EP8 | The Ogopa Deejays Story (Part VIII) | Pass The Baton |

[00:00:00]So Lucas now Lucas and that producer was Lucas.

[00:00:05]>> Lucas has gone and done all of that.

[00:00:08]>> The roles they play is Lucas. You know Lucas beat Lucas Lucasop.

[00:00:17]Exactly. Then Lucas was saying when I go to Kenya and start a studio called DJs that guy all along was Lucas Oopa DJ the people who started this um the Eric Wina um there's so many people who have inspired me nameless and I is when I see them succeed, it gives me the urge to go.

[00:00:51]>> Yes. So, Bansoft comes after.

[00:00:53]>> But so, let's go back to Agopa.

[00:00:55]>> So, now when we at a goa when I'm when I'm just hanging out with Kina Francis at Agopa, one of the things that used to you, let me tell you, in fact, for a very long time, because I could not save Francis's number on my phone as Francis in case someone sees it ringing. You know the way sometimes for the people who who call you but you don't want everyone to know this you talk to that person >> you change there.

[00:01:26]>> Yeah.

[00:01:27]>> I used to call Francis Karim Bach.

[00:01:31]>> Why?

[00:01:31]>> Do you know who Karim Bach is?

[00:01:33]>> No. No. No.

[00:01:34]>> You know Rockefeller Records?

[00:01:36]>> Yes.

[00:01:37]>> Who own Rockefeller Records?

[00:01:39]>> Jay-Z de Mondash and >> Karim Bach.

[00:01:42]>> Oh, >> so Karim Bach was the CEO? No, I didn't.

[00:01:47]The guy with the suit and the well welldressed news.

[00:01:50]>> Yes.

[00:01:51]>> Karim Bach was the was the CEO of Rockefeller >> and he was the big brains behind Rockefeller.

[00:01:57]>> And you what you talking about the source and what you liked reading?

[00:02:00]>> Yes.

[00:02:00]>> Executive side especially.

[00:02:02]>> Yes. So Karim Bach is the guy who the industry knows him but the public don't necessarily know him.

[00:02:08]>> Yeah. Yeah.

[00:02:09]>> That was Francis.

[00:02:10]>> So I used to call Francis Karim Bach on my phone.

[00:02:14]>> Okay. I had stopped you at a very crucial point the day Isa died.

[00:02:18]>> So we had been having conversations I mean our different interactions with Issa.

[00:02:25]>> Hold on. You had me Issa.

[00:02:27]>> Yeah. Yeah.

[00:02:28]>> Okay. Can we start then from that? Even even when we did when we did there's a gig we did at Homeboys in 2002 where three people performed >> Nini >> Nini Kapp and Issa >> Yes. Nin even talked about it on his CTA.

[00:02:52]>> Mhm.

[00:02:53]>> That was a big deal. It was a big big deal and that was that was largely and I guess that's what ended up pushing me to agopa because because of Lucas and also because Lucas, Francis, >> Mike, John and the whole South B thing cuz they had come up from back then there was a lot of working association.

[00:03:17]So because I was the guy in charge of events at home boys, my work was also to interface with AOPA. So when I started with I went a bit further.

[00:03:27]>> Yeah. This is insane.

[00:03:28]>> So now and how it started was when we were getting them to to come and perform at the home boys gig. Um I went further and started questioning how will you perform?

[00:03:45]>> How will you come in? Are you going to have dancers? Do you need what effects?

[00:03:50]Do you know? Do you have a performance track? Cuz you can't just play it the way we hear it on radio.

[00:03:57]Those were the days.

[00:03:58]>> Oh yeah.

[00:04:01]>> You know, you know the way if you go for for a nameless gig now.

[00:04:04]>> M >> when he's playing >> deadly.

[00:04:10]>> Yes.

[00:04:10]>> Where where they create a track for the stage.

[00:04:14]>> Yes.

[00:04:14]>> Uhhuh.

[00:04:16]You know when Nameless does this and you know how that beat drops >> to the point where >> the audience knew it but they loved it always and it was like always a fresh that >> cuz the song doesn't start like that necessarily but the per Yes.

