Speaker 1: What's up? And welcome back to another episode of No
Speaker 1: Sealer's podcast with your hosts now fuck that with your
Speaker 1: loaw glasses Malone.
Speaker 2: That due all of us, probably the most influential producer
Speaker 2: in Detroit right now with.
Speaker 3: The boone boom boom, them thick.
Speaker 2: Base lines that he you know, he came with them
Speaker 2: base lines, you know, with the bone bone and you
Speaker 2: hear it an every damn song.
Speaker 3: Damn there Now, I don't know what.
Speaker 2: The fuck you're talking about you from.
Speaker 1: Let's make sure we don't talk over each other because
Speaker 1: they get real digitized and all like that again Part
Speaker 1: three of this three part podcast. We started off having
Speaker 1: a conversation. The first podcast rooted in just culture in general,
Speaker 1: like what hip hop was street urban culture, right, and
Speaker 1: we started to break it down, dissected and loosely. We
Speaker 1: cover brand, We talk about marketing, We talked about you know,
Speaker 1: the culture itself.
Speaker 3: Right.
Speaker 1: And then the second one, the last time we talked
Speaker 1: about this, right, we talked about what were we talking about?
Speaker 1: We were talking about what was wrong with the content
Speaker 1: creating space and hip hop? Right, we were talking about
Speaker 1: everything wrong with the content creating space and hip hop.
Speaker 1: Hip hop is just kind of following, like they don't
Speaker 1: have a real angle. They're just doing shit. They're just
Speaker 1: trying to be popular. Everybody's trying to win the popularity lottery,
Speaker 1: so they get so popular, you know what I mean,
Speaker 1: that they records start to matter. Also, we chopped it
Speaker 1: up because about so not only trying to win the
Speaker 1: popularity lottery, but not really having a true direct line
Speaker 1: of business.
Speaker 4: It's interesting bid obviously over the weekend, which you guys
Speaker 4: have heard about, how the dollar and pussy left the
Speaker 4: gold standard and hip hop, the culture at the street
Speaker 4: level is the gold standard. They've decoupled. It's now floating
Speaker 4: currencies of just random popularities tied to other random popularities
Speaker 4: of performers. There's no gold standard anymore. What was happening
Speaker 4: is we're experiencing the hypertrophy and the inflation of hip
Speaker 4: hop because there's no gold standard anymore, and therefore the
Speaker 4: value is on borrowed time.
Speaker 1: Totally fucking agree.
Speaker 3: The value.
Speaker 1: Is the gold standard that gave hip hop its true value.
Speaker 1: M Oh my god, I never thought about it like that.
Speaker 4: It just came to me. Everything is about currency. I
Speaker 4: think it's about stability of currency. So now we're up
Speaker 4: to this third part. And again I call this my
Speaker 4: hip hop stimulus package. It's for the West, but anybody
Speaker 4: can adopt this and I'm glad you had it that
Speaker 4: that's brilliant to the music. You know, we we haven't
Speaker 4: talked about the music. We've talked about marketing and branding
Speaker 4: to me, and that's important because visually, you know what
Speaker 4: I mean. That's we see music before we hear it
Speaker 4: today because everything we discover is based off looking down
Speaker 4: at our phones, right, you know what I mean.
Speaker 1: It's not like when Still was young or when I
Speaker 1: was younger, you heard it on the radio, you heard
Speaker 1: it just at a party. Now we see it on
Speaker 1: our phone. Being back, so I understand why we took
Speaker 1: a really deep dive into content and and and and
Speaker 1: even the brand of what is hip hop? Right, But
Speaker 1: back to the music, because that's the finishing point. Like
Speaker 1: we was talking about Sexy read to me, who has
Speaker 1: a fantastic job of brand Her brand is a one
Speaker 1: any of us, all four of us, could see Sexy
Speaker 1: Red on the street and we know her right too.
Speaker 1: We know everything internally she represents, like if I ask
Speaker 1: y'all different things, expressions and where she's from We know
Speaker 1: her marketing, we know her outfit, we know her morals.
Speaker 1: But I think her true problem lies in the music.
Speaker 1: Like her music is really great ideas, but they're not finished.
Speaker 1: The ideas are not produced and finished. And that's why
Speaker 1: if you look at her on the chart, her chart
Speaker 1: performance is never great even with all that attention, Like
Speaker 1: it's great for any hip hop artist, right, because that's dope,
Speaker 1: Like she's getting close to the top forty, right, she's
Speaker 1: forty six or fifty seven or sixty something, right, which
Speaker 1: is incredible for urban acts. But hip hop has already
Speaker 1: paved a way to the top ten on the Billboard
Speaker 1: Hot one hundred charts. So there's no excuse any longer
Speaker 1: to only be you know, outside of it. Now you
Speaker 1: have a trail blaze for thirty years since Doctor dreading them.
Speaker 1: They have trail blaze the path directly to consistent hit
Speaker 1: records for hip hop. And I think musically, what's wrong
Speaker 1: we've talked about this is when I study all the
Speaker 1: time before me, even the generation that still is right
Speaker 1: before me. Remember, like you had to pretty much know
Speaker 1: something about music to make it. Still generation is kind
Speaker 1: of the first generation that didn't know shit about music
Speaker 1: to start making music, making records, but they still was
Speaker 1: connected closer to musicians. And the ones who went and
Speaker 1: embodied and found musicians did well, right, the Doctor Dre's,
Speaker 1: the DJ Quicks, the guys who went and found musicians.
Speaker 3: Right.
Speaker 1: But now we're in a crazier situation because when Stell
Speaker 1: was growing up, they had the drum machine. The drum
Speaker 1: machine was new right when still was a little kid, right,
Speaker 1: craft Works and then introduced it, fucking you know to
Speaker 1: the hip hop and then you know Planet A, you
Speaker 1: know Planet Rock, you know, bamming them got it and
Speaker 1: start making records, and the hip hop started using the
Speaker 1: drum machine, cutting down the time to get to finish records.
Speaker 2: Well, if I can get real quick, gee, sure, I'm
Speaker 2: gonna tell you what had a profound impact on today
Speaker 2: versus you know when I was coming up, is it
Speaker 2: was mandatory music.
Speaker 1: Before we get there, before we get there, before we.
Speaker 2: Hear me all real quick, because this goes right into
Speaker 2: what you're saying right now.
Speaker 1: We had to take music and as a class.
Speaker 3: Right, it wasn't a choice.
Speaker 2: I believe when you when they cut those programs off, bro,
Speaker 2: I think you saw the decline and then I think
Speaker 2: that's what happened.
Speaker 1: Well, I don't think it, And that's the point. I
Speaker 1: don't think it's just the decline of the music classes.
Speaker 1: I do agree with you in a sense because that
Speaker 1: affected my generation, me and p generation right whise we
Speaker 1: got down there. Now we didn't know, but remember the
Speaker 1: drum machine helped your generation get from not being able
Speaker 1: to play the drums to having drums to sample over
Speaker 1: right outside of the sampler. They was able to use
Speaker 1: a drum machine in their fingers and make a rhythm. Yeah,
Speaker 1: now it's even worse because technology has came full circle
Speaker 1: and there's much they're like, they're way less barriers of entry,
Speaker 1: Like now with a laptop, anybody could get in.
Speaker 4: Did you ever see the movie Multiplicity from like the
Speaker 4: nineties with Michael Keaton.
Speaker 1: No, I remember hearing about it.
Speaker 4: It's a stupid goofball comedy movie or whatever. But he's
Speaker 4: a guy. He's just like a dad in the suburbs
Speaker 4: or whatever the hell, and somehow he clones himself and
Speaker 4: makes a guy. He had his clones number, his number two,
Speaker 4: and he calls him two so he could split up
Speaker 4: the work of being like working being a good dad
Speaker 4: all this other shit, and then two clones himself to three,
Speaker 4: and now he's three times, but three isn't quite what
Speaker 4: one is. And then three closes them off the four
Speaker 4: and fourst borderline retarded. So the more you clone away
Speaker 4: from the original, the further the generations, the way you
Speaker 4: get the worst and worst kind of the quality becomes.
