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Speaker 1: But all right, job.

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Speaker 2: All across the USC Compton, Watts Bay to LA. Come

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Speaker 2: on to California day from Rowley the Valley. We represent

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Speaker 2: that Keller County. So if you're keeping it real on

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Speaker 2: your side of your town, you tune into Gainst the

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Speaker 2: Chronicles Chronic Goals.

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Speaker 3: He gonna tell you how are we goals?

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Speaker 2: If I lie, my notes will grow like Pinocchio.

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Speaker 3: We're gonna tell you the truth and nothing but the

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Speaker 3: truth Gangs.

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Speaker 4: The Chronic Goals. This is not your average shows.

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Speaker 2: You're now tuned into the rail mc ain't Big Change

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Speaker 2: and big steels the streets.

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Speaker 1: Hello, we welcome to the Gangst the Chronicles podcast, the

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Speaker 1: production of iHeart Radio and Black Effect Podcast Network. Make

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Speaker 1: sure you download the iHeart app and subscribe to Against

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Speaker 1: the Chronicles. For my Apple users, hit the Purple Michael

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Speaker 1: on your front screen. Subscribed to Against the Chronicles, leave

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Speaker 1: a start rating the comment. Broadcasting live from the world

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Speaker 1: famous Coin Academy. It's another episode of Against the Chronicles podcast.

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Speaker 1: And now am big still with my guy Jeer and

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Speaker 1: of course man we have journalists extraordinarire mister Sawn Baker.

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Speaker 4: Into his now Yes, yes, thanks for having me, Ah

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Speaker 4: for sure.

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Speaker 1: For sure. Man, you know we touching down man on

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Speaker 1: this top fifty gangster rap albums of all time. Man,

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Speaker 1: it's been a a journey, and I won't say it's

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Speaker 1: been too much controversy with it. Man, you know anything,

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Speaker 1: you know? First of all, these are just our opinions.

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Speaker 1: Y'all free to go out there and create any kind

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Speaker 1: of holistics y'all want to. But I think that we

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Speaker 1: are the experts up here. I do think we know

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Speaker 1: a little bit of something. What we were talking about.

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Speaker 3: Were the experts?

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Speaker 5: Well, hey, I don't say we we we have a

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Speaker 5: we have a high opinion.

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Speaker 3: You get me. You wanna be you wanna be labeled

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Speaker 3: the expert?

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Speaker 1: Well, I think I gotta not. You know, motherfuckers have

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Speaker 1: actually paid me for my opinion on certain you know, man,

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Speaker 1: I think I want to know a little something. You know,

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Speaker 1: how many records you don't sow? You know, saw like

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Speaker 1: fourteen fifteen million records? I think that would make you

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Speaker 1: when someone on road for everybody from the La Times

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Speaker 1: to the Sores and all this other shit. So I

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Speaker 1: would say we definitely know a little bit more than

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Speaker 1: the average bear.

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Speaker 4: More than a little bit, you know, a.

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Speaker 1: Little bit more, man, I want to hop right into it.

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Speaker 5: Man.

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Speaker 1: When we talk about the top five gangster rap albums

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Speaker 1: of all time, we talk about like albums like you know,

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Speaker 1: the Chronic Can't forget that Ice Cube, America's most wanted

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Speaker 1: certificate albums like that. Man, I think with some of

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Speaker 1: the craziest production around, the Boogeyman just went insane on that.

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Speaker 1: DJ Bobcat, DJ Pool, who else? To Rashad, it was

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Speaker 1: just real, just nasty on that album. He did a lot.

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Speaker 1: It was just a very well produced album. I think

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Speaker 1: there was kind of ahead of his time because it

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Speaker 1: kind of took that. You remember back then how everybody

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Speaker 1: was missing samples together. Yeah, but they had started kind

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Speaker 1: of playing their own instrumentation during that time over whereas

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Speaker 1: the Bomb Squad was just kind of sample of stuff

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Speaker 1: as it was.

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Speaker 6: Well, that's one of the many things as rap production

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Speaker 6: in the late eighties going into the early nineties, there

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Speaker 6: was a lot of musicianship that people I think don't

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Speaker 6: understand or appreciate because a lot of people dre in particular,

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Speaker 6: you know, as you know on the early Ruthless records,

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Speaker 6: they had a lot of drums that were live, a

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Speaker 6: lot of bass guitars staying guitar man and guitar man

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Speaker 6: Sims and all those type of dudes. Man, they were

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Speaker 6: playing live music, and that I think makes it's a

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Speaker 6: big difference when.

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Speaker 5: You I guess, you know, the sample era was, you

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Speaker 5: know what it was, But a lot of dudes didn't

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Speaker 5: want to touch that ship because they didn't want to

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Speaker 5: give up that bread.

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Speaker 4: So very expensive.

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Speaker 5: That's what made uh me and you know slipping who

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Speaker 5: you know whatever. That's why we wanted to start creating.

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Speaker 5: I guess basically what we would hear or just try

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Speaker 5: to come up with our own melodies or whatever, and

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Speaker 5: then we would bring it, you know, Willie z in,

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Speaker 5: you know, because I mean sampling was good, you know,

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Speaker 5: especially if you know how to chop a lot of

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Speaker 5: ship up, which a lot of good producers knew how

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Speaker 5: to do back then. But a lot of records were

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Speaker 5: sample heavy man back.

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Speaker 3: In that era.

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Speaker 6: So in this time too, a lot of people were

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Speaker 6: doing their interpolations. So explain how to that worked financially

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Speaker 6: if you interpolated a record versus sample.

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Speaker 4: That what was the financial difference? Hmm?

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Speaker 3: To me?

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Speaker 5: In my opinion, I would just say, and the way

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Speaker 5: we did shit is. We would try to hide the

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Speaker 5: shit you get me, so the financial gain from it

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Speaker 5: would would be you so better because you wasn't given

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Speaker 5: up publishing, and then you wasn't giving up you know whatever,

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Speaker 5: or the whole song. Sometimes you would have to give

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Speaker 5: up the whole fucking song. If you sample somebody'shit and

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Speaker 5: it was recognizable, so you know, learning how to interpret

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Speaker 5: the shit, you could do different tricks with it. You know,

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Speaker 5: leave a note out here or there, add a note here,

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Speaker 5: add this or add that. So you know, a lot

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Speaker 5: of shit I replayed, you know, it was probably shit

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Speaker 5: I heard. But then by the time I got to

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Speaker 5: the keyboard and Willie Z and we would just recreate

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Speaker 5: this shit. You know, wanted to have probably the same

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Speaker 5: melody and.

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Speaker 4: Shit, but like the same feel but a different.

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Speaker 5: But I'm gonna change up something, so a motherfucker just

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Speaker 5: can't be like, oh that's my song, you get me?

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Speaker 1: You know, I think a thing that was really pivotal

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Speaker 1: to that time because before if you remember, with sampling,

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Speaker 1: wasn't nobody clearing shit for a long time hip hop,

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Speaker 1: But then biz Mark he got hit with that. When

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Speaker 1: biz Mark he got hit with the album, was it.

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Speaker 4: What was I need a haircut?

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Speaker 1: I need a haircut and he got hit man. It

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Speaker 1: was something man like.

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Speaker 4: It was Gilbert O'Sullivan, I believe, Yeah, and.

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Speaker 1: It was something like a million dollars at that time.

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Speaker 4: Yeah, they did a ceason assist. They had to pull

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Speaker 4: the record.

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Speaker 6: So I remember when I bought it, I was one

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Speaker 6: of the only people in Maryland that had it because

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Speaker 6: the album got yanked pretty quick. So that basically put

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Speaker 6: a big problem in the biz. Marky's career and a

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Speaker 6: lot of other people got they old tribe called quest

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Speaker 6: I heard I had read multiple times over the years

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Speaker 6: that can I Kick It?

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Speaker 4: They don't get any money.

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Speaker 6: Off that because they didn't clear any of the samples,

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Speaker 6: and Lou reed, I guess it's the Walk on the

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Speaker 6: wild Side, I believe, but he basically owns can I

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Speaker 6: Kick It? So they don't get any money off that song.

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Speaker 1: You know. The one upside to it, door is they

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Speaker 1: get that touring revenue off of.

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Speaker 4: That, that's for sure, you know, because.

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Speaker 1: You know, Tribe has been all around.

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Speaker 6: The world, you know, many times forming that song, you know,

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Speaker 6: so they even use it.

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Speaker 4: At the NFL.

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Speaker 6: Man shout out to Justin Tucker when the Ravens when

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Speaker 6: they go to commercial break they play can I Kick It?

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Speaker 6: A lot of times on a commercial. I've seen it

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Speaker 6: at least three or four times over the last two

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Speaker 6: or three years.

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Speaker 1: But that's the downside to what his artists get older

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Speaker 1: that tipping them not getting none of that money. You know,

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Speaker 1: the low family is getting that money. And in some

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Speaker 1: cases you only taking a little tiny semission of a

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Speaker 1: sample and it's like, shit it dog, I want the

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Speaker 1: whole record.

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Speaker 6: Yeah, and uh Steely Dan was the same thing for

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Speaker 6: me myself and I I don't I don't remember reading

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Speaker 6: the financial breakdown of that, but that's really what hurt

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Speaker 6: a lot of uh Our Soul's early momentum because of that.

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Speaker 6: But yeah, man, and when was that the Guns on

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Speaker 6: Peter Guns. Yeah, they sampled Steely Dan and they did

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Speaker 6: the same thing that.

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Speaker 5: That is one of the reasons why we tried to

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Speaker 5: stay away from outright sample and ship because you could

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Speaker 5: probably get the label to pay for it, which is

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Speaker 5: gonna come out of your budget.

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Speaker 4: And I was gonna say it's your budget, your money.

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Speaker 5: But knowing that you would get no publishing, you probably

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Speaker 5: have to pay some upfront money. I mean, because we

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Speaker 5: we were part of that. I mean we paid, we sampled.

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Speaker 5: I sampled some Berry White, you know, I sample, we

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Speaker 5: sample some Isaac Hayes.

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Speaker 4: I was gonna say, a lot of big artists.

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Speaker 3: They paid like a motherfucker.

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Speaker 5: But you know, I think what was good about our

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Speaker 5: ship at the time was it was away from what

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Speaker 5: everybody else was typically using at the time. So we

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Speaker 5: kind of got like that, Oh, okay, you want to

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Speaker 5: use our ship.

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Speaker 3: Okay, no problem.

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Speaker 5: Oh you know, because a lot of people wasn't using

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Speaker 5: you know, Berry White and other ships.

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Speaker 3: We was coming from. You know, that was records I

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Speaker 3: used to listen.

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Speaker 1: To growing up.

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Speaker 5: Yeah, Berry is pretty fair with Yeah, so didn't crazy.

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Speaker 5: I used I think a very white on fucking the

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Speaker 5: music to drive By album, more straight checking than one

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Speaker 5: of them. And then we used to walk on By

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Speaker 5: by Isaac Hayes on Nigga Struggling and Ship.

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Speaker 3: You know, so, I mean that's what you did.

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Speaker 5: I mean back then, you know, you found a funky

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Speaker 5: motherfucking record and you go ahead and try to chop

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Speaker 5: it up, but you know the consequences of it. So

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Speaker 5: it all depends on how much you you desperately feel

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Speaker 5: like that song is worth giving up, you know what

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Speaker 5: I'm saying, all your publishing and giving up a couple

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Speaker 5: of dollars up front and maybe all on the back end.

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Speaker 4: Who knows, But well I also know too.

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Speaker 6: Some artists had it that if a producer was gonna sample,

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Speaker 6: the producer was responsible for Yeah.

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Speaker 3: They started doing they started doing that.

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Speaker 5: Well, if you produce the record, yeah, it's gonna come

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Speaker 5: out of your end and your publishing and whatever. So

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Speaker 5: that wouldn't affect like me as a writer or an artist,

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Speaker 5: because I'm not the one who produced the beat, So

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Speaker 5: why should I get my cut taken out of a

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Speaker 5: money drawn from me? You gotta pay for that, especially

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Speaker 5: if you using an out our producer outside of the camp.

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Speaker 3: You know what I'm saying.

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Speaker 1: Yeah, you know what. I remember when I was working

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Speaker 1: for Minder Music, we were actually involved in suing Doctor

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Speaker 1: Dre for the Less Get Higher record because he had

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Speaker 1: used the baseline from the fat back band the Dunk

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Speaker 1: d Dunk. And what was crazy about it is John

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Speaker 1: Foggery that was the guy on Minded Music shout out

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Speaker 1: the Big John out of the UK. But he contacted

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Speaker 1: Dre numerous times he wanted to clear the record. Wow,

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Speaker 1: like we wanted to clear the record. He just wouldn't

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Speaker 1: respond when Dre when we went to court with Dre,

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Speaker 1: you know what dra did. Drake came in, went to

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Speaker 1: sleep and walked out and left like he didn't give

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Speaker 1: a fuck. He didn't give a fuck, walk out and left.

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Speaker 3: What y'all won't, man?

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Speaker 1: I think that sample wound up costing him one point

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Speaker 1: two million.

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Speaker 3: Dollars And they get a nigga that ship billion.

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Speaker 1: Dollars and they own like the publishing for the song.

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Speaker 1: But they wanted to share with him that. They were

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Speaker 1: willing to do that, but he just wouldn't get back

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Speaker 1: to him.

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Speaker 5: Yeah, because at that time, you know, it's like, nigga, please, nigga,

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Speaker 5: I'm making y'all hot as fuck again, right feel me?

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Speaker 5: That was probably my nigga, Dre's motherfucking mind state, Like nigga.

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Speaker 5: Ain't nobody in ninety three bumping fat back band?

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Speaker 3: You feel me? Was you bumping it?

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Speaker 1: No? I was?