[00:04:40]and then he goes back, you know. So all those things I believe John had an influence over them somehow with Lucas >> in terms of creating >> tracks on for stage performance that were different from what you hear on radio.

[00:05:00]>> So I got so much involved in that. Then I think that's where our friendship with Francis initially not even Lucas Lucas we were boys already because of home boys but Francis our our our working relationship now started from there. So now he could see cuz I think in the middle of conversation >> you saw from a business perspective, from an audience interaction perspective >> cuz with me keeping on reading the source, the vibe and all. I used to I used to figure out what can I bring to the industry in Kenya. So I would I would just throw ideas at Francis. So I think he saw something. So he p he pulled me closer.

[00:05:43]>> Uhhuh. Uhhuh.

[00:05:45]>> So now >> and also you're an easy guy to work with. [ __ ] you're not you're not too difficult.

[00:05:50]>> Thanks. So I So we got to a level where some Tuesday a certain I can never I can never forget we agreed that a certain Tuesday we meet to finalize and sign an agreement where I was to be Issa's manager. What? Yes.

[00:06:20]on a Tuesday. He died the Sunday before.

[00:06:23]>> Ah yeah yeah yeah.

[00:06:27]I'm so glad. First of all, I'm so glad we've taken this thing slow. But what you got to the level where you were going to be Issa's manager.

[00:06:41]Okay, rewind. Faki.

[00:06:44]>> So one day I went there. I went to South Sea and then so we're just seated there.

[00:06:50]We're chilling. Isaai is busy, you know, writing lyrics.

[00:06:56]Then all of a sudden he he has an idea.

[00:07:00]He's like, you know what, so he starts wrapping the verses.

[00:07:11]So he's like, uh, I don't know how he was doing it. And then uh he's like then he's like what can you do then? So I'm listening to this guy and I'm like hey okay and remember I'm still not very good at writing.

[00:07:43]He's like, "Yeah, yeah, yeah, yeah, yeah, yeah.

[00:08:03]We don't even know what the hook is.

[00:08:13]You guy.

[00:08:17]Okay. Now, let's think about the hook.

[00:08:20]So, now what are we going to sing about?

[00:08:23]So, he's like, so me I'm there. I'm just trying to come up with a melody. I'm just there.

[00:08:36]Hey And then we like guys can respond to Lucas. He's like, "Bro, we we have a song. Me and Leia, me and Lenny have a song." So you wrote that like it wasn't.

[00:09:21]>> Yes.

[00:09:21]>> Nice.

[00:09:23]>> And for me it was a it was a like it was a a like a different kind of transformation because already Issa had some serious tracks.

[00:09:34]>> M >> and he was so easy to work with like he felt like a brother, a true brother, you know. M >> and um he was cool like very cool and the fact that he had like he looked at me as an artist who can who can who he can work with that particular time was to me was out of this world cuz I was like this guy was >> you know so now that we are working you know literally working and we are sharing ideas for me that was something else, >> man.

[00:10:17]>> It was something else. And and and Issa had dreams.

[00:10:22]>> Issa was thinking far like it was like he was already thinking about going for tours in the US at that time.

[00:10:32]>> That's a dream to people.

[00:10:33]>> Yes. And he he already wanted us to work on another track.

[00:10:38]>> What?

[00:10:39]>> Yeah. And this guy was like and him he was just thinking big big big.

[00:10:44]>> I mean he had even formed a group.

[00:10:46]>> Yes.

[00:10:47]>> With his bros.

[00:10:48]>> What are they called again?

[00:10:49]>> Buccaneers.

[00:10:50]>> Yes.

[00:10:51]>> Habib and manga.

[00:10:53]And he was even writing for them.

[00:10:56]>> What?

[00:10:56]>> Yeah.

[00:10:57]>> That thing that the guy says, "Hey yo, >> it'll be in the intro of Misha."

[00:11:05]Um, turn me up on the headphones or something like that.

[00:11:10]>> Yeah. Oh, when I was asking a question on um >> I'm trying to remember what was there.

[00:11:16]>> The the cing.

