>> green: You know, I can recall a time where I didn't have anything positive to say, then
all of a sudden, everything
I wished to say, you know, is to
convey message and give hope and
give strength and give
encouragement and enlightenment.
Give strength and give encouragement and enlightenment. I guess it's because I needed
it, too, you know what I mean?
And I believe that goodie mob
was a saving grace because it
and I believe that goodie mob was a saving grace because it was the family that I needed,
you know, in my time of loss,
and it was the catharticism I
needed, you know, to be able to
express and to vent and to be
heard and to be embraced and
understood.
Heard and to be embraced and understood. I think essentially, it was
a coping mechanism for me.
I didn't -- I didn't know any of
my notions or, you know, or
anything about me was eccentric
or unique or bizarre.
Anything about me was eccentric or unique or bizarre. But it was.
Or unique or bizarre. But it was. [ laughs ]
-- captions by vitac -- www.Vitac.Com
♪ ♪ ♪
I was born and raised in
atlanta, georgia.
I have one sibling -- I have
an older sister.
A single-parent household,
but a crowded house.
I grew up with my entire family
in one house -- maybe about
15 people.
In one house -- maybe about 15 people. Talking about a grandmother,
a great-grandmother, a mother,
talking about a grandmother, a great-grandmother, a mother, an auntie, two cousins,
a sister, an uncle, and
an auntie.
A sister, an uncle, and an auntie. [ laughs ]
a lot of love growing up.
Both my mother and father were
ordained ministers.
I lost my father very early.
Ordained ministers. I lost my father very early. I lost my father when I was
about 2 years old, and I lost
my mother when I was about 17.
About 2 years old, and I lost my mother when I was about 17. I do remember the significance
of the loss, I just had not...
Experienced the significance of
having a father at all, because
experienced the significance of having a father at all, because I was very young and I did not
know the difference.
But I do remember the day of his
passing and the processional.
I think the craving for a male
figure and presence in my life
was more subconscious than
conscious, but I can say there
was a reoccurrence of multiple
male presences, you know,
throughout my young, adolescent
life.
Throughout my young, adolescent life. I remember there used to be such
a thing called a big brother
program, so I remember
mr. Bailey.
Program, so I remember mr. Bailey. He used to come and pick me up
and take me to baseball
he used to come and pick me up and take me to baseball practice.
And take me to baseball practice. You know, and then we ultimately
found a church home at
you know, and then we ultimately found a church home at fellowship of faith
international in atlanta,
georgia, in east point.
International in atlanta, georgia, in east point. And I remember brother jim avery
took a liking to me, and him and
and I remember brother jim avery took a liking to me, and him and my mother ended up being really
good friends for a long time.
My mother ended up being really good friends for a long time. In short, I had a lot of love
and had a lot of support over
in short, I had a lot of love and had a lot of support over the years.
And had a lot of support over the years. My mother was dynamic in a way
of where, you know, she was...
This...Mixture of male energy
and female energy.
It gave her a harder exterior,
you know what I mean?
And a little difficult to deal
with at times, but she was
and a little difficult to deal with at times, but she was a very driven and motivated
mover and shaker.
A very driven and motivated mover and shaker. My mother was something else --
independent, enterprising,
my mother was something else -- independent, enterprising, ambitious, audacious, you know,
and accomplished quite a lot.
Ambitious, audacious, you know, and accomplished quite a lot. My mother was a special woman.
And accomplished quite a lot. My mother was a special woman. On her own personal plight and
my mother was a special woman. On her own personal plight and pursuit of happiness, we kind of
on her own personal plight and pursuit of happiness, we kind of oversighted the maternal nature
of, you know, typical or
traditional mothering.
Of, you know, typical or traditional mothering. But, you know, her way and her
approach, you know, had a great
but, you know, her way and her approach, you know, had a great deal to do with who I am today.
Approach, you know, had a great deal to do with who I am today. So no complaints.
Deal to do with who I am today. So no complaints. If I could say anybody helped
so no complaints. If I could say anybody helped raise me and my sister, was us
if I could say anybody helped raise me and my sister, was us raising each other, pretty much.
Raise me and my sister, was us raising each other, pretty much. We were what they called at that
time latch key kids.
So, you know, you got that key
tied around your neck with a
so, you know, you got that key tied around your neck with a shoestring and, you know,
a couple of tokens for the bus
and some fish sticks. [ laughs ]
you know what I mean?
And some fish sticks. [ laughs ] you know what I mean? Don't answer the phone,
you know.
If it's me calling, then let it
ring twice then hang up or
if it's me calling, then let it ring twice then hang up or something like that.
Ring twice then hang up or something like that. My older sister took care of me
a lot of the time.
I'm really grateful for
my sister.
As a kid in school, I was
something else.
It only is revealed to me in
retrospect that..I was always
it only is revealed to me in retrospect that..I was always an artist.
Retrospect that..I was always an artist. Just without the encouragement
or the outlet, you know?
So, a lot of it...Manifested
itself as disobedience and
so, a lot of it...Manifested itself as disobedience and incoherence, you know.
Itself as disobedience and incoherence, you know. I couldn't focus, you know, on
the lesson at hand.
I was easily distracted.
The lesson at hand. I was easily distracted. I just didn't have
a constructive way to convey it
at that time.
A constructive way to convey it at that time. And also, I grew up in church,
so gospel music was where
and also, I grew up in church, so gospel music was where everything, you know, was like
a culmination.
Everything, you know, was like a culmination. Me losing my father so early,
I found -- I found a connection
me losing my father so early, I found -- I found a connection in the voices of soul men of
that time, whether it was
the blues.
That time, whether it was the blues. A good friend of my mother's,
alley pat, who was a radio
a good friend of my mother's, alley pat, who was a radio personality at that time, and he
gave me a box of 45s, and so
that way, I discovered
johnnie taylor and z.Z. Hill
and bobby blue bland and
b.B. King and all of those
voices that the tonalities just
sounded like mature men.
Voices that the tonalities just sounded like mature men. I picked up on a lot of those
inflections, and they ended up
ultimately becoming my own
voice.
