Realer Than Most Podcast
Here at Realer Than Most Podcast, we believe that hip-hop/rap is more than just music its a cultured lifestyle, and a way of expressing oneself. we are based out of Philadelphia tri-state area that's why we focus on artist who are not only skilled in their craft but also have a unique perspective and voice. our goal is to provide a platform for these rising stars to share their stories and connect with their fans on a deeper level.
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Realer Than Most Podcast
STANDING OVATION | FEAT DRUMMER BOY | SZN 3 | EP 13 |
When trap music's unmistakable 808s and bass lines became the soundtrack to a generation, Drummer Boy was crafting those sounds in real-time. From his early days in Memphis to becoming a cornerstone of Atlanta's music scene, this legendary producer takes us behind the curtain of some of hip-hop's most defining moments.
The conversation flows through Atlanta's cultural significance as "the major league" for Black artists—a city where people from across the South converged to create something revolutionary. Drummer Boy describes watching Yo Gotti secure his first record deal, working with Jeezy on the platinum-selling "Standing Ovation," and the diamond-certified "No Hands" with Wale and Roscoe Dash. These aren't just beats; they're timestamps marking cultural shifts.
What stands out is Drummer Boy's producer philosophy—rather than trying to replicate formulas, he reads artists and delivers what they're missing. "If you eating oatmeal later today, why I'm gonna feed you oatmeal?" he quips, explaining how he convinced street artists to make records that moved the ladies. This intuition for what audiences need, not just what artists think they want, separates hitmakers from beat-makers.
Beyond the music, there's a spiritual thread running through Drummer Boy's approach. Raised in the church with musical parents, he brings a "brother and sister" mentality to collaboration rather than cutthroat competition. He speaks proudly of mentoring young talent rather than exploiting them, introducing promising artists to industry figures who could help them succeed.
Ready to hear the stories behind your favorite trap anthems from the man who created them? Dive into this essential conversation about music, mentorship, and the cultural movement that changed hip-hop forever.
The following show has been approved for appropriate audiences by the Real Ones Motion Picture Association of America Inc. The show advertised has been rated R.
Speaker 2:The content discussed may cover sensitive topics. Listener, discretion is advised.
Speaker 3:If you feel that any content may be triggering or distressing, please take care of your well-being first.
Speaker 2:It's White Boy D2A. I'm Roland and we just wrapped up the craziest, craziest interview. Sam, hold me down for the light skin niggas. Yeah, yeah.
Speaker 1:I Hold me down for the light skin niggas and a certain thing is a certain lane, is a certain pocket y'all trying to be in. I might have to do certain little things that might get me to trust them. But if this is really the Moose Market, keep it coming. If you don't, you're a motherfucking a** Wilder than the free. Really the Moose Market.
Speaker 2:Oh man, we here man.
Speaker 3:Rolling the most podcast.
Speaker 2:And we in ATL At ATL.
Speaker 3:You did and you know, it's crazy here too.
Speaker 2:It's just one of them. Places where players meet. You feel Feel me man? Hey, yeah too, it's just one of them. Places where players meet. You feel Feel me man? Yeah, boy, today we got none other than the legendary producer, architect of sounds, drummer boy in the building. Y'all.
Speaker 1:Man, you had to excuse me too what you got to do.
Speaker 2:I'm with you, the fool you know what I'm saying when you got to do Shit. I'm with you, the food man, what you got to do here.
Speaker 1:You know what I'm saying, what you dig when we at, we at ATL.
Speaker 3:Come on, man, we at the location hey listen, man, they spell it.
Speaker 1:A-Y-E-T-E-A-E-L-L-E. We right by the airport, as you can see the planes.
Speaker 2:One minute, two minutes, that's a Spirit flight.
Speaker 1:That's a Spirit flight. You can see the yellow plane right there, that's a Spirit plane, delta, all of the airlines, man, but I'm talking about the number one most traveled through airport in the world Atlanta.
Speaker 2:Yes, it is Hartsfield. Yes, it is.
Speaker 1:Right here. You know what I'm saying, and I'm from Memphis. I've been here in Atlanta for 20 plus years. It's been a blessing man. You know what I'm saying. So it's a pleasure to be here with y'all and invite y'all out to the new spot. You know what I'm saying. Yeah, we got a partnership going, so stay tuned.
Speaker 2:ATL. Y'all tap in man Fire man, I know man fire yeah, man, how you feel how you feel, core.
Speaker 3:I feel good. Man. Let's pop the bottle of the belly man.
Speaker 2:You know the food good, here we got really the most cups we send out.
Speaker 1:ATL, atl. You know, billy huh. Shout out to my boy, KP man.
Speaker 2:We put out their project. That's my boy. You know what I'm saying Fake Free, you know what I'm saying.
Speaker 1:A lot of hard dope rappers, man. I did a song with Beanie Siegel on Welcome to my City, Vol 2.
Speaker 2:That's on.
Speaker 1:That's on. You know what I'm saying.
Speaker 3:He always show love. You know what I'm saying.
Speaker 1:Every time I see Freeway I be goddamn thinking the Styles. P In the back of my head For some reason.
Speaker 3:Yeah, you know what I'm saying. But Freeway good nigga.
Speaker 1:You know what I'm saying and you know just fucking With the city man. You know what I'm saying KP been doing good things. You know what I'm saying. When Taylor brought y'all up, I was like, come on, we gotta do it. That's right, this is where we gonna be at. Y'all. Pull up on me, man, we gotta show love to Philly man, fuck with Philly.
Speaker 2:Appreciate Lala man. Appreciate, appreciate Mercedes Lala.
Speaker 1:Yeah, yeah, we appreciate everything. They been working hard too. Yeah, man, a lot of beautiful yeah-yeahs up there I was telling.
Speaker 2:KP. Like y'all did wonderful on that project, like y'all did wonderful, I went to the release on South Street. He had a big release for it and everything it was dope.
