1 00:00:15,436 --> 00:00:22,796 Speaker 1: Pushkin. Hey y'all, Today we're bringing you part two of 2 00:00:22,916 --> 00:00:27,516 Speaker 1: Rick Rubin's conversation with producer Kenny Beats. On last week's episode, 3 00:00:27,836 --> 00:00:30,356 Speaker 1: Kenny broke down how regional sounds in hip hop have 4 00:00:30,476 --> 00:00:34,676 Speaker 1: spread across the US and connected disparate cities Since his 5 00:00:34,796 --> 00:00:38,156 Speaker 1: first conversation with Rick, Kenny Starr has continued to rise. 6 00:00:39,036 --> 00:00:41,196 Speaker 1: In the past couple of years. He's produced songs with 7 00:00:41,316 --> 00:00:44,996 Speaker 1: Ed Sheer In, The Baby and Staples. He's also taken 8 00:00:45,116 --> 00:00:48,076 Speaker 1: several trips to the UK and produced over thirty songs 9 00:00:48,116 --> 00:00:52,396 Speaker 1: with the British artists like f Ga, Twigs and Slow Tie. Today, 10 00:00:52,796 --> 00:00:54,876 Speaker 1: Kenny explains how, for the first time in the history 11 00:00:54,876 --> 00:00:58,196 Speaker 1: of hip hop, an American subgenre made its way across 12 00:00:58,236 --> 00:01:00,756 Speaker 1: the Pond to the UK, only to come back to 13 00:01:00,796 --> 00:01:03,476 Speaker 1: the United States and an updated form that is now 14 00:01:03,556 --> 00:01:07,916 Speaker 1: influencing American rappers. Kenny and Rick also talk about why 15 00:01:07,956 --> 00:01:10,996 Speaker 1: they don't care to understand English rappers slang, and how 16 00:01:10,996 --> 00:01:14,396 Speaker 1: a group of German classical musicians are co producing some 17 00:01:14,436 --> 00:01:21,276 Speaker 1: of the biggest hip hop records today. This is broken 18 00:01:21,276 --> 00:01:24,676 Speaker 1: record liner notes for the digital age. I'm justin Richmondtin. 19 00:01:29,476 --> 00:01:33,956 Speaker 1: Here's Rick Rubin and Kenny Beats. How are you feeling, man, 20 00:01:34,916 --> 00:01:37,316 Speaker 1: I'm good A long time, No see, everything been good, 21 00:01:38,036 --> 00:01:41,076 Speaker 1: been good, staying hidden, working hard. Let's talk a little 22 00:01:41,076 --> 00:01:44,116 Speaker 1: bit about UK hip hop. Yeah, one of my favorite topics. 23 00:01:44,476 --> 00:01:47,596 Speaker 1: What do you see going on? Well, I think something 24 00:01:47,676 --> 00:01:51,956 Speaker 1: happened since the last time we talked about this subject 25 00:01:52,436 --> 00:01:54,996 Speaker 1: that has never happened in the history of hip hop 26 00:01:55,036 --> 00:01:59,156 Speaker 1: And correct me if I'm wrong. But the UK we're 27 00:01:59,596 --> 00:02:03,076 Speaker 1: influencing the US in such a way this year that 28 00:02:03,116 --> 00:02:05,516 Speaker 1: we had never seen an RP pop smoke. But one 29 00:02:05,516 --> 00:02:08,196 Speaker 1: of the newest hottest artists in the world is making 30 00:02:08,356 --> 00:02:11,236 Speaker 1: beats that he looked up on YouTube under UK drill 31 00:02:11,716 --> 00:02:16,556 Speaker 1: or UK trap beats or UK grime. He was looking 32 00:02:16,636 --> 00:02:20,036 Speaker 1: for beats that sounded like stuff from over there so 33 00:02:20,036 --> 00:02:22,596 Speaker 1: he could bring something to New York that was completely different. 34 00:02:22,636 --> 00:02:26,156 Speaker 1: But the weirdest thing about this is that drill, what's 35 00:02:26,196 --> 00:02:28,356 Speaker 1: going on right now in the UK, like in the 36 00:02:28,396 --> 00:02:31,676 Speaker 1: streets unarguably what they refer to that sound as that 37 00:02:31,716 --> 00:02:35,916 Speaker 1: comes from Chicago. So there's this weird lineage of like 38 00:02:36,076 --> 00:02:39,236 Speaker 1: the Chief Kief era, the Young Chop era, the Chicago 39 00:02:39,636 --> 00:02:42,956 Speaker 1: era that like happened in like twenty twelve, even before 40 00:02:43,036 --> 00:02:46,236 Speaker 1: Kanye got on don't like with Chief keief that whole 41 00:02:46,276 --> 00:02:51,236 Speaker 1: time was such an influential area production wise, like time 42 00:02:51,276 --> 00:02:53,556 Speaker 1: production wise with like Lex Luger and all these people 43 00:02:53,636 --> 00:02:57,276 Speaker 1: programming stuff very different and to see the UK kind 44 00:02:57,276 --> 00:02:59,836 Speaker 1: of take Chicago, make it their sound, and then it 45 00:02:59,916 --> 00:03:02,636 Speaker 1: come back to New York and break artists with that sound. 46 00:03:03,036 --> 00:03:06,396 Speaker 1: Like I did a record this year for Fabi, who 47 00:03:06,516 --> 00:03:09,596 Speaker 1: is like one of pop smoked bigger collaborators, another Brooklyn 48 00:03:09,716 --> 00:03:12,876 Speaker 1: drill artists, great guy, and it's like I'm doing beats 49 00:03:12,876 --> 00:03:15,436 Speaker 1: inspired by UK producers that were inspired by American producers. 50 00:03:15,436 --> 00:03:18,196 Speaker 1: But the UK influenced this year has been undeniable, and 51 00:03:18,396 --> 00:03:20,396 Speaker 1: I think that's the first time in history that's happened 52 00:03:20,476 --> 00:03:23,756 Speaker 1: in hip hop ever. Yeah, I always felt like it 53 00:03:23,796 --> 00:03:25,436 Speaker 1: was going to happen. I thought it was going to happen, 54 00:03:25,516 --> 00:03:27,716 Speaker 1: even going back to death Jam days, just because of 55 00:03:27,796 --> 00:03:31,076 Speaker 1: the history of the Blues in the United States and 56 00:03:31,076 --> 00:03:34,996 Speaker 1: then the excitement of the British invasion where they would 57 00:03:35,036 --> 00:03:40,916 Speaker 1: listen to American sounds and because of the distance they 58 00:03:40,996 --> 00:03:44,956 Speaker 1: had a romantic image of it. Yeah, and they took 59 00:03:44,956 --> 00:03:47,876 Speaker 1: it to an extreme that anyone who was doing it 60 00:03:48,316 --> 00:03:50,716 Speaker 1: like any of the real bluesmen would hear what led 61 00:03:50,756 --> 00:03:53,516 Speaker 1: Zeppelin did and think it was garish. You know, it 62 00:03:53,556 --> 00:03:56,356 Speaker 1: was like it was too much totally. But because of 63 00:03:56,396 --> 00:03:59,516 Speaker 1: the distance, they could take something that might not be 64 00:03:59,596 --> 00:04:03,156 Speaker 1: cool for the people who invent it and take it 65 00:04:03,196 --> 00:04:06,516 Speaker 1: to some new extreme that seems too far out for 66 00:04:06,556 --> 00:04:09,356 Speaker 1: the people who have a clear vision of what its 67 00:04:09,396 --> 00:04:12,716 Speaker 1: starting point is and take it to a new extreme. 68 00:04:12,756 --> 00:04:15,956 Speaker 1: So the fact that that's finally happening in hip hop 69 00:04:15,996 --> 00:04:19,956 Speaker 1: as an exciting things, just it gives us potential for 70 00:04:20,076 --> 00:04:26,876 Speaker 1: things to grow in a deeper, faster way. It opens 71 00:04:27,036 --> 00:04:30,156 Speaker 1: American hip hop and just American artists is saying, we 72 00:04:30,276 --> 00:04:32,876 Speaker 1: don't know, let's take influence from somewhere else. It opens 73 00:04:32,956 --> 00:04:35,796 Speaker 1: up an unlimited world instead of saying we started this, 74 00:04:35,876 --> 00:04:38,956 Speaker 1: we run this. Here's how we dictate the pace once 75 00:04:38,996 --> 00:04:41,196 Speaker 1: we say we're open to these ideas and these other 76 00:04:41,236 --> 00:04:43,476 Speaker 1: sounds and types of production and tempos or whatever it 77 00:04:43,516 --> 00:04:45,876 Speaker 1: might be. Yeah, it makes better music for everyone, and 78 00:04:45,916 --> 00:04:49,316 Speaker 1: it creates some of my favorite bands and music and 79 00:04:49,356 --> 00:04:53,316 Speaker 1: other genres too. That same concept of like there's this 80 00:04:53,316 --> 00:04:57,116 Speaker 1: whole thaie funk thing that happened in the seventies and eighties, 81 00:04:57,116 --> 00:05:00,476 Speaker 1: and I'm not up on it enough to explain the 82 00:05:00,596 --> 00:05:02,596 Speaker 1: artists and this and that. But what I understand is 83 00:05:03,236 --> 00:05:05,956 Speaker 1: the meters and this whole funk movement or whatever that 84 00:05:05,996 --> 00:05:09,556 Speaker 1: happened in America influence people in Asia. They started making 85 00:05:09,596 --> 00:05:11,516 Speaker 1: all these records years later that, like you're saying, are 86 00:05:11,596 --> 00:05:14,716 Speaker 1: exaggerated versions of all this funk stuff that was going 87 00:05:14,716 --> 00:05:17,076 Speaker 1: on here. And then now, one of my favorite bands 88 00:05:17,476 --> 00:05:20,196 Speaker 1: these days, it's a band called Krungbin And you ask 89 00:05:20,276 --> 00:05:22,836 Speaker 1: them what their influences are their band from Houston, Texas. 90 00:05:22,876 --> 00:05:25,516 Speaker 1: They say, well, we listen to old Thaie funk music amazing. 