Ultimately becoming my own voice. All of those names inspired
my path, you know, musically,
all of those names inspired my path, you know, musically, and I wanted to...Emulate it.
My path, you know, musically, and I wanted to...Emulate it. I always had an older taste --
older taste in music, cars,
clothes, women.
Older taste in music, cars, clothes, women. A lot of what, you know, has
become my own music and career
a lot of what, you know, has become my own music and career is really based off an imitation
of life.
Is really based off an imitation of life. All of those older guys giving
me game, you know what I mean,
all of those older guys giving me game, you know what I mean, but me just picking up on it.
Me game, you know what I mean, but me just picking up on it. And eventually, I became myself
because of it.
The guys in goodie mob were guys
from the neighborhood -- myself
the guys in goodie mob were guys from the neighborhood -- myself and t-mo goodie grew up in
the same neighborhood, a street
over, which --
he's my sister's age.
Over, which -- he's my sister's age. My sister, shedonna, graduated
with t-mo, khujo, and big gipp,
my sister, shedonna, graduated with t-mo, khujo, and big gipp, class of '90, benjamin e. Mays
high school, southwest atlanta,
georgia.
High school, southwest atlanta, georgia. I just so happened to know t-mo
because we grew up in the same
neighborhood -- a street over
from each other, as a matter of
fact.
From each other, as a matter of fact. You know, he was a few years
older than me, but there was
you know, he was a few years older than me, but there was something about him and
something about his eyes that
were always so memorable to me.
Something about his eyes that were always so memorable to me. Brandon peters, killer b, and
james douglas, j.D., god bless
brandon peters, killer b, and james douglas, j.D., god bless the dead, ended up being
my managers.
The dead, ended up being my managers. There's another good friend of
ours from high school named
there's another good friend of ours from high school named glen cook.
Ours from high school named glen cook. His house was, like, the party
house, you know.
Either we was cutting school to
go over there and drink a beer
either we was cutting school to go over there and drink a beer and hang out all day or he was
having some type of cookout or
some type of function at his
house.
Some type of function at his house. And so we all ended up over here
one day.
Just prior, I had heard
the lumberjacks demo, and I
just prior, I had heard the lumberjacks demo, and I ended up at this place, and I
walked up on a rap cypher, you
know what I mean?
Walked up on a rap cypher, you know what I mean? And khujo says to me, "I heard
you rap."
and khujo says to me, "I heard you rap." and I was like, "I heard you
rap."
so, you know, it wasn't
a battle, but it was just, like,
a -- it was like a cypher.
A battle, but it was just, like, a -- it was like a cypher. So, you know, they pulled up
a beat and we rhymed with each
so, you know, they pulled up a beat and we rhymed with each other and gipp chimed in, and,
you know, I don't even think
t-mo was there, but, you know,
it was cool, you know what I
mean?
It was cool, you know what I mean? Like, there was a camaraderie
there because we all knew each
like, there was a camaraderie there because we all knew each other, and it just so happens
that b and j.D. Started to
manage me after this cypher.
That b and j.D. Started to manage me after this cypher. They ended up taking me over to
the dungeon, but it turns out I
they ended up taking me over to the dungeon, but it turns out I had already been to the dungeon
because of my other friend, call
him fat keith.
Because of my other friend, call him fat keith. We're hanging out in the mall --
I hung out in greenbriar mall
we're hanging out in the mall -- I hung out in greenbriar mall every day after school.
I spent almost my entire life in
that mall.
We see marqueze ethridge at
the payphone.
Me and fat keith walk up on him.
The payphone. Me and fat keith walk up on him. They know each other from
me and fat keith walk up on him. They know each other from somewhere.
"yo, what's up?" blah, blah,
blah, blah, blah.
Then, you know, at the time,
everybody was always, you know,
then, you know, at the time, everybody was always, you know, supporting me on some, "yo,
my man rap.
Supporting me on some, "yo, my man rap. Check him out."
so we went outside, I rhymed for
check him out." so we went outside, I rhymed for him and I sang for him, and he
was like, "I like your singing
more than your rapping."
he said, "as a matter of fact, I
was on the phone trying to call
over to the dungeon."
he was like, "I know they
there."
keith was like, "oh, I'll give
you a ride over there."
so we end up taking him over
there.
So we end up taking him over there. Oh, man.
There. Oh, man. I'm just missing out on too many
oh, man. I'm just missing out on too many parts of this story, yo.
Okay, let me try to add on to
that.
Me and andre 3000 also went to
elementary school together,
me and andre 3000 also went to elementary school together, and then I didn't see him for
years.
And then I didn't see him for years. I didn't see him again until
the 11th grade.
We had both dropped out of
high school and we were going to
we had both dropped out of high school and we were going to what's called an alternative
school -- frank mcclarin
alternative high school in
college park, atlanta, georgia.
Alternative high school in college park, atlanta, georgia. So we picked up like a day
hadn't gone by, and I introduced
so we picked up like a day hadn't gone by, and I introduced him to my friends d.J. Wayne,
god bless the dead,
emcee alley al, etcetera.
God bless the dead, emcee alley al, etcetera. And I was in a crew called
the ga style.
Al ends up being the father of
my two nieces.
So he's literally a brother to
me.
I introduced andre 3000
and big boi, antoine patton, to
them, you know, and they
produced their first demo.
Them, you know, and they produced their first demo. Anyway, it didn't work, and I
remember him coming back to
anyway, it didn't work, and I remember him coming back to school one day saying like, "yo,
we met these other dudes, blah,
blah, blah, organized noise."
you know, they got -- they got
some [bleep], you know what I'm
saying?
Some [bleep], you know what I'm saying? So anyway, fast forward.
Saying? So anyway, fast forward. The dungeon is where he was
so anyway, fast forward. The dungeon is where he was talking about, and we take
the dungeon is where he was talking about, and we take marqueze ethridge over there.
Talking about, and we take marqueze ethridge over there. Sleepy brown is sitting in there
by himself at the time.
I end up singing for him and
rapping for him.
He said, "I like your singing
better than your rapping."
he said, "I like your singing better than your rapping." you know. I'm like, "ok."
then here comes rico wade, walks
in the door with big and dre.