[00:11:18]>> Was it for Misha?

[00:11:20]>> Yeah. See, that's that's the only other song that that >> Oh, it was for Bumba. I'm trying to remember which one that was. I can't remember. You know, sometimes Anyway, >> that's social media for you cuz I have a team also. Sometimes I think which one they put out. I'm not sure which tweet you're talking about anyway working with Misha.

[00:11:36]>> So, um, >> so Maisha, we did Misha, it was there.

[00:11:41]Okay. So, we decided this goes to his album. Boom. And then Misha goes to my album cuz we're coming out the same time like he his will come out and then after 3 months. So, we're like, okay. So, it come it after pushing this one, we'll push mine. Anyway, >> so so everything's just working out faster than we even thought. Like, you know, literally check the song now.

[00:12:01]Everyone is on that case. Come, come, come, come.

[00:12:05]I tell you that whole thing did not take more than three months or four months. 3 months. Show sure. Nakuru.

[00:12:15]>> So, first and foremost, you're telling me in that even just before we get to Nakuru.

[00:12:18]>> Yeah.

[00:12:19]>> You're telling me your album on fire was supposed to come out before Nimika for Issa?

[00:12:26]>> Yeah. Yeah. It was supposed to I mean, I'd been there longer. I've been working on it. So it was just known these guys have just come you know they're going to do it after but now me I was a bit slow on writing right this I take time so comes you know initially he's yeah initially Lucas likes him there's something here but he's not even known how to >> to make how do I h this thing to be big big big but he's a talent so we going doing shows he's there he's always there but he's always he's good people like him but in the performances his sound is not you know so he's just there then he realizes quickly and there are guys who do that even south soul will tell you the same story >> they at some point when they did Kenya Kenya live >> Kenya live y >> it made them change cuz when they did a tour >> they like kumb just Nairobi >> so we have to change the sound >> so they adjusted so the same thing >> in fact say they adjusted with I'm I'm a gentleman >> everything changed RK >> You love me baby.

[00:13:32]>> You love me baby is the one was a collab but you love me baby is the one that they went and said okay to me we've been taught by by fire tell us what we need to do for one in music. So then so that's that's crowd I mean that's market feedback.

[00:13:48]>> Mhm.

[00:13:49]>> So so when he clicked and he started taking to Lucas idea after idea and they're all amazing. Lucas just tells me, "Bro, so funny enough, I didn't for me it was I was okay because I'm like, it's okay cuz I'm still working on mine.

[00:14:06]>> Let's on his here." Then you have your your you have your single here. It's going to be pushing and then now you put this other one Misha in your sing. Yeah.

[00:14:14]So where is he? So that it started happening very fast and we are just >> Yi was so happy cuz we're like this is working out exactly how we are saying you get we work together our shows we're giving a amazing package we're giving a value for money for guys.

[00:14:31]>> Mhm.

[00:14:32]>> So that's when of course when a cool when it was that's when I was telling the sweet and I was like you you don't close the show.

[00:14:39]>> So isa was just on another level like >> so what happens now you you guys go to Lucas.

[00:14:43]>> Yes. First of all, he calls and he sings to Lucas the hook.

[00:14:49]Lucas listens to the idea and he loves it.

[00:14:52]>> This guy was creative.

[00:14:53]>> Yes. Very creative.

[00:14:55]>> So now you he he plays for Lucas thing.

[00:14:57]>> He's he plays for Lucas and Lucas is and he just and he's for the idea and he's like, "Okay, I'll do a track."

[00:15:06]>> Lucas knew Issa was special.

[00:15:08]>> Yeah, for sure.

[00:15:09]>> Like he knew this one was my prize. felt he felt Issa like I think from the day they met they just clicked and Issa had ideas from here to Toubuktu like this guy music was embedded into him.

[00:15:32]>> This guy was just out of this world.

[00:15:35]>> Wow. at that particular time, the early 2000s, and he knew.

[00:15:41]>> Okay.

[00:15:41]>> He knew he knew he was good, >> but he didn't show it off.

[00:15:46]>> No, he wasn't. He Issa was not at he know those kind of guys who brag and >> who who want to show off like they know they're good, so they want to show off.

