The Real Report - Beanie Man on Pharrell & Mya collab, making Dancehall history, Eminence album, and Bounty Killer

0:00Speaker 1:And when I go on the stage and go, oh, na, na, na, na, everybody's singing.

0:05Speaker 2:Facts, because that's everybody's joint.

0:08Speaker 1:I'm like, what? But they sing every other song. Let me say, woman, if you're fed up with your boyfriend, let him go. And your boyfriend, they sing everything.

0:17Speaker 2:Right.

0:18Speaker 1:So they sing everything. When I go, old dog, like me, them. He didn't get stabbed.

0:22Speaker 2:Right. Shut the up. OK.

0:29Speaker 1:Bruvins!

0:45Speaker 4:Yeah, it's the talk of New York, Tony Ayo.

0:47Speaker 2:And it's the boy Uncle Murder, a.k.a. Laird Jet Lenny.

0:50Speaker 5:And right now, we in here with one man, the man with a Grammy, the man with 24 albums, the man that started doing music at eight years old.

0:59Speaker 4:Make some noise for the legend, Beanie Man.

1:02Speaker 2:Whoa! Dancehall legend.

1:08Speaker 4:Thanks for coming to our show.

1:09Speaker 2:Thank you for pulling up.

1:10Speaker 1:Thank you for having me.

1:11Speaker 2:Thank you, man.

1:12Speaker 1:Thank you for having me.

1:13Speaker 2:Yes, sir.

1:13Speaker 5:You know, I'm from Queens. He's from Brooklyn. So we're trying to figure out where more Jamaicans at. And I said Queens.

1:19Speaker 2:And I definitely say Brooklyn.

1:21Speaker 4:That's why they call us South Jamaica Queens.

1:23Speaker 1:I don't care.

1:23Speaker 2:We got flatboots. I thought my flatboots Jamaicans.

1:28Speaker 1:All right.

1:28Speaker 3:Good.

1:29Speaker 1:Let me get to the point now. Go ahead.

1:32Speaker 3:All right.

1:33Speaker 1:Queens got Jamaica Queens. But Brooklyn, It's kind of Jamaica. What the fuck.

1:40Speaker 2:Am I talking about? You hear me, Ledger? Ledger, let me get some love on that, Ledger. Thank you, Ledger.

1:45Speaker 3:Thank you, Ledger. Yeah.

1:46Speaker 1:Shut up, man.

1:47Speaker 2:Let the Ledger talk.

1:47Speaker 1:Go ahead, BD. Queens is Jamaica, Queens. Because Queens got a lot of Jamaicans. But Brooklyn is Jamaica. Like, seriously, Jamaica.

1:59Speaker 2:Gotcha.

2:00Speaker 1:Sometimes I go to Brooklyn, I have to say, okay, which avenue I'm going down there? Okay.

2:04Speaker 2:All right.

2:08Speaker 1:I'm going around there.

2:09Speaker 2:Got you.

2:10Speaker 1:Yeah, because, you know, all the flatbush, the church, go right back to downtown Brooklyn, is Jamaicans.

2:18Speaker 2:Definitely.

2:18Speaker 1:Like, right you. Like, definitely. So, don't care who want to move in now and try to move out the Jamaicans, they're still somewhere near Queen, Brooklyn.

2:29Speaker 2:Definitely.

2:29Speaker 1:They're not going no further.

2:30Speaker 2:Nowhere. Nowhere.

2:32Speaker 1:That's serious. Let's go. Because I've been coming to New York since the 80s. You see me? Like from there to seven of them times I've been coming to New York. So, yeah. A whole heap of Jamaican there.

2:44Speaker 2:Yes.

2:44Speaker 1:And the Jamaican.

2:45Speaker 4:I'm listening to it.

2:46Speaker 2:I know that. I'm just making sure you know I get hype when it's Brooklyn.

2:48Speaker 1:And the Jamaican, he lost. And see, they're dead. That nigga's not dead. He go to Brooklyn.

2:55Speaker 2:He's right there.

2:57Speaker 1:Yeah. Seriously.

2:59Speaker 5:So, what was life like for you growing up in Jamaica? Because you did your first record at eight years old.

3:04Speaker 1:Yeah.

3:04Speaker 4:Which is unheard of.

3:05Speaker 1:Oh, well, all right. Jamaican always, when, right. I was born a kid that stammered. You know what stammer is, like when you can't talk. Like you take one minute to make a sentence. You had to.

3:19Speaker 2:Stutter, you had a little stuttering problem.

3:22Speaker 1:Not a little, I was always stuttered. Trust me, it take me like two minutes to make one word. Yeah, trust me. So I never like it because sometimes I can't talk to people. I figured out that if you sing, your word flow. So I start to sing the shop list. When my mom sent me to the shop, I used to sing that list.

3:45Speaker 3:Oh, look at that. That's crazy.

3:46Speaker 2:Yeah.

3:47Speaker 1:Then I used to sing the reading book. Like when you get the book to read, it says Johnny was a lip boy and Jane was a girl and, you know, maybe I believe in love and all of these things. I'm trying to get your pale of water.

4:02Speaker 2:So.

4:03Speaker 1:When I started to do that, I realized that my thing flow. So at age five, at three, you start going to school. But age five, now I start to, you know, get into the music because if I'm going to sing, I'm going to sing. So I'm going to do serious things. So I, you know, I start to put lyrics together from out of the reading book and all that. So that's when I realized, all right, if I do this, I can't talk. So I have to, you know, fix my speech pattern. I got to know what I'm doing. So at age seven, I decided like, I'm going to be an artist.

4:42Speaker 2:At seven?

4:43Speaker 1:Yeah, everybody's laughing at me. They're like, yeah, right. Your mom's going to kill you. Because my mom is an ardent Christian. She's a Christian, Christian, Christian. Fallen spirit Christian, hallelujah Christian, Christian, Christian. So certain things I can't do in my mom's house. So, you know, me have a uncle and grandfather live next door. They got a sound system called Master Blaster. And that's where I learned to sing on the beat. I learned timing and everything. So I realized that I need things because I've been seeing artists like General Trees. I've been seeing artists like Sasa Frass.

5:20Speaker 1:I've been seeing artists like, you know, Echo Minor. Artists like, you know, Wally, a big star in my days and in my community, these artists are stars. So I decided that I'm gonna need some money because I'm gonna need some clothes. And there was no clothes that could fit me. This is the reason why I named Beanie Man, because I was this skinny. So there's nothing you can find in a store that can really fit I. So I realized that I gotta go tailor-made. So everything I have to do is telemade. If I need the shots, I have to make it telemade. If I need the pants, I got to get it telemade. Even this suit reminds me of some suit that I used to make back in the days. So to get that, you have to have money. So what I do, I enter all DJ competition everywhere. Like I go to Duna Park, DJ competition, win that. Go to Marvelli, DJ competition, win that. Waterhouse, DJ competition, win that. Went to Crossroad, DJ competition, win that.

6:26Speaker 1:Went to infantry DJ competition, win that. Then I used to follow this DJ called Barry G. He used to work on the radio station, playing music and everything. So anywhere Barry G is, I am. Trust me, because he have the DJ contest and they've got monies to give away. So that's how I started to make some money and started to get myself together, to put myself together, to look the part. Go and take the mic from a Johnny Ringo or a Squidley Rankin or a Peter Rankin back in the days. You have to look the part.

7:01Speaker 1:So I said, now you got to go clean. So I'm going to go clean. They know that I come as an artist. You get what I'm saying? That's the new slate. You got to be clean. Yeah, you got to be clean. So I went there and clean. I win this competition in Jamaica. I get a chance to go in the studio with one of the biggest producers in Jamaica at the time. But when I reached there, he wasn't there. So Danny Dread was there, and Danny Dread took my vice. And I was like eight at that time, and I vice two songs. I vice two Fancy, and I vice Over the Ocean. And yeah, after that, it was all everybody talking about Beanie Man, Beanie Man, Beanie Man, Beanie Man, because them time we got one TV station. So when you come on that TV station, the whole island see you. You got two radio stations.

7:53Speaker 1:Once you come on that radio station, the whole island hears you. So, you know, I'm there in my lane. First time, I think it was my cousin. I told him that, yeah, that's me in the cassette. He never believed me because he knows that my mother is Christian and me not supposed to.

8:13Speaker 3:Be a DJ.

8:16Speaker 2:So he didn't believe that was you.

8:17Speaker 1:He didn't believe that.

8:18Speaker 2:He's like, there ain't no way that's you.

8:19Speaker 1:So I tell him to pause the cassette and I sing the whole entire song. I said, play it back. He know I ain't got no tape player. So he know I ain't kidding. So I said, I use that man. So yeah, I use that. If you proceed, I'm going and you will succeed. That man say, I want to be successful. Don't worry about that.