Speaker 4: As you're taking a sample of a sample, a sample
Speaker 4: of a sample.
Speaker 1: You keep copying something in black ink. If you copy copy,
Speaker 1: eventually the paper becomes.
Speaker 4: You take a picture of a picture, and then a
Speaker 4: picture of a picture of a picture, and then you
Speaker 4: take a picture of a picture of a picture of
Speaker 4: pictures a little foggy.
Speaker 1: So I think now that even drum machines, right, because
Speaker 1: drum machines, in stealing them time was really more expensive.
Speaker 1: When I talked to warring a different people, drum machines
Speaker 1: were really expensive, So there was still they wasn't quite
Speaker 1: as expensive as drums themselves where you needed talent. But
Speaker 1: you know, I mean, because you do need some for
Speaker 1: drum machines. It's not completely void, but it's less than
Speaker 1: you need for drums to make it up and recorded. Right,
Speaker 1: But the drummer sheet.
Speaker 5: What's considered expensive then for a drum machine.
Speaker 1: How much wisdom NPCs when you were younger still that
Speaker 1: you remember.
Speaker 3: Shoot man thirty five hundred three thousand.
Speaker 1: Dollars that got damn car.
Speaker 2: Yeah, yeah, it was like a fantasy. It was like, Man,
Speaker 2: I've never be auld have had one of those. I remember,
Speaker 2: I remember.
Speaker 6: Yeah, even in the growing up in the nineties, it
Speaker 6: was still like they cost that much.
Speaker 1: So yeah, so no sailings gl.
Speaker 4: In.
Speaker 1: This s motherfucker. This is the third part to my
Speaker 1: three part series. Hopefully caught the first two. This is
Speaker 1: the third version. But this is like my personal hip
Speaker 1: hop stimulus kind of summarizing about three and a half
Speaker 1: four hours to help really truly clear out a lot
Speaker 1: of the congestion, like Pete saying, which is dope? How
Speaker 1: you comparing it to the gold standards? So Pete is
Speaker 1: obviously here. My man Joey west Side, he was a
Speaker 1: part of the first two conversations, so we got him back.
Speaker 1: Joey west Side, one half of the La Giants rap
Speaker 1: group by the Los Angeles My Big Brother Manager podcast
Speaker 1: or Extraordinaire Steele who they just did a million downloads
Speaker 1: on Gangster Chronicles last year for the six seasons, so
Speaker 1: we won in the seven season.
Speaker 2: So congract one seven and be more precise.
Speaker 1: Okay, on the way to seven one point because it's
Speaker 1: not two. Yeah, it should be more round down. Uh So,
Speaker 1: long story short, like still saying right, So it's thirty
Speaker 1: five hundred dollars to get SP or MPC.
Speaker 3: Right.
Speaker 1: Guess what that eliminated a lot of people that was playing.
Speaker 1: You couldn't just wake up one day and play with it, right,
Speaker 1: It wasn't no joke. Fast forward to twenty twenty four.
Speaker 1: You can get a laptop for one hundred dollars, or
Speaker 1: you can get your phone on a payment and download
Speaker 1: fucking fruity loops and at that point people can buy
Speaker 1: your music. So we're so far away from people having
Speaker 1: to really be serious about it. Yet it's enough people
Speaker 1: that's taking a chance to try to program. So what
Speaker 1: you have is a lot more program ideas than produced ideas.
Speaker 1: It's like how we would you know, witnessing the rids
Speaker 1: of toob movies where you have now the equipment is
Speaker 1: much less, so now you have less barriers of entry
Speaker 1: for creators.
Speaker 4: It's fascinating that the expansion of participation has resulted in
Speaker 4: the homogenization of the result. That is fucking bizarre.
Speaker 3: That is bizarre.
Speaker 1: Say that when we're time for joe because Joey's staring
Speaker 1: at your motherfucking man.
Speaker 4: Yeah, the expansion participation so twenty five years ago because
Speaker 4: you weeded out only the super super motivated who really
Speaker 4: wanted to invest themselves. Twenty people right, made all the beats.
Speaker 4: Whatever the number was. Now it's twenty thousand because any
Speaker 4: idiot can do it. So you have way more ideas,
Speaker 4: way more mind power, way more creative contribution on moss.
Speaker 4: Yet thirty years ago versus today, it's way more homogenized.
Speaker 3: Sound.
Speaker 4: Everything sounds everybody's shit sounds the same. Yet there's way
Speaker 4: more creative effort being put in on a broad scale
Speaker 4: than there used to be. If they got a out
Speaker 4: of twenty thousand, now it sounds the same.
Speaker 6: Man, we was able to tell producers apart, like we
Speaker 6: knew who did well when you heard it, to the
Speaker 6: point where if they said this person produced it, you
Speaker 6: was excited to hear like, oh he did.
Speaker 5: Let me see what this sound like?
Speaker 6: You Timbolins sound like tim Cat, sound like cat, Quick,
Speaker 6: sound like Quick like Dre.
Speaker 3: You know what I mean neptunes.
Speaker 6: And now, man, it's just a you man, you're right,
Speaker 6: it's just like awesome. Everybody got the same program.
Speaker 1: But what's funny is, to Peat's point, I think there's
Speaker 1: less creativity. I think there's more just programming. It's more
Speaker 1: calculator work, more follow instructions, listen to this uh artist
Speaker 1: type beats. So there's less creative. There's less creativity. I
Speaker 1: mean that's probably not true. Probably on the scale, there's
Speaker 1: gonna be more. But because there's so much fucking fizz
Speaker 1: at the top of the fucking beer, you know what
Speaker 1: I mean, you could never even take advantage of how
Speaker 1: much beer is in the glass versus how much beer
Speaker 1: used to be in the glass, because now at this
Speaker 1: point it's just the top of the motherfucker got all
Speaker 1: the fucking fizz and what you call that shit, the
Speaker 1: SuDS or the beer, and that motherfucker take up have
Speaker 1: to cut. But the point I was saying is you're
Speaker 1: gonna still have to invest and take some of these
Speaker 1: programmed ideas and have them produced. Still, you have to
Speaker 1: take a lot of these programmed ideas, and once you
Speaker 1: finish the idea yourself, you put your lyrics on you
Speaker 1: have them produced by somebody that's still at the next level.
Speaker 1: And I think that's where the creativity truly lies. Like,
Speaker 1: that's the one thing that nobody can argue about with
Speaker 1: cancel these nuts, trust me, people if they can slander me,
Speaker 1: because every it's so many people that don't agree with
Speaker 1: my opinion right now. But the one thing they gonna
Speaker 1: do when they press play is gonna be like they
Speaker 1: can say, oh man, it's west. They gonna know that
Speaker 1: shit is tough. And that's because.
Speaker 3: All the the.
Speaker 1: Ideas are produced. So they could have started off program
Speaker 1: but they gonna end up produced. It's like, but nigga
Speaker 1: that was making a two B movie took it to
Speaker 1: a bomb ass editor and a bomb ass colorist, you
Speaker 1: feel me. Even though when he recorded it he may
Speaker 1: didn't have the best sound. He might didn't have the
Speaker 1: best camera. Man, he might didn't have the best, you know, equipment.
Speaker 1: But if you take it to a true pro editor,
Speaker 1: you still will end up with some fucking quality crazy shit.
Speaker 1: It may not be the top level shit like, cause
Speaker 1: you do start. Like one thing I realized when I
Speaker 1: was working on Glasshouse two. We was chasing Dre's mixing right.
Speaker 1: We was chasing two thousand and one, and I remember
Speaker 1: spending over twenty thousand dollars chasing the sound that was
Speaker 1: two thousand and one and not even being close. But
Speaker 1: what I realized before anybody told me his shit started
Speaker 1: dre mixing starts at the production. He's gonna have a
Speaker 1: specific style of kick that that kick started with. It's
Speaker 1: not gonna probably be that kick, or he gonna take
Speaker 1: fucking days and days of mixing that fucking kick or clap.