Then here comes rico wade, walks in the door with big and dre. And dre screams out, "that's
my homeboy, ceelo, who I was
and dre screams out, "that's my homeboy, ceelo, who I was telling you about."
I go back over there a second
time with killer b and j.D., and
everybody's over there this
time.
Everybody's over there this time. So they felt like they was --
you know, they was kind of
so they felt like they was -- you know, they was kind of trying to show me around as
management, you know, almost to
say, like, "yeah, we turning you
on, taking you to new places,
new faces."
so we went over there and gipp
and t-mo and khujo and dre and
everybody was over there.
And t-mo and khujo and dre and everybody was over there. I'm like, "oh, ok, I've been
over here before."
so to make a long story short, I
started to live over there.
So to make a long story short, I started to live over there. I was living with my auntie at
the time.
High school dropout, wasn't
doing much, didn't have nothing
high school dropout, wasn't doing much, didn't have nothing going on.
Doing much, didn't have nothing going on. A statistic waiting to happen,
and I got to just say in short
a statistic waiting to happen, and I got to just say in short that rico wade, the generosity,
the selflessness, you know what
I
mean, and the foresight of this
man literally saved not only my
life, but the life of many
others, because he allowed us to
sleep there on his floor till we
got on our feet.
Sleep there on his floor till we got on our feet. And that is the story of
the dungeon, you know, in a big,
and that is the story of the dungeon, you know, in a big, old, fat nutshell.
>> green: My understanding of being an artist at that time was really vague.
Being an artist at that time was really vague. I just felt very fortunate.
Really vague. I just felt very fortunate. I finally had that camaraderie,
that brotherhood, that village
to be a part of that was very
supportive and encouraging.
To be a part of that was very supportive and encouraging. Although it was a large,
collective effort, we were all
although it was a large, collective effort, we were all still individuals, so I felt
surrounded by talent and
perspective, and just people,
physically, but I also felt like
I was the only one there, and I
had my own particular skill set
and lane and I could come in and
contribute.
And lane and I could come in and contribute. I just -- I miss those times.
Contribute. I just -- I miss those times. The beginning is always
the best.
♪ >> green: How goodie mob got together -- we were all
three separate entities.
Together -- we were all three separate entities. I came to the dungeon
as a solo artist.
Big gipp had just recently
parted ways with his original
big gipp had just recently parted ways with his original group, the east point
chain gang.
Group, the east point chain gang. The success of the outkast
debut album, "southernplayalist-
the success of the outkast debut album, "southernplayalist- icadillacmuzik,"
was like a phenomenon because it
was the first of its kind.
Was like a phenomenon because it was the first of its kind. It really gave identity to
the south and to atlanta, and we
it really gave identity to the south and to atlanta, and we were next up.
The south and to atlanta, and we were next up. But there was a bit of a dilemma
on who exactly would be next.
It was the -- again,
the foresight and
it was the -- again, the foresight and the practicality of --
and the common sense of
rico wade, again.
And the common sense of rico wade, again. I just got to give so much
credit to him because it was his
idea to put us all in a group
together, really similar to the
wu-tang, you know, approach, in
the effort to get us all out at
the same time.
The effort to get us all out at the same time. I guess pretty much the rest was
history.
>> green: Legend has it that I was supposed to be the third member of outkast, and yes,
there's some truth to that.
Member of outkast, and yes, there's some truth to that. We talked about it really
casually, maybe once or twice.
The notion came from me, dre,
and big are all the same age.
So there's that connection
there, and also, on one
so there's that connection there, and also, on one occasion, I had to stand in
for big boi.
Occasion, I had to stand in for big boi. We was doing like a cable access
show that came to frank mcclarin
we was doing like a cable access show that came to frank mcclarin alternative school.
Show that came to frank mcclarin alternative school. We went for it.
Alternative school. We went for it. So I just don't think big was
we went for it. So I just don't think big was available to do it that day, and
so I just don't think big was available to do it that day, and at that time, you know, big's
family was really stern about
him, you know, excelling
academically.
Him, you know, excelling academically. You know, me and dre were kind
of like the misfits, and we both
you know, me and dre were kind of like the misfits, and we both had dropped out of school,
you know, in trying to pursue
art full time.
You know, in trying to pursue art full time. But big, people was like,
"uh-uh, partner."
but big, people was like, "uh-uh, partner." so that's kind of what happened,
was almost kind of like
a default.
Was almost kind of like a default. And then, you know, we discussed
maybe the option of us kind of
and then, you know, we discussed maybe the option of us kind of being a group together when
everything was still taking
shape, but that didn't happen.
Everything was still taking shape, but that didn't happen. It was casual because we're all
cool with each other, but in my
it was casual because we're all cool with each other, but in my personal opinion, I don't think
it would have worked.
Personal opinion, I don't think it would have worked. It probably -- it would have
been too much.
Goodie mob needed me just like I
needed goodie mob, you know what
goodie mob needed me just like I needed goodie mob, you know what I mean?
Needed goodie mob, you know what I mean? Outkast is outkast, you know, it
is what it is now.
But yup, that's true.
Is what it is now. But yup, that's true. Goodie mob's first break was
but yup, that's true. Goodie mob's first break was the features on outkast's
goodie mob's first break was the features on outkast's southernplayalisticadillacmuzik,
their debut album in 1994.
Southernplayalisticadillacmuzik, their debut album in 1994. Myself and big gipp were
featured on a song called
myself and big gipp were featured on a song called "get up, get out," and khujo and
t-mo of goodie mob were featured
on the song called
"call of the wild."
and the success of outkast that
year was just -- it was amazing.
And the success of outkast that year was just -- it was amazing. In atlanta, you had shy d,
kilo, hard boys, damage, you
in atlanta, you had shy d, kilo, hard boys, damage, you know what I mean?
Kilo, hard boys, damage, you know what I mean? Raheem the dream, ghetto mafia,
you got arrested development,
raheem the dream, ghetto mafia, you got arrested development, kriss kross.
You got arrested development, kriss kross. But for some reason, outkast
seemed to galvanize, you know,
but for some reason, outkast seemed to galvanize, you know, what everyone embraced as their
identity.
