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MIAMI LEGENDS: DEVASTATOR (PART 2)
Do you think since Luke was getting sued that he didn’t have to pay you? “Well I don’t know what type of animosity it was because after I pulled up the bootleg record to squash the lawsuit for Corey Robinson who owns Priority Records, he saw that I didn’t sample Rob Bass that it was this girl I sampled, there was no lawsuit. So Luke claims that Joe Weinberger them tell my lawyer that I’m not getting paid because he has to pay for the sample on ‘Shake What Your Mama Gave You’. It ended up getting cleared. I don’t get paid. Next royalty period ‘I Wanna Rock’ is f**king gold on it’s way to platinum. Luke says, “Now sue me. F**k it sue me. Everybody suing me, sue me.” I say, “Ok. I sue your ass for both my records.” The judge awarded us $34 million dollars. Luke and his lawyers stand up and say bankruptcy. At this time, we had just got kind of cool and me and Joe Weinberger got cool, so I’m hearing both sides. Luke says he borrowed some money from Joe Weinberger. Joe Weinberger then tried to give [Luke] some paperwork to get 70% of his company. Joe Weinberger says he gave Luke some money and Luke fired him. Luke says he fired Joe Weinberger because of the paperwork.” Did you ever sign to Luke as a producer? “I went to do a deal with Luke. Four groups, two albums, $100,000 a song.” Was this before ‘Shake What Your Mama Gave You’? “This was after ‘I Wanna Rock’ and ‘Shake What Your Mama Gave You.’ Ron May got us to sit down and talk.” Do you feel like you settled or got the money you deserved for ‘I Wanna Rock’ and ‘Shake What Your Mama Gave You’? “No I don’t.” So after that you just decided to keep making hits and move on? “Yea. We going to get this shit right this time. I got my paperwork right. My paperwork that I didn’t have back then, I have that in tact. I’m going to pay the lawyer some money. He taught me this paperwork sh*t. I got some books and read some books. L.A. Reid’s cousin, Charles Reid, gave me these books. So I read these books and it taught me a lot of sh*t. I already had a lot of contracts on this shit and the books had how you’re supposed to do it. So I’m looking at my errors.” So Ron May got you to sit down and talk and you got your business worked out? “Yea. Got us to sit down and talk. So me and Luke went to do a deal. Four groups two albums a group, $100,000. I’m bringing the groups, so it’s going to be a 60/40 split. I do 60 with me, 40 for them off $100,000. Then you got two albums. He wants 10 songs. So that’s like 20 songs. I f**ked around this time helping my dawg out, Bulldog. He goes in and f**ked up the whole deal. We do eight songs in seven days. The last two songs took two months. He went and told Luke that he needs a m*therf**king condo on the beach. His first advance of his money was $20,000. He went in to Rolexxx and [dropped] $12,000 one night just wildin’. But we did eight songs in seven days. The last two songs took two months. Luke says, here go the reel, keep whatever money you got. But Bulldog was all out the door all out in the parking lot yelling. Luke had a two-story building and Luke would look out the window and see you. He’s all out the window yelling. I had a meeting with Luke. Talked with Bulldog and me. Me and Bulldog had words. I didn’t take it there. I knew it was over. Luke said, “Devastator. I trust you. Here’s the key and the code to the studio. Go over there and get your reels. Whatever money y’all got, go ahead. I don’t want to deal with that boy.” So Luke basically drop the deal. Did you and Luke do anything after that? “No Good But So Good was on Luke Records. They got me to go and do one record for them. I always deal with my dawgs. Luke was dealing with Ruffhouse Records. I did one song on No Good But So Good.” What’s up with the lawsuits that you’re trying to deal with for the old music. Is it still going on? “Wasn’t getting any money. Never got any money. What happened was I met this lady over at Poe Boy Records. I’m at Poe Boy Records. E-Class did me the favor. I had gotten into some trouble and sat in jail for four months. E-Class bonded me out [and said] do some music. E had this lady here and my song ‘Shake What Your Mama Gave You’ came on the radio. This lady started bouncing to the music and said she love the song. E-Class’ head secretary Kim was looking for some equipment on the web for me. Kim told her who I was and that I had made the song. She was like “You never got paid for that?” I’m like naw. She called her friend in New York. What I did was I signed off on everything. I still got a reel of my sh*t. Joe Weinberger got his reel. I know Luke had his reel. I still have my sounds of ‘Shake What Your Mama Gave You’ and ‘I Wanna Rock’ and all that. Joe just did me like $30,000 to sign off on it.” To let everything go cause the heat was coming? “Yea. F**k that. F**k the headache. I haven’t seen any money except my advance. I got the other half of my advance because I stuck fire to Luke to get my sh*t. But now we all cool. Me and Luke cool. Joe Weinberger them are scared of me. They scared of me over there.” Joe Weinberger owns all of Luke’s music now. “Yea. He took everything from Luke. He’s actually not supposed to have ‘I Wanna Rock’ or ‘Shake What Your Mama Gave You’ because I never signed off on it. I never gave them my publishers or any of that. They had this bogus publishing company called Pack Jam Publishing that f**king supposed to be taking care of everything. The company wasn’t even f**king incorporated come to find out. That’s just money he got away with.” How did you and Lil’ Jon work together? "Shout out to Atlanta. I’m up in Atlanta, im doing stuff with So So Def Records. So when I go in the office, So So Def has this little kid in the office, this little nerd, but he was cool. Real cool. He was head of A&R. He really knows this game. He was president of A&R at So So Def. He’s handling all the big groups promotion for Jermaine. I’m like “Damn.” Me and him start hanging because he knows some of everybody that I knew in Atlanta. Weinberger calls me back down here. He’s like, “Devastator, I hear that you have some stuff on Luke that never came