8:40Speaker 3:So And you were eight years old?

8:42Speaker 1:Yeah, I was eight.

8:43Speaker 6:That's crazy to even have that mindset like that at eight years old.

8:46Speaker 1:Yeah, well, you see, when you dedicate yourself to something, that's what it is. It started from the early days. It don't start when you're 15, 16. When you're 15, 16, you think about the job that you want.

8:59Speaker 2:Right. You get me?

9:01Speaker 1:If you're going to be a doctor, if you're going to be a lawyer, if you're going to be a professor or not. But when you're thinking about being a musician, you got to get that from childhood days, especially in Jamaica. I don't know about hip-hop, I don't know hip-hop, I don't know nothing about that. But I know that the first time I hear a hip-hop song, it was hip-hop, itty-ditty-hop, and then it don't stop, rock to the bam-bam boogie and the bam-bam boogie and the boogie the beat. Yeah, that was DJ Herc, and I realized that DJ Herc is Jamaican. I'm like, what? So we can do this.

9:42Speaker 2:Oh, look at that.

9:42Speaker 1:Yeah. So I did my first album when I was 10 years of age.

9:46Speaker 2:Yeah.

9:47Speaker 1:But we in Jamaica, we know everything about music. We know R & B music, hip-hop music, country and western, gospel. I know Whitney Houston and Sissy Houston from they were singing gospels when we were kids. I know these things. So, these things is what I used to play on our radio. And then, dance artists like us, we never used to have no song that playing on the radio. You know, we have artists like Michigan and Smiley that come out and, you know, them get a run, but Dancehall music never used to play in the dancehall because there was no disco.

10:23Speaker 1:There was sound system that the artists sing on. You as the DJ, you hold the mic and you sing and the selector play the song. Then he flip over the beat.

10:34Speaker 3:Right.

10:34Speaker 1:And then you rap on the beat. And that's how the music used to go. All in the 80s, 70s. From the 70s to the 80s, that's what used to happen.

10:43Speaker 2:Oh, they used to do it live like that?

10:45Speaker 1:Yeah.

10:46Speaker 2:Oh, that's crazy.

10:46Speaker 1:Because we never used to play in the dancehall. It's only singers. You have singers like Johnny Asburn. You have singers like Michael Prophet. You have singers like Dennis Brown. You have singers like, all these singers used to just play in the dance hall and we as the DJ have to grab the mic because it don't make no sense to play a DJ song when a DJ is coming on the mic. Now a lot of people in America mix DJ like DJ scratch scratch. We are the microphone chanters. In America you got rappers, in Jamaica we are DJs. Because we are the, all right, they used to call us MC back in those days.

11:24Speaker 3:Right.

11:25Speaker 1:Master of Ceremony.

11:26Speaker 3:Yeah.

11:26Speaker 1:So, you know, when they're Master of Ceremony, you use them and they hold the mic.

11:30Speaker 4:Yeah, you the MC.

11:31Speaker 2:Yeah, you talk.

11:32Speaker 5:And the DJ is usually, you know, rest in peace, Jam Master Jay.

11:36Speaker 3:Or, yeah.

11:37Speaker 1:DJs usually play. But back in the 80s, I think it's 1986, they changed it to Mike Chanter. then my chance to turn to DJ. So they might say, what are you doing man, DJ? So one time when I used to tell people that I'm DJing, they said, what, you spin music?

11:57Speaker 3:Yeah, because that's what we would think.

11:59Speaker 2:We definitely would, definitely.

12:01Speaker 1:I do spin music. Don't get interested because if you don't know music, you can't do music. Don't make no sense.

12:06Speaker 2:Right.

12:07Speaker 1:So, you know, I did my first album at age 10. I walk into the studio and I meet a guy called Bunny Stryker Lee. God rest his soul. And he gave me a chance. I was there to record for King Jammies because Jammies have a government house and a liquor, A-Chalk tape and thing, and Bill M. Strudel from there to what it is today. Now, I couldn't vice on the A-Chalk machine because I wasn't invited them time, but I was there. I was there when Admiral Bailey coming up.

12:44Speaker 1:I was there when He started to produce Josie Whale. I was there. I was there. I was always there. Until Bunny Lee gave me this chance, I would not get a chance down at that street. I'm telling you that on the street. And that's where I'm from. So anyways, I moved from there and I went to Jonestown to live. And then I started to get more opportunities because this is halfway uptown. Uptown is there and this is Together, but you can just leave out of the ghetto and you're uptown. You see, so them time you know you got all different dance that keep you out. You got Metromeda, you got Skateland, you got all different type of venues.

13:31Speaker 1:So these are the venues that give us the opportunity so we can, you know, prolong the career to go on. So you got sound like Volcano, which is John Gillard's sound. You have sound like Leeds Unlimited, You have something like King of Tony. You have something like, whoa. You got so many sound systems back in the days. But I used to go on Master Blaster Sound because it's my uncle's sound. So I love that sound. So the first time I went to the country was Port Antonio. And I love it because the people there love me. I couldn't have left there for three days. I was there for three days. I was there for Friday, Saturday, and Sunday.

14:12Speaker 4:Amadri Murda, he's a kid at this time. Like, I never knew that.

14:15Speaker 5:Everybody knows who he is, but I never knew you started at 8, 10 years old.

14:20Speaker 1:No, you got to start somewhere. But I just start from start.

14:26Speaker 2:See?

14:27Speaker 1:So, after that, it's just thinking about music, music, music, music, music. Then I started to fly. I can't believe that. It just started happening. Boom, I went to Cayman Island.

14:38Speaker 3:Yeah.

14:39Speaker 1:Wow. And then I came to Canada, and then New York. in the 80s, like 1986, 87. Yeah, I came to New York and then I realized that I can go home and make myself the superstar that I need to be. I went home and I work in it. It took me a time because when I was supposed to be the star, I ran up in a big ditch, like Nelson Mandela get free from prison and came to Jamaica, came to the National Stadium, And I was there, I said, mm-hmm, I need a piece of this. I need a piece of this. And when I get it, I sing the wrong song at the wrong time. Yeah, yo, I got booed.

15:25Speaker 6:Damn.

15:26Speaker 2:So you got booed?

15:27Speaker 1:What? Uncle Murda, I got booed. Big booed, the whole stadium booed me. Even the dog was like, whoa.

15:37Speaker 2:Even the dog booed you.

15:38Speaker 3:So how'd you feel? How'd you feel? Because, you know.

15:41Speaker 1:No, you see. When that happen, you always feel down. But when you think about it, the amount of things that I've been through and the amount of things that I've done as a kid and as a teenager, you know that God is showing you a sign. Either you go left or you go on the right street. So I decide like, left, leave me alone a little bit. Let me try the right street. So I went to Hewitt and I was there. Stay in my house and I build some lyrics, I build some lyrics, and build some lyrics, and I came out. And when I came back to Kingston, I did the first show in Scotland, never forgot that. We come on Captain Barkey, God rest his soul. And they were there, talking to me about the stadium thing. Yeah, they were talking to me about the stadium thing. And I went up on stage, within the two of them, And I sing the song, what I sing in the stadium when I got booed, what I dedicated.

16:43Speaker 2:You sung the same song?

16:44Speaker 1:Yeah. Yeah. So let me say what I dedicated to them. When we say, So from then I know that people love when they hear talented kid. So I decide, say, okay, I'm going to take this on. So I did a song called Meity on a Good Sittin' when Meity passed out, left my mama missing. Guess what happened?

17:13Speaker 3:What?

17:14Speaker 1:My first number one song.

17:16Speaker 2:Oh.

17:17Speaker 1:And from there, there's nothing stopping me.

17:21Speaker 4:But what's your mom saying?

17:22Speaker 3:Because she's, you know, she's in a church.

17:23Speaker 2:That's a good question.

17:24Speaker 3:You know what she's saying?

17:26Speaker 1:My mom's, see, me and my mom's life is different. My mom was my best friend. God rest her soul. I love her.

17:32Speaker 2:Mr.

17:32Speaker 3:Peace.

17:33Speaker 2:Mr.

17:33Speaker 3:Peace.

17:34Speaker 1:Mama loves moms. Yeah, but You see, my mom's my best friend. Everything, every problem I have, I go to my mom.

17:40Speaker 2:Everything.

17:41Speaker 1:But I've been taking care of my mom since I was 10 years of age. Because I'm bringing money in the house. Every time she sees me, I bring her money. Every time she talks to me, I bring her money. So it's not like she's going to fight against that. Because she knows that I'm not a thief. And she knows that I'm not doing crime. She knows that I only do music. So she accepts me. for what I am and who I am, and she don't worry about me, because every time she see me, I look better and better.

