Green Light with Chris Long - Rico Wade and George Foster on Outkast, Southern Hip Hop and the Atlanta Falcons.

Episode Date: April 3, 2020

Open - 0:23. Rico and George on SBLI and the NFC South - 4:42. Music and Outkast - 10:00. Recording Artists at "The Dungeon" (Rico Wade's Studio) - 29:46. New Hip Hop Music Scenes - 47:31. Chris and George's Outkast Bracket - 1:06:26. About Chalk Media: Following the unfiltered voice and vision of Chris Long, Chalk Media is the interactive online community for you, the intelligent and humorous sports fan. Driven by access, Chalk delivers a unique perspective that cuts through the canned talking points and provides a variety of content from your favorite sports and entertainment celebrities. Here at Chalk, we don’t take ourselves too seriously, but we are rooted in challenging the perception of professional athletes. We embrace the “real” with a unique combination of humor and intelligence. Chalk is a community with a voice beyond 240 characters that brings a perspective and vibe to a traditionally brash and boastful sports media space. Subscribe and enjoy weekly content including podcasts, documentaries, live chats, celebrity interviews and more. Nothing is off limits at Chalk - hot news items, trending discussions from the NFL, MLB, NHL, NBA, NCAA are just a small part of what we will be sharing with you. 🌍🏀🏈SUBSCRIBE NOW ⚾🏒⛰️ http://bit.ly/chalknetwork Learn more about your ad choices. Visit megaphone.fm/adchoices

Okay, this one's going to be fun. I haven't been this excited about interviewing somebody in quite a while. I'm a huge outcast fan, as you know. If you have been following on Twitter, me and my friend George Foster at George Foster 72, decided to finally pull the trigger on doing an outcast bracket. And man, is that a stressful fucking process? But we've had fun with it. George has been a champ.

he seated it for me, took that off my plate, which is nice, because it's hard enough doing the bracket and tallying up the votes and writing out all the sheets and whatnot. But then when you have people screaming at you about, you seated it wrong. And your mention is just indignant about this song, that song, and that's why Alcass is so great. 64 songs. How many artists, how many groups, how many bands can do that, and then have 10 more songs that, that, that's people are pissed off about not being on the bracket. George took care of the seating. So essentially, when people get mad at me,

I just point in the direction of George, who's three inches taller than me, 50 pounds heavier, from Macon, Georgia, five years my senior, and a huge outcast fan from the beginning. I take it up with George. George is a long time NFL veteran. I met him in St. Louis when he worked for the Rams. He's that dude.

he's a big fan, a lot of musical knowledge. So this was cool to have George involved in the process. And he's going to join me tonight to call in his buddy RICO Wade, who is a third of organized noise. And organized noise is, of course, the production team that kind of launched Outcast's career. It took Big Boy and Dre from high school kids, rapping in cafeterias to signing with LaFace records, meeting L.A. Reed, and doing Southern Playlistic,

and then doing A.T. Elians, which organized noise did damn near all of that, more so in the first than the second, before Outcast went off doing a little bit more of their own production, but still, organized noise, who, by the way, does pretty much all goody mob stuff and has done things for, for TLC, for, you know, Usher, you know, I think they did waterfalls. They continued to do Outcast stuff, you know, so fresh and so clean, who's in our Chunky ship and a very contentious, funky four and Chunky ship here. And Outcast has fans of all generations, walks of life, that whole thing, you know what I'm saying there, which is a testament to how great they are without ever selling out on the sound.

You know, certainly there's singles like Hey, Yah, which was seated at 11. Some people are mad that it's even winning. Some people are mad that it's seated so low. You figure that one out. But Outcast is universally love. They're one of my favorite musical groups, period, across genres. They're my favorite hip-hop act. And I know George feels probably the same way.

So doing this bracket's been fun. And, you know, we were going to do a pod to reveal our brackets, which are going to look a lot different than what was voted on by, you know, over 5,000 people throughout the process, which was really cool. So I'm looking forward to that. But when I heard that George could get Rico Wade on, you know, who's seen, you know, outcast in the dungeon, the legendary studio in Rico Wade's mom's basement's house to, you know, their ascension through the who's who of hip hop into you know the late 90s into the early 2000s he's got stories he's got perspective i said you know fuck our pod with our stupid bracket insight uh we can push that back a day stay tuned for that tomorrow we're going to have a conversation with rico wait and i am psyched about it so stick around hang out it's over an hour i think he said he could do

let's kick it off So welcome to the podcast now, the Greenlight Pod. This is a fucking pleasure, man. This is a pleasure, an honor the whole nine yards. A third, a very important third of organized noise. Rico Wade, Rico's joining us. Where are you at, Rico? You in Atlanta?

Yeah, yeah, yep. Atlanta's real. Right here, quarantine. We were just bullshitting about the Falcons Patriots Super Bowl, and I had to apologize about that one right off the top. What I didn't tell you, though, is my pops, who you mentioned, was in a suite with Usher the whole time. And he said the whole first half, Usher was going fucking nuts.

And my dad was like, this motherfucker. And then the whole table's turned. I know, man. It got really bad for us, man. Like, we actually took a big, like, a bus out there, like, for the football. Like, a lot of the desert family was there. And it got bad, you know what I'm saying? After the first half, everybody was almost, it was really, it was a great first half.

It was a pretty decent third quarter. Yeah, the third quarter. Yeah. That overtime was pretty bad, though. Overtime was pretty bad. And then the loss itself was just, it was horrific full amount of, man. It was really, really bad, man.

Like, you didn't enjoy the board. I was turning around the same thing less than a year. Before that. I'm sorry. I'm sorry, but it's all connected, though, Big George. It's all connected, man. We have to bring that up. It's that same red and black, though,

Jesus. Same red and black, man. Like, we all, please. it down here and we all kind of went through it with that being the falcons but you know we're okay like as long as calis shenhanahan didn't win on football last year we i oh so so rico so ricko the deal was that y'all were rooting against Kyle for not running the ball huh absolutely and i also i also got to say too we didn't like him the first year then we fell in love with the second year then he left the third year yeah yeah like we really didn't like him the first year we were mad at but the second

he became a god to us. But obviously to everybody else, he won. Matt Ryan won MVP. He did, he had a year, for us to have to lose in that next year. And for him to almost go back to the Super Bowl, it would have hurt Dan Quinn's career. Yeah.

He would hurt his career if Kyle would have won a Super Bowl. Oh, I know. You and Dan Quinn were definitely in the same boat rooting against Kyle, and I'll be damned if they didn't run the ball in the Super Bowl this year. I know. I know they did, obviously,

and it didn't work. It's so funny. right. Who I was supposed to win is supposed to win, and I hate for this. I don't hate that it was Tom Brady. If anything, I guess if it was anybody, Tom Brady, because he's so great,

people give him the credit for beating us, and us losing it. Yeah, listen. Give him the credit for beating. It was crazy. I actually think, before we get on to the music, I think that, and George, George will tell you this,

I think Atlanta's going to have a really good year. I really do. I think they're prime to bounce back big. whatever the future's odds are on them winning the Super Bowl, I think you get them at a good value. I know you probably put a bet down anyways, but I think the Falcons are coming back strong. But that division is going to be held, dude.

I know what, no. You know what though. But when your division is like that, it really primes you up. It really does. Like whenever the Saints, the Falcons and the Carolina Panthers or the buccaneers and three of those teams that are almost playoff teams, we usually could, we usually have two teams in our,

division, make it to the playoffs, is usually going to be one of our one of us that's going to make it to the end, at least to the championship game every time, because we kind of beat up on each other pretty good, but we get each other ready to play against every rate competition. And the fact that, one thing I can say

about Mr. Brady, love him to death, but he don't realize he's not for to play against the Dolphins, the Bills and the Jets. No. Like, like, the NFL, the Falcons could go one in, one and eight.

They'll be the same. They can go. They can be two and 14, and they'll beat the buccaneers. Like, we'll beat each other, even when we're having our worst year. So that's something that he's going to have to deal with. But the good thing is that he's not playing, he's not playing those shitty teams in the AFC East, but he's also not throwing to, and no disrespect to any of the guys that were up in New England. But it's not Sunu Edelman.

Hey, he's fucking throwing to some dogs now down in Tampa. Are you right? You're right. He got a Randy Moss now. He got a ran any boss. He got players. He got players now. No doubt. That's why I think we're going to end of drafts.