[00:15:59]And uh the way some people you see >> look him he was just easy. He was a simple and easy guy. Very easy. And he loved to joke.

[00:16:14]He loved joking. He loved prankings. G what he loved talking about stories and all that.

[00:16:23]>> Yeah. you know, he was a jovial guy and that's why it was so easy for us to to blend, you know, and he was even talking about doing other songs, us doing other songs together.

[00:16:36]>> The guy's already moved to the onto the next one.

[00:16:39]>> Yeah, he was ready, man.

[00:16:41]>> So now you get into studio tell us that.

[00:16:43]You know, the reason why I like dwelling on Issa, especially with people like you, >> Issa is not with us anymore.

[00:16:48]>> Yes.

[00:16:49]>> Um, and unfortunately, he was definitely that journey was cut too soon. M.

[00:16:53]>> So people like you who spent time with him, Mugash, >> Nameless, >> Bigpin, >> I try and milk an understanding of him.

[00:17:03]>> Yeah.

[00:17:04]>> Through you.

[00:17:05]>> Cuz you guys, you touched him.

[00:17:08]>> Yes.

[00:17:08]>> You get what I mean?

[00:17:09]>> Yes.

[00:17:09]>> Uh you you touched the genius. You touched the individual.

[00:17:12]>> Yeah.

[00:17:13]>> So now you go into the studio. Are you together? Is he there?

[00:17:16]>> Yes.

[00:17:17]>> Tell me a little bit about your interactions with Issa, his personality.

[00:17:21]Were you ever in the studio when you was recording music?

[00:17:24]>> No. And ju just before we get to that, you know, if you really think about it, >> I start I first started by managing Homeboy DJs.

[00:17:34]>> What do you mean? My role in Homeboys was an events coordinator and I grew to be the events manager. But I'm the guy who used to now um get all the schedules done for and knowing this DJ is going to play here, this DJ is going to play here, this DJ is going to play here. I'd be the one briefing Mike that this is the plan I think we should have for the weekend in terms of gigs. Then Mike maybe would change and say, "No, this one sent so and so, this one sent so and so." Then now me I talk to the DJs to tell them you have a gig on this day, you have a gig on this day, you will be picked up on this day. So set up we are starting you know.

[00:18:15]>> So I started from that from back then.

[00:18:18]>> It's just that the artist that you're managing >> was DJs. Yes.

[00:18:22]>> It's like the way now content creators Flaco has a manager.

[00:18:24]>> Yes. Exactly.

[00:18:25]>> You you guys started DJs into musicians into whatever it is that you're going.

[00:18:29]>> This is insane. Okay. So so so Issa >> Mhm. So, um, I'd met Issa several times and especially like when we used to do cuz we called him for other home boys gigs later on like we did other smaller smaller gigs here and there later on and >> but funny enough my interaction about Issa was more with Francis than Issa himself. Yo, >> because we were talking about we were talking about it from the business angle and I can say I was kind of like doing ANR for Agopa at that point.

[00:19:09]>> Mhm. And NR in case somebody's watching and doesn't know what that is.

[00:19:12]>> Artist and repertoire.

[00:19:13]>> What does that mean?

[00:19:14]>> So you're looking after you're looking after artist affairs. You're looking after you're looking at release plans.

[00:19:23]You're looking at at some point I was pulled into even discussions about timing of who what what's the next project. So we'll do Agopa 2 or we'll do AOPA 3 first before we go into so and so unknown member of.

[00:19:42]>> Yeah. So um there was all those discussions why so and so's project has to hold on fast before h coming out because we have to do this other thing.

[00:19:53]Um this okay again there's another rabbit hole. I know I keep stopping you to hear this rabbit hole but I want to understand this level of thinking from AOPA. Why would they make such certain decisions? Because I'm sure this helped you later on when you when you were doing this for your own artists.

[00:20:08]>> It's it's a matter of and and and and I guess I learned it from from them as well as homeboys. It's a matter of you know the you know the homeboy the homeboy the homeboy slogan.

