Up next in 10
Don't miss out on this exclusive interview on Sway In The Morning! Dive deep into the life and legacy of "Commissioner Gordon," the unsung hero of hip-hop, as he shares his journey from DJing in the Bronx to producing Grammy-winning hits with legends like Lauryn Hill, Carlos Santana, and Quincy Jones. Discover the extraordinary power dynamic between Commissioner Gordon and his wife Suzette, and how they have helped countless artists realize their full potential. Get ready for captivating stories, including Gordon's work with the Marley family, Alicia Keys, and anr at Sony Music.
Join Sway and the team for an unprecedented conversation where Commissioner Gordon unearths the hidden stories behind the music, from meeting KRS-One to working with the Fugees. Plus, hear about the groundbreaking project with Mo3 and the challenges faced in preserving his legacy. This episode is packed with heartfelt moments, humorous anecdotes, and never-before-heard insights.
Subscribe now for more exclusive interviews and stay tuned to Sway’s Universe for the latest in hip-hop and entertainment. #CommissionerGordon #HipHopHero #SwayInTheMorning #Mo3 #ExclusiveInterviews #SwaysUniverse #HipHopLegends #MusicIndustrySecrets
#SWAYSUNIVERSE #AnrSonyMusic #MusicSupervision #ProducerStory #KRS1
CHAPTERS:
0:00 - Intro
1:08 - Suzette Gordon, Commissioner Gordon & Wyclef Jean Connection
3:26 - Commissioner Gordon Meets Lauryn Hill & The Fugees
7:35 - Lauryn Hill's First Impressions of Commissioner Gordon
10:00 - First Song Recorded for The Miseducation Of Lauryn Hill
13:36 - Introducing AMP
16:22 - Introducing Drop
17:18 - Mo3 Introduction
23:25 - Celebrating Mo3’s Birthday & Posthumous Album
24:38 - Mo3’s Estate & Legal Battles
29:32 - New Mo3 Song Preview: “Call His Phone”
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0:00
Soundboy killer Rich Nice, the
0:02
connector, the fixer. And he said,
0:04
"Yeah, I know him.
0:06
I can take you to his house this week."
0:08
Wait a minute. I've been searching for
0:10
this dude for 2 years, and you could
0:12
have took me to his house in that sort
0:14
of a notice?
0:15
He said, "Yeah."
0:17
I said, "Wait, this is the same guy who
0:20
has had multiple Grammy Awards, the same
0:23
guy that worked on that project with
0:25
Miss um Miss Hill. He worked with Carlos
0:28
Sant- Carlos Santana. He's worked with
0:30
the Marley family. He's worked with
0:32
Quincy Jones. He's done music
0:35
supervision for soundtracks like The
0:37
Banker. You're talking about the same
0:39
guy?" He said, "I can take you to his
0:41
house." That man name is Commissioner
0:44
Gordon.
0:46
He happens to be the father
0:49
of our super PA, production assistant,
0:54
Kalani.
0:56
At that time, he was married to that
0:58
magnificent, beautiful person that we
1:00
brought on the show last week,
1:03
uh the one and only Suzette Uzi
1:06
Williams.
1:09
They That power dynamic between Suzette
1:12
and this man right now
1:15
has easily ushered so many fortunate
1:18
people into their destiny as artists,
1:21
helped them realize their full
1:22
potential. He in the studio, studio, her
1:26
outside of the studio, and I needed I
1:29
needed to license. I needed to get into
1:31
their circle, that lexicon. And damn it,
1:34
I went to their house, and I sat, and I
1:36
ate. I ate food. They couldn't get rid
1:39
of me. I fell asleep in their house.
1:41
They couldn't do [ __ ] with me. I was
1:43
everywhere, every day, showing up,
1:45
forcing him to work with me. It was the
1:47
hardest thing ever. I'm looking in his
1:49
face, and he wouldn't work with me. It
1:51
was crazy. Do work, man. And never We we
1:55
ended up doing work together, but most
1:56
importantly, we end up forging this
1:58
relationship and this brotherhood. And
2:01
in that, we talked about everything
2:03
under the sun. These conversations
2:05
became metaphysical. It became
2:07
spiritual. It became It's just loving,
2:09
and it's been that way ever since.
2:11
That's why when his son was born,
2:14
I was able to cradle his son in my arms.
2:17
In his little diaper. You know, as he
2:20
as he pissed on himself.
2:23
No, Kalani peeing on himself. Every time
2:25
you hold him, he was a pisser.
2:31
That's foul as hell, you know.
2:38
But it was it was all
2:40
for a major reason.
2:43
And ladies and gentlemen, this hasn't
2:44
happened on this show. This is going to
2:46
be fun today, but one day we going to do
2:47
a real sit-down, you know, and and dig
2:50
deep into what what it is you do, but
2:52
from all the work you've touched with
2:54
Alicia Keys, with
2:56
working with A&R over at Sony Music,
2:58
with the Marley family,
3:00
KRS-One
3:02
is how you
3:04
and Heather B
3:08
She's not here today.
3:10
Heather B took the time off cuz I made
3:12
her work last week.
3:14
Well, she was supposed to take I didn't
3:15
make her, but I asked her to work when
3:16
she wanted to take time off.