18:07Speaker 4:That's crazy, because you're 10 years old. I'm from Queens, he's from Brooklyn, right?

18:11Speaker 2:Yeah.

18:11Speaker 4:So, coming up in Queens, One of my best.

18:15Speaker 3:Friends was Dean. He was Jamaican.

18:16Speaker 5:It was always Jamaican people around us. I go to the Boulevard, we go to the beef patty shop. We knew, we loved the guy. He opened the door, the whole block. We came up off the beef patties and cocoa bread. That's when it was $ 1.

18:28Speaker 6:50, $ 1.

18:28Speaker 2:25.

18:28Speaker 5:My next door neighbor was Hemsley. I never met a broke Jamaican ever in my life. Every Jamaican I met is always work hard, work hard, work hard. So to see you be 10 years old paying the bills, It's crazy to me.

18:45Speaker 1:It's always a great thing because in the ghetto, you got no bills to pay. You got no water rate to pay. You got no light to pay. You got free light, free water. I used to think that we got everything free. Didn't know that. We was bridging everything.

19:01Speaker 5:That's why I'm glad you're on the show because when you think about it, when we used to go to all the parties in Queens and you go to parties in Brooklyn, there always had to be a Jamaican set.

19:13Speaker 3:Two guys.

19:14Speaker 5:Like my man Rough Hands or Grandmaster Vic might play the hip hop, but you always had like Shorty Black, my man Los, Eli. So I came up, I'll tell you my guy Eli, his father managed Shaba. So I met Shaba and Patra and was like, cause it's always, Jamaican music's always been big in the culture. Every time you go to a hip hop party, there had to be a Jamaican set.

19:40Speaker 1:Rob Markman No, I tried to do everything.

19:42Speaker 2:All right.

19:43Speaker 1:I know Shabba Rankin, from he was called Pilot. the pilot and Shabba was the co-pilot.

19:53Speaker 2:Right.

19:53Speaker 1:So you got Kiba Rankin and Shabba Rankin. Right. Yeah, and you got Roos Melody. That's the sound system that he used to sing on. And from those days, I was always trying to say, all right, I respect Shabba because he's a wicked DJ. Don't worry about it, wicked DJ. And you know exactly what to do, when to do, and how to do it. You got a next artist called Chaka Dimas. And then you got my coach. My coach was General Trees.

20:24Speaker 3:General Trees.

20:25Speaker 1:Yeah, he's one of the DJs all of them want to be like. Because he's the man with the lyrics, and he's the man with the rock stone plays. And he got the thing like, Wicked DJ, like seriously. So, I grew up in the old school. You know, Super Cat, used to name Cataract. So, you know, from those days, from, you know, Imperial to Kilimanjaro to all of those days, I was always there as a kid. Always there. You know, these guys are bigger man than me. Remember, I was the youngest DJ ever. I remember the first time I was in a dance hall with some big time DJ like Johnny Ringo and Squidler Rankin. They thought I was a lost kid. Like they was looking for my moms. Like, come and get your kid. And they actually put me up on a.

21:23Speaker 3:You had to stand on a crate?

21:25Speaker 1:No, it's not a crate. It was a, what do you call them thing? It was a veranda. And you know the veranda got the side there and you put, Like, you know, it's right there and they put me in a stone right there and they said, where your mother name? I said, tell me your mother name. They said, run the rhythm selector. And that was it.

21:48Speaker 5:Yeah, because I never knew this. Like, when we look at you, we think of all the hit records.

21:54Speaker 2:Cause like, I know what we was talking about.

21:59Speaker 5:So when you think about it, cause four of you won Grammys. It's you, Shabba, Sean Paul, and who am I missing? You, Shabba, Sean Paul, and Shaggy.

22:11Speaker 1:Right?

22:11Speaker 3:So.

22:12Speaker 2:Bouncy Killer got a Grammy too, but he was a feature, but it's all good. We're going to give him his props too.

22:16Speaker 4:Okay, cool.

22:17Speaker 3:That's the Shabba Bouncy.

22:17Speaker 1:Yeah, Bouncy got his props too.

22:20Speaker 5:But when you hear Art of Life, when you hear everybody, like, come on, this is a world record. Zagaza, Zagaza, Zagaza. When you in the studio, what's the process to think, yo, this is going to be... Do you know this is going to be.

22:36Speaker 4:A worldwide record that lasts for.

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24:00Speaker 4:Let's go!

24:01Speaker 1:My thinking is different. I make songs for the masses. I don't make songs to say, okay, I'm going to program this type of people and this type of people and that type of people. My song is for the masses. So if you're white, black, pink, purple, it don't care what kind of race you are. If you love my song, you love my song. And this is what I do. I make music for everybody.

24:23Speaker 3:You see?

24:23Speaker 2:All right.

24:25Speaker 1:I remember the first time I've been to Spain, I'm like, I'm going to do this. Because these are Spanish people. You can't talk to these people. And when I go on the stage, I go, Everybody's singing.

24:40Speaker 2:Facts, because that's everybody's joint.

24:43Speaker 1:I'm like, what? But they sing every other song. They sing everything.

24:47Speaker 2:Right.

24:53Speaker 1:Because that's when people actually used to- You got so many of them. Yeah, because those remind me of when people actually used to dance up on the females.

25:06Speaker 4:That's when people actually used to really dance.

25:18Speaker 2:Dance up on the female, you really enjoyed yourself at the party, man.

25:20Speaker 5:Rob Markman, But what I'm saying is like when you do this record with Maya, right? Because all them records are hits too, right? But like when you hit a record with Maya, like Zaga Za, Zaga Za, you know when that come on, like I want to go to a concert and just want to know his record placement because he has so many hits. But do you know that was a hit?

25:40Speaker 1:Yeah, because that was a royal song that definitely pointed to the world because it was Pharrell Williams. came up to me with the idea that I need to make Garza M. Sugar and Sim Sima in one song. So I'm like- You said Pharrell came up to you and said that? Yeah, he was wanting to make the beat.

26:00Speaker 2:Look at that, okay.

26:01Speaker 4:Oh, Pharrell made them beats?

26:02Speaker 1:Yeah, he made them beats.

26:03Speaker 2:That was his beat.

26:05Speaker 3:That's crazy.

26:05Speaker 1:So I go, okay, let's try this. And he go, and this little guy from Philippines that play in the Neptunes, Chad.

26:18Speaker 2:Chad.

26:19Speaker 1:And Chad started to play. And I'm like, okay, let's do a Sim Sima. Beat him under the girls, them sugar. Sim Sima. The girls, them work. And Farrah said, I will say the Sim Sima. And I said, okay, that's better. That gives me a chance to breathe. Farrah went to the studio and I go, Sim Sima. Because he wanted to put the American touch in it. The Sim Simmer, so I know definitely where he was going with it. And then he sang for Maya. And true because I'm a movie buff, as I see Maya and her, I'm like, wow, this is a girl from the school movie.

26:57Speaker 2:You know?

26:59Speaker 1:So I'm like, yeah, this is gonna be nice. And then we start putting the hook together because I told him that we need a hook. Because Sim Simmer, Girls in Sugar, Yes, it can be a nice hook, but we need something to melodize the hook. There you go. So I said, okay, we need that. And then we get that because if we're going to make an American song, I am going to make an American song. I am not going to allow you to do that for me to tell me that, yeah, I did that for you.

27:33Speaker 2:Got you.

27:33Speaker 1:Yeah, but he gave me the idea to put it together and I really respect for that. And then we get together and we make the song.

27:41Speaker 3:Yeah.

27:43Speaker 1:We nominated for Grammy Award that year.

27:46Speaker 2:Look at that.

27:47Speaker 1:And that was beautiful.

27:49Speaker 2:Dope, man. Dope.

27:51Speaker 5:Definitely, because it was making, you know, reggae music, Jamaican music worldwide. It wasn't just, it just wasn't one category in music.

27:58Speaker 1:Kicking on bars.

27:59Speaker 6:Definitely kicked down the doors with that, man. Definitely kicked down the doors with that, man.

28:03Speaker 1:Open it for some Jamaican artists.

28:04Speaker 2:That's a fact.

28:05Speaker 1:Kicking on bars.

28:06Speaker 5:And the whole thing is it's not microwave music. Like, I love to hear the stories from the OGs and, you know, the real legends because it's like... The music is lasting. You touring, you just came from Germany, you said.

28:18Speaker 1:I just came from Europe. See? Yeah. And we did some show here in America where I did two shows with me and Barry Salmon just the other day in August. It was Barry Salmon's birthday, so we did two shows. We did one in Connecticut and we did one in Philadelphia. Was it? Yeah, we did that. We did two shows and it was wicked.