Speaker 1: Most times, he starts with a certain level of quality
Speaker 1: sound to make it work. So even his finishing in
Speaker 1: the mix, the final mix of the song where you
Speaker 1: balance the sound, is gonna be better because they started
Speaker 1: to work early. So I'm not saying somebody that's making
Speaker 1: a two B movie, you're gonna make Friday, you know
Speaker 1: what I mean? Most likely you're not gonna get a
Speaker 1: two B movie that's gonna be as quality or as
Speaker 1: great as Friday, because they started with quality things to
Speaker 1: start with, right, But you can end up with a
Speaker 1: much better product and a much more respectable piece if
Speaker 1: you actually let somebody produce and finish.
Speaker 5: It, like mixing a two track or something.
Speaker 1: It's like still like like like like excuse me, Like
Speaker 1: Pete said the gold standard, if you take today's money
Speaker 1: and buy gold, gold is still gonna be gold. Even
Speaker 1: if it ain't as much gold as it once was yesterday.
Speaker 1: Gold still gold, right, you know what I mean? Like,
Speaker 1: like you know, gold is what perhaps right now, Pete
Speaker 1: was two thousand rod about eighteen nineteen. So if you
Speaker 1: spend two thousand of today's money on gold, on the
Speaker 1: ounce of gold, still gold, So you can have that gold.
Speaker 1: That gold is gonna move with the currency, no matter what.
Speaker 1: If currency gets too inflated, that god gonna be worth
Speaker 1: thirty two hundred. Now you didn't get it when it
Speaker 1: was four hundred. You just started early.
Speaker 3: Enough in the production of it. But you could fix it.
Speaker 1: And I think that's what needs to happen. But that
Speaker 1: also requires us to repair the relationship we have with
Speaker 1: hip hop fathers and music fathers. I'm thinking about. We
Speaker 1: always talk about how great the Chronic is. We always
Speaker 1: talk about how great Doggy Style is. People don't know
Speaker 1: how many people contributed to those records that were real
Speaker 1: people from a different era of great music.
Speaker 3: Right.
Speaker 1: Maybe don't realize the Chronic was recorded right at Solar
Speaker 1: where they had access to musicians, quality equipment, really talented ears.
Speaker 1: You know, fucking Dick Griffy, Rest in peace from Solar.
Speaker 1: Solar is Responsible. That's a record label, Sounds of Los
Speaker 1: Angeles Recording. It's a record label that gave us the Whispers, right,
Speaker 1: that gave us the deal. That's where baby Face and
Speaker 1: La Reid came from. They gave us the Mi Max.
Speaker 1: They gave us a a lot of dope shit. Yeah
Speaker 1: you know what I'm saying. So they recorded the Chronic
Speaker 1: at that studio with access to musicians and the ear
Speaker 1: as great as Dick Griffy. So even if dre you know,
Speaker 1: who was already ten years in at this point, roughly
Speaker 1: he can have It's like when I would go to Skip,
Speaker 1: say they have Skip come in the room. It's just
Speaker 1: gonna be certain things he gonna know better. So I
Speaker 1: think where hip hop needs to really, what they need
Speaker 1: to truly, what hip hop truly needs to fix itself musically,
Speaker 1: is they have to start connecting with music. You know,
Speaker 1: I mean they have to connect with music. They gotta
Speaker 1: get back connected with music. You can't just say I
Speaker 1: can do this myself. James Brown couldn't say I could
Speaker 1: do this. Myself.
Speaker 3: I get it.
Speaker 1: Prince MIGHTA Prince is probably that one dude that that
Speaker 1: I do this myself. You niggas ain't Prince, ain't.
Speaker 6: Prince man, they say they're self talk over now, how
Speaker 6: many instruments?
Speaker 1: Who the fuck? I would not be trying to take
Speaker 1: that fucking road.
Speaker 5: Yeah that's different man.
Speaker 1: He was a different dude, And I don't give a fuck.
Speaker 1: And honestly, let's be honest, some people care about that. Listen, man,
Speaker 1: The final product is the only thing that mattered. The
Speaker 1: final product is the only thing that matter.
Speaker 5: Because you got people that I can play but can't produce.
Speaker 1: Hands down, because they're two different journeys, right, They're two
Speaker 1: different journeys. They're two different journeys. It's just because the
Speaker 1: equipment is like much more affordable, like because there's less
Speaker 1: barriers of entry. That don't mean you shouldn't respect the craft.
Speaker 1: So you always should be trying to connect yourself to
Speaker 1: the legacy and the rich history of what it is
Speaker 1: you do.
Speaker 3: If if you.
Speaker 1: Are in music, you should be trying to connect. If
Speaker 1: you're from LA and you make any level of G
Speaker 1: funk like Adjasent cash right or shout out to Jay
Speaker 1: shout out to Perico, shout out to certain homies, and
Speaker 1: they make any level of connection of funk. There's no
Speaker 1: way battle Casts should not be in your mix eventually. Now,
Speaker 1: maybe you can't afford battle Cat to do a whole album.
Speaker 1: Maybe if you're in Atlanta, you can't afford to do
Speaker 1: Toop a whole album. Maybe if you and you in
Speaker 1: New York, you can't afford Swiss to do a whole album.
Speaker 1: Maybe if you're in the Midwest, you can't afford Trackster
Speaker 1: to do a whole album. But that don't mean you
Speaker 1: shouldn't be using their contributions to your production. Maybe you
Speaker 1: can go to them and say, hey, man, I just
Speaker 1: need a baseline. Hey, I just need you to figure
Speaker 1: out what's wrong with this. I got this. Their knowledge
Speaker 1: is worth it. Now again, we could all be arrogant
Speaker 1: and talk about where we at in time, and oh,
Speaker 1: I could be anybody somewhere along the line. Somebody lied
Speaker 1: to rappers and told them that they need to be
Speaker 1: the most confident.
Speaker 3: In the move.
Speaker 1: I'm tired of hearing rad niggas talking about I supposed
Speaker 1: to feel like I'm the best. No, you fucking not, No,
Speaker 1: you are fucking not because you are fucking not the best.
Speaker 1: I heard a motherfucker, oh Domi Simba said he was
Speaker 1: better than fucking Eminem and I got mad as a motherfucker.
Speaker 1: I caught his manager. I said, Cuz, this nigga is tripping. Well,
Speaker 1: hold on, no, he is not supposed to feel like
Speaker 1: he's fucking better than Eminem. And I'm tired of niggas
Speaker 1: feeling like they need to feel like some way that
Speaker 1: they didn't fucking earn. How the fuck are you better
Speaker 1: than somebody? But doing something thirty fucking years and now
Speaker 1: inside and out, you're not ridiculously ignorant and arrogant. You
Speaker 1: gotta think so all you motherfuckers that think you better
Speaker 1: than some of these motherfuckers, that's your.
Speaker 5: Problem professionally doing it that long, professionally.
Speaker 1: At the highest level.
Speaker 2: Man, So you don't think at some point the MC
Speaker 2: should feel like they're the greatest.
Speaker 1: No, why the fuck would you think you're the fucking greatest?
Speaker 3: You the greatest? Who kooggie rap?
Speaker 1: Why the fuck do I care? I'm telling you, no,
Speaker 1: you shouldn't. You shouldn't feel like that way till you
Speaker 1: check some fucking boxes.
Speaker 2: Well, I don't think you should come out the gate
Speaker 2: saying you better than somebody. I think that's disrespectful. But
Speaker 2: I think if you a pioneer, like I think if
Speaker 2: you a rock Kim or But you know what, though,
Speaker 2: if you ever noticed a rock Kim would never come
Speaker 2: out and say I'm.
Speaker 1: To say that one. Everybody else is gonna say.
Speaker 3: It for he ain't gotta say.
Speaker 2: To say that stuff. I think Hold is here, he's
Speaker 2: the best.
Speaker 1: That's part of his marketing.
Speaker 5: Yeah, and he didn't check some boxes too.
Speaker 1: And he put in some work.
Speaker 6: Yeah.