Speaker 1:Yeah, yeah.
Speaker 2:I'm glad y'all got the link and do some work together, man, because when it come to bars and that sound. He got it and it being authentic and real and then being able to act that shit out like that.
Speaker 1:He don't get enough acting credit. As soon as I seen him, I met KP through the Instagram and I kept seeing him doing these different visuals and doing these different series of reenactments, so to speak, of what he recorded in the studio. And I was like yo, this nigga need to be on TV and to be able to spit them lyrics, live from memory as well as act that shit out and have all of these different things planned at the right time. This nigga pop out, this female come out the door. He close this door.
Speaker 1:You know what I mean the gun come off the weight, like everything be perfectly timed with him, like he see a vision and I I think of uh, what's my boy named danny glover atlanta uh-huh the tv show he did atlanta. Yeah, yeah and seeing kp like nigga as a rapper. Right, you need to do a tv show called philly, or?
Speaker 3:you know or?
Speaker 1:some kind of some like. But I see him on tv. I know he's an actor, I know he's capable of reenacting right uh and his memorization. If you can remember them lyrics, you can remember them lines right, right, right, right you see what I'm saying, right, right he just got that image, he got that face, he built for that. So man shout out to it's just.
Speaker 2:KP my boy.
Speaker 3:KP man out the KP. There's a little airplanes coming by. Y'all know that man.
Speaker 1:But we in the fly zone, baby flies on.
Speaker 2:y'all know that, man, we in the fly zone baby Fly zone.
Speaker 1:Man Come on, man you dig yeah.
Speaker 2:So, yeah, like you know, we get to sit down with the legend and you know, you being one of those guys that the shape, shape the sound of a generation and like our childhood, adulthood, uh, that trap music man that that's just played so much important time in my life, man, that that gz standing motive, standing ovation man come on man that shit means so much to me, man. It's like to sort of sit across from you. It's like I got a champion to the moon, you know, I mean.
Speaker 1:Yeah, nah, it's respect. You know what I mean. Making standing ovation, it was this type of shit going on.
Speaker 3:You know what I'm saying.
Speaker 1:It was people being rescued. You know it's motherfuckers getting arrested.
Speaker 2:Yeah.
Speaker 1:You know what I mean. It's motherfuckers coming in and out of Atlanta on flights. A lot of niggas driving. I come from memphis, yeah, you know. I mean some motherfuckers coming from alabama, mississippi, louisiana, florida, texas, kentucky, north carolina, south carolina, so on and so forth. So you know I mean anybody past that. They might be coming in on a flight vegas la washington, uh, new york, you know what I mean, new mexico, but motherfuckers coming in from all parts of the world. It's the most traveled through airport in the south.
Speaker 1:Uh, so, to see so many different cultures and to see us stick together and uplift us the way we uplift us yeah as well as seeing the history that they tried to erase, yeah, and then seeing us fight for the city back, man, you know you're looking at Maynard Jackson and the mayors that have been in position. You look at Clarence Avant RIP the things that he did for the city of Atlanta and helped bring in the concerts and the shows, and the relationships, and all of that to Atlanta.
Speaker 2:Yeah, yeah.
Speaker 1:Seeing what LA Reid baby face with the face did for Atlanta, you know what I mean and them coming down here and putting out all of the action groups, like it's just a city for us, amazing things, beautiful things and just everybody uplifting everybody. So it's something that you want to fight for. It's like the major league for us.
Speaker 2:If we had our own team.
Speaker 1:It's something that you want to fight for. It's like the major league. For us, If we had our own team, it's Atlanta.
Speaker 2:So you crafting the sound and meeting those gentlemen that you meeting at the time to help you get your vision out. With the sound, did you know it would shape the generation of trap music, though? Did you think it'll go that far? Or did you think that that trap sound or that 808 drum spread throughout the world like it did?
Speaker 1:I think honestly, like if you look at it like a sport, like once you realize you can hit a home run. Yeah, hit a home run yeah, not only you realize your power, but the people in practice, the other players, the teammates, right right the coach, right the parents who are in the crowd like oh shit, that boy just hit a home run.
Speaker 2:Baby right, look at it, go at it go.
Speaker 1:You know the daddy's like damn that boy got some strength. The coach is like damn that boy, what we got here, you know. So it's you, as well as everybody, realizing what you got going on. And I realized that in high school I hit my first home run with Yo Gotti. When you see me shawty, pop your collar, then you holler that's what's up, what up? Drummer hey what up? Mama, even before that, we hit a home run with shawty.
Speaker 2:Shawty.
Speaker 1:And not Ply's T-Pain shawty. I'm talking about Yo Gotti. I got white shawty. Cheap, cheap price shawty.
Speaker 3:Price shawty.
Speaker 1:That's what got Yo Gotti his first deal With TVT, and we talking about I&E. This is before CMG even existed. So to be able To get a nigga, a deal Right, that's from a neighborhood or area that you never heard of Ridgecrest.
Speaker 2:Yeah.
Speaker 1:Ridgecrest Apartments. Okay, we know about that in Raleigh, or we know about that In North Memphis, or we know about it in North Memphis, or we know about that in South Memphis, but the world don't know shit about no Grinch, chris or Promise. You know what I mean. And that was the first part, that was the first time. Okay, damn. And a lot of that had to do with Yo Gotti's marketing strategy and him going straight to radio, him going straight to Lester Pace, him putting his money on that budget and promotion. You know what I mean. Lester Pace, one of the biggest radio promoters in the United States.
Speaker 1:You know what I'm saying, so fresh out of Memphis. So those are things that allowed him, even if the TVT deal didn't work. I saw Gotti, by himself, offer that deal for $500,000. Y'all gave me $500,000. This ain't working out. Here go y'all $500,000. This ain't working out. Hey, here go y'all $500,000. Right, I ain't blow my money. You know what I'm saying. And even if I did, I'm getting so much money that I can afford to pay you back.
Speaker 2:Yeah.
