Yeah, my song been out, since six months ago. I been on the road promoting my song, and I asked that dude to get on my song. Him and Lil’ Jon. I hollered at them like, "Yo, man, my song is getting spins. I want Lil’ Jon to do some shit on it." When I was down in Puerto Rico, Lil’ Jon was in the room with me, vibin’ and shit, so I thought everything was cool. I hollered at him a few times to do something on my song. Then I saw Pitbull and he was like, "Yeah, man, this song’s like crack, I need to jump on this shit." Next thing I know, they did it by themselves. And they’re trying to tell me that it’s not my song ‘cause everyone says "pull up." Fuck that shit. They’re using my melody, my idea, my beat. I’m the one who paid for the beat when I bought it off the producer. And they used the same thing. But I ain’t stressing that, it’s just music. I just don’t appreciate people biting shit. I did nothing to them, you know?

Yes, but not with the same Vegas idea and melody. On the radio, a lot of people can’t even tell the difference. I’m saying "pull up" on the hook and he’s saying "culo."

A riddim is basically a beat that’s built in Jamaica. When it’s hot, a lot of artists try to get on the same beat. But it’s the most outstanding song, the best idea, the best melody, the best hook that really crosses over. Like "Heads High." There were other songs on that beat.

I’m not doing shit about it. It’s the label, and their lawyers. It’s not me. I tried to kick this before it happened. I was like, "Yeah, man, you know we’re artists, we need to kick this shit before it happens." I hollered at them. But I told them, the only way this is gonna be done is on my track. It has to benefit me and benefit him. What’s happening now is that some radio stations are adding his record, and when my record pops up they’re like, "No, we’ve got that." That’s not cool.

It’s very hard. It’s so hard to even get on the radio. So when an artist really, really works hard and gets on the radio, he wants his minute to shine. Because it’s very hard to get on crossover radio. Not every artist has that potential. It takes a formula. So it’s like, I come up with a formula, and he steals my formula to make a hit. And then goes and says he came up with the formula. Feel what I’m saying? And it wasn’t supposed to get to this point. This could have been squashed a long fuckin’ time ago.

Yeah, it’s not up to me no more. It got out of my hands. My manager was in here tryin’ to get them to do a remix on Vegas’ song, which would have benefited all of us.

The album is done, and we just did the video for "Pull Up." I ain’t even stressin’ that stuff, though. I don’t control destiny, so whatever happens, happens.

It’s like a party. A beach party with some nice girls and stuff, just hangin’ out and vibing like a beach party.

"Tamali," produced by Vader.

I haven’t actually been to Jamaica to hang out for the past year. I’ve been here in Orlando working on my album, and then I’ve been on the road. I’ve went there like two times.

Yeah, when I work with Vader it’s cool. I heard the energy and the ideas he had. I needed a camp. I needed professional people around me. As an artist, sometimes it’s hard to produce yourself because you’re your own critic. I hooked up with certain people like him because more than one head is better.

Well, I’ve got a joint with Foxy Brown. But nah, that’s really just for the show, to give the crowd that hip-hop flavor. The album is dancehall.

Well, just on remixes when the chance comes around. But for now it’s basically just Mr. Vegas and my artist Wayne Anthony, ‘cause I’m always trying to break younger artists. He’s independent, but he’s talented. I’m trying to help him make a name for himself. That’s important to me. He’s one of those artists that could be around in ten, twenty years. I’m trying to show him how to survive in this business, how to last.

The name of the album is "Pull Up." It’s up to Interscope when it will be released. It’s very difficult because you only get a small chance, and you really have to make use of that opportunity, ‘cause if you don’t sell no records, you’re done.

Why choose a label like Interscope without much dancehall experience? "Cause I still need a power force behind me. Someone like VP Records has Atlantic pushing them to another level, it’s not just VP alone. Basically, it’s good because we’re going into markets I only dreamt about when I had "Heads High." If I had been in those markets then, you can never tell what might have happened if it wasn’t for those mistakes that were made.

Well, not to be like him, but yes, that’s the dream, to go into bigger markets and have a wider audience, more people appreciating your music. Just like Bob Marley, he took it all the way around the world. I’m just basically promoting my record. If it doesn’t happen I’m not gonna die or cry, because that’s not how music is. I just gotta do what I know how to do. Not everybody is gonna crossover on that level like a Sean Paul or Shaggy, but I know that I’ve already created a fan base. If there’s 500 people in the world who know Mr. Vegas, that’s good enough for me. I was nothing before.