Speaker 1: But niggas that's feeling like they should be able to
Speaker 1: claim the title something that they didn't put nowhere near
Speaker 1: enough working to earn. And they're not even curious to
Speaker 1: figure out the work. That's fucking delusion. Like I do
Speaker 1: think you need. I was telling Joey this earlier. I
Speaker 1: genuinely believe you need a little bit of delusion to
Speaker 1: be successful in his life, to thrive, you gotta believe
Speaker 1: some delusion. But these niggas is by this ship is
Speaker 1: schizophrenic at this point.
Speaker 5: Yeah, it just it just gets ridiculous at time.
Speaker 6: What we what we what we seeing a lot now
Speaker 6: is that people are just remember we were talking about
Speaker 6: how people.
Speaker 5: Don't formulate their own opinions.
Speaker 6: No more like and it be it be people just
Speaker 6: saying ship that ain't ain't even tapped in. They don't
Speaker 6: even listen it like and it just starts saying some
Speaker 6: shit is bad or something, or you better. It's like
Speaker 6: you're not even listening to what's going on, because if
Speaker 6: you were, you wouldn't say this, you wouldn't cast certain
Speaker 6: people trash if you was really listening.
Speaker 1: I used to have this conversation with my Mexican homies.
Speaker 1: Write that rap that rhyme and shit right means in trash,
Speaker 1: and they used to try to tell me how good
Speaker 1: they didn't think Little Rob was, how good they didn't
Speaker 1: think baby Bash was. And I remember telling them, like
Speaker 1: them dudes is really good.
Speaker 3: Man.
Speaker 1: No, they don't sound like jay Z. They don't sound
Speaker 1: like Nas. They're not supposed to sound like fucking jay
Speaker 1: Z or fucking Nas.
Speaker 3: Ever it would be able.
Speaker 2: To Rob was actually pretty amazing. Though he was not amazing.
Speaker 2: He was an amazing writer as well.
Speaker 1: He's a fantastic But I get why because if you're
Speaker 1: comparing greatness right when you're listening to music one specific person,
Speaker 1: then you miss the greatness of what makes hip hop great.
Speaker 1: That one thing I've realized is you like, there is
Speaker 1: truly no one best person, right, there's a person that
Speaker 1: rap can like, hip hop can be as good as
Speaker 1: it can get with certain people, like people really feel
Speaker 1: a certain way when I have these takes, are these ideas.
Speaker 1: Snoop is as good as hip hop can be. Snoop
Speaker 1: in his prime is as great as jay Z in
Speaker 1: his prime. Any day of the week. It don't matter
Speaker 1: that Snoop don't got enough, he don't got the bars
Speaker 1: that you think as bars. What he has is so
Speaker 1: perfected right that it makes him as great as hip
Speaker 1: hop can happen. Bust Rhyme is another one that is
Speaker 1: great as hip hop can happen. Little Wayne, They're as
Speaker 1: great as it can be. Now, wherever you argue up
Speaker 1: in that that penthouse and argue with them niggas, the scarfaces,
Speaker 1: the nas is, you know, the niggas all in that
Speaker 1: pinhouse that's up there, Eminem's Kanye. You gonna argue all
Speaker 1: you want to. Then it becomes preference.
Speaker 3: Bro that.
Speaker 2: Those names that you're speaking, man, those are upper excell line.
Speaker 2: And I do feel what you're saying, Man, I do
Speaker 2: think because when I hear people talk about talk about
Speaker 2: like a star face or nas not on hear that
Speaker 2: reverence in their voice or that enthusiasm, I tell them
Speaker 2: they just not listening.
Speaker 3: Yeah, you don't want to listen. You just refusing to listen.
Speaker 2: Now, I do think there's a I do think there
Speaker 2: are some amazing young artists. This is there's a couple
Speaker 2: of rappers I like. I think Joey is incredible. We
Speaker 2: talk about that all the time. But I do think
Speaker 2: that you've got to show some respects for the architects.
Speaker 1: And you gotta put in some fucking work.
Speaker 3: Yeah, man, I'm just.
Speaker 1: You know, I mean, you gotta put in some fucking work.
Speaker 6: Yeah, I'm there for any artists that then checked off
Speaker 6: the boxes, even if I think they underwhelming, I gotta
Speaker 6: respect the fact that they they didn't checked out, you
Speaker 6: know what I mean. If you gotta hit record, you
Speaker 6: got a record that worked, I respect that.
Speaker 3: Man.
Speaker 1: Simbo dope as fuck. He ain't fucking Eminem fucking good.
Speaker 1: Yeah he can somewhere to my boy, you tripping man.
Speaker 5: Eminem is a fucking robot.
Speaker 1: There is nobody am seeing at no high level that
Speaker 1: won't tell you that motherfucker is not fantastic. He may
Speaker 1: not do some of these niggas top five because he
Speaker 1: younger than them, or they came out at the same time.
Speaker 6: Like he probably write his fucking lyrics like math problems.
Speaker 5: Boy he different.
Speaker 1: He after School of Rock Ken to me just with
Speaker 1: a little extra twist, Yeah he. But certain people Bust
Speaker 1: Rhymes is like that. Buster Rhymes is as good as
Speaker 1: hip hop can happen.
Speaker 3: Amazing, amazing.
Speaker 1: Some of these dudes, Ice Prime, Ice Q is as
Speaker 1: great as hip hop can happen. It don't get greater
Speaker 1: any of them do to one an MVP, we need
Speaker 1: to have a podcast about that and give an MVP
Speaker 1: and a Rookie of the Year away for the first
Speaker 1: twenty years of hip hop.
Speaker 3: Maybe we need.
Speaker 1: Yeah, we need to do that. On no sens, We're
Speaker 1: gonna do that the next time. We're gonna I'm gonna
Speaker 1: do a MVP and I'm gonna nominate it myself as
Speaker 1: the Fear because I can't let everybody vote on it.
Speaker 1: I'm wise, nothing know, but I think that's important. But again,
Speaker 1: back to the music, man, you have to connect with
Speaker 1: the rest of the body parts. You gotta get back
Speaker 1: to the rest of everything with this shit. You gotta
Speaker 1: get back to the real musical parts. Now, that don't
Speaker 1: mean you get rid of your programmer. That's programming your music, right,
Speaker 1: that's programming your shit. You need to get with a
Speaker 1: record producer to finish the record, to help you finish
Speaker 1: the record, And yeah, it's not gonna be easy, and
Speaker 1: yeah it might cost you a couple of pennies, but
Speaker 1: trust me, my boy, it's worth it. In the loan run.
Speaker 1: Record are programmed, but they aren't produced, and they'd be
Speaker 1: good ideas and maybe something can happen. You know, I've
Speaker 1: seen a lot of songs get dances that take them
Speaker 1: into gold status, that take them into platinum status, you
Speaker 1: know what I mean, some people getting lucky, you know,
Speaker 1: Shout Out the Blue Face, the Tatiana and Dead Luks.
Speaker 1: These are like early records on in his career, probably
Speaker 1: like within his first ten or twenty records if I
Speaker 1: remember correctly. But then the problem is getting the rest
Speaker 1: of them. Like we should all be in this shit
Speaker 1: to be Snoop Dogg or Ice QE or too Short
Speaker 1: or e forty or Scarface or Outcast or Kanye or
Speaker 1: but now.
Speaker 3: To be.
Speaker 5: Artists and wanting to be the these niggas want to be, you.
Speaker 1: Know, Garry Jones, Flowers, Larry Joe Nigga talk to me
Speaker 1: about Larry Jone music. I'm like, I think like uncles
Speaker 1: the ship that Uncle Larry Cole comes, but goddamn out
Speaker 1: of the bay that's like a nigga getting the NBA
Speaker 1: and be like, I want to be Ricky Ruby.
Speaker 2: Talking about I'm gonna tell you somebody when it comes
Speaker 2: to Bay Area. L A too Short as the fucking goat.
Speaker 2: We talked about that the other day. Gee, and the
Speaker 2: motherfucker can rap, too Short and he can produce, and
Speaker 2: he can produce. You just don't stay around. You don't
Speaker 2: have a forty fucking year career without being great. That
Speaker 2: motherfucker is still relevant ever made before.