What everyone embraced as their identity. Like, that's what we look like,
you know what I mean?
Like, outkast, that's us.
You know what I mean? Like, outkast, that's us. Goodie mob was just the --
like, outkast, that's us. Goodie mob was just the -- the groundwork and the heavy
goodie mob was just the -- the groundwork and the heavy lifting.
The groundwork and the heavy lifting. So it was our politics and it
was our opinions about church
so it was our politics and it was our opinions about church and state.
Was our opinions about church and state. We are born and raised and
reared by a city of civil rights
we are born and raised and reared by a city of civil rights activists, and so much has
transpired right there --
hosea williams, you know,
ralph david abernathy,
martin luther king,
andrew young, you know,
julian bond, andrew jackson.
Andrew young, you know, julian bond, andrew jackson. >> never shall I let you down.
Julian bond, andrew jackson. >> never shall I let you down. >> so many people.
You know, we were carrying on
a legacy, a tradition of
you know, we were carrying on a legacy, a tradition of telling black excellence.
A legacy, a tradition of telling black excellence. And so that was imperative and
very important to us, to
and so that was imperative and very important to us, to represent the city in the right
light.
Represent the city in the right light. Well, I felt like we had
a successful run -- three
well, I felt like we had a successful run -- three consecutive gold albums as
goodie mob, and it wasn't even
the plan or intent, you know?
Goodie mob, and it wasn't even the plan or intent, you know? We just had been fortunate
enough to have the first album.
To this day, people still love
goodie mob, you know?
But I did get to a point of
where I wanted to express myself
but I did get to a point of where I wanted to express myself a little bit more, and here's
this solo album, "ceelo green
and his perfect imperfections."
and, you know, first single is
called "closet freak."
so for me to come out and
express yet another or pull back
another layer of myself and be
like, "yo, I like costume and
I like pageantry.
Like, "yo, I like costume and I like pageantry. I like, you know, staging,
production, you know, and, like,
color."
I just felt like that was just
more bravery, so I felt like it
was all in context, basically,
you know what I'm saying?
Was all in context, basically, you know what I'm saying? So I didn't think that it was
wild.
You know, in retrospect, I
realize it was like, "wow."
you know, in retrospect, I realize it was like, "wow." but again, I had seen somebody
do it, you know, and if you
really listen to george clinton
and the parliament-funkadelic,
you know that they were dropping
jewels in that music, as well.
You know that they were dropping jewels in that music, as well. So I felt like it was,
you know -- it was palatable,
so I felt like it was, you know -- it was palatable, you know what I mean?
You know -- it was palatable, you know what I mean? And I feel like it was a
secondary, you know what I mean?
But we were doing something that
had been done, but for the first
but we were doing something that had been done, but for the first time for our generation, you
know, and of course, you know,
george clinton, he also
christened the dungeon family as
the young parliament-funkadelic.
Christened the dungeon family as the young parliament-funkadelic. So I felt like we were dutified,
and we did it on as a badge of
so I felt like we were dutified, and we did it on as a badge of honor.
And we did it on as a badge of honor. We were dealing with live music
and live instrumentation, so the
we were dealing with live music and live instrumentation, so the music was alive, it was
vitality, you know what I mean?
Music was alive, it was vitality, you know what I mean? And, you know, it was really
about signifying, you know, us
and, you know, it was really about signifying, you know, us ourselves, yeah.
♪ >> green: Gnarls barkley was yet another layer I pulled back
at the right time.
Another layer I pulled back at the right time. You know, when I -- and for
the record, I never left
you know, when I -- and for the record, I never left goodie mob, I only extended
myself.
Goodie mob, I only extended myself. I met danger mouse when we were
all performing as dungeon family
at uga, in athens, georgia, at
the university of georgia.
At uga, in athens, georgia, at the university of georgia. It was pouring down raining, and
this dude walks up on me in
it was pouring down raining, and this dude walks up on me in the rain and gives me his demo,
or a cd.
The rain and gives me his demo, or a cd. He said, "yo, do you mind if
I play you a couple tracks?"
he said, "yo, do you mind if I play you a couple tracks?" and I was like, "sure."
so he started playing all this
stuff.
So he started playing all this stuff. I felt it instantaneously, and I
was like, "ooh."
I said, "yo, we should get
together, man.
I want to use a couple of your
tracks."
and he said, "well, um, I don't
make tracks, I make albums."
[ laughs ] and I was like, "ok,
homie, let's make an album,
then."
but later on in an interview, he
told me that he was bluffing me,
just to see what I would say.
Told me that he was bluffing me, just to see what I would say. So anyway, we ended up getting
together, and we had about
so anyway, we ended up getting together, and we had about 8 days in atlanta.
Together, and we had about 8 days in atlanta. He was like, "let's just try
some stuff."
he was like, "let's just try some stuff." so he played about 10 things,
so about 5 or 6 of the things he
played for me in that initial
session ended up being
gnarls barkley's debut album,
"st. Elsewhere."
and we did a couple other new
things, and what people hear is
what it is.
Things, and what people hear is what it is. We only did stuff one time.
What it is. We only did stuff one time. I sang "crazy" one time.
A great story about crazy --
he played the beat and it just
a great story about crazy -- he played the beat and it just comes on.
He played the beat and it just comes on. [humming]
and I was like, "oh, what's
that?"
then somebody started rapping on
it, then he cut it off.
Then somebody started rapping on it, then he cut it off. He was like, "eh, I don't really
like to play that."
he was like, "eh, I don't really like to play that." and I'm like, "why not?"
he said, "well, you know,
somebody did -- and I did to it.
He said, "well, you know, somebody did -- and I did to it. I'm kind of jaded by it.
Somebody did -- and I did to it. I'm kind of jaded by it. So, like, you know, I don't
really play it."
so, like, you know, I don't really play it." I was like, "yo, play that."
and it just started to loop, and
I said -- you know, we just put
it on repeat.
We had a conversation about all
of our, you know, heroes,
we had a conversation about all of our, you know, heroes, whether it was jim morrison,
jimi hendrix, janis joplin,
whomever -- iggy pop -- and we
were just talking about
the people who really lived
the rock'n'roll fantasy,
you know, and drove it down into
the ground.