I don't think we'll spend too much time on it. But hopefully we'll get a real, we can get us a real pass rush for the end of the day. We're going to have to hurt that 42, 43-year-old man. You're really going to have to do. One thing about it, I'm 48. And my knee hurt now a bit. Just waking up. Hey, me and G, I totally, hey, G, I speak for G.

Hey, how rough is it just sitting around the house? Your body feel better or worse not being able to get out of the house? Man, I try to get, I go over, Rico know what Cascade had. I go over that to that trip and I have to get it in because I can't sit around here, man. When I called you, is that where you were the other day? George was on a walk when I phasedoved the other day. Yes, I was going to Cascade Nature Preserve. I give it in, bro.

Well, good. So I want to get into the music here. Obviously, George being my senior, a buddy of mine that I've always known was. obviously from down there and a huge Outcast fan and how could you not be you know how could you not be a Goody Mob fan how could you not be an Outcast fan me being younger I just turned 35 listen when I got into Outcast it was after Southern Playalistic like I was nine years old when that came out so for me it was probably the first time I really listened to Alcast was Aquam and I but going back through I fell in love with the old stuff the most

and I love the I love the origin stuff I've heard you talk about you know from the beginning. Let's just start with, I mean, players ball, which was a big deal. You know, you're trying to put the South on the map in a way that you wanted to engineer. You know, you wanted to get the respect from the West Coast and the people in New York. I heard you talk about the reverence you had for New York. What went into making that perfect? Because I know not only was it the first step, but you had a lot of runway before the album came out. That was on the Christmas album. Absolutely. Chris, look at you, man. Let's get you. Certified. I'm appreciating it.

I appreciate it. What happened was, like you said, players ball was very important because it was our introduction to the movie industry period. And for it to be on a Christmas album, if you had, you know, Curtis blown,

you had one of the years, but for us to do it, we looked at an opportunity to just show what we had. But it had to be a Christmas song, so we talked about not celebrating Christmas, honestly, at that time.

Because, you know, the parents on the matter of the original name of the song was called Stocks and Drows. Really? That's what we were getting at that. Yeah, socks and draws. And we did a song for OutKead is called Sox and Draws because that's what we get on Christmas, y'all.

I don't think you've ever said that. I probably haven't because Players' Ball conceptually took the socks and draws idea of failed. We was in a studio working on it, and my partner, Ray, was at another studio working with this group drip drop that was signed in the Pebbles. And he was working on the beat that end up being Players Ball. He was doing it to them.

But we only had one card that we shared it. So I had to go pick him up from the other studio while picking him up. He played what they were doing. I said, oh, shit, that's going to be outcast. That beat sounds better than what me. That sound better than what me and sleepy over here, the studio working on now. So we just took that beat, but we've already primed up from working, and never started in a creative Jesus flow.

Like, okay, the guy used to work for a name Charles Willis. He just passed away to him. I got you shot him out. He just passed away from Savannah, but he only beat, it's a beauty supply story at each point. Kettler and Delo. Cal Montage Beauty Supply. It should be a Christmas party every year for all the

owners. Not just back business owners. Piggins just own small businesses, cleaners, all the different of the small business owners. And it would be like a player's ball. We had a sample playing that was kind of talking about, hey, man, it's cool, a player.

It was talking about something, but we had realized there, we didn't want to pay for the sample. Yeah, you couldn't clear it or whatever. Is that? Yeah, it just, it was starting to take a lot. At that point, the hip-hop game was starting to change from using someone.

sample because of you got to give up your whole album budget. They might tell you, you can go home with $100,000. If you clear those samples, that's going to be... But we didn't want to compromise the hip-hop too, though. You know what I'm talking about, the boom-brap hip-hop. Biggie, you know what I'm talking about, the boom-brat hip-hop. If you didn't have the distraction and the different hip-hop sounds in it, it would sound a little two R&B.

So we had to use them. And that just pushed the players ball made it to the fine hair. I didn't really pay it into Outcast until ATLEU. Then listen to you, Chris, you said, you didn't really start paying the physical criminalized. Quimini was there, the album, they got five mics on the score. It was the album that they had came into, became, and came to kind of help name the album.

So Quimini, being a Gemini, they said, this is us. They ain't about, they might not stop. Yeah, well, a spoiler for me is, and I haven't filled my bracket out fully. Me and George are going to do it probably a little bit late. I mean, I filled it out pretty much, but I was happy to see players. I know what I'm a pick.

I think I know, like, Equamini, for me is, and I don't know, like when you get into filling out of bracket, there's so many personal fucking feelings involved. You can see that on Twitter. People are just fucking, everybody thinks they have ownership over what's the best album, what's the best song,

and if you're wrong, you're wrong. Quim and I might be my favorite fucking song just off of 3K's verse. But the entire thing, I mean, I don't know, man. You've got to say, and y'all, that's a testament to you guys, all the work y'all put in, man. and how great the music is that y'all made.

These people are going nuts over this record. I know you're not very active on social media, but if you went and searched that hashtag, people are mad about some of these outcomes. Bro, most other groups in bands, you could do a 32-team bracket. You'd have the NIT. For OutKast, you can do 64,

and there's still be 15 songs people are mad about, not being on there. Yeah, they keep everybody asking about things that's not on there. Now, I'll admit, it's my, it's my fault that I forgot about prototype. A lot of people asked about prototype. A lot of people talk about gasoline dreams. Gasoline dreams. A lot of people. Gasoline dreams is on there. I think that's chunky fire. Oh, yeah. Chunky fire's on there. No, chunk is on there. But gasoline dreams and make it, people ask about spaghetti junk. People got mad about storytelling four,

which, you know, is, you know, it's not a true album, you know. Before we get off players ball, like, you guys did, you guys did a ton of, like, live instrumentation on that thing. Like, why was that important for you? Well, for us on that particular album, on that song, what we got, it's funny how it was a ton of it, but what happened was we learned about authentic instruments. And the fact that we was pulling off some, we felt like some 70s-type funky music

with the 808 from hip-hop and the break beats from hip-hop. So the fact that we had access to a real B3 order, we had access to a real world. And when we start layering those sounds, all that stuff, then, all those instruments and stuff. The studio is called Stank only here now, but it was called Boss Town.

Oh, so y'all? Y'all was doing stuff at Bollahs. That's why Alcahers bought that studio. Most of the stuff we did for their albums came from that studio. That's a Bobby Brown studio, right? Yeah, it was Bobby Brown studio. Before us and before Bobby, it was called, I know the guy who owned it.

The guy who ran it was a guy named Jen, Mary. He was a white dude, and we used on Southern Paralystic. We called him Captain Cracker. He did it. And he did the video. Did he like his nickname, Rico? Well, I think he loved the fact that he was a part of him. Yeah, yeah.

And since he was the studio manager, John Merritt, and since he was the studio manager, we were paying the bills at that time. You know what I'm saying? Like our special was paying for keeping his job good or whatever. Like, but, you know what that? And that's honestly how we found out that Bobby Brown, when Bobby Brown took over it.

That's how we understood that. the studio is in a little bit of debt, too. You know what? And the fact that we just weren't using a lot. I think that's what gave out. I guess I'd say, I'd do it. You know it. We might as well buy it or whatever.

But yeah, so if players ball, and we had this, um, get this musician and Kenneth Wright was out of the church. So he really, he didn't even play on the rest of them albums. If you listen to the rest of them album, Kenneth didn't mean play on,

like, he paid on Southern Predators with Calatagan. And to date now, Southern President's Catholic News. And to date, he had sold over six million records. I believe five of six million records. Because back then, though, it was a platinum album. A.T.L. was a double platinum album. Equimini, it was triple platinum.

So, as you can tell, like, in my mind, when I look at the brackets, I can understand what I was telling BG. G., I was like, yo, you know if you do a bracket, you know, hey, y'all should have been number one in the bracket, so that's one of the biggest selling song, and the way you move should be a number one song in a bracket, and this song, he was telling me, like, he said big word, but they got knocked out early.

I said, and I understand why, because if you're a true fan of Outcast, like those songs who got burnt out, those songs would, because they played the most two of Outcast songs. Right. You know what I'm saying? And they played during the time when, not MC Hammer, but yes, like MC Hammer. Like, you can easily, Outcats can become hated because they were so popular

and because they were so, because they evolved as they got more popular. Like by the time they, listen to Andre, If we think about 3,000, we love 3,000 rap. I love his rock on, I can't wait. I love his rock on, like, said, on Quimini. I love him on those skil on the barbecue. You know what? You know what?