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Speaker 4: I did what I did when the two thousand and

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Speaker 4: one album.

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Speaker 3: Came out as fuck.

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Speaker 1: You know when one of the two thousand and one

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Speaker 1: album still said, nah, I want to go back to service,

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Speaker 1: I want to go back to I know you talk

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Speaker 1: about death certificate someone right, Yes, I want to go

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Speaker 1: for that.

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Speaker 4: That's my number one in your mind.

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Speaker 1: What makes that the number one gainst the rap album

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Speaker 1: of all time?

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Speaker 6: I think because it really examines, uh, so many angles

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Speaker 6: of what was going on in society at the time.

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Speaker 6: And Cube had so many brilliant stories that you know,

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Speaker 6: from the beginning of the album to the end of

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Speaker 6: the album really examined you know, Alive on Arrival was

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Speaker 6: going after the healthcare system. You had Us, which was

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Speaker 6: looking in the mirror at the self created problems.

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Speaker 4: You had color.

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Speaker 6: Blind dealing with with the problems of gang banging. You

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Speaker 6: had Steady Mob, which was just a day in the hood.

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Speaker 6: You had My Summer Vacation, which I think is one

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Speaker 6: of the best songs ever made about the migration of

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Speaker 6: gangs and drugs. You had I mean it was just

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Speaker 6: back to boy I want to Kill Sam talking about

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Speaker 6: the government.

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Speaker 4: It was a little devil.

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Speaker 1: Yeah, my Summer Vacation, yeah, number which really examined the

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Speaker 1: migration of the West Coast, you know, the West Coast

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Speaker 1: gangsters into the.

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Speaker 4: Into the Midwest and the Midwest, and.

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Speaker 1: It actually spawned me being originally from the Midwest. As

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Speaker 1: I remember crips and bloods coming to Ohio and it

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Speaker 1: wasn't on no hostile takeover stuff like. It was just

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Speaker 1: they had the best prices. They had prices cats couldn't

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Speaker 1: believe in. So cats they came up there with the work.

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Speaker 1: So you had cats. You saw local gangs like the

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Speaker 1: Brick City Outlaws and the Dynamite Devils that had been

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Speaker 1: around since the sixties started kind of making the transition

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Speaker 1: and turning the blood gangs turning the crip gangs just

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Speaker 1: because they met somebody that was cool from California. And

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Speaker 1: a lot of those cats set up the set up

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Speaker 1: shopping the Midwest. It's still there to this day. They

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Speaker 1: wound up having families, wound up just never going back. Yeah,

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Speaker 1: if they didn't go to the Feds. Yeah, that was

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Speaker 1: the intention. Shit and Pott of Cali go somewhere set up.

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Speaker 1: Once you plant the roots, you like, frok it, nigga,

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Speaker 1: this is home.

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Speaker 6: Yeah, because they had You know, Cube does a great

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Speaker 6: job on My Summer Vacation of really breaking down that

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Speaker 6: reality and how the gang culture spread in a different way,

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Speaker 6: and like you guys are saying, the different drugs in

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Speaker 6: a different way that it was distributed, it was just

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Speaker 6: my summer is just an amazing, amazing breakdown. And then

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Speaker 6: of course there's a very heavy Nation of Islam influence

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Speaker 6: on there, and he's talking about you know, knowledge itself

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Speaker 6: and historical facts and different.

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Speaker 4: Things going on.

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Speaker 6: That all of that added together plus the production, plus

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Speaker 6: Cube being such a brilliant writer, it just really has everything.

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Speaker 6: And I think Cube, Bob Can Rashata as the Boogeyman,

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Speaker 6: and then Sir Jenks all super underrated producers and all

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Speaker 6: of it coming together all at once, and Cube having

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Speaker 6: a few guest appearances mainly on color Blind. It was highlighted.

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Speaker 6: It's incredible. It's phenomenon.

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Speaker 5: I think, you know, from the transition of coming off

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Speaker 5: as the solo artists, first from the America's you.

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Speaker 3: Know, this record was more.

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Speaker 5: West Coast field, much more America's most wanted was, you know,

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Speaker 5: it had it had a few West Coast references and field,

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Speaker 5: you know, we had once upon a time in the

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Speaker 5: projects and you know, but I think with the death certificate,

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Speaker 5: it really hit home on what you say, niggas, you know,

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Speaker 5: West Coast rap and transition of what it was about.

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Speaker 5: And like I said, the songs just you went through

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Speaker 5: a motherfucking roller coaster ride. Yeah, and like you said,

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Speaker 5: a lot of a lot of that around that time,

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Speaker 5: you know, with being in the rap game and having

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Speaker 5: to deal with the oppression of motherfuckers didn't want rap

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Speaker 5: and you know, they was hating on it. You kind

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Speaker 5: of even though niggas was on some gang shit, you

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Speaker 5: kind of was able to listen to those songs on

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Speaker 5: that record because you was like, Yeah, they don't want

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Speaker 5: a nigga to eat and they tripping because we saying

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Speaker 5: we from here and niggas is wearing colors and you know,

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Speaker 5: bitch and whole shit, and you know, just a reality

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Speaker 5: of what niggas was going through on the daily. But

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Speaker 5: for some reason in that time, man, they really was

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Speaker 5: against what we was pushing. So you know, that's what

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Speaker 5: that record represented to me. You know, especially the cover

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Speaker 5: with the Sam toe tager.

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Speaker 4: That that was cracking crazy.

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Speaker 5: That was like one of those classic covers, like like

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Speaker 5: music to drive by.

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Speaker 1: And Ship, you know exactly.

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Speaker 5: You know, one of them classic covers that you always remember,

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Speaker 5: like damn them niggas did that, Like damn he did that.

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Speaker 3: Damn nigga put a toe tag on.

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Speaker 1: Uncle Sam, Like, I'm gonna tell you one thing that

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Speaker 1: he did it too, that he did to even the

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Speaker 1: sequence and the way the album was sequence, because yeah,

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Speaker 1: he had given up the nappy dug out that talked

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Speaker 1: about a promission WITHS Girl and then he.

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Speaker 4: Hed, look who's burning STD.

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Speaker 1: You know, right after that. And I think that's something

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Speaker 1: that was seldom talked about in hip hop is AIDS. Yeah,

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Speaker 1: during that, you know, nobody talked about AIDS. Nobody talked

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Speaker 1: about nario sexually transmitted diseases as well.

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Speaker 6: I think the difference is though with Cube because uh,

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Speaker 6: if you remember booking down productions on the bio all

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Speaker 6: Means necessarily had a Jimmy song where they were talking

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Speaker 6: about the Jay and the Jimmy had so people were

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Speaker 6: talking about it. But the difference that Cube did and

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Speaker 6: Cube always did is I took it much more on

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Speaker 6: a street profane level, whereas Karaswan was doing it more

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Speaker 6: of a edutainment whereas Cube was like street edutainment on

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Speaker 6: a totally different level, much more graphic and explicit because

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Speaker 6: because people.

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Speaker 4: Had been rapping about it.

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Speaker 6: But when Cube did it, Cube did it in a

359
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Speaker 6: way that I think resonated more with a lot of

360
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Speaker 6: people because as great as the Jimmy song is, by

361
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Speaker 6: booking down productions, a lot of people don't remember that song,

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Speaker 6: even though it's a safe sex song, and even though

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Speaker 6: it's on a great album. It's on a gold album.

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Speaker 6: That's a gold album. It's on the My Philosophy album,

365
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Speaker 6: it's on I'm Still Number one album. So it's on

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Speaker 6: the Self Stop the Violence album, Illegal Business album. Yeah,

367
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Speaker 6: that's one of the best albums too ever made. But

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Speaker 6: I think that's the we have giving up the nappy dugout.

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Speaker 6: You have twenty Little Devil, these type of songs when

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Speaker 6: they're examining uh, sexual tension, racism, sexually transmitted diseases, but

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Speaker 6: doing it from such a profound naway.

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Speaker 3: Niggas gonna like.

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Speaker 5: You're speaking on topics that usually motherfuckers would be like, man,

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Speaker 5: what the fuck you talking about?

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Speaker 3: But you're putting it in the way to it go.

376
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Speaker 3: Hell yeah.

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Speaker 5: Exactly when Nigga got burnt and I knew a bit

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Speaker 5: she was given them what you burn it, Nigga, So

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00:20:08,000 --> 00:20:12,080
Speaker 5: he put in a conscious shit in a way that

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Speaker 5: the average motherfucker could relate to it, and you got

381
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Speaker 5: to simplified shit sometime for motherfuckers exactly what I'm saying.

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Speaker 1: You knew anybody during that time period, the Kaids and anything, No,

383
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Speaker 1: and you know, and that was the thing. And what

384
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Speaker 1: was scary about that is that it was affecting, that

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Speaker 1: it was impacting the African American community and disproportionate numbers,

386
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Speaker 1: right because nobody talked about it. Nobody talked about it.

387
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Speaker 1: And I remember my cousin that caught my head, a

388
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Speaker 1: cousin rec in Peace Tiff the Ks, right, and she

389
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Speaker 1: caught it from her husband, he was a humophiliac and

390
00:20:46,880 --> 00:20:49,040
Speaker 1: he caught it from Kais And I just remember thinking,

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Speaker 1: like wow, that really kind of fucked me up a

392
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Speaker 1: little bit because at that point you would hear little

393
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Speaker 1: rumors about certain people in the neighborhood, right, they had

394
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Speaker 1: the package, but it would never get confirmed. Like so

395
00:21:00,720 --> 00:21:02,800
Speaker 1: it was almost one of them things didn't nobody want

396
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Speaker 1: to talk about, right, Like nobody ever talked about it,

397
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Speaker 1: because I ain't gonna lie to have me scared to death.

398
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Speaker 3: Oh definitely scared you away.

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Speaker 1: From some ass Hell yeah, maybe definitely, go.

400
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Speaker 5: E say it definitely scared you away from some asses

401
00:21:20,240 --> 00:21:23,320
Speaker 5: that like they got think twice I think I will

402
00:21:23,400 --> 00:21:26,199
Speaker 5: pass or that or right there, it's a little a

403
00:21:26,200 --> 00:21:28,520
Speaker 5: little funky today, I think I will pass.

404
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Speaker 1: So for sure, you definitely became more You definitely be

405
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Speaker 1: more mindful.

406
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Speaker 5: Exact it had to be you say you have to

407
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Speaker 5: be more smell forul you know what I'm saying.

408
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Speaker 3: Ship. You got to be able to sniff out that ship.

409
00:21:43,240 --> 00:21:48,359
Speaker 1: Yeah, for sure, And I think it was a phenomenal

410
00:21:48,440 --> 00:21:53,080
Speaker 1: labum man. But I want to go name your listener

411
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Speaker 1: name name those five off again.

412
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Speaker 4: So Cube is number one, and then my other five.

413
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Speaker 3: This is Sawerings number one.

414
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Speaker 6: This yeah, that's my number one, that certificate and the

415
00:22:04,680 --> 00:22:07,880
Speaker 6: other ones in the top five. I would say it's

416
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Speaker 6: the Brothers for Life n w A, The Chronic Doctor, Dre,

417
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Speaker 6: Straut Compton.

418
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Speaker 4: N w A and Easy Easy does it?

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Speaker 3: My nigga sown said the Brothers for Life. Man.

420
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Speaker 5: You know, be politically he's slick with some people say,

421
00:22:24,240 --> 00:22:27,080
Speaker 5: I'm saying for him, it's Niggas for Life. You feel

422
00:22:27,160 --> 00:22:28,920
Speaker 5: mean all good?

423
00:22:29,000 --> 00:22:31,040
Speaker 1: Man? I want to talk about Niggas for Life for

424
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Speaker 1: a minute, man.

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Speaker 4: Because that's Dre's best produced album.

426
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Speaker 1: Dre was making that transition, and I think everybody has

427
00:22:39,119 --> 00:22:42,600
Speaker 1: something to proof. You gotta remember you had just left

428
00:22:42,600 --> 00:22:45,800
Speaker 1: the group and everybody was kind of wondering what.

429
00:22:45,800 --> 00:22:49,280
Speaker 5: A deduction was. Production was way better than than Straight

430
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Speaker 5: Out by far.

431
00:22:50,440 --> 00:22:52,240
Speaker 4: It's Dre's produced best produced album.

432
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Speaker 5: Donny Compton was on some real like you know, like

433
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Speaker 5: a lot of niggas, especially DJ's and him coming from

434
00:23:02,480 --> 00:23:05,560
Speaker 5: a DJ, it was a blender man that nigga knew

435
00:23:05,560 --> 00:23:07,800
Speaker 5: how to blend record, scratch and all that. So a

436
00:23:07,840 --> 00:23:10,840
Speaker 5: lot of the first Straight Out of Compton record was

437
00:23:10,880 --> 00:23:12,000
Speaker 5: a lot of breakbeat.

438
00:23:12,680 --> 00:23:15,120
Speaker 4: Well it's a very bomb squad esque.

439
00:23:15,440 --> 00:23:21,320
Speaker 5: Exactly, very bomb really, you know, like not too like

440
00:23:21,480 --> 00:23:24,200
Speaker 5: as of today, if you listen to it, you would go,

441
00:23:24,440 --> 00:23:26,200
Speaker 5: this ain't no West Coast record.

442
00:23:26,440 --> 00:23:27,440
Speaker 3: As far as production.

443
00:23:27,840 --> 00:23:32,320
Speaker 5: Now, what they talking about very West Coast, but the

444
00:23:32,359 --> 00:23:36,560
Speaker 5: production they mocking back back East, you know, with the

445
00:23:36,640 --> 00:23:39,600
Speaker 5: with the heavy, motherfucking breakbeat.

446
00:23:39,119 --> 00:23:41,920
Speaker 3: Influenced tracks all day.

