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Speaker 1: But all right, job.

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

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

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

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

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Speaker 2: Chronicles the Coronic Goals.

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Speaker 1: We gonna tell you how are we goals?

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Speaker 3: If I lie my notes will girl like Pinocchio. We're

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Speaker 3: gonna tell you the truth and nothing but the truth.

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Speaker 3: Gangs the Chronic Goals.

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Speaker 1: This is not your average shows.

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

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Speaker 2: and Big Steals the streets.

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Speaker 3: Hello, Welcome to the Gangst the Chronicles podcast, the production

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Speaker 3: of iHeartRadio and Black Effect podcast Network. Make sure you

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Speaker 3: download the iHeart app and subscribe to Against the Chronicles.

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Speaker 3: For my Apple users, hit the Purple Michael on your

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Speaker 3: front screen. Subscribed to Against the Chronicles, leave a start

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Speaker 3: rating the comment. We like to welcome every one to

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Speaker 3: another episode Against the Chronicles podcast. I with my guy. Yeah,

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Speaker 3: and you know we got our guy Sowmre and Baker,

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Speaker 3: you know journalists exporting there.

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Speaker 1: I'm back. I'm here, hip hop expert. Thanks for having me.

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Speaker 1: I appreciate it.

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Speaker 3: What would they call that in the university now, man,

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Speaker 3: you I don't know hipologists, hip hopologists.

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Speaker 1: I don't know what. I have to figure that out.

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Speaker 3: We had to figure that out because hip hop is

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Speaker 3: fifty years old, and staying in tune with that, we

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Speaker 3: are going start wrapping up this Top fifty Gangster Rap

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Speaker 3: Albums of All Time. I got a few emails last week.

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Speaker 3: I got an email from a couple of guys over

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Speaker 3: in Italy, a couple of people from Spain, couple people

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Speaker 3: from Germany. It's amazing how people overseas just so much

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Speaker 3: more in the hip hop, just so much more in

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Speaker 3: the culture than they are here in the States. Because

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Speaker 3: they was really into it. They were saying, could we

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Speaker 3: get a more finalized list because we know you guys

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Speaker 3: have been talking about and I said, you know, we

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Speaker 3: do have another list coming. We just have over these

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Speaker 3: conversations right now. So staying in tune with what I

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Speaker 3: promise to people in those emails, were gonna start getting

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Speaker 3: busy with the bigger reveal coming next week for the

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Speaker 3: actual top fifty, the final Top fifty, because everything you've

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Speaker 3: heard thus far has just been our thoughts, right, so

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Speaker 3: we get that going and you know, we was having

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Speaker 3: the debate earlier, and y'all be killing me, man, because

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Speaker 3: y'all say a lot of my favorite songs ain't gainst

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Speaker 3: the rapper. Like, I can't believe y'all don't think Rick

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Speaker 3: Ross is against the rapper. I can't believe y'all don't

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Speaker 3: think Biggie is against the rapper. Y'all killing me.

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Speaker 1: But they're not. Though.

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Speaker 3: Still Biggie small as he was against the rapper. Nah,

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Speaker 3: what ain't gangster bottom? What is he? Then? I know

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Speaker 3: y'all can say he a hustler rapper. To me, Biggie

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Speaker 3: is kind of like the precursor to Rick Ross. I

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Speaker 3: can see a lot of Rick Ross and Biggie, you

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Speaker 3: know from the style the big Man Flepper. Ross don't

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Speaker 3: lost a gang of.

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Speaker 1: Weight, now, yeah, I mean I could see it, but.

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Speaker 3: It sounded like Ross definitely got his own ship.

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Speaker 1: Yeah, but I just think that Biggie was different in

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Speaker 1: the sense of his uh, his storytelling and stuff. I

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Speaker 1: think is different because Ross, while similar in some ways, Yeah,

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Speaker 1: I just I don't see it.

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Speaker 3: No, they don't sound like I'm just talking about as

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Speaker 3: far as aesthetics, you know, from the dress and everything,

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Speaker 3: Big even wear the coogie sweaters and the ship. He

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Speaker 3: was the first big dude to kind of get fresh.

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Speaker 1: The Fat Boys too, Let's not people always forget the

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Speaker 1: Fat Boys.

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Speaker 3: Fat Boys actually had some jam and as beats too.

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Speaker 3: They had ship that.

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Speaker 1: Not Shout and Prince market d and Buffett. People sleep

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Speaker 1: on the Fat Boys, man, but they're very important.

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Speaker 3: You can't very important hip hops with Some of hip

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Speaker 3: hop's first superstars had mega movies, had endorsement deals at

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Speaker 3: the time. Wouldn't happen Remember when you had endorsement deals

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Speaker 3: back in the day. People with dish. Yeah, Chris Marky

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Speaker 3: d used to produce some good records.

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Speaker 1: Yes, he did a lot of R and B.

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Speaker 4: The little album he did after you Know, down the

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Speaker 4: Road that motherfucker was banging. I used to bang that ship.

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Speaker 3: Yeah.

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Speaker 1: They I remember too when they had that movie Disorderlies,

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Speaker 1: and I talked to Kourokski about this in particular, but

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Speaker 1: I just remember that was one of those early moments

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Speaker 1: where my dad actually liked something that was wrapped that

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Speaker 1: was a little outside the normal realm.

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Speaker 3: And I just remember that that was that was on

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Speaker 3: some ay commercials. Yeah exactly, that was opening the door

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Speaker 3: to that. You know that uh, that other side of hip.

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Speaker 1: Hop fi side of the business.

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Speaker 3: Motherfuckers, dude.

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Speaker 4: You know, that's that's when other people come in, get

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Speaker 4: to making taco bell commercials and ship like that. People,

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Speaker 4: you know, people kind of oh, I like that. You know,

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Speaker 4: he made a rap about tacos and.

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Speaker 3: Ship you know, So that's how that aspect came.

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Speaker 1: And they had to wipe out song they had.

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Speaker 4: Yeah, yeah, they was doing They was doing that uh

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Speaker 4: that tone Loak route, you know, that wild.

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Speaker 1: Thing Route Machine Jail.

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Speaker 4: Let's try to rework you know, because uh, hip hop

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Speaker 4: was you know, trying to find you know, that identity

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Speaker 4: as far as they was concerned, coming from the early stages,

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Speaker 4: and then you know.

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Speaker 3: To me, that was the hottest project was their first project.

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Speaker 3: Well you can tell when they got with the major label,

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Speaker 3: they start trying to turn them into a novelty. That

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Speaker 3: kind of they was trying to rise off the popularity

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Speaker 3: because at the time they didn't even know if hip

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Speaker 3: hop was gonna still be around. So it's one of

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Speaker 3: the things like let's make as much money as we can.