Speaker 1:And not be tripping like bro, this ain't working. Here go y'all, $500,000. I watched it, you know what I'm saying. And on that same deal, lil Jon coming to Memphis Seeing producers like Slice T, paragon, my older brother N St Wayne RIP Producing for Gotti, and seeing Slice T giving sounds to Lil Jon. And you know what I'm saying. Lil Jon did the beat on Yo Gotti's Life album.
Speaker 1:I did four songs on there. My brother N St Wayne did four songs on there. Swizzle did four songs on there. Sw, my brother in saint wayne did four songs on there. Swizzle did four songs on there. Swizzle was one of my producers, signed on the drum squad, you know I mean, and that was like shit.
Speaker 2:We pretty much executive produced that life album, which was one of goddy, like first biggest albums fire you know what I'm saying yeah, that's like one of his joints, like coming off that you know being a street rapper. Yeah, I'm what I'm saying and actually going big.
Speaker 1:Absolutely. And this was like at the time, like when the trap music got introduced. People don't understand, like they was real hard on niggas not doing, you know, rapping, the lifestyle that they didn't live.
Speaker 2:Yeah.
Speaker 1:So any rapper trying to rap about the trap shit.
Speaker 3:You had to be that.
Speaker 1:You had to really be doing that shit or did it? Yeah, which was Yo, gotti, ti, jeezy, gucci For real Period, like that's original trap Rushmore. And then, honorable mentions, they were still classified as hip-hop Master P Ghetto Mafia. Plyos was later. Plyos ain't come out until 05, 06. So if you look at the history, like Gotti was dropping 96, 97. Ti dropped 01.
Speaker 2:Gucci dropping 03.
Speaker 1:Jeezy dropping 02, 03.
Speaker 2:You know what I mean.
Speaker 1:Yeah, gucci dropping 0-3. Jeezy dropping 0-2, 0-3. You know what I mean. Then, from that, you had Rick Ross.
Speaker 2:Yeah.
Speaker 1:You had Future.
Speaker 2:Plies, then Plies.
Speaker 1:You know what I mean, plies it laid out just like that.
Speaker 2:It laid out just like that, it did. You know what?
Speaker 1:I mean.
Speaker 3:That was the evolution of the the trap shit. But the beginning, in my eyes, was got a jeezy tip and and I agree, so just listening to you are you like hard on yourself?
Speaker 1:when it come to like producing, I'm super hard like I'm, I'm hard, but at the same time I'm I get that shit from master p, like where you still gotta mix it at the best ability and get that shit out right so I'm not gonna hold on to this shit like bro. We gotta get this shit out, we gotta leak this shit. I bet no hands was leaked. Shawty plies was leaked right around.
Speaker 1:I'm getting it was leaked yeah because, sometimes the label, the anr or the manager, even sometimes nigga. The artists might not see the vision or understand what the fuck they got. Like nigga. Why imagine walker? I made him who knew that this shit was gonna go diamond, but at the time walker was like nigga, I don't care what you do with this song, drone, it's your song. So this really could have been a drummer boy featuring walker roscoe.
Speaker 1:But because gucci paid for the studio time, I never forget the moment. I never forget time. I never forget the moment. I never forget the purpose. I never forget the bag when the bag coming from. Who paying for this moment that we all benefiting off of? We all sipping champagne? I ain't buying this champagne. Gucci bought all this shit. You know what I mean. All this liquor in here. Gucci bought this shit outside of the liquor that other motherfuckers just brought to the studio. But this was a celebration. My nigga, gucci, sacrificed years, or actually at that particular time, one year behind bars and came home. So why am I looking me to benefit off of this shit? I'm already producing a record and I'm going to get 50% because I made the beat straight out. No samples, no collabs.
Speaker 3:I make the beat with nobody nigga, I literally made no hands in front of everybody in there.
Speaker 1:Motherfucker, I ain't even got enough room to touch the keyboard. That's why the keys so simple, done I got to come to a second, bro.
Speaker 1:You know what I'm saying so I'm making this shit from scratch, literally just like I did at the high school cafeteria, bro, and it was a celebration. Everybody man, we on the champagne, we getting lit. I ain't thinking about who going to pay me, how much I'm going to charge for this beat, what I'm going to get out of this shit. I ain't thinking about who gonna pay me, how much I'm a charge for this beat, what I'm gonna get out of this shit. I ain't think about none of this shit. I'm looking at everybody having fun, everybody moving, all the niggas. That's hating. Like man. We some street nigga man. We need to make some street shit.
Speaker 1:I like, bro, give me a jig getting out of jail. We don't want to send them back. Yeah, no, I mean how we gonna make the women, the ladies, move, dance, politic, have fun and and incorporate them. We be some on when we're on street, she hard, and that's why I come in as a producer like I ain't on that right now. It's. This is a celebration. We finna have fun right now. That's fire. You know what I mean.
Speaker 2:If ass ain't shaking, I'm doing the wrong thing I'm glad you called that audible straight up, because no hands it's girls in this motherfucking island and everybody looking at me like man, what you doing, bro?
Speaker 1:you got roscoe dash in here and you got wale we some street niggas, man you know, I mean, it reminded me of the same time I got in the studio with plies for the second time and plies was like man, I need this and I'm going.
Speaker 1:This and going that and going this and going that and I'm like, bro, we gotta make something for the ladies. What we're gonna make them shorty. First record I did for plaz was shorty, bro, even though you know my girl still call you my shawty. You know what I mean as a producer. You gotta know what to deliver for a, and then you gotta read a like okay, you got the street on to deliver for a, and then you got to read a like okay, you got the street on lock. Why am I going to give you more of what you already got?
Speaker 1:right, that's what you know I mean, if you eating oatmeal later today, why I'm gonna feed you oatmeal? Right, I come with some scrambled eggs and turkey bacon. You're gonna be like, oh, I come with some pancakes I come with some lamb chops and got them like come on, bruh, you know I mean. So it's all on what you got to offer, and goddamn introduce a nigga then. And then sometimes he looking at it like oh duck I've never eaten this before.