3:18
Um
3:19
but that's how Heather B and you met.
3:21
Through KRS-One, Boogie Down
3:23
Productions, right? You remember the
3:24
first time you met Heather? By by the
3:26
way, welcome Commissioner Gordon to the
3:28
show.
3:30
Wow,
3:31
what an intro. Yeah, man. That was
3:33
incredible, man. You start remembering,
3:35
huh? Yeah.
3:37
Especially the especially the pissing
3:39
part. I'm going to use that.
3:42
HE'S GOT TO CHILL.
3:45
YOU REMEMBER THAT? I I REMEMBER THAT.
3:47
Little rainbows everywhere you went.
3:51
Yeah, I think Heather yeah, was with
3:53
Chris, man. The first time I met Heather
3:55
was in the studio with Chris. And And
3:57
also, Chris is the way I met Wyclef. So,
3:59
a lot of people don't know that. That's
4:00
how Lauryn and all those things
4:01
happened. It was Chris, too.
4:02
With KRS-One.
4:03
KRS, yeah.
4:04
At the nucleus of all of it. What was
4:05
Heather like when you met her? Was she
4:07
in a booth?
4:07
Street.
4:09
Street.
4:09
Not street.
4:10
It's street. Not straight street, but
4:12
still Heather B, you know.
4:14
Uh-huh.
4:14
Great person, great energy, and um very
4:18
Heather was always a writer. You know,
4:20
so she she was an observer. So, as I see
4:23
her doing this,
4:24
she's made She was born to do this
4:26
because of the way that I think she just
4:28
observes and can capture
4:30
Mhm.
4:30
you know, capture words.
4:31
What was your first entry level into
4:34
production, producing artist?
4:36
DJ.
4:36
As a DJ.
4:37
As a DJ, yeah. In the Bronx, yeah. DJ,
4:40
and that's how Rich Nice.
4:42
So, how'd you meet Rich?
4:43
Yeah, Rich Rich huh
4:46
I was working with a artist named Jesse
4:48
West. You know, Jesse West. Right. So,
4:50
Jesse um at the time when Jesse had
4:53
gotten some trouble, and he was away for
4:55
a little bit, and I asked him while he
4:57
was away, I'm like, "Yo, West, so
4:59
I need somebody to work with. Who do you
5:01
Could you recommend anybody?" And he
5:02
said, "Well, I know this one guy. His
5:04
name is Rich Nice. You know, I'll I'll
5:06
tell him give me your number." So, he
5:08
gives him his gives me his number. I
5:09
talk to him. So, Rich comes over to my
5:11
house, and the studio was in the Bronx
5:12
at the time, in my bedroom. And I
5:14
remember looking out the window and
5:16
seeing this guy coming down the block
5:17
with this baseball cap backwards, and
5:19
it's the same same Rich Nice. Exactly
5:21
the person who said he'll take you to my
5:23
house. That's who he he was probably 17
5:25
at the time, 17, 18.
5:26
And then Rich did it Was he signed to
5:28
Motown yet?
5:29
got signed to Motown. After those demos
5:30
that we did, Jesse and Rich both got
5:32
signed to Motown.
5:33
Rich being the youngest rapper ever to
5:35
be signed to Motown Records. All right.
5:41
You better talk it. You better talk it.
5:43
All right. And so, uh you work with
5:45
Jesse West, you work with KRS-One. Be
5:47
through that, you met Wyclef who said,
5:50
"Hey, I got this group."
5:51
Yeah.
5:51
Is that how it went?
5:52
It basically Yeah, basically it went
5:55
like that. And I'll give you Well, since
5:57
we're on Shade 45, I'll give you a
5:58
little story.
5:59
Okay.
5:59
Yeah, I'll give you a story. And And not
6:01
many people know this story. So, Chris
6:04
Chris Schwartz, who ran Ruffhouse
6:06
Records,
6:07
Mhm.
6:08
at the time wanted KRS to executive
6:11
produce the Score.
6:12
And Chris didn't know anything about
6:15
Yeah, exactly.
6:16
And the first the Fugees album?
6:18
Yeah. They were the Translator Crew,
6:20
actually. And then I think they had just
6:22
become the Fugees. And Chris came to me.
6:24
Crew?
6:25
the name of the Fugees. Yeah. And before
6:28
they called themselves Fugees. That's
6:29
their first album. And Chris came to my
6:32
house. The studio used to be the same
6:33
place where Rich and Nice came. Chris
6:35
came in one day and he was like, "So,
6:36
Commissioner Gordon, um what No, matter
6:39
of fact, I wasn't Commissioner and I'm
6:40
still Gordon. This is before he started
6:42
with the Commissioner. And he said, "Um
6:43
have you ever heard of these guys the
6:45
the Translator group? There's some
6:46
bald-head guy that plays guitar." And I
6:48
was like, "Nah, I don't know. I didn't
6:50
know who they were." And he was like,
6:51
"Yeah, so I'm going to go out and meet
6:53
this guy, Chris Schwartz, and talk to
6:55
him about it. He wants me to work on the
6:56
record." And for whatever reason, it
6:58
didn't work out. He passed. But look at
7:01
what happened with that album. I met
7:03
Lauryn after this now, separately from
7:06
Wyclef. And we started working together.