You know, saying? Yeah. He dancing. And that's so, can we get caught? Yeah. Like, you know what I mean? And it's like, but if that's my first time, seeing him, I don't know if I would have loved him like that.

I love him like that. I love him like that, because the guy that you all those, those rap can do that too. Can I speak for the white delegation here with the Hayah thing? Absolutely. Okay? Because I got fucking frustrated. There's no bad Outcast song, except, I mean, like, I'll say this.

And I don't know if you guys produced it. I didn't like Mama Cita. I don't like Mama Cita. I'm Mama Cita, true. You are. That's the only Outcast song I don't like. I like, see, the content, see, Rico, know what they were talking about on me.

It's a real seat. Mama-Tita. That were happy, like the real. My brother, Boulevard in there. Yeah, yeah, right, yeah. I'm going to put you up on something. That was just our little New York thing. You know?

Every year we have to bust that New York a little bit. Right. You know what I'm saying? That's all. It was New York. It was New York. It was that New York wall vibe or whatever. So it wasn't necessarily what we do.

But we knew that we always get New York a little bit. We always thought of, I'm saying, we got to get us, we gotta get a son something. We got to get them something. Well, you were smart. You're smart about that. I heard you say that before. You were like, listen, we had two ways we could have done it. We could have just tried to like bust down the door and be like, you know, this is how we're

making music or we would give them the respect they deserved up north, which, you know, it ingratiates that market to what you guys do. Absolutely. Absolutely. And we really did learn it from there. It's hip hop. This art that we all love. now, even though it's developed

to, like, lyricism, poetry, it's developed into so many different things to art, to art. There's so many things that the reason I'm on the phone with two great football players who I love, something I wanted to do, but the fact that it shows

a literature, it shows an art side of you guys. It shows a nerd side, too. Can we hear you're talking about brackets and white his song? Yeah, dude. Better. Like, like, I love it.

I swear, I swear I want to be a producer. I swear, be so fucking cool I could do it. If I learned how to be good at it, like the way you say, hey, I want to be a football player. I watch what you guys do in a studio, and I'm like, I've always loved the production of songs, even over the lyrics at times.

But that's why Al Cass is perfect for me, because to me, Dre, Big Boy, they never waste a bar. There was never a throwaway bar. You could go through and go back, songs you've been listening to for 10 years, and read about them.

genius, you know, for like, especially some of the white suburban kids when I was growing up, some of the references are over your head. As I'm digressing here about, hey, I think the reason white people love the song so much is because every time it comes on, we're fucking drunk. We're feeling good, dude. But listen, it's not one of my favorites, but I understand, like, why people love it. I get frustrated in the bracket, you know, when certain songs win and I want, I want the cuts from A.T. Elians. I want the Southern Playlistic cuts. Well, you know what? Many people talk about where hey, y'all was

seeded, but it ended up being seeded pretty, pretty good because it didn't make it that part. No, you were right on with the seating. Honestly, as far as predicting the way we go. I mean, so whatever. I want to talk about the dungeon though, because this is one of the coolest.

It's just crazy to me. I look at the pictures. This is one of those, these music scenes that I wish I was a fly on the wall. If I had a time machine and a wish that I could make happen, I wish I could have been a fly on the fucking wall

and seen what that place was like. First off, I'm imagining if you have equipment down there, how do you get the equipment down in that motherfucker? Like, if it's heavy, if it's big, how do you get it through the door down the stairs? Like, what did the plate, how higher the ceilings really? What did it smell like besides good weed?

Well, back then, in that particular dungeon, it was an unfinished basement. So it was, um, and the, and the money we had, the equipment wasn't as big as, it was no bigger than I would check. And what you, you could walk down with holding it because it was, um, and the feelings would not finish. So it was like a thick, I had to duck, I had me drop my head and me go in my head to what get down there. But, um, but it was, um, probably about a seven foot filling, but, but it didn't have no, no selling. It didn't. It was just the, the borders. You see, just the wood, just the wood or whatever. And then you can look over to the side, excuse me.

me, and you would see red clay dirt. You would see red clay dirt because he's unfinished. So half of the basement, half of it was red clay dirt and spoiled up. And right above that, that's where you would see the rat sometimes running. You know, we never had them in our house. My mama always like, why do you always say that?

You never had it. I'm like, Mama, you didn't see them because they didn't come in the house. They were like, they probably, they were thinking they were in the basement or something. They were not going to go wait for them to get upstairs coming up to them goddamn step, and they were going to do it.

that way was blocked out. So like, that way were blocked out. But, and right, it was a dake smell. It was a dake smell

because of the unfinished basement. And so we smoked all the time. And back then, we had been in California yet. So it wouldn't know hydro and no clinic.

It was Georgia. Yeah. It was, you know, it was locally grown. Yeah. It was in a big grade they called it down here.

Yeah. It was Georgia Pine. Whatever they, whatever it was. and you get it everybody can roll up a box of it you know?

Everybody can speak whatever the money you roll up 25 bloods and everybody smoking these bloods and passing around to the point

where like it's not even really working weed wise but it's a great that's what I mean though when I think about all the great music that's in general

in music period and I got buddies who say yeah I got a buddy you know Action Bronson who I know a little bit I ask him

how often is he high during a performance he's like I'm fucking stone the whole time. And now he's smoking good weed. This is 2019, 2020. I used to wonder how people got so high but made such a great

exact, precise music. And on a production side, like, I guess the weed wasn't that good. No, no, no. And sometimes, too, like, when you work it's tedious. Like, right now, my partner, Sleaky Brown is downstairs right now. In our dungeon, working on stuff or whatever.

Like, it's a long process. Like, for me, like, I don't have to necessarily get high to work on music. Because the working part is, I could do that, the daytime straight. I could do that, like, because the working part be the tedious part, like, okay, I like these sounds. Let me get them inside the machine now. Back then, it was like I had to sample them in there. I had to break up the samples.

But now that technology, you could put it, it's easier. That's why, right now, I don't want to just say this. But now that I can teach both of you guys how to make beats, I produce. But, yes, it's almost like it's about learning. How do I, like, you know, it's about just, like, doing. It's about knowing how to hear what's in your head. It's about how do I get the sounds that I'm hearing in my head. How do I find those sounds?

What kind of sounds are those? Once you find out how, once you can find them, then you find out how do I record them and how do I know the notes? And that's where the music part comes in. That's when you fix somebody in the genes because you assume anybody in front of a piano, they know how to play that muscle.

But they don't. They just understand that that's a C, that's a C, that's a C, that's a C, okay. That's what we, okay, you're doing it in this key, maybe get in this key to, it's probably going to sound better. It's like, if we're all working in the same key, it's going to sound in tune more. That's going to create harmony. That makes people want to come up with melodies.

That's why you got future. My cousin's because he could rap like a motherfucker's. Like a motherfucker, dude. Yeah. He started using the melody with his stuff because he's around studios with me when I'm doing songs. I'm making money off of the in bold song. What's it going to be? and the TLC waterfalls.

But yeah, we're talking about the Outcast and the Giddy Marlins. I would make the money off of Black Bear and Malassas. I was singing songs. So it was like, why can't we rap on that stuff? That's how, you know what I'm saying? So you find a way to make it all one music or whatever. And that's what I hear, that's the part I don't mind with the kids now. It's like, like, I won't the feeling to be off of it.

And it's hard for me to go and play professional sports, then it would be for you. because Matt, I heard that bad Ryan plays guitar or something. I mean, it's a lot of great, especially rhyme

that you chillers on the piano. Yeah, I don't have any hope and G's probably, I don't know, my fingers are too fucked up to play any instruments, but,

and also I have bad ADD, so there's no way I could sit through that and try to find it. I used to try my hand as deep because if I had a rolling, I just, I had a rolling family. Yeah,

I had three. Hey, hey, hey, you know, I was playing no career. I do too. I have bad ADD. I,

that's what that, That's what helped me. That's what I used me for. I can use that. We use that. But I can fixate on something and get tedious. But you might, I have to jump up and I start.

And I have to leave for them in and come back. And it's like, God damn, you're asking. Starting's the hardest part. Starting's the hardest part for me of anything. Like, once I sit down and do something,

I'm like obsessed, but it's sitting down and doing it. So I don't, you know. That's what a, that's what a mayor I want to try to help out there. It'll make you start. Oh, yeah. For sure, dude. I couldn't even fucking, I couldn't even fucking function.