447
00:23:42,800 --> 00:23:48,960
Speaker 5: The Niggas for Life album was more you know, baseline

448
00:23:49,080 --> 00:23:54,600
Speaker 5: riffs and horns and instrument exactly, so it gave a

449
00:23:54,800 --> 00:23:59,280
Speaker 5: more of a West Coast field to the n w

450
00:23:59,280 --> 00:24:00,440
Speaker 5: A ain't.

451
00:24:00,240 --> 00:24:03,159
Speaker 1: Nothing away from Dre, but Drey has started doing a

452
00:24:03,200 --> 00:24:05,840
Speaker 1: lot of work with the homies from Above the Law.

453
00:24:06,920 --> 00:24:10,080
Speaker 1: You got to remember Above the Law was very very

454
00:24:10,160 --> 00:24:13,479
Speaker 1: much in the live instrumentation at the time. I actually

455
00:24:13,480 --> 00:24:15,720
Speaker 1: in VENTI G Funk around that time, because you got

456
00:24:15,760 --> 00:24:20,879
Speaker 1: to remember Warren and Warren and Snoop were in Above

457
00:24:20,920 --> 00:24:24,119
Speaker 1: the Laws camp at that time. Yeah, they kind of

458
00:24:24,119 --> 00:24:25,719
Speaker 1: honed their skills over there, you know what I mean,

459
00:24:25,760 --> 00:24:29,040
Speaker 1: before they got over to before started messing with Trump.

460
00:24:29,200 --> 00:24:32,040
Speaker 6: Well, you know, I talk about this in my book,

461
00:24:32,080 --> 00:24:34,920
Speaker 6: The History Against the Rap, But if you really look

462
00:24:34,960 --> 00:24:38,720
Speaker 6: at it, the Vocally Pimping EP that Above the Law

463
00:24:38,720 --> 00:24:41,800
Speaker 6: put out in ninety one, and then Black Mafia Life,

464
00:24:41,800 --> 00:24:45,120
Speaker 6: which came out and really in ninety two. I don't

465
00:24:45,119 --> 00:24:46,920
Speaker 6: know how I got it in ninety two and Maryland,

466
00:24:46,960 --> 00:24:49,400
Speaker 6: but I did. I had it before the Chronics somehow,

467
00:24:50,240 --> 00:24:52,040
Speaker 6: and I got it from a record store, so maybe

468
00:24:52,080 --> 00:24:58,280
Speaker 6: it had shipped accidentally or something. But by the time

469
00:24:58,320 --> 00:25:00,439
Speaker 6: the Chronic came out, I had heard a lot of

470
00:25:00,480 --> 00:25:04,399
Speaker 6: the samples that they used on Vocally Pimping and Black

471
00:25:04,440 --> 00:25:06,960
Speaker 6: Mafia Life were used on the Chronic in the exact

472
00:25:06,960 --> 00:25:11,359
Speaker 6: same way. So Above the Law they did it first,

473
00:25:11,359 --> 00:25:13,879
Speaker 6: and they created it, and i'd say dre stamped it

474
00:25:13,920 --> 00:25:17,879
Speaker 6: and perfected it. And Warren g really commercialized it.

475
00:25:18,200 --> 00:25:23,960
Speaker 1: So yeah, for sure, you know, I would say the

476
00:25:24,000 --> 00:25:28,080
Speaker 1: biggest thing man on the Niggas for Life album, Man,

477
00:25:28,280 --> 00:25:32,280
Speaker 1: outside of Drey's production, it's all of them dudes was

478
00:25:32,320 --> 00:25:33,080
Speaker 1: coming off on there.

479
00:25:33,119 --> 00:25:33,239
Speaker 5: Man.

480
00:25:33,280 --> 00:25:37,280
Speaker 4: I was gonna say Wren Rien was.

481
00:25:37,200 --> 00:25:40,040
Speaker 1: On there killing shit, was destroying shit on there in

482
00:25:40,080 --> 00:25:43,960
Speaker 1: the album, man, and I think he had a I

483
00:25:43,960 --> 00:25:46,520
Speaker 1: ain't gonna lie, man, I could picture all them dudes like, Man,

484
00:25:46,600 --> 00:25:49,120
Speaker 1: fuck this. I'm tired of motherfucker's talking about Q being

485
00:25:49,119 --> 00:25:51,199
Speaker 1: a man all the time. I make my statement on

486
00:25:51,240 --> 00:25:51,880
Speaker 1: this album.

487
00:25:52,000 --> 00:25:57,679
Speaker 5: I think Wren was always uh, he was always he

488
00:25:57,800 --> 00:25:58,640
Speaker 5: was always there.

489
00:25:58,520 --> 00:25:59,600
Speaker 3: To the penmanship.

490
00:26:01,520 --> 00:26:05,560
Speaker 5: Like you said, outside of Cube, I always thought that

491
00:26:06,440 --> 00:26:08,080
Speaker 5: he stood his own ground.

492
00:26:08,440 --> 00:26:09,200
Speaker 1: Oh yeah for sure.

493
00:26:09,720 --> 00:26:12,760
Speaker 6: Well let me let me ask you this being from here,

494
00:26:12,840 --> 00:26:16,480
Speaker 6: growing up here and being in Compton, because on Easy

495
00:26:16,560 --> 00:26:20,199
Speaker 6: does It, it's really Easy and Ren are on that

496
00:26:20,280 --> 00:26:24,480
Speaker 6: album a lot, and even on the Straight out of

497
00:26:24,480 --> 00:26:26,320
Speaker 6: Compton it's Dre and Ren are on.

498
00:26:26,359 --> 00:26:26,879
Speaker 4: It a lot.

499
00:26:27,080 --> 00:26:28,720
Speaker 3: Yeah, they was back and forth, man.

500
00:26:28,720 --> 00:26:30,240
Speaker 4: And they were going to harmonize it.

501
00:26:30,480 --> 00:26:32,640
Speaker 3: The Compton and the Hot Common. Yeah, the house was.

502
00:26:32,560 --> 00:26:34,199
Speaker 4: Cracking, man, super cracking.

503
00:26:35,960 --> 00:26:37,800
Speaker 3: Again that New York did a lot of that back

504
00:26:37,840 --> 00:26:38,840
Speaker 3: and forth man.

505
00:26:38,840 --> 00:26:39,960
Speaker 4: The run MC style.

506
00:26:41,240 --> 00:26:47,120
Speaker 6: So my question eight is when being here because even

507
00:26:47,160 --> 00:26:50,360
Speaker 6: in Maryland, I always thought it was more of an

508
00:26:51,600 --> 00:26:54,600
Speaker 6: equal share. Like I always looked at Rend and Cbe

509
00:26:54,640 --> 00:26:57,439
Speaker 6: back then at this as like the same level dude.

510
00:26:58,320 --> 00:27:00,880
Speaker 4: So was that the vibe out here that you guys

511
00:27:00,920 --> 00:27:01,439
Speaker 4: were getting?

512
00:27:04,359 --> 00:27:05,000
Speaker 6: Uh?

513
00:27:05,320 --> 00:27:13,760
Speaker 5: For me, I always put Rin and they like there

514
00:27:13,920 --> 00:27:17,080
Speaker 5: was no first and second to me back then when

515
00:27:17,119 --> 00:27:23,520
Speaker 5: they was getting off, dre was who he was. I

516
00:27:23,680 --> 00:27:26,320
Speaker 5: never looked at you know, dreas because he was the

517
00:27:26,359 --> 00:27:28,400
Speaker 5: producer doing the beats and all that.

518
00:27:29,800 --> 00:27:30,520
Speaker 3: We all knew.

519
00:27:30,600 --> 00:27:34,080
Speaker 5: Easy was a hood nigga, so we knew he wasn't

520
00:27:34,080 --> 00:27:38,199
Speaker 5: writing his raps and ship but his delivery and his voice.

521
00:27:39,040 --> 00:27:43,040
Speaker 5: But when it came to you know, Rin and Cube,

522
00:27:43,240 --> 00:27:47,600
Speaker 5: I never looked at like Cube is here and then

523
00:27:48,160 --> 00:27:50,719
Speaker 5: I always was like both of them niggas is fire.

524
00:27:50,920 --> 00:27:53,159
Speaker 4: Yeah, because because.

525
00:27:53,760 --> 00:27:56,439
Speaker 5: N solo record on, you know, when he would do

526
00:27:56,520 --> 00:28:04,040
Speaker 5: those solo songs, killing him, that was the They was

527
00:28:04,119 --> 00:28:06,360
Speaker 5: just both prolific To me at the time.

528
00:28:06,440 --> 00:28:09,160
Speaker 1: I actually Rin had a little bit more styling.

529
00:28:09,359 --> 00:28:13,120
Speaker 5: A lot of a lot of people you know probably

530
00:28:13,280 --> 00:28:16,800
Speaker 5: had Rin as the favorite also because.

531
00:28:20,600 --> 00:28:23,120
Speaker 3: He was just a hard nigga man, and.

532
00:28:23,080 --> 00:28:25,879
Speaker 5: That's how we we respected them. Nigga, he can't. He

533
00:28:26,000 --> 00:28:28,640
Speaker 5: was from the hood, you know what I'm saying. And

534
00:28:28,640 --> 00:28:32,680
Speaker 5: and just to be putting our records in ser Rin

535
00:28:32,920 --> 00:28:36,000
Speaker 5: was like the was like king to niggas. Man, It wasn't.

536
00:28:36,520 --> 00:28:39,640
Speaker 5: It wasn't no separation to us like oh, you know

537
00:28:39,880 --> 00:28:43,240
Speaker 5: Cube and then Wren. It was never especially when they

538
00:28:43,320 --> 00:28:47,080
Speaker 5: was together. N could hold his own with with any motherfucker.

539
00:28:47,120 --> 00:28:50,720
Speaker 1: Hey, I'm gonna tell y'all now, Bob Kak got an

540
00:28:50,800 --> 00:28:55,240
Speaker 1: album on Rihn. It never came out. I had the

541
00:28:55,360 --> 00:28:57,480
Speaker 1: craziest beats I ever heard in that they got a

542
00:28:57,520 --> 00:29:03,680
Speaker 1: song with cbe Ring and Dragon never came out that

543
00:29:03,800 --> 00:29:07,960
Speaker 1: Bob can't produced. Wow, craziest motherfucking beat I ever heard.

544
00:29:08,080 --> 00:29:09,840
Speaker 1: And all of them is on there coming off.

545
00:29:10,520 --> 00:29:12,840
Speaker 4: Why I say it though, and it just never came out. Dog.

546
00:29:12,920 --> 00:29:15,120
Speaker 1: They they got some shit in the cut, I'm.

547
00:29:14,960 --> 00:29:19,000
Speaker 6: Sure because Bobcat worked with ran On Kissed my Black

548
00:29:19,040 --> 00:29:21,280
Speaker 6: ass on and On shot at the Hour and he

549
00:29:22,520 --> 00:29:26,320
Speaker 6: destroyed it. But they they always seem to work well together.

550
00:29:26,400 --> 00:29:27,120
Speaker 6: So I love to hear that.

551
00:29:27,160 --> 00:29:29,600
Speaker 4: One day. Still, we gotta we gotta talk to Bobcat.

552
00:29:29,680 --> 00:29:31,040
Speaker 1: Man, I know you watched the show.

553
00:29:31,120 --> 00:29:31,400
Speaker 4: Bob.

554
00:29:31,800 --> 00:29:35,080
Speaker 1: Please come up here, man, Bob, we gotta put them records.

555
00:29:35,080 --> 00:29:36,320
Speaker 1: Are he's supposed to be putting a lot of that

556
00:29:36,360 --> 00:29:37,320
Speaker 1: stuff out this year.

557
00:29:38,000 --> 00:29:40,960
Speaker 5: Well, maybe it's some ship, Bobcat. Maybe to me on

558
00:29:41,040 --> 00:29:44,000
Speaker 5: the Secret. I won't let them, I won't let steal

559
00:29:44,160 --> 00:29:46,400
Speaker 5: play none of it. Just send it to me on

560
00:29:46,480 --> 00:29:47,760
Speaker 5: the Secret.

561
00:29:48,200 --> 00:29:50,040
Speaker 4: Yes, hey, it'll just play it for us so we

562
00:29:50,080 --> 00:29:51,040
Speaker 4: can hear it at least.

563
00:29:51,240 --> 00:29:55,920
Speaker 1: Hell, yeah, you know, I know it's something. Sorry you

564
00:29:55,960 --> 00:29:57,720
Speaker 1: didn't have it in your top file lifts, but I'm

565
00:29:57,720 --> 00:30:01,160
Speaker 1: gonna bring it up right now. It's Doggy Style.

566
00:30:02,560 --> 00:30:04,600
Speaker 4: That's probably number six or seven.

567
00:30:04,960 --> 00:30:07,160
Speaker 1: I don't know if dogg easty. I think Doggy Style

568
00:30:07,280 --> 00:30:09,600
Speaker 1: might be a number one dog And I'm gonna tell

569
00:30:09,600 --> 00:30:12,520
Speaker 1: you why. And it's conflicting to me. I almost want

570
00:30:12,560 --> 00:30:14,120
Speaker 1: if we can have a tie in this, and I

571
00:30:14,120 --> 00:30:15,960
Speaker 1: think that's what we go probably do. We gona probably

572
00:30:15,960 --> 00:30:17,880
Speaker 1: all make our own list and let the fans vote

573
00:30:17,920 --> 00:30:20,280
Speaker 1: on it. Okay, you know, I think we probably should

574
00:30:20,320 --> 00:30:22,200
Speaker 1: make our own top fifty. And you know we dropped

575
00:30:22,200 --> 00:30:24,400
Speaker 1: over sometime this week on line on the internet. So

576
00:30:24,720 --> 00:30:27,840
Speaker 1: if you go to the Gangst the Chronicles podcast, Hit

577
00:30:27,840 --> 00:30:30,920
Speaker 1: the Gainst the Chronicles podcast. Instagram up. You'll be able

578
00:30:30,960 --> 00:30:32,800
Speaker 1: to go in and see all three of our top fifty,

579
00:30:32,840 --> 00:30:36,160
Speaker 1: and we gonna have the fans actually vote on which

580
00:30:36,200 --> 00:30:37,880
Speaker 1: one they did the most. I think that's the only

581
00:30:37,880 --> 00:30:39,800
Speaker 1: fair thing. Is we close on a lot of things.