You know, and drove it down into the ground. You know, whether it's
sid vicious or whoever it is,
you know, whether it's sid vicious or whoever it is, you know.
Sid vicious or whoever it is, you know. And I always wanted to be
committed like that, to
and I always wanted to be committed like that, to the death -- not just some
facade, but the real, real --
the real thing.
Facade, but the real, real -- the real thing. And we were saying to ourselves,
like, "was it crazy for us to
and we were saying to ourselves, like, "was it crazy for us to persist or insist on trying to
be ourselves or be indifferent
with the larger agenda," you
know what I mean?
With the larger agenda," you know what I mean? Like, you know, or just -- why
don't we just do something that
like, you know, or just -- why don't we just do something that just works, you know what I
mean?
Just works, you know what I mean? We're trying to be so different.
Mean? We're trying to be so different. We played -- the instruments of
we're trying to be so different. We played -- the instruments of the "crazy" played for about
we played -- the instruments of the "crazy" played for about 3 or 4 hours, realistically.
The "crazy" played for about 3 or 4 hours, realistically. I wrote something, and I went
in the booth.
I said, "I got something."
remember when I told you the
beat was just coming on?
Remember when I told you the beat was just coming on? [ humming ]
I was like, "yo, it's coming --
I can't catch it.
I said, I need a -- count me
in."
so that's where the, "boom,
boom, boom, boom."
that's it.
Boom, boom, boom." that's it. You know what I mean?
That's it. You know what I mean? "and I remember when I lost
you know what I mean? "and I remember when I lost my mind.
There was something so pleasant
about that place.
Even your emotions have an echo
in so much space."
even your emotions have an echo in so much space." you know, that's heavy.
In so much space." you know, that's heavy. I love danger mouse because he
opened up this session by
saying, "ok, so, listen, check
this out.
Saying, "ok, so, listen, check this out. We want to do this project.
This out. We want to do this project. We got about 8 days to see what
we want to do this project. We got about 8 days to see what we can come up with."
we got about 8 days to see what we can come up with." he said, "I'm a fan of yours,
obviously."
he said, "I like most of what
you do."
he said, "but I noticed there's
this theme that runs throughout
your body of work thus far, and
it's always you trying to convey
a message or give some good
advice, or whatever you may call
it or consider it to be."
he said, "but anybody trying to
do that much good has probably
done an equal amount of bad, if
not more."
he said, "and that's what I want
to hear."
and I said, "oh." [ laughs ]
you know, so, basically,
the music he made was miserable,
and I was just -- it was misery
in company, you know what
I mean?
In company, you know what I mean? I was going through quite a dark
time in my personal life, too.
I was going through a divorce,
no label.
You know, I was going through
it.
So we came up with the name
gnarls barkley.
It was danger -- I remember him
calling me one time.
He said, "yo."
it seemed like he was at a frat
he said, "yo." it seemed like he was at a frat house or something -- there was
a bunch of noise and laughter
going on behind him.
A bunch of noise and laughter going on behind him. He said, like, "yo, I was
shooting around with some
he said, like, "yo, I was shooting around with some buddies of mine, having some
beers.
Buddies of mine, having some beers. Man, we were just thinking about
group names and stuff like
man, we were just thinking about group names and stuff like that."
and I was like, "yo, what do you
think about gnarls barkley or
prince gnarls or gnarls in
charge?" [ laughs ]
so I said, "I like
gnarls barkley out of all of
them."
and his logic was, it's
rock'n'roll, so if you notice,
it's a rule of thumb for
rock'n'roll groups -- like, you
do something -- you say
something absurd.
Do something -- you say something absurd. Like, you've got groups named
"oingo boingo" or
like, you've got groups named "oingo boingo" or "lynyrd skynyrd" or
"goo goo dolls," you know what
I'm saying?
It was just like, it's so
absurd that you can't forget it.
That's how it came up.
Absurd that you can't forget it. That's how it came up. I wanted to name the group
that's how it came up. I wanted to name the group scarlet fever, because I felt
like, you know, the style was
like a rare sickness.
Like, you know, the style was like a rare sickness. So I'm like, "scarlet fever,
that feels good."
so I'm like, "scarlet fever, that feels good." but they was like, "nah."
gnarls barkley was independent.
But they was like, "nah." gnarls barkley was independent. That record that leaked when we
was shopping it around to
that record that leaked when we was shopping it around to labels -- "crazy" got leaked,
and it ends up going to
number one on the u.K. Charts
for either 7 or 8 weeks before
we even signed a deal.
For either 7 or 8 weeks before we even signed a deal. So we had gnarls barkley's
"crazy."
so we had gnarls barkley's "crazy." I wrote and produced "don't cha"
for the pussycat dolls, which
was also a number one, and he
had just got through writing
"feel good, inc." for gorillaz.
Had just got through writing "feel good, inc." for gorillaz. So we had three number ones.
When we sat down at the table to
so we had three number ones. When we sat down at the table to do that deal, we had to talk
when we sat down at the table to do that deal, we had to talk about it, you know what I mean?
Do that deal, we had to talk about it, you know what I mean? So it was perfect.
About it, you know what I mean? So it was perfect. Gnarls barkley was supposed to
so it was perfect. Gnarls barkley was supposed to be someone totally different
gnarls barkley was supposed to be someone totally different from either one of us.
Be someone totally different from either one of us. Gnarls barkley was supposed to
be this enigmatic kind of
gnarls barkley was supposed to be this enigmatic kind of character.
Be this enigmatic kind of character. I always saw it, like, you know,
I was writing or reading memoirs
of gnarls barkley, so these were
from his diary or something like
that.
From his diary or something like that. So, like, it was totally out of
body.
It wasn't supposed to be so
immediately associated with me
it wasn't supposed to be so immediately associated with me or him.
Immediately associated with me or him. And I think that's what worked,
and I think that's what made
and I think that's what worked, and I think that's what made the second gnarls barkley album
not work as well, because a lot
of the songs were more personal.
Not work as well, because a lot of the songs were more personal. I wrote songs about my mom and
stuff like that.