28:47Speaker 2:Look at that.

28:47Speaker 4:How do you like performing in London?

28:49Speaker 1:I like performing in London. I love London. London is great. I've been going to London since forever. I've been going to London since forever. Forever, ever, ever, ever, ever, ever. I've been going to London forever. I love London. Because London people, they appreciate the music.

29:10Speaker 2:Definitely do.

29:11Speaker 1:For what it is. Because when you go to London... It's the first place that I ever go from Jamaica. When I turn on my TV, I see an advertisement with reggae music behind it. First place.

29:25Speaker 2:Was it London?

29:26Speaker 1:Yes, London. I'm not kidding. I've come to America, been coming to America. I told you how long I've been coming to America. I've never seen an advertisement with no Jamaican song in it. None, ever. So, London is the first place that I ever went to, like, ever.

29:45Speaker 2:America, we gotta change that. Y'all making us look bad out.

29:48Speaker 3:There, man.

29:49Speaker 1:Ever went to. And here, commercial on the TV with reggae song is the background.

29:58Speaker 2:Look at that.

30:00Speaker 1:In the commercial. And I'm not talking about one commercial or two commercial. You get like five commercial and all of them is regular commercial. And I'm like, what is going on here? But then you realize that there's a lot of Jamaican living in London.

30:15Speaker 3:Lots, yes, lots of them.

30:18Speaker 4:That's your last stop.

30:19Speaker 2:There's some good Jamaican food in London.

30:21Speaker 3:You ain't getting nowhere else.

30:22Speaker 1:Yeah, you'll love London for the Jamaican food.

30:24Speaker 3:That's a fact.

30:25Speaker 1:Most of the biggest... Latin, England artists bust from reggae music. Like, red, red wine. That's reggae music. And then you got Steel Puzzle, which is an English band. And then you got Pasi Dotsi Panila, which is an English band. So you get to realize that, you know, London has always been a big supporter of the reggae music. See, when Bob Marley get shot in Jamaica, and he left, he went to London.

30:55Speaker 2:Oh, look at that.

30:56Speaker 3:Oh, I never knew that.

30:57Speaker 1:You get what I'm saying? So it's like, it's kind of a different thing when it comes to London. London people love Jamaican music. Love it, love it. I think almost everybody in a London old soul from the 60s, because, yeah, what is his name again? I'm not going to try to kill myself. But most of the Jamaican artists, Bust in London, Ken Boot, Bust in London. U Roy, Bust in London. I think U Roy have number one, number two, number three, number four, number five on the British chart.

31:37Speaker 1:That was crazy. So it's not really like London is just picking up the music. So all of us as Jamaican, we love London. So New York was the next London. When you come to New York, Man, don't play around, dog.

31:55Speaker 2:You ain't lying about that.

31:56Speaker 6:You know how many parties we used to go to as kids, like bad kids?

32:00Speaker 2:How many underground basement.

32:02Speaker 6:Parties and the Jamaican music was popping in there.

32:05Speaker 1:Queens, New York, Bronx.

32:09Speaker 2:Bronx, Brooklyn.

32:13Speaker 1:Trust me. Staten Island was a little white, but....

32:20Speaker 6:It's all right, it was a little white.

32:25Speaker 1:Long Island.

32:26Speaker 2:It was a little white.

32:28Speaker 1:But yeah. We was all up in there. Because you got some Italians and you got some other people, you got other people, you got other people, but we was all up in there. Trust me. So that's when I know that the Caribbean music is not gonna be easy to get rid of.

32:47Speaker 2:Definitely.

32:48Speaker 1:Jamaican music is not going to be like pop music. It's not going to be like, you know, it's not going to be the big music, but it's going to always be the music that's stuck in the ears of the people.

32:58Speaker 2:I wanted to always ask you too, son, because you did a record... Flow Natural.

33:02Speaker 1:Yeah.

33:03Speaker 2:With Tito.

33:04Speaker 1:Yeah.

33:04Speaker 2:And that was a big record.

33:06Speaker 1:Yeah. It was a big record.

33:07Speaker 2:Big record.

33:08Speaker 1:For the reggaeton.

33:09Speaker 2:Yes.

33:09Speaker 1:And it's still a big record.

33:10Speaker 2:Of course. Yeah.

33:12Speaker 1:Of course. I don't understand it. It's still up there.

33:15Speaker 2:Still a big, big record.

33:16Speaker 1:Still a big record.

33:17Speaker 6:You think we need more collaborations like that so reggae could actually get in a better place like for nowadays? Because reggaeton is so big right now.

33:26Speaker 3:Yeah.

33:27Speaker 1:But I don't think we need anything. I think we have it. I think it's just for them to collaborate with us the right way. Because the music is reggaeton for God's sake. The music name is what?

33:45Speaker 3:Reggaeton.

33:46Speaker 1:Say it again.

33:47Speaker 2:Reggaeton.

33:48Speaker 6:You can't even say it without saying Reggaeton.

33:50Speaker 2:Got you.

33:51Speaker 5:But Beanie, you got to remember, when he says collaborations, come on, man. You did a record with Janet Jackson.

33:57Speaker 2:Yeah.

33:57Speaker 4:Come on, that's not an everyday collab, brother.

34:00Speaker 1:No, that's not an everyday collab.

34:01Speaker 4:Now, what was that like?

34:03Speaker 1:No, that was beautiful. That was all Jermaine Dupri.

34:06Speaker 2:Jake, my man.

34:07Speaker 6:Now here we're trying to say I got beef with Jermaine Dupri. Shout out to my man, Jermaine Dupri. Shout out to my man, Jermaine Dupri.

34:13Speaker 3:How was that?

34:14Speaker 4:Like making a record? Because you did records with pretty big names.

34:17Speaker 1:Yeah, but that was beautiful with Janet Jackson. Because Janet Jackson has always been my artist. Like always. It's Michael Jackson's sister.

34:26Speaker 3:For sure.

34:27Speaker 2:Thanks.

34:27Speaker 1:Michael Jackson is my star.

34:29Speaker 4:So what was the process of being in the studio with her?

34:32Speaker 1:It was beautiful. The process was... Chairman Dupree was, I think, the president of Virgin Records at the time.

34:40Speaker 2:Right.

34:40Speaker 1:So he was the one that called in the shot. So he think that if me and Janet have a song together, it will be beautiful. So he called up Neptune's, you know how it goes.

34:55Speaker 2:Pharrell always in the loop. Pharrell always in the loop.

34:58Speaker 1:He was the one that made the first song. So, you know, companies don't think about another person, they put you to the person that made the magic.

35:10Speaker 2:If it ain't broke, don't fix it.

35:11Speaker 1:They're like, there you go.

35:12Speaker 2:There you go.

35:12Speaker 1:So yeah, that's what they did. And then Jeremy Dupree put me together with Janet Jackson, and it works.

35:21Speaker 5:Yeah, because when you look at your career, you'll be in a sound clash. We know you get in a sound clash with Ninja Man or whoever the fuck you put in front of this man, right? But at the same time, you're going to hear him on top radio.

35:34Speaker 3:You know what I mean?

35:35Speaker 4:So how do you feel?

35:36Speaker 5:Because I know once I win a Grammy and have as much albums you have, and you got like two, three hundred hits, maybe two thousand.

35:42Speaker 3:You got all these hits.

35:44Speaker 5:When I come to a clash and somebody want to battle, I'm like, what the fuck?

35:48Speaker 3:How do you feel?

35:49Speaker 4:Was you cocky like, I'm the fucking top guy?

35:51Speaker 1:No, I never feel cocky. You see, boasting is, anybody who boasts becomes a base. So you boast in everything that you do, you stop right there at your boasting. Because when your boasting stops, you finish. Because people don't like hype. Once you hype and you hype and your hype is done, you're done. You're a wannabe, and I never want to be a wannabe. I never think about that. I never want to be that. I never want to do that, like never ever in my life. So what I did, I came to the world, and I give the world what I got. Then I go back to Jamaica, and I give Jamaica what they want. So I was just coming off a world tour, like tour the world, and I go back to Jamaica and say, why go on Jamaica? And they're going to say, eh. Boy, I want to run off the mountain. Back at it again. Boy, I need to run off the mountain and back at it again. Then I leave and I go on the road to another country.

36:47Speaker 4:Yeah, because you never thought you was big. He never thought, yo, I'm big. I don't got a sound class with these motherfuckers.

36:52Speaker 2:No.

36:52Speaker 1:See, the problem is it's not think like a star. It's being a star.

36:57Speaker 2:You are a star. Got you.