582
00:30:40,240 --> 00:30:45,000
Speaker 1: But I just think, see Doggy Style wasn't just the

583
00:30:45,080 --> 00:30:47,800
Speaker 1: introduction the Snoop Dogg, which is the biggest brand in

584
00:30:47,880 --> 00:30:50,320
Speaker 1: hip hop, probably the most famous motherfucker ever, the most

585
00:30:50,360 --> 00:30:55,200
Speaker 1: famous motherfucking raperever probably. But I just think what you

586
00:30:55,280 --> 00:30:57,320
Speaker 1: came with that, And I'm gonna tell you Rage set

587
00:30:57,360 --> 00:31:00,840
Speaker 1: that whole motherfucking album off Rage probably the one of

588
00:31:00,880 --> 00:31:03,800
Speaker 1: the most vicious fuck is called Female them Seeds, one

589
00:31:03,800 --> 00:31:06,600
Speaker 1: of the most vicious them seeds of all time. What

590
00:31:06,640 --> 00:31:07,160
Speaker 1: do you think.

591
00:31:09,320 --> 00:31:18,240
Speaker 5: I think Doggy Style, Uh, change the little change the

592
00:31:18,360 --> 00:31:22,520
Speaker 5: lane of which you know we were coming as far

593
00:31:22,520 --> 00:31:28,800
Speaker 5: as West Coast music, a lot of us, you know, Uh,

594
00:31:29,680 --> 00:31:36,360
Speaker 5: we're focused on East Coast hip hop. Not that we

595
00:31:36,560 --> 00:31:41,720
Speaker 5: wanted to mimic East Coast, but if it ain't broke,

596
00:31:41,760 --> 00:31:45,800
Speaker 5: don't fix it. A lot of our beats, like I said, breakbeats.

597
00:31:45,160 --> 00:31:49,560
Speaker 3: And and and a lot of heavy you know whatever.

598
00:31:50,840 --> 00:31:54,920
Speaker 5: Chopping up samples and and up tempo. And you know,

599
00:31:57,240 --> 00:32:05,400
Speaker 5: I think when it came to Doggy style, Uh, it

600
00:32:05,520 --> 00:32:07,880
Speaker 5: just put us in a in a different element as

601
00:32:07,880 --> 00:32:11,600
Speaker 5: far as West Coast concerning the production, you know what

602
00:32:11,760 --> 00:32:14,400
Speaker 5: Niggas was, you know, Niggas wrapping them out, getting high,

603
00:32:14,520 --> 00:32:16,760
Speaker 5: and it was on a different element.

604
00:32:16,800 --> 00:32:18,560
Speaker 1: It was a change to the guard kind of like

605
00:32:18,600 --> 00:32:20,200
Speaker 1: it was just it was a change it to me,

606
00:32:20,680 --> 00:32:23,880
Speaker 1: And that's why I say that album itself not just

607
00:32:23,920 --> 00:32:26,600
Speaker 1: for Snoop Dogg's appearances on there, but just for everybody

608
00:32:26,600 --> 00:32:28,720
Speaker 1: from the way that Dogo came in from.

609
00:32:28,960 --> 00:32:31,720
Speaker 6: But I think to the the main key to me

610
00:32:31,840 --> 00:32:35,760
Speaker 6: that the chronic and doggy style did that really changed.

611
00:32:35,440 --> 00:32:37,040
Speaker 4: It is.

612
00:32:38,520 --> 00:32:44,080
Speaker 6: On a commercial pop level least they made the music

613
00:32:44,760 --> 00:32:49,440
Speaker 6: slower and it also made it feel more inviting. If

614
00:32:49,440 --> 00:32:52,640
Speaker 6: you listen to Fuck the Police, that's an angry record. Gangster,

615
00:32:52,720 --> 00:32:56,520
Speaker 6: Gangster is an angry record definitely, whereas Jen and Juice

616
00:32:56,560 --> 00:32:57,600
Speaker 6: that sounds fun.

617
00:32:57,800 --> 00:32:59,160
Speaker 3: It's an angry record.

618
00:32:59,400 --> 00:33:03,800
Speaker 5: Like Niggas was Madgas was mad then because.

619
00:33:03,400 --> 00:33:06,400
Speaker 4: Of what was one time is not a happy record.

620
00:33:06,480 --> 00:33:12,920
Speaker 5: No, we had angry records because at the time we

621
00:33:13,000 --> 00:33:17,960
Speaker 5: wanted people to respect what we were doing in hip hop,

622
00:33:18,120 --> 00:33:21,960
Speaker 5: but then we also wanted motherfuckers to know what was

623
00:33:22,000 --> 00:33:23,240
Speaker 5: going on over here.

624
00:33:24,240 --> 00:33:24,920
Speaker 3: I think.

625
00:33:26,360 --> 00:33:30,360
Speaker 5: Dog came in with the aspect of like, Okay, you

626
00:33:30,480 --> 00:33:33,320
Speaker 5: niggas know we banging, So now I'm gonna take it

627
00:33:33,360 --> 00:33:36,160
Speaker 5: to a different aspect. I'm gonna take it to where

628
00:33:36,960 --> 00:33:39,760
Speaker 5: when we ain't shooting and killing each other and WOOTI

629
00:33:39,840 --> 00:33:42,080
Speaker 5: wom Now I'm gonna tell y'all what we do just

630
00:33:42,160 --> 00:33:47,920
Speaker 5: on a good day, smoked weed, we gin and juicing nigga.

631
00:33:48,240 --> 00:33:52,720
Speaker 5: It wasn't all just like put it. It wasn't fun.

632
00:33:53,080 --> 00:33:55,000
Speaker 5: It wasn't all murder, was the case.

633
00:33:55,240 --> 00:33:55,800
Speaker 4: You get me?

634
00:33:56,040 --> 00:34:01,560
Speaker 6: And to this something that in retrospect, I noticed this

635
00:34:01,680 --> 00:34:04,480
Speaker 6: when it happened, but I didn't understand it at the time,

636
00:34:04,600 --> 00:34:08,120
Speaker 6: which is with Doggy Style.

637
00:34:07,880 --> 00:34:10,840
Speaker 4: In ninety three and being.

638
00:34:12,880 --> 00:34:17,560
Speaker 6: Going to like high school and college events, I noticed

639
00:34:17,600 --> 00:34:22,440
Speaker 6: this was the first time I had ever seen at

640
00:34:22,440 --> 00:34:24,839
Speaker 6: a white party, or a lot of white people at

641
00:34:24,840 --> 00:34:27,200
Speaker 6: a party where they would play the whole album. I'd

642
00:34:27,239 --> 00:34:31,400
Speaker 6: never seen that with the NWA or comptences, with nobody,

643
00:34:31,480 --> 00:34:34,760
Speaker 6: not a public enemy, not named the most popular rappers ever,

644
00:34:35,600 --> 00:34:39,319
Speaker 6: never until really the Chronic and Doggy Style, and I

645
00:34:39,320 --> 00:34:41,960
Speaker 6: remember it started with the Chronic and then that really

646
00:34:42,440 --> 00:34:46,080
Speaker 6: exploded and became even more pronounced with doggy style.

647
00:34:46,320 --> 00:34:52,640
Speaker 5: Never saw that hood feel good, yeah, because it wasn't music.

648
00:34:52,640 --> 00:34:55,360
Speaker 3: Because even like said, with the Chronic.

649
00:34:56,440 --> 00:34:59,680
Speaker 4: Let me ride, not even to start.

650
00:34:59,440 --> 00:35:04,440
Speaker 5: With nothing for the G thing, you would you would

651
00:35:04,480 --> 00:35:07,560
Speaker 5: look at that title and before you hear the music,

652
00:35:07,680 --> 00:35:11,000
Speaker 5: you would go nothing but a G thing. Your instant

653
00:35:11,160 --> 00:35:13,560
Speaker 5: is like, oh, these niggas gonna be on some hood,

654
00:35:13,680 --> 00:35:16,239
Speaker 5: gangster shit. Nigga, this ain't nothing but a G thing,

655
00:35:16,600 --> 00:35:19,600
Speaker 5: a gangster thing. But then when you hear the music

656
00:35:19,960 --> 00:35:28,280
Speaker 5: and then video making popular a groove that has already

657
00:35:28,360 --> 00:35:32,520
Speaker 5: been embedded in some motherfuckers know when motherfucker's heard that,

658
00:35:32,680 --> 00:35:36,200
Speaker 5: I want to do some freak. That's like, wait a minute,

659
00:35:36,840 --> 00:35:39,600
Speaker 5: hurt that ship before. My mama used to play that

660
00:35:39,680 --> 00:35:43,200
Speaker 5: shit in the kitchen and shit or my auntie used

661
00:35:43,200 --> 00:35:46,480
Speaker 5: to bump that ship. So it gave you the automatic

662
00:35:47,440 --> 00:35:48,759
Speaker 5: and I feel good like a mother.

663
00:35:48,880 --> 00:35:52,000
Speaker 1: I'm gonna tell you another sheet two eight rolling down

664
00:35:52,040 --> 00:35:55,759
Speaker 1: the street smoking and those sipping on Jenning's juice. They

665
00:35:55,880 --> 00:35:59,600
Speaker 1: walking down the street watching ladies go by, watching you.

666
00:35:59,719 --> 00:36:01,600
Speaker 3: That's why I'm saying, it became familiar.

667
00:36:01,719 --> 00:36:03,919
Speaker 5: But then, like I said, but then they knew how

668
00:36:04,040 --> 00:36:07,600
Speaker 5: to nigga, We're gonna turn this into a feel good

669
00:36:07,880 --> 00:36:11,160
Speaker 5: And then when you watch the visuals, it make you

670
00:36:11,200 --> 00:36:14,640
Speaker 5: feel man. Niggas is all out kicking it at the

671
00:36:14,800 --> 00:36:17,360
Speaker 5: drive in and pass and drink around.

672
00:36:17,760 --> 00:36:20,640
Speaker 3: It's like like you said.

673
00:36:20,160 --> 00:36:23,000
Speaker 5: It made a motherfucker put on the record and go, oh,

674
00:36:23,800 --> 00:36:24,759
Speaker 5: I could listen to.

675
00:36:24,760 --> 00:36:26,680
Speaker 1: This like they was having a party.

676
00:36:26,719 --> 00:36:28,960
Speaker 3: Dog It was gonna sound like they had a party.

677
00:36:29,080 --> 00:36:31,799
Speaker 4: And then Doggie Dog World continue that too.

678
00:36:32,120 --> 00:36:34,439
Speaker 3: Let me, like you said, let me ride? Who gonna

679
00:36:34,719 --> 00:36:35,120
Speaker 3: let me?

680
00:36:36,000 --> 00:36:39,080
Speaker 5: How can you even it don't matter what the color is,

681
00:36:39,680 --> 00:36:42,800
Speaker 5: even if you are, like you said, all Caucasian white

682
00:36:42,880 --> 00:36:46,319
Speaker 5: party with a gang of college kids getting drunk and

683
00:36:46,360 --> 00:36:48,160
Speaker 5: motherfucker's bumping led me.

684
00:36:48,400 --> 00:36:50,000
Speaker 4: I've never seen that before.

685
00:36:50,160 --> 00:36:52,759
Speaker 3: How can that be deniable? You know what I'm saying.

686
00:36:53,120 --> 00:36:56,160
Speaker 5: It's undeniable for you to sit up and be like,

687
00:36:56,239 --> 00:36:56,680
Speaker 5: I don't.

688
00:36:56,480 --> 00:36:56,960
Speaker 3: Want to hear that.

689
00:36:57,080 --> 00:36:59,960
Speaker 4: I was at College Xavier in Cincinnati.

690
00:37:00,080 --> 00:37:01,680
Speaker 3: Want to hear that even with.

691
00:37:03,480 --> 00:37:06,439
Speaker 5: Banging, they made the ship that shit accept the ball

692
00:37:06,840 --> 00:37:09,360
Speaker 5: even on the street tips. So that's why I think

693
00:37:09,520 --> 00:37:14,360
Speaker 5: it turned the era of alienatean a lot of West

694
00:37:14,400 --> 00:37:17,680
Speaker 5: Coast artists to where you know, yeah, you niggas don't

695
00:37:17,719 --> 00:37:20,480
Speaker 5: do nothing but gang bang, shoot at each other and

696
00:37:20,600 --> 00:37:24,000
Speaker 5: say fuck the police. Now, Oh no, nigga, We party,

697
00:37:24,080 --> 00:37:27,360
Speaker 5: We feel good, We smoke a little weed, We ride

698
00:37:27,400 --> 00:37:30,719
Speaker 5: around and a nice cars and on low riders.

699
00:37:30,520 --> 00:37:33,000
Speaker 3: And it's a good day today. You feel me?

700
00:37:34,040 --> 00:37:37,799
Speaker 5: Like you said from the chronic, Snoop just they it

701
00:37:37,880 --> 00:37:41,480
Speaker 5: was the same formula because who you got behind the boards,

702
00:37:41,800 --> 00:37:44,480
Speaker 5: you got Dre behind the boards, and like you said,

703
00:37:44,640 --> 00:37:47,960
Speaker 5: Snoop layed all of the chronic. So it's just the

704
00:37:48,000 --> 00:37:50,640
Speaker 5: same fucking formula. Let's just do a part two and

705
00:37:50,719 --> 00:37:53,399
Speaker 5: call it Doggy Style, and now you're gonna be the last.