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Speaker 4: It's like one of those one of those yeah, those

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Speaker 4: that that beginning thing, you know, let's let's let's snatch

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Speaker 4: and grab that ship, you know, because they didn't know,

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Speaker 4: like you said. Then when Crush Groove and the success

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Speaker 4: of of the jail House Rap and All you Can

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Speaker 4: Eat and All in the Stick Them and all that shit,

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Speaker 4: you know, like you said, they got picked up by

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Speaker 4: a major, and then the majors was like, we don't

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Speaker 4: know what the fuck to do with this type of music,

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Speaker 4: So basically, let's do like some more parody bullshit, you know,

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Speaker 4: Let's have them, let's have them rapping to wipe out,

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Speaker 4: and let's have them wrapping the sex machine and let's

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Speaker 4: just work to.

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Speaker 3: A certain degree because they sold a gang of records.

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Speaker 4: Yeah, but to me, they started losing their credibility of

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Speaker 4: real hip hop and shit because you know, a motherfucker

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Speaker 4: like me who loved jailhouse raping, can you feel it?

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Speaker 4: And shit like that around and now you want me

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Speaker 4: to bust. Now you want me to bang wipe out

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Speaker 4: like really like nigga, I'm on the block and content

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Speaker 4: I can't bang white out purists.

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Speaker 3: I could picture a record company coming to him now

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Speaker 3: with beats from Timberland and all these people. We want

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Speaker 3: you to rap on this and with his shiny suit.

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Speaker 4: I had to go through that ship. When I left

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Speaker 4: Sony and I went over the Big Beat Atlantic, and

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Speaker 4: they no longer wanted to funk with our type of music.

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Speaker 4: So yeah, they started, uh getting me to listen to beats,

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Speaker 4: you know, timbling with make era, you know all that.

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Speaker 4: You know that that era that came with you know, Uh,

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Speaker 4: I call it that Jahru era, that that era around

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Speaker 4: me there, I had an N O t R deal.

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Speaker 4: I had a production deal with Big Beat Atlantic through

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Speaker 4: Craig Cowman, and you know, I'd signed a deal before

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Speaker 4: I went over left Epic, and so after my last record,

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Speaker 4: I went over there. You know, I thought I had

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Speaker 4: a nine album production deal and uh we produced a

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Speaker 4: record on N O t R.

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Speaker 3: And it got shelved because.

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Speaker 4: They basically know they were going through that cop killer

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Speaker 4: death row transition, trying to distance themselves from niggas like us.

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Speaker 4: So it was like, Okay, damn, we just signed this

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Speaker 4: deal with this dude. And the crazy shit about it

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Speaker 4: was before I had turned in my last record with Sony,

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Speaker 4: they tried to offer me a.

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Speaker 3: New deal Sony and I had already signed the deal

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Speaker 3: with Big Beat. So when my last record.

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Speaker 4: I was supposed to go over there, but Sony came

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Speaker 4: back to me and said, well, fuck it, let's do

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Speaker 4: three more records. So I hadn't taken a dime from

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Speaker 4: Big Beat Atlantic. I hadn't taken a dimond.

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Speaker 3: Now.

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Speaker 4: I think I did a publishing deal with them, and

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Speaker 4: I took some money from a publishing deal for my

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Speaker 4: previous works, but I hadn't took a dime for any

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Speaker 4: of the projects yet. And I went back over there,

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Speaker 4: and I was like, fuck it, I'm gonna go back

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Speaker 4: to Sony because they had like they had like almost

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Speaker 4: two meal on the table for me to resign. And

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Speaker 4: uh So I went back to Big beating him and

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Speaker 4: I was like, well, you know, Sony done offered me

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Speaker 4: some bread, and since I haven't even walked in the

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Speaker 4: door over here, let's just tear the deal up and

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Speaker 4: I'm gonna stay over here. The motherfucker said, no, give

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Speaker 4: me half a million and I'll let you go.

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Speaker 3: Wow. Who was that, Craig Cam. Craig Cam and gotta

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Speaker 3: be one of the most files niggas in mute.

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Speaker 4: He said, they said, give me a half a million

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Speaker 4: and we'll let you out the deal. And I said

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Speaker 4: I ain't even started the deal yet.

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Speaker 3: Like, I can see if you had got some money

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Speaker 3: from me.

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Speaker 4: I hadn't took yet, so and then so they wouldn't

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Speaker 4: let me out the deal. So I had to renig

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Speaker 4: on the Sony deal, pass up on the two meal

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Speaker 4: So but I'm like, fuck it. I got a nine

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Speaker 4: album production deal over there, so fuck it. As soon

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Speaker 4: as I get over there, they was like, pump your breaks.

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Speaker 4: We don't know what we want to do.

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Speaker 3: Wow, are you serious? Yeah, that's what they said.

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Speaker 4: Pump your breaks, we don't know what we want to do.

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Speaker 4: I said, oh, I don't give fuck. I gotta sign contract.

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Speaker 4: So where's my production deal money? They was like, hold up,

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Speaker 4: we don't know what direction. So they go, okay, well,

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Speaker 4: because you know how me and Slip was producing all

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Speaker 4: my shit, you know. But they come back and they go, well,

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Speaker 4: we're taking a different direction blah blah blah. So basically,

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Speaker 4: anything I turned the in from my camp they didn't

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Speaker 4: want it. So then they started going, well, we want

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Speaker 4: to send you a beat from this dude. We want

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Speaker 4: send you a beat from this dude. We want to

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Speaker 4: send you a beat from this dude. And it was

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Speaker 4: all that transition shit and no, we don't want you

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Speaker 4: to talk about this.

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Speaker 3: They all happened to be signed to Craig Caumera. I

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Speaker 3: don't know where they was from. You know, you know

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Speaker 3: what he started doing after a while, you know where

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Speaker 3: he made a lot of money from. He had went

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Speaker 3: and got Feen, you know, Fin there was no limit,

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Speaker 3: and he took him down. They had him writing for

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Speaker 3: a bunch of people and was pretty much using Fiend

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Speaker 3: as a and R. So Fien went out and found

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Speaker 3: a whole lot of people, like a whole lot of

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Speaker 3: people actually blew up in the South got signed by Fien.

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Speaker 3: And what was crazy was Fien was telling me that

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Speaker 3: pretty much Craig Camera and that sold all his publishing

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Speaker 3: and cashed out like and got millions of dollars, something

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Speaker 3: like eighty five million dollars. And he had to find

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Speaker 3: out about it from reading one of the journals. And

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Speaker 3: the trade magazines didn't tell him nothing, didn't give him

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Speaker 3: a dime, didn't send him a million and say good

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Speaker 3: looking out for helping me build this and nothing, so

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Speaker 3: I could believe that he probably wanted to get in

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Speaker 3: on your production and all that shit too.