So, you know, people were kind
of woken up from the dream, you
so, you know, people were kind of woken up from the dream, you know, where it's like, "oh, ok,
I get it.
Know, where it's like, "oh, ok, I get it. You're gnarls barkley."
and I was like, "no."
>> green: I still didn't have a solo deal as ceelo green, so they was like, "can't let you
go."
you know what I mean?
Go." you know what I mean? Like, let's do a deal.
You know what I mean? Like, let's do a deal. So did the deal, and they was
like, let's do a deal. So did the deal, and they was like, "what do you want?"
so did the deal, and they was like, "what do you want?" and I'm like, "I want to go to
the bahamas, you know what I
mean?"
so I rented a mansion in
the bahamas and flew a bunch of
stereo equipment in -- I mean,
excuse me, recording equipment
out there and, you know, we
holed up, had different writers
come in.
Holed up, had different writers come in. Still didn't get nothing out of
those trips.
A bunch of music.
Those trips. A bunch of music. I couldn't please them.
They was like, "yo, we --
we still looking for that one.
So they were like, "let me
introduce you to these kids,
so they were like, "let me introduce you to these kids, phil and bruno," which ended
up being phil lawrence and
bruno mars.
Up being phil lawrence and bruno mars. At the time, they were staff
writers, kind of like behind the
at the time, they were staff writers, kind of like behind the scenes, doing session work and
co-writing and stuff like that.
Scenes, doing session work and co-writing and stuff like that. They came over to the studio.
Co-writing and stuff like that. They came over to the studio. We were working out of this
they came over to the studio. We were working out of this studio called nightbird.
It's in the basement of this
hotel, the sunset marquis.
So they came over.
Hotel, the sunset marquis. So they came over. I told them I was going to
so they came over. I told them I was going to the restroom, and I just -- I
never went back.
The restroom, and I just -- I never went back. And I don't tell this story to
be disrespectful to them, it's
and I don't tell this story to be disrespectful to them, it's just crazy.
Be disrespectful to them, it's just crazy. It's just one of them
rock'n'roll stories.
Anyway, I end up going to
bruno's house.
He has this studio, home studio
around the corner.
Go over there.
Around the corner. Go over there. A second time, after they got us
go over there. A second time, after they got us back together, turns out these
a second time, after they got us back together, turns out these guys are really talented.
Back together, turns out these guys are really talented. Really good guys.
Guys are really talented. Really good guys. We end up all being the best of
really good guys. We end up all being the best of friends, you know.
They forgave me.
Friends, you know. They forgave me. I had been working with
they forgave me. I had been working with bruno mars for maybe, like,
a month or so.
Bruno mars for maybe, like, a month or so. He wrote "just the way that you
are" for me.
I was like, "hmm, it's a great
song, but it's not for me."
then we did a song called
"the other side" for his debut
album.
And the third time was the
charm.
He -- I went by that day and he
said, "man, check this out.
This is the idea.
Said, "man, check this out. This is the idea. It ain't finished yet, it's just
this is the idea. It ain't finished yet, it's just a hook.
Tell me what you think."
[ humming ]
tell me what you think." [ humming ] you know what I'm saying?
We jump right in on it.
You know what I'm saying? We jump right in on it. A lot of what you hear
we jump right in on it. A lot of what you hear verse-wise is freestyling, you
a lot of what you hear verse-wise is freestyling, you know what I mean?
Verse-wise is freestyling, you know what I mean? I only think we only ever really
wrote that song down on paper.
I just went and sat at the mic,
and we just tossed lines around,
and we just kind of pieced it
all together.
And we just kind of pieced it all together. A lot of these songs that is
a bit iconic, I almost hate to
a lot of these songs that is a bit iconic, I almost hate to talk about them because you kind
of give away the magic.
Talk about them because you kind of give away the magic. They're so -- there's no big,
elaborate story surrounding most
they're so -- there's no big, elaborate story surrounding most of these songs.
Elaborate story surrounding most of these songs. So we're riding high off of the
success of "[bleep] you."
so we're riding high off of the success of "[bleep] you." and I was doing
the musical performance on
"Saturday night live", which is
coveted -- not everybody gets
the opportunity to do it, so.
Coveted -- not everybody gets the opportunity to do it, so. Mark burnett, executive producer
of "the apprentice," "survivor,"
mark burnett, executive producer of "the apprentice," "survivor," you know, so many other
successful tv shows was doing
"the voice," and he just
happened to be in the audience
at "Saturday night live" and
took a liking to me.
At "Saturday night live" and took a liking to me. Me, adam levine,
christina aguilera, and
me, adam levine, christina aguilera, and blake shelton had dinner one
night.
Blake shelton had dinner one night. I mean, adam was already cool.
Night. I mean, adam was already cool. Then he says, "what do you think
about this idea, man?
If you don't do it, I'm not
going to do it."
if you don't do it, I'm not going to do it." and I was like, "I don't know.
Going to do it." and I was like, "I don't know. It's kind of cool."
and what I liked about it was,
it's kind of cool." and what I liked about it was, you know, the revolving chair.
And what I liked about it was, you know, the revolving chair. I liked the fact that it wasn't
based off of imaging, it was
based off of the integrity of
someone's voice.
Based off of the integrity of someone's voice. So that's how it came about.
Someone's voice. So that's how it came about. I was doing "the voice."
so that's how it came about. I was doing "the voice." everyone else was releasing
new music besides myself, so I
had a conversation with my
label, and I initially suggested
that we do a covers album,
because we wouldn't have had
enough time to do, you know,
another full-length project.
Enough time to do, you know, another full-length project. So I said, "this could be quick
and convenient.
Let's do a covers album."
and I wanted to call it
let's do a covers album." and I wanted to call it "under the covers with
ceelo green."
instead, we decided to do
a christmas album.
Instead, we decided to do a christmas album. Yeah, that's another one of
those...Exceptional things
yeah, that's another one of those...Exceptional things I've been able to do.
Those...Exceptional things I've been able to do. My career has been almost like
forrest gump -- just, you know.
I can't believe some of this
stuff is happening, you know
what I mean?
Stuff is happening, you know what I mean? Because that's an amazing feat.
