12):
Yeah, I mean I have I have come to the
realization of why that is. Though, when you don't have
a two then the people don't have no conversation about it, right,
So it's not like you just said, it's not another
(35:34):
Jumaine dupri in the music industry, not.
Speaker 5 (35:39):
Today, and it wasn't you know before.
Speaker 4 (35:44):
So then when people like try to you, you know,
like everybody always tried to pit me against Puff. That's
the person that they thought was the closest to me. Right,
I've been telling niggas the whole time. Me and Puff
is not alike, Like, you know, he don't write songs.
I write songs. He don't do it. He don't make
the beats, He don't do half of the shit that
I do. He's a great producer in the mentality of
(36:05):
how he hear music. But that's the only person that
people have ever pitted against me.
Speaker 5 (36:12):
Right.
Speaker 4 (36:12):
They ain't never put Rodney Jergins against me. They ain't
never put none of these other guys. Puff is the
guy that they said JD trying to be like Puff,
you know what I mean, They try to put us
against each other, and I just start realizing, like if
it's if you only got one person and they ain't
no really no other person that they can compare it to.
Then they not even gonna have the conversation. They're just
(36:32):
gonna start. They're gonna just like not even talk about you,
you know what I mean, Like I've seen what y'all
did with La he had him and Face, jim and Terry.
Speaker 5 (36:43):
Right, it's one and two, like you go here, you
go there, you can go here, go there.
Speaker 4 (36:49):
When you come see me, whatever you get after that
ain't gonna be like what you get from me.
Speaker 5 (36:54):
It just ain't. It ain't gonna be like that. And
I think that's what I think.
Speaker 4 (36:58):
That's why people people have It's not a lot of
that going on in the world where you only have one.
And I just that's just what it is. And I
realized this when I went into the Hall of Fame.
Is the Hall of Fame is a writers for the
last forty years or even longer, maybe fifty years of writing.
(37:20):
And I'm looking at all these writers and I'm like,
you know what, I'm different. And that's the first time
it dawned on me that I was different. Because Babyface
don't got no number one rap song, Jimmy, Jamey, Terry
Lewis don't have no number one rap song, la REI
don't have no number one rap song, right, I have
(37:42):
number one rap songs right, not alone these R and
B records. I got number one rap songs that Quincy
never had. Quincy, you know, he never had number one
rap song like you said, Berry Gordy never had. They
never had number on rap song. So that's what That's
(38:02):
the day that I realized, Oh, I'm not I'm trying
to be like them, but I'm actually different.
Speaker 5 (38:08):
Right, That's the first time.
Speaker 1 (38:09):
It hit me.
Speaker 5 (38:09):
So it took a long time for me to even.
Speaker 4 (38:11):
Realize that, you know what I mean, Like because I
just put all of it together. I never paid no
attention to it. But like you know, he ain't got
no pulling me back. He ain't got you know, that's
a number one record with Chinky and Tyrese y right,
they don't.
Speaker 5 (38:27):
Got them songs.
Speaker 4 (38:29):
That's why I kept saying, like when niggas was like
me doing versus, I'm like y'all, niggas, I get it,
y'all think that y'all know what's going on. But I'm
saying I'm gonna start pulling out records that you ain't
even you're not even really bringing into the you know,
you're not even thinking about it. No, it's not like that.
It's just like people leave it out. It's like you
(38:50):
just leaving the stuff out.
Speaker 5 (38:51):
You know what I mean.
Speaker 3 (38:52):
Like that's what this space is for. What they're talking shit,
this space is to let motherfuckers know. Yeah, in case
you didn't know, y'all must have forgot y'all. Now y'all
know what it is.
Speaker 5 (39:03):
Yes, now y'all know what it is.
Speaker 4 (39:04):
Yeah, No, for real, It's like it's not it's not
a bunch of people that first one hundred writers talk
right and then writing the whole concept of song, then
producing the song.
Speaker 5 (39:17):
That's just not happening.
Speaker 1 (39:18):
It's not happening. So back to my one of one.
I take that.
Speaker 5 (39:24):
I take it.
Speaker 1 (39:34):
That isn't here arm your money. We write for is
what it is. It's always happen before we had this platform.
Speaker 5 (39:46):
Conversations.
Speaker 1 (39:47):
You know that studios niggas start talking about this. Hey man,
Jamaine the.