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Speaker 4: I don't know what but now they was just the

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Speaker 4: They basically was like, we don't want none of that.

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Speaker 4: We don't want none of that old he ate c

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Speaker 4: M dub Ship. Well, I had to threaten to take

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Speaker 4: him to court and sue him because they didn't want

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Speaker 4: to give me the budget. And they told me that

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Speaker 4: I was free to go seek another deal if I wanted.

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Speaker 3: You could have went them together two millions.

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Speaker 4: But yeah, but tearing up Ship, well, you know, we

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Speaker 4: went back in for for a minute and then uh,

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Speaker 4: you know, shit started getting ugly and whatever. So we

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Speaker 4: settled and they paid me something and I went away.

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Speaker 1: Wow.

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Speaker 3: And then that's when you wouldn't did a thing with Matt. Yeah,

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Speaker 3: that ain't no telling what kind of records we had

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Speaker 3: to get off that motherfucker. Sony already knew what to

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Speaker 3: do with you. They already had you.

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Speaker 4: Sony really didn't know shit to do with me. That

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Speaker 4: was the problem all my time with Won't. That was

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Speaker 4: the reason for me exactly, And I don't know how

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Speaker 4: to fuck I'm oh, that's how I met Craig because

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Speaker 4: of my niggas from DFC, my nigga, my Breed's cousin,

251
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Speaker 4: Breed's cousins. They got a deal through Craig and they

252
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Speaker 4: hollered at us to do some some work. They project

253
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Speaker 4: me and Slip did Caps Get Peeled? And I think

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Speaker 4: Slip mixed half Day album?

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Speaker 3: Y'all did that? Yeah? Well Caps, Yeah, Caps get pilled? Yeah,

256
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Speaker 3: that was me and Slip. I didn't know that. That's hard.

257
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Speaker 3: I told y'all, Produce is a cold motherfucker behind on Courtland.

258
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Speaker 3: So that's how we hooked up with Craig.

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Speaker 4: And then from that, you know, just the successive minutes

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Speaker 4: to Society and Me and Slip, you know, doing we

261
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Speaker 4: Come Strapped and all that. He offered me a production deal.

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Speaker 4: So I was gonna do Niggas on the Run in OTR.

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Speaker 4: I was gonna do the homies, little Hawking Bird, and

264
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Speaker 4: then I was gonna do me.

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Speaker 3: I was always wondering who there was because she was

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Speaker 3: promoting the hill out of them when he'd be on

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Speaker 3: that chair, a little Hawk and Bird, neighborhood Niggas on

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Speaker 3: the Run. I was looking forward to that ship.

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Speaker 1: I was too.

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Speaker 4: And then yeah, we worked on the n OTR album,

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Speaker 4: our album. We did the whole album, mixed it, everything,

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Speaker 4: turned it in and it never came out.

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Speaker 3: It got shelved and so after that, I just knew

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Speaker 3: ship was finna go.

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Speaker 1: You know, it's the music business.

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Speaker 3: You know what, let me take that bet. I can't say,

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Speaker 3: Craig camera and this file.

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Speaker 4: Businesses, you know do business business. It's shrewd business, and

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Speaker 4: I think it's fucked up, but it's freud business. Like

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Speaker 4: when you in that when you're in that position to

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Speaker 4: where you're kind of like sitting at the head of

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Speaker 4: the table. I mean, you know, he he got a

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Speaker 4: big position with with his with Big Beat, and then

284
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Speaker 4: you know, because once we came over there, he was

285
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Speaker 4: like running Atlantic or one of the big dudes over there.

286
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Speaker 4: He wasn't even on no Big Beat shit, that was

287
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Speaker 4: his label. But when I when I hooked up with Craig,

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Speaker 4: he was Atlantic like he was Atlantic. Nigga took us,

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Speaker 4: he took everybody. He took us all the dinner and

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Speaker 4: bought us Christmas gifts.

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Speaker 3: Nigga.

292
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Speaker 4: When we signed the deal, we got a fancy dinner.

293
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Speaker 3: Nigga.

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Speaker 4: He bought Christmas gifts for all the crew. Everything that

295
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Speaker 4: Nigga was like, he was cool, but like I said,

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Speaker 4: shrewd business.

297
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Speaker 3: What can you do?

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Speaker 4: And and a Nigga ship nigga gave me by what

299
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Speaker 4: two two and a quarter on a fucking publishing deal.

300
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Speaker 3: Like I was, like, fuck it. He was pretty cool.

301
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Speaker 4: But like I said, when it comes to business, and

302
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Speaker 4: like I said, the transition of hip hop at the.

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Speaker 3: Time, it was going through a rough. It was going

304
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Speaker 3: through a rough. You had this ship with Ice Teeth,

305
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Speaker 3: You had the cop killer shit, you.

306
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Speaker 4: Know, the Reverends and Dolores Tuckers was out there. Ye

307
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Speaker 4: I'm niggas is mentioning us on political campaigns and shit,

308
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Speaker 4: and I had a double sticker on my album and

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Speaker 4: shit because of shit like that, Nigga.

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Speaker 3: That album wasn't even that bad. That's the crazy part

311
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Speaker 3: about it.

312
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Speaker 4: We come strap out a double sticker because the labels

313
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Speaker 4: were getting a lot of they were getting a lot

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Speaker 4: of motherfucking hard hit from just activists and community motherfuckers

315
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Speaker 4: about Like, man, these niggas is with the bitch and

316
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Speaker 4: the whole shit, and niggas were with the drive bys

317
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Speaker 4: and with the police shit and all that. They didn't

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Speaker 4: like it. So we got a hard time. As far

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Speaker 4: as when West Coast rap got real popular, you know

320
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Speaker 4: what I'm saying. East Coast was the forefront if you

321
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Speaker 4: want to say, but a lot of them, you know,

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Speaker 4: Chuck D looking public enemy, you know, devil this and

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Speaker 4: fuck this and fuck that. They didn't have it hardest

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Speaker 4: niggas over here, as far as y'all nigga said, fuck

325
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Speaker 4: the police, and y'all nigga said, y'all getting jacked in

326
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Speaker 4: his drive by shooting. What year was this, man? This

327
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Speaker 4: was like shit between like the mid nineties, like ninety three,

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Speaker 4: ninety four, ninety five.