7:08
And she asked me to work with her on her
7:10
record. And I came back and I told
7:12
Chris. I was like, "You know what? I met
7:14
this girl, man. And And I don't know
7:16
about the the rest of them in the group
7:17
cuz I hadn't I hadn't worked with Clef.
7:19
I had met him, but I hadn't worked with
7:21
him yet. He's super talented,
7:22
unbelievable in the studio. But I said,
7:25
"This girl, whoever this girl is, she's
7:27
something else, man. I think you should
7:28
think about it." He was like, "Nah, I
7:29
got to finish my album." And blah blah
7:31
blah. He never did it. And then the rest
7:33
is history.
7:33
history. What did Ms. Hill tell you when
7:36
y'all sat down to talk about this
7:37
project? Cuz cuz the title wasn't there
7:39
yet, right?
7:40
No, there was nothing.
7:40
There was nothing. So, when you sit down
7:42
and you do your your vision board,
7:44
Yeah. where did she
7:45
thing The first thing was a phone call.
7:47
I'll never forget it. She said She said,
7:49
"I want you to work on this record with
7:51
me." And I said, "Okay, well, what's the
7:52
record?" And at this time I was A&R at
7:54
Sony. And no one really wanted Lauryn to
7:57
do a record separately because in their
7:59
mind Clef was the producer. So, why we
8:02
going to give this guy And they had sold
8:03
20 million records. So, they just wanted
8:05
another Fugees record. They didn't want
8:07
right?
8:08
they didn't And I'm A&R. So, I'm hearing
8:10
I'm getting this, but I'm not telling
8:12
them that. But this is what I'm getting
8:13
in my ear at the label. So, I said,
8:15
"What do you want me to do?" And she
8:17
said, "Well, I want you to be for me
8:19
what um
8:20
Jerry is for Clef." Like Jerry's like
8:22
Clef's co-producer, but it wasn't Jerry
8:25
Wonder. Jerry Wonder. But no one said
8:27
that. Like people know years later that
8:28
he was, but at that time you just saw
8:30
the names of the, you know, Fugees. But
8:33
Jerry was always like the fourth Fugee.
8:35
So, I was like, "Okay, so you want me
8:36
to" She said, "I need you to be my
8:37
co-pilot."
8:39
And I was like, "Uh-huh." All right, you
8:40
know, and Sue was on the phone and I got
8:42
that nudge. You know, it's my wife. I'm
8:43
getting that nudge. And I thought Lauryn
8:45
was amazing. So, I said, "Okay, you
8:47
know, we never really memorialized it in
8:50
any way business-wise, but I just agreed
8:52
to it and we started." And it was It was
8:54
It was a It was a thing.
8:56
Uh that that and in there
8:58
We'll leave it there.
9:00
We'll leave it there. That's where
9:02
I
9:03
You got to watch this guy.
9:05
I DIDN'T SAY NOTHING.
9:07
I DIDN'T SAY NOTHING.
9:10
I DIDN'T SAY ANYTHING. DROP, DID YOU
9:11
HEAR ME SAY ANYTHING?
9:12
We all missed it.
9:15
Hold on, man. Where are my notes at
9:17
here?
9:18
Thank you. Thank you, Sway.
9:22
What was the first song y'all recorded
9:23
on the album?
9:23
Right.
9:26
The first song was actually
9:30
was what became X Factor, but it wasn't
9:33
X Factor then. That was the first the
9:36
music. Yeah, I think so. It was X Factor
9:39
or the music that was going to be Lost
9:42
Ones, but the music changed like four or
9:44
five different times, but I think those
9:45
two
9:46
Were the first?
9:48
What was Lost Ones about?
9:50
And who?
10:00
This wasn't supposed to be this KIND OF
10:01
INTERVIEW.
10:06
LAURYN HILL AND BOTH HIS
10:08
This Okay, I'll do you this. I'll do you
10:09
this solid. I'll do you this solid cuz
10:11
you don't sat in the chair, homie.
10:13
I'll do you this solid.
10:15
but I I brought I came to chat.
10:17
You didn't have to sit in the chair. YOU
10:18
COULD HAVE been in the couch.
10:21
Got him. I'll do you this solid.
10:23
Mhm.
10:24
We'll save it for a different
10:25
conversation if you promise to have the
10:28
conversation.
10:30
How It depends. I have to I have to I
10:32
It's a yes or no. We can't have a
10:33
separate
10:34
you I can ask you questions now in front
10:35
of the camera?
10:35
All right, we can have a separate
10:36
conversation. On air? We're going to
10:38
have a separate conversation on air?
10:40
camera it. Yeah, one time.
10:42
For the history.
10:43
What are you scared of, man? Like what
10:44
are you scared of? I'm not going to You
10:45
know I got different respect for the
10:46
legacy of that project. It got voted the
10:48
number one album of all time, bro. Give
10:51
yourself a round of applause.
10:55
Yeah, that's unbelievable.
10:56
I got nothing but the ultimate respect
10:58
for Ms. Hill. There's never been another
11:00
artist in my lifetime like her.
11:02
Yeah, no, I have the ultimate respect.