I always wondered this. Like, outside of, like, people under the umbrella in the dungeon family, like, you know, maybe some surprise guests that might be affiliated with LaFace back in the day. At the original dungeon, was there ever anybody from, like, outside your circle who was in there that maybe people don't know about that you're like, damn, that person was in the dungeon at one point? Maybe just to hang out or record something or fuck around. That's a good one. I think it was.

to let me think, let me think, let me think. Well, the addict crew, the addict crew, before, they was just younger. They kind of, we never really claimed them as like, oh, this is our family, but they really made the addict crew because of them being affiliated with, like, different, like, one of the members of the addict crew might be Cibotor

could be, one of the members of the crew might be Kujo, Kujo, um, Mark Twan. It's like, so you had, but they went, but the Dundjah, like I said, the way it was, we really didn't record there a lot. Like, like, that's what was great about it. We would work on music and it would live there almost. That's what I think the Dungeon became a family vibe because, you know,

instead of like having to figure out how to get back over to a house and someone if you were driving or just like we would stay here with spending the night. And I like to come righty star. I start trying to make it comfortable. Like, yo, I'm going to get food. I'll be back. I'm going to leave. I'll be back.

I'll keep working. Let's know another day go back. Let's know anybody change clothes. My mama ain't said that. Anybody trivel. We can smoke meat. She, I didn't realize I was older. She was like, I'd rather have you here.

Right. Yeah, that's smart. Yeah, that's how my parents were. Yeah, yeah, I read it for you to be here. So yeah, y'all, you know, yeah, I don't think my parents never gave me the green light on the, no pun intended on the bud, but, but, you know, if I, you know, my folks, yeah, but if my folks were like, hey, you know, if you're going to go out of drinking, I'd rather you have a six pack of beer here, you know, if you're in high school and that, so that makes

sense. You were like kind of, so, so, so, so me, and. and G, we're talking about this, like, as a musician and being, you know, Drey or Big Boy or any of the guys that you, that you produced, everybody, everybody's different as far as, like, the way they get coached. Like, we were players, so we know, like, there's some guys who are coachable, some guys who aren't, some guys who like to be coach hard, some guys who you back up off of, were there guys that you treat in different ways, like, as musicians, especially, like, as it related to Goody Mob or Outkast, was it, you know, did Big and Dre have different ways that they,

they like to be communicated with in the production process and, like, writing-wise, did they write different? I know I heard that Big Boy used to write a lot faster in Dre. Like, what were the differences in the process for those guys? Yeah, it was absolutely what you were saying as far as some guys like to be coached hard. Some guys, regardless if they want to be coached hard, you don't want it. It's like, you look at them as, like, I always feel like,

and maybe it's something to a time suit, I feel like Big Boy and Timo, they're crazy. And even sleep, they're so passionate about what they're doing that you don't want to just keep telling them something wrong unless you can, you've got to get up to reason. You can't just tell them that ain't right. And I don't know, that don't sound right. Because eventually you just think like an opposition. Right. Like, you're going to look like, you're going to look like a structure of them.

Like, you don't want me to get past you. You don't ever, you don't ever. So, like, for me, it had to be great criticism. And try, and so I have to really pay it. That's why I hadn't studied them even asked me for it. They wanted me to be bruised. And Drake is almost like when they don't, when something isn't right,

how to tell you how to say, this ain't, okay? I can't tell you, I can't tell you, don't say. And early on with Drake, he just didn't believe in us. He believed it, I'm saying? Like, I hate even,

he believed in itself, but he didn't realize he was docus. For me, that's like, because we really, but later on, after the world found out, and then later on, even after Tupac and Biggie passed away, ma'am had a conversation. He finally said to me like,

oh, no, why didn't, consider me being one of the best, man. That's the first time he even said that he wanted to be better. You know, I don't know why he never considered me. I said, I don't know either. I said, because we were getting at them. Outcast, when Outcast album came out, but it was just the personalities was feel a bit bigger

than thought would drop. People can't do that now. People, if you put a major artist out on a date with another major artist, you might, you'll be scared that you might get lost, you know what I'm saying? Like, you like, like, you like, y'all share the same fan base. And that's when we realized, like, oh, wow, We not only, like we got, not only do we share the same fan base, but we got even other

fans, like, or whatever, because we know that everybody, like, Tupac on this, not, because we, we never want to outcast, but that's why we said it on record, I'm just the hour control. Like I said, they didn't, they're coming out part of it, wouldn't it. And they started trying, hey, I want to produce one or two things myself, or I want to dabble, or, you know, like, that's why I feel like, for 94 to 98, like, or even, yeah, 94 to 98 over the span of three albums, which by the way, again, I maintain there's only one skip and it's Mommacita for me, which is the most fucking insane run for a group of all time. They change so fucking much. Like Drey especially, obviously, but like the music

changed and it was like an organic change. They never sold out. The music was still awesome, but they changed and that's because I feel like they were young. Like imagine if you or I, George, had success creatively, artistically, how much of your personality change. As athletes, you can only change so much. But if you're an artist, you're creative, like your bars are going to change. Like, what you want out of production is going to change. Your confidence. Your confidence.

Your bank account, they were more established. That's what I think about it. Even on Outkans, let's see, what's the home there? On player, okay, on the actual album, on the actual album for Southern Pleal District, what was that song that? We say, I got more, we got more, we got more. That might have been, um, elevator.

I got, I got more, you say, But if you don't move your feet, then I don't eat. Yeah, yeah, yeah, that's elevators. That's elevators. That's the first single from their second album. He's still saying, we didn't really got no money. Yeah.

Think about it. Think about it. In this day and age, but then they're already going to platinum. They went platinum with the first album and get the money that they do have because they did get the money, obviously, to do the next album. But they feel saying, like, this ain't where it's that, no?

You know what I'm saying? Like, so now they feel hungry. Yeah. You know what I'm saying? Like these guys, they feel hungry, so now they still, So now, 18 alien, because on Southern Players' this time I was talking to Georgia about Big D yesterday, I was like, man, Southern Player of this thing,

we get a lot of the hooks. No, sleepy singing the hooks, crumbling nerds, Southern Player in the Cadillac movie. So, like, when we first were on the road, the Blentons went big enough to take everybody. So I had to go out as a manager slash chaperone, but we realized we were doing shows, damn, we can't say any hooks.

So on songs like Southern Play at D, I mean, on Players Bar, them starting to say like throw your hands in there them trying to do that fish and grips and all the pimps shit they start doing the hook then for for ATLians just from off of experience

so I thought in oh did they use that hook for that album I was like if I was wondering how they what they're going to do next I don't know because they get it from the life that they're living that's being provided for them

from the seeds that we're planning you know what we originally do with starting to play this seat they have to go out and do this. By going out and doing this, that's when they started saying, oh, you think it's all about cantos, things about pimp to be in cano. Like, like, that's the thing that you know, like, man, that was the first album. That was the music of Southern Paradise in a Cadillian music. We really ain't never been to know that type of stuff. You know, that big boy growing up in

Subbana, he saw it in, and that was in his very early years. Yeah. Yeah, often with himself, because, like I said, because my guy who I could work for Charles Woods from Sabana, they did have that, you know, that pimp ride, but they weren't pimps. It was more like just business men with money, but they were with hard bottom shoes. Right. Like church, and they weren't going to church, you know what I mean? Yeah, yeah.

I mean, did y'all really make them, uh, did y'all really make them run around the neighborhood? Absolutely, absolutely. Because at that, pretty much at that time, we had already T-I-T-Bi-T-Bi-L-C was my friend. Like, so she got, she was already signed with Pellas. So

I was already going, we was trying to get signed at a couple of the singing group, but she liked me, like me a, a like me a to be like, you know, I'm going to introduce you to L.A. I'm talking. I didn't have it. But we, because we produced parental advisories. I'm K.P. the great. The DJ, he was in a group called P.A.

or whatever. We produced them. It came out before Outcats. It didn't do well. That's what people don't realize. We did Outcans. This was just coming back, knowing that being to New York ain't going to work. Because you need to represent what you fund, because these people don't care about us talking about what they already know about. So we went and retooled when we did Outkans. or whatever.