Speaker 4 (39:51):
Pre dog by the way, you got it bad. I
told the story before you got it bad. It was
like a battle between me and Rodney Jerkins because I
think I don't know Rodney and Michael was in the
studio during Your Rock My World. I mean Usher was
Usher and Brown, I mean, yeah, he's doing you got
it bad? And Michael called to the studio or something
(40:13):
like that. They called to the studio and they was like,
what y'all over there doing.
Speaker 1 (40:17):
Michael called to the studio and asked, what you're doing?
Speaker 4 (40:20):
Yeah, him and Rodney Jerkins, they was on the phone
like some had some kind of way this happened. I
don't know why it happened, but he called. They called
the studio.
Speaker 1 (40:31):
Yeah, and.
Speaker 4 (40:35):
I put on a speakerphone right because Usher was there
so you can hear it. And uh Ridney was like,
what y'all over there working on? Michael's like, yeah, what
y'all working on? And uh I said, I'm sure. I said,
I'm doing Usher And the nigga Michael said who Ushers
on the speaker phone and I'm like, oh, this niggas thirty.
(41:01):
This nigga just said who you know the fuck Usher is?
Speaker 1 (41:04):
Nigga? Mike knew everything that was going and he's like
He's like.
Speaker 5 (41:08):
Who, And I'm like did he just say who? So
I got mad. I'm mad as a month. I'm mad
for Usher, right, I'm like righting, Man, fuck this ship.
Speaker 4 (41:18):
We got a song right now that's better than your
whole album.
Speaker 5 (41:25):
I'm just I just shot my gun. But you got
it bad. It is I'm sitting on you got it bad? Yeah,
And you know I was. I was that that.
Speaker 4 (41:37):
That's what fueled me that day. Like, man, I gotta
that's all. I'm just fueled by, like the competition. You know,
social death is created because you death. But I'm so
so much deafinite you. That's how the company, that's where
the name comes from. It's like, it's about the competition.
Speaker 1 (42:01):
I like that. I love it. I love it. I
like that a lot.
Speaker 4 (42:06):
It's just about I'm just about competition. I'm into the
competitive nature of making music and the fight of it.
Like let's go, let's see what, let's get in, let's
do it, let's get the ring.
Speaker 6 (42:19):
Then you've had all the success, right And I mean
I know the answer to it because you said it's
the competitive nature. But for you then to say, you
know what, I'm gonna make some new R and B
for y'all too. I'm gonna go in with our Lennox.
(42:40):
I'm gonna make this pressure after I go in with
our Lennox. I'm gonna go in with money long and
I'm gonna make this made for me. Like, the shit
does not stop, bro Like. When people say, oh, well
a person can only do this for so long, they
were not talking about remain de pre at all, especially
(43:02):
in urban music.
Speaker 1 (43:04):
You know this.
Speaker 6 (43:06):
It started off with you being too young but at
a certain at a certain stage, and this business is
oh it is he can't get the way too old,
and you proved them wrong in both spaces. You did
not stop making hit records, bro Like. You have current
records right now made for me. It just literally held
(43:31):
the year.
Speaker 1 (43:33):
And a joke.
Speaker 5 (43:35):
Yeah we won that Grammy too.
Speaker 6 (43:38):
Yes, yes, yes, yes, come on, bro like. And and
what's that thirty years since your first hit?
Speaker 7 (43:47):
Yeah?
Speaker 1 (43:50):
Insane, insane, insane.
Speaker 4 (43:53):
But I mean, like I said, I just I just
don't get into the I don't get into I understand
that one hit record only pushes people to ask you
if you could do it again. So therefore I never
get into the success of records. I just get into
the Okay, let's go.
Speaker 1 (44:14):
And you know how many hit records you have? No?
Speaker 4 (44:22):
No, I mean, and like I said, this year, this
is the year that I've really just been paying more
attention to it. So when I DJ, I've been trying
to like when I do these R and B parties,
and so I have a different set than anybody. I
don't do it just because I'm trying to be cocky.
I just be like, you know, you got a bunch
of DJ's doing sets. You be trying to figure out like, oh,
this nigga just played the record. I was gonna play
(44:43):
God damn, so now you gotta you don't right back
there trying to figure out my playlist because this nigga
just played the record. I wanted to play my first set, right,
So I started saying, Man, fuck the shit, I'm gonna
just play my music.