36:59Speaker 1:So, you are a star in every genre. So, whether it's dancehall, whether it's international, No care what you do. Some people at Jamaica say, yo, you don't know Big A is like, they're the one that's going out there. They're the one that's fooling stadiums. They're the one that's fooling arena. What are you telling me?

37:20Speaker 3:You stupid.

37:23Speaker 1:You know, I'm here doing what I'm doing because I love what I'm doing. I'm not doing it because, yeah, Beanie's a star. I becomes a star. Watch me now. I come from dance hall, like flat dance hall, like where dance hall is coming from. before there was any stage shows and big band and all of that. I'm coming from dance hall, dance hall. Now I supposed to come to Jamaica and then go to a dance hall and the vibe's nice and I'm not supposed to hold the mic. I was supposed to just like, hmm, a big under. No, that's never me.

37:56Speaker 2:Got you. You gonna go grab that mic and turn up?

38:00Speaker 1:Well, if I feel like. So you can't tell me my feelings. I come to America, yes, I want to go to a club, you got to give me some money. What are you talking about? I got to Jamaica, that's where I live.

38:13Speaker 2:Got you.

38:14Speaker 3:For sure.

38:15Speaker 1:There's a difference.

38:17Speaker 4:Now, how do you come up with 24 albums though?

38:20Speaker 5:I mean, you know, somebody has like five albums, six albums, maybe 10, that's a good career. Maybe even three albums, but 24 albums, like what gives you that drive?

38:32Speaker 1:No, it's not what gives me that drive. I vice for producers. I vice for that producer, I vice for that producer, and then they got 10 songs because I like the beat. I don't collect no money. Because I think Jammie's put out two albums with us. Face to Face with me and Bon Tickler, and I think he put out the next album with me and Mike Carver or something like that. I don't know, I'm telling a lie. So this is how the albums come together.

39:04Speaker 3:You know?

39:05Speaker 1:Somebody have half an album with me, they put out half an album with the next person and put it out. That's how it comes, because you have something named compilation album. So they compile some songs together and you don't even.

39:20Speaker 2:Make a compilation. Yeah, the bunch of people put it together.

39:23Speaker 1:Yeah, so they go boop and put it together. You know? And then VP, everything called. Sometimes they put out the songs, put the songs in together. Like you have 24 number one and one album. Then they put out the next one with 60 number one and one album. And yeah, it's wicked. But that's how it goes. You work towards making that. But I got like, To be honest, I got 18 studio albums that I make for myself. The rest of it is just compilation and put together.

39:57Speaker 2:Got you.

39:58Speaker 1:Yeah.

39:58Speaker 6:What record made you leave the studio and say, oh yeah, I'm never going to be broke again?

40:05Speaker 3:So many.

40:08Speaker 6:But which one you made that you were like, oh yeah, I'm never going to be broke again?

40:12Speaker 1:There's a lot. I remember when I make Royal Dance, I say that. I remember when I make Romy, I say that. I remember when I make Girls M Sugar, I say that. I remember when I make Sim Sim, I say that.

40:25Speaker 2:I'm never going to be broken.

40:27Speaker 3:He got a lot, man. He got a lot. Music is different.

40:32Speaker 1:It's not like what you think music is going to be and where music is going to take you. I didn't have companies to back me all my life. See, I'm a Jamaican that live in Jamaica. And I'm a Jamaican that believe in people. Sometimes people take this advantage. And then a lot of my management do that too. Because sometimes you feel like, yeah, you got that and this is it. And then when you find out, that's not it.

41:00Speaker 3:Right.

41:00Speaker 1:Because sometimes you got to twing it for yourself and twang it and go like, boom. Get rid of that person. And get rid of somebody who's there for you, who's got your back. And sometimes when you feed that person got you back, that person never got you back.

41:17Speaker 2:Yeah. Crazy.

41:19Speaker 1:So, you know, sometimes you got to know. But I'll be rich forever.

41:24Speaker 2:Got you.

41:24Speaker 1:This is my right.

41:25Speaker 2:Of course. Of course. Of course. Now, we live and learn. You trust certain people and you just find out like, damn.

41:30Speaker 1:You find out like, damn. I thought they were going to be better. But now I'm good. I'm in a comfortable place. Right. I am nice. I got my wife with me.

41:42Speaker 2:She's- Shout out to wifey.

41:45Speaker 3:Shout out to wifey.

41:47Speaker 2:She's my rock. She was in here cleaning you up before. She's like, hold up, nigga. You ain't looking.

41:52Speaker 1:That's right. She's there.

41:52Speaker 2:I respect her.

41:53Speaker 3:I respect the dedication that she put in the thing. Because for the.

42:08Speaker 1:She got her own life, she live her own life, she did her own thing. All the time I know her, I know her for over 22 years, over 22 years I know her for. And she always be that person, always stand firm for herself. And for she to come here now and be with me, standing here behind me, pushing this thing and know that yes, this is what we're gonna do. Now, not saying that I didn't got myself.

42:39Speaker 6:But we all need some motivation. We all need motivation. We all need some motivation.

42:44Speaker 1:That said, I didn't get what I said, but every king need a strong queen.

42:48Speaker 3:That's right.

42:48Speaker 2:You better believe it.

42:49Speaker 4:Shelter wifey, she's in the building.

42:51Speaker 2:Yeah, blessings.

42:52Speaker 1:Come here.

42:53Speaker 4:Now, we looking forward towards more music.

42:55Speaker 3:Yeah.

42:56Speaker 1:Now, I got this new album. It's called Eminence.

43:00Speaker 4:Let's talk about that.

43:01Speaker 3:Yeah.

43:02Speaker 1:And this album is not an easy album.

43:06Speaker 2:It reached number one in everything, though. It reached number one.

43:09Speaker 1:Yeah, it reached number one in everything. Going all genre, all genre, number one.

43:14Speaker 2:Yes, yes. Everything.

43:16Speaker 1:This album is wicked. Trust me, it's wicked.

43:18Speaker 4:Make sure y'all go get that.

43:20Speaker 3:Yeah, you have.

43:21Speaker 1:To go get it. Because, you know, we got some big stars in the album. We got Snoop on the album. We got T.I. on the album. We got Ashanti. And I went back for Maya.

43:32Speaker 2:You went back for Maya?

43:33Speaker 1:What? She's on the album with- Fire.

43:36Speaker 3:Definitely.

43:36Speaker 2:We definitely get that. Fire. Yeah, man.

43:38Speaker 1:We went back from Maya. And then we got... I got one song with me and Snoop and eight people. I think Elephant Man is in that song. And we have a lot of females on that song.

43:54Speaker 2:Elephant Man and a lot of females.

43:55Speaker 1:A lot of females. Got you. That song is beautiful. That song is beautiful.

44:00Speaker 3:It's good because people got to.

44:02Speaker 4:People got to.

44:03Speaker 3:know it's out.

44:03Speaker 5:So it's like now before we used to have just radio and God willing, now we got podcast and streaming. So now this the new wave and we got you on here. So we know the numbers going.

44:13Speaker 3:To go crazy. Yeah.

44:14Speaker 1:This album is everywhere. This album is everywhere. Anywhere you want to stream a song from, go stream it. I'd rather you stream it more than go somewhere where you can find it for free.

44:25Speaker 6:What was the motivation behind this project here, man?

44:29Speaker 1:Well, the motivation is to show people that I'm still here. I'm not going nowhere.

44:33Speaker 2:Got you.

44:34Speaker 1:What you talking about?

44:35Speaker 2:Got you.

44:35Speaker 3:What you talking about?

44:37Speaker 2:He love music.

44:37Speaker 3:That's right. Murda, guy with 18 albums lives in the studio. He got a studio in the....

44:45Speaker 5:In the crib, studio on the tour bus. He got a portable studio. He loves music, bro. And that's what we love. You know, like we said, reggae music is always going to be.

44:57Speaker 4:A part of the culture.

44:58Speaker 1:You're always going to tour.

44:59Speaker 4:What's one of your.

45:01Speaker 5:Craziest tour stories? Like, when was your craziest tour? Tell me one of your craziest tours you've been on.

45:06Speaker 1:All right.

45:06Speaker 2:No. Wifey here, leave the girl stuff out, man.

45:10Speaker 4:I just want to know all the legendaries.

45:16Speaker 2:She said I'm used to it.

45:18Speaker 1:No, no, no. My first tour. Because I started tour very early. I become a star in 1992. No, I become a star in 1993. 1992, I get my first number one song. 1993, I get the artist of the year. And, you know, all of that ting.

45:40Speaker 2:Did the money start hitting too then?

45:41Speaker 6:Because it'd be funny, sometimes everything else would be.

45:43Speaker 1:Coming except for the money. No, the money been coming in since before I get my first number. You said he was 10 years old when the money came in.