Like, so it was more, we were under the mindset of like, we feel the pump, but what we, what we're talking about, and that established, just like, um,

DJ Quit with born and raised in a company, just like with the New York artists, if you can go to another state or city and you screen your place, and they say it, you just, you actually just did something more important than sell a song.

You just, move the culture. Now you cross the culture. Now you're making people, because, you know what I'm saying, and that's what the thing was, like I said earlier on, and like you said,

Chris, like, we have a certain admiration for New York. And we went just digging and trying to make them like us. But we was not going to not, we wouldn't go stop trying. We're going to stop trying because hip hop is coming from you guys. We learn it from you guys. We want to do it.

We don't want to be going to start no XFL. You know what I'm saying? We want to be a part of the NFL. We want to be a part of your league. Yeah. We're not trying to go start no new lead. Oh, it's a new thing. Southern hip-hop.

Oh, Southern McRap. put up, we're on the East Coast. We just at the bottom of the East Coast. And so they're like, like, we're like, we're like, we're going to be apart. So I thought, like,

eventually they were going to understand that. Our win is fair win. Yeah. Once they embrace us. Once y'all embrace us, we ain't could talk shit about you. How big was skew it in that way? Because you had Ray Kwan on there.

Oh, God. Thank you. Thank you. Great Chris. He just killed it. That's why I was so disappointed in the bracket when it had to go against, Hey, y' y'all's first.

Motherfucker. Me too, dude. You didn't give it a chance. You didn't give it a chance to see whatever it would grow. It would have been a couple of teams. It would have made a little bit. It should have beat Hayah.

What the fuck? But y'all put the biggest, you put their biggest hip-hop record, the biggest underground hip-hop record against their biggest pop record. Yeah, that was a social experiment. And that just showed the majority. It showed what the majority was. Like, I had majority girls tuning in.

Yeah, that must be it. Yeah. It shows stuff. because you're screwing on the barbie, first of all, getting Ray Corrin on it. And it came because Raycorn,

Wu-Tang had just opened a store in Atlanta, Georgia, on P Street, the New Stone. Power and Raycorn was down here. And guess what? They wanted, they still did over for a year or so,

but eventually when anybody called and said, we feel kind of funny being down here and not saying, hey, not, you know what I'm saying? Yeah. You know what I'm saying? So power,

um, power called with Ray Corn and said, man, if I got anything, if you need rate point and get on anything, call big one. If you need a great point and get on anything, let us know. We love, um, we want to say, we down here. I ain't just so happening. I think we did feel and about it.

I do about it in the studio when we was playing beats for being in Trey. Or you could put something up under there, like you stop it. But they were playing, we were playing a beat. And I remember Erica was like, like, what's that, what's that? I remember, Tray got the beat early on. So he wrote the hook and wrote his voice. And I, of course, I love it,

because that's the person who said my name, Gidge and Carl Rico, back on the street like Chico. Yeah. But the song, it was a, tempo, and then the opportunity

that came to get Ray Korn, and when we got it, and when he showed up and delivered, a 1-5-star verse, like, that was like, that song, like,

they were, whatever Wu-Tain had established, you know, for all the respect and power of Wutth had established, he kind of, he shared that sword with us. Yeah, that was a blessing, dude.

That was a deserved blessing. That was a deserved blessing. That was a blessing. That was like, come on. He gave us a hug. Yeah. Plus he was already rocking with it. Biggie was already rocking with it.

But Biggie had kind of passed away. He loved it. He passed away. Was there any plans to work with Biggie? Like concrete plans before that? Well, Biggie was a brother, for me. But Biggie was a brother for real. Like Biggie out there at first show in New York.

When the first time we performed, Biggie Small was the one who came up to us and told us that, well, the people at the record company said, hey, I'm going to tell you all about this New York crowd. They're probably not going to say anything. They're not going to say much. But as long as they don't boo, he did good. But if they don't say nothing, they're just standing there,

that ain't bad. Just keep going. Don't stop. You just don't stop. So, of course, we started to perform the song, players ball or whatever, and nobody, everybody's about standing that looking, like you said, just standing that looking.

But all of a sudden, I see, digging coming toward the front of stage. He pushes up against the stage, he pushes his arm in the ass. He just got, he just, rooting us on. Like, go, go. Like, tough, like, nobody else

raised their hand with him. It was just big. He was almost like, ah, that's our cousin, that's our family. You know what I'm saying? Because when he did, when he did the big, the can go hold and the whole of swag,

he knew that that was something that we was on. He was just getting off of Tupac sofa type of thing, and he embraced what we were doing. He felt like, that's what I'm talking about. Like, that was just like, I'm saying that I'm rocking with y'all. I like the child. I like what y'all. He most definitely said y'all are part of the East Coast family.

You know what I said? He passed away. But our relationship with him with, like you said, it was quiet because, like, Germain was doing songs with, you know, JV and all of them or whatever. But that's what I'm in documentary, the other organization. He was a fan to ask to do the hallmobile like you know.

Do you feel like the game in a way of being personal has changed a lot, you know, because it seemed like everybody was a family in the inception of all that Atlanta, you know, sound that you were creating. I mean, you were trying to create a sound that wasn't, you know, respectfully, not the Miami. based stuff. The Germaine Dupree sound is different.

But like, everybody knew each other it sounded like. And the same thing like in New York too. Like, has the game changed where it's just so not personal anymore? Is that because of celebrity or what's going on? Well, I think everybody can know each other a little bit more, but what you're not doing

is they're not working on music in the studio like you used to. We used to actually go in the studio and work on the music. Everybody's doing it in their computers now and it's already done. It's like, Now when you're in the studio, people are just recording vocals. Like, because, like, I see the new generation because feature is my cousin. Like, not because I produce none of his new stuff because he is my family, my cousin.

I'm the one who put him in the studio for the first time. I'm going to show them everything. So whenever I want to just pull up or want to see a brand new, I just put up. Right. And go down now. You know what I'm saying? And whenever you got a show, I'm backstage like I'm his father. Like, you know, I'm saying?

Like, you know, I'm saying? Yeah. or whatever. So it's not as personalable, but I don't know, I don't, because even with future, I'll be, see your, Nard and all the different producers might be there,

but they're not really talking to each other. It's just kind of waiting in line to get us attention. You know what I'm saying? Like, okay, I'm up next. And they all, they walk out of their happy because they all use to get them something, but it's not,

it's not the same process. So this new generation, like I applaud, though, for just, because everybody got to have, you kind of got to have your own vibe, your own way.

Right. you give your wave to whatever the audits is. You're not creating a wave with anybody. Rik, when you talk about today, like styles and stuff, you know, hotbeds, whatever, where's the next Atlanta, dude? Like, you know, is there a scene that's emerging somewhere? You know, it's not Detroit. Detroit's got its scene already.

New York is well established. Atlanta was, you know, Atlanta was changing when you came on the scene, like, West Coast. Is there a scene that you're like, all right, that's the next hot space? That's the next hotbed for the next new sound. Oh, man. To be very honest, I think it was crazy. I don't know how this happened. But New York, we call New York hip-hop.

But that means Philly, that means anywhere in the East Coast up north, like, we kind of say it's New York. But half the fact might not be from New York. But if only got an up-top thing, we give it New York credit. Right. California, the West Coast, they get credit. for everything. Even stuff out of Houston now. The book,

Kid, Lane, the rapper. Travis Scott. That's really, yeah, people are going to associate to most of that stuff with the West Coast now.

Right. If you're bouncing, if you got any kind of little baby, your baby, any kind of, they're giving it to an hour. You could be from wherever. Right.

You could be from the Midwest somewhere. But if you got to bounce on you and you got some swag and you're talking, you know, they say, oh, that's that loud of shit. Right. You know what I mean? So, like,

so that's where I kind of feel like now to to put a place to establish themselves as the next hot spot, it's going to have to be a sound. It's going to be more than just a movement because Atlanta, I can't really say if the audience is now right now from Atlanta.

Because you want to say, duh baby is from Atlanta, but he's not. You know what I'm saying? He's not. But I can't say whatever. I think he's from Carolina somewhere, whatever area he's from.

He's in Gucci Man. Gucci Man was from Alabama, I believe, for it. But we get credit for him. Like, like, because any people, like, even when I think I'm Boots, I know he's from New Orleans,

but like you said, he lives in Atlanta now And the way he explained it was that, he said, people don't hate you for being, um, um, um, um, people don't hate you for being an artist in Atlanta. Right. They embrace you for that. Right. And because he was like Louisiana, they kind of get mad at you. That's what he was basically saying.