11:04
You know, I've My level of of respect
11:07
for Lauryn has changed over time. I
11:09
think maybe it's a function of getting
11:11
older and you know, also having children
11:13
and growing and realizing that, you
11:15
know, you hear a lot of things about
11:17
Lauryn and I'm and I'm I'm thankful that
11:20
I have a microphone to say it cuz I've
11:22
always stayed away from talking
11:24
purposely about that because I thought
11:25
the music was so great. I never really
11:26
wanted to get into the personal side of
11:28
it because we really were like a family.
11:30
I mean, Shasha's here. Her dad is
11:32
Stephen Marley. Stephen's the reason we
11:34
were able to go to Bob Marley's house
11:36
and record in the house. So, I watched
11:38
all these children grow up and we're
11:40
like a It's a It's a family that got
11:43
splintered in a lot of um
11:45
controversy and the things that happened
11:47
over something getting really big. But,
11:50
from Lauryn, I can see now,
11:53
you know, Lauryn was 21 or 22 years old.
11:55
Can you imagine being 22 years old and
11:57
having the entire world like everywhere
12:01
we went in the world, she was on front
12:03
street. And we couldn't go anywhere
12:05
where she wasn't on front street. And I
12:06
think that alone is something that I
12:10
know I wasn't ready for, especially
12:11
being the age that I'm at. I mean, she
12:12
was young. She was like Kelis's age. You
12:14
know? So, handling those things, okay,
12:17
Lauryn may have made Lauryn may have
12:19
made mistakes. Who don't make mistakes?
12:21
How many mistakes I made, you know what
12:23
I'm saying? And that I could live now
12:25
and say, "Damn, I wish I wouldn't have
12:26
done that." So, I think Lauryn's a
12:27
great, great, great songwriter and a
12:30
great person who had to deal with a lot
12:32
of adversities. And she handled it well
12:34
enough to make that. And look what she
12:36
made. Number
12:36
Come on, man. Let's celebrate it. Yeah.
12:38
Celebrate it.
12:39
I'm not mad at that. He's a
12:41
at all, man. Not at all. I love that
12:43
love that girl.
12:43
It's like the pyramids, you know? They
12:46
say any and everybody else made the
12:48
pyramids.
12:48
Exactly. Yeah, yeah.
12:50
But, the folks who lived there
12:52
Yeah, yeah, yeah, yeah, have a different
12:54
story about it.
12:55
story. So, with her album,
12:56
Yeah.
12:57
it's like the pyramids. Everybody has
12:59
something to do with it.
13:01
But, but you do not have that album
13:03
No.
13:04
without Ms. Hill.
13:04
Not at all. Not at all. So, I'm thankful
13:07
to have been there and and then all of
13:09
the things and all of the fruit that it
13:11
produced, I'm thankful to have eaten
13:12
some of that fruit, too.
13:13
And everybody that worked on it.
13:14
Yes, sir.
13:15
Okay.
13:15
Yes, sir. Let's be Let's be happy. Let's
13:17
celebrate.
13:18
You don't want to talk about the
13:18
lawsuits. Okay, okay. All right, all
13:20
right, man. We'll keep that out.
13:21
Yeah, that's it.
13:26
He's unbelievable. Can Can we Can we Can
13:28
You feel like you're triggered?
13:30
You unbelievable.
13:31
Y'all got me working on a Friday. I'm
13:32
having fun.
13:33
Come on, man. But I wanted to set this
13:35
up because you have been instrumental
13:38
and your vision, your foresight when it
13:40
comes to artistry has been, you know,
13:43
just one on 1,000. And I remember you
13:45
approached me
13:47
um about a project that you're working
13:49
on with the new company that you're a
13:50
part of.
13:51
It's Amp.
13:52
Amp.
13:52
Yes.
13:53
All right. Amp is a company that is
13:56
It's a music platform that's focusing on
13:59
using technology to help estates or help
14:02
people The how I got involved with it
14:04
was talking about estates and working
14:06
with, you know, using AI in a in a in a
14:09
responsible way. You know, you get a lot
14:11
of hours of AI hater myself until I
14:14
really got to understand the
14:15
opportunities and the possibilities with
14:17
it as a tool. But you still need people,
14:20
you know, and Drop, the brother who's
14:21
here with me now, um Drop and I had met
14:24
through a friend of mine, Nino, over
14:26
there in the corner
14:27
playing the bass.
14:28
Nino Nino
14:30
um is a uh
14:31
a music business staple
14:34
because of a lot of the different people
14:36
he worked with. Uh one of the groups he
14:38
worked with one of my good friends from
14:40
Above the Law, right? Come on, man.
14:43
Yeah, come on.
14:44
Yeah, man. So he he's been putting in
14:46
work for a long time promoting uh he
14:49
worked with the legendary Eazy-E back in
14:52
the day. You did some stuff with E?
14:54
I did some stuff.
14:55
Yeah, tell Come on, man. Tell everybody
14:57
some of the projects you did. Get on
14:58
there, man.
15:00
Come on, man.
15:00
Yeah, he's trying to hide. He didn't
15:01
want to get on the mic.
15:02
Yeah, you didn't want to get on the mic?
15:03
Yeah, he was trying to
15:04
That's some LA [ __ ] right there.