91 00:05:25,636 --> 00:05:27,596 Speaker 1: But those Thai funk records were then trying to make 92 00:05:27,636 --> 00:05:30,996 Speaker 1: American funk records from twenty years earlier, and it all 93 00:05:31,716 --> 00:05:36,116 Speaker 1: becomes almost untraceable unless you're really trying to do your research, 94 00:05:36,156 --> 00:05:38,396 Speaker 1: you know. Yeah, but it just goes through the filter 95 00:05:38,556 --> 00:05:42,436 Speaker 1: of the new person making it. The influence doesn't always 96 00:05:42,436 --> 00:05:46,876 Speaker 1: show so clearly in the in the new creator. Yeah, 97 00:05:46,956 --> 00:05:49,476 Speaker 1: let's talk more about drill music. Would you say, twenty 98 00:05:49,676 --> 00:05:53,396 Speaker 1: twelve issues where where it got rolling? Yeah, I'm not 99 00:05:53,436 --> 00:05:55,076 Speaker 1: the I can't. I can speak even more on the 100 00:05:55,116 --> 00:05:57,356 Speaker 1: UK side of it than the Chicago side of it. 101 00:05:57,476 --> 00:06:00,916 Speaker 1: But yeah, definitely, like it was early like Gi Herbo, 102 00:06:01,076 --> 00:06:05,036 Speaker 1: Chief Keith, all this Chicago stuff that was influencing the 103 00:06:05,156 --> 00:06:09,596 Speaker 1: UK that came back around and influenced every body here. 104 00:06:09,596 --> 00:06:11,716 Speaker 1: But like, let me let me think of a good 105 00:06:11,716 --> 00:06:14,236 Speaker 1: record to play. Is it as popular in Chicago as 106 00:06:14,276 --> 00:06:17,436 Speaker 1: it was then? No, it's not. It's a sound that 107 00:06:17,516 --> 00:06:20,596 Speaker 1: kind of um came and went. It was like it's 108 00:06:20,596 --> 00:06:22,636 Speaker 1: a very specific, a kind of high hat pattern to 109 00:06:22,716 --> 00:06:25,276 Speaker 1: drill shit. It's just very specific kind of bounce with 110 00:06:25,316 --> 00:06:29,556 Speaker 1: the drums. It's like it's got this. It's a whole 111 00:06:29,756 --> 00:06:33,196 Speaker 1: different kind of swing and the accentuation is like it, 112 00:06:33,196 --> 00:06:35,836 Speaker 1: only it almost leans more to like the Afro Cuban 113 00:06:35,876 --> 00:06:37,196 Speaker 1: thing and something than it does to like a two 114 00:06:37,316 --> 00:06:39,316 Speaker 1: four rock thing that I think trap is like the 115 00:06:39,356 --> 00:06:41,756 Speaker 1: hardest rock drums turned into break beat drums turned into 116 00:06:41,876 --> 00:06:43,476 Speaker 1: blah blah blah, you know, and now we get trapped 117 00:06:43,476 --> 00:06:45,356 Speaker 1: and now we have these huge ada weights. But the 118 00:06:45,636 --> 00:06:48,436 Speaker 1: drill has these different kind of poly rhythms and little 119 00:06:48,476 --> 00:06:51,436 Speaker 1: play play a good play a good example of classic 120 00:06:51,516 --> 00:06:56,036 Speaker 1: drill Chicago drill, Chicago drill um. You know, a couple 121 00:06:56,036 --> 00:06:58,276 Speaker 1: of niggas does down the RAF for a homicide when 122 00:06:58,276 --> 00:07:00,036 Speaker 1: his drama tab run up on the nigga what the 123 00:07:00,116 --> 00:07:03,436 Speaker 1: lumbus flatl leave his love was all trauma tasks one fifty. Yeah, 124 00:07:03,436 --> 00:07:05,276 Speaker 1: I'm really with it. I drop his task and they 125 00:07:05,356 --> 00:07:07,796 Speaker 1: forget it what I mean? Yeah, it's really interesting how 126 00:07:07,836 --> 00:07:12,036 Speaker 1: the percuss shouldn't pattern have a ab pattern of the 127 00:07:12,076 --> 00:07:14,996 Speaker 1: percussion part feel like they're both halves are leaning in 128 00:07:14,996 --> 00:07:18,076 Speaker 1: a different direction. So it doesn't seem like anyone would 129 00:07:18,076 --> 00:07:20,916 Speaker 1: ever play it that way. No, And you have this 130 00:07:21,036 --> 00:07:23,356 Speaker 1: two four thing. There is a snap or a clap 131 00:07:23,436 --> 00:07:26,556 Speaker 1: or a snare. Normally that is one two three four. 132 00:07:26,676 --> 00:07:29,316 Speaker 1: It's on those normal rhythms where you expect the clap, 133 00:07:29,396 --> 00:07:33,676 Speaker 1: but the what dictates the rhythm is that that's much 134 00:07:33,716 --> 00:07:35,876 Speaker 1: more what you're gonna dance to or move to or 135 00:07:35,956 --> 00:07:39,556 Speaker 1: rap two or write too, I think. And that's what 136 00:07:39,956 --> 00:07:43,756 Speaker 1: has been mangled and changed and turned into a million 137 00:07:43,796 --> 00:07:46,556 Speaker 1: other things over the last few years. But it's really 138 00:07:46,996 --> 00:07:50,636 Speaker 1: this movement that happened in Chicago first, and it obviously 139 00:07:50,636 --> 00:07:52,916 Speaker 1: influenced even the radio here to the point where Kanye 140 00:07:52,996 --> 00:07:54,516 Speaker 1: and Push a T And all of good music are 141 00:07:54,516 --> 00:07:56,676 Speaker 1: getting on a Chief Keef song and blah blah. It's 142 00:07:56,676 --> 00:07:59,116 Speaker 1: this local niche thing that got bigger and bigger and bigger. 143 00:07:59,196 --> 00:08:02,396 Speaker 1: But I think the UK to this day are such 144 00:08:02,636 --> 00:08:05,036 Speaker 1: fans of what we do, and they pay so much 145 00:08:05,116 --> 00:08:09,116 Speaker 1: homage and have so much homework done before they even 146 00:08:09,236 --> 00:08:11,836 Speaker 1: speak on the UK stuff, and we don't do that 147 00:08:12,116 --> 00:08:15,196 Speaker 1: vice versa. We don't give them the same respect to 148 00:08:15,196 --> 00:08:18,796 Speaker 1: talk about like their legends and the grime legends and 149 00:08:19,036 --> 00:08:21,276 Speaker 1: you know what I mean, people like Dizzy and Kano 150 00:08:21,396 --> 00:08:23,636 Speaker 1: and like all these type of people that have so 151 00:08:23,756 --> 00:08:26,716 Speaker 1: much respect there that we just see as like oh 152 00:08:26,796 --> 00:08:29,316 Speaker 1: UK thing instead of all these different iterations of what 153 00:08:29,356 --> 00:08:31,156 Speaker 1: it's been. But when they saw what we were doing 154 00:08:31,236 --> 00:08:35,396 Speaker 1: here with drill. You hear Giherbo talking about drilling in 155 00:08:35,756 --> 00:08:38,036 Speaker 1: the song, you know what I mean, it's a it's 156 00:08:38,036 --> 00:08:40,596 Speaker 1: a concept. They took that and they ran with it. 157 00:08:40,636 --> 00:08:43,796 Speaker 1: And now we're in twenty twenty eight years later, and 158 00:08:43,876 --> 00:08:46,436 Speaker 1: it turned around. It came back to us and we 159 00:08:46,516 --> 00:08:50,076 Speaker 1: have artists here googling tight beats of UK producers to 160 00:08:50,116 --> 00:08:51,796 Speaker 1: get their sound, and then they're covering the radio and 161 00:08:51,796 --> 00:08:54,516 Speaker 1: then Travis Scott's getting on their songs here. It's insane, 162 00:08:55,236 --> 00:08:58,476 Speaker 1: and it goes back to house music coming from Chicago 163 00:08:58,836 --> 00:09:02,596 Speaker 1: and turning into EDM in the UK. Essentially, yeah, that 164 00:09:02,796 --> 00:09:06,236 Speaker 1: intercontinental when it goes back and forth, there's so much 165 00:09:06,316 --> 00:09:09,556 Speaker 1: room for growth, like you get to hear you get 166 00:09:09,556 --> 00:09:12,076 Speaker 1: to hear it through new ears when it comes back, 167 00:09:12,356 --> 00:09:17,396 Speaker 1: you know, definitely. And I think my almost misconception when 168 00:09:17,436 --> 00:09:21,756 Speaker 1: I first got there was this is something that you 169 00:09:21,876 --> 00:09:23,876 Speaker 1: guys are doing that when I come here and get 170 00:09:23,876 --> 00:09:25,316 Speaker 1: in the studio with artists, I shouldn't try to make 171 00:09:25,396 --> 00:09:28,036 Speaker 1: drill beats or play drill beats or you know what 172 00:09:28,076 --> 00:09:30,036 Speaker 1: I mean, get in on this UK thing. Because my 173 00:09:30,076 --> 00:09:32,116 Speaker 1: first trips to the UK, working with a lot of artists, 174 00:09:32,116 --> 00:09:33,756 Speaker 1: I didn't want them to think that I'm coming over 175 00:09:33,836 --> 00:09:36,236 Speaker 1: here while you guys are having your first influential moment 176 00:09:36,396 --> 00:09:38,276 Speaker 1: and trying to be a part of that to make 177 00:09:38,316 --> 00:09:40,956 Speaker 1: myself seem more authentic to the root of it. It 178 00:09:40,996 --> 00:09:44,036 Speaker 1: was more like, oh no, I just recognize how talented 179 00:09:44,036 --> 00:09:45,916 Speaker 1: these artists are, and I want to see what they 180 00:09:45,956 --> 00:09:48,716 Speaker 1: do on not drill stuff, you know what I mean. 181 00:09:48,756 --> 00:09:51,396 Speaker 1: And I released songs this year with Slow Tie, with 182 00:09:51,596 --> 00:09:54,796 Speaker 1: sl with h with Heavy One, with so many different 183 00:09:54,876 --> 00:09:57,756 Speaker 1: UK I was stormzy and then I also have released 184 00:09:57,756 --> 00:10:01,796 Speaker 1: songs with Ed Sheeran and James Vincent McMorrow and all 185 00:10:01,876 --> 00:10:04,636 Speaker 1: the Twigs and the whole other side of the UK. 186 00:10:04,756 --> 00:10:06,236 Speaker 1: But when I went over there, it was much more 187 00:10:06,236 --> 00:10:08,236 Speaker 1: about let me show you guys what I can do, 188 00:10:08,316 --> 00:10:10,436 Speaker 1: not let me co out you're scene. But then I 189 00:10:10,436 --> 00:10:12,436 Speaker 1: started playing drill beats once in a while and they'd 190 00:10:12,436 --> 00:10:14,276 Speaker 1: lose it and it was like, oh, you guys are 191 00:10:14,316 --> 00:10:17,116 Speaker 1: not the one who were gatekeeping whatsoever. It might be 192 00:10:17,276 --> 00:10:19,116 Speaker 1: us a little bit. But when I say us, I 193 00:10:19,116 --> 00:10:21,956 Speaker 1: say that lightly because I'm not from Chicago and I'm 194 00:10:21,996 --> 00:10:25,316 Speaker 1: not part of the originators. But America, as you know 195 00:10:25,356 --> 00:10:28,076 Speaker 1: what I mean, just like this, this hip hop institution 196 00:10:28,996 --> 00:10:32,076 Speaker 1: were kind of being accepting and it's showing in the 197 00:10:32,156 --> 00:10:34,356 Speaker 1: radio and it's showing an influence in the production, and 198 00:10:34,396 --> 00:10:36,716 Speaker 1: that's a beautiful thing to me. Yeah. I had a 199 00:10:36,756 --> 00:10:39,236 Speaker 1: conversation the other day with Scarface from the Ghetto Boys, 200 00:10:39,276 --> 00:10:41,836 Speaker 1: and he was we were talking about when when I 201 00:10:41,836 --> 00:10:43,836 Speaker 1: first heard the Ghetto Boys, they were really the first 202 00:10:43,996 --> 00:10:47,196 Speaker 1: Southern rap group that I heard, you know, we heard 203 00:10:47,596 --> 00:10:50,316 Speaker 1: New York was really everything for a long time. Then 204 00:10:50,356 --> 00:10:53,116 Speaker 1: he started hearing some music coming from the West Coast 205 00:10:54,236 --> 00:10:56,636 Speaker 1: and it sounded different, and in New York we didn't 206 00:10:56,676 --> 00:11:00,036 Speaker 1: really like it. And then Ghetto Boys was pretty early 207 00:11:00,436 --> 00:11:02,476 Speaker 1: in the you know, not from the East Coast and 208 00:11:02,556 --> 00:11:05,276 Speaker 1: not from the West coast. The only the only maybe 209 00:11:05,716 --> 00:11:08,476 Speaker 1: thing before that might have been Luke. And I think 210 00:11:08,476 --> 00:11:12,276 Speaker 1: a luke more as a party, more of a party 211 00:11:12,436 --> 00:11:15,116 Speaker 1: thing than like real rap. You know, I don't think 212 00:11:15,116 --> 00:11:17,476 Speaker 1: of it as like, I don't know, I don't, I don't. 213 00:11:17,516 --> 00:11:19,676 Speaker 1: They never took it seriously as rap music. I thought 214 00:11:19,716 --> 00:11:22,196 Speaker 1: of it more as like rock the party, yeah, whereas 215 00:11:22,196 --> 00:11:25,716 Speaker 1: Getta Boys was more like, you know, hardcore rap wasn't 216 00:11:25,956 --> 00:11:29,956 Speaker 1: deaf jam initially rocked the party. Wasn't that the origin? 