706
00:37:55,239 --> 00:37:58,080
Speaker 1: They should never get invited in the No Sessions, which

707
00:37:58,120 --> 00:37:59,959
Speaker 1: ones for Doggie Style.

708
00:38:00,400 --> 00:38:03,080
Speaker 5: Oh no, no, no, no, no, I was I was.

709
00:38:04,080 --> 00:38:12,359
Speaker 5: I was not a death Row camp invite because they

710
00:38:12,400 --> 00:38:17,799
Speaker 5: were cool with you know, Sug. Sug ran death Row

711
00:38:18,040 --> 00:38:23,040
Speaker 5: and even though they were mixed in bloods and crips

712
00:38:23,040 --> 00:38:26,120
Speaker 5: and they all got along, we were still crips to Sug.

713
00:38:26,600 --> 00:38:30,480
Speaker 5: You feel me, So we were Bompting's most wanted to shug.

714
00:38:30,640 --> 00:38:31,920
Speaker 5: That's what he used to call us.

715
00:38:32,719 --> 00:38:36,319
Speaker 1: You know what's funny, You think Quick being over there

716
00:38:36,320 --> 00:38:38,440
Speaker 1: at that time with them, because Quick was hanging around them.

717
00:38:38,880 --> 00:38:40,680
Speaker 5: Of course that had a lot to do with it.

718
00:38:40,800 --> 00:38:46,040
Speaker 5: I mean you've heard stories about it, so I mean,

719
00:38:46,080 --> 00:38:49,120
Speaker 5: but that was that would that would be natural. Of course,

720
00:38:49,480 --> 00:38:53,040
Speaker 5: you know Quick was hanging around with them, He was

721
00:38:53,080 --> 00:38:55,920
Speaker 5: hanging out with him. I think Shug started managing them

722
00:38:55,960 --> 00:38:58,080
Speaker 5: and all of that. That's how he was able to

723
00:38:58,120 --> 00:39:02,759
Speaker 5: perform at the Source Award on their showcase. You get me,

724
00:39:02,920 --> 00:39:07,000
Speaker 5: because Quick was signed the profile he was. He was

725
00:39:07,120 --> 00:39:08,879
Speaker 5: non existent with death Row.

726
00:39:09,239 --> 00:39:11,600
Speaker 3: But Ah came.

727
00:39:11,440 --> 00:39:13,560
Speaker 1: In, had him on suspension of some at that time,

728
00:39:14,000 --> 00:39:14,560
Speaker 1: let them put.

729
00:39:14,600 --> 00:39:17,520
Speaker 5: These records, so he got sug involved and should got

730
00:39:17,520 --> 00:39:19,920
Speaker 5: to be in his manager. So you know, no, I

731
00:39:20,000 --> 00:39:24,160
Speaker 5: never got any uh uh death uh doggy styling.

732
00:39:24,560 --> 00:39:26,000
Speaker 1: You imagine how that would have sounded.

733
00:39:26,680 --> 00:39:29,839
Speaker 5: You know, I'm I'm you know, ship went the way

734
00:39:29,880 --> 00:39:32,560
Speaker 5: it should have, and I think it is what it is.

735
00:39:32,680 --> 00:39:34,840
Speaker 1: You was dropping your own, Yeah, I was.

736
00:39:34,960 --> 00:39:37,600
Speaker 4: I had already he was doing quite well for himself.

737
00:39:37,800 --> 00:39:41,600
Speaker 5: I had already been you know, I had been a

738
00:39:41,640 --> 00:39:44,840
Speaker 5: part of a crew. You know that was a crew.

739
00:39:45,200 --> 00:39:47,040
Speaker 5: You know what I'm saying death Row was a crew.

740
00:39:48,000 --> 00:39:53,160
Speaker 5: Ruthless was a crew. You know, Lynch Mob was a cruise.

741
00:39:53,360 --> 00:39:56,680
Speaker 5: We was we was, We was just us, man, that's it.

742
00:39:57,320 --> 00:40:00,520
Speaker 1: We were just hearing about wondering what Yeah, and I

743
00:40:00,560 --> 00:40:03,160
Speaker 1: can't wait to hear hawking Berg. We were.

744
00:40:05,920 --> 00:40:09,680
Speaker 5: We didn't have no big entity click or nothing like that.

745
00:40:10,080 --> 00:40:13,160
Speaker 5: It was a couple of niggas from the neighborhood, you know,

746
00:40:13,400 --> 00:40:16,359
Speaker 5: and and and that's how we did it. Then four

747
00:40:16,520 --> 00:40:19,200
Speaker 5: five of us and that was it, man. And so

748
00:40:19,960 --> 00:40:24,000
Speaker 5: we didn't we never uh, we never had to trickle

749
00:40:24,120 --> 00:40:27,239
Speaker 5: down of you know, of of the tree. You know

750
00:40:27,280 --> 00:40:32,120
Speaker 5: what I'm saying. From from n w A to Dre

751
00:40:32,480 --> 00:40:35,040
Speaker 5: and then you know the tree. We didn't have that.

752
00:40:35,400 --> 00:40:37,640
Speaker 5: You would think you being from Compton, man, Dre ain't

753
00:40:37,680 --> 00:40:40,319
Speaker 5: never reached out or nothing. No, Dre was cool. I've

754
00:40:40,600 --> 00:40:43,759
Speaker 5: I've you know, I talked to Dre. We've hung out

755
00:40:43,800 --> 00:40:47,480
Speaker 5: a couple of times, but we've never got to the stage.

756
00:40:49,480 --> 00:40:51,480
Speaker 3: Fuck it eight, let's do some music.

757
00:40:51,400 --> 00:40:54,880
Speaker 1: Because Drei's temple. I'm a big temple person. Dre's temple

758
00:40:54,920 --> 00:40:58,319
Speaker 1: of his music, it's like a groove like even though

759
00:40:58,320 --> 00:41:01,120
Speaker 1: it's up in the ninety bpms sound a little bit slower,

760
00:41:01,280 --> 00:41:03,520
Speaker 1: sound like eighty five, you know what I mean? Definitely,

761
00:41:03,640 --> 00:41:07,640
Speaker 1: And I think that's Riding because that's eighth lane right there.

762
00:41:08,360 --> 00:41:10,839
Speaker 1: Eight Ride, one of them type of tracks that would

763
00:41:10,880 --> 00:41:13,200
Speaker 1: be perfect. Actually that would have been That would have

764
00:41:13,239 --> 00:41:18,080
Speaker 1: been fucking banana. It's I know you mentioned Easy does

765
00:41:18,120 --> 00:41:18,520
Speaker 1: it right?

766
00:41:18,800 --> 00:41:19,080
Speaker 4: Yes?

767
00:41:19,120 --> 00:41:22,200
Speaker 1: In the mix of all this now, I definitely for

768
00:41:22,280 --> 00:41:25,839
Speaker 1: what Easy represents the gangster rep. I definitely say you

769
00:41:25,920 --> 00:41:28,960
Speaker 1: almost have to put him in that top five. I

770
00:41:29,000 --> 00:41:32,680
Speaker 1: don't know if sonically it maxes up with those others.

771
00:41:32,760 --> 00:41:35,759
Speaker 4: I don't know, Man, Easy does it? That album is

772
00:41:36,680 --> 00:41:37,240
Speaker 4: I'm gonna.

773
00:41:37,080 --> 00:41:39,320
Speaker 1: Tell you my favorite song up there. This is the

774
00:41:39,400 --> 00:41:41,120
Speaker 1: stick of Nobody Moved Nobody, Gere.

775
00:41:41,239 --> 00:41:46,319
Speaker 4: This is a stick down Nobody Moved. Number two.

776
00:41:46,400 --> 00:41:48,040
Speaker 1: That was crazy Dude.

777
00:41:48,080 --> 00:41:51,560
Speaker 4: That's another one with mc wren is still talking ship.

778
00:41:52,360 --> 00:41:52,600
Speaker 3: Yeah.

779
00:41:53,080 --> 00:41:57,000
Speaker 6: The first track there that that was a crazy Way.

780
00:41:57,280 --> 00:42:00,400
Speaker 6: And being in Maryland, I was like comped and I

781
00:42:00,400 --> 00:42:02,920
Speaker 6: thought they were from LA. They said confin Michigan.

782
00:42:02,960 --> 00:42:04,799
Speaker 4: I was like, what are they doing? Like who are

783
00:42:04,840 --> 00:42:05,440
Speaker 4: these dudes?

784
00:42:06,160 --> 00:42:12,239
Speaker 6: But that whole album the thing I like about it, it's,

785
00:42:12,520 --> 00:42:15,040
Speaker 6: first of all, it's incredible, but you got mc.

786
00:42:14,960 --> 00:42:17,680
Speaker 4: Rent is on it a lot. Easy's on it a lot.

787
00:42:17,760 --> 00:42:22,160
Speaker 6: But then Easy's character, He's got the humor, he's got

788
00:42:22,200 --> 00:42:25,440
Speaker 6: the voice, he's got you know, they got miche la,

789
00:42:25,560 --> 00:42:32,000
Speaker 6: the girls talking like on radio and on uh uh

790
00:42:32,239 --> 00:42:34,719
Speaker 6: that we want Easy. You know, they got all the

791
00:42:34,760 --> 00:42:38,480
Speaker 6: stuff coming back and forth. Easier Sayer done has one

792
00:42:38,480 --> 00:42:42,040
Speaker 6: of my favorite line my little sections of a rap ever,

793
00:42:42,600 --> 00:42:45,359
Speaker 6: when he said, Yo, I don't do dope, but I'm dope.

794
00:42:45,400 --> 00:42:47,520
Speaker 6: Not a dope, but I'm doper than anybody who tries

795
00:42:47,560 --> 00:42:53,239
Speaker 6: to cope. And uh that ship, dude, they told me.

796
00:42:53,320 --> 00:42:57,359
Speaker 6: Dre wrote that That's what I was told by people there.

797
00:42:57,600 --> 00:42:58,760
Speaker 1: I'm gonna tell you something.

798
00:42:58,800 --> 00:43:01,719
Speaker 3: Restraint with smocks from the micros the one with the

799
00:43:02,960 --> 00:43:03,399
Speaker 3: act like.

800
00:43:04,280 --> 00:43:08,640
Speaker 4: No More Questions, dude, he's breaking down a bbery.

801
00:43:08,960 --> 00:43:11,879
Speaker 3: Come on man, hey, you.

802
00:43:11,840 --> 00:43:16,839
Speaker 6: Know, and and the song structures so different like on

803
00:43:17,000 --> 00:43:19,799
Speaker 6: No More Questions he's doing the interview and then he

804
00:43:19,880 --> 00:43:22,560
Speaker 6: goes off and describes what the lady's asking him. He

805
00:43:22,680 --> 00:43:25,160
Speaker 6: goes in talks about like, oh, I'm doing a robbery

806
00:43:26,640 --> 00:43:28,240
Speaker 6: to help.

807
00:43:29,520 --> 00:43:32,200
Speaker 1: It was cracking, especially the way to break down in

808
00:43:32,239 --> 00:43:32,840
Speaker 1: the beats.

809
00:43:32,640 --> 00:43:34,680
Speaker 4: With And then.

810
00:43:37,840 --> 00:43:38,680
Speaker 1: I got another trick.

811
00:43:39,080 --> 00:43:42,719
Speaker 4: My sleeve to the back of the house. Then all

812
00:43:42,760 --> 00:43:43,600
Speaker 4: the Lights is Out.

813
00:43:44,280 --> 00:43:45,240
Speaker 1: Was hard as a motherfucker.

814
00:43:46,719 --> 00:43:47,560
Speaker 4: That's what I'm saying.

815
00:43:47,600 --> 00:43:49,719
Speaker 6: Like that album, Boys and the Hood is on there too,

816
00:43:49,800 --> 00:43:54,439
Speaker 6: of course, and the remix. But that album, I think

817
00:43:54,560 --> 00:43:59,440
Speaker 6: it just showed. It was super street, super gangster, super hard.

818
00:43:59,480 --> 00:44:03,799
Speaker 6: But he had such character and the humor, which I

819
00:44:03,840 --> 00:44:06,640
Speaker 6: think anytime you're able to add something.

820
00:44:09,600 --> 00:44:12,279
Speaker 3: I can always have an on Hoole skizer.

821
00:44:14,080 --> 00:44:14,400
Speaker 1: I was.

822
00:44:16,520 --> 00:44:20,280
Speaker 3: I was like, who is this he was playing with him?

823
00:44:20,719 --> 00:44:23,960
Speaker 6: Yeah, and with the yellow Man sample, with the nobody moved,

824
00:44:23,960 --> 00:44:27,280
Speaker 6: nobody hurt. It was just it brought in so much

825
00:44:27,320 --> 00:44:28,840
Speaker 6: stuff coming.

826
00:44:28,680 --> 00:44:32,480
Speaker 5: Right afterde said here's what I'm going to put put

827
00:44:32,560 --> 00:44:41,239
Speaker 5: inside like a rabbit. It was a lot of white an.

828
00:44:40,600 --> 00:44:46,600
Speaker 6: It was, and until the controversy with the police, that

829
00:44:46,680 --> 00:44:50,680
Speaker 6: album was actually it went gold before Straut content. It

830
00:44:50,760 --> 00:44:53,600
Speaker 6: came out before Strau content, and it was platinum before

831
00:44:53,680 --> 00:44:56,959
Speaker 6: Straud content. It was a very big album. I think

832
00:44:57,120 --> 00:45:02,680
Speaker 6: just the controversy absolutely, JJ Fad set it up, then

833
00:45:02,800 --> 00:45:04,839
Speaker 6: Easy set it up, and the n w A took

834
00:45:04,840 --> 00:45:06,239
Speaker 6: it out out the park.