Speaker 1: Where he's making more money that he ever made before.
Speaker 1: Right now, Too Short told me nigga making more money
Speaker 1: than I ever made before.
Speaker 6: And it all started from and he said it from
Speaker 6: the game. Don't stop rapping.
Speaker 2: He don't stop rapping. And the cold part about him
Speaker 2: is he don't do movies. He not out doing this.
Speaker 2: He now it's too short, it's just a rapper.
Speaker 5: And he's respected by every top tier artist you can think.
Speaker 3: Of, North, Southeast, and West.
Speaker 1: And he's a producer. And yeah, that's another thing that
Speaker 1: has went by over years. For the first ten years
Speaker 1: of his career, he's a producer, Starface producer man. He
Speaker 1: wouldn't see his name next to Mike name or next
Speaker 1: to n O Joe names, so they don't realize his contribution.
Speaker 3: You care about all that bullshit?
Speaker 1: Well, they seen him on a tiny that's strumming that
Speaker 1: fucking guitar. This motherfucker play the guitar. That's that's you.
Speaker 2: She I think those that knew knew, But Scarface is
Speaker 2: a music dude, that motherfucker. I wouldn't you know Scarface
Speaker 2: Man wants to make a rock album, doll. He said
Speaker 2: that he feels like every album he's made it ain't
Speaker 2: ship until he make his Dark Side of the Moon,
Speaker 2: his Verse, the pingk Floyd.
Speaker 1: As you should. That's a great album.
Speaker 2: And a lot of people don't know it was that
Speaker 2: is anybody out there he had that was influenced by
Speaker 2: all that. That's him playing the motherfucking guitar on that motherfucker.
Speaker 2: It sound like some dirt, some rock shit.
Speaker 6: That's why it's important to know records. So that's what exactly,
Speaker 6: because when you know records, it may it make your
Speaker 6: job as a producer and an MC easier. It's a
Speaker 6: cheat code when you know them records, man, especially like
Speaker 6: so like the ship we grew up on, Man, them
Speaker 6: niggas knew. They had a mental roller decks to all
Speaker 6: the records. Like when I look at my Pops record collection, Man,
Speaker 6: he got everything. I'll be finding out what I didn't like,
Speaker 6: Like I didn't even know certain songs was just instrumentals,
Speaker 6: like when I heard some popular instrumental songs or whatever,
Speaker 6: like like damn, that was never no lyrics to this beat.
Speaker 3: This is just a beat, a popular.
Speaker 4: Like it's like the opposite of a cheat code, because
Speaker 4: a cheat code is doing something without doing the work.
Speaker 4: That's the actual work, you know, to learn all that shit.
Speaker 4: And I feel like, yeah, I feel like you to.
Speaker 6: Somebody like me like they did, so now you gotta do.
Speaker 6: But I still gotta do. Now I just gotta go
Speaker 6: listen to it and figure it out. And and it's a.
Speaker 1: Man dope scar faces chasing Dark Side of the Moon.
Speaker 1: That's how you can tell he's a music person's records.
Speaker 1: He's not just the brand to act like, yeah, he's
Speaker 1: not for me. If I was chasing my, My, My, My,
Speaker 1: Magnus Opus record would probably be probably just another way
Speaker 1: to say I love you by Berry White. That's what
Speaker 1: my gays the rad record would be like what that
Speaker 1: representative music?
Speaker 2: I think we all got something that week. Chasing Bro
Speaker 2: and sometimes man, it could kind of hunk you, you know,
Speaker 2: chasing the Chasing Thervauno. I recorded and probably a hundred
Speaker 2: songs for Cereal Lon Water and still could never get
Speaker 2: it right. Not what I heard in my head and
Speaker 2: I would put our pits and pieces over the years
Speaker 2: of it, but just the level of musicianship that I needed, Bro,
Speaker 2: that I was trying to attain because I was actually
Speaker 2: chasing Marvin Gaye's album.
Speaker 1: Which album, the one with.
Speaker 2: Doom Doom, Doom, Doom Doom, that that Inner City Blues.
Speaker 2: I would chasing Inner City Blues with that because I
Speaker 2: wanted I wanted that album to where if somebody found
Speaker 2: it one hundred years from now, they would see what
Speaker 2: they would fill with Cleveland look like you feel what
Speaker 2: I mean? They would be able to listen to the
Speaker 2: album and fill with Cleveland, Ills like that.
Speaker 1: What he I'm from Cleveland though, no, he said, is
Speaker 1: that with Marvin Gay.
Speaker 3: From Oh No, that's not where he's from.
Speaker 2: But that album, Man, for the times that we were in,
Speaker 2: it was real pivotal in my life. Is My mom
Speaker 2: used to play that record when I was a little
Speaker 2: kid all the time, and I would clean up and
Speaker 2: stuff and it just because you got to remember at
Speaker 2: the time she was playing it, we lived in the
Speaker 2: basement of an apartment building. You know, they got apartments
Speaker 2: and basements and ship like that, to where you can
Speaker 2: look out the window but you see.
Speaker 3: The ground and I would see the corner.
Speaker 2: And you would see the people walking across the street.
Speaker 2: And you know, I didn't know this until years later,
Speaker 2: but those were prostitutes.
Speaker 3: And hustlers and everything else that was living right outside
Speaker 3: my building. You think of that. You hear the music,
Speaker 3: it's just the music.
Speaker 5: Yeah, Yeah, that's dope.
Speaker 3: Hear that.
Speaker 2: And I always wanted to chase that. That's why Cyrial
Speaker 2: Little Water was never designed for me to do all
Speaker 2: the rapping on song. But I was gonna be writing
Speaker 2: every song and have a lot of like R and
Speaker 2: B on there.
Speaker 1: Man, he wanted them do it all as niggas too well.
Speaker 2: I was writing this ship I could and it was
Speaker 2: you sho wouldn't got Eddie LeVert.
Speaker 6: You know what time out the album, they won't. So
Speaker 6: give me that don't be cruel, give me a dope.
Speaker 1: Be cue you chase one album would party. I would
Speaker 1: have never thought that.
Speaker 3: Man. I love record, man, I love the music.
Speaker 1: We were gonna be extra partied than for like, don't
Speaker 1: be cruel.
Speaker 5: Man, I love the music behind that shit.
Speaker 1: Man, that's a great gaming album. I would have never
Speaker 1: thought that.
Speaker 3: Yeah.
Speaker 1: So, but this is my point. If we all noticed,
Speaker 1: then really we should be connecting like any other artists
Speaker 1: into that into that era of shit like we should.
Speaker 1: We don't have to carry, you know, and hip hop.
Speaker 1: Hip hop is really great at bringing people together. You
Speaker 1: know what I mean. We don't have to carry the
Speaker 1: load of everything. There is no extra credit in carrying
Speaker 1: the load of everything. Nobody own this. Fucking Michael Jackson
Speaker 1: is still more famous than Prince. Nobody get the Only
Speaker 1: the niggas who care about that care that Prince played
Speaker 1: all that shit the most you knew.
Speaker 2: I think, man, people get caught up and doing everything because.
Speaker 3: Even if you feel if I would have got an
Speaker 3: Eddie Lavert, I don't think he would have nailed the
Speaker 3: way I wanted it, the way I envisioned it.
Speaker 2: He got a bit, he'd have been close to it.
Speaker 2: But I had certain in my mind what I wanted.
Speaker 1: Your mind is bullshit. It's Eddie Lavert from the old day.
Speaker 1: I got a bitch, Eddie gonna tell you black well,
Speaker 1: that's not what I had in mind.
Speaker 3: I'm glad you find.
Speaker 1: Because he Edie Eddie, Please cuss this nigma out and listens.
Speaker 1: So this is what I have in my mind.
Speaker 2: You know who I should have had involved in it.
Speaker 2: I should have had Eddie Love involved in it. I
Speaker 2: swear my dad is probably the greatest songwriter of all time. Man, sure,
Speaker 2: but you also could have had ed Lavert. That's okay,
Speaker 2: could advert and you know, man, how tortured my dad is?