Like, you're hard to, they coexist. He said, then Atlanta, though, you're not going to people, they don't look brand new to them and they don't worship you for it. You know what I'm saying? They don't, you're not. Yeah. Yeah, I mean, like there's plenty of successful musicians walking around Atlanta. You're right. I mean, now that you mention it,

there is like a hub kind of gravitational pull towards certain big metropolitan areas where you're like, okay, this is, yeah, it's just like... And I get it, though. Yeah, yeah, I do. I mean, Philly. Philly's scene is really, is really deep.

Yeah. Man, Philly, Philly is New York and Atlanta. Philly as a real cultural scene, but until Jay Z. start rocking with Benny Cigel of them to where it was really, you still look at it as hip hop, which is New York. You know what I'm saying?

But Philly is more than New York. It really is more. I mean, it had that, that roots vibe. He still got their roots music vibe too as well. We've got the black salt. It's got that. But the end of the day, though, it's still, it's still at East Coast lyricism. And that's why with us, we feel like we, I don't care,

as we gave you the East Coast lyricism, but we couldn't have the fact that being from the South where Luther Campbell, you know what I'm saying, the Miami Bay Sound, wooed, period. You know what I'm saying? And maybe what it was talking about wasn't something that we just wanted to recreate. But the low end that we had experienced in some of them records, you had to incorporate that more into the boom-bound. You know what I'm saying?

That's how it was. And that's what organized noise is looked better as like, you know, all, man, I love Outcares, but man, you guys helped. Because it wasn't just what people got from, that's why I said we went to pour the hip-hop. It wasn't just Outcares rapping. It's what we did with music. We have other producers produce better music. Now, yeah, we're not the richest.

Yeah, we didn't get all the hit records, but everybody knew the got better after we put out music. And respected. And respected. Yeah. So cell therapy is one of my favorites. You guys did cell therapy, yeah. Where did you?

I always wonder where you get that little creepy-ass noise in the background. And I would tell you the truth. I would tell you exactly what it was. I love being the rest. But I don't remember. I know exactly what the sound is. Yeah, yeah, dude. Yeah, it was something that, yeah.

It was literally because when I did, because I actually did, because I actually did, the piano was just so wicked. Yes. Don't, don't, don't. Yes. So I was like, I didn't want to do, so I had to kind of tip to it around

everything else I added to it. I was like, because I didn't want to fuck it up. So I was like, when I needed something else to, they had to sell it to help make it. So them would sound effects like that. Whatever that looks. That made it.

That made it for me. That made it. I'm glad we did. Because it was, that record is so, man, it was so hip-hop, man.

It was one of those. It was like, it was one of those. It's funny. The Outcast never had a record as wrong as that. You know what I mean? It's funny, but we never did a record as wrong.

Yeah. They stopped making it us as a family, because we all could get credit for it. Because Gidimod couldn't go as far as they can go now because if people didn't know, but what C-O was going to be able to do and whatever. And he was so,

we were so um i don't know i want to say we was being cocky but we felt like people were paying attention and so we could we could get off some we could get out some messages or whatever like so we did but sacrifice some of the commercials that goody mob could have had right yeah yeah it felt like goody moody just goody mob did exactly what they wanted to do at all times and and alcas had to do some things and not never selling out like with with the hooks like actually having to put hooks on songs and yeah yeah it's like

because you got to finish how you start we started some shit without cats and it worked and because it worked it afforded us

certain luxuries to where we could put out a goody mob and we had to keep pushing it with Outcats right

because the best of let's take it you know like we had to like another for us put out records like

that wasn't that commercial but we got fortunate with salester and like I said salester it was really really really

a bang it was a great well representation for Goodymont, but out here, like you said, from Southern Pell to ATIL to Equimini, the town can't evolve

in a daring way. In a way that birthed to Kanye Westman, in a way that birthed the Earth games down, in a way that birthed the Kendry Lamar to where those people are fighting. They try to fight that game. You hit it because it was like

I don't feel like people make themed projects anymore where there's actually a comprehensive theme and mood, and I love that Kendrick still does that, and Kendrick is probably my favorite that's out today. So you were saying that, like, when you're filling out this bracket, there's some songs that mean a little bit more

that might not. Like, the way you fill it out might be different than the way somebody else fills out because of the experience. Absolutely. Because certain songs, I know career-wise, they were stepping stones to help us get to the next plane. And like, Benza of Beamer was very important,

because I was talking about Get Up, Get Out. Like, well, it was a great song Cito Air got the rap with the money and sword, but when the face,

I'm giving them all the credit and blame, decided to shoot the video, they were thinking about, Fido's not in our cab. So why are we going to put a video out where he's rapping the first two minutes you see him first?

But then they're not realizing this song is on Outcast album. And that we're going to sign Cilo. Like, he's going to be signed and organized those with Pitymore or whatever. We really stand up.

next artist. So when they shot the video, they did an edit. They released to real quick or wherever they released to. My first time seeing it on TV. I'm seeing it. It came on with Big Boer Rapper first.

It came on with Cillo's hook, a big boy rapping, and the hook, then Trey Rapper. They did an edit, it came on with Ceylo, and then it came on with the gift. So it basically took a song

that was seven minutes and cut in a half. But they hurt the integrity of the record, but they hurt the integrity of the record because it almost made us look stupid. Like, y'all don't know that. his birth is to jump out.

His work is killing big Andrews. It's his song. It's no question about this. You know what I'm saying? Like he did. That was us. We knew that song was a hip-hop classic. And at that time, I wasn't thinking we need to hold it for GiddyMiles. I was thinking we need to help OutKaz.

You know what I'm saying? Like, then that introduced GiddyMond. You know what I'm saying? But we just to make the Outcast album. We didn't have no album filler. You know, like that's what we're doing that, but they're messing with video up, It led to, like, you were fortunate because Biggie Smalls had did that on one more chance

re-lick when he had all the memories in the video, and it kind of helped set him up for the next album. We got lucky in a New Jersey Drive soundtrack, leading the song, because we were working with Queen of Tees and Shaquim. They was doing the soundtrack, and we did Fins or a Pima. And that video, to me, was better than any video out of hands had had at that time. Yeah, the video is cool. The video was super cool. I had, and I liked the song. I had it going out in the first round.

I'm forgetting who it played, but it makes sense. I mean, behind the scenes, that song's even more important than, you know, to a fan who likes the song. So was there, was there anybody that you... Was there anybody going by G-loves? Was there anybody going back that you wished could have got a feature on one of the Outcast albums that didn't? Like, in your dream world going back, was there a feature that you wish they had? Ooh, ooh, ooh, ooh, that Ray Cormon was really special. And Biggie passed away so quick, but...

Of course, I feel like, you know what I'm saying? They probably should do something with Biggie Small, you know, like, or at least Cee-Len in Biggie, like, we supposed to do do something with Biggie, period. I don't get no , such, like, we're supposed to get some of Biggie. And Chupac, we had to just run it with Shug. It was almost like, I don't, I never

said it publicly, but it was like, I just felt like it wasn't smart for us to necessarily be associating or being a bit, being, I didn't want to be fucking with Shud, you know what I really didn't. I didn't want to just, like, I really felt like he was, that he was bad for the game, I did, but I was hearing rumors, and a lot of stuff wasn't even true about what they were saying he was doing.

Because I ended up being corrupt. Me and came up became cool. He did certain things or whatever, but he wasn't. He left to be known. You know what I'm saying? You know what I'm saying? It wasn't like, you know what I'm saying? But at that time, like I said, sure, because Tupac reached out to us and like, but he, because he loved the goodie mob.

He wanted to get, he loved it. He embraced it. Yeah. He embraced it. Yeah. He was going to do. whatever, he was gonna wrap it up from or whatever. But, yeah, but OutKad, we always kind of wanted to do a song with Shide.

I mean, I remember Big and Drake we walked through with Shidey that we never really did or whatever. But I do love the art. I love that art story telling him with Slick Rick, though. Slick Rick with somebody that we always, we love children's story. You know, that was just for them the day, and he can't go on. So that was like, that was a great way of, and then he did some with Curtis NIC. I was like, the people that we emulated or we took something, We're honored by working with.