15:07
He looks very LA.
15:08
Yeah, he He does he He
15:09
Very LA.
15:11
Don't be asking me no questions, fool.
15:12
You've been doing this for a long time.
15:22
But you've been doing You've been in the
15:23
game how long now?
15:25
Uh 35.
15:26
35 years. You remember out of LA was
15:29
where you were based out of mostly or
15:31
a lot in the West Coast.
15:31
On the West Coast. Were you out in LA
15:33
when King Tech and I came to the beat?
15:35
I remember.
15:36
them? Come on. You remember them days,
15:38
man?
15:38
I remember them days.
15:46
How would you describe Sway
15:48
back during that time?
15:49
Sway's always been solid, man. He's he
15:52
he is a lover of hip hop.
15:54
Mhm.
15:55
And
15:56
and and and his IQ
15:58
is
15:59
off the chain.
16:00
Wow. [ __ ]
16:01
I would have to agree.
16:03
Make that a sweeper. We're going to run
16:04
that every day.
16:06
I ain't never heard that. My mom IQ.
16:10
The point I'm making is this is a man
16:12
who's been extremely established in the
16:14
in the in the music business and he's
16:16
has has attached himself to nothing but
16:18
successful projects.
16:20
Yes.
16:20
So are you.
16:21
Yes.
16:22
Henceforth, let's bring up my man Trapp.
16:25
Give it up for Trapp.
16:26
Yes. Yes, Trapp.
16:29
Now Trapp is a multi-platinum producer.
16:32
Yes, he is.
16:33
He's worked with Lil Keke.
16:36
Come on.
16:37
That's my brother.
16:39
That's my brother, man. Give it up for
16:41
Lil Keke.
16:42
Shout out to Rich Homie Quan.
16:43
Rich Homie Quan.
16:45
MoneyBagg Yo.
16:49
Don Don.
16:50
Yes, sir.
16:50
Right? Future.
16:52
Yes, sir.
16:54
And very instrumental in working with
16:56
the beloved and only Trapp is here with
16:58
us.
17:03
This is like Voltron forming.
17:05
Yes, for sure.
17:06
For this project.
17:07
For this project. Yes, sir.
17:09
Trapp, what can you tell me about this
17:10
project?
17:11
Oh, man. Uh
17:13
man um
17:14
Wasn't expecting that, Trapp. You knew
17:16
you was on the mic.
17:16
Yes, sir. Well, I'll say first, happy
17:18
birthday to Mo3, to the young guy.
17:20
There you go, man.
17:21
Cuz today is his birthday, May 31st.
17:23
Yes sir.
17:24
So, what can you tell us about Mo3? A
17:26
lot of headlines we heard were more
17:28
controversial
17:30
than tragic than anything else. What can
17:32
you share?
17:33
Man, Mo3 was uh
17:35
was very gifted.
17:37
Um very gifted. Um
17:40
very talented.
17:42
Very funny. He was very funny guy, man.
17:45
He had a good heart. You know, a lot of
17:48
people know him from the street side of
17:49
what everyone publicized from his music,
17:53
but the brother was down to earth. You
17:55
know, you can come in the studio
17:57
you know, with uh hey, brother asked me,
17:59
"Man, can I step in
18:00
the building?" Hey, come on in. Mo3 is
18:02
just like welcoming, you know, he's very
18:05
welcoming. He comes from a family of
18:08
nothing but music, so we uh our whole
18:10
family's been around music. And three
18:13
has, you know,
18:15
three three is my cousin.
18:17
Mhm.
18:17
A lot of people don't know
18:18
cousin.
18:19
blood cousin, so
18:19
Okay. All right.
18:21
We uh
18:21
That mic bothering you, huh?
18:23
Yeah, it's kind of yeah.
18:23
Don't worry about it, man.
18:24
There we go. All right, it's better
18:26
right there. Yes, sir.
18:27
That's a producer for you, boys.
18:32
So, um
18:34
you know, we didn't know we were cousins
18:36
coming in.
18:37
Wow.
18:38
For we worked from 2013
18:41
all the way to
18:43
20
18:44
19.
18:45
Uh-huh.
18:46
And never knew we were uh
18:48
we were cousins. Sorry, y'all.
18:49
Drop, it ain't going to get no better
18:50
than that. I don't want to I didn't want
18:52
to say this on camera, but that's about
18:53
as good as it's going to get.
18:55
That mic is bothering you.
18:57
Yeah, kill the driver. You're moving
18:58
real slow.
19:00
The more you the more you touch it, the
19:01
more
19:04
So,
19:05
He's paying homage to you.
19:06
Yeah,
19:07
we we worked, you know, like 2012
19:10
all the way through to 20 2019.
19:14
Uh
19:14
Damn.
19:15
And you know, almost every day. And
19:19
and it was it was fun working with him.
19:21
He listened.
19:22
Mhm.
19:23
This is to all the artists.
19:25
If you have a producer, man, listen to
19:26
your producer.
19:28
Especially when you can get guidance
19:30
that you don't have. You can be have
19:32
most talent, you can come in Michael
19:34
Jackson, but without the production and
19:36
the producers,
19:38
you only going to stay in one level. So,
19:40
he listened. He didn't have a problem
19:42
with listening. He he he soaked soaked
19:44
it in and he delivered.