Speaker 3: Man?
Speaker 2: My dad missed the Motown meeting men because his brother dog.
Speaker 1: How did you ever work with other Ohio artists?
Speaker 3: I would for sure.
Speaker 1: So you was making an Ohio a Cleveland album without
Speaker 1: touching no other Cleveland niggas.
Speaker 2: No bone thus was gonna be heavily involved in it.
Speaker 2: The production still, the production of it.
Speaker 3: You know what that nigga?
Speaker 1: Hold up, Hold up, I really don't like how you
Speaker 1: just tried to get that ed LeVert.
Speaker 2: We have a dog, I wouldn't. I would have loved
Speaker 2: to work with him. I would have loved to have
Speaker 2: that dog. I would have loved to have that.
Speaker 3: You know is p.
Speaker 1: Yeah from the old Ja this niggas as that ain't
Speaker 1: what I got in my head? What's in your head?
Speaker 1: Got Edward LeVert?
Speaker 2: Nigga, that would have been the ship And that's why
Speaker 2: album you want to I should have want to got
Speaker 2: an apartment up there and put all the studio equipment
Speaker 2: up in there and recorded that motherfucker with Cleveland.
Speaker 1: I believe in that.
Speaker 4: What's the what's the name of the theater up up
Speaker 4: by the observatory at the at the top end of
Speaker 4: Vermont av Way up there in the hills observatory. Naw,
Speaker 4: there's a musical venue there at the outdoor venue.
Speaker 1: Oh, I went there, one Greek right, Yeah, no, no,
Speaker 1: it might.
Speaker 3: Be that's a theater, the Greek theater.
Speaker 4: Yeah, outdoor outdoor one concert amphitheater. I know I seen
Speaker 4: him there. I seen him perform there.
Speaker 1: Nigga just got an air LeVert like, well, that's not
Speaker 1: what's in my head. You better change with in your
Speaker 1: motherfucking head.
Speaker 2: Nigga, No, no, no, I would never never. I would
Speaker 2: never here.
Speaker 1: There trying to produce on the love of money right
Speaker 1: now that I don't really like how that sound. Ed
Speaker 1: we need to change that for the love of money.
Speaker 1: I don't like that. If you need to go lower
Speaker 1: the nigga is Edward LeVert eddie nigga, you ain't getting
Speaker 1: no kinsman dand you didn't get nobody from Kinsman, no
Speaker 1: das Man, no das man members. See all, it's so
Speaker 1: like like.
Speaker 2: That would have been you know what. She We might
Speaker 2: still we could still do it. I'm probably waves sharper
Speaker 2: today than.
Speaker 3: I was thinking.
Speaker 1: But you're not gonna do it now?
Speaker 2: Yes, I will. I do that to finish that, to
Speaker 2: complete that. That's my last one.
Speaker 1: Put the verse on the saw that you said you
Speaker 1: was gonna put on the you.
Speaker 2: Know what, as soon as I'm able to do it,
Speaker 2: I'm I'm gonna go do that ship today. As a
Speaker 2: matter of fact, that's EP. I don't call you twice.
Speaker 1: EP you went to housewife and never did it.
Speaker 3: No, he had something to do that then that was
Speaker 3: it to day.
Speaker 2: As a matter of fact, for you, I think artists
Speaker 2: get older, they get scared.
Speaker 3: I need you to wrap it for me.
Speaker 5: No, no, no, I said, he can't rap it for you.
Speaker 3: You gotta rap over man. I don't have I don't
Speaker 3: need nobody to wrap my ship for me. Man, you
Speaker 3: gotta be fucked up. I know you know that's all.
Speaker 5: But you didn't wrap it.
Speaker 3: You didn't do it twice. Yes, Sam, I'm gonna go
Speaker 3: get that ship done.
Speaker 1: Then the last time you recorded a rap verse?
Speaker 3: Every day? I wrap every day a rap verse. It
Speaker 3: ain't gonna it, ain't gonna take no time, just suver
Speaker 3: like deuce. Man.
Speaker 1: Hey, hold up, still, Look, we're gonna let you wrap
Speaker 1: right now on no seilings for the no seilings. Let's
Speaker 1: see if my big listen. Let me tell y'all something.
Speaker 1: Whoever listening to this fucking pie, My big brother used
Speaker 1: to be ice cold on the mic, man, like it
Speaker 1: used to be.
Speaker 3: Ship.
Speaker 1: Your pen and is still sharp? Your pen is still sharp.
Speaker 1: I don't know if you still sharp in front of
Speaker 1: a microphone rapping.
Speaker 4: I learned that less than forty eight hours ago.
Speaker 1: This is the microphone right here, right get off. Kick
Speaker 1: some hard.
Speaker 2: I'm a bust. The first I was gonst I'm a
Speaker 2: bust from that thing. Kick it.
Speaker 3: That's some.
Speaker 1: Don't read it if you don't know about now that
Speaker 1: you ain't ready.
Speaker 3: I'll know this ship.
Speaker 1: Nigga ain't look down wrapping, put the mic up and go.
Speaker 3: Look at the niggas at the death they yore phone.
Speaker 2: Yeah, I let that go. Pair of alegic form of
Speaker 2: cops taking shots. I know, and that smoked out wingie,
Speaker 2: but it stopped that blow. Niggas think it's a game
Speaker 2: till I cocked that foe. Reduce them down to a stain.
Speaker 2: Come and mop that hole. Niggas hit the ground here
Speaker 2: first and feet last. Treat them like pinattas and knock
Speaker 2: money out. The ass had gangs the twenties, go and
Speaker 2: mention my name ran with the tree tops. So boaters
Speaker 2: with insans pop niggas for plot. The ain't no stopping
Speaker 2: my ring. Never bangle had a thing in kind of
Speaker 2: rock in the cane. Eighty nine had to sackle on
Speaker 2: high and Nana hind slept. Anybody whispering about mine. You
Speaker 2: could see me with Fabbi or Peter Eric Eay Black
Speaker 2: Jackey made slang it look easy. Yeah, I want of those.
Speaker 2: That's easy though. Come on, man and Michael, that was good.
Speaker 1: Listen, your pen is crazy. But that flow it's been
Speaker 1: a long time. You have to punch that.
Speaker 3: I ain't ready to punch that ship.
Speaker 1: You think you're right.
Speaker 5: There, bro, when you stand it up, you gotta put
Speaker 5: that mic high as the mother.
Speaker 2: And quick tell them, nigga that ship. You just hold
Speaker 2: your voice up like this. Put that night up here.
Speaker 1: You don't even know this ship by heart. Still I
Speaker 1: do know this ship by heart. Wrap it this thing,
Speaker 1: stop right here, stop looking down the rabbit.
Speaker 3: See.
Speaker 2: I turned the phone over bullets for remind niggas up
Speaker 2: the death STAYO few pussy speaking my name? Yeah, I
Speaker 2: let that go there. Police it form of cops taking
Speaker 2: shotside know and that smoked out winny. But to cut
Speaker 2: that blow, niggas think it's a game to like cock
Speaker 2: that foat, reduce them down to a stained coming mocked
Speaker 2: that hole. Niggas hit the ground head first and feet last,
Speaker 2: treat them light thin yachts and knock money out. They ass,
Speaker 2: she don't you where I got?
Speaker 3: That's finished.
Speaker 2: Finish it, man, I ain't gotta finish them up.
Speaker 3: Ship my heart.
Speaker 1: It's doubted way better when you wrapped it by heart.
Speaker 1: But you don't know the.
Speaker 3: He's going mixture my name.
Speaker 2: So voters with insans pop niggas for flop, ain't no
Speaker 2: stopping my rain.
Speaker 3: That thing with that a thing that kind of rocking
Speaker 3: the cane eighty nine.
Speaker 2: Had a second on high on that behind slip anybody
Speaker 2: whispering up our mind. You can see me with Fabby
Speaker 2: par Peter, Eric Easie, Black Jackey made slang it look easy.