Speaker 1:Or branzino fish. What is that? Like this right, this the upper eselon, this, this the mediterranean italian fresh water.
Speaker 2:Fresh water, you know, I mean salmon, honest, everybody eating salmon.
Speaker 1:They trying to duplicate that shit. Anytime that salmon remind me of tilapia, by the way. That's a whole other conversation. You know what I mean, so I'll be putting these on. Branzino, I'm going to put you on something that you ain't. You know what I mean. I'm going to give you something you ain't got you know what I mean?
Speaker 2:You got the Louis.
Speaker 1:You got the Gucci what I look like Giving you Samoa that shit. Nigga. I got Coogee, I got my nigga huh.
Speaker 2:You got that what I got.
Speaker 1:That DBS Nigga.
Speaker 3:I got some of this Motherfucking shit.
Speaker 2:Yeah, yeah.
Speaker 1:Yeah, yeah, what that is. Let me see what that look like. Let me try it on. Oh, this feel good. Oh, put it on your girl. She put it on. Ooh, this feels so good. I feel so warm. I'm cozy. You know what I mean. It's about pleasing people, whether it's through fashion, whether it's through music, whether it's through liquor. We drinking the spirit, we drinking the energy.
Speaker 2:Yeah.
Speaker 1:So know what energy you drinking? Know the history behind this shit? You be like damn okay, this shit make me feel good I high and that shit. You be like damn okay, this shit make me feel good I'm fly, I'm player, but when I drink that shit.
Speaker 2:I be want to kill a nigga. You know, you got to know the spirit that you drink, know the energy, you know what I mean.
Speaker 1:So all of that is essential man.
Speaker 2:So I be. I'm a music guy right, Like I told you. Standing ovation that's just like one of my all-time favorite produced records no hands as well. But you know, I'm on the phone Music all over. I'm on Apple Wham. Say uh drummer boy producer list. I download Boom. It take me on a whole ride.
Speaker 1:I'm talking about and we just updated that thing.
Speaker 2:Shout out to Apple how it feel Like to go see that Come on man and it's 50 to 70 records and they back every last one Listen.
Speaker 1:I curated that. I put that together. Apple allowed me to update my producer playlist that artist producer playlist on Apple, that's hot. Go check it out. It's in the bio. You're the coach, bro Download the app you know what I'm saying. Follow the Instagram. Yeah, you know what I'm saying. Follow the Instagram. You know what I mean. Subscribe to the YouTube channel Drum Squad.
Speaker 3:TV.
Speaker 1:Follow the Instagram at. Drummer Boy Fresh. Facebook at Drummer Boy Fresh TikTok at Drummer Boy Fresh you know what I'm saying. They was trying to play me like okay these 11 of them, these 11 of them.
Speaker 3:They trying to play me like okay, these 11 of my best work. Like 11?.
Speaker 1:We talking about verses and y'all talking about 20 records. I could triple time everything. Any who want to see me in a versus. I got 60 records plus. And I ain't even talking about the other 300 winning. Talking about mixtape drum winning. Talking about in the streets drum winning. Talking about blew your favorite rapper up drum winning talking about beginning era like half of the rappers.
Speaker 1:Y'all on. Y'all was on them and when they was 22, 23, 24, 24. I got history on these niggas at 16, 17, 18, 19. Before 20. Yeah, we ain't even talking about the before 20. Or y'all favorites.
Speaker 3:Let's talk about your early self Like you growing up with a music professional father and your mom singing opera, you being able to be in that household and being able to take that in how was that.
Speaker 1:The biggest thing I learned was coming up in the church and realizing that ain't nobody different than anybody, whether you celebrity, whether you superstar, whether you Grammy Award winning, whether you Al Green, patti LaBelle, anita Baker they was all coming through Mama's kitchen, my Mama's kitchen. You know what I mean? Isaac Hayes, his whole life. Gladys- Knight.
Speaker 1:You know what I mean when you in that church, baby, you either brother or sister, brother Johnson, brother Williams, brother James, brother, you know, whatever your last name is, brother such and such, whatever your last name is, sister such and such, sister Dale, sister Williams, sister, you know, so on, sister Johnson, so on and so forth. So we didn't get caught up in who you were or this and that, like I come from the church, so we all looked at each other in who you were or this and that, like I come from the church, so we all looked at each other as equal right. You know what I mean. And then that that ain't necessarily saying I come from religion, I come from church and I come from a god's way of looking at the spiritual well-being of humanity. Yeah, and understanding we, we either good or bad. Period. All of the preachings that you got, everybody got the rules and the regulations and this and that. But I've been cool with the ferret, with lewis ferricon, for 20 plus years. He ain't never tried to convert me right, come on over muslim or this, and that. I know some pope or I done met the, the episcopalian, or I done met the baptist preacher or the methodist preacher, this and I done met a lotiscopalian, or I done met the Baptist preacher or the Methodist preacher. I done met a lot of different people. Ain't nobody tried to convert. You know what I mean.
Speaker 1:Even in college, man, okay, the Sigma's cool, the Kappa's cool, the Q's cool, like man, listen, I've always been neutral. You know what I mean. Even when I'm okay, I came up. People always ask me me, man, what's up with the, the whole? Yo, gotti and Dolph. Man, I was working with Gotti when Dolph was 10. Yeah, mmhmm, know what I mean. I'm working with Gotti, that early man.
Speaker 1:So how you gonna ask me about a nigga that didn't even exist At that time? Yeah, my history by here, my mama, the history, my mama and miss mems got this family irp juk god, he provided a way for me as a memphis and as an independent artist and as one of the first trap rappers I worked with period. So you can't erase history. Then, 10 years from that, these cool god, we're trying to sign off, damn niggas. And Da da, da, da, woo, woo, woo. And Dolph always said man, i'ma do it on my own, i'ma get it on my own, i'ma show these niggas I can do it on my own, da da, da. So Dolph just Dolph, just never wanted to Sign with niggas. Da, da, da da. So this ain't Again no beef, no animosity at the time that we ain't got to speak on. Nigga know what's going on and that's between them you know, I mean but anything.