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Speaker 3: You know what happened during that time. If you remember

330
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Speaker 3: the Ghetto Boys first major album, when they went and

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Speaker 3: kind of redid the previous.

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Speaker 1: One that's in my top ten, Yeah, we can't be

333
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Speaker 1: stopped called No No No Call. On the other level, No,

334
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Speaker 1: it's the Ghetto Boys album. It's the one with the

335
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Speaker 1: mug shots.

336
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Speaker 3: When they got with when they got with American, they

337
00:17:44,720 --> 00:17:47,600
Speaker 3: got with Rick Rubina America pretty much when I was

338
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Speaker 3: in Death America. Not that he tried America with the

339
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Speaker 3: spin on it. Yeah, but what they did was they

340
00:17:53,040 --> 00:17:55,879
Speaker 3: had kind of redd the earlier. It was kind of

341
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Speaker 3: like like it though.

342
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Speaker 1: Grip It on that other level was basically remade into

343
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Speaker 1: the Boys.

344
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Speaker 4: And I didn't like the Ghetto Boys I liked it

345
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Speaker 4: gripping on that other level. It was raw, it was raunchy,

346
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Speaker 4: it was real. I didn't like the way they polished it.

347
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Speaker 3: Yeah. Yeah. And then the distributor, I think Giffen, refused

348
00:18:19,640 --> 00:18:21,320
Speaker 3: to distribute the record. So you was going through a

349
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Speaker 3: whole lot of ship at that time.

350
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Speaker 1: Well, I have all that in my book, The History

351
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Speaker 1: against the Rap if you haven't. But the thing is,

352
00:18:29,840 --> 00:18:34,560
Speaker 1: it was the that one was back when they used

353
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Speaker 1: to manufacture CDs. The company in Indiana that manufactured their

354
00:18:39,840 --> 00:18:43,919
Speaker 1: CDs refused to press the CD because they didn't approve

355
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Speaker 1: of the content. So it's wild that we think about

356
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Speaker 1: now all the wild stuff that we see on TV

357
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Speaker 1: and in these songs and stuff that back then people

358
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Speaker 1: actually refused to make an album, which then got Rick

359
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Speaker 1: Rube to lose his deal and all this other stuff.

360
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Speaker 3: Definitely, it was big.

361
00:19:04,240 --> 00:19:06,359
Speaker 1: It was a big deal, and I think now we went.

362
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Speaker 4: Through a lot of of of we went through a

363
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Speaker 4: lot of backlash trying to it was problem establish our

364
00:19:15,480 --> 00:19:21,040
Speaker 4: identity and hip hop because you know, uh we you

365
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Speaker 4: like I said, we had the forefront of hip hop,

366
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Speaker 4: came out of East Coast, you know, and like I

367
00:19:28,760 --> 00:19:31,320
Speaker 4: was just talking about you know, we had the Fat Boys,

368
00:19:31,480 --> 00:19:35,520
Speaker 4: and we had run DMC and Curtis Blow and you know,

369
00:19:36,000 --> 00:19:38,960
Speaker 4: Utfo and Houdini and a lot of you know, the

370
00:19:39,000 --> 00:19:42,359
Speaker 4: audio tools with a little MC light and then you

371
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Speaker 4: had you know the little tifuzz that come out of

372
00:19:45,160 --> 00:19:47,919
Speaker 4: there and all that type of you know, so it

373
00:19:48,040 --> 00:19:53,800
Speaker 4: was trying to it was hard to establish our identity

374
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Speaker 4: as far as West Coast, and then when we did,

375
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Speaker 4: we caught a lot of backlash four our identity of

376
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Speaker 4: you know, who we were.

377
00:20:03,880 --> 00:20:05,760
Speaker 3: It was just so different at the time. Man, I

378
00:20:05,800 --> 00:20:07,040
Speaker 3: think a lot of people were scared.

379
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Speaker 1: I think that's a big part of it. Everybody was scared.

380
00:20:12,680 --> 00:20:17,040
Speaker 1: It wasn't just the music industry one white people. I

381
00:20:17,040 --> 00:20:19,680
Speaker 1: think it was everybody was like, Yo, what is this

382
00:20:19,920 --> 00:20:22,399
Speaker 1: and why is everybody love it so much? And I

383
00:20:22,440 --> 00:20:24,520
Speaker 1: think that that scared a lot.

384
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Speaker 3: And why do you think that is? Though?

385
00:20:26,600 --> 00:20:29,199
Speaker 4: Why do you think do you think it was just

386
00:20:29,280 --> 00:20:34,120
Speaker 4: a fascination of listening to this new form of music,

387
00:20:34,320 --> 00:20:36,840
Speaker 4: you know, as far as hip hop is concerned, because

388
00:20:36,880 --> 00:20:39,200
Speaker 4: you know, motherfuckers was listening to hip hop.

389
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Speaker 1: I think it's I think it's to me what I

390
00:20:41,800 --> 00:20:45,359
Speaker 1: noticed and what I saw and actually on Ice Tea's

391
00:20:45,359 --> 00:20:49,080
Speaker 1: home invasion in cubes lethal injection. It was the fact

392
00:20:49,119 --> 00:20:53,080
Speaker 1: of to me, it was the white kids listening to

393
00:20:53,200 --> 00:20:58,160
Speaker 1: this reality that people weren't getting exposed to before. That's

394
00:20:58,200 --> 00:21:00,760
Speaker 1: going to change their minds, Like, wait a minute, what

395
00:21:00,800 --> 00:21:02,919
Speaker 1: we've been taught in school is wrong. What we know

396
00:21:03,040 --> 00:21:05,600
Speaker 1: to be true is not true because look at this

397
00:21:05,680 --> 00:21:09,000
Speaker 1: other reality that is reality. I agree with you, because

398
00:21:09,080 --> 00:21:09,800
Speaker 1: that's crazy.

399
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Speaker 3: You know. Obviously you're white, right, and you come from

400
00:21:13,560 --> 00:21:15,679
Speaker 3: a different environment than me and eight right, you know,

401
00:21:15,800 --> 00:21:19,439
Speaker 3: but you're very much into the culture right, have been

402
00:21:19,520 --> 00:21:24,000
Speaker 3: since the beginning. And I think that when people see

403
00:21:24,280 --> 00:21:26,119
Speaker 3: what they see in the mirror, sometimes they don't like

404
00:21:26,160 --> 00:21:27,919
Speaker 3: what They still don't like the reflection, you know. And

405
00:21:27,960 --> 00:21:31,840
Speaker 3: I think, once, because the people that blew this shit up,

406
00:21:31,880 --> 00:21:34,320
Speaker 3: let's keep it real. It wasn't neighborhoods that blew it up.