Speaker 3: Yeah, I'm one of those.
Speaker 1: I always remember one ship all right, you might be out.
Speaker 3: You got a little verse, all right, it's a dope verse.
Speaker 2: Yeah, I'm about to go lay that motherfucker and I'm
Speaker 2: gonna have EP recorded so y'all can see. I'm gonna
Speaker 2: do it one time, and I may just come back
Speaker 2: and do a couple of other tracks, do my over
Speaker 2: dubs and ship.
Speaker 6: He is just the one take Yeah, put that and
Speaker 6: they too ass what nigga, their fans and new comics
Speaker 6: mean as a motherfucker nigga.
Speaker 2: Man, you know what Charlemagne told me one.
Speaker 5: Day though, that's just that's a dope verse though.
Speaker 2: You know what Charlotne ain't told me one day, dog
Speaker 2: that if niggas ain't in your comments.
Speaker 1: Hate and you ain't made it, That's what I agree.
Speaker 3: He told me that.
Speaker 2: With these people, and you know what I found out too,
Speaker 2: them be your biggest fans. You know how many times
Speaker 2: I don't had niggas cuss me out and tell me
Speaker 2: I ain't shit, only to come back and say steal
Speaker 2: like he's want to apologize? Man, you know all about
Speaker 2: da man, them as motherfuckers. We don't know dogs trying
Speaker 2: to get your attention. You think I give a fuck
Speaker 2: about a niggas in a comment if anything, if anything,
Speaker 2: you know what, if anything, they're making you engagement higher
Speaker 2: because the nigga that hates you go comment more than
Speaker 2: a dude to like you. How many times if you
Speaker 2: went out your way to go comment on somebody that
Speaker 2: you like.
Speaker 4: That's the yelp there. You're gonna always thumb your one
Speaker 4: star restaurant that sucks up your burger. You never gonna
Speaker 4: give credits to the best place.
Speaker 3: You just never do.
Speaker 4: Bro.
Speaker 3: It's like this.
Speaker 2: I remember, man, when Glasses when he was new last
Speaker 2: was so upset because the motherfucker was fucking with him.
Speaker 3: You remember that shiit.
Speaker 1: She wanted to find that nigga.
Speaker 2: She really wanted to find this nigga. I said, bro,
Speaker 2: you this is exercise and futility. You never go find
Speaker 2: that motherfucker. But you know what I do think. I
Speaker 2: think we paid too much attention to the motherfuckers that
Speaker 2: say fucked up shit to us, versus us commending the
Speaker 2: motherfuckers to tell us what they like what we're doing.
Speaker 1: I agree. I made that change about two months ago.
Speaker 2: It's yet the way, Dog, I followed one back, and
Speaker 2: I do all that shit and tell them thanks because
Speaker 2: that shit you do it, you know you appreciate that
Speaker 2: shit is a motherfucker. How many times if we went
Speaker 2: and told our favorite artists we liked them.
Speaker 3: He struggled with them.
Speaker 1: It is like if I would have never saw Scarnface
Speaker 1: in Persian, he would have never knew what I felt
Speaker 1: about his music.
Speaker 2: That's what I'm saying, Dog, And I know that shit
Speaker 2: mean a lot to them because I tell Willie D.
Speaker 2: When I kicked one of Willie D's rhymes back to him,
Speaker 2: he get to smile this ship. He finished the shit sometimes,
Speaker 2: But that's dope. You got a little mother fu know
Speaker 2: how you feel when they.
Speaker 1: Hear dog One time I was we was me, Duce
Speaker 1: Joey was a grip of us and Duce mcgarage and
Speaker 1: the click be about your paper came on and I
Speaker 1: facetim be legit with us all rapping, and you could
Speaker 1: just see him smiling like you know what I mean,
Speaker 1: Like that that ship is. It's dope to be able
Speaker 1: to tell even like when like I'll notice when I'm
Speaker 1: talking about Dog like I didn't never know how much
Speaker 1: he paid attention, you know what I mean, how much
Speaker 1: he sees the ship I'm saying to where it's like, damn,
Speaker 1: this nigga know his ship.
Speaker 2: Dog is definitely a coach, ly aware, a dude man.
Speaker 2: He and I will say this about dog Man, whether
Speaker 2: it's prime Snoop Dogg from ninety two, ninety three or
Speaker 2: now Snoop Dogg is one of the He's a great rapper.
Speaker 2: Dog like he may not be snooping freestyle like a motherfucker.
Speaker 2: You gotta Freestyleah what I'm saying, this nigga got records freestyling.
Speaker 1: See shit, Bro, you don't got to convince me. I
Speaker 1: keep telling y'all, been telling y'all this ship for a while.
Speaker 1: You know what's funny, mass I was trying to tell
Speaker 1: this to somebody. I was like, I've never heard Snoop
Speaker 1: get served on the song, you know what I mean?
Speaker 1: Like this is gonna sound crazy, but whatever I heard
Speaker 1: him do is as good as it's gonna be on
Speaker 1: the song.
Speaker 5: I felt that way about too Short.
Speaker 1: Too Short is another dude, Yeah, because you can't. They
Speaker 1: know their style so perfect that it's hard to out
Speaker 1: wrap them. It don't even matter what you're doing when
Speaker 1: you're on the song was short because Short gonna come
Speaker 1: through and be the best version of Short. And honestly,
Speaker 1: that's what I've been trying to master more than anything
Speaker 1: when we do records, you know what I mean. I'm
Speaker 1: still working on mastering that where it's like it don't
Speaker 1: matter how good Joey doesn't record or Duce doesn't record.
Speaker 1: When you hear Glasses, you know what time it is,
Speaker 1: and it's like, man, that niggas sound good. Now there's
Speaker 1: always will be niggas asking, oh what about Snoop on
Speaker 1: this song with jay Z, And it's like, if you
Speaker 1: like a style I don't remember ever hearing. It's not
Speaker 1: like when I heard Renegade with eminem and jay Z
Speaker 1: where I was like, these niggas is both rapping for it,
Speaker 1: you know what I mean. Snoop is always gonna be Snoop. Honestly,
Speaker 1: to me, one of Snoop's greatest comparison is too Short,
Speaker 1: you know what I mean, because they kind of do yeah,
Speaker 1: they do the same thing to where it's hard to top.
Speaker 1: Like when you're on the song with Snoop, Snoop, it's
Speaker 1: gonna be Snoop and that ship is just like no no, no,
Speaker 1: no hip hop personality. You know, outside of d MX,
Speaker 1: it's probably as Buster Rides and DMX are the only
Speaker 1: ones that have that kind of personality, whereas like they
Speaker 1: can beat them every time, and it's just as prolific
Speaker 1: is Snoop being Snoop?
Speaker 3: You know what I mean? You huh? And free free
Speaker 3: you free? Yeah?
Speaker 4: On the next tier say free and I'll say like,
Speaker 4: like mystical, mystical is that down that darn't triple quadruple platinum.
Speaker 2: But this is the one thing I say is too
Speaker 2: Short and Snoop maintain their character at all times. You
Speaker 2: ain't never heard Snoop and too Short coming with the
Speaker 2: Iggity Biggitie ship or none of the other ship. You know,
Speaker 2: you should get other niggas that might try to try
Speaker 2: different styles and ship like that.
Speaker 6: The rapping like that, nigga do not give me no
Speaker 6: boy boy too. Shorts Flow may not be mad as
Speaker 6: the mother fucker.
Speaker 2: Pita Ptita all that ship man imber.
Speaker 1: Up doing it. It did sound different. It was like I
Speaker 1: could take it for one record, right. I loved it
Speaker 1: on forgot about dre but then just jokes. So niggas
Speaker 1: don't think I'm this And I thought the migos was incredible.
Speaker 1: I think them niggas can rap the well, that's what
Speaker 1: makes them special. Can't nobody do that?
Speaker 2: The ass off I used to, but I was ignorant
Speaker 2: and I come from that era two dollars the way
Speaker 2: you just didn't bite niggas shit like that.
Speaker 3: You did what you did and let the mother niggas
Speaker 3: do what they do.