[00:20:20]I don't know if you I don't know I don't know if if they still use it. Keep the crowd moving.

[00:20:27]>> It was about the crowd. It was about the audience. It was about the customer. It was about the consumer. It was about the listener.

[00:20:34]>> So your thinking has to be about them.

[00:20:37]Like give them make something for them.

[00:20:42]>> But of course you go above and beyond and shock them with something that you're sure they love, >> but it's about them.

[00:20:48]>> But it's about them.

[00:20:50]>> So Aopa had this understanding with their hits. Yes. With the songs they're releasing and the and the different artists. This artist is not time for us to release this artist yet cuz the audience won't keep moving. lack of a better word. And you know the beauty about the compilation project >> is you're throwing six, seven, eight artists out there >> to the to the to the masses.

[00:21:13]>> And then now you start watching, what does the audience prefer? What do they like?

[00:21:20]>> So from there, you're able to pick who to start running with.

[00:21:25]>> You get >> that. That was calculated.

[00:21:28]>> Yes.

[00:21:30]These guys are insane.

[00:21:31]>> And at the same time, you're starting to create a sound.

[00:21:35]>> You see, if you if you if you're trying to create a sound, it becomes difficult to create it with one person.

[00:21:42]>> But it's easy to create it with many people. And if you look at even internationally, we had a bad boy sound.

[00:21:49]>> We had a death row sound. We had a susso def sound, we had a no limit sound, >> a la >> we had a la sound.

[00:21:57]>> And in Kenya we had a nopa sound. We had a khalif sound. We had a >> sound, >> you know. So it was you throw all these guys out there and now start watching.

[00:22:11]So by the time Issa now started dropping the songs at the speed and the rate that he was dropping um from Nameless's perspective when I interviewed Nameless he said that the audience reacted so posit positive to that sound that Agopa now began churning out more sounds but I want to ask you did you know of Issa during his transition? What I mean by that from uh from the rapper >> hardcore rapper Joe into most kind of sound.

[00:22:41]>> Yes.

[00:22:41]>> Were you?

[00:22:42]>> So let me not say that I was involved in that transition but I totally understood it.

[00:22:50]>> And to tell you how I totally understood it, I take you back to what I was used to read on the source magazine.

[00:22:57]>> Mhm. The rapper Mace used to be in a hardcore group. His rap name was Murder Mace.

[00:23:07]Mace was going for an audition in a hotel where there was there was an event that had taken place like a conference or something and then different record labels had booked different rooms. So imagine walking to into a certain hotel and then you know they they have different conference conference rooms. So different conference rooms have been booked by different labels.

[00:23:32]>> Mhm.

[00:23:34]>> Miss had a target. He was going to see Jamine Dupri.

[00:23:39]>> Mhm. Mhm.

[00:23:40]>> So so deaf.

[00:23:41]>> Yep.

[00:23:43]>> How did he meet? Did he >> I don't know.

[00:23:45]>> He walked to into the wrong door.

[00:23:49]>> What?

[00:23:49]>> Yes. Miss walked into the wrong door.

[00:23:53]And then >> he met Diddi.

[00:23:56]Biggie was there.

[00:23:59]>> He was told to do a freestyle.

[00:24:03]>> Mhm.

[00:24:05]>> Miss in a song >> says, "I was murder. P Didi made me pretty."

[00:24:14]>> Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.

[00:24:16]>> Because PDI saw the commercial >> in in this product.

[00:24:19]>> In this product. So Aopa did the same thing for Issa. Of course with Issa also willingness to be agile enough to adapt to this new. Do you know even Josiah did the same thing with Kalamashaka?

[00:24:31]>> Yes.

[00:24:32]>> If you think about it.

[00:24:32]>> Yep.

[00:24:33]>> Mhm.

[00:24:33]>> Because if you think about all these people the things that they were doing before were not very palatable to the audience. Yes.

[00:24:40]>> Audience. In fact, a guy like Tedai did it so well cuz Kamashak was so durando hardcore but was accepted this side by even crossing and all those things.

[00:24:55]That's the difference between a producer and a beat maker.