217 00:11:30,356 --> 00:11:32,116 Speaker 1: Or was it just make it feel like what's going 218 00:11:32,196 --> 00:11:35,996 Speaker 1: on outside? It was more like, yeah, make it feel 219 00:11:36,036 --> 00:11:40,116 Speaker 1: like what the club feels like. But it wasn't necessarily 220 00:11:40,236 --> 00:11:44,236 Speaker 1: rocking the party because it wasn't really a The early 221 00:11:44,316 --> 00:11:47,916 Speaker 1: hip hop scene wasn't really necessarily a dance scene. It's true. Yeah, 222 00:11:47,996 --> 00:11:50,516 Speaker 1: like Public Enemy is not like rocking the part, Yeah, 223 00:11:50,556 --> 00:11:53,556 Speaker 1: that's true. No, And most people didn't dance, you know, 224 00:11:53,596 --> 00:11:58,516 Speaker 1: like they'd be breakdancing, but that wasn't so connected to 225 00:11:58,556 --> 00:12:01,276 Speaker 1: the music. It happened during the music, but it wasn't 226 00:12:01,276 --> 00:12:04,076 Speaker 1: necessarily to the beat, you know, it was a different 227 00:12:04,156 --> 00:12:07,236 Speaker 1: It was just a different thing. It was simultaneous more 228 00:12:07,276 --> 00:12:12,036 Speaker 1: than inspired by the music. But Luke and Miami and 229 00:12:12,076 --> 00:12:15,036 Speaker 1: Booty Bass and Two Live Crew, everything was about make 230 00:12:15,116 --> 00:12:18,836 Speaker 1: people shake what they have, make people go fucking crazy 231 00:12:18,916 --> 00:12:22,436 Speaker 1: in the club. And you know, like Benny Blanco's like 232 00:12:22,476 --> 00:12:23,996 Speaker 1: one of the first things that he did that went 233 00:12:24,036 --> 00:12:26,396 Speaker 1: super crazy was this project was Spank Rock that was 234 00:12:26,436 --> 00:12:28,356 Speaker 1: sampling a shit ton of Two Live Crew. He's one 235 00:12:28,356 --> 00:12:30,556 Speaker 1: of the biggest pop producers in the world right now. 236 00:12:30,556 --> 00:12:34,476 Speaker 1: You know, like this happens in so many areas, but 237 00:12:34,556 --> 00:12:37,956 Speaker 1: with ghetto boys. Look at that where that lineage ended up. 238 00:12:37,956 --> 00:12:40,356 Speaker 1: Mike Dean was helping engineer some of those records and 239 00:12:40,396 --> 00:12:42,916 Speaker 1: working on some of that stuff, and now he's working 240 00:12:42,956 --> 00:12:45,476 Speaker 1: under the Travis you know what I mean, biggest records 241 00:12:45,476 --> 00:12:47,116 Speaker 1: in the world. All the stuff you're hearing now, it's 242 00:12:47,156 --> 00:12:50,276 Speaker 1: like there's so many things that we're paying homage to 243 00:12:51,676 --> 00:12:54,436 Speaker 1: without even knowing, and that's myself included in it. But 244 00:12:54,476 --> 00:12:57,196 Speaker 1: I think that's the beauty in it. And oh my god, 245 00:12:57,236 --> 00:12:59,116 Speaker 1: I saw something the other day, Rick, I almost had 246 00:12:59,156 --> 00:13:02,196 Speaker 1: to text you because I was freaking out. I felt 247 00:13:02,676 --> 00:13:07,076 Speaker 1: so old, and I felt so like I'd had my 248 00:13:07,116 --> 00:13:10,396 Speaker 1: finger off the pulse for a second. Killed me. I 249 00:13:10,596 --> 00:13:14,916 Speaker 1: was on Twitter and Timberland was the number one trending 250 00:13:15,196 --> 00:13:18,756 Speaker 1: topic on Twitter. Shout out to Tim, and I go, oh, 251 00:13:18,796 --> 00:13:20,636 Speaker 1: they're probably just giving him his flowers. There's this thing 252 00:13:20,676 --> 00:13:22,276 Speaker 1: every once in a while where just a producer and 253 00:13:22,356 --> 00:13:24,916 Speaker 1: artist comes up, or someone has a birthday, and everyone 254 00:13:24,996 --> 00:13:26,956 Speaker 1: talks about all the songs they love that made them 255 00:13:26,996 --> 00:13:30,476 Speaker 1: feel so great. Timbo was the number one trending thing, 256 00:13:30,476 --> 00:13:31,956 Speaker 1: and I went to go see what was trending. Was 257 00:13:31,956 --> 00:13:33,756 Speaker 1: it his birthday? Was it about a song? Was an 258 00:13:33,716 --> 00:13:41,116 Speaker 1: Aliyah thing? Missy thing? People were saying exposed, Timberland stole 259 00:13:41,836 --> 00:13:45,396 Speaker 1: these old Indian records for all his biggest songs, big Pimpin. 260 00:13:45,516 --> 00:13:47,596 Speaker 1: And then they show the Indian song it came from, 261 00:13:47,676 --> 00:13:49,516 Speaker 1: or the Bollywood sample or whatever it might be. Then 262 00:13:49,516 --> 00:13:51,276 Speaker 1: they show an Aliah record and they show this, and 263 00:13:51,596 --> 00:13:57,356 Speaker 1: TikTok was going nuts saying no dalent and you're exposed 264 00:13:57,356 --> 00:13:59,116 Speaker 1: and we found this out and da da da and 265 00:13:59,116 --> 00:14:03,396 Speaker 1: blah blah blah, and it's like, are you guys losing it? 266 00:14:03,436 --> 00:14:06,636 Speaker 1: Am I losing it like some of my favorite records 267 00:14:06,676 --> 00:14:10,276 Speaker 1: of all times are loops of old samples like let Alone, 268 00:14:10,556 --> 00:14:13,316 Speaker 1: adding something like Timbo. That's what hip hop is. Hip 269 00:14:13,316 --> 00:14:19,436 Speaker 1: hop is taking from existing things and montaging them together 270 00:14:19,476 --> 00:14:22,156 Speaker 1: to make something new. And that's something that you've never 271 00:14:22,196 --> 00:14:25,356 Speaker 1: heard before. It's always been that's what DJ culture is. 272 00:14:25,756 --> 00:14:30,476 Speaker 1: DJ culture starts with records. Kids were freaking out about 273 00:14:30,596 --> 00:14:32,996 Speaker 1: just the idea of sampling, just the concept like showing 274 00:14:32,996 --> 00:14:35,196 Speaker 1: an alias song and then showing the sample like they 275 00:14:35,276 --> 00:14:38,596 Speaker 1: like they had discovered some you know, a great whale 276 00:14:38,716 --> 00:14:42,076 Speaker 1: of like a secret. But it was It was so 277 00:14:42,196 --> 00:14:45,836 Speaker 1: crazy to me because like I'm having this moment right 278 00:14:45,836 --> 00:14:49,596 Speaker 1: now of of sampling so much again and getting back 279 00:14:49,636 --> 00:14:52,876 Speaker 1: into it. A lot of it came last year randomly 280 00:14:52,916 --> 00:14:56,996 Speaker 1: and then Dooms passing RPMF Doom has really just thrown 281 00:14:57,036 --> 00:14:59,756 Speaker 1: me back into it. So to see that I'm going 282 00:14:59,756 --> 00:15:04,116 Speaker 1: the opposite way and sampling more and people on the 283 00:15:04,116 --> 00:15:06,516 Speaker 1: internet were taking it like that, it really threw me 284 00:15:06,556 --> 00:15:08,756 Speaker 1: for a loop for a second. I had to get 285 00:15:08,796 --> 00:15:11,956 Speaker 1: off to it. Or for him that's crazy, Well, just 286 00:15:12,116 --> 00:15:16,516 Speaker 1: it really is just a misunderstanding or um or. Times change. 287 00:15:17,156 --> 00:15:19,876 Speaker 1: Time's definitely change, but like it's it's weird for me 288 00:15:19,956 --> 00:15:21,956 Speaker 1: to see on the side of it, where I'm producing 289 00:15:21,996 --> 00:15:25,076 Speaker 1: records now that sample these guys who've been through hell 290 00:15:25,236 --> 00:15:28,836 Speaker 1: clearing samples or even with the recognition of people calling 291 00:15:28,836 --> 00:15:30,796 Speaker 1: you out for taking a record or whatever it is, 292 00:15:30,796 --> 00:15:33,156 Speaker 1: when people are getting paid behind the scenes and everything 293 00:15:33,276 --> 00:15:37,476 Speaker 1: is fully worked out. Like I literally, like I saw 294 00:15:37,516 --> 00:15:40,596 Speaker 1: people tore down James Blake. James Blake tried to sweet 295 00:15:40,636 --> 00:15:42,436 Speaker 1: if you want to know what Timbo did to the sample, 296 00:15:42,716 --> 00:15:45,076 Speaker 1: tried dancing to the original. You think people and in 297 00:15:45,116 --> 00:15:47,156 Speaker 1: these countries couldn't dance to these samples before timbol it. 298 00:15:47,156 --> 00:15:50,756 Speaker 1: It's like, Okay, we understood, we know, we know, we 299 00:15:50,836 --> 00:15:53,476 Speaker 1: know that, and I know James probably would have reworded 300 00:15:53,476 --> 00:15:56,836 Speaker 1: it if he could have, But like, it was just 301 00:15:56,996 --> 00:16:00,636 Speaker 1: crazy to see how people were perceiving that when that's 302 00:16:00,636 --> 00:16:04,636 Speaker 1: like the root of why I love doing what I do, 303 00:16:04,716 --> 00:16:06,996 Speaker 1: and when I sample these guys, when I've sampled Farrell, 304 00:16:07,036 --> 00:16:09,876 Speaker 1: when I've sampled Timbo, when I've sampled these huge records 305 00:16:09,876 --> 00:16:12,356 Speaker 1: that they've done for artists I'm working with. Rico Nasty 306 00:16:12,396 --> 00:16:15,756 Speaker 1: said I want dirt off your shoulders, and I was like, Okay, 307 00:16:15,796 --> 00:16:17,596 Speaker 1: we can do something like that, and she's like, no, 308 