Speaker 2: One of I'm glad I ain't Glasses doing doing those
Speaker 2: double time reps.
Speaker 1: I got something too, but just to show but I
Speaker 1: do it the way Glasses does it. What's funny is
Speaker 1: one of one of the greatest moments as in MC
Speaker 1: was the song I did on eight last album, and
Speaker 1: I just feel like I got to a place to
Speaker 1: where I was so comfortable with who I was and
Speaker 1: what I do that it didn't even matter what nobody
Speaker 1: else do at that point.
Speaker 6: That's how I want to be all the time too,
Speaker 6: Like you just know you bringing what you're supposed to
Speaker 6: bring to the table. That shit all that, Like, I
Speaker 6: want to have the best verse energy and shit, I
Speaker 6: don't give a fuck about that ship.
Speaker 2: Yeah, I think you just got to do your ship, man,
Speaker 2: And I know one thing I'm trying to link up
Speaker 2: right now. I want to see glasses. I want to
Speaker 2: see y'all do that record with Project Pat. But I
Speaker 2: want Project Pat the Rappers and West Coast ship. I
Speaker 2: think that should sound crazy.
Speaker 1: It might sound funny, Man, Pat be needing that space
Speaker 1: to do that ship that.
Speaker 4: Yeah, the tempo what could be too fast?
Speaker 3: Maybe?
Speaker 4: Do you think.
Speaker 2: That hard.
Speaker 3: Though? Tell him?
Speaker 5: Can we get a hook.
Speaker 3: Give us?
Speaker 2: Yeah, y'all may have to go get on the Memphis record.
Speaker 2: Y'all might have to get on the myphics. You know what.
Speaker 4: That she could crush a Memphis record, your set, your
Speaker 4: your Memphis red water, Memphis beach g actually sounds his best.
Speaker 2: So the Southern beats to me. Yeah, definitely West Coast
Speaker 2: when g is on that ship that's in the dirt,
Speaker 2: slow that ship sound amazing.
Speaker 1: You got that feel Overton. But you know what, even
Speaker 1: if we look at Memphis, going back to the point
Speaker 1: of this whole podcast, maybe it's in Stacks Records.
Speaker 3: Yeah.
Speaker 1: Maybe when we do make that record with we try
Speaker 1: to do a record with Pat J like with three
Speaker 1: six or something, we find something out of stats record catalog.
Speaker 2: Hell yeah, when you see three six made their whole
Speaker 2: motherfucking thing off of Isaac Cayes, you supposed to. That's
Speaker 2: what they dig them. Niggas got all eyes. They got
Speaker 2: about three or four top teen records that's off for
Speaker 2: one isa song.
Speaker 3: My column Straight Fly. All that shit is all the
Speaker 3: same record record that made multiple songs.
Speaker 1: That's like doctor Drake. Doctor Drake did it three different
Speaker 1: times with Leo hay Woods. I Want to Do Something
Speaker 1: Freaky to You g thang, he produced something for somebody
Speaker 1: else and the watch is the same song. Yeah, boom boom,
Speaker 1: it's the second half of I Want to Do Something
Speaker 1: Freaky to You G Thinging is the first half. But
Speaker 1: again it goes back into he who knows the records
Speaker 1: have the keys to the hip hop kingo.
Speaker 3: Right.
Speaker 5: You remember that record Quick did for us Shock and
Speaker 5: Peter guns.
Speaker 1: Oh yeah yeah Round on the West Side.
Speaker 6: No, no, that's the what but that's Peter Gunns on
Speaker 6: the hook too. But the other one when they both.
Speaker 3: Rapping on it, okay, and uh, and I.
Speaker 6: Remember Quick telling me like, yeah, that's what Bitch Please is.
Speaker 6: Bitch Please is just that beat just you know, slowed down.
Speaker 3: A little bit.
Speaker 5: If you go listen to that, and if you go listen,
Speaker 5: you can hear it.
Speaker 2: And niggas, that's why when Drake said he first heard
Speaker 2: the rigors puffing them was coming with he got mad
Speaker 2: because he said, I had all them records not even
Speaker 2: fun with him.
Speaker 3: Yeah, niggas gotta know the records the homework, bro.
Speaker 1: But again it's also dope because and even at that time,
Speaker 1: even with all of them sampling like puffing them didn't
Speaker 1: really fuck with funk like that. The closest would have
Speaker 1: been the two May record that that that uh, going
Speaker 1: back to Cali. No, the n two May record.
Speaker 4: Yeah, you know.
Speaker 2: I will say this about going back to Kelly. You
Speaker 2: can see that was kind of like their interpolation.
Speaker 1: Of what funk was Yeah, but even even that who
Speaker 1: did that mobile?
Speaker 3: Yeah, Moby it was tight.
Speaker 1: Yeah, that shit was super tight. But I was thinking
Speaker 1: like like that was considered jazz and too make was
Speaker 1: considered jazz as well, right, just like like like so
Speaker 1: they might have had funky other man's right, like like
Speaker 1: with the Biggie song they sample for hipnotize that Herb
Speaker 1: Albertson rides right, that that could have a funky undertone,
Speaker 1: But it's a jazz record. So I respect even out
Speaker 1: puffing them when they stayed into jazz and R and B,
Speaker 1: you know what I mean. And I respected that Dre
Speaker 1: and them stayed and kind of to hard funk with
Speaker 1: a little blues.
Speaker 3: What about you.
Speaker 1: Girls saw Pauls with Naden corrupt boyfriend Virginia Bank, that
Speaker 1: Ben that's.
Speaker 3: A nigga fleas coach.
Speaker 2: That ship was funky the motherfucker.
Speaker 1: And yeah, when I talked to Bink about it, like
Speaker 1: his style is so versatile as a and that's to
Speaker 1: me important, Like we again, the gods have Virginian sound, right,
Speaker 1: the guys making records from Detroit. I was telling some
Speaker 1: homies from Detroit. I'm like, bro, take you out records,
Speaker 1: go try to fuck with the non go fuck with
Speaker 1: em andem Like, you don't need these niggas to rap.
Speaker 1: But if they help you finish some of these ideas
Speaker 1: with their knowledge of producing and finishing records, man, you
Speaker 1: would have a way bigger Detroit record. But the Detroit
Speaker 1: scene is exactly kind of what happens when it's just
Speaker 1: kind of stuck into just itself and you don't have
Speaker 1: the help of you know, the guys with the experience.
Speaker 1: I couldn't imagine what the chronic would have sound like
Speaker 1: if they made that just at home, with no Solar
Speaker 1: Musicians to help, no outside of the guys that that
Speaker 1: was giving them ideas. The dazz Is, the Warrens, the
Speaker 1: chris Is Christ the Glove and them shout out to
Speaker 1: the armies. But if you didn't have the ear sometime
Speaker 1: of whoever the Solar musicians was that came in and played,
Speaker 1: or you didn't have the ear of Dick Griffy coming
Speaker 1: in every now and then, it probably doesn't sound that way.
Speaker 1: It becomes hold on, it becomes some kind of programmed
Speaker 1: idea without a finished level of production.
Speaker 2: One of the things that I think them catching Detroit
Speaker 2: is fucking up too. I know, because people have a
Speaker 2: tendency to latsh onto a sound when it pops right.
Speaker 2: That dude, hell of U is probably the most influential
Speaker 2: producer in Detroit right now with the bone boom boom,
Speaker 2: them thick base lines that he you know, he came
Speaker 2: with them base lines, you know, with the bone boom boom,
Speaker 2: and you hear it an every damn song damn there Now,
Speaker 2: I don't know what the fuck you're talking about, you know,
Speaker 2: from my own ball ball with the bone boom boom
Speaker 2: every the baseline.
Speaker 1: Good looking out for tuning into the Note Sellers podcast.
Speaker 1: Please do us a favorite, subscribe, rate, common, and share.
Speaker 1: This episode is recorded right here on the West coast
Speaker 1: of the USA and produced by my homeboy A King
Speaker 1: for the Black Effect Podcast Network and iHeart Radio. Yeah