What I mean? Because that's an amazing feat. At this point, I wanted to do
because that's an amazing feat. At this point, I wanted to do something different and shake it
at this point, I wanted to do something different and shake it up a little bit.
Something different and shake it up a little bit. And I'd been sitting around and
just kind of thinking to myself,
and I'd been sitting around and just kind of thinking to myself, "what could I do?"
so I come up with this other
extraterrestrial character,
gnarly davidson.
Extraterrestrial character, gnarly davidson. The backstory behind the name
is I was kind of going back and
the backstory behind the name is I was kind of going back and forth with danger mouse about
when we were going to actually
do the third and last
gnarls barkley album.
Do the third and last gnarls barkley album. And I said, "well, I'll just do
something to amuse myself --
and I said, "well, I'll just do something to amuse myself -- a play on it, you know."
do a mixtape or just something
and just put it out there, just
to get some new music and some
vibe going.
To get some new music and some vibe going. So gnarly davidson came out.
Vibe going. So gnarly davidson came out. I went to all of these
so gnarly davidson came out. I went to all of these special effects people,
you know, that do -- you know, I
think they worked on "avatar"
and "lord of the rings."
and, you know, like, that mask
and all of the technology
underneath it to make it glow
and work, you know, I just went
in my pocket.
And work, you know, I just went in my pocket. I was like, "yo, I'm-a go all
out for this character."
right? So when you think of
superheroes of villains, you
know that something
post-traumatic has happened,
thus, you know, become
the character.
Thus, you know, become the character. So, you know, peter parker got
bit by a radioactive spider.
You know, bruce wayne's parents
were brutally murdered outside
you know, bruce wayne's parents were brutally murdered outside of a play.
Were brutally murdered outside of a play. You know, so something happens.
Of a play. You know, so something happens. All of the samsung phones were
you know, so something happens. All of the samsung phones were exploding in real life.
So at first, I was going to be
like, "yo, I'm going to get
so at first, I was going to be like, "yo, I'm going to get a sponsorship from puff,
I'm going to be in the studio,
I'm going to be drinking some
ciroq, and then it's going to
spill on the board, and then
it's going to blow up -- boom."
you know? [ laughs ]
and I'm going to become --
but that was kind of goofy.
And I'm going to become -- but that was kind of goofy. So the samsung things were real
life, so I got a friend of mine,
so the samsung things were real life, so I got a friend of mine, you know, who's directed a few
of my videos -- shout out to
john colombo -- and I was like,
"yo, can we make this happen?
John colombo -- and I was like, "yo, can we make this happen? Blah, blah, blah."
so I wanted the character to be
blah, blah, blah." so I wanted the character to be this kind of a cyborg, you know,
kind of character, to where he
was just all-knowing.
Kind of character, to where he was just all-knowing. I said, "let's take a real life
event and it'll make it more
believable."
so what happened was what you
saw was a pass as we were
dialing up the effects on it.
Saw was a pass as we were dialing up the effects on it. You know, I'm like, "ok, there's
too much smoke and not enough
you know, I'm like, "ok, there's too much smoke and not enough sizzle," or whatever
the critique was.
Sizzle," or whatever the critique was. Yeah, so one of the e-mails
leaked...
Everybody picks it up and goes
super-duper-duper viral.
And it was terrible because
people were afraid for me.
People were petrified for my
life, you know what I'm saying?
Thinking I'm somewhere hurt, you
know, and burnt to death almost.
So it wasn't even funny,
you know what I mean?
Like and everybody -- everybody,
you know, you could think of
like and everybody -- everybody, you know, you could think of called me to check on me.
You know, you could think of called me to check on me. But it got so big so quick,
I had to stop it.
You know, I was going to kind of
let it play out, you know.
There was a part of me that was
amused by it because it was
there was a part of me that was amused by it because it was just, like -- it was on the
news, it was everywhere.
Just, like -- it was on the news, it was everywhere. It was on international news.
News, it was everywhere. It was on international news. But it was just a mistake.
We dropped the ball on what
but it was just a mistake. We dropped the ball on what could have been something great.
I went to the grammys that next
year in full gear, you know --
in the gold man, as he's
referred to.
In the gold man, as he's referred to. But it didn't make any sense.
Referred to. But it didn't make any sense. So I basically had to shelve
but it didn't make any sense. So I basically had to shelve the whole project.
So I have an entire album done
with this character,
so I have an entire album done with this character, gnarly davidson, and I never
really released any of the music
besides one song -- well, two,
actually.
Besides one song -- well, two, actually. I got all of the memes.
Actually. I got all of the memes. And look, I didn't even have
clearance to be on the carpet
and look, I didn't even have clearance to be on the carpet that year.
Clearance to be on the carpet that year. They tried to arrest me.
That year. They tried to arrest me. I was running up --
they tried to arrest me. I was running up -- can I tell y'all --
I can tell y'all now because
this is years later.
My original idea, I had these
gold ak-47s and I was going to
my original idea, I had these gold ak-47s and I was going to go in there with the blanks,
rush up in the red carpet,
and... [ imitates machine gun
fire, laughs ]
my manager was like, "uh-uh.
Fire, laughs ] my manager was like, "uh-uh. Uh-uh, pimp, you can't do that."
so they never gave me no
uh-uh, pimp, you can't do that." so they never gave me no clearances, no passes or
nothing, and people didn't
necessarily know it was me.
Nothing, and people didn't necessarily know it was me. So I just stormed the gates.
Necessarily know it was me. So I just stormed the gates. I just walked through there and
so I just stormed the gates. I just walked through there and I trolled the whole situation.
I tried to grab ryan seacrest
and choke him.
You know, like... [ laughs ]
you know, I was snatching at
you know, like... [ laughs ] you know, I was snatching at the cameras, you know, like
a bunch of stuff, just having
fun.
A bunch of stuff, just having fun. I thought it was fun.
Fun. I thought it was fun. I mean, I just thought it was
funny.
>> puff decided he wanted to
record all these albums and
produce, and he was like, "we
need some incredible writers to
come out to the bahamas."
>> green: So, he was like, "yo, go through these beats, pick what you like, and just take
them and write to them in your
own time.