00:16:17,876 --> 00:16:22,036 Speaker 1: I do that, And I was like, all right, I 309 00:16:22,036 --> 00:16:25,236 Speaker 1: could say. I don't feel uncomfortable saying they were so 310 00:16:25,276 --> 00:16:29,596 Speaker 1: fucking cool about clearing shit or about whatever like percentages 311 00:16:29,676 --> 00:16:32,236 Speaker 1: or whatever back like back end bullshit there is. They 312 00:16:32,276 --> 00:16:35,276 Speaker 1: were all so cool and I've dealt with that firsthand, 313 00:16:35,316 --> 00:16:37,556 Speaker 1: so to see like what Frell has gone through with 314 00:16:37,636 --> 00:16:39,396 Speaker 1: Marvin Gay or what Twitter is just going through, even 315 00:16:39,396 --> 00:16:42,436 Speaker 1: in just perspective right now, Like it was wild to 316 00:16:42,516 --> 00:16:45,836 Speaker 1: me because I wouldn't have got into half of the 317 00:16:46,276 --> 00:16:49,756 Speaker 1: really interesting music or cultural things I know about if 318 00:16:49,796 --> 00:16:52,356 Speaker 1: it wasn't via sampling, Like if people thought I was 319 00:16:52,356 --> 00:16:56,316 Speaker 1: gonna be listening to sun Ra without Madlib, there's no way, 320 00:16:56,996 --> 00:16:58,596 Speaker 1: you know what I mean. And it's like it's what's 321 00:16:59,036 --> 00:17:02,036 Speaker 1: helped me understand so many cultures and so many things 322 00:17:02,076 --> 00:17:03,636 Speaker 1: that I should be paying respect to and that I 323 00:17:03,636 --> 00:17:07,116 Speaker 1: should be speaking on. And it's instead of the opposite, 324 00:17:07,116 --> 00:17:09,716 Speaker 1: which people think, it's like you're trying to hide the stolen, 325 00:17:10,476 --> 00:17:12,996 Speaker 1: you know what I mean, it's exactly the opposite. It's 326 00:17:13,036 --> 00:17:16,396 Speaker 1: always paying tribute, and of course they're cool about when 327 00:17:16,396 --> 00:17:19,156 Speaker 1: you do it, because that's what the culture is built on. 328 00:17:19,236 --> 00:17:22,436 Speaker 1: It's like they built their culture on it, and they 329 00:17:21,916 --> 00:17:26,036 Speaker 1: know if you understand how it works, that there's this 330 00:17:26,236 --> 00:17:29,596 Speaker 1: pool of in the old days, like the Beatles would 331 00:17:29,596 --> 00:17:31,956 Speaker 1: listen to Roy Orbison and then they would learn the 332 00:17:31,996 --> 00:17:34,356 Speaker 1: guitar parts like Roy Orbison. Then they'd either speed it 333 00:17:34,396 --> 00:17:35,916 Speaker 1: up or slow it down, and then they'd make it 334 00:17:35,956 --> 00:17:38,636 Speaker 1: their own or a chuck Berry song, and then they 335 00:17:38,636 --> 00:17:42,276 Speaker 1: would make it into their own song. That's what sampling is. 336 00:17:42,316 --> 00:17:46,676 Speaker 1: It's now we'd do it without instruments. We sample and 337 00:17:46,956 --> 00:17:48,796 Speaker 1: speed it up or slow it down, or loop it 338 00:17:48,916 --> 00:17:52,076 Speaker 1: or chop it in a particular way, or combine several 339 00:17:52,116 --> 00:17:56,156 Speaker 1: pieces together, or pick a very tiny little piece of 340 00:17:56,196 --> 00:17:59,156 Speaker 1: a piece of music that's not representative of the other, 341 00:17:59,236 --> 00:18:01,836 Speaker 1: of the entirety of the music at all. You know, 342 00:18:01,956 --> 00:18:05,396 Speaker 1: most breaks are not representative of the thing that they're 343 00:18:05,436 --> 00:18:08,716 Speaker 1: a break of at all. Yeah, it's like there's a 344 00:18:08,756 --> 00:18:12,156 Speaker 1: saw and there happens to be this moment in the 345 00:18:12,196 --> 00:18:14,676 Speaker 1: song that you find a way to flip and make 346 00:18:14,756 --> 00:18:16,716 Speaker 1: into something new, but it has nothing to do with 347 00:18:16,796 --> 00:18:20,476 Speaker 1: the original song. More often than not, I always found 348 00:18:20,476 --> 00:18:23,916 Speaker 1: it so interesting, how how big that that Mountain break 349 00:18:24,116 --> 00:18:28,476 Speaker 1: was Mississippi Queen, Because Mountain is like such a hard 350 00:18:28,636 --> 00:18:32,476 Speaker 1: Southern rock group. It's such a like it's almost like 351 00:18:32,556 --> 00:18:35,436 Speaker 1: a Leonard skinnerd level Southern you know what I mean. 352 00:18:35,516 --> 00:18:40,596 Speaker 1: But Mississippi Queen is one of the most used like 353 00:18:40,676 --> 00:18:43,756 Speaker 1: vocal samples and sample packs and like it when people 354 00:18:43,796 --> 00:18:47,036 Speaker 1: say like, oh I want that, like that that he's 355 00:18:47,076 --> 00:18:49,476 Speaker 1: this vocal scream thing. It's like a lot of that 356 00:18:49,596 --> 00:18:52,236 Speaker 1: is from like these rock records in the fifties and 357 00:18:52,276 --> 00:18:54,556 Speaker 1: sixties and stuff like The Break ended up being like 358 00:18:54,756 --> 00:18:57,636 Speaker 1: the hardest rap thing you ever heard, you know. It's 359 00:18:57,676 --> 00:18:59,956 Speaker 1: like that's that's what's beautiful about it to me, because 360 00:18:59,996 --> 00:19:04,996 Speaker 1: that's what gave me so much of like my history 361 00:19:05,036 --> 00:19:08,276 Speaker 1: and my background was finding shit through other shit, you know. 362 00:19:08,836 --> 00:19:11,756 Speaker 1: The the guitar player from Mountain just passed away within 363 00:19:11,796 --> 00:19:14,396 Speaker 1: the last couple of weeks, Leslie West sad sad to 364 00:19:14,476 --> 00:19:16,756 Speaker 1: hear yet oh Man all Ip. I saw him live 365 00:19:16,916 --> 00:19:20,636 Speaker 1: at the Ridgefield Playhouse with my dad at twelve years old. 366 00:19:20,956 --> 00:19:24,516 Speaker 1: It's crazy. One of the greats, one of the greats. Yeah, really, 367 00:19:25,276 --> 00:19:27,916 Speaker 1: we'll be back with Rick Ruben and Kenny Beats. After 368 00:19:27,916 --> 00:19:36,116 Speaker 1: a quick break. We're back with Kenny Beats. So since 369 00:19:36,236 --> 00:19:39,836 Speaker 1: Drill has moved on in Chicago. Has anything replaced it 370 00:19:39,876 --> 00:19:43,516 Speaker 1: in Chicago. I think Chicago's kind of always set trends, 371 00:19:43,556 --> 00:19:46,076 Speaker 1: But I don't know if I can say there's been 372 00:19:46,116 --> 00:19:52,436 Speaker 1: a specific niche genre like drill to come from Chicago 373 00:19:52,556 --> 00:19:56,236 Speaker 1: or really anywhere that's influenced the world and come back 374 00:19:56,396 --> 00:19:58,996 Speaker 1: the way that has, like Chicago's evolved so much, and 375 00:19:59,036 --> 00:20:02,716 Speaker 1: like Little Dirk is on the newest Drake single, you 376 00:20:02,756 --> 00:20:05,276 Speaker 1: know what I mean, And like Little Dirk comes from 377 00:20:05,316 --> 00:20:07,556 Speaker 1: exactly the air I'm talking about in the video shoots 378 00:20:07,676 --> 00:20:09,596 Speaker 1: in the middle of some house in the middle of 379 00:20:09,996 --> 00:20:11,996 Speaker 1: some part of Chicago that people don't want to go do. 380 00:20:12,516 --> 00:20:14,676 Speaker 1: And that was like this cool thing on YouTube that 381 00:20:14,716 --> 00:20:18,396 Speaker 1: turned into influencing the charts, that turned into now huge artists, 382 00:20:18,516 --> 00:20:22,276 Speaker 1: huge legitimate artists, And like there's still someone every single 383 00:20:22,396 --> 00:20:26,236 Speaker 1: year coming from Chicago that's influencing people in a major way. 384 00:20:26,236 --> 00:20:29,516 Speaker 1: The last time I was like blown away by someone 385 00:20:29,556 --> 00:20:33,596 Speaker 1: from Chicago was Valet. Valet was so unique and so 386 00:20:33,636 --> 00:20:36,076 Speaker 1: singular and different to me. When he came out play 387 00:20:36,116 --> 00:20:40,796 Speaker 1: us a great Valet track. Oh that's so easy, I'll 388 00:20:40,836 --> 00:20:44,116 Speaker 1: do sisty at Syndey came back, I was getting some 389 00:20:44,356 --> 00:20:47,116 Speaker 1: net from a net gave up rain bat pace. Don't 390 00:20:47,156 --> 00:20:53,716 Speaker 1: ask me if his pocket the simplicity like how brash 391 00:20:53,796 --> 00:20:56,516 Speaker 1: he is. But as much as Valat is influencing people 392 00:20:56,516 --> 00:20:58,156 Speaker 1: on the way that a lot of artists, I will 393 00:20:58,196 --> 00:20:59,996 Speaker 1: tell you, will not speak on how much they listened 394 00:20:59,996 --> 00:21:01,716 Speaker 1: to his ship at the time he came out and 395 00:21:01,716 --> 00:21:03,716 Speaker 1: how much it was influenced them. But like Juice World 396 00:21:03,716 --> 00:21:06,316 Speaker 1: is Chicago, r I P. Juice. You know who's bigger 397 00:21:06,316 --> 00:21:09,676 Speaker 1: than him on the charts? Like who in fluence more 398 00:21:09,756 --> 00:21:12,516 Speaker 1: kids than that? You know, him and X and Peep 399 00:21:12,556 --> 00:21:15,596 Speaker 1: and all this stuff, Like Chicago is part of every 400 00:21:16,156 --> 00:21:19,516 Speaker 1: historical hip hop era that I can remember since I 401 00:21:19,556 --> 00:21:21,996 Speaker 1: was really young in some way. But I feel like 402 00:21:22,076 --> 00:21:24,796 Speaker 1: drill is one of those things that like will represent 403 00:21:24,956 --> 00:21:28,436 Speaker 1: the Chicago hip hop sound the way like ninety bpm 404 00:21:28,516 --> 00:21:31,956 Speaker 1: breaks represent hip hop, the way like a Battlecat swing 405 00:21:32,196 --> 00:21:35,556 Speaker 1: can represent the West Coast. I think it's it's something 406 00:21:35,596 --> 00:21:39,676 Speaker 1: that is singularly theirs. And it's crazy because so much 407 00:21:39,676 --> 00:21:43,756 Speaker 1: of the other things I just mentioned happened early on 408 00:21:43,916 --> 00:21:46,236 Speaker 1: in hip hop, within the first ten twenty years, you 409 00:21:46,236 --> 00:21:48,116 Speaker 1: know what I mean? That people found like this dictates 410 00:21:48,196 --> 00:21:49,876 Speaker 1: the South. These kind of eight to weights and these 411 00:21:49,956 --> 00:21:51,836 Speaker 1: kinds of drum patterns, and you know what I mean, 412 00:21:51,956 --> 00:21:54,956 Speaker 1: what what three six Mafia did, from what Ghetto Boys 413 00:21:54,956 --> 00:21:57,396 Speaker 1: did and from blah blah blah, and then the East 414 00:21:57,396 --> 00:21:59,596 Speaker 1: Coast was like the sampling thing, you know what I mean. 415 00:21:59,636 --> 00:22:03,676 Speaker 1: And then Chicago and like Detroit in that whole year, 416 00:22:03,716 --> 00:22:05,356 Speaker 1: like you have Dilla and you have all these people 417 00:22:05,396 --> 00:22:07,156 Speaker 1: right in this other area of the country that created 418 00:22:07,276 --> 00:22:11,156 Speaker 1: so much stuff. But street shit in Chicago has never 419 00:22:11,196 --> 00:22:14,036 Speaker 1: been represented and respected around the world the way I 420 00:22:14,076 --> 00:22:17,636 Speaker 1: think drill was, because how often can you say a 421 00:22:17,636 --> 00:22:20,476 Speaker 1: whole other country has most of their biggest hits in 422 00:22:20,476 --> 00:22:23,276 Speaker 1: a genre because they were listening to us. It's crazy amazing. 