407
00:21:34,359 --> 00:21:37,119
Speaker 3: It was the It's like you would cross the country

408
00:21:37,119 --> 00:21:39,639
Speaker 3: in the suburbs. It started getting like, hey, is this

409
00:21:39,720 --> 00:21:40,960
Speaker 3: really going on over there?

410
00:21:41,080 --> 00:21:44,000
Speaker 1: Yeah, because the thing I just remember when I was

411
00:21:44,040 --> 00:21:47,000
Speaker 1: first hearing PSK or six in the Morning or Boys

412
00:21:47,000 --> 00:21:50,679
Speaker 1: in the Hood, it matched what I was seeing on

413
00:21:50,760 --> 00:21:53,159
Speaker 1: TV or reading the newspaper or when I would go

414
00:21:53,160 --> 00:21:56,159
Speaker 1: on to Baltimore or DC what I would see, But

415
00:21:56,240 --> 00:21:58,240
Speaker 1: it was being told by the people that were living

416
00:21:58,280 --> 00:22:01,600
Speaker 1: in which I had never seen, ever heard other than

417
00:22:01,880 --> 00:22:04,280
Speaker 1: you know, if I knew people or my friends knew

418
00:22:04,280 --> 00:22:08,000
Speaker 1: people or relatives, my friends or whatever that were in Baltimore,

419
00:22:08,119 --> 00:22:11,600
Speaker 1: in DC in the hoods, then I knew it. But

420
00:22:11,640 --> 00:22:15,640
Speaker 1: I had never heard it told from Philadelphia, from New York,

421
00:22:15,720 --> 00:22:19,560
Speaker 1: from LA from Compton. Like that made it so different

422
00:22:19,560 --> 00:22:22,560
Speaker 1: than it added a real element to it. And I

423
00:22:22,600 --> 00:22:26,919
Speaker 1: think that's what shocked everybody that not only are these

424
00:22:27,000 --> 00:22:30,199
Speaker 1: dudes making this amazing music, but they're incredibly intelligent. They

425
00:22:30,240 --> 00:22:34,400
Speaker 1: can articulate their views and they're really telling what's going

426
00:22:34,440 --> 00:22:36,680
Speaker 1: on in a way that we had never heard before.

427
00:22:38,400 --> 00:22:41,520
Speaker 3: Well, I guess what that being said. I guess we'd

428
00:22:41,600 --> 00:22:44,240
Speaker 3: let you kick it off soon. I guess we're doing

429
00:22:44,280 --> 00:22:45,160
Speaker 3: fifteenth to one.

430
00:22:45,640 --> 00:22:47,800
Speaker 1: Well I did mine, so we just doing the top

431
00:22:47,840 --> 00:22:52,440
Speaker 1: ten because I did up to number eleven last time.

432
00:22:53,880 --> 00:22:56,639
Speaker 1: So y'all got to do fourteen or still, especially you

433
00:22:56,640 --> 00:23:00,680
Speaker 1: got to do fourteen to eleven. Fourteen to eleven, yeah,

434
00:23:01,080 --> 00:23:02,680
Speaker 1: or fifteen or eleven excuse.

435
00:23:02,359 --> 00:23:09,480
Speaker 3: Me, fifteen to eleven. Man, Damn, I've been kind of

436
00:23:09,520 --> 00:23:13,040
Speaker 3: struggling with that. Man, I've been really struggling with it

437
00:23:13,080 --> 00:23:15,840
Speaker 3: because there every time I think I have a list compiled,

438
00:23:16,480 --> 00:23:18,680
Speaker 3: I start thinking, I go back to listening to stuff

439
00:23:18,680 --> 00:23:20,720
Speaker 3: and I say, no, I can't put that that low,

440
00:23:20,760 --> 00:23:22,919
Speaker 3: and I gotta put it here because you know what,

441
00:23:23,000 --> 00:23:24,920
Speaker 3: to me, I take this serious. Man. You know it's

442
00:23:24,960 --> 00:23:28,439
Speaker 3: some dope ass art out there. Man, Yeah, you know

443
00:23:28,480 --> 00:23:30,600
Speaker 3: it's a dope ass art even kind of coming to

444
00:23:30,640 --> 00:23:35,120
Speaker 3: the final five. Man, it's like, Damn, I really put

445
00:23:35,160 --> 00:23:37,880
Speaker 3: that down there. I really put that. You know. It's

446
00:23:37,960 --> 00:23:42,360
Speaker 3: tough because there was and I would say between nineteen

447
00:23:42,480 --> 00:23:47,800
Speaker 3: ninety one and probably nineteen ninety nine, there was so

448
00:23:48,000 --> 00:23:51,600
Speaker 3: much incredible music, man, man, like really incredible music. And

449
00:23:51,640 --> 00:23:54,080
Speaker 3: the thing that was dope about back then is nobody

450
00:23:54,160 --> 00:23:56,919
Speaker 3: sounded like You would get slaughter for coming out sounding

451
00:23:57,040 --> 00:23:59,200
Speaker 3: like somebody else, Like. It wasn't nobody else to sound

452
00:23:59,359 --> 00:24:02,679
Speaker 3: like MCA. It wasn't nobody else to sounded like Snoop.

453
00:24:03,000 --> 00:24:05,840
Speaker 3: It wasn't nobody else to sound like Easy. You feel

454
00:24:05,840 --> 00:24:06,320
Speaker 3: what I'm.

455
00:24:06,119 --> 00:24:09,359
Speaker 1: Saying, Well, I think they did. They just were so

456
00:24:09,640 --> 00:24:12,280
Speaker 1: less popular because people looked at them and it's biting.

457
00:24:12,880 --> 00:24:14,240
Speaker 3: Yeah, you couldn't bite, no biting.

458
00:24:14,320 --> 00:24:16,639
Speaker 1: I were people that were out that sounded alike, but

459
00:24:16,840 --> 00:24:19,119
Speaker 1: they didn't like the.

460
00:24:18,320 --> 00:24:21,200
Speaker 3: Second Motherfuckers because didn't nobody want to hear cheap imitation.

461
00:24:21,640 --> 00:24:22,280
Speaker 3: It's like this.

462
00:24:22,480 --> 00:24:23,360
Speaker 1: They were there, though.

463
00:24:23,560 --> 00:24:27,480
Speaker 3: I wouldn't go said they was there. They were there imitation.

464
00:24:27,600 --> 00:24:30,600
Speaker 3: You probably got some dope ass, you know, imitation Jordan's somewhere,

465
00:24:30,640 --> 00:24:32,200
Speaker 3: but I wouldn't know about them. I'm not even wearing

466
00:24:32,200 --> 00:24:33,320
Speaker 3: a motherfuckers no.