19:46
Mhm.
19:46
And he he learned fast. We would work
19:48
fast. I would I would I would push him.
19:50
I would you know, give him everything
19:52
that he need. I'm
19:54
Just a little bit about myself, I'm a
19:56
guy that just loves production.
20:00
I love production. I've been doing
20:02
production since I was 14.
20:05
So, when I met 3 Lil 3, it was like he
20:09
was a little kid sitting on the floor in
20:10
the studio.
20:12
And he uh
20:14
he was just sitting there and I just
20:15
turned around and asked the youngster,
20:18
"Man, what you doing here?"
20:19
And he like, "Uh shoot, you know,
20:22
I'm uh you know,
20:24
I was like, "What
20:25
What you mean, you know?" He like, "You
20:27
know, holding that thing."
20:28
I'm like, "Okay, for who?"
20:31
And he was like, "For the guys that were
20:33
there."
20:34
And I said, "For these guys? You're too
20:37
young. Hey man, y'all got this young guy
20:39
here doing this?" And he was like, "Man,
20:41
that's what he want to do. You know, he
20:43
want to be you know, security, you know,
20:45
behind some uh this label."
20:47
And he wasn't doing music at the time.
20:49
Mhm.
20:50
One day, we uh was in the session.
20:53
And
20:55
man, he kind of they wanted him needed
20:57
someone to sing.
20:59
You know, and he went to the booth. He
21:01
didn't want to go at first. I pushed
21:03
him. I actually Hey man, [ __ ] Go ahead,
21:05
show them show them what you got. He
21:07
went in.
21:09
It was like magic, you know. He went in
21:12
and did his thing. It was
21:15
Man, it was like
21:16
Man, the whole studio went crazy.
21:18
And actually that's when the hate
21:20
started, you know.
21:21
That's when the hate started? The first
21:24
time he went in the studio?
21:25
Right.
21:26
What was the hate?
21:27
How did it manifest? Like was through
21:30
gossip? Through Like how did it
21:32
How did you start feeling the hate, you
21:33
know what I mean?
21:34
you used that word feel. I'm
21:37
I have a gift, man. I just say it like
21:39
that. I can feel energy. You can't fool
21:41
me when it comes to energy.
21:43
Okay.
21:43
And the energy in the room was right
21:46
here.
21:47
And some people in the room energy was
21:49
down here.
21:50
Damn.
21:51
Damn.
21:52
And I saw it and it was those people
21:53
that actually started the hate
21:55
in in the communities of Dallas, you
21:59
know.
21:59
The people who were in that room.
22:01
Oh, yeah.
22:02
And who brought him in there? How did he
22:04
Could he feel the hate as well?
22:06
He didn't even know. No one knew. I'm
22:07
the only one who peeped it at that
22:09
moment. I peeped it and I kept it I kept
22:12
it Actually I checked the guy. I I
22:13
checked one of them the next day.
22:16
And
22:17
I couldn't let it just, you know, rest.
22:19
You know, and I checked them on it. He
22:21
knows I checked them and
22:22
you know, from there those guys That
22:24
same guy I checked him and Mo3
22:27
was beefing hard.
22:29
And uh
22:30
Wow.
22:31
I don't want to go into all that, but
22:32
they end up fighting. I made them fight.
22:35
Uh cuz they was you know,
22:36
got into it at the studio. One popped
22:38
up, didn't know the other was there.
22:40
And it kind of went crazy. And I came in
22:43
in between
22:44
and cuz they start calling, you know,
22:46
hit them numbers. You already know
22:47
what's going to happen now. People going
22:48
to start pulling up. So my thing was to
22:52
you know, get them from my studio. Went
22:53
to a location and made them fight. And
22:56
Mo3 was ready. Yeah, bet. He was He was
22:58
really excited about He was He had a lot
23:00
of energy, you know, little short guy,
23:02
but he had energy out this world, man.
23:04
Mhm.
23:05
And uh Shoot, Mo 3 beat the dude up.
23:07
Oh, he did?
23:08
Yes, sir.
23:09
And uh
23:10
That didn't help the hate.
23:11
help the hate. We We We asked out
23:13
everybody right there, man. Let's Let's
23:14
buy guns. Y'all shook on it. You like
23:16
old school. This is OG stuff, you know?
23:18
Shook on it.
23:20
It shouldn't went no further than there.
23:22
Yeah.
23:22
But the hate continued and you know, for
23:24
years.
23:25
Yeah. Yeah. Uh well, here we are today
23:28
um to celebrate Mo 3.
23:29
Right.
23:30
Right? Um
23:31
who recently celebrated a birthday,
23:34
right?
23:34
Today is his birthday.
23:35
Today.
23:36
So, there's a project that's been put
23:39
together post- posthumously
23:42
um by Amp.
23:43
Mhm.
23:44
Uh produced by the two of you.
23:46
Yes.
23:47
Commissioner Gordon and Drop.
23:48
Yes, Drop and me
23:50
Well, Drop really did everything. Gordon
23:52
just saying. Yeah, that sounds good.
23:54
No, no, but
23:55
That's all I don't know about that.