423 00:22:23,636 --> 00:22:27,036 Speaker 1: Now has grime moved on in the UK ors grimes 424 00:22:27,076 --> 00:22:31,116 Speaker 1: still has it switched in my mind when I get 425 00:22:31,156 --> 00:22:34,116 Speaker 1: in rooms and the concept of grime or just the 426 00:22:34,116 --> 00:22:38,036 Speaker 1: topic of grime comes up, I've had like an AJ 427 00:22:38,236 --> 00:22:42,636 Speaker 1: Tracy or a Skepta or certain people like stop the 428 00:22:42,636 --> 00:22:44,876 Speaker 1: conversation in their tracks and make sure like everyone's putting 429 00:22:44,916 --> 00:22:48,036 Speaker 1: their respect on those like Foe Fathers, you know what 430 00:22:48,076 --> 00:22:49,916 Speaker 1: I mean, kind of like UK hip hop and what 431 00:22:49,956 --> 00:22:51,956 Speaker 1: they did and how that led to everybody now who's 432 00:22:51,956 --> 00:22:55,276 Speaker 1: having so much success. And on the other hand, I 433 00:22:55,316 --> 00:22:58,316 Speaker 1: work with really young artists in the UK. I work 434 00:22:58,356 --> 00:22:59,796 Speaker 1: with kids in high school, you know what I mean. 435 00:22:59,796 --> 00:23:02,556 Speaker 1: And like h is someone we put out a record 436 00:23:02,596 --> 00:23:06,436 Speaker 1: this year I really love and he never really listened 437 00:23:06,436 --> 00:23:08,636 Speaker 1: to grime and never really was on like that and 438 00:23:08,676 --> 00:23:10,436 Speaker 1: says like maybe he did at one point. I might 439 00:23:10,476 --> 00:23:11,956 Speaker 1: be miss speaking, but he said, none of my friends 440 00:23:11,956 --> 00:23:13,756 Speaker 1: listen to it now and no one's on that, and 441 00:23:13,796 --> 00:23:15,476 Speaker 1: he said it out loud. And he's also a white 442 00:23:15,516 --> 00:23:18,276 Speaker 1: kid who raps, so they're gonna get at him regardless, 443 00:23:18,316 --> 00:23:21,436 Speaker 1: you know what I mean. And he spoke on Yeah, 444 00:23:21,476 --> 00:23:23,036 Speaker 1: to be honest, me and my friends really not listening 445 00:23:23,076 --> 00:23:25,476 Speaker 1: to grind. We have never really were on it like that. 446 00:23:25,676 --> 00:23:27,716 Speaker 1: I just make the music I make. And because he's 447 00:23:27,756 --> 00:23:31,436 Speaker 1: up such a successful drill artist and big rapper there, 448 00:23:31,436 --> 00:23:34,036 Speaker 1: people were shocked by that. But Vinn Staple said, I 449 00:23:34,036 --> 00:23:36,076 Speaker 1: don't really give a fuck about old hip hop, and 450 00:23:36,116 --> 00:23:38,556 Speaker 1: people lost it, you know what I mean, And like, 451 00:23:39,156 --> 00:23:41,756 Speaker 1: I think it's hard for people to understand that we're 452 00:23:41,756 --> 00:23:43,876 Speaker 1: fucking old now or like you're old now or whoever 453 00:23:43,916 --> 00:23:47,196 Speaker 1: it is is old now because these kids don't necessarily 454 00:23:47,276 --> 00:23:50,996 Speaker 1: have to understand where to pay homage, or it doesn't 455 00:23:51,036 --> 00:23:53,636 Speaker 1: mean that they won't at a point for sure, it doesn't. 456 00:23:53,716 --> 00:23:56,036 Speaker 1: It doesn't matter, and it doesn't matter. It's like if 457 00:23:56,356 --> 00:24:01,436 Speaker 1: somebody makes something new and great, I'm all for it. Yeah, exactly. 458 00:24:01,476 --> 00:24:04,356 Speaker 1: So whenever they set people love to those questions, like 459 00:24:04,396 --> 00:24:07,556 Speaker 1: you're a young person making a young sub genre and 460 00:24:07,556 --> 00:24:08,956 Speaker 1: they go, well, how do you feel about all these 461 00:24:08,916 --> 00:24:10,476 Speaker 1: four fathers that it's like if you were born in 462 00:24:10,516 --> 00:24:13,076 Speaker 1: two thousand, you probably don't know about them, you know, 463 00:24:13,196 --> 00:24:15,996 Speaker 1: And that's fine, because you are making great fucking music, 464 00:24:15,996 --> 00:24:18,916 Speaker 1: and I'm sure at a certain point it's gonna be 465 00:24:18,956 --> 00:24:21,996 Speaker 1: interesting for you to go back and look at that. 466 00:24:22,036 --> 00:24:24,436 Speaker 1: And if it's not fucking who cares. Do you want 467 00:24:24,436 --> 00:24:27,956 Speaker 1: a plain example of the UK drill that's going on now? Yes, 468 00:24:28,076 --> 00:24:30,436 Speaker 1: I would love to, And then we'll compare that back 469 00:24:30,476 --> 00:24:33,116 Speaker 1: to a grime track, just just for the difference in 470 00:24:33,236 --> 00:24:36,556 Speaker 1: sound from the UK. Okay, let's do it. This is 471 00:24:36,636 --> 00:24:38,956 Speaker 1: someone that I just put out some music with recently, 472 00:24:39,036 --> 00:24:42,356 Speaker 1: we got some more stuff coming. Hetty One running shit 473 00:24:42,476 --> 00:24:44,156 Speaker 1: in the UK. You can't tell me different, can't tell 474 00:24:44,156 --> 00:24:46,516 Speaker 1: anyone different. Drake went over it did a video with 475 00:24:46,596 --> 00:24:48,436 Speaker 1: him da year, he did a song with him this year. 476 00:24:48,916 --> 00:24:50,996 Speaker 1: Drake's done stuff with skept that He's done stuff for 477 00:24:50,996 --> 00:24:52,516 Speaker 1: an artist called Dave. He's come over there once in 478 00:24:52,556 --> 00:24:56,556 Speaker 1: a while. But you can tell like Hetty's influence and 479 00:24:57,396 --> 00:25:00,876 Speaker 1: really like how crazy different he is kind of in 480 00:25:00,916 --> 00:25:02,436 Speaker 1: the drill scene, but how much he's kind of one 481 00:25:02,436 --> 00:25:04,676 Speaker 1: of the frontrunners that people can understand in America and 482 00:25:04,716 --> 00:25:06,956 Speaker 1: really latch onto. But here's a Hetty song called both 483 00:25:08,516 --> 00:25:13,636 Speaker 1: Trust how many times until was the president? So I said, 484 00:25:13,716 --> 00:25:16,836 Speaker 1: I'm the King of Joe Rob. I'm doing it everyone. 485 00:25:16,836 --> 00:25:19,116 Speaker 1: I never went against Smokey. Let the gang bring it 486 00:25:19,196 --> 00:25:21,556 Speaker 1: on tool. He said, I'm the king of drill. I'm 487 00:25:21,556 --> 00:25:24,876 Speaker 1: the king. He said, that's great. You know what I'm 488 00:25:24,876 --> 00:25:27,116 Speaker 1: gonna I'm gonna leak some unreleased Heady right now just 489 00:25:27,116 --> 00:25:29,276 Speaker 1: because it's broken record and why and I because we can. 490 00:25:29,396 --> 00:25:31,516 Speaker 1: Let's do it. Hold this is something something being Heady 491 00:25:31,516 --> 00:25:35,716 Speaker 1: made recently spending up smokers. Oh yeah, Rod and I 492 00:25:35,756 --> 00:25:40,156 Speaker 1: was ready for comback dot Drid just one signed that contract. 493 00:25:40,836 --> 00:25:46,316 Speaker 1: So good, so good, Broken record exclusive, exclusive, exclusive, exclusive exclusive. 494 00:25:46,956 --> 00:25:49,396 Speaker 1: We'll be back with more from Kenny Beats after a 495 00:25:49,476 --> 00:25:57,116 Speaker 1: quick Break. We're back with Rick Rubin and Kenny Beats. 496 00:25:57,676 --> 00:25:59,636 Speaker 1: On the first track, you played this guitar, and I 497 00:25:59,636 --> 00:26:01,956 Speaker 1: want to talk about the use of guitar in current 498 00:26:02,036 --> 00:26:04,996 Speaker 1: hip hop because it feels like it's pretty ubiquitous. We're 499 00:26:04,996 --> 00:26:06,756 Speaker 1: hearing a lot of guitar and hip hop right now, 500 00:26:07,356 --> 00:26:10,356 Speaker 1: hundred percent in my mind. And the first person who 501 00:26:10,396 --> 00:26:11,956 Speaker 1: comes up when you say that, the first people who 502 00:26:12,036 --> 00:26:14,836 Speaker 1: come up when you say that are Atlanta. And it's 503 00:26:14,836 --> 00:26:18,876 Speaker 1: definitely like the term on Reddit or the term in 504 00:26:18,916 --> 00:26:21,076 Speaker 1: the in the twitch chat or in the YouTube chat 505 00:26:21,156 --> 00:26:23,636 Speaker 1: right now would be Gunna type beats. That's what people 506 00:26:23,676 --> 00:26:26,356 Speaker 1: would say if you're using just like we heard those 507 00:26:26,436 --> 00:26:30,796 Speaker 1: kind of real pretty acoustic, kind of strummed things or 508 00:26:30,876 --> 00:26:34,476 Speaker 1: kind of almost beautiful Flamenco type or Brazilian type chords, 509 00:26:34,476 --> 00:26:37,036 Speaker 1: but they're kind of just spaced out in the drums smack. 510 00:26:37,516 --> 00:26:40,556 Speaker 1: That's something that Gunna little Baby thug a lot of 511 00:26:40,596 --> 00:26:42,876 Speaker 1: people in Atlanta, I think were the ones that people 512 00:26:42,916 --> 00:26:46,236 Speaker 1: were looked to and they took from that recent trend. 