467
00:24:33,440 --> 00:24:37,000
Speaker 1: Because remember, even though I never agreed with this, there

468
00:24:37,000 --> 00:24:40,600
Speaker 1: were people that said that EPMD was sounded like rock him.

469
00:24:41,440 --> 00:24:43,239
Speaker 1: You gotta remember that that was a thing, and they

470
00:24:44,240 --> 00:24:48,119
Speaker 1: both each rapped about it on their albums. So it

471
00:24:48,200 --> 00:24:48,640
Speaker 1: was a thing.

472
00:24:48,840 --> 00:24:51,080
Speaker 3: And you don't get how they think Eric Sermon sounded

473
00:24:51,080 --> 00:24:52,160
Speaker 3: anything like rock Kim.

474
00:24:52,720 --> 00:24:58,240
Speaker 1: I think it was more PMDD, but they definitely sound

475
00:24:58,400 --> 00:24:59,640
Speaker 1: around talking this.

476
00:24:59,560 --> 00:25:01,320
Speaker 3: And said I sounded like Rockym.

477
00:25:01,960 --> 00:25:04,320
Speaker 4: That's why you didn't want to fuck with me on

478
00:25:04,480 --> 00:25:07,680
Speaker 4: Ruthless because I sounded too much like rockim.

479
00:25:07,400 --> 00:25:10,199
Speaker 1: Remember on so what you're saying, Remember on so what

480
00:25:10,240 --> 00:25:13,240
Speaker 1: you're saying, people around town talking this and that, how

481
00:25:13,240 --> 00:25:15,000
Speaker 1: we sound like the r at Our music was.

482
00:25:14,960 --> 00:25:17,200
Speaker 3: A whack dropped the album.

483
00:25:18,440 --> 00:25:21,520
Speaker 1: Thought it was thirty days later people and gold to

484
00:25:21,560 --> 00:25:25,760
Speaker 1: what you're saying, So there was always that element to it.

485
00:25:25,840 --> 00:25:30,640
Speaker 1: But they no one I've been never heard anyone, nor

486
00:25:30,720 --> 00:25:33,800
Speaker 1: are they. But nobody looked at EPMD whack. But I

487
00:25:33,840 --> 00:25:36,160
Speaker 1: also never looked at them as rock Kim even though

488
00:25:36,359 --> 00:25:38,239
Speaker 1: some people did, because I never did.

489
00:25:38,800 --> 00:25:43,320
Speaker 3: But they never got that resemblance of sounding like rock.

490
00:25:43,240 --> 00:25:45,439
Speaker 1: Because when I heard so what you're saying and Parish

491
00:25:45,520 --> 00:25:48,560
Speaker 1: was saying that, I was like, Who's who's comparing them

492
00:25:48,600 --> 00:25:51,520
Speaker 1: to rockym Like I'd never heard that until they said it.

493
00:25:51,920 --> 00:25:54,000
Speaker 1: But then I asked people around, and then when I

494
00:25:54,040 --> 00:25:56,680
Speaker 1: would meet people in New York later, They're like, oh yeah,

495
00:25:56,720 --> 00:25:58,280
Speaker 1: a lot of people thought that because I guess it's

496
00:25:58,280 --> 00:26:01,240
Speaker 1: because they had a slow flow and they were laid back,

497
00:26:01,320 --> 00:26:02,879
Speaker 1: and they weren't.

498
00:26:03,840 --> 00:26:07,600
Speaker 4: I can see them trying to say, you know PMD

499
00:26:08,240 --> 00:26:11,320
Speaker 4: because you know he has that slow flow to a

500
00:26:11,520 --> 00:26:13,560
Speaker 4: withdrawal of his speech.

501
00:26:13,720 --> 00:26:17,720
Speaker 1: So but never, I never never would have thought it.

502
00:26:17,800 --> 00:26:20,520
Speaker 4: Yeah, not in a million years. And I was fans

503
00:26:20,560 --> 00:26:22,920
Speaker 4: of both. You know, I grew up on Rocky M

504
00:26:23,000 --> 00:26:24,280
Speaker 4: and EPM.

505
00:26:23,880 --> 00:26:25,359
Speaker 3: D me too, So.

506
00:26:27,000 --> 00:26:29,960
Speaker 1: I would have never thought that nah never, but you.

507
00:26:30,600 --> 00:26:35,199
Speaker 4: A lot of that just comes from somebody being the

508
00:26:35,240 --> 00:26:41,240
Speaker 4: first yep. And whether it be friends or homies or

509
00:26:41,359 --> 00:26:47,400
Speaker 4: just fans. Anytime somebody comes out new trailing, it's always

510
00:26:47,480 --> 00:26:50,439
Speaker 4: you gonna get that. Oh man, you're trying to be

511
00:26:50,520 --> 00:26:52,520
Speaker 4: so and so. You're trying to be so and so

512
00:26:52,640 --> 00:26:55,879
Speaker 4: until you make your significant point or you or you

513
00:26:56,000 --> 00:26:59,639
Speaker 4: make your presence known that nah, nigga, this is me,

514
00:26:59,880 --> 00:27:03,120
Speaker 4: you know, but a lot of people would would get that.

515
00:27:03,320 --> 00:27:06,120
Speaker 4: Or who y'all trying to be exactly the same ship

516
00:27:06,200 --> 00:27:08,840
Speaker 4: with us, y'all trying to be in w A which

517
00:27:08,880 --> 00:27:12,600
Speaker 4: y'all see them w You know, you get that until

518
00:27:12,600 --> 00:27:13,080
Speaker 4: you have to.

519
00:27:13,040 --> 00:27:16,720
Speaker 1: Make There was a rap group America's Most Wanted. There

520
00:27:16,760 --> 00:27:19,320
Speaker 1: was a rap group Detroit's most Wanted. There was all

521
00:27:19,400 --> 00:27:19,720
Speaker 1: kinds of.

522
00:27:19,960 --> 00:27:24,600
Speaker 3: The most wanted. Have to see him Dub get in line, sucker,

523
00:27:26,000 --> 00:27:26,760
Speaker 3: That's what I'm saying.

524
00:27:28,119 --> 00:27:30,840
Speaker 1: They were always there. It was just that they were.

525
00:27:30,760 --> 00:27:35,399
Speaker 4: It lied sucker, not some y'all was original though Nigga

526
00:27:35,600 --> 00:27:36,240
Speaker 4: was original.

527
00:27:36,320 --> 00:27:40,359
Speaker 3: Nigga see him Dub Nigga Compton, don't play.