[00:25:00]>> Mhm. Yeah. Yeah. Yeah. Yeah. Drop that nugget.

[00:25:04]Drop that nugget, bro.

[00:25:05]>> That's a difference between a producer and a beat maker.

[00:25:09]>> Okay. So let's go back into this Issa thing. So now you are in you you are at home boys. There's this vibe that you're having of course interact with Issa because of the homeboy role that you play but then at the same time you and Francis are beginning to enter this >> hr relationship that is really working to the point where he wants to make you Issa's manager.

[00:25:31]>> Yes.

[00:25:32]>> So but then now tell me about a bit about the interactions with Issa. Was he difficult to work with?

[00:25:37]>> No. So Issa was very easy. And now there's one thing that that that also Agopa taught me when you when if I'm have if I foresee that I'll have difficulty with you, I look for other people who you're easy around and I make sure they around you when I'm trying to tell you something and especially if it's artists. M now a very important cog in Issa's life and Issa opening up and and and listening to Kina Francis was big bin.

[00:26:18]>> Mhm.

[00:26:20]>> And you see because they grew up together it was easy to have conversations with all of them together.

[00:26:25]And you know, you'd have something serious to say, but look for an easy point where you guys are just joking, vibing, then drop it there. So, it looks like a joke initially, but then you keep on insisting, then something comes out of it. And now you see because there were many artists to work with. If as a label, you see Richie is not listening to what I'm trying to tell him. M >> but Derana >> so I start working with Derek you'll ask questions you'll come to me and ask me what's going on so I tell you may I think this is what you should do I told Derek this is what he should do and >> inana >> inana so yeah so you you need to see it >> but that is a skill on its own for key working with creatives is >> ex it's a skill even on just CTA in terms of me working with them for to have this conversation. I've realized it's not too many people who can understand and how to work with creatives.

[00:27:29]>> What are other tips you'd say >> that you have for managing creatives?

[00:27:35]>> You have to you have to know them beyond the work like unfortunately you have to you have to get personal with them but not too personal to the point where >> you miss it too.

[00:27:48]>> Yeah. So you have to know their likes and dislikes. You have to beyond work, you have to be the guy who goes and hangs out with them. So you're hanging out with them. You're understanding them. again if you want to pass pass an idea. So you talk about hey so you start planting the seed slowly but you know the direction you want to go. So you start planting the seeds slowly and then even you start now even giving local examples where you say then you leave it at that you know.

[00:28:40]>> Okay you're good.

[00:28:41]>> So you have you you have to learn you have to learn them then now you start talking in their language. Mhm.

[00:28:48]>> Sometimes it even takes um almost threatening >> in terms of um your project just takes long. M >> but so and so's project is is is is taking yeah it's taking a shorter time and you wonder why you know there's there's there's some things like say before a gig Lucas would tell an artist and I was there >> Lucas would tell an artist >> when you get on stage >> do this do this this is how you enter this is what you do you see this song this new song that we've we are recording But we haven't released it.

[00:29:33]>> I'll make for you something. Just tease it so that we test it.

[00:29:40]>> But then you you get on stage.

[00:29:44]And the challenge is when you get on stage, the crowd controls you and then you forget Lucas.

[00:29:54]>> And Lucas is is who has gotten you to that stage, but you forget him. So you don't listen to him. So see, he's given you something to test with the crowd.

[00:30:04]You don't test it. Now when you go to the studio, you want to continue recording it, but he asked you to test it.

[00:30:12]>> Yeah. Yeah. Yeah. Yeah.

[00:30:13]>> You didn't listen. So what do you want him to do?

[00:30:16]>> He can't continue with it because he hasn't gotten the feedback he needed.

[00:30:20]>> If he was just any other person producer or beat maker, he would have just continued recording and given you. Lucas is freaking brilliant.

[00:30:29]>> Like I can't believe he went to that level.

[00:30:32]>> Many times, not once. Many times. Many times. Many times I was there.

[00:30:40]>> You We'll pay Lucas to come here.

[00:30:43]Check in the comments.

[00:30:44]>> Lucas, unless when you're talking to him, you cover his face or something.