513 00:26:46,276 --> 00:26:47,996 Speaker 1: And I know within my friend group or with the 514 00:26:47,996 --> 00:26:50,796 Speaker 1: producers I talked to, that's what you refer to when 515 00:26:50,836 --> 00:26:52,116 Speaker 1: you hear that sounds like all it sounds like some 516 00:26:52,196 --> 00:26:54,876 Speaker 1: gunna shit and that's Wheezy on the production there shout 517 00:26:54,876 --> 00:26:58,316 Speaker 1: out to Wheezy. I feel like also, Frank Ocean really 518 00:26:58,796 --> 00:27:01,756 Speaker 1: inspired some of that, even maybe even before that, I 519 00:27:01,796 --> 00:27:04,156 Speaker 1: felt like Frank had a lot of guitar in his 520 00:27:04,316 --> 00:27:08,876 Speaker 1: music when nobody did. Definitely, And I think Frank's raw. 521 00:27:08,956 --> 00:27:11,996 Speaker 1: And this is one of the things that so many 522 00:27:12,036 --> 00:27:16,396 Speaker 1: people are referring to when they say things that sound 523 00:27:16,396 --> 00:27:17,996 Speaker 1: like Frank or feel like finger this. It's the fact 524 00:27:17,996 --> 00:27:19,756 Speaker 1: that Frank can do so much with so little. But 525 00:27:19,836 --> 00:27:21,996 Speaker 1: you put him in the same area in your brain 526 00:27:21,996 --> 00:27:24,436 Speaker 1: where you put Tyler or someone like that because of 527 00:27:24,516 --> 00:27:26,116 Speaker 1: the time he came out, in the era where you 528 00:27:26,156 --> 00:27:29,116 Speaker 1: heard him. So it seems kind of like shocking for 529 00:27:29,196 --> 00:27:30,996 Speaker 1: you to think, like, oh wow, like I have an 530 00:27:31,076 --> 00:27:34,716 Speaker 1: artist of my time period who is down to do 531 00:27:34,756 --> 00:27:36,836 Speaker 1: a ballad that I can really relate to, and this 532 00:27:36,916 --> 00:27:38,676 Speaker 1: and that, And I think Frank holds that place in 533 00:27:38,716 --> 00:27:43,036 Speaker 1: so many people's arts because his music is just that 534 00:27:43,076 --> 00:27:45,316 Speaker 1: guitar and him, or just that piano and him, or 535 00:27:45,436 --> 00:27:49,316 Speaker 1: just so to the point, have you noticed flute being 536 00:27:49,396 --> 00:27:54,316 Speaker 1: popular huge? It's a ton of my beats. What is it? 537 00:27:54,396 --> 00:27:57,076 Speaker 1: Why is it? I mean, I love the flute. I 538 00:27:57,156 --> 00:27:59,716 Speaker 1: was so happy to hear it make its re emergence 539 00:28:00,396 --> 00:28:04,796 Speaker 1: within the beat maker subculture. After Future did this song 540 00:28:04,836 --> 00:28:07,836 Speaker 1: called mask Off, people kind of put an X on 541 00:28:07,876 --> 00:28:12,836 Speaker 1: the flute because it was so prevalent and everybody was 542 00:28:12,836 --> 00:28:14,756 Speaker 1: putting it in every beat at this one point in 543 00:28:14,876 --> 00:28:18,716 Speaker 1: twenty seventeen two eighteen, there's this one Omnisphere patch that 544 00:28:18,756 --> 00:28:23,196 Speaker 1: has been wasted on so many millions of songs now. 545 00:28:23,236 --> 00:28:27,196 Speaker 1: But I will say one production thing that was very 546 00:28:27,236 --> 00:28:30,196 Speaker 1: interesting about the use of flute and all these beats 547 00:28:30,236 --> 00:28:33,636 Speaker 1: that you hear is there's these producers and Q Beats, 548 00:28:34,436 --> 00:28:38,156 Speaker 1: and they're German. They don't come over to the States much. 549 00:28:38,196 --> 00:28:39,676 Speaker 1: From what I understand, they don't want to be in 550 00:28:39,676 --> 00:28:41,156 Speaker 1: the session. They're not trying to hang out with everybody 551 00:28:41,156 --> 00:28:43,436 Speaker 1: with their unbelievable instrumentalists. And they work with a lot 552 00:28:43,436 --> 00:28:47,796 Speaker 1: of unbelievable instrumentalists, and so many of the biggest, most 553 00:28:47,836 --> 00:28:50,636 Speaker 1: amazing rap songs you heard in the last few years 554 00:28:51,036 --> 00:28:54,836 Speaker 1: trace back to Frank Dukes and trace back to Q Beats, 555 00:28:54,836 --> 00:28:59,956 Speaker 1: and these German producers and musicians are making these almost 556 00:29:00,836 --> 00:29:04,636 Speaker 1: classical esque kind of little compositions and samples and things 557 00:29:04,636 --> 00:29:07,676 Speaker 1: and setting them back, and they're using bassoons and flutes 558 00:29:07,716 --> 00:29:11,156 Speaker 1: and cellos and strutting. Are they putting beats on it 559 00:29:11,356 --> 00:29:14,276 Speaker 1: as well, or or people are sampling that and using 560 00:29:14,276 --> 00:29:18,036 Speaker 1: it in conjunction with new beats. They're sending them as samples. 561 00:29:18,156 --> 00:29:20,156 Speaker 1: And when I was when I was eighteen years old, 562 00:29:20,196 --> 00:29:22,756 Speaker 1: I met Frank Dukes at a record fair. I was 563 00:29:22,756 --> 00:29:25,716 Speaker 1: selling vinyl records for my girlfriend at the time's older brother. 564 00:29:25,796 --> 00:29:27,516 Speaker 1: I met Qute Tip, I met Rock Marcy, and I 565 00:29:27,596 --> 00:29:31,916 Speaker 1: met Frank Dukes. And Frank Dukes had recently been in 566 00:29:32,036 --> 00:29:34,516 Speaker 1: this magazine's producer magazine that no longer is around. But 567 00:29:34,516 --> 00:29:35,796 Speaker 1: they were talking about how he did all these beats 568 00:29:35,836 --> 00:29:37,036 Speaker 1: for a fifty cent and this and that, and he 569 00:29:37,116 --> 00:29:38,996 Speaker 1: told me, as a young kid, I'm starting to work 570 00:29:39,036 --> 00:29:41,076 Speaker 1: with these bands, which at the time was bad, bad, 571 00:29:41,116 --> 00:29:43,276 Speaker 1: not good, And I didn't know this, but I'm working 572 00:29:43,276 --> 00:29:44,916 Speaker 1: with all these bands and all these musicians, and then 573 00:29:44,916 --> 00:29:47,756 Speaker 1: I'm sending these compositions I make out to a lot 574 00:29:47,756 --> 00:29:49,396 Speaker 1: of producers that I'm friends with it that I know, 575 00:29:49,476 --> 00:29:52,116 Speaker 1: and they're flipping them like samples. And he told me 576 00:29:52,156 --> 00:29:55,796 Speaker 1: this literally eleven years ago, and I think it's really 577 00:29:55,796 --> 00:29:58,276 Speaker 1: what hip hop production is now for a lot of 578 00:29:58,276 --> 00:30:01,156 Speaker 1: people is you get this sample, you get this thing 579 00:30:01,156 --> 00:30:03,236 Speaker 1: from Spice, you get this thing from another producer, and 580 00:30:03,276 --> 00:30:05,076 Speaker 1: then you flip it, you do drums on it, and 581 00:30:05,236 --> 00:30:06,956 Speaker 1: or you make a sample, you send it someone, they 582 00:30:06,996 --> 00:30:10,036 Speaker 1: flip it. And it's such the norm now that to 583 00:30:10,076 --> 00:30:12,436 Speaker 1: see like these kids from Germany thinking let's go a 584 00:30:12,436 --> 00:30:14,876 Speaker 1: little more classical, let's go super musical blah blah blah, 585 00:30:14,876 --> 00:30:16,916 Speaker 1: and let's just send it to people like samples, and 586 00:30:16,916 --> 00:30:18,716 Speaker 1: we'll let these people treat them like samples. That's a 587 00:30:18,796 --> 00:30:22,716 Speaker 1: big influence on you hearing certain things like a flute 588 00:30:22,956 --> 00:30:25,916 Speaker 1: or an accordion or some weird shit that becomes a 589 00:30:25,916 --> 00:30:28,836 Speaker 1: trend in hip hop. It might be because like there's 590 00:30:28,876 --> 00:30:31,516 Speaker 1: this circle of sample makers or producers at blah blah 591 00:30:31,516 --> 00:30:33,596 Speaker 1: blah are kind of hearing this next wave and saying, oh, 592 00:30:33,636 --> 00:30:35,356 Speaker 1: we're gonna lean heavy on acoustic and send that to 593 00:30:35,436 --> 00:30:37,996 Speaker 1: every big rap producer right now. That's the honest truth 594 00:30:38,156 --> 00:30:39,916 Speaker 1: of a lot of a lot of records getting made. 595 00:30:39,956 --> 00:30:43,236 Speaker 1: And I have someone whose name will not be spoken, 596 00:30:43,356 --> 00:30:45,356 Speaker 1: who is the most amazing flute player ever, And when 597 00:30:45,356 --> 00:30:47,876 Speaker 1: I need a flute. I got a guy. Do you 598 00:30:47,956 --> 00:30:52,756 Speaker 1: have any samples of what you might get from Germany? Oh? Yeah, 599 00:30:52,796 --> 00:30:56,476 Speaker 1: I mean it's it's pretty like it. I was almost 600 00:30:56,516 --> 00:30:59,676 Speaker 1: insane how much stuff Q beats have done. But there's 601 00:30:59,676 --> 00:31:03,556 Speaker 1: a Q beats samples playlist. Hold on, let's see. But 602 00:31:03,636 --> 00:31:05,796 Speaker 1: this is the same basically as in the old days 603 00:31:05,836 --> 00:31:08,356 Speaker 1: of you know, create digging. It's the same. It's the 604 00:31:08,396 --> 00:31:19,596 Speaker 1: same thing totally. Like here, here's a good, great example 605 00:31:22,116 --> 00:31:26,756 Speaker 1: that I don't want to be so I believe goosebumps 606 00:31:26,756 --> 00:31:29,876 Speaker 1: Travis Scott um Cardo and Q Beats. I get those 607 00:31:29,916 --> 00:31:34,876 Speaker 1: goosebumps every time I need the time that to the side. 608 00:31:36,596 --> 00:31:42,196 Speaker 1: I get those goosebumps every time when you're not around. 