23:57
You like that snare? Okay, I like it,
23:59
too. That's gorgeous.
24:05
Oh, sorry. Yo, he Check Check this out,
24:06
man. I I've been to I've been to his
24:08
home in the Bronx. He's played He's
24:10
played me a ton of those songs already.
24:13
Like well while back, last year. I've
24:16
been up on what's going on here. I
24:18
wasn't as familiar with Mo 3.
24:20
Okay, yes, sir.
24:20
but but through this music he's been
24:22
playing me, this unreleased music that I
24:24
know you guys have have and that you've
24:26
been working on, I went back and started
24:27
digging. I went listened to Shottas,
24:30
Shottas Reloaded. I went I went through
24:32
the whole you know
24:33
Yeah, man. I went through the whole
24:35
thing and then he's a powerful, soulful
24:38
person. And so, we want citizens to know
24:40
that there's more Mo 3 music coming.
24:43
Right. Yes, sir.
24:44
I know there's been some legality
24:45
surrounding
24:47
the estate, right?
24:49
Yes, sir.
24:50
And who?
24:52
Um
24:53
that you can say.
24:54
Let's clear this for the record. You
24:56
know, when people hear estate, the first
24:58
thing you think of is family.
25:00
Yeah.
25:00
Estate A estate is family, so that's the
25:02
first thing you you hear when you say
25:04
estate. No one in his estate is the
25:08
family.
25:09
So,
25:11
I'm It's It's kind of It make me feel
25:14
like I'm going against Mo3 because the
25:16
estate is coming after me for something
25:18
that I own.
25:20
And they they basically have hijacked
25:22
the estate. No one in the family is in
25:24
the estate right now.
25:26
And so, I It's like I'm fighting on two
25:28
two fronts.
25:29
So, this the the attorney that was
25:32
assigned that Mo3's mom
25:34
Hired she hired?
25:35
Yes. Now, somehow took over the estate
25:39
and she isn't attached to it any longer?
25:41
No one in his family.
25:42
And so, the music that you're trying to
25:44
release, you're being sued for by people
25:47
who are not related to Mo3, but they
25:49
the studio and never been nowhere and
25:52
have nothing to do with nothing.
25:53
Insanity.
25:54
Right.
25:55
That's Law Champs.
25:58
Did the mother assign the rights over to
26:00
the attorney? I'm a little bit confused
26:01
right now.
26:02
Well, you hire a state attorney. This
26:05
off the record of what they're This is
26:07
how it go. In Texas, it's it's a little
26:10
Every law as far as dealing with a state
26:12
is different, of course.
26:13
But in Texas,
26:14
uh
26:15
you hire attorney
26:17
and if they feel like
26:19
you're not,
26:20
you know, owning up to the level they
26:22
want you to have be inside the estate,
26:25
then they can vote you up out of here,
26:27
even though
26:28
And it was just a bunch of mess behind
26:30
it. And then I mean, this is his mother,
26:32
you know, there's nothing that mom can
26:33
do. You know, Mo3 loved his mom, you
26:36
know, so
26:37
So,
26:38
are you all and
26:40
to Miss Nobles.
26:41
Miss Nobles, are you all working out a
26:44
relationship with her where she could
26:46
benefit from the project?
26:47
my That's my objective.
26:49
That was the power of Amp, you know,
26:51
getting involved because I was actually
26:52
working with with Drop and Nino before I
26:56
met the folks at amp. And when I met
26:57
them and saw what they were talking
26:58
about and they asked me would I be
27:00
interested in coming and working with
27:01
them, I said, you know, this situation
27:04
is like tailor-made for them and it and
27:08
they were able to help, you know, to
27:09
help Ray help with the Excuse me, help
27:12
Drop. That's Drop. That's Drop, yeah. We
27:14
on here.
27:18
Amp, Sway.
27:20
Oh boy, when I come back on this show.
27:23
Oh my god.
27:25
So So, yeah, they were able, you know,
27:27
they were a big help to getting this
27:29
done and that's what they're really
27:31
That's the business model to be able to
27:32
help young artists coming up. As we
27:34
know, streaming, none of us are getting
27:36
paid. It's crazy like what's going on
27:37
now, how artists are being dealt with.
27:39
So, amp is trying to find ways to help
27:42
artists in those situations,
27:44
particularly because of the AI and with
27:47
estates because you have a lot of
27:48
estates that have that own content and
27:50
have things that they don't necessarily
27:53
know what to do with it or can't finish
27:54
it or So, you know, you have a company
27:56
here that is really looking at helping
27:59
there, but also putting out new music
28:01
and having people do music.
28:03
Absolutely. And in this case, creating,
28:05
you know, finishing this man's what his
28:07
mission was, you know, Mo 3 and then
28:09
allowing his family and yourself to
28:11
benefit from it, right?
28:13
Yeah.
28:14
Sway, can I jump in real quick cuz, you
28:15
know, I
28:16
Drop, I I grew up in Lewisville,
28:18
Lewisville, Texas.
28:19
And so, I remember where,
28:21
during that period, it was just like if
28:23
you got a song on the radio, if you got
28:25
any attention for your music, it's just
28:27
like you said, some people were happy
28:29
for you and then other people were just
28:30
like, [ __ ] like, you know,
28:32
I just want to know like what is the
28:33
sound of Dallas right now because it was
28:35
so hard for Dallas musicians to stand
28:38
stand out apart from Houston musicians.