Speaker 1:Motherfucking Memphis, whether it's north, whether it's south, with his East, with his motherfucking, with half of the shit they talk about. West Memphis, this shit ain't even Memphis. This Arkansas, it's across the bridge, it's literally the state of Arkansas, but we still call it West Memphis.
Speaker 3:I still support that.
Speaker 2:Right, right, right you know what I'm saying. Right.
Speaker 1:YB and YB Fat Like man it's so, many it's so.
Speaker 3:It's so much shit. That's like man, we just embrace this you from Memphis, you upcoming.
Speaker 1:You coming from the struggle, you coming from the poverty, you come from the poverty, nigga what that's it south members, I like how y'all rolling though I'm fucking with that shit, because I gotta change that shit.
Speaker 1:I'm the jermaine dupree of my city. I'm the, I'm the, I'm the, I'm the, you know, I mean, I'm the glue back to my city, whether niggas beefing and this, and that I got niggas over here. That's cool with niggas over here and they know what going on, but they don't do that shit publicly Just because of what they think and this, and that I'm the only nigga That'll speak on some shit Like that publicly.
Speaker 2:And not.
Speaker 3:Not give a fuck he know he the OG.
Speaker 2:Because niggas be scared To talk about that type of shit On a real level.
Speaker 1:Then you got niggas. That's really claiming. See, it's a difference, that's a whole nother discussion. If you war chain, or if you was over here signed, or if you over here benefiting beneficiary or being a being beneficial by all parts, by this behalf of this organization, you know what I'm saying and you benefiting from this situation yeah and you repping these three letters and you got these three letters. You gotta stay there yeah you know what I'm saying.
Speaker 1:Jay prince was trying to sign me to rap a lot. I was like I with too much. I got my own drum squad and he respected that. You know what I'm saying? Tone henchmen bros, boo cool. Who was trying to sign me? Nice drum squad drum squad you know what I mean when dolph was like what, what I'm gonna do, how I'm gonna do this.
Speaker 1:You're gonna build your up paper route and route and da-da-da, you say you're the empire. Right, you need to meet Ghazi. I take him over to Ghazi, I introduce him to Gucci, I introduce him to 2 Chainz. I don't got to be a culture vulture and sign you under me and and and and, demon everything you know what I mean.
Speaker 1:No, nigga, let me build you up. Nigga, you're gonna build up and make a play. Niggas, come on. Young blue was signed to me drum squad 16. Young blue mobile alabama. We develop a nigga. A lot of niggas don't understand who they are.
Speaker 1:You heard jermaine dupree talk about goddamn having luda and not knowing exactly what went luda, when luda, when I met him, like some of these, don't know who the they are. When we meet them, yeah, you know what I mean. Either you got the ability to develop them this and that or pass and somebody else developing at the same. At the end of the day, every need development. You know what I mean artists and development. We need more of that shit. You see, less of that shit, you know I mean you look at how long it took sizzle to get her shit together, dolce to get her shit. She was over on tde for four years. They don't be knowing that. They don't know that. Ella may, it took three years to pop that motherfucking record off with with muster.
Speaker 1:Dj muster is incredible producer. People try to say he's. He's caught in between one sound and this and that and he will. Man, niggas gonna hate. But when you're doing something great, when you're doing something great, niggas gonna hate. 808 mafia nigga. Any platform that I'm on, I used to uplift and big and and and say I'm proud these niggas came after me. I'm proud these niggas keep the torch going on. Metro boom. And that's my nigga bro lost man, we keep a nigga strong. And Metro, you watching this shit bro, utilize a nigga bro, because a nigga here for you, bro, you know what I'm saying. London, on the track that my nigga bro, we utilizing each other man, I know y'all niggas.
Speaker 3:You done lost your mom Fire.
Speaker 1:My mama got some good shit to say to you.
Speaker 2:I love that y'all doing that.
Speaker 1:You know what I'm saying. My folks got some good shit to say to you. My aunties got some good shit. My mama got some good shit to cook for you. My aunties got some good shit to cook for you.
Speaker 3:You want that home cooked meal.
Speaker 1:You miss that mama meal. Hey, reesey, reesey, shout out to Reesey. She help us make no hands. She brought Wale and Roscoe Dash to the studio the night. We did no Hands.
Speaker 1:Shout out, reese. Shout out Molly Hunter. Shout out, reese. Molly Hunter was one of the managers at Tree Sounds. Okay, during some of the biggest sessions, 3,000, nappy Roots, polo, the Don Gucci, some of everybody. You know what I mean. These folks who done cooked for a nigga, who really? Hey man, hey, molly Hunter, reese, let's put together a dinner for metro booming man, allow me to do some shit like that man just cook for the real niggas. I'm talking about home cooking.
Speaker 2:I'll get in that motherfucker too you know what I'm saying digital sunny digital last night that's my nigga.
Speaker 1:That's my nigga.
Speaker 2:Sunny digital family similar conversation like what we having now, and he was saying the same exact things like bruh. We sticking together. I'm with Metro, I'm with London, I'm with this.
Speaker 3:There's no way you can turn me against my brothers.
Speaker 2:We gonna get it.
Speaker 1:I don't care who better than who. This is where we come from, fat boy, midnight Black, where, the fuck you at? We been looking for you, d-rich.
Speaker 2:That energy, that energy right here we talk about. That's what we trying to bring together and have in Philly. You know what I'm saying, so we can show what's going on, but y'all got to bring us up there.
Speaker 1:Bring me and Zaytoven, bring me and goddamn.
Speaker 3:DJ.