609 00:31:42,716 --> 00:31:47,116 Speaker 1: Those strings make me feel like eleanor Rigby strings run 610 00:31:47,156 --> 00:31:51,036 Speaker 1: through a broken cassette, run through a burnt out VCR 611 00:31:51,156 --> 00:31:55,316 Speaker 1: or something. It has the harmony of classical things or 612 00:31:55,356 --> 00:31:58,676 Speaker 1: of things that are like really almost out of reach 613 00:31:58,756 --> 00:32:01,436 Speaker 1: for even me, and a lot of like normal listeners 614 00:32:01,436 --> 00:32:03,116 Speaker 1: when you're thinking about what am I gonna go sample 615 00:32:03,156 --> 00:32:05,476 Speaker 1: or normal producers? What am I gonna go take from? 616 00:32:05,716 --> 00:32:07,796 Speaker 1: I don't lean classical. That's just me. I didn't grow 617 00:32:07,836 --> 00:32:10,076 Speaker 1: up really listening to jazz and classical, so those were 618 00:32:10,116 --> 00:32:13,036 Speaker 1: things I've had to educate myself on. So for people 619 00:32:13,436 --> 00:32:15,236 Speaker 1: who really do play that kind of music or make 620 00:32:15,276 --> 00:32:17,236 Speaker 1: that music, or understand that harmony, when they send me 621 00:32:17,276 --> 00:32:19,796 Speaker 1: a pack of things like that, it's like this world 622 00:32:20,476 --> 00:32:23,396 Speaker 1: I wasn't able to tap into, and it makes me 623 00:32:23,436 --> 00:32:25,716 Speaker 1: take it a whole different place than I'd be able 624 00:32:25,716 --> 00:32:29,516 Speaker 1: to if I was making those strings myself. Yeah, so great, 625 00:32:29,676 --> 00:32:33,236 Speaker 1: so great. It definitely sets up a mood to build from, 626 00:32:33,356 --> 00:32:36,036 Speaker 1: and interestingly, as soon as the beat comes in, the 627 00:32:36,076 --> 00:32:39,076 Speaker 1: mood really shifts. Like when you listen to the piece 628 00:32:39,116 --> 00:32:43,676 Speaker 1: as it's in its non beat form, it gives you 629 00:32:43,716 --> 00:32:45,916 Speaker 1: one mood, and then when the beat comes in, it 630 00:32:46,076 --> 00:32:51,276 Speaker 1: really changes, and in a beautiful way. And that's Cardo, 631 00:32:51,396 --> 00:32:55,996 Speaker 1: that's America, that's Texas, that's our drums, and like that's 632 00:32:55,996 --> 00:32:58,436 Speaker 1: a song right there where people stole Cardo's drum flow 633 00:32:58,476 --> 00:33:00,556 Speaker 1: for the next six months after that became the biggest 634 00:33:00,596 --> 00:33:03,756 Speaker 1: record in the world, and then producers over here we're 635 00:33:03,756 --> 00:33:07,036 Speaker 1: trying to steal those sounds from Q Beats. But it's 636 00:33:07,076 --> 00:33:10,916 Speaker 1: that weird amalgamation, like these people from another world who 637 00:33:10,956 --> 00:33:12,716 Speaker 1: make another kind of music. They're sending stuff to this 638 00:33:12,796 --> 00:33:16,076 Speaker 1: hip hop producer and then he's so inspired that he 639 00:33:16,116 --> 00:33:18,596 Speaker 1: inspires this artist that inspires his huge record. It's a 640 00:33:18,716 --> 00:33:21,516 Speaker 1: it's a really cool thing. And that's like given a 641 00:33:21,556 --> 00:33:24,436 Speaker 1: lot of people a shot who aren't necessarily the drum guy, 642 00:33:24,476 --> 00:33:26,916 Speaker 1: the beat guy, blah blah blah, but play beautiful instruments 643 00:33:26,916 --> 00:33:29,436 Speaker 1: and want to be involved in these records. And for me, 644 00:33:29,796 --> 00:33:32,876 Speaker 1: the only thing with this new shift in the dynamic 645 00:33:32,916 --> 00:33:35,676 Speaker 1: of like people accepting so many samples and flipping samples 646 00:33:35,676 --> 00:33:38,116 Speaker 1: from other producers rather than records is it's the same 647 00:33:38,156 --> 00:33:39,556 Speaker 1: with a record, and you got to make sure that 648 00:33:39,676 --> 00:33:42,156 Speaker 1: things are cleared in the businesses right and beyond that, 649 00:33:43,076 --> 00:33:45,756 Speaker 1: you gotta give him a copro. And people try to 650 00:33:45,796 --> 00:33:48,836 Speaker 1: treat things sometimes when it's a sample like our old record, 651 00:33:48,876 --> 00:33:50,996 Speaker 1: it's you're not co producing with like the thousand people 652 00:33:51,116 --> 00:33:53,316 Speaker 1: who might have played strings in an orchestra that you 653 00:33:53,476 --> 00:33:55,636 Speaker 1: took from. But now if it's somebody who sat there 654 00:33:55,676 --> 00:33:59,236 Speaker 1: and they made this thing at their home studio or whatever, 655 00:33:59,316 --> 00:34:00,916 Speaker 1: with the musicians that they know, and they sampled it 656 00:34:00,956 --> 00:34:03,156 Speaker 1: to you and you use that and you flip it, 657 00:34:03,716 --> 00:34:06,956 Speaker 1: I think copro is the best way to show someone like, man, 658 00:34:07,036 --> 00:34:10,436 Speaker 1: I really respect this thing that you did in the 659 00:34:10,476 --> 00:34:13,556 Speaker 1: fact that all of the harmony and all of the 660 00:34:13,636 --> 00:34:15,596 Speaker 1: chords and all of the sounds and all these things 661 00:34:15,796 --> 00:34:18,316 Speaker 1: are this person who's sending me stuff. And even though 662 00:34:18,676 --> 00:34:20,556 Speaker 1: our producers over here who have the names or have 663 00:34:20,636 --> 00:34:24,396 Speaker 1: everything might be able to just flip something really quick 664 00:34:24,436 --> 00:34:26,676 Speaker 1: and have it go to be a big placement, you 665 00:34:26,756 --> 00:34:29,156 Speaker 1: gotta make sure you give people that love because their 666 00:34:29,196 --> 00:34:31,516 Speaker 1: producers too. They're not just samples the way we think 667 00:34:31,516 --> 00:34:34,356 Speaker 1: of old samples. You know, they're your co producer. We 668 00:34:34,356 --> 00:34:37,076 Speaker 1: were going to go backwards and talk about grime in 669 00:34:37,156 --> 00:34:40,596 Speaker 1: relation to what's going on now in the UK, just 670 00:34:40,636 --> 00:34:43,156 Speaker 1: for reference, because I feel like grime never really broke 671 00:34:43,196 --> 00:34:48,116 Speaker 1: in the US. I think the closest grime came was 672 00:34:48,236 --> 00:34:51,516 Speaker 1: Dizzy Rascal, and they consider it Dizzy Grime for sure, 673 00:34:52,036 --> 00:34:54,356 Speaker 1: But he was someone over here who I think what 674 00:34:54,396 --> 00:34:56,836 Speaker 1: the album is called, Boy in the Corner. That was 675 00:34:56,876 --> 00:34:59,196 Speaker 1: something that I remember listening to it as a very 676 00:34:59,356 --> 00:35:02,196 Speaker 1: very young kid and being like, what is this sound? 677 00:35:02,196 --> 00:35:05,916 Speaker 1: What is this slang? What are these beats? Blah blah blah, 678 00:35:05,956 --> 00:35:09,756 Speaker 1: And it's the only time I remember feeling way until 679 00:35:09,836 --> 00:35:11,636 Speaker 1: like years and years later where I found like a 680 00:35:11,676 --> 00:35:14,556 Speaker 1: skepto or I found someone else. But I think rather 681 00:35:14,596 --> 00:35:16,916 Speaker 1: than all the drill stuff, we were talking about one 682 00:35:16,956 --> 00:35:20,756 Speaker 1: of the people who's really influenced by like the energy 683 00:35:20,956 --> 00:35:23,596 Speaker 1: of grime more so than the beats necessarily whatever, it 684 00:35:23,676 --> 00:35:26,716 Speaker 1: is someone like slow Tie. And that's someone who I 685 00:35:26,756 --> 00:35:28,676 Speaker 1: work with very closely and someone who I really love. 686 00:35:28,796 --> 00:35:33,236 Speaker 1: But slow Tie is so foreign and weird. He's not 687 00:35:33,236 --> 00:35:35,036 Speaker 1: even from London. He's from way outside, a couple of 688 00:35:35,036 --> 00:35:38,796 Speaker 1: hours outside in Northampton. He's very unique. He gets on 689 00:35:38,876 --> 00:35:41,996 Speaker 1: things that sound closer to talking heads than UK beats 690 00:35:41,996 --> 00:35:45,156 Speaker 1: half the time, and there's no place to put him 691 00:35:45,196 --> 00:35:47,116 Speaker 1: in the UK, So when he comes over here, there's 692 00:35:47,196 --> 00:35:49,116 Speaker 1: just this little of a place to put him, and 693 00:35:49,156 --> 00:35:51,796 Speaker 1: that makes it almost easier for him to kind of 694 00:35:51,796 --> 00:35:54,676 Speaker 1: like acquiesce with the trends here and find his way 695 00:35:54,716 --> 00:35:57,116 Speaker 1: in the States. Then someone who's so routed in a 696 00:35:57,196 --> 00:36:00,316 Speaker 1: scene of drill, the UK scene this and that Tie 697 00:36:00,476 --> 00:36:02,316 Speaker 1: is like a Dizzy Rascal. To me, Dizzy Rascal was 698 00:36:02,356 --> 00:36:05,116 Speaker 1: just so weird and so different. I think that it 699 00:36:05,196 --> 00:36:07,276 Speaker 1: worked anywhere because he couldn't really place him or his 700 00:36:07,356 --> 00:36:11,676 Speaker 1: voice or anything, and grime much like Drill at the time. 701 00:36:11,716 --> 00:36:12,996 Speaker 1: I think he had to kind of be a fan 702 00:36:13,036 --> 00:36:16,036 Speaker 1: of the UK or dig deeper to understand how the 703 00:36:16,076 --> 00:36:19,236 Speaker 1: subgenre works. What the the things that you have to 704 00:36:19,236 --> 00:36:21,156 Speaker 1: stick to to make a grime record are I think 705 00:36:21,156 --> 00:36:22,916 Speaker 1: in the in the US, it's like, who's this weird 706 00:36:22,956 --> 00:36:24,756 Speaker 1: new artist from the UK and they don't think into 707 00:36:24,756 --> 00:36:28,796 Speaker 1: the title? Do you want to play something from SOLTI? Oh, definitely. 