Speaker 5 (44:55):
It's all R and B.
Speaker 4 (44:55):
I could do R and B records for a whole hour, right,
we could do I could do I own R and
B records for a whole hour. And I just tell
the d J don't play no Jermaine the pre records.
That's gonna be my records. You can play everything else
R and B you want to, just don't touch my
my my little ship.
Speaker 1 (45:12):
And I still have a full set.
Speaker 5 (45:13):
And then I come out and I just play all
my records.
Speaker 1 (45:15):
I was there, turn that my funk up played all
his records. They all work, they all work.
Speaker 6 (45:25):
Congratulations, Thank you, congratulations man's.
Speaker 1 (45:29):
I had him him up in the back of the kitchen.
My week man, I need my week man.
Speaker 4 (45:37):
Man, come on, you gotta see he gotta really, you
gotta come.
Speaker 1 (45:43):
You got you gotta come. You ain't welcome to Atlanta, man,
you want to come do it. You ain't got to
convince me that I'm.
Speaker 5 (45:51):
Saying, you know, I know, I know, but I'm saying,
you know, you know he.
Speaker 3 (45:54):
You know here here thespian now though you know what
I'm saying like he's on Broadway now.
Speaker 5 (46:00):
Congratulations, this is my hand.
Speaker 1 (46:07):
You gotta to think of. That's your new that's my
new one. That's my Broadway. No, bro, if we learned
anything from Maine the pree stay come on, bro, don't
give nobody doubles.
Speaker 3 (46:23):
Shake to me earlier he gave you at what is
this bullship?
Speaker 5 (46:30):
Great? That's what you're doing.
Speaker 1 (46:32):
What is it? Hell's kitchen? Alicia?
Speaker 5 (46:34):
Alicia? What's up?
Speaker 1 (46:36):
Incredible? Incredible? I brought on Broadway man every day, huh.
Speaker 5 (46:41):
I wanted three times a week, every day.
Speaker 3 (46:45):
Every day stuff on Monday, eight shows a week. Yeah,
I had them vocals, right, believe that's what you win?
What is it, Emmy or what a Tony Tony? Okay, yeah, yeah, yeah,
it's the least you got a Tony that working on
award nominees and the director Tony Ward like it's a thing.
Speaker 1 (47:04):
Wow, it's a real thing. Have you said it?
Speaker 5 (47:07):
Nah? I didn't even think about that.
Speaker 4 (47:10):
Like right now with you back to your question that
you asked me about, do I ever think about And
I'm like no. Last night I was watching the Oscars
and they was playing all Quincy music, as you know,
all the songs that was in the Oscars was all
Quincy's the soundtrack of Quincy Jones. And I was just
thinking to myself, like I don't think. I don't think
(47:31):
I've hit that mark yet. Like if I passed, they
ain't gonna do that for me. So my my challenging
life now is to try to get to that space.
Not the Oscars, the Oscars, Soul Training Awards, maybe.
Speaker 1 (47:47):
The Grammys better do Grammy.
Speaker 4 (47:50):
Might give me a little they might give me a
little space. But I'm saying I want, right, I want
saying that Oscar look to just be like.
Speaker 1 (48:00):
But he also scored movies too, Yeah he did, he did.
Speaker 4 (48:04):
That's what I'm saying. This is what I'm talking about,
the final frontier for JD. I gotta get to it.
So that's what I'm saying. It's not I still I
still see so much stuff that I haven't done that
I need to do.
Speaker 5 (48:17):
That's all I'm thinking about.
Speaker 6 (48:18):
Hey, Ryan Coogler, Uh, come on now, you from the
crib area, niggas man listen tapping with JD.
Speaker 5 (48:24):
Bro Let me do the whole soundtrack.
Speaker 6 (48:26):
Come on, man, watching ship. You know you got the
movie Theater with the with the Rose Royce.
Speaker 1 (48:34):
Uh that yeah and all that.
Speaker 4 (48:36):
Yeah, yeah, let me do it. Let me do the
small track. I promise you I get it right. I
never did it before, but.
Speaker 1 (48:44):
Everything done it before. It's gonna be great.
Speaker 6 (48:49):
Yeah.
Speaker 5 (48:49):
I won't try to figure it out.
Speaker 1 (48:51):
I won't figure it out.
Hosts And Creators
Tank
J. Valentine
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