835
00:45:06,320 --> 00:45:09,120
Speaker 5: Nigga was as clever as a motherfucker dude, Like I'm

836
00:45:09,120 --> 00:45:12,560
Speaker 5: gonna be in the group and then my own solo.

837
00:45:12,840 --> 00:45:17,600
Speaker 5: Fuck it, let's get all this this mother He did

838
00:45:17,640 --> 00:45:19,720
Speaker 5: all this motherfucking bread right quick.

839
00:45:19,840 --> 00:45:22,200
Speaker 4: And let's not also forget that.

840
00:45:22,920 --> 00:45:27,040
Speaker 6: Obviously I understood this better later, of course, but to

841
00:45:27,800 --> 00:45:30,440
Speaker 6: especially people like us in Maryland or people just around

842
00:45:30,960 --> 00:45:34,560
Speaker 6: Easy E was he had the uniform.

843
00:45:34,719 --> 00:45:37,400
Speaker 4: He was what the gangster rapper was. He was the

844
00:45:37,440 --> 00:45:39,200
Speaker 4: gangster dude.

845
00:45:39,320 --> 00:45:42,320
Speaker 5: He did had on the white tea with the gloves

846
00:45:42,760 --> 00:45:45,720
Speaker 5: nigga with the Loachs nigga, the five oh ones nigga.

847
00:45:45,760 --> 00:45:49,759
Speaker 4: Yeah, and the Jerry Carl the throw home on.

848
00:45:49,960 --> 00:45:53,680
Speaker 5: He was the epitome of what what white people like.

849
00:45:53,920 --> 00:45:56,719
Speaker 4: Oh yeah, that's the gang that is the guy.

850
00:45:57,120 --> 00:45:59,200
Speaker 3: That's the gangster, that's the guy.

851
00:45:59,360 --> 00:46:01,719
Speaker 1: Absolutely guess. Back in the day and still this day,

852
00:46:01,760 --> 00:46:04,640
Speaker 1: you would see a ze cad. It'd be nine degrees outside.

853
00:46:04,680 --> 00:46:07,040
Speaker 1: They got a big ass jacket on, they got some glove,

854
00:46:07,520 --> 00:46:10,319
Speaker 1: we got a beanie on, or some looks still and

855
00:46:10,360 --> 00:46:12,440
Speaker 1: it'll be nine degrees outside.

856
00:46:12,600 --> 00:46:13,640
Speaker 3: And something for you know.

857
00:46:13,960 --> 00:46:20,279
Speaker 5: Yeah, motherfuckers got to recognize that. We've had a lot

858
00:46:20,400 --> 00:46:25,640
Speaker 5: of em c's and groups and crews and artists come

859
00:46:25,680 --> 00:46:28,759
Speaker 5: out of the West Coast and you are. You know,

860
00:46:29,239 --> 00:46:32,840
Speaker 5: niggas are on all kinds of ship right now. You

861
00:46:32,880 --> 00:46:34,560
Speaker 5: could represent your hood.

862
00:46:34,880 --> 00:46:39,839
Speaker 3: Yeah, fucking you can be. You just think about it.

863
00:46:39,920 --> 00:46:45,719
Speaker 5: With with with with our expression of hip hop. Uh

864
00:46:46,640 --> 00:46:51,680
Speaker 5: no disrespect to the East Coast, but with our expression

865
00:46:51,719 --> 00:46:55,120
Speaker 5: of hip hop, you know, being able to say, you know,

866
00:46:55,400 --> 00:46:59,240
Speaker 5: fuck the police or what went on in the neighborhoods

867
00:46:59,280 --> 00:47:03,600
Speaker 5: with drugs and niggas pulling dry byes and getting jacked,

868
00:47:03,640 --> 00:47:10,760
Speaker 5: and you know from from expression of of the dicky

869
00:47:10,880 --> 00:47:15,400
Speaker 5: suits and the khaki suits and the bandannas and and

870
00:47:15,400 --> 00:47:22,520
Speaker 5: and what we went through for Look at hip hop today, right,

871
00:47:22,840 --> 00:47:27,759
Speaker 5: motherfucker you can be anything from a trap nigga to

872
00:47:27,880 --> 00:47:31,480
Speaker 5: a gay rapper to you can be anything you fucking

873
00:47:31,520 --> 00:47:34,239
Speaker 5: want today because we took all of that.

874
00:47:35,880 --> 00:47:39,279
Speaker 4: Oh hell nah, you can see who you want to be.

875
00:47:39,719 --> 00:47:43,920
Speaker 5: Oh hell no, you can't do that right Remember nigga

876
00:47:43,960 --> 00:47:47,719
Speaker 5: back in the days, niggas shit, you can't wear motherfucking

877
00:47:47,800 --> 00:47:51,840
Speaker 5: ten shoes and clubs and jeans and fucking T shirts

878
00:47:51,880 --> 00:47:52,520
Speaker 5: and shit.

879
00:47:52,800 --> 00:47:54,080
Speaker 4: With saggy jam please.

880
00:47:54,320 --> 00:47:55,920
Speaker 1: That was the funny thing about it. You remember I

881
00:47:56,040 --> 00:47:58,200
Speaker 1: used to have them dress codes for them clubs and how.

882
00:47:58,040 --> 00:47:59,960
Speaker 5: They would man you better come in here. I used

883
00:47:59,960 --> 00:48:03,080
Speaker 5: to call them with the motherfucking Sunday Best. You gotta

884
00:48:03,080 --> 00:48:06,320
Speaker 5: come to the club with your Sunday best only, Nigga.

885
00:48:06,320 --> 00:48:08,440
Speaker 5: I'm not trying to go to a club like I'm

886
00:48:08,480 --> 00:48:09,880
Speaker 5: finna go to crazy.

887
00:48:09,920 --> 00:48:12,120
Speaker 1: Back then, if you want to go see a concert

888
00:48:12,239 --> 00:48:15,040
Speaker 1: or something, you had to wear your slacks, your shoes,

889
00:48:15,160 --> 00:48:18,319
Speaker 1: go in. But the had on some khakis. Yeah, yeah,

890
00:48:18,320 --> 00:48:20,040
Speaker 1: had on a T shirt or jacket on.

891
00:48:20,640 --> 00:48:20,960
Speaker 3: Nigga.

892
00:48:21,000 --> 00:48:24,680
Speaker 5: I remember nigga back in the days, Nigga when they

893
00:48:24,680 --> 00:48:26,719
Speaker 5: wouldn't even want the artists to wear.

894
00:48:26,520 --> 00:48:27,560
Speaker 3: Hats in the club.

895
00:48:27,680 --> 00:48:28,440
Speaker 4: Nigga.

896
00:48:28,680 --> 00:48:31,840
Speaker 5: We used to get ready to go perform at little clubs, Nigga,

897
00:48:31,920 --> 00:48:34,239
Speaker 5: try to walk in, Nigga. They used to be like, oh, no,

898
00:48:34,320 --> 00:48:35,839
Speaker 5: you gotta go leave your hat in the car.

899
00:48:36,719 --> 00:48:38,080
Speaker 3: I used to be like, huh.

900
00:48:38,600 --> 00:48:41,440
Speaker 5: In Maryland to go out of town, the little small towns,

901
00:48:41,680 --> 00:48:43,520
Speaker 5: and the motherfuckers used to be like, yeah, you gotta

902
00:48:43,560 --> 00:48:44,399
Speaker 5: leave your hat in the car.

903
00:48:44,760 --> 00:48:47,279
Speaker 4: People like what did they do that out here?

904
00:48:47,320 --> 00:48:53,040
Speaker 6: But in Maryland when I went on the roads in them, nigga.

905
00:48:53,040 --> 00:48:54,719
Speaker 5: When I would go on the road, yep, you go

906
00:48:54,800 --> 00:48:59,040
Speaker 5: to the little clubs, you know. Promo tour little small clubs. Nigga,

907
00:48:59,040 --> 00:49:03,280
Speaker 5: You walk up nigga with your your motherfucking big jacket

908
00:49:03,360 --> 00:49:05,759
Speaker 5: on nigga or your pendleton nigga, and we got a

909
00:49:05,800 --> 00:49:09,800
Speaker 5: motherfucking la had on or or c on the cap

910
00:49:09,960 --> 00:49:10,440
Speaker 5: or whatever.

911
00:49:10,719 --> 00:49:14,160
Speaker 3: The motherfucker security be like the car. You gotta go

912
00:49:14,239 --> 00:49:14,640
Speaker 3: leave that.

913
00:49:14,600 --> 00:49:20,360
Speaker 5: In the car like this motherfucker pistol of bomb to

914
00:49:20,400 --> 00:49:22,680
Speaker 5: shoot a nigga with my cap and ship when I

915
00:49:22,719 --> 00:49:26,560
Speaker 5: get inside, nigga's gonna provoke a nigga like a motherfucker.

916
00:49:26,880 --> 00:49:28,960
Speaker 3: But you had to go. We had to go through that.

917
00:49:29,320 --> 00:49:29,920
Speaker 3: You did me.

918
00:49:30,440 --> 00:49:33,680
Speaker 5: We had to go through that because of the fear

919
00:49:34,040 --> 00:49:36,960
Speaker 5: of motherfuckers not knowing what was going on at the

920
00:49:37,000 --> 00:49:40,759
Speaker 5: time as far as hip hop being new or or

921
00:49:41,400 --> 00:49:44,719
Speaker 5: not hip hop, but us as far as West Coast artists,

922
00:49:44,760 --> 00:49:47,200
Speaker 5: because you know they had hip hop. We had, like

923
00:49:47,239 --> 00:49:50,279
Speaker 5: I said, Curtis Blow and the Fat Boys, and you

924
00:49:50,360 --> 00:49:53,560
Speaker 5: know we had East Coast and whatever. But when niggas

925
00:49:53,600 --> 00:49:57,320
Speaker 5: started pulling up with motherfucking low riders and khaki suits.

926
00:49:57,560 --> 00:49:59,960
Speaker 5: You know what I'm saying with full ain't your mama

927
00:50:00,000 --> 00:50:04,800
Speaker 5: and Danna's around their head. Motherfuckers be like you niggas

928
00:50:04,920 --> 00:50:07,200
Speaker 5: rap like you niggas do music.

929
00:50:07,280 --> 00:50:08,680
Speaker 3: Oh no, no turn away.

930
00:50:09,000 --> 00:50:14,040
Speaker 5: So like I said, they easy was the epitome of

931
00:50:14,080 --> 00:50:17,040
Speaker 5: the gangster to motherfuckers and shit because you know they

932
00:50:17,160 --> 00:50:19,759
Speaker 5: used to they used to get harassed going around the

933
00:50:19,800 --> 00:50:20,839
Speaker 5: country and shit too.

934
00:50:21,280 --> 00:50:25,040
Speaker 1: Yeah, let me ask both of you all, this is

935
00:50:25,080 --> 00:50:27,640
Speaker 1: the Chronic two thousand and one as good as Doggy

936
00:50:27,640 --> 00:50:28,760
Speaker 1: Style over the Chronic?

937
00:50:29,880 --> 00:50:33,000
Speaker 4: Wait say that again. It's two thousand and one album.

938
00:50:33,080 --> 00:50:35,640
Speaker 1: You get a two thousand, two thousand and one album.

939
00:50:35,680 --> 00:50:38,120
Speaker 1: Is that as good as either Doggies?

940
00:50:38,960 --> 00:50:39,360
Speaker 4: Not to me?

941
00:50:39,719 --> 00:50:43,160
Speaker 5: No, not to Doggy Style? I think, And I like

942
00:50:43,280 --> 00:50:47,560
Speaker 5: the Chronic. The Chronic is, but the Doggy Style is

943
00:50:47,600 --> 00:50:53,080
Speaker 5: better than the Chronic. And I think Chronic two thousand

944
00:50:53,120 --> 00:50:58,000
Speaker 5: and one is what you put that before the original

945
00:50:58,080 --> 00:50:58,960
Speaker 5: Chronic or after?

946
00:50:59,600 --> 00:50:59,800
Speaker 3: To me?

947
00:51:00,200 --> 00:51:03,320
Speaker 1: After, I think it's after. I think it's after. Definitely.

948
00:51:03,600 --> 00:51:05,759
Speaker 1: I don't think that's the top five album. I think

949
00:51:05,760 --> 00:51:08,279
Speaker 1: it's definitely a great album, but I don't know if

950
00:51:08,280 --> 00:51:09,759
Speaker 1: it's a top five album.

951
00:51:10,080 --> 00:51:11,160
Speaker 4: Yeah, man, that's not to me.

952
00:51:11,760 --> 00:51:16,719
Speaker 3: These nuts so much stuff in Yeah, definitely, you.

953
00:51:16,680 --> 00:51:18,759
Speaker 1: Know, shout out to the homie Warren Gee. He don't

954
00:51:18,800 --> 00:51:21,360
Speaker 1: get enough credit as far as his input in that

955
00:51:21,480 --> 00:51:23,759
Speaker 1: because a lot of those records I used to see.

956
00:51:23,800 --> 00:51:25,520
Speaker 1: You remember it was a record store in North Long

957
00:51:25,560 --> 00:51:29,919
Speaker 1: Beach called the Velvet Underground of off Atlantic Boulevard, because

958
00:51:29,920 --> 00:51:31,319
Speaker 1: I used to go up there looking for records and

959
00:51:31,360 --> 00:51:34,439
Speaker 1: I would see Warren up there, always getting a gang

960
00:51:34,480 --> 00:51:36,600
Speaker 1: of records. He would have like one hundred records on

961
00:51:36,640 --> 00:51:38,719
Speaker 1: the counter and searching for more and now I know

962
00:51:38,760 --> 00:51:39,520
Speaker 1: what the fuck he was.