708 00:36:29,356 --> 00:36:31,516 Speaker 1: This was the original thing that put me on the 709 00:36:31,596 --> 00:36:33,236 Speaker 1: slowtai a couple of years ago. I heard this. I 710 00:36:33,276 --> 00:36:34,876 Speaker 1: was like, oh, I don't know who the fuck this is. 711 00:36:34,916 --> 00:36:36,636 Speaker 1: I had a UK beat, but it was nothing like 712 00:36:36,716 --> 00:36:43,356 Speaker 1: anything else. So long a back phone on and how 713 00:36:43,436 --> 00:36:46,676 Speaker 1: much of the flow gets silly with it my spirit 714 00:36:46,716 --> 00:36:51,796 Speaker 1: and really bad to the bone. Is a legend, such 715 00:36:51,796 --> 00:36:55,076 Speaker 1: a cool voice, so fucking cool. But even what he said, 716 00:36:55,076 --> 00:36:57,676 Speaker 1: like the class Count Dunce, like Dizzy Rascal was the 717 00:36:57,716 --> 00:36:59,676 Speaker 1: boy in the corner. It's just the kind of Dennis 718 00:36:59,676 --> 00:37:03,116 Speaker 1: the Menace persona. They don't really fit in almost anywhere, 719 00:37:03,156 --> 00:37:04,996 Speaker 1: but they're the link for a lot of people to 720 00:37:05,036 --> 00:37:06,876 Speaker 1: dig into the UK because they're such a weird old 721 00:37:06,876 --> 00:37:08,876 Speaker 1: people go oh, I like this, and then you start 722 00:37:08,876 --> 00:37:10,876 Speaker 1: to find find out like what the norm is there, 723 00:37:10,876 --> 00:37:13,476 Speaker 1: and you're like, oh, this wasn't even the norm where 724 00:37:13,516 --> 00:37:16,396 Speaker 1: they're from, but it led me to where they're from, 725 00:37:16,596 --> 00:37:18,436 Speaker 1: you know. And that's true of Tie for a lot 726 00:37:18,436 --> 00:37:20,076 Speaker 1: of people, and for Dizzey a lot of people. But 727 00:37:20,396 --> 00:37:23,636 Speaker 1: Tie is not associated with something the way Dizzey's associated 728 00:37:23,676 --> 00:37:25,676 Speaker 1: with grime. I don't think anyone calls Slow Tie a 729 00:37:25,756 --> 00:37:29,436 Speaker 1: drill rapper. Who would you say is the premier drill 730 00:37:29,516 --> 00:37:33,436 Speaker 1: rapper from the UK heady one? Yeah, I would say, 731 00:37:33,756 --> 00:37:36,236 Speaker 1: I mean he's He's the one that people over here 732 00:37:36,276 --> 00:37:39,636 Speaker 1: can immediately pick out and talk about and know the 733 00:37:39,716 --> 00:37:41,756 Speaker 1: Drake song and can you know what I mean, say 734 00:37:41,836 --> 00:37:43,596 Speaker 1: he had a song come out with FK Twigs, Just 735 00:37:43,636 --> 00:37:46,716 Speaker 1: like he's very much in the conversation in the US 736 00:37:46,836 --> 00:37:49,036 Speaker 1: now in a way that people who are having platinum 737 00:37:49,036 --> 00:37:52,116 Speaker 1: on platinum on platinum records in the UK are not 738 00:37:52,316 --> 00:37:54,436 Speaker 1: some of the time. And it really bothers me. And 739 00:37:54,476 --> 00:37:56,756 Speaker 1: it's something that I've really like tried to use my 740 00:37:56,796 --> 00:38:00,596 Speaker 1: platform for non stop over the last year, because I 741 00:38:00,596 --> 00:38:04,396 Speaker 1: took about five trips to the UK in twenty nineteen 742 00:38:04,596 --> 00:38:06,756 Speaker 1: and I was there even in February in twenty twenty, 743 00:38:06,836 --> 00:38:10,076 Speaker 1: right before Lockdown and put out about thirty songs with 744 00:38:10,196 --> 00:38:13,036 Speaker 1: UK artists in the last year, and so it's it's 745 00:38:13,076 --> 00:38:15,556 Speaker 1: it's really a place I really care about and I 746 00:38:15,636 --> 00:38:18,836 Speaker 1: think really has so much influential music. It's so many areas, 747 00:38:18,836 --> 00:38:22,556 Speaker 1: but rap, especially right now, that's really exciting and it's good. 748 00:38:22,596 --> 00:38:24,516 Speaker 1: It's good for the world for the UK hip hop 749 00:38:24,516 --> 00:38:26,876 Speaker 1: seeming to blow up. I think the same thing. I 750 00:38:26,876 --> 00:38:28,356 Speaker 1: think it leads us to the next one. I can't 751 00:38:28,356 --> 00:38:31,116 Speaker 1: wait till like I can't I can't wait till. It's 752 00:38:31,316 --> 00:38:35,276 Speaker 1: a language that none of us can speak that influences 753 00:38:35,356 --> 00:38:37,156 Speaker 1: us the way that has. Because it's English, you know, 754 00:38:37,236 --> 00:38:38,756 Speaker 1: we can still get in there. Even if there's a 755 00:38:38,796 --> 00:38:41,436 Speaker 1: lot of slang terms about man on road and this 756 00:38:41,556 --> 00:38:44,156 Speaker 1: and that and things that people don't understand mean the 757 00:38:44,196 --> 00:38:46,476 Speaker 1: trap and mean this and that here, you can still 758 00:38:46,516 --> 00:38:48,716 Speaker 1: kind of get the gist of it. When Slowti says, 759 00:38:48,996 --> 00:38:51,796 Speaker 1: I'm like Christmas Wabi Scrooge, like, yeah, you're you're following it. 760 00:38:52,076 --> 00:38:55,396 Speaker 1: But I think that's as far as it goes for 761 00:38:55,436 --> 00:38:56,756 Speaker 1: a lot of people. I don't think a lot of 762 00:38:56,756 --> 00:39:01,076 Speaker 1: people can really understand the deep slang terms and the 763 00:39:01,156 --> 00:39:03,116 Speaker 1: deep things that go on in the UK, let alone 764 00:39:03,156 --> 00:39:05,156 Speaker 1: a country with a different language. So I think once 765 00:39:05,276 --> 00:39:07,276 Speaker 1: a group like P and L from France or like 766 00:39:07,676 --> 00:39:09,556 Speaker 1: someone from Japan can come over here and have a 767 00:39:09,596 --> 00:39:12,076 Speaker 1: record that people can really fuck with. It's like, think 768 00:39:12,076 --> 00:39:17,516 Speaker 1: about what was that ninety nine man Blue Balloons? That 769 00:39:17,556 --> 00:39:19,716 Speaker 1: ship was a huge hit in the States, not even 770 00:39:19,716 --> 00:39:22,356 Speaker 1: in English. That's like, I think there's a world where 771 00:39:22,396 --> 00:39:25,116 Speaker 1: the energy from someone even like a keyth ape, Like, 772 00:39:25,156 --> 00:39:27,436 Speaker 1: there's so many people from across the world that could 773 00:39:27,836 --> 00:39:30,396 Speaker 1: have that same effect. But the UK is a start. 774 00:39:30,516 --> 00:39:33,836 Speaker 1: The UK is a good start. Yeah, And I honestly 775 00:39:34,356 --> 00:39:37,036 Speaker 1: I don't want to understand the slang. That's what makes 776 00:39:37,076 --> 00:39:39,916 Speaker 1: it feel like it's coming from somewhere else. If it's 777 00:39:40,316 --> 00:39:45,636 Speaker 1: when I hear English English rappers using American slang, I 778 00:39:45,636 --> 00:39:49,716 Speaker 1: feel like, why am I listening to this? It completely 779 00:39:49,756 --> 00:39:51,876 Speaker 1: defeats the purpose if you do. Do you know what 780 00:39:51,956 --> 00:39:55,596 Speaker 1: I'm saying, It's like I want it to be their music. 781 00:39:56,276 --> 00:39:59,356 Speaker 1: I want their music a thousand percent. I think that's 782 00:39:59,396 --> 00:40:02,396 Speaker 1: the truest thing ever. But but what's crazy is, like 783 00:40:02,436 --> 00:40:06,356 Speaker 1: I was saying before, they have so much respect for 784 00:40:06,476 --> 00:40:08,956 Speaker 1: what we do over here, and they're very very much too. 785 00:40:09,236 --> 00:40:11,196 Speaker 1: In a lot of those guys. I was mentioning those 786 00:40:11,276 --> 00:40:14,636 Speaker 1: drill rappers, like, I've had conversations with them about US 787 00:40:14,716 --> 00:40:16,436 Speaker 1: hip hop and who they're listening to and the trends 788 00:40:16,436 --> 00:40:20,156 Speaker 1: and this and that, but they still do their thing 789 00:40:20,196 --> 00:40:22,756 Speaker 1: and they they are not trying to emulate it. Even 790 00:40:22,796 --> 00:40:24,636 Speaker 1: if they are the biggest fans. Even if they could 791 00:40:24,636 --> 00:40:26,716 Speaker 1: talk about how much they like some record, you don't 792 00:40:26,756 --> 00:40:29,476 Speaker 1: hear that slang term popping up, you know. And that's 793 00:40:29,476 --> 00:40:32,596 Speaker 1: something that US rappers are the most guilty of a 794 00:40:32,716 --> 00:40:34,916 Speaker 1: US artists in general. It's like, if there's a popping 795 00:40:34,956 --> 00:40:37,116 Speaker 1: song with someone from a specific part of the country 796 00:40:37,116 --> 00:40:39,116 Speaker 1: and they use that slang term, trust me, you're gonna 797 00:40:39,156 --> 00:40:41,636 Speaker 1: hear it in Florida and in New York and everywhere. Yeah, 798 00:40:41,636 --> 00:40:45,236 Speaker 1: it's gone. It's like Jay Electronica had that bar about 799 00:40:45,756 --> 00:40:48,636 Speaker 1: New York rappers calling us lame but day Jack and 800 00:40:48,716 --> 00:40:52,396 Speaker 1: are slang, and that was like a Ghetto Boys era 801 00:40:52,476 --> 00:40:54,556 Speaker 1: you were talking about. It's like New York at one 802 00:40:54,556 --> 00:40:56,436 Speaker 1: point was like, well, we don't know what this is, 803 00:40:56,436 --> 00:40:58,156 Speaker 1: we don't understand any of this, and then you end 804 00:40:58,196 --> 00:41:00,196 Speaker 1: up taking the slang terms and a lot of the 805 00:41:00,196 --> 00:41:02,276 Speaker 1: Bounce and this and that, like once Little John's on 806 00:41:02,276 --> 00:41:04,796 Speaker 1: the radio. Trust me, there's some Kruk music getting made 807 00:41:04,796 --> 00:41:09,636 Speaker 1: in Brooklyn. I promise you. Absolutely cool man. Thank you 808 00:41:09,676 --> 00:41:15,876 Speaker 1: for doing this. Of course, thanks to Kenny Beats for 809 00:41:15,876 --> 00:41:17,956 Speaker 1: taking a time out to talk with us again. Be 810 00:41:17,996 --> 00:41:19,956 Speaker 1: sure to check out a playlists of songs mentioned in 811 00:41:19,956 --> 00:41:23,236 Speaker 1: this episode at Broken record podcast dot com. You can 812 00:41:23,236 --> 00:41:25,636 Speaker 1: subscribe to our YouTube channel at YouTube dot com slash 813 00:41:25,676 --> 00:41:28,716 Speaker 1: broken Record Podcasts, where can find extended cuts of new 814 00:41:28,796 --> 00:41:31,836 Speaker 1: and old episodes, and you can follow us on Twitter 815 00:41:32,236 --> 00:41:35,876 Speaker 1: at broken Records. Broken Record is producers helpful Lea Rose, 816 00:41:36,196 --> 00:41:41,956 Speaker 1: Jason Gambrel, Martin Gonzalez Sandler, Jennifer Sanchez, with engineering help 817 00:41:42,156 --> 00:41:45,436 Speaker 1: from Nick Chason, and our executive producer is being a Bell. 818 00:41:45,916 --> 00:41:48,636 Speaker 1: Broken Record is a production of Pushkin Industries, and if 819 00:41:48,676 --> 00:41:50,556 Speaker 1: you'd like to show please remember to share a rate 820 00:41:50,596 --> 00:41:53,356 Speaker 1: and review us on your podcast at the Music's By 821 00:41:53,396 --> 00:41:56,916 Speaker 1: today's guests Kenny Beats, I'm justin Richmond, bas