[00:30:48]>> I don't mind. We can make the whole room dark. Come on podcast to watch a podcast. That guy that guy needs to be on this thing. I the his his his brilliance is on our level.

[00:30:59]>> You get what I mean? What?

[00:31:03]>> Okay. Don't know. Okay. We we get his we're talking about [ __ ] his food and this story she Okay. So I keep going again back to Issa.

[00:31:12]>> So you and the interaction just honesty.

[00:31:15]>> We didn't we didn't really interact a lot. Okay. Because again like I said the interaction was more with Francis because it was more of business planning >> and then also I think there was the comfort of by then by the time I'd met Luc I mean I'd met Issa he was he was >> the vibe I got from him and even from Francis and Lucas was that he was an easy guy to work with. Okay.

[00:31:40]>> Like you wouldn't have trouble with him.

[00:31:42]He listens. He's easy. He's and then his level of talent is is at a place where you won't struggle in your work.

[00:31:52]>> Okay. Yes.

[00:31:53]>> In fact, your struggle will be >> managing the demands.

[00:31:57]>> Yes.

[00:31:59]So, it was easy. But we were supposed to now have that conversation properly.

[00:32:04]Now, the three of us cuz Francis had had the conversation with Issa.

[00:32:10]>> Now, you had had it with you?

[00:32:11]>> Then we had had it with him. Then Francis mentioned it when we were with Issa. But then now the plan was let's now sit down and discuss this further.

[00:32:22]So um yeah Lucas comes up with a beat. He calls us into the studio. I'm not sure whether he's the one who calls me. Am I think Isa is the one Issa is the one who called me. He's like hey boss trackic already. So, so I went to South and we met there both studio track.

[00:32:57]So I I go in I do my my chorus.

[00:33:04]So that part actually you know.

[00:33:13]>> Yeah.

[00:33:15]So I start with I think I started with the chorus and then he arranges it a you know he's on in his buzz in the verses and then Isaak gets in he does his first verse.

[00:33:34]>> So you saw him in the studio.

[00:33:36]>> Yes.

[00:34:01]Boom. Boom. Boom.

[00:34:18]Hey, then we he males us the I mean we males the first verse then I get into my my the second verse.

[00:34:29]Yeah.

[00:34:32]So, my goodness, by the time we're doing that second verse, that's another song I realized he >> because as usual, Lucas would after finishing recording >> and do a small mix up then he walks out and then he lets you listen to the And then at that time, it's just a shell of a track.

[00:35:15]So later he goes on and does pick us that track. you guy by the time the end product so that we can take it to the station.

[00:35:31]>> Did was that song released while you Isa was alive?

[00:35:36]>> Uh yes it was.

[00:35:40]>> Okay.

[00:35:42]>> Although I think I remember I think they had done Bumba. M >> with Nameless and Bumba was a big song.

[00:35:54]>> Bumba. In fact, I remember I was worried because Bumba was a huge track. It was such a huge track and in fact they had started touring with Nameless.

[00:36:05]>> Did you ever perform with Issa?

[00:36:08]>> No. Unfortunately, I only performed with Issa once Eugi. No, because by the time we're going to Eugi, I don't think I'd done Kamata.

[00:36:20]>> Okay. With him, >> but he had done uh you know, he had done the song with Big Pin. I think >> their collab with Big Pin and Kupt.

[00:36:30]>> Uh you know, he had done the song with Big Pin. I think >> the collab with Big Pin and KP >> and also he had his own >> uh singles.

[00:36:42]>> Yes. But that time he's Battle of the Hardcore guy.

[00:36:45]guy, you know. Um, so there's this gig uh where he went to school. Um, where was that?

[00:37:00]>> Brook House.

[00:37:01]>> Brook House. Yes. There was a gig in Brook House.

[00:37:06]And that is where we did our first and only show, >> me and him, >> for that collabbo that we did. And unfortunately after that they you know they went for a gig in KN with him and Nameless because of you know that collabo they did for Bumba because it was such a heat.

[00:37:26]>> Um then when they were coming when they were coming back from from KN you know the accident happened.