You know what I'm saying? Like, I do feel that. Like, George Clinton, you know what I feel? Whoever we, I felt like that Curtis made feel, the people that we feel like, we felt your, and I remember telling George, I was like, I remember being like, man, you know what I'm saying? You know, that Southern player,

this is the Cadillet music, where we put the word together, you know what I'm saying, we were just copying that, um, that was kind of like how you did the phone thing. He's like, man, he was like, and he was like, man, you like, man, you keep his honor. The way he said it.

He didn't look at it like I was like, he didn't look at it like I'm like, nah, we shot that I did from here. But he was like, but listen to your music though. Like this is the original stuff. Like, yeah, you might have took a little vibe to make it to make us just like, that's funk. That's what he said. That's funk. And it's crazy. It's crazy, y'all did, that with them because when I first heard my dad on Outcast, he said, man, I like these guys.

He said, you sound all right. You know what I'm a funkabella. Dude. Yeah. Funkadel is his favorite dance. Dude. His favorite group. And so, like, he could get into OutKaz

because he's love with Funkadel. Dude, that has to be the coolest guy to get a fucking compliment from would be like George Clinton. Man, George Clinton, even being around, like, what Curtis Love, everybody.

I mean, like, even when I met Prince, I remember meeting Prince at the Outcare thing and when OutKead thing, and when OutKead, the Coachella thing, and just his love of Andre and Outcase. I'm sorry, he reached out there.

Prince reached out there. He reached out there and wanted the Outkats to rap on his movie. One of them bands he was doing there during that time. And we might have did it, but it didn't grow up or nothing, but I remember calling him back being like, oh, we want you to get on

the OutK, the OutK song. He was like, oh, I don't do song with me. That's funny. You got a little guy out there. But don't you're all me. Gee. Must be nice, dude. Hey, Rico, I got a question.

I got a question. One of my favorites, most days, my favorite outcast song would be players of, but the reprise version that the video first came out with. Why was it that the original song, man? On the album. I love that with so much more than the original. You get what, George. They know what that means to me?

The piano, man. Soon as you come on, you already know it. You got to move your ear, I'm going to tell you a great story. Players ball came out during Christmas time or whatever. Got around in January, February, L.A. re said, hey, man, this song's still playing. Can you go in and take Christmas Day off the song? Okay, Pairs Ball is happening on Christmas Day.

That's okay, we went into the version. Players ball is happening all day and day. That's when we did it or whatever. Making a regular song. The whole country, the record almost goes. The L.A. Reed said, New York would not play this record. Because one day he just commented on, he said,

New York will not play players ball. He showed me every, all the other states is in the country. New York would not play his record. I said, okay, they don't like it. Let me go do a remix. Check out of that music out. I take all that music got to put in one sound Make it wrong

I was trying to make it walk Don't look Don't look And see if you come on with it first Pattern back Yeah like Change the vibe up Shift it down

That's crazy Dude No when them canals come in And once you're That's a great question That must be that help That be great for that That's what that happened

record they would felt like go get your album get your album out get your album ready now that's what you know what I'm saying like that's when that's when we based the album and that's when the scene

became we got to stay on this play or shit like even though it's not the fact we got it we got it like some kind of way you know what I'm saying like that's when we did crumbling or Southern player

district crumbling or funky ride like I'm saying those were all those melody type songs again big bucks but ain't no thing because that was my favorite song my favorite song on that first out

but I think maybe kept us real got us the most credibility but ain't no thing and that, and it's my my intro to let you know. Oh, I love

dude, I love my intro, bro. Not to, like, I, I wish my intro was six minutes long,

bro. With how the album end up coming out with the original version Twiz song that makes my, my favorite song

who gets a phone back to the art, man, love and so. I'm saying, that, like that particular out,

man, It was something like this, it wasn't our biggest album at that time but it was we put our, it was our music-wise, like we did album, we tried to do our best. And timing-wise, that's why I was special because if you put it up

again, it came out before Biggie, it came up before, it's like, like, that's why I got too much respect because it showed that we weren't copying, we weren't following nobody else. You know what I'm saying? From that day, from that day forth, people got a will, people got a real of them.

And they started production, like, man, they started a production, like, man, it used to 808 with live music, with real hip-hop drum, and guess what? The drum sounds different. Every song, hold on. And that's when New York's supposed to get to notice. That's when they really supposed to be noticing that D-Boards are in the kitchen, they like, they didn't realize that at that time,

we was already flying up in New York, going up the street, going up the Carline. We were already going up to Harlem, the 1-25th, going to the fleet market, whatever the things with buying old records. He's already up in New York buying records. He was already buying the same record. Marley Marl or Q-P or whatever.

What's the name? Primo or whatever. Whoever. Yeah, we've already done. He's already interested in. Pete Rock. He's already interested. Like, who's going to face with people.

The guy would say, well, I'm holding these records for Pete Rock. Well, I'm holding these break beats for, for Lord for Ness I'm like I'm like What you got

For him Let me sell My money green too Yeah Sam Well boy The boy from the South Start going through

That sweep To see it And you can see From the music You're like That's why I never Going alienate them I always felt like

Man we want to y'all We just want to sound Yeah Yeah And I understood Y'all Y'all didn't realize We're gonna do it

Go good And we're gonna do it And we're gonna do it It's like we're going to play by the rules. Play by the room. We weren't tricking it out. We weren't trying to do something different. We were trying to do exactly what you're doing.

But following the room, don't copy nobody else. Try to dig that with digging in the crates, you mean, keep digging until you find somebody else's got. And you will identify what as soon as you find. You're like, ooh, we caught one. Let's go. And then you go. Whatever.

Buster rhymes. You got to get bust the rhymes before now with Richard. He had moved out and 10-9-10 down in the book with Dallas Austin earlier on. And I remember he was the one who kind of, brought that book Blue World Order up there earlier on. Like New York

like I can say like hold a pill horse before we get out of here you got a favorite four outcast songs I'm not going to assume that you've looked

at the bracket to the point where you got your bracket filled out but do you have a final four Rico's final four what are your four favorite outcast songs but right now

not to be too predictable but I will say this I like the kind of stuff that it being two songs they produce two songs we produce right now from what I see with you guys

that's what y'all got you got sporty which I think should be there I think Bob could probably be I really wish on those but Bob is a bang it up players ball could have been

Wait say what you're going to say because my thing is and I got ripped to shreds over this and George loves Bob but my thing is I love Bob but it's not a top 15 for me yeah B OB

wow B OB well this is what I'm going to go about right now I'm going about with the fans have spoken. The fans have spoken. So, like, regardless of what I think... The white delegation is spoken.

Like, but so fresh, so clean is there, though. Yeah. That's me on the... That's you, yeah. So, so clean, yeah. So, so... I like that. And I did that, I did that beat. Yes, it's a dope beat, dude. I programmed to run so, yeah, so... So quietly, the fans were spoken, I agree.

So, first, so clean, is one of the top four. Okay, B-O-B, I don't give my reason for why it is, because creatively, wow, Trey went crazy on that drum pattern. What I'm saying? That's crazy. With that, cult music,

electric convival. Yeah. That's this going to get into that. Yes, the energy of that joint, the energy of that. So for the fan base to push that one there, that shows you got some skateboarders.

We got some dirt bike riders. You got some, you know what I'm saying? Like, that shows that how wide the net is so I can appreciate it and how edgy it is because it could be easy

it could be real pretty you could have the way you move and hey y'all that would have real soft before they have B OB that's kind of hard because I'm looking at B OB versus Ms. Jackson and I got to give it to BOB because Ms. Jackson was a big record

but come on that was like they... No B OB's BOB is just fucking it's crazy but for me and bombs up a bad dad like it's timely Like, it's not the most... Yeah, yeah, yeah, it's great because of the

the science of it. Like, you play it against any out there, wrong. It's good to do it as shows. Like, dude, see, we didn't, we didn't, we didn't expect being to be rapping like that over a Miami-Dade tempo beat.

Like, we didn't, like, that blew out of our mind. We didn't know what we were listening to. In that video, in that video, and that video was crazy with big, what, like, it was a great performance with video, I. Like, it was chasing the car

and draving that. It looked like, that, that was a, imaging-wise, of guilt. That was the album. That was the album. B-O-B, Ms. Jackson, so-b-so-clean. That's why I took-per-so-clean. I might be crazy. Matter-fake, man.