963
00:51:39,480 --> 00:51:41,680
Speaker 4: Doing and getting his samples together.

964
00:51:41,640 --> 00:51:43,879
Speaker 1: Because this was around that time, This was before all

965
00:51:43,920 --> 00:51:47,240
Speaker 1: that stuff, So to be around during that time period

966
00:51:47,360 --> 00:51:49,120
Speaker 1: was just special because I would see him up there

967
00:51:49,520 --> 00:51:52,160
Speaker 1: and I always knew who Warren was, right, we didn't

968
00:51:52,200 --> 00:51:54,239
Speaker 1: know each other personally, but he would be like, what's up.

969
00:51:54,200 --> 00:51:56,000
Speaker 4: Man, you know, Warren talking something.

970
00:51:56,360 --> 00:51:58,279
Speaker 1: And he would have stacks of records on it and

971
00:51:58,239 --> 00:52:00,520
Speaker 1: I would be wondering, like, what the fuck is this

972
00:52:00,600 --> 00:52:04,600
Speaker 1: dude doing with all these records. And he brought a

973
00:52:04,600 --> 00:52:06,719
Speaker 1: lot of those records to Drea, and a lot of

974
00:52:06,719 --> 00:52:08,880
Speaker 1: those records on the chronic were records that he was

975
00:52:08,920 --> 00:52:12,040
Speaker 1: working on. Of course, Drake put his hands on him

976
00:52:12,040 --> 00:52:14,680
Speaker 1: and made him tighter because I know mister Grimm was

977
00:52:14,719 --> 00:52:19,680
Speaker 1: on the original Little Ghetto Boy that was originally a

978
00:52:19,719 --> 00:52:24,000
Speaker 1: Mister Grim record, and of course we all know what

979
00:52:24,040 --> 00:52:28,600
Speaker 1: happened with that. You know, by the time snooping the

980
00:52:28,600 --> 00:52:33,080
Speaker 1: the mister Officer, Mister Officer, Yeah, you know, to break

981
00:52:33,160 --> 00:52:36,160
Speaker 1: him off something that was originally Big Mike's record.

982
00:52:37,080 --> 00:52:37,879
Speaker 4: Yeah, Big Mike.

983
00:52:39,920 --> 00:52:42,160
Speaker 1: He was almost on it ain't that crazy, Big Michael

984
00:52:42,160 --> 00:52:43,920
Speaker 1: and three two was almost on the Chronic.

985
00:52:43,640 --> 00:52:47,600
Speaker 6: Dog They were almost on death row because I think

986
00:52:47,600 --> 00:52:54,000
Speaker 6: they were gonna do a joint project, gonna do something.

987
00:52:53,840 --> 00:52:59,000
Speaker 1: With Jay Prince, and that's crazy, man, that's crazy, man.

988
00:52:59,080 --> 00:53:03,160
Speaker 1: But I think when you look back at all these records, man,

989
00:53:03,600 --> 00:53:07,200
Speaker 1: that's why I say, you know, we could have our

990
00:53:07,239 --> 00:53:09,920
Speaker 1: own top fifty and stuff. Man, But you gotta seriously

991
00:53:09,960 --> 00:53:13,640
Speaker 1: consider that a doggy style, man, for just so many reasons.

992
00:53:13,640 --> 00:53:15,800
Speaker 1: Because it's, like A said, it changed the landscape of

993
00:53:15,880 --> 00:53:18,319
Speaker 1: music against the rap anyway, So.

994
00:53:18,360 --> 00:53:20,440
Speaker 4: A, why do you think it's better than the chronic

995
00:53:21,920 --> 00:53:22,560
Speaker 4: doggie style?

996
00:53:24,280 --> 00:53:29,000
Speaker 5: I mean shit, anytime, you I think, just just shit,

997
00:53:29,200 --> 00:53:34,920
Speaker 5: just being able to just being able to just feed

998
00:53:35,000 --> 00:53:37,800
Speaker 5: off of what was happening around you know what I'm saying.

999
00:53:38,560 --> 00:53:41,920
Speaker 5: If we was there with the Chronic putting the Chronic together,

1000
00:53:42,080 --> 00:53:45,200
Speaker 5: now we see the formula. So now everything is gonna

1001
00:53:45,239 --> 00:53:49,040
Speaker 5: be a step up. I just think, you know, with

1002
00:53:49,239 --> 00:53:52,360
Speaker 5: Dre having too, you know, with the success of the

1003
00:53:52,440 --> 00:53:57,120
Speaker 5: Chronic and seeing this success that Snoop was having.

1004
00:53:56,880 --> 00:53:58,200
Speaker 3: For being on the Chronic.

1005
00:53:58,640 --> 00:54:01,160
Speaker 5: Now, nigga, we can go in and really flip this,

1006
00:54:01,239 --> 00:54:04,120
Speaker 5: and I think that's what happened. You know, anytime you

1007
00:54:04,160 --> 00:54:07,480
Speaker 5: get you know, you get a chance, you get those,

1008
00:54:07,640 --> 00:54:10,279
Speaker 5: you get those one once in the blue moons, you

1009
00:54:10,320 --> 00:54:14,960
Speaker 5: get me and when you get the feed off the

1010
00:54:15,000 --> 00:54:18,319
Speaker 5: formula that's already working. I mean, because shit, we was

1011
00:54:18,360 --> 00:54:21,439
Speaker 5: all here around the roundtable, right, we all in here

1012
00:54:21,480 --> 00:54:24,719
Speaker 5: putting together the Chronic. Rage is here, RBX is here,

1013
00:54:24,800 --> 00:54:28,800
Speaker 5: Dad's is here, Corrupts is here, you know, Warren is here, whoever?

1014
00:54:28,920 --> 00:54:29,800
Speaker 4: We all here.

1015
00:54:30,000 --> 00:54:33,160
Speaker 5: So now when it's time to do Donkey style ship

1016
00:54:33,760 --> 00:54:37,520
Speaker 5: and still got more. We got more money, We got more,

1017
00:54:37,560 --> 00:54:39,480
Speaker 5: we got more money, we got better.

1018
00:54:39,320 --> 00:54:41,439
Speaker 3: Success, but better success.

1019
00:54:41,600 --> 00:54:44,279
Speaker 5: We got better. This better, So it's just gonna make

1020
00:54:44,320 --> 00:54:46,799
Speaker 5: the ship. Oh nigga, let me try this now.

1021
00:54:46,840 --> 00:54:50,800
Speaker 6: Well. So one thing I do like about the Chronic

1022
00:54:50,920 --> 00:54:56,359
Speaker 6: better though, is I love Dre Rappin. That's why I

1023
00:54:56,400 --> 00:54:59,239
Speaker 6: think now that we're talking about all this stuff, that's

1024
00:54:59,239 --> 00:55:01,719
Speaker 6: what I think. Doggie style doesn't have as much of

1025
00:55:01,800 --> 00:55:04,560
Speaker 6: that the Chronic does. Is I think Dre is a

1026
00:55:04,560 --> 00:55:06,000
Speaker 6: great rapper and always has been.

1027
00:55:06,320 --> 00:55:11,719
Speaker 5: Remember the Chronic album technically, well, I mean the Chronic, Yeah,

1028
00:55:12,680 --> 00:55:13,600
Speaker 5: Drey's album.

1029
00:55:13,680 --> 00:55:14,399
Speaker 3: But like I.

1030
00:55:14,320 --> 00:55:19,839
Speaker 4: Said, I think that's why Cray just knew, you.

1031
00:55:19,840 --> 00:55:22,839
Speaker 5: Know the you know, you know the formula ship I'm

1032
00:55:23,120 --> 00:55:25,040
Speaker 5: gonna go with what I think is working.

1033
00:55:25,200 --> 00:55:26,319
Speaker 3: And he knew what was.

1034
00:55:26,280 --> 00:55:30,719
Speaker 5: Working since he knew since deep Cover happened, you get me,

1035
00:55:31,560 --> 00:55:34,960
Speaker 5: since deep Cover happened. He like, I know the formula,

1036
00:55:35,280 --> 00:55:37,880
Speaker 5: you get me? Like, I'm not one of them niggas

1037
00:55:37,920 --> 00:55:42,120
Speaker 5: who's selfish too, you know, uh in front of the

1038
00:55:42,160 --> 00:55:46,120
Speaker 5: motherfuckers are, But some people, when they see the bigger picture,

1039
00:55:48,120 --> 00:55:49,000
Speaker 5: it's what make.

1040
00:55:48,920 --> 00:55:49,920
Speaker 3: The product better.

1041
00:55:50,320 --> 00:55:52,920
Speaker 5: Like, I'm not one of those self centered motherfuckers who

1042
00:55:52,960 --> 00:55:56,080
Speaker 5: feel like I can be the only star. I want

1043
00:55:56,080 --> 00:55:58,239
Speaker 5: to be the I want to be the entity. I

1044
00:55:58,320 --> 00:56:01,600
Speaker 5: want to be the motherfucker that umbrella niggas is under.

1045
00:56:01,719 --> 00:56:04,560
Speaker 5: You get me, So I don't give a fuck if this.

1046
00:56:04,760 --> 00:56:08,479
Speaker 5: If I sell one million and he sell ten, it's

1047
00:56:08,480 --> 00:56:14,120
Speaker 5: still the success of fucking success exactly. I think that's

1048
00:56:14,160 --> 00:56:20,160
Speaker 5: where his vision allowed you know ship, Yeah, I'm gonna

1049
00:56:20,200 --> 00:56:22,640
Speaker 5: let you wrap on half of the motherfucking chronic and

1050
00:56:22,680 --> 00:56:24,520
Speaker 5: then we're gonna turn around and flip around and let

1051
00:56:24,560 --> 00:56:26,800
Speaker 5: you do a whole project by trying to say snoop

1052
00:56:26,880 --> 00:56:29,600
Speaker 5: up and all those other cats. Was yeah, definitely got

1053
00:56:29,680 --> 00:56:35,239
Speaker 5: throw you the alley, nigga. I've never been the forefront

1054
00:56:35,360 --> 00:56:40,359
Speaker 5: wrapper hit me far as production and the mixer and

1055
00:56:40,440 --> 00:56:43,560
Speaker 5: all of that. That's my That's where I stick my

1056
00:56:43,560 --> 00:56:46,279
Speaker 5: foot in rapping. I'm doing just you know.

1057
00:56:47,280 --> 00:56:51,040
Speaker 1: Dre's hardest line was man when he said, because if

1058
00:56:51,040 --> 00:56:53,480
Speaker 1: a bigs try to diss me one on full of liquor,

1059
00:56:53,560 --> 00:56:56,000
Speaker 1: I smacked the big up and shoot the nigga with it.

1060
00:56:56,280 --> 00:56:58,879
Speaker 1: That's the type of nigga that you're listening to talk

1061
00:56:59,000 --> 00:57:02,320
Speaker 1: to you for a minute and my dick.

1062
00:57:02,760 --> 00:57:05,680
Speaker 6: And that's why now that we say and I think

1063
00:57:05,680 --> 00:57:08,600
Speaker 6: about it, because I always didn't understand why people like

1064
00:57:08,640 --> 00:57:11,400
Speaker 6: doggy style better, but now I understand why. For me,

1065
00:57:11,440 --> 00:57:15,239
Speaker 6: it's the chronic. It's because Dre rapping more on the

1066
00:57:15,320 --> 00:57:18,200
Speaker 6: chronic to me makes it better because snoop is all

1067
00:57:18,200 --> 00:57:21,560
Speaker 6: over the chronic. Snoop is the It's really a snoop

1068
00:57:21,600 --> 00:57:28,520
Speaker 6: and Dre album per seatman. So the style we lose

1069
00:57:28,640 --> 00:57:32,960
Speaker 6: Dre on doggy style, that's my that's my concern sonically.

1070
00:57:33,000 --> 00:57:34,920
Speaker 1: But this is a Snoop Dogg album. You ain't supposed

1071
00:57:34,920 --> 00:57:37,080
Speaker 1: to have Dre on it rap song.

1072
00:57:37,160 --> 00:57:39,440
Speaker 6: But that's what I'm saying. Still, he's Snoop is on.

1073
00:57:40,160 --> 00:57:42,480
Speaker 6: He is really the Chronic too. It's like a Dre

1074
00:57:42,600 --> 00:57:46,320
Speaker 6: and Snoop album. It's like the Ray Kuan only built

1075
00:57:46,320 --> 00:57:48,920
Speaker 6: for Cuban Linx. It's ray Kwan, a ghost is all

1076
00:57:48,960 --> 00:57:51,680
Speaker 6: over it, whereas the Chronic has Snoop all over. It's

1077
00:57:51,680 --> 00:57:54,520
Speaker 6: a similar type of thing to me at least. But

1078
00:57:54,600 --> 00:57:59,520
Speaker 6: I just think Dre brings his presence vocally, brings a lot.

1079
00:57:59,680 --> 00:58:02,920
Speaker 6: And that that's why I think Straut Compton, one hundred

1080
00:58:02,920 --> 00:58:05,960
Speaker 6: Miles of Running, Brothers for Life, all those records are

1081
00:58:06,000 --> 00:58:09,080
Speaker 6: so good because Dre's rapping on not He's not all

1082
00:58:09,120 --> 00:58:09,600
Speaker 6: over them.

1083
00:58:09,720 --> 00:58:13,600
Speaker 1: See what we go see with the side people out

1084
00:58:13,600 --> 00:58:18,360
Speaker 1: their side. I'm gonna tell you this though, man, I

1085
00:58:18,520 --> 00:58:21,200
Speaker 1: was I was in Ohio a lot at the time.