Them and write to them in your own time. I was like, "alright," so I
picked these beats, and...
[ laughs ]
I didn't feel like I could...
Function and I was starting to
become anxious or whatever, so I
function and I was starting to become anxious or whatever, so I left.
Become anxious or whatever, so I left. I didn't write anything that
whole day.
Because y'all was there for a
month.
>> yeah.
Month. >> yeah. >> green: I stayed for a day.
I left in the middle of
the night and I didn't tell
anybody that I was leaving.
The night and I didn't tell anybody that I was leaving. He was like, "yo."
[ laughs ]
he was like, "yo." [ laughs ] "playboy, you can't do business
like this, bro.
Like, you could have told me.
Like this, bro. Like, you could have told me. Anything you need.
I asked you 3 or 4 times if
anything you need. I asked you 3 or 4 times if there was anything that you
needed, man.
There was anything that you needed, man. You could have told me whatever,
man."
>> green: I met my fiance, shani, about 10 years ago, in l.A..
Shani, about 10 years ago, in l.A.. She's originally from
san francisco.
The story goes, we were both in
canada the weekend prior, and
the story goes, we were both in canada the weekend prior, and apparently, she was a fan
of my music and I was doing
a performance in canada, and her
friend was like, "yo, your guy
is in town doing a show.
Friend was like, "yo, your guy is in town doing a show. You want to go?"
and I guess she had a
you want to go?" and I guess she had a presentation earlier that day --
or, excuse me, earlier that next
morning and wasn't going to be
able to make it.
Morning and wasn't going to be able to make it. So it turns out, if you guys
have ever been to l.A., there's
so it turns out, if you guys have ever been to l.A., there's this car lot called
dream motors, right on
la cienega, you know what I
mean?
La cienega, you know what I mean? It's that straightaway coming
from the airport.
You cat miss it.
From the airport. You cat miss it. I was standing right there with
you cat miss it. I was standing right there with my back to the street,
baseball cap, shorts, you know.
My back to the street, baseball cap, shorts, you know. I hear a voice over my shoulder
saying, "hey, I love you, keep
up the good work.
Saying, "hey, I love you, keep up the good work. Love what you do."
and I turn around, I was like,
love what you do." and I turn around, I was like, "me?"
she was like, "yeah, you.
I love you."
I said, "I love you, too."
I said, "come and meet me."
[ laughs ] she's not in the lane
nearest to me.
There's, like, this three-lane
thing, so she's probably in that
there's, like, this three-lane thing, so she's probably in that second or that third lane over.
Thing, so she's probably in that second or that third lane over. So she got her way and cut off
traffic to come in there, pulls
so she got her way and cut off traffic to come in there, pulls up, jump out, we speak,
we exchange numbers.
Up, jump out, we speak, we exchange numbers. And I know this sounds cliche,
but it's the truth -- as soon as
and I know this sounds cliche, but it's the truth -- as soon as I met her, I saved her in my
phone as "shani 'might could
be the one' james." [ laughs ]
I swear -- I swear to god.
Be the one' james." [ laughs ] I swear -- I swear to god. My son, kingston, is my pride
and joy.
I do find myself in present day,
making up for a lot of lost
time, trying to...Provide,
you know?
Time, trying to...Provide, you know? And success is very demanding,
you know, but so is failure.
And I realized in retrospect
that, you know, the spoils of
and I realized in retrospect that, you know, the spoils of success -- you know, materially,
monetarily, yes, it doesn't
hurt, you know, but one thing it
could never replace is the
tangible time that you spend
with someone.
Tangible time that you spend with someone. He just recently got his first
apartment about a year or so
he just recently got his first apartment about a year or so ago.
Apartment about a year or so ago. You know, I went and bought me
a little air mattress and
you know, I went and bought me a little air mattress and dressed out the guest room,
just, you know, in case I was in
town.
Just, you know, in case I was in town. Go over there and crash with him
and stuff like that.
And you know -- and I was kind
of, like, living out my college
and you know -- and I was kind of, like, living out my college days, too, because I never went
to school.
Days, too, because I never went to school. Like, I never had that
experience for myself, so, you
like, I never had that experience for myself, so, you know -- you know, being a big
kid with my son and all that
kind of stuff.
Kid with my son and all that kind of stuff. So, like, you know, we're closer
than we've ever been, you know,
so, like, you know, we're closer than we've ever been, you know, as men.
Than we've ever been, you know, as men. Sierra, kalah, they're both
my step-daughters from a former
sierra, kalah, they're both my step-daughters from a former marriage, and they're like my --
they're like my daughters, and I
got them really young.
They're like my daughters, and I got them really young. Love them.
Got them really young. Love them. They became adults overnight and
love them. They became adults overnight and made decisions for themselves
they became adults overnight and made decisions for themselves that are...Irreversible, you
know what I'm saying?
That are...Irreversible, you know what I'm saying? I've told them on a number of
different occasions that, you
know, parenting is not always
about problem-solving, it's also
about prevention.
About problem-solving, it's also about prevention. A lot of the things that we go
through, you know, in our
a lot of the things that we go through, you know, in our domestic lives, you want to see
your kids, you know, avoid some
of those same pitfalls.
Your kids, you know, avoid some of those same pitfalls. But as long as they're happy,
you know what I'm saying?
And you know, I love all of my
little grandbabies.
True is my big boy.
Little grandbabies. True is my big boy. You know, true reminds me so
true is my big boy. You know, true reminds me so much of myself when I was a kid.
I wish nothing but the best for
him.
This is sierra's first and only
son.
But kalah, who was my quiet one,
she ended up being mother nature
but kalah, who was my quiet one, she ended up being mother nature over there. [ laughs ]
she got four little babies now.
Over there. [ laughs ] she got four little babies now. I got a house full of
grandbabies, so I'm the coolest
grandad you know.
I'm obedient, you know, and I
adhere to the will of god and
what the universe has in store
for me.
I'm just always at an earning
and deserving disposition.
You know, just trying to be
the best man, the best
human being, the best person,
the best friend, the best
brother, the best father that I
can be, you know.
And perfection is not required,
you know what I mean?
Persistence is, so I just
persist to be these things.