And Spotiotee-o-Dilition. All them on the same album, I believe. No, Spote's, yes, Spotties on the first. That's stank on both. You're on stank on your central criminine. That's a separate it. And for players bar to make it that far. They just shots out to the guy.

That player's ball. Players ball. You're getting, yeah, you're getting, you're getting all the love here. You're getting all the love here. All nostalgia,

man. Yes. That's all, me, that's straight, that's, that's really saying, man,

you can't forget the guy. That's like, that's just saying, because I would have never, a player bonds, no way it should have made it that far. The people, like you said,

you ain't even start listening to them until a criminalize. Well, I was 14, you know, I, a criminal, most definitely,

a criminon should have beat that song. Yeah. But the fact that it didn't, It meant that. It was old heads on that day. It was some heads on that day. No, I respect the fact that it lost it. If the Quim and I was going to lose, I'm glad it lost a player's ball.

Where I had B-O-B losing, and this is no... Again, when I say to me, it's not one of my favorite 10-15 outcast songs. Dumbie and I don't fucking love it. I have it losing to storytelling part two, which is for me, that's very personal, but it's one of my favorite songs they did. so and people will say I'm not mad at that I'm not mad at that

yeah the artist story telling the artist story telling hello part two apart two listen everybody loves part one I love part one just like everybody else

but part two is like it's just it's like fucking cocaine to me I don't know yeah and then again like you got

you got two dope boys you're two dope boys just not miss Jackson now just but not because Mitch Jackson is a great record of this

great year y'all A T Young will be here y'all Y'all could have beat that. But Crumble-N-Eurge you to beat 7-Tel list. Crumlin Herb's one of my favorites, yeah. Crumlin Herb was George, George Schitt. And it's crumbling Earth, the Crumming Irv remix, but we changed the third verse.

Ooh, goofy. Like, a lot of people never really heard because it was on the B side of something. But, like, the Crumming Earth remits, Andre and Big Bo changed the third verse. And whatever, like, that was, or they handled it, whatever they did, I thought Liberation got a really bad, bad draw here.

Oh, you absolutely like, because liberation. I'm going to also buy some of the shows. I've performed with these guys. The whole Dungeon family we performed at one music fest, I think. When Andre came out. I just posted it on Twitter. I posted for the Liberation. And I was fucking pissed.

Man, but that day, Eric Bidu was performing at one music fairs too, you might have just bought you over to the stage on the end of the show to catch some of it and they saw out that they just played that shit, man. People went absolutely bad crazy. No, people went nuts. People went nuts. And Rico, I don't know if you might think

hear the same way. If I feel that show was just as good as the Centennial show. Yeah, yeah. Well, actually, it might have, the Centennial show was probably longer because it's more outcast stuff, but that show was epic because of that.

It was epic, like it was done your family show, but it was. Yeah. It was almost even better because of the fact that that's the problem with OutKaz. That's one thing I would most definitely say that's the only fault. When OutKaz and Goody Maher got big, they couldn't really do shows together anymore because Goody Maher could go to Chicago and get $50,000 on April 1st. Then Outkaz can go and get $50,000 on April 15.

You know what I'm saying? So in order to do that. Like you shortchange yourself and go to the- Yeah. Yes, we can't go together. We can't do stuff together because the same market of pay us. Come like that. But when I was familiar, they never got a chance. That's why that little Dun & Family run we did.

It was kind of epic. It was late. But the place we went to, they showed up and they liked it because you're a fan. You never seen these cats really want together like that. But it was a couple of outcats tours early on when they would take out. They took out a lot of the members of the family or whatever. They took them out. But it went long when Gidimov couldn't go with them.

I remember Ludacris I remember the first disagreement we had they ended up taking Budapris out for them they took them

open up for them one time because he was new and he went in the amount of money because they couldn't they couldn't take the money

they were offered and it went and they went and they didn't want to give goody mom more it's like they didn't have to

it was like some of that family stuff business got in the way on like what I'm saying like

Goody mom would love to go out there with y'all I can't love to take y'all but y'all deserve more money and business-wise they can't offer you more. They, you know what I'm saying?

They can't. So the fans didn't get a chance to get. We talked about, that's why my outcasts would do. They can do a show once a year, outcats and goody-mire, because they would go in together. They would pay for the venue together, and it would be the house of blue, whatever that place was that was down and around the one,

the tabernap or whatever, that right there. They did it on New Year at one time. When Goodie came out, they came out, Out-Gay came out. Goody came out. out there's so like that was incredible like like and the show when wake horn performed with us out at the atrium when I saw what the guy there and people following off the fucking back and that's like man so this that's this that's

this that would be the video right yeah yeah it did video for skew it at um at the tabernacle but that was like a video shoot it wasn't actually a real show and the real show that we did was at the atreel and and and that's when I was man that's when I was like I was a kid. I was like, that was it, man. That was like, and besides being in New York,

when time we were in New York, and we performed Bucs for the hook. I'm surprised why the hook went on there because I guess it was straight out-care song. Yeah, we had a couple that we put on there that wasn't really out-cared song, but we let the people over.

I think I can't wait on that because I can't wait with something we could do too. I see it wrong before a couple round. Yeah, man. I thought George did a really good job of doing what was damn near impossible and he called a lot of shit for it because everybody's got a problem with seating

and what song shouldn't should. But again, that's why what y'all did was so legendary and what Alcass has done is so legendary. So, I mean, hey, dude, I appreciate you even looking at the fucking bracket and coming on and shooting the shit, man. This has been awesome.

This has been awesome. No, no. And I got to say from organized noise, Dengal family, I appreciate it, man. Like, like, I appreciate the fact that, like, We appreciate y'all. We've been on the phone. We've been on the phone for an hour and 30 minutes and ain't even thought about it.

No, me neither. Me neither. I haven't even thought about it because, of course, I love out there, but y'all do too. Yeah. Dude, the music never gets old. The music, like this. We know that they're getting family, man. Yeah.

Yeah. It's just like ain't more, ain't no more fucking. one other group, one of other, like, things a lot of it. Mm-hmm. You don't get, you know what I'm getting. Yeah. Yeah. And then, and then I feel like, like once again, it's a renter's saying, too, though, because I feel like, like, I mentioned King's with Lamar. It's a certain way,

it's a healthy way to think and a healthy way to move forward. Sometimes the way, like, especially being up under this little quarantine, like, you've got to stay mentally sharp sometimes. Like, and an intelligent conversation always does that regardless of it, if he's talking about something that seemed fun, but, but it was, but, it was It was so important in different parts of the culture of writers. From the 90s up to 2000, like, it was like, even when the Master Piedum came along, and the West, it was like, it was just so much, with the depth of so many important people in hip-hop,

with the little rivals, it was like, outcast, that's why they're the people champ, because the Dungeon family, whatever, what we injected into the music is, there's integrity, you know what I'm saying, and a humility. because because, and that's what I guess the great part about it was was the fact that we wasn't accepted at first, you know what I mean? And the fact that, like, the source of words,

Andre almost cried saying the South got something to say. You know what I mean? He choked up because he was, because of the hurt. You know what I'm saying? Like, damn. You know what I'm saying? Like, wow. And for that to turn to run DMC on steroids, you know what? Dude.

It can be, it cannot be overstated. I like what you just said. There was nothing fake about the lyrical content. There was nothing fake about the process, and I appreciate it, and you're a huge part of that, so it's cool getting to meet you and talk to you. So, thanks, bro. I've got to have you on another time to talk about the Falcons. I mean, you can have me on every week about the time.

Good, good. We'll have you be a correspondent, bro. Yeah, absolutely. You can be our Adam Schefter. You can be our Adam Schefter. Honestly, they should be good, though. Yeah. No, no, no.

I heard that. Hey, hey, the very, the very first conversation, the first thing Chris said, and I know he was saying, what he felt, but I'm being a true fan, I'm always believing

it's going to be a great year. But just like last, I felt like it's going to be great. But I love how we ended. I love how we ended. I love the fact that Dan Quinn, put everything down. Yeah.

You know what? You, like, that's your humility. And I appreciate the fact that they kept them, they kept him, they kept him. Because I felt like that would mess up something more. Like, like, we finally got everything together. Let's go back in next year and try it. Any other owner would have blown it up and probably hired a shitty coach.

So shout out to Arthur Blank. And yeah, there's hope. I'll get down there in C.G. I'll get down there for a game. We'll meet up, man. Appreciate you, Rico. Thank you, Rico. Okay, bro.

I appreciate it, man.