45:49Speaker 4:You said he was eight years old taking care of him.

45:51Speaker 6:I'm just making sure. Because sometimes it be like that though. You'd be surprised. You know, I'm quite sure you know some artists that had it. Just definitely Jamaican arts that has the success, right? We're here and they be real popular, but the money don't be there like that, how you might think.

46:05Speaker 1:All right, you see, my life take a turn in teenage time because, you know, you live in the wrong place. You end up in the wrong company and, you know, you end up doing, yeah.

46:15Speaker 2:Doing bad deals, yes.

46:16Speaker 1:Yeah, they're not bad deals, it's just, yeah, bad things happen. Yeah, yeah. Yeah, you know, yeah, you know how shit goes. So, you know, I decide, You know, you don't make up your mind until you've been in a situation that you as the only person can get yourself out of.

46:39Speaker 2:Yeah.

46:39Speaker 1:When you're locked up, then you realize that life is messed up. Then you know that you got to get yourself out of this situation. So from that, I realized that I have to become the star. This not gonna work. This is how I get booed because I push myself on stage and try to get myself up there to make people know that.

47:03Speaker 2:And you wasn't even ready like that.

47:04Speaker 1:Yeah, it wasn't my time.

47:06Speaker 2:Got you. Got you.

47:09Speaker 1:Because God don't sleep. God is like, you can't do so much wicked things. Boy, come here.

47:14Speaker 3:Come here.

47:15Speaker 1:What are you doing? He's in and send me back in the room and go like, yeah, I got to do this better. And I do this better. And then I met a lot of artists that motivate me differently. I have to give love to Laila Sarr because she's one of them who motivate me different without even talking to me or telling me anything. Just watching her, doing what she do and knowing where she coming from and how strong she is and things. She's one of them who motivate me strong. That's why she'll always be my female artist at all times. She doesn't know the reason why.

47:55Speaker 1:I'm just saying that now so people can understand. Because I learn from people without people teaching me. I don't have to be taught. I teach myself. You see?

48:08Speaker 2:But you can just sit back and observe.

48:09Speaker 1:Yeah, you sit back and observe and you watch and you learn. You say, okay, I'm going to go that way. And when you move in that way, in that direction, It work for you. Then you adapt and adjust, adjust and adapt. And then you make it becomes you. Once you make it becomes you, there's nothing nobody can tell you.

48:31Speaker 2:Right.

48:32Speaker 1:You just swim through it. All the fight, you just swim through it. I become a star. Here come Bounty Killer. Hey, boy, you're for dead, baby. Swim through it. What am I going to do? I'm not going to follow you and become, because listen, the King say, which is Selassie, he said one thing in life, you can't follow a fool and become an idiot. You can't follow a fool and become an idiot. You got to be smart.

49:06Speaker 3:Follow a fool and become an idiot. Makes sense.

49:09Speaker 1:You cannot do that. So I'm like, what? What are you saying? So I realized that if I follow you, then I becomes an idiot because I'm gonna lose all the blessing that I supposed to get by running up on you, following up on you and this and that. When I supposed to run up on you, you're not gonna expect it. So when I caught him in the right part, the right place, it was Tone Love 22nd anniversary. And he was on stage feeling like he's.

49:41Speaker 2:I think I remember that one too.

49:43Speaker 1:Feeling like he was- It was footage of that.

49:45Speaker 2:It's footage of that though, right? Yeah. You and Bouncy Killick going to Nashville. Feeling like he's king. Yes, I remember that.

49:50Speaker 1:And then I ran up on stage and then he realized that. Okay.

49:54Speaker 2:I'm not here to play. You shut him down.

49:57Speaker 3:You shut him down.

49:57Speaker 4:I'm not here to play.

49:59Speaker 1:This is trouble.

50:00Speaker 6:I need y'all to bring up that footage too with Beanie Man and Bouncy.

50:04Speaker 1:On stage, man.

50:05Speaker 2:He got in trouble.

50:06Speaker 1:Yeah, he got in trouble. And then- The Christmas after that, he run up on my stage and feel like he's going to get me in trouble. But I was waiting for him. I was like, where are you? I've been waiting for you for so long. And he come up and say, you know what, I want to hold you and cut you like a rose. I've been laughing. Because, you see, that's when they know that you're prepared. When somebody come to frighten you, And you was like, ha.

50:37Speaker 3:You got to be ready in the clash.

50:39Speaker 4:It's just like battle rap.

50:40Speaker 2:Got to be ready.

50:41Speaker 5:You know the sound clashes? We used to watch them all the time. So you got to be ready.

50:45Speaker 2:You got to be ready.

50:46Speaker 1:And I was ready.

50:47Speaker 3:Yeah.

50:48Speaker 1:Trust me, I was ready. And after that, I changed the narrative. I stopped the warrior. It's not going to take me nowhere. It's just making me famous in Jamaica and in the diaspora. where Jamaican and Caribbean people live. I don't want to be there. So I went, give me the girl, let me do it. Give thanks to Dave Kelly. Oh my God.

51:14Speaker 2:That used to be my joint right there.

51:16Speaker 1:That's when I changed the old narrative. And I go like....

51:22Speaker 4:Hit records.

51:23Speaker 1:And then I make hits after hits after hits after hits.

51:27Speaker 2:I know you're responsible for a lot of babies out here too.

51:29Speaker 6:Yeah, I know. All right, Kyle, just making sure you know that, my brother. You know I got to ask you this, because there's so many different good eras of reggae music.

51:43Speaker 5:Instead of top five, who's your top ten male artists and your top ten female?

51:47Speaker 1:My top ten male artists?

51:49Speaker 2:Okay.

51:50Speaker 1:Number one would be Shabba Rankin. Super Cat, Chaka Dimas. They got to give my elders the honor.

52:00Speaker 2:Of course.

52:00Speaker 1:Do not try to take that from me. Fanta Killah.

52:06Speaker 2:Even though you had to mash them up, you still get Bounty Killer.

52:08Speaker 1:We mash up each other.

52:09Speaker 2:Of course, man. It's all good.

52:10Speaker 1:It's all good. Him punch me, punch him, punch me. Of course, of course, of course. You see?

52:15Speaker 2:Bounty Killer remix, one of my songs back in the day.

52:18Speaker 3:Shout out to Bounty.

52:19Speaker 1:Yeah, it's a win-win thing. It's a win-win. Me win, him win.

52:22Speaker 3:That's right, that's right, that's right.

52:24Speaker 1:I think we bring each other.

52:25Speaker 2:Mm-hmm.

52:26Speaker 1:Because without me, there wouldn't be no Bunty the same way. I wouldn't say without Bunty there would be no me.

52:32Speaker 2:Because I love somebody.

52:34Speaker 6:I still was who I was, I'm just saying. But he played a part in your careers, man. What are you talking about?

52:42Speaker 3:That's right.

52:43Speaker 1:I'm going to reach out to Mike Cabell. That's my DJ. Because I respect Mike Cabell because... of his style, it's not, I don't understand. We fought one time when I was a kid, he was a kid. And yeah, we knocked face. Back in the days. But Kabe is my DJ, I respect him. So, I have to give it up for Bojo Manton. Yeah, he's my DJ. I have to give it up for Capitan. He's why I'm a DJ. Even though we war sometimes.

53:28Speaker 2:I'm very, very.

53:28Speaker 1:Even though we war sometimes. Yeah. But I'm a DJ. I'm a DJ.

53:34Speaker 2:That's right.

53:35Speaker 3:That's right. That's right.

53:37Speaker 1:So can I sneak in two more before I reach them?

53:40Speaker 3:Yeah, yeah.

53:40Speaker 2:Of course, man. Of course.

53:41Speaker 1:Because I have to sneak in Sizzler too right there.

53:44Speaker 2:Right there.

53:45Speaker 1:I have to do that. But I don't know. I'm a DJ. These are my new artists.

53:52Speaker 2:I knew I did.

53:53Speaker 3:Because it's different artists.

53:54Speaker 2:Okay.

53:55Speaker 1:I do a number DJ. Popcorn, I'm a DJ. Sorry about the popcorn. Yeah. Alkaline, I'm a DJ. And I do respect business segment. Yeah. I respect the other ones too, but you said my top ten.

54:11Speaker 2:Got you. Yes, of course.

54:12Speaker 3:Now you go female. I know you said Lady Saw.

54:15Speaker 1:I go Lady Saw. I go Sister Nancy. Yeah, I leave her out.

54:20Speaker 3:Yeah, you got to put sister in there.

54:22Speaker 1:What are you talking about? It's my first crush. She's a big woman. I'm a little kid and I'm like, it's like Michael Jackson and Diana Ross. Okay, that was a crush for us.