out.” Im like “yea.” Hobbs try to tells me that for 5 or 6 songs, ill give you 3 grand. That’s it. You had me fly all the way down from Atlanta and try to insult me. Then Joe Weinberger pull me to the side and asked me what I wanted. “I was like give me 5 grand a song and what I give you is yours.” I wasn’t going to give him my original reels. I was going build some sh*t, sample some sh*t, put some sh*t together. These words those words. Put sh*t together. I did it like that. A hot artist down here at that time was named Verb. He was a little kid that got down with Disco Rick and the Dawgs and then the new 2 Live Crew. He was part of the new 2 Live Crew. I had some music on him. So I took some of his words. I didn’t use the original sh*t. Some sh*t I sampled and put together. From that we ate and ate. Then I shot back to Atlanta. Now, at this time, Lil Jon had done real f**king good for So So Def Records. So he gets a little sidekick budget. Jermaine gave him a little sidekick budget and a little power to do this bass compilation album. He did the “My Boo” record. F**king blew up for him. The “My Boo” record blew up for him on the first volume. So on the second volume, he signed this kid which is making noise now, Bo Hagen. To this day I have not met this kid, this is ’94 im talking about. I never met this kid. Lil’ Jon call me and said “Yo man. Devastator I need a record from you man. I need some fire from you. I need a hit from you. I need this dawg. I need you to do this.” This is back in ’94? "94 Man. When he signed Bo Hagen. I never knew. I have never yet still met Bo Hagen. They sent me Bo Hagen lyrics acapella. Little country slang cat. They wanted an uptempo record and his lyrics weren’t uptempo. So I had to use some trickery that I knew and make him a record, up-tempo without changing his vocals or messing up his vocals. That’s his first record. He got a platinum record off of me. I never met him. He never came in the studio. I took this drum machine, the KIA2000, sampled his vocals in it." What was the name of the record? "Uh Oh." I still get royalty checks now off of this sh*t. I own all my music plus Lil Jon wanted me to get on the record. So I got half of the writers. I own 75% of this record. Was Lil’ Jon making beats back then? "Lil’ Jon wasn’t making no beats. He didn’t know anything about any beats. This is how Lil’ Jon came about. He wasn’t doing [anything]. His hair wasn’t longer than your pinky. This cat came down, came in my house. At this time I was married and my wife fed Lil’ Jon. I just recently remind her, we’re not married now, but remind her that she fed Lil’ Jon. I had you come get the check and open the check for half of 25 grand up front. She’s like “yea I remember.” Then we went to the studio. I used Danny D’s drum machine. He made “Boom I Got Your Girlfriend” a hot little record down here. My equipment had recently got stolen out of a hotel. “Danny D. I need your drum machine. I need your drum machine.” He loaned me his drum machine. He knew Lil’ Jon. He brought me his drum machine. He hollared at Lil’ Jon. We had some hoes come through the studio. The whole nine. Lil’ Jon sat there and watched me do what I’m doing. Then I went in there in the vocal room and laid down my vocals. And he was just f**king stuck. Like “damn man, how you do that sh*t man. Man, you gotta show me this sh*t. you gotta teach me this sh*t Devastator man. You gotta teach me this shit. So he sat right next to me at the board and I broke my whole mix down and showed him how I mixed. He says “how do you work this machine. How do you work this drum machine.” So I already had some sounds and sh*t on the drum machine and I showed this kid this drum machine, this KIA2000. Danny D’s drum machine. Then I was like, if I was to program on it, this is how I would program. Then I f**king did “Bia Bia” right quick." So you did “Bia Bia”? "On the house, showing him the drum machine. Went to get ready to cut if off and go back to the mix. He’s like “ hold on, what you gonna do?” “Im gonna cut this shit off and go finish this shit up. We kind of running late over time.” He said “naw man let me have that. Save that. Let me have that.” So I said “aight, if you use it, holla at your boy.” Saved it and gave him the disk. Cut the machine off. Went back and he sat right next at me at the board. I said check this out man, “when I hit these two buttons, which was record and play, im going to record my last pass on this song. My crunk. My high. What they call crunk, its Devastator getting hype. That’s where this crunk shit comes from. Comes from Devasator getting hyper. Jamming, rocking the mic. wildin out on the mic. Came back and he’s like “Damn man.” I said “check this out man. You wanna hit this joint?” He says “Yeah.” “You really wanna learn this sh*t here?” He’s like “Yeah.” I have some hoes in the studio at this time. I’m still used to Luke’s atmosphere in the studio. He would skip studio to get hoes on his private jet and bring them back and then call me to go in the studio. Hoes from everywhere. These models. I got some hoes in the studio. I’m like “Yo man, you wanna hit this joint?” hes like “yeah.” “Yo man, you wanna learn this sh*t.” He like “yeah.” “Little man, you wanna f**k these hoes?” he like “yeah.” I said “that’s going to be the biggest word you say.” He said “Like what?” I said, “yeah ni**a. Yeah is gonna be the biggest word you say.” I said it first on “Shake What Your Mama Gave You.” I’m telling you this is a true story of how this sh*t really went down. I started it on “Shake What Your Mama Gave You”, that’s just some simple words that drive m*therf**kers. Get them started. Get them crunk. You say it a certain way, you gonna make something out of that sh*t. “You think so.” “Ni**a I know so” Next thing I know, He [saying] Yeah. Yeah on every f**king thing. His wits and his growls. The ice in his mouth."
DEVASTATOR UNCENSORED LIVE INTERVIEW PT. 3 DEVASTATOR UNCENSORED LIVE INTERVIEW PT. 4 Look out next week for MIAMI LEGENDS: DEVASTATOR (PART 3) including his beef with Lil' Jon, why Devastator is looking for him, and what projects he's working on now
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