528
00:27:42,040 --> 00:27:46,320
Speaker 1: Man. It's crazy, But yeah, they always had somebody come

529
00:27:46,400 --> 00:27:49,800
Speaker 1: and sounded like somebody else, that's for sure, man. And

530
00:27:50,119 --> 00:27:54,879
Speaker 1: the best example, the most egregious example is effects. So

531
00:27:55,000 --> 00:27:56,560
Speaker 1: many people bit them in one of.

532
00:27:56,560 --> 00:27:59,760
Speaker 4: The everybody a lot of a lot of motherfuckers wanted

533
00:27:59,800 --> 00:28:02,920
Speaker 4: to everywhere chicky, chickeny and everything and.

534
00:28:02,840 --> 00:28:04,960
Speaker 3: Then fuck that ship, dude.

535
00:28:05,280 --> 00:28:10,000
Speaker 1: Effects were the most bit ever because career a little bit.

536
00:28:10,440 --> 00:28:12,280
Speaker 1: Everybody biting them hurt them.

537
00:28:12,640 --> 00:28:16,920
Speaker 4: They style was some motherfucking just ridiculous. I loves effects.

538
00:28:17,600 --> 00:28:19,480
Speaker 3: It was original. I was, like you.

539
00:28:19,320 --> 00:28:25,919
Speaker 4: Said, because because of the fascination with their style. Nigga,

540
00:28:25,920 --> 00:28:28,080
Speaker 4: you heard a gang of niggas chickeny, chickeny.

541
00:28:28,200 --> 00:28:32,639
Speaker 1: Yeah, this ship diniz.

542
00:28:33,880 --> 00:28:36,640
Speaker 4: All that a gag and niggas bit by niggas from

543
00:28:36,680 --> 00:28:39,600
Speaker 4: the y'all got effects. Nigga, we got that ship too.

544
00:28:39,720 --> 00:28:44,520
Speaker 3: Nigg Chiggity chickeny nigga boy, striggy striggity nigga. Man.

545
00:28:45,320 --> 00:28:48,960
Speaker 1: I just remember that was that was one of the

546
00:28:48,960 --> 00:28:54,080
Speaker 1: main tapes that my boys loved in Maryland. That's effects, man,

547
00:28:54,120 --> 00:28:57,760
Speaker 1: dead serious effects was their beats on there.

548
00:28:58,360 --> 00:29:01,320
Speaker 4: Oh my god, they kind of flipped the game, right,

549
00:29:01,400 --> 00:29:03,000
Speaker 4: I mean when they come from New.

550
00:29:02,960 --> 00:29:10,360
Speaker 1: York, well once from New York. Uh dre's from Jersey.

551
00:29:08,760 --> 00:29:11,560
Speaker 3: And some hard ship. Man. They beats was just like

552
00:29:12,760 --> 00:29:17,280
Speaker 3: damn man, Yeah, each niggas doing day damn yeah exactly.

553
00:29:17,880 --> 00:29:20,880
Speaker 1: And their other albums are great too, they're just very different.

554
00:29:21,120 --> 00:29:23,240
Speaker 3: That first album just it was just out.

555
00:29:23,400 --> 00:29:25,960
Speaker 4: But you know, sometime when motherfuckers come out in that

556
00:29:26,080 --> 00:29:30,040
Speaker 4: first project, man, it's just how it's like, you can't

557
00:29:30,080 --> 00:29:31,200
Speaker 4: you can't touch that again.

558
00:29:31,280 --> 00:29:32,880
Speaker 1: Yeah, man, you can't touch.

559
00:29:32,800 --> 00:29:35,400
Speaker 4: I don't give fuck your other ship was good, but

560
00:29:35,480 --> 00:29:38,280
Speaker 4: you can't. You can't touch that ever again, man.

561
00:29:38,200 --> 00:29:41,080
Speaker 1: Because it's magic. It had never been done before and

562
00:29:41,080 --> 00:29:43,120
Speaker 1: it could never be done again because of that.

563
00:29:44,960 --> 00:29:48,160
Speaker 4: Come on that bump, skickily bump man, y'all better stop playing.

564
00:29:50,080 --> 00:29:52,680
Speaker 4: We got some good ship man, in our days. You know,

565
00:29:52,840 --> 00:29:55,320
Speaker 4: people a lot of people, uh, you know, we gott

566
00:29:55,520 --> 00:29:58,680
Speaker 4: We get a lot of motherfucking flak nowadays for old

567
00:29:58,720 --> 00:30:01,760
Speaker 4: school hip hop. You know, I'm saying a lot of

568
00:30:01,800 --> 00:30:04,640
Speaker 4: motherfuckers don't like to give us all recognition and props

569
00:30:04,680 --> 00:30:07,240
Speaker 4: and ship. But we have some shit man back in

570
00:30:07,280 --> 00:30:10,560
Speaker 4: the day, for sure, real talk, we have some shit.

571
00:30:13,200 --> 00:30:16,520
Speaker 1: So still you got yours, man, We have to go first, man,

572
00:30:16,720 --> 00:30:19,240
Speaker 1: all right, Well, if we're going into top ten, these

573
00:30:19,240 --> 00:30:23,120
Speaker 1: are somewhat in no particular order, but in somewhat the order.

574
00:30:23,520 --> 00:30:27,720
Speaker 1: Speaking of albums that really changed a lot of sound,

575
00:30:28,280 --> 00:30:30,320
Speaker 1: I gotta go with the first Cypress Hill, the self

576
00:30:30,360 --> 00:30:36,800
Speaker 1: titled Cypress Hill album. That Man, that album inspired so much,

577
00:30:36,840 --> 00:30:43,520
Speaker 1: I think, especially sonically with what Mugs did on there. No,

578
00:30:43,560 --> 00:30:47,560
Speaker 1: that's that's looking like number ten be real and send

579
00:30:47,600 --> 00:30:54,200
Speaker 1: dog too, and really taking the different approach that one.