Speaker 1:Toon, you know what I'm saying. Bring a couple legends up in that motherfucking goddamn column niggas. We're the hottest as producers in Philly. Where y'all niggas?
Speaker 2:at man. That's where we on.
Speaker 1:We looking for y'all niggas man, get some content, get some photos, get some of this energy, nigga, on how to come the camaraderie. I don't believe it.
Speaker 2:You know what I mean. The camaraderie.
Speaker 1:You know what I mean.
Speaker 3:Because everybody be hating nigga. We come from there.
Speaker 1:I Chicago, they been on it Detroit, they been on it Cleveland, they been on it Philly, they been on it Pittsburgh, they on it. Nigga, I know what's going on up north. We got to get on that. You know what I'm saying. And y'all niggas started the hip-hop shit. To be honest, from the hip-hop standpoint, new York got the throne and that shit trinkled down, but it trinkled to New York, it trinkled to all of the places where niggas was free nigga.
Speaker 2:You know what I'm saying.
Speaker 1:We stuck doing blues and depression and this and that, because it's not as much education, it's not as much knowledge, it's not as much game, it's not as much freedom as it was up north. Everybody know the south was in the worst position in the north. You know what I mean. So all that shit trinket down and we got inspired.
Speaker 1:We got motivated from y'all niggas Philly, cincinnati, pittsburgh, cleveland, detroit. It's a lot of uptops at South Bend we forgot about y'all and that's close to Chicago, but it's many, so many good niggas. I got niggas in Gary, indiana, holding shit down. Like you know, I'm saying originated in West philadelphia absolutely parkside killers you already know, hey, and I'm not familiar with that history. So y'all teaching me something man praise to all of that.
Speaker 2:That's where ice t got his cadence for 5 am kicking 5 am kicking at my dope yeah that's what he got that cadence from psk huh, my man white boy got his history down pat. Yeah, yeah, my history down peck on you too I am one of my favorites, yeah that's why I was like. You know, I'm interviewing right now, but it's still surreal for me because it's like this, right across from it, bro, standing ovation man I'm talking about you got me through some times man a lot of times, yo man.
Speaker 1:A lot of times and the Novation nigga had to stand on business. I had sold the original beat To Young Sneed Big Cat.
Speaker 1:Jeezy hit me six months later For the same beat and I'm like, bro, I been sold that beat. What you doing? Like that shit dust, nigga. That shit like the work, that shit like a kilo, that shit like a pound, nigga. That shit does Nigga. I can't get that shit back. I sold that shit six months ago. You want me to get some work back that I sold six months ago? Like nigga, no, it's done, it's over that shit over.
Speaker 3:You know what I mean.
Speaker 1:So I kept telling the nigga.
Speaker 1:I told the nigga from the beginning. I told the nigga. I said straight upge again leaked and this and that Woo woo woo. He was already going through the leaked shit. So he was like you got to pull up that patchwork. So I pulled up. I stay in Stone Mountain at the time. This shit, 45 minutes, 50 minute drive. You know what I'm saying. I pull up to goddamn Stone Mountain and he like goddamn, here go the vocals, woo woo woo. Then I pull up the patchwork from Stone Mountain and got the vocals from him, acapellas from him. Bam, take it back to Stone Mountain. Do the first version. Take it back to goddamn patchwork. Play it. It's probably like 3.30 in the morning.
Speaker 1:You know, 2.45, 3 o'clock in the morning, Mind you he turning in the album for Thug Motivation 101 the next day.
Speaker 2:This the last song he mixing, but the first song he done rapped on this shit, didn't he?
Speaker 1:I? Get like 15 missed calls I got like eight missed calls from.
Speaker 1:Coach K. I got like eight missed calls from Jeezy and I called Coach K first. What's going on? Coach K's like man, call Jeezy, bro, he need one of them. He rapped on something. He need, bro, he need one of them. He. He rapped on something he needed and that's how it started. So I got them called jeezy. He tell me yo, listen to this right quick. So I listened to the beat and I realized I just sold the beat six months ago, so I'm like stomach hurt jeezy like man.
Speaker 1:What you sell the beat for, I'll buy it back, I'll give you 20 racks.
Speaker 1:I'll give you 20 racks right now. And and I can say this now I sold the original beat, but this is six months prior, so the original be for 1500. You know what I mean. But I'm I'm 18, I'm 19 at the time, so this is a good price. You know, this is a good price. You know what I'm saying. When I, when I did the uh, make him get that money right for pastor t, pastor Troy, I told him $5,000 a beat. He was like I ain't got five, give me four. I got four for you and gave me $8,000 for two beats. I did Make them get that money right. Pop that pussy, make them get that money right. This a strip club anthem. I'm 19. I'm 19. I ain't even old enough to get in the strip club and I got four thousand a beat. So, bam this. After I did that, cheesy boys in the hood, I did look trap niggas.
Speaker 2:So after that plan of a day, dumb boys got work dumb boys got, so that album comes out bring it
Speaker 1:back. So so look, so bring a stack that. Look that whole. Make them get their money right, pop their pussy. Woo, woo, woo, that's out 19. 20 come, I do boys in the hood. Yeah, I'm transitioning into 21. My dad on my ass about college. I got kicked out of my junior year in college from unattended in college Back and forth to atlanta doing the boys in the hood shit. So my dad find out about the school, said nigga, you big bad wolf, you you head hunter, you drummer boy, you making beats, show me a hundred thousand within 10 months i'ma kick your ass.
Speaker 1:I'm 20 at this point, you know what I'm saying. And bam, standing ovation was my biggest testament, because I literally had like a hundred dollars, two hundred dollars in my pocket.
Speaker 1:You did your thing and it's it's probably thirty dollars, forty dollars gas just to get to atlanta. You know what I'm saying. You know three, five a week. You want a little 50, so you probably down to another 50 just on food. I did the first version, took it back to jeezy. He was like I took it back home, did a second version, took it back to jeezy. He was like you getting closer, you getting closer, that's closer.