54:37Speaker 4:That's a good comparison.

54:39Speaker 1:Yeah, so you see what I'm saying. Sister Nancy, she's my female DJ. Queen Afrika. She's one of them because I know her from she was coming up and before she becomes an artist that she is. I love her for her work ethics and I love her for her strength and I love her for the strongness that she has as an artist. I respect her as a stage performer. I respect her as a recording artist.

55:05Speaker 2:Okay.

55:07Speaker 1:God rest her soul, Sister Charmaine. She was the baddest of the artists, the female artists than before. She was the weakest thing. Like, But no female couldn't talk to Charlie. She was the wickedest thing. I respect her, God rest her soul, and let's get to this now. Let's get to Yutana.

55:30Speaker 3:Okay?

55:31Speaker 1:Let's get to, what's her, yeah, Sensia.

55:38Speaker 2:I love her. Sensia, she's poppin' right now.

55:40Speaker 1:I love Sensia.

55:40Speaker 2:They love her right now. They love her right now, yes.

55:43Speaker 1:I love Sensia, I love her, I love her. Sung together a couple songs.

55:48Speaker 2:We did like two songs together. That's dope. That's dope.

55:51Speaker 1:And yeah, I love her. I love her work. I text too and she's wicked. I really do love her.

55:57Speaker 2:Yeah.

55:58Speaker 1:I love Jada Kingdom because she's body lyricist. Yes.

56:02Speaker 2:I love.

56:05Speaker 1:Miss Moore. I love you 100%. Trust me, I love that. And you know, there's a few more female artists that I want to say but it's going to go over 10.

56:17Speaker 2:So.

56:18Speaker 3:No, keep going.

56:19Speaker 4:We got time.

56:19Speaker 2:Shout out to all the females, man. Shout out to all of them, man.

56:22Speaker 1:Yeah, I just want to say, all the female artists, all female artists, I love you. There are a lot of artists now, body artists, she named Sita. She bought, she bought, she bought, she bought, she bought, she bought, she bought out of this world.

56:34Speaker 2:Shout out to her.

56:35Speaker 1:Yeah, man. She bought out of this world. She's wicked. And I just want to tell all the females, just continue to do the work.

56:45Speaker 3:Mm-hmm.

56:45Speaker 1:Because, We got more females now in the business than ever.

56:50Speaker 4:You think so?

56:51Speaker 1:Yeah, right.

56:52Speaker 5:I feel like an earlier era of reggae music, it felt like it was more artists than.

56:57Speaker 3:There is now.

56:58Speaker 1:No, talk about female artists.

57:00Speaker 3:Oh, just female.

57:01Speaker 1:Yeah, like female artists.

57:02Speaker 6:There's a whole lot of female artists now.

57:05Speaker 1:One time you have Alty and Donna. You have Oregon. You have Sophia and you have No, you can't count the female artists one time.

57:20Speaker 2:Okay.

57:20Speaker 1:Nowadays, after today.

57:21Speaker 2:There was so many now.

57:23Speaker 1:You got more than 25 female artists that is mashing up the place right now.

57:27Speaker 2:For real, yes.

57:29Speaker 1:Spice.

57:31Speaker 2:Yeah. Killing shit right now.

57:32Speaker 1:She's wicked. Yeah, she's wicked. She's not my favorite female artist, but Gracie is my artist. Spice. She's not my favorite. My favorite artist is Lady Sark. I just told you that. But I love Spice. Spice is wicked. I love her performance and I love a few songs that she sing. And yeah.

57:56Speaker 2:And she know how to promote. She keep in tone with the social media nowadays and everything. She know how to market herself right now, too.

58:03Speaker 4:To me, you know, it's always the music. Like, I remember the song, I forget, cool forget, cool forget. Sing that again.

58:09Speaker 1:You're talking about Shelly Turner.

58:12Speaker 3:So I just, I be remembering.

58:13Speaker 1:No, Shelly Turner is wicked. Shelly Turner is wicked. Shelly Turner is wicked.

58:16Speaker 4:So that's how long the music stayed on.

58:18Speaker 1:But you see, Shelly Turner is from New York.

58:22Speaker 2:Oh, good.

58:23Speaker 1:And not because she's from New York, she's not supposed to get respected.

58:27Speaker 2:It sounds like that's what you're about to say.

58:30Speaker 1:No, no, I did not say that. I don't want nobody to say that. But I'm Jamaican. Do you get what I'm saying? Shelly Tenday is Jamaican, but I know her from New York.

58:42Speaker 2:What?

58:42Speaker 1:So I have her as a foreign artist. Do you understand?

58:48Speaker 2:She's a foreign artist.

58:49Speaker 1:Yeah, as a Jamaican, we have her as a foreign artist.

58:51Speaker 2:Okay, I got you.

58:52Speaker 1:So every time she come to Jamaica, she come for visit. But she make some bad song and she's a bad, bad, bad, bad DJ.

58:58Speaker 2:Got you. Yeah.

58:59Speaker 1:Don't get it twisted. Sometimes Jamaica say something, some people feel like, yeah, we're trying to disrespect.

59:06Speaker 6:Sometimes they do sound like that.

59:09Speaker 2:He said, yeah, she dope. Yeah. But she from New York.

59:12Speaker 1:Yeah. But she... We don't... All right. We don't have the artists. We have Boston, America, Jamaican artists. You see? Shiley, he come from Jamaica.

59:22Speaker 2:Right.

59:24Speaker 1:But he grew up in New York. And he bust from New York. So we have him as a foreign artist. So when you come and say, hey, I'm an alien. I'm a legal alien. I'm a Jamaican in New York. So he's telling you that I'm Jamaican, but I'm in New York. He could come from Jamaica, Queens.

59:47Speaker 3:Jamaica, Queens. He said Jamaica, Queens. That's my man.

59:53Speaker 1:He could come from Jamaica, Queens. Got you.

59:55Speaker 3:Got you.

59:56Speaker 1:Well, I know him from Jamaica. I know him from Sound System time.

59:59Speaker 2:Got you.

59:59Speaker 1:So I know that he is from Jamaica.

1:00:01Speaker 2:All right.

1:00:01Speaker 3:Got you.

1:00:01Speaker 1:You get what I'm saying?

1:00:02Speaker 2:Okay.

1:00:03Speaker 1:All right.

1:00:03Speaker 2:He just moved out here early.

1:00:04Speaker 6:Yeah.

1:00:05Speaker 2:Got you.

1:00:06Speaker 1:There you go.

1:00:06Speaker 2:So he's still a foreigner now.

1:00:08Speaker 1:He's still a foreigner.

1:00:10Speaker 4:So now, so save me a murder scenario, because you ride around with a chef.

1:00:14Speaker 3:We don't got a chef.

1:00:15Speaker 2:Yeah.

1:00:15Speaker 3:You know what I'm saying? We don't got a chef.

1:00:18Speaker 1:You got to have a chef, though.

1:00:19Speaker 5:So me in London, me and murders with you, we in London, what would you tell your chef to make us when we there?

1:00:26Speaker 1:Well, it depends on what you want. Because my chef can make a wicked brown stew chicken, or a wicked brown stew fish, or a If you want some oxtail, you can get that too. If you want some curry goat, you can get it too. My chef cook anything. Not that I eat anything. But they will cook anything if you want it.

1:00:48Speaker 4:In the morning, I can sell fish.

1:00:49Speaker 1:Yes, the only thing you can't cook in my pot is pork.

1:00:52Speaker 2:That's right, no pork. Yeah, no pork. I'm with you with that.

1:00:55Speaker 1:I don't care if you're a black man and you're saying black men are supposed to eat pork. I don't believe in that philosophy. That's stupid. I don't eat pork.

1:01:04Speaker 2:No pork, man.

1:01:04Speaker 3:Turkey bacon there.

1:01:06Speaker 2:He's like, are you going to do turkey bacon there?

1:01:08Speaker 3:That's not pork.

1:01:09Speaker 2:I know, I know.

1:01:11Speaker 1:See, that's what choked me out. The bacon part.

1:01:16Speaker 2:The bacon part?

1:01:17Speaker 1:Turkey bacon. Bacon is from pork. That's all I know.

1:01:22Speaker 2:So you're trying to say, where is this turkey bacon coming from? That's what I'm talking about.

1:01:26Speaker 6:Because I only do turkey bacon, but you're trying to say even that's bullshit?

1:01:29Speaker 2:You're trying to say that's bullshit, Vini?

1:01:31Speaker 1:I'm not trying to say. I'm just saying.

1:01:34Speaker 6:Where the fuck is the turkey bacon from?

1:01:36Speaker 1:Where the bacon come from from the turkey?

1:01:38Speaker 3:He's making sense, though. Turkey bacon. This is what I'm saying.