1086
00:58:21,240 --> 00:58:22,680
Speaker 1: I was going back to the Crib a lot, and

1087
00:58:22,720 --> 00:58:24,640
Speaker 1: I was, you know, floating through Kentucky and all that.

1088
00:58:25,640 --> 00:58:29,960
Speaker 1: Everybody around the country was playing Doggy Style.

1089
00:58:30,080 --> 00:58:32,920
Speaker 6: Dog Well, like I said, I've never seen so many

1090
00:58:32,920 --> 00:58:35,320
Speaker 6: white people listening to rap everywhere.

1091
00:58:35,400 --> 00:58:38,800
Speaker 1: Dog It's like that album took if you think about

1092
00:58:38,800 --> 00:58:42,480
Speaker 1: a dog you know how many gangster rappers came with

1093
00:58:42,600 --> 00:58:45,560
Speaker 1: a poor man version of Doggy Style and the chronic.

1094
00:58:45,680 --> 00:58:48,600
Speaker 1: After that, you had all these you had and then

1095
00:58:49,240 --> 00:58:51,560
Speaker 1: y'all had a big impact to eight. I never saw

1096
00:58:51,640 --> 00:58:56,560
Speaker 1: so many most wanteds. Detroit's most wanted, Miami's most wanted,

1097
00:58:56,680 --> 00:58:59,920
Speaker 1: all these other different place, Chicago's most wanted. It was

1098
00:59:00,200 --> 00:59:02,880
Speaker 1: like that was like the season for the gangster rap.

1099
00:59:02,960 --> 00:59:05,800
Speaker 1: Every gangster came out. You had cats coming out of Flint,

1100
00:59:06,040 --> 00:59:08,640
Speaker 1: you know. Speaking of which, and these ain't no top

1101
00:59:08,680 --> 00:59:12,160
Speaker 1: ten albums. Detroit put out some pretty good gangster shit.

1102
00:59:12,880 --> 00:59:13,800
Speaker 4: Yeah.

1103
00:59:14,080 --> 00:59:18,000
Speaker 6: I think really, once the fludgates opened, almost every major

1104
00:59:18,080 --> 00:59:22,480
Speaker 6: city that had a rap scene. Don't forget Flint with

1105
00:59:22,600 --> 00:59:23,320
Speaker 6: Dayton Family.

1106
00:59:23,880 --> 00:59:28,880
Speaker 1: Yeah, the Dayton Family and the DFC and you know what,

1107
00:59:28,960 --> 00:59:32,680
Speaker 1: And that's why I say, man gamester rap. You gotta

1108
00:59:32,720 --> 00:59:35,400
Speaker 1: remember that we we was going into the nineties with

1109
00:59:35,520 --> 00:59:38,920
Speaker 1: hip hop. I truly believe gangster rap saved hip hop.

1110
00:59:40,080 --> 00:59:44,760
Speaker 1: I think it needed something cutting eggs for mainstream, because

1111
00:59:44,760 --> 00:59:47,160
Speaker 1: if mainstream America wouldn't have caught on to it would

1112
00:59:47,160 --> 00:59:48,920
Speaker 1: have been dead. If it would have just stayed a

1113
00:59:49,000 --> 00:59:51,080
Speaker 1: thing that was just in our local hoods that we

1114
00:59:51,200 --> 00:59:54,000
Speaker 1: just consumed, it would probably never gotten no bigger than that.

1115
00:59:54,560 --> 00:59:57,760
Speaker 1: But when you had, like to me, Doggy Style came out,

1116
00:59:57,840 --> 01:00:02,680
Speaker 1: it was almost like Snoop was almost like the Jelly

1117
01:00:02,720 --> 01:00:05,040
Speaker 1: the peanut butter Dog, and it was just like it

1118
01:00:05,080 --> 01:00:07,560
Speaker 1: was just the perfect marriage between him and Dre Dog

1119
01:00:07,960 --> 01:00:10,520
Speaker 1: and the music and the way that album just came off.

1120
01:00:10,520 --> 01:00:12,680
Speaker 1: You gotta think about the first voice you hear on

1121
01:00:12,840 --> 01:00:17,439
Speaker 1: Doggie Styles Rage, and it's a shame she never came

1122
01:00:17,480 --> 01:00:19,560
Speaker 1: out like her album the way it got done. Man,

1123
01:00:19,600 --> 01:00:22,200
Speaker 1: It's like I was really looking forward to hearing rage. Man.

1124
01:00:23,120 --> 01:00:26,560
Speaker 5: Yeah, me too fortunate. You know, shit, that's what happened.

1125
01:00:26,600 --> 01:00:29,480
Speaker 5: Sometime in the music biz, you get caught up with

1126
01:00:29,640 --> 01:00:32,240
Speaker 5: labels and deals and you can't.

1127
01:00:31,960 --> 01:00:35,400
Speaker 1: Do shit about it. I was that's your homegirl eight.

1128
01:00:35,480 --> 01:00:36,200
Speaker 1: We gotta get her.

1129
01:00:36,120 --> 01:00:38,120
Speaker 3: Up here, man, And they were trying to get her

1130
01:00:38,200 --> 01:00:39,440
Speaker 3: up here and she was cracking.

1131
01:00:39,960 --> 01:00:42,160
Speaker 1: Yeah, what you think happened with her album? She ain't

1132
01:00:42,160 --> 01:00:45,439
Speaker 1: never tell you about it. M I bet you. That's

1133
01:00:45,560 --> 01:00:48,600
Speaker 1: just something because I was really anticipating her because I

1134
01:00:48,760 --> 01:00:49,400
Speaker 1: just said it.

1135
01:00:49,520 --> 01:00:52,360
Speaker 4: I mean, labels caught.

1136
01:00:52,240 --> 01:00:54,760
Speaker 3: Up in label shit, so there's nothing else to it.

1137
01:00:55,120 --> 01:00:57,840
Speaker 5: She got it just you get caught up in when

1138
01:00:57,920 --> 01:00:59,120
Speaker 5: labels get the falling.

1139
01:00:59,400 --> 01:01:02,520
Speaker 3: You know, who's ever the last left around? You know?

1140
01:01:02,800 --> 01:01:03,640
Speaker 4: Because look at it.

1141
01:01:03,760 --> 01:01:06,440
Speaker 6: Think of it in reality, Death Row, as big as

1142
01:01:06,480 --> 01:01:08,600
Speaker 6: it was, put out very few albums.

1143
01:01:08,960 --> 01:01:11,080
Speaker 4: They did not release a lot of records.

1144
01:01:11,600 --> 01:01:13,560
Speaker 1: Yeah, there was a lot of compilations and stuff. They

1145
01:01:13,560 --> 01:01:17,320
Speaker 1: had soundtracks and stuff like that. Yeah, but a lot

1146
01:01:17,360 --> 01:01:21,040
Speaker 1: of stuff. Man, as far as my number one though, man,

1147
01:01:21,520 --> 01:01:23,640
Speaker 1: And I think I don't see it numerous times. Man,

1148
01:01:23,720 --> 01:01:27,880
Speaker 1: I think it's and I love Ice Cubes albums, man,

1149
01:01:27,920 --> 01:01:32,760
Speaker 1: but you gotta think about it this point. Man, Doggy

1150
01:01:32,840 --> 01:01:35,800
Speaker 1: Style is twenty something years thirty years old now.

1151
01:01:36,480 --> 01:01:40,320
Speaker 4: Came out in ninety three, so that's thirty when you.

1152
01:01:40,360 --> 01:01:42,640
Speaker 1: Listen to them now. Man, I think you could put

1153
01:01:42,680 --> 01:01:44,880
Speaker 1: Doggy Style out the day and it was still jam

1154
01:01:44,960 --> 01:01:49,000
Speaker 1: Munk changed, absolutely, and it was still jam mun changed. Man.

1155
01:01:49,360 --> 01:01:51,160
Speaker 1: That was a great piece of work, man, great piece

1156
01:01:51,160 --> 01:01:54,720
Speaker 1: of history. I've been going back and revisiting all these

1157
01:01:54,760 --> 01:01:56,960
Speaker 1: albums and even just the album covers back then. I

1158
01:01:57,040 --> 01:02:02,600
Speaker 1: was talking to eight about, like for music to drive by.

1159
01:02:02,600 --> 01:02:05,240
Speaker 1: Who thought of that album cover? Because that had really

1160
01:02:05,280 --> 01:02:08,320
Speaker 1: everything was original back then. It was just it was

1161
01:02:08,400 --> 01:02:10,080
Speaker 1: just so dope back then, you know what I mean.

1162
01:02:10,120 --> 01:02:12,640
Speaker 1: Like when I saw the album cover, I was like, damn, man,

1163
01:02:13,760 --> 01:02:15,720
Speaker 1: who the fuck thought of that shit? Right there? Man?

1164
01:02:15,880 --> 01:02:18,320
Speaker 1: Just the thing. Even remember King T's album cover where

1165
01:02:18,360 --> 01:02:19,960
Speaker 1: he's walking down the street with the twelve.

1166
01:02:19,760 --> 01:02:21,760
Speaker 4: Gauge on the side. That was crazy.

1167
01:02:22,000 --> 01:02:24,120
Speaker 1: And you had the back part the where you didn't

1168
01:02:24,120 --> 01:02:25,880
Speaker 1: know what it was like. He was just walking down

1169
01:02:25,880 --> 01:02:28,480
Speaker 1: the street just looking like a real lope. He had

1170
01:02:28,520 --> 01:02:30,320
Speaker 1: on his khaki suit in his head. Remember Nigga used

1171
01:02:30,320 --> 01:02:30,960
Speaker 1: to dress like that.

1172
01:02:31,000 --> 01:02:32,840
Speaker 3: Ache Yeah, and.

1173
01:02:32,840 --> 01:02:34,480
Speaker 1: He had the twelve gauge on the side, like the

1174
01:02:34,840 --> 01:02:35,560
Speaker 1: grip on the side.

1175
01:02:35,600 --> 01:02:36,160
Speaker 3: That was hard.

1176
01:02:36,240 --> 01:02:37,880
Speaker 4: Man, that was incredible.

1177
01:02:38,200 --> 01:02:43,040
Speaker 1: We had some really genius stuff, man. So remember if

1178
01:02:43,040 --> 01:02:46,640
Speaker 1: you watched this on video light the channel share the

1179
01:02:46,720 --> 01:02:49,320
Speaker 1: video on all that good shit. But if you listen

1180
01:02:49,360 --> 01:02:52,560
Speaker 1: to the actual podcast, you know, I want to congratulate

1181
01:02:53,400 --> 01:02:56,160
Speaker 1: my boy MC eight right here YouTube so on. You've

1182
01:02:56,160 --> 01:03:00,000
Speaker 1: been around for a little bit too now, man, you know, Charlemagne,

1183
01:03:00,040 --> 01:03:02,120
Speaker 1: send me that message, man, that we you know, had

1184
01:03:02,560 --> 01:03:05,760
Speaker 1: over a million downloads already this year on the podcast. Man,

1185
01:03:05,880 --> 01:03:08,439
Speaker 1: so I want to take this time to thank the fans,

1186
01:03:08,440 --> 01:03:11,040
Speaker 1: because without y'all we not shit, for sure.

1187
01:03:11,320 --> 01:03:13,640
Speaker 4: Definitely what I'm saying, Man, it's a big accomplishment.

1188
01:03:13,680 --> 01:03:15,440
Speaker 1: You know, we gonna keep rocking and roller. You know,

1189
01:03:15,920 --> 01:03:17,840
Speaker 1: Charlotte Magne told me, Man that put us in the

1190
01:03:17,840 --> 01:03:19,920
Speaker 1: top two percent of podcasts.

1191
01:03:19,360 --> 01:03:21,280
Speaker 4: And man, that's big, man.

1192
01:03:21,400 --> 01:03:23,320
Speaker 1: So we gonna keep kicking this shit to y'all as

1193
01:03:23,320 --> 01:03:27,320
Speaker 1: long as y'all will have us. Man. Remember, subscribed, you know,

1194
01:03:28,160 --> 01:03:31,680
Speaker 1: subscribe to the podcast, leave a comment whatever, what you like,

1195
01:03:31,760 --> 01:03:33,920
Speaker 1: what you don't like, and we holler at.

1196
01:03:33,920 --> 01:03:36,600
Speaker 4: You yere yes, yes.

1197
01:03:39,840 --> 01:03:42,840
Speaker 1: Well that concludes another episode of the Gainst the Chronicles podcast.

1198
01:03:42,920 --> 01:03:45,200
Speaker 1: Be sure to download the iHeart app and subscribe to

1199
01:03:45,240 --> 01:03:48,200
Speaker 1: the Gangst the Chronicles podcast For Apple users, find a

1200
01:03:48,200 --> 01:03:50,200
Speaker 1: purple micae on the front of your screen, subscribe to

1201
01:03:50,280 --> 01:03:53,080
Speaker 1: the show, leave a comment and rating. Executive producers for

1202
01:03:53,120 --> 01:03:56,560
Speaker 1: The Gangster Chronicles podcast Norman Stilled, Aaron m c a Tyler.

1203
01:03:56,920 --> 01:03:59,960
Speaker 1: Our visual media director is Brian Whatt, and audio editors

1204
01:04:00,040 --> 01:04:03,240
Speaker 1: Tayla Hayes. The Gangster Chronicles is a production of iHeartMedia

1205
01:04:03,320 --> 01:04:06,680
Speaker 1: Network and the Black Effect Podcast Network. For more podcasts

1206
01:04:06,680 --> 01:04:10,280
Speaker 1: from iHeartRadio, visit the iHeart Radio app, Apple Podcasts wherever

1207
01:04:10,280 --> 01:04:11,600
Speaker 1: you're listening to your podcasts