Speaker 1:That was the first time I learned how to study an artist and really do my research and I rode to the whole streets is watching and trap or die on the way home and I realized this nigga need the horns. He a trumpet nigga. You gotta add them, horns and them, and them and them. They sound good, oh man, and I'm like hey, yeah. That sound good. Hey, and that was the first part. Nigga and nigga. When I push play on goddamn Jeezy, he was like. That was the first time I heard him say them ad libs live in person. Ha ha.
Speaker 3:Ha, ha, yeah, yo, I'm a fan of that song.
Speaker 1:I got 150 yeah, pub deal out the gate just because of that platinum. That that, that rate. That was my first platinum play.
Speaker 3:Oh, so you was able to show whatever he wanted to see my my dad was like I showed him 150.
Speaker 1:Oh yeah, we was best friends since.
Speaker 2:But listen, so look did you know, though, that, at the time, jeezy would be so big, with him signing the Boys in the Hood deal and the Def Jam deal, and then it being like one of the biggest deals?
Speaker 1:That Jeezy was big in the streets, so anything in the streets that was like at that caliber. The last thing I saw since Jeezy in the streets. That big was hot boys.
Speaker 2:Okay.
Speaker 1:And we saw what that did. So, the streets running that shit nigga and you got them. Like he was literally taking BMF on an escort around the city Like he was putting them up on game and showing them around what's hot in there and you know they new to Atlanta not him know I mean. So people really underestimate that whole picture, like you know I mean you talk about a nigga who already had a million dollars riding in Lambos and got them in all of the strip clubs on a daily basis.
Speaker 1:Come from Hawkinsville, georgia, running Atlanta, just cuz many guy got the money and I'm everywhere and he forget to to know a nigga Whether I'm rapping like Teflon Don or Trick Daddy or whatever y'all want to say. He was rapping like. You know it sounded Florida based. You know what I mean Because you know Hawkinsville like South Atlanta, so it's going more towards Florida. But you know, once he found his own and found his whole, he found his niche before he met BMF. That's for Him going around strip club to strip club.
Speaker 1:And shit, let me show y'all niggas what's going on. So, as he pushing, play shit, everybody in play with the whole situation.
Speaker 2:So it's just a win-win. Yeah, that's hot, you play games.
Speaker 3:I know you don't play no games, man. I'll be on the PlayStation and shit like that we got a few games we play, man, one called One Gotta Go and and fast track the other one called one.
Speaker 2:Gotta go fast track let's get into it crazy. I say two things. You pick one of the other. It's music based questions okay, okay so all right, let's start with this one.
Speaker 1:Major figures of state property uh, I'm gonna have to say state property just because of my knowledge on the catalog, as opposed to the other mentioned.
Speaker 2:Okay, okay, so all right. How about this? Okay, jermaine Dupri, or Beats by the Pound.
Speaker 1:Jermaine Dupri that's easy Beats by the Pound. Jermaine Dupri that's easy Beats by the Pound. They gave us a lot of hood classics. Jermaine Dupri gave us a lot of hood shit. A lot of R&B yeah, classic classic Number ones and whatnot like that. Just the R&B game alone. That ends that conversation.
Speaker 2:We had a long conversation about Jermaine Dupri.
Speaker 1:Always he like the president out this moment and he introduced so many different artists Like outside, just as a producer, you know, that's what I see myself as, like you know, not just beat making or not just introducing artists, but I'm climbing in different genres and being effective and dominant In other genres as well, let me get one, mike Will Metro. Both of them my niggas you know what I'm saying?
Speaker 1:metro, my nigga, mike my nigga uh, niggas who I seen in person cook that shit up. I gotta go with metro, okay, right, you know, I mean in person metro, the only nigga that didn't have under producers under him, that's still putting his name on 100 of everything, just like me, you know, I mean. And now lately I've been introducing other, like you know, kind of like air drummers, but you work with music to where you know mike, mike, mike will work with other producers and a lot more collabs yeah I work with other producers?
Speaker 1:yeah, but that's lately. If you go, look at here I am. That's 50%, no hands, 50%, put on 50%, round round, I'm getting it. 50%, bluffing 50%. You know what I'm saying? Standing ovation, 50%. Lose my mind 50%, like I can. Here I am 50% Like you know, migo, look at my dab 50% Like.
Speaker 3:I mean my dad, 50 like I, I mean do you like? To a certain point where you, you, you like, let other producers do their thing, and that's what I'm doing now, because I'm I'm on.
Speaker 1:You know I'm up so I don't. Money is not the work is less.
Speaker 3:You know what I'm saying and it's now.
Speaker 1:It's about putting my avery. Avery beats he's 16 out of making he going crazy on the beats we collabing like crazy cash. He the next one up um. You know I'm saying he going crazy. Chris beats uh north side done dz like I got a dj moon.
Speaker 2:Oh yeah, that's my boy.
Speaker 3:Oh yeah, pop lord yeah, come on, man pop lord, come on man come on man we in the land right now, man, yeah, come on man okay, so all right, let's go here.
Speaker 2:How about?
Speaker 3:Let's do one gotta go after this.
Speaker 2:Yeah, one more, then one gotta go. All right, let's go. Standing ovation or no hands.
Speaker 1:No hands.
Speaker 2:That's the ass shaking.
Speaker 1:I don't know you talking about Diamond as opposed to Three Times Platinum.
Speaker 3:Standing ovation was an intro song and I'm Three Times Platinum, that's what's crazy?
Speaker 1:I'm Three Times Platinum with an intro to a song I ain't even a single. That's what's crazy. Like I ain't even a single and then, what? And then my auntie house. That was the single off of that album. That was. You know what I'm saying and I'm still a three million on standing ovation and then Soul Survivor, correct? I wasn't even a single off the album.
Speaker 3:He dangerous bro you a dangerous motherfucker.
Speaker 2:Album cut the best album cut, my first single on Jeezy was Flexin' and then. Put.