28:40
So, sometimes they would kind of emulate
28:42
whatever was popping in Houston, whether
28:43
it be screw, samples, stuff like that.
28:45
So, what is the Dallas sound right now?
28:47
That's a good question.
28:49
Uh Uh
28:51
I'm different when it come to that
28:52
question cuz you heard the boogie. They
28:54
say Dallas sound was the boogie music. I
28:56
wasn't doing boogie music. You know, I
28:58
can't say I'm respected. You know,
29:00
that's what was happening, but you say
29:01
sound
29:03
that's I think they need to change the
29:04
language, you know, because we created a
29:07
different sound ourselves. You know, we
29:10
created a sound. Uh Absolute Production
29:12
Studios we created a sound. Whatever
29:15
anyone came in to our studio, we had a
29:17
sound. So, it's not necessarily like the
29:19
genre. They're trying to say what genre,
29:22
you know, and this is really not, man.
29:23
We just make good music. It's only two
29:25
types of music.
29:26
Good and bad.
29:27
Good and bad.
29:28
Mhm. Okay.
29:28
You know, so we we just try to produce
29:30
great, you know, great music.
29:33
Y'all have a single that's out or coming
29:36
out?
29:36
Come on, Nino.
29:37
Nino, this is your this is your part
29:38
right here, man.
29:38
Yeah, it's definitely coming soon.
29:40
It's coming, but this is a single I'm
29:41
about to play now.
29:42
Yeah. Yeah.
29:43
Okay. This is going to give you an
29:46
for especially Mo3 fans, this is going
29:48
to give you some insight of what you can
29:49
expect. I've heard the song. It sounds
29:51
powerful.
29:52
Thank you.
29:52
Um how did you put this song together?
29:55
Man, just to really just talk about the
29:57
song, it was Mo3
30:00
was talking about it when
30:02
he had got uh
30:04
jacked, you know, someone took his
30:05
money, you know, robbed him.
30:07
And so
30:09
he felt like he needed to do the same
30:10
thing. I got to get back, you know, get
30:13
back right. So, he ended up
30:16
you know, getting with his people, you
30:18
know, to make it short, he got with his
30:19
people and he ended up trying to go do
30:23
something and ended up in jail at the
30:25
end of the story. So, he created a song
30:28
about it. He had called his mom from
30:30
jail, you know, he cried, she cried. I
30:33
don't know them stories. I remember
30:34
being in jail and my mom, you know,
30:37
looking at her through the glass and
30:39
man, that just hurt. That that hurts
30:41
you. You know, I heard her voice through
30:42
the uh through the phone in jail. So, I
30:45
can imagine that call between him and
30:47
his mama. So, it became a song.
30:50
You know, phone call to mama.
30:52
Phone call to mama.
30:53
I want to thank you for coming by,
30:55
brother.
30:55
Man, I thank you, bro.
30:56
Man, I hope you enjoyed yourself, man.
30:58
Yes, man. Come on.
30:59
I thank you, brothers, man.
31:01
We had her on before y'all come here.
31:03
Yeah, yeah, yeah. We got it. We got it.
31:04
Thank you. Uh
31:05
Had to make sure my nieces are all
31:06
right.
31:06
Shasha got on. She did a whole segment
31:08
by herself. Took over the mic.
31:10
Oh my
31:11
god.
31:12
She got greedy. Uh
31:15
Mo 3 rest in power.
31:16
Yes, sir.
31:17
Mo 3 rest in power. Mo 3 rest in power.
31:21
Salute to Amp. If people want to find
31:23
out more about Amp, how do they do it?
31:24
Well, right now we getting everything in
31:26
place, but you can email me at
31:27
commish7@gmail.
31:29
You can look for me on Instagram,
31:30
Commissioner Gordon, and that's the with
31:32
a zero on the on the uh last O in
31:35
Gordon. And as this all gets set up
31:38
behind the song, then there'll be an
31:40
official, you know, Gornet Amplified
31:42
Music Group and that whole thing. But
31:44
right now, just use my uh my
31:46
Commissioner Gordon that's you know
31:48
Commissioner Gordon, the way it sounds
31:50
is the way it's spelled, but put a zero
31:52
at the end of Gordon.
31:53
Yeah, at the end of Gordon.
31:54
And then drop?
31:55
Um We can hit
31:58
uh Drop Squad.
31:59
Drop Squad.
32:00
That's the new uh you know, the new
32:02
circle, you know.
32:03
Drop Squad.
32:04
Yeah, Drop Squad. That's the production.
32:06
So, everything Drop Squad.
32:08
Okay. Gentlemen, congratulations. I'm
32:10
looking forward to hearing the complete
32:12
project.
32:13
For sure.
32:13
If you have you haven't heard this one,
32:15
it's called Just Got Off the Phone.
32:17
World premiere.
32:18
Word. Sway got it first.
32:20
World premiere.
32:22
Mo 3. Thank you, gentlemen, for coming
32:24
by.
32:24
Hey, thank you, man.
32:25
both are citizens.
#Arts & Entertainment