1:01:43Speaker 1:I'm not going to do that. Because somebody, I ain't tell somebody that I eat turkey bacon. Somebody's going to take the turkey off and leave the bacon. He said, you say you eat bacon. That's nothing.

1:01:57Speaker 2:We got to get to the bottom of that, man.

1:02:00Speaker 1:See, we're going to find out where the bacon come from. Why isn't that turkey slice?

1:02:06Speaker 2:You ain't lying. Something ain't right over there.

1:02:08Speaker 4:You know what I want to ask both of y'all?

1:02:09Speaker 5:What pisses y'all off the most when you go to the Jamaican food store? Because I'm going to tell you what gets me pissed. There's never no festival.

1:02:17Speaker 1:That's true.

1:02:18Speaker 2:You know what? You right.

1:02:19Speaker 3:Why the fuck is there never no festival?

1:02:20Speaker 1:No, because you go to the wrong restaurant.

1:02:22Speaker 2:You at the wrong spot?

1:02:23Speaker 1:You can't go to the wrong spot.

1:02:25Speaker 3:You can't get no festival?

1:02:26Speaker 1:Man, you can't go to the wrong spot and get festival. You got to go to the place where they sell fried fish. and bombings, then you get festival. You can't go to the place that they make rice and peas and everything else, you're going to get vegetable, or you're going to get some plantains. Boy, you ain't going to get no? Thank you. You got to go to the right place.

1:02:48Speaker 4:That's the only thing that get me tight, bro.

1:02:50Speaker 6:It was a song, right, when I was in third grade, a kid used to sing a lot. I was telling my man that really I fell in love with Jamaican music. Something like, police can't kick Police can't come. Police can't throw you in the lockup. I'm going to tell you what police can't do. Let's see a foreign house here, original Jamaican.

1:03:09Speaker 1:I am Constable Brown. They call me boy blue.

1:03:12Speaker 6:Yes, I make a warrant to arrest you.

1:03:15Speaker 2:Make a black and.

1:03:16Speaker 3:Blue, yes.

1:03:18Speaker 1:I got sure what police can't do. And that song is a counteraction. What do you mean? Yeah, it was a counteraction for, what is his name again? Echo Minor song. What the hell the police can do? What the hell the police can do? Get after me, feed me, close you. Give you everything you have to comfort you. It was a counteraction to that.

1:03:43Speaker 3:Oh, okay, got you.

1:03:44Speaker 1:Because he turned on me until it was black and blue, and she called the police. Oh, okay, that was a real story. Yes, and I said, what the hell the police can do? So I love when they come back and say, I'll go show what police can do. Police can do. I am concerned, bro, they've called me boy, bro. I have you, I want to arrest you.

1:04:01Speaker 2:To arrest you.

1:04:02Speaker 1:Yes, yes.

1:04:02Speaker 6:Police can kick, police can cough, police can throw you.

1:04:06Speaker 2:In the locker.

1:04:06Speaker 1:You know the wickedest thing? I'm just remembering. You see that rhythm? The same rhythm that I do. That's the first time that rhythm making now. I'm just remembering it. I am concept. The dude got the whole.

1:04:23Speaker 2:Yeah, that's.

1:04:24Speaker 1:Okay.

1:04:35Speaker 2:He said, I think I done thiefed a man's song, man.

1:04:40Speaker 1:I'm just remembering that. That's where the bass line come from.

1:04:45Speaker 2:Look at that.

1:04:46Speaker 5:And that's why I say, that's why it's so dope because it's like, it's a part of rap culture.

1:04:51Speaker 3:Like, rest in peace Biggie.

1:04:52Speaker 5:They had, you know, Jamaican music in their songs.

1:04:55Speaker 2:It's definitely part of the culture.

1:04:56Speaker 5:Snoop, when you have a Snoop album in his songs. And then when you really think about it, like, Like, songs like Rikers Island. Before I even knew what Rikers Island was, I was hearing, you know what I'm saying, Rikers Island.

1:05:09Speaker 4:Until I went to Rikers.

1:05:10Speaker 3:I knew what it was, you know what I'm saying? I wasn't on Rikers when that came out.

1:05:17Speaker 4:But it's a part of the, you know, the culture.

1:05:19Speaker 3:The culture, not for real. The culture is good.

1:05:22Speaker 2:Real talk.

1:05:23Speaker 1:That's crazy.

1:05:24Speaker 3:That's what I'm.

1:05:27Speaker 1:Saying.

1:05:30Speaker 3:That's crazy.

1:05:32Speaker 1:Yes, he was in a party.

1:05:34Speaker 4:And then later on, you think about that when you hit Rikers.

1:05:38Speaker 1:If you don't know, now you know, nigga.

1:05:41Speaker 2:Yeah. Real talk.

1:05:45Speaker 1:That's music. That's music for you. And, you know, nothing going to change. Nothing going to change the vibe of the music. The duration music. What I don't like in music now is clashes. Because the clashes is phone in the head. These brothers are clashing in the phone.

1:06:08Speaker 2:There's no more link-ups.

1:06:10Speaker 1:There's no more face-to-face.

1:06:11Speaker 2:Yeah, there's no more in-person. Everything is B.A. beefing over the phone. Beefing over the phone, yeah.

1:06:15Speaker 1:I know what you mean. A man singing a song, an X-Men singer song. Man singer say, the new song will come out. They're a stupid clash. Because if you got five songs out together, you're supposed to meet on the stage together. Get together and keep a show.

1:06:31Speaker 2:Yes.

1:06:32Speaker 1:Because people is listening to those songs.

1:06:34Speaker 2:Yes.

1:06:34Speaker 1:And they want to see you clashing. Because these are some artists that people are listening to and they love. You got to make a move, dog. Keep the culture alive.

1:06:47Speaker 3:Yes.

1:06:47Speaker 2:Definitely.

1:06:48Speaker 1:Stop killing it.

1:06:50Speaker 2:Definitely, man.

1:06:50Speaker 1:Because you're going to die before the culture. Because the culture is bigger than you are.

1:06:54Speaker 2:Crazy.

1:06:55Speaker 3:Yeah.

1:06:55Speaker 1:So, please, keep it alive. So, why you were singing a song about him and he's singing a song about you. I still not kick him nine feet.

1:07:07Speaker 6:That don't make much sense.

1:07:12Speaker 1:That don't make much sense to me. That's why, you see, I just stop because people want to sing song and sing song with me and sing song and sing song with me. I don't play them games. I will come and look for you where you at. I will drive up on you. I will walk up on you. And I will ride up on you. Because I need to see you face to face to make you know that I deal with lyrics to lyrics, microphone to microphone, stage to stage. And this is what I'm talking about. It's not about badness or who's badder than who. Because music is not about badness and who can kill who and who can shoot who. It's all about lyrics to lyrics, mic to mic. And I believe in that. And that's where I'm coming from. And I don't believe that you should change the whole entire culture because You can. Don't do it. Please.

1:08:09Speaker 2:Stop.

1:08:11Speaker 5:Y'all heard that from the living legend Beanie Man. It's the Real Report Show. Make sure y'all like, share, and subscribe. Nothing but legends coming up here.

1:08:21Speaker 4:Make some noise, y'all.

1:08:21Speaker 2:You know the vibes.

1:08:23Speaker 1:Legend.

1:08:25Speaker 3:Hold up.

1:08:27Speaker 2:We got gifts. We got some gifts for the legend.

1:08:29Speaker 3:Hold up.

1:08:30Speaker 1:Okay.

1:08:30Speaker 4:Shout out to the Unit Dispo.

1:08:32Speaker 2:We got a dispensary, though. This is straight from the Unit Dispo.

1:08:35Speaker 4:That's a gift.

1:08:37Speaker 2:Definitely, man. Yeah, the Unit Dispo. 24601 Jericho Turnpike.

1:08:44Speaker 4:The Unit Dispo.

1:08:45Speaker 2:We come with some gifts. Yes, sir.

1:08:48Speaker 3:Yes, sir.

1:08:49Speaker 4:Thanks for being on the show, man. Make some noise, y'all.

1:08:54Speaker 2:Hold up, y'all. We got an album out right now that we need y'all to go get.

1:08:58Speaker 1:Eminence.

1:08:58Speaker 2:Go get it now.

1:09:00Speaker 6:Now.

1:09:00Speaker 2:Go get that now.

1:09:03Speaker 3:Legend.

1:09:03Speaker 2:Dancehall Legend.

1:09:07Speaker 6:And we need the reggaeton artists to start paying some homage to the reggaeton artists.

1:09:12Speaker 2:Let's go, y'all. Let's bring it all back. Let's bring it together, baby. Let's bring it together. Woo!