Speaker 1:On, put On yeah, and then Lose my Mind.
Speaker 2:And then Me Okay, okay, all right, on, yeah. And then lose my mind. And then me okay, okay, alright so one gotta go oh and then White Girl too. White Girl, white Girl, the nappy head.
Speaker 1:USDA. You know the nappy head of bitches and woo woo woo that killed us on the promo. So that was like White Girl Anything black, white. Oh, that killed us.
Speaker 2:Wifey love White Girl yeah. On USDA album she uh wifey love a white girl yeah yeah, on usda album. She love that shit. Okay, I keep that white girl christina one gotta go is a little bit different. I'm gonna name four names and you just pick one to go. When they go, they hold discography, they hold right, everything go, everything all right.
Speaker 3:And it's not personal, so we're not speaking on their personal problems and shit like that.
Speaker 2:Yeah, things they got going on Yogati, yogati, lil Wayne, gucci man, jeezy, one gotta go.
Speaker 1:One gotta go Pack they bags Yogati Lil Wayne, Jeezy and Gucci man Gucci. One gotta go. Yo Gotti, gz, gucci and Lil Wayne yes, sir, you see how that work she, I had to say Lil Wayne, cuz I ain't no, no, lil Wayne album.
Speaker 2:Okay, hey, wayne, if you don't get Drummer Boy on the album bro.
Speaker 1:I did still got that rap.
Speaker 3:Yeah, on.
Speaker 1:DJ Drama. Dedication 5 Okay.
Speaker 2:Ooh, that's one of the ones too.
Speaker 1:Yeah, but that's it. Though. Like I feel like and I did Money to Blow, I was about to say Money to. Blow on. I was about to say yeah, but it wasn't a Lil Wayne record, yeah.
Speaker 3:We need a full Lil Wayne. He was on the features and I did Lost.
Speaker 1:Gorillazo featuring Lil Wayne. We need a Lil Wayne Grummer Boy. A$ap. We done some shit, but it's like you know.
Speaker 2:You watching us. I ain't never worked with Wayne Grummer Boy.
Speaker 1:I never got in with him personally you know, got in with him personally, right, right, so, uh, I have to, I have to get that done there. We need, because of that fact, you know I work with everybody else.
Speaker 3:You know we need that.
Speaker 2:We need a way to drum a boy, let's go here um uh, sexy, red, glow, rilla, ice, spice lada, one gotta go say that one more time sexy red, red, glow, rella, ice Spice Lada One Gotta Go.
Speaker 1:Ice Spice.
Speaker 2:Okay, okay.
Speaker 3:Viral Sensation Uh huh.
Speaker 1:I ain't never worked with her. I don't know what she like. I don't know her energy. I don't know nothing about her. You know what I mean.
Speaker 3:So I can't know her energy.
Speaker 1:I don't know nothing about her. You know what I mean, so I can't speak for her. Glow Rilla, my gangster. Yeah, I like her.
Speaker 3:Lotto. My gangster Shout out to Glow Memphis.
Speaker 1:You know what I'm saying.
Speaker 2:And who else you spoke of Lotto? Yeah, birdman P Diddy, jermaine Dupri, one gotta go, that's easy Diddy. Diddy, you gotta go buddy.
Speaker 1:Everybody else, my gangsters. You know what I'm saying, but you know when you cut them, you get rid of everything they attack Everything go.
Speaker 2:You said he gotta go, bro, we ain't going.
Speaker 1:I don't give a fuck about nothing. I ain't attached to nothing. Bad boy, nothing, bad boy.
Speaker 3:I ain't on not one bad boy album I ain't on not one production.
Speaker 1:I'm not the hit man, I'm not a part of no production. I ain't a part of no crew no clique, no party.
Speaker 3:I wasn't at no party.
Speaker 1:I don't got no attachment, so it's easy to goddamn.
Speaker 2:that's easy, jermaine Dupri you know what's going on, man. I told you to replace Diddy with JD.
Speaker 1:This one of my Nah, so so, so, so deaf. They bringing Atlanta back, man.
Speaker 2:Yes, sir Jermaine Dupree and J Money just was in the studio.
Speaker 3:J.
Speaker 2:Money, that's some shit.
Speaker 1:JD in with everybody. Man. He got everybody pulling up. Brian Michael Cox back outside. Yeah, we back outside Last night.
Speaker 2:Last night, Absolutely, I said damn, it's about to go down, absolutely.
Speaker 1:Shout out to Manny Fresh, though that's one of my dogs you know what I'm saying who been holding shit down. I know you mentioned KLC and Beast by the Pound and Woo Woo, but mentioning all them niggas, we can't skip over my nigga, manny.
Speaker 3:Fresh man Shout out Manny Fresh my eyes and goddamn giving Jeezy the and then what single?
Speaker 1:and fresh, fresh come on, that's real trap shit, even though it was classified as as hip-hop. Yeah, manny Fresh to me is one of the original he really a hip-hop boy man.
Speaker 3:Shout out to manny fresh for keeping the culture alive, oh no man that no bounce a drummer.
Speaker 2:This is one of my career joints man I'm glad. Yes we've got to sit down with you, man, get your story, man.
Speaker 3:This is this is really, and there's so much more that we can talk about, we'll get to it man, we're gonna keep pulling.
Speaker 2:Yeah, we going to keep pulling up at ATL.
Speaker 3:Yes, sir, it's got to do so much. It's so much to cover. You know what I'm saying, who I'm shouting out, what I'm shouting out? Shout out Rilla, the Most Podcast, oh really.
Speaker 2:Hey man, this your boy Drama.
Speaker 1:Boy aka.
Speaker 2:D-Boy, fresh man, white Boy D2E. I'm Roller and we out of here y'all. This is the Roller, the.
Speaker 3:Most Podcast. Make sure y'all stay tuned. Then go to wwwrollerthemospodcastcom.
Speaker 1:Roller the Most Podcast.