580
00:30:54,880 --> 00:30:57,600
Speaker 1: You know, I always think about why doesn't that album

581
00:30:58,320 --> 00:31:01,680
Speaker 1: get more recognition and more, And then one of my

582
00:31:01,760 --> 00:31:03,840
Speaker 1: boys told me he thinks it's because the Chronic came

583
00:31:03,840 --> 00:31:06,560
Speaker 1: out the following year. I was like, yeah, maybe that

584
00:31:06,640 --> 00:31:10,240
Speaker 1: has something to do with it. But hand on the pump,

585
00:31:10,280 --> 00:31:13,880
Speaker 1: how I could just kill a man, Pigs, Latin Lingo,

586
00:31:15,000 --> 00:31:18,520
Speaker 1: Funky Field one. There's just so many songs on that album, man,

587
00:31:18,720 --> 00:31:23,480
Speaker 1: it's amazing. I'd also obviously Doggy Styles in the top

588
00:31:23,520 --> 00:31:29,080
Speaker 1: ten for obvious reasons. I would say, mister don't play

589
00:31:29,240 --> 00:31:32,959
Speaker 1: Everything's Working by Project Pat is in there. That's one

590
00:31:32,960 --> 00:31:37,360
Speaker 1: of my favorite albums ever. Yeah, for sure, and he

591
00:31:38,280 --> 00:31:42,320
Speaker 1: like eight. Like all the great gangster rappers, Project Pat

592
00:31:42,400 --> 00:31:46,600
Speaker 1: shows you the downfalls of the game. It's not a glorification,

593
00:31:46,720 --> 00:31:52,520
Speaker 1: it's an education or edutainment or faction, so I gotta

594
00:31:52,520 --> 00:31:55,400
Speaker 1: go with that. I would always go with the Ghetto

595
00:31:55,480 --> 00:31:58,480
Speaker 1: Boys grip It on that other level, slash the Ghetto

596
00:31:58,520 --> 00:32:01,560
Speaker 1: Boys album because they're essentially the same, even though they

597
00:32:01,600 --> 00:32:06,920
Speaker 1: have significant differences. But both of those albums I combined

598
00:32:06,960 --> 00:32:11,600
Speaker 1: into one album because they're essentially the same. That album

599
00:32:11,960 --> 00:32:14,640
Speaker 1: is the only time I ever remember hearing a song

600
00:32:15,920 --> 00:32:18,480
Speaker 1: and it was Mine of a Lunatic that I actually

601
00:32:18,720 --> 00:32:21,120
Speaker 1: the first time I heard it, I was scared I

602
00:32:21,200 --> 00:32:27,440
Speaker 1: was talking about I was really I was floored by

603
00:32:27,480 --> 00:32:30,960
Speaker 1: that that album Mind of a Lunatic because I could

604
00:32:31,000 --> 00:32:34,040
Speaker 1: really see him doing it, like they wrote it so

605
00:32:34,160 --> 00:32:36,400
Speaker 1: well and delivered it so well, and the production was

606
00:32:36,440 --> 00:32:41,960
Speaker 1: so there. And I just remember coming off of the

607
00:32:42,000 --> 00:32:44,960
Speaker 1: car Freak Skettle Boys, I was like, what what happened?

608
00:32:45,440 --> 00:32:49,520
Speaker 1: This is crazy? I got the infamous mob deep up here.

609
00:32:50,720 --> 00:32:56,720
Speaker 1: I think that one, just that whole album is pretty

610
00:32:56,720 --> 00:33:02,480
Speaker 1: flawless in my opinion. Got the both and the only

611
00:33:02,480 --> 00:33:06,600
Speaker 1: two NWA's albums, Brothers for Life straight out Compton. I

612
00:33:06,720 --> 00:33:13,800
Speaker 1: get both those, the Chronic and Glasses, and I share

613
00:33:13,800 --> 00:33:16,200
Speaker 1: an affinity for this album, probably more than most people.

614
00:33:16,240 --> 00:33:19,880
Speaker 1: But easy does it. I also think it's top ten album.

615
00:33:20,200 --> 00:33:23,360
Speaker 1: And then my number one album, which I think is

616
00:33:23,360 --> 00:33:27,040
Speaker 1: one of the best albums period in rap history, which

617
00:33:27,080 --> 00:33:29,320
Speaker 1: is my number one album for gangster rap, is Death

618
00:33:29,360 --> 00:33:33,000
Speaker 1: Certificate by Ice Cube, and I think that's the most

619
00:33:33,480 --> 00:33:39,440
Speaker 1: brilliant examination of it from so many different levels, from

620
00:33:39,800 --> 00:33:42,840
Speaker 1: you know, alive on arrival, looking at the healthcare system,

621
00:33:43,080 --> 00:33:47,520
Speaker 1: from I want to kill Sam to us to color Blind.

622
00:33:47,800 --> 00:33:51,520
Speaker 1: It's really just looking at my summer vacation. Is one

623
00:33:51,520 --> 00:33:53,720
Speaker 1: of the best stories I think ever in rap history

624
00:33:53,800 --> 00:33:57,840
Speaker 1: and really explain the migration of gangs from the West

625
00:33:57,920 --> 00:34:04,840
Speaker 1: to the Midwest especially, and I just and it blended

626
00:34:04,880 --> 00:34:09,040
Speaker 1: in the political commentary, social commentary. Obviously there's a big

627
00:34:09,080 --> 00:34:12,120
Speaker 1: heavy influence with the Nation of Islam on the album

628
00:34:13,000 --> 00:34:15,480
Speaker 1: and Knowledge Yourself and all that stuff. But I just

629
00:34:15,560 --> 00:34:19,960
Speaker 1: think that Certificate, man, you know, shout out Sir Jans

630
00:34:19,960 --> 00:34:24,759
Speaker 1: and DJ Pooh, bobcat Rashad, everybody that did it. And

631
00:34:24,960 --> 00:34:29,080
Speaker 1: again color Blind one of the best examinations too of everything.

632
00:34:29,560 --> 00:34:31,920
Speaker 1: Just phenomenal. So that's my top ten.

633
00:34:32,040 --> 00:34:38,520
Speaker 3: Yes, phenomenal, that's a phenomenal list I have mine. I

634
00:34:38,600 --> 00:34:42,759
Speaker 3: was able to put a top ten together even when

635
00:34:42,800 --> 00:34:44,600
Speaker 3: I was able to put the other ones in because it.

636
00:34:44,600 --> 00:34:50,560
Speaker 1: Was so so many albums. There's so many.

637
00:34:51,280 --> 00:34:53,840
Speaker 3: This is in no particular order, but it kind of yields.

638
00:34:54,040 --> 00:34:57,759
Speaker 3: It's still kind of all over the place. Yo, wall like,

639
00:34:57,840 --> 00:35:02,279
Speaker 3: disagree with you on some of these right here, but

640
00:35:02,440 --> 00:35:05,200
Speaker 3: this is just my my thing, right it's my list

641
00:35:05,280 --> 00:35:12,120
Speaker 3: right here. It's yours. Yep, it's yours right now. I

642
00:35:12,160 --> 00:35:13,920
Speaker 3: don't know if you guys would consider the gangst the

643
00:35:14,000 --> 00:35:16,800
Speaker 3: Rap album, but my number ten, I got fifty cent get.

644
00:35:16,719 --> 00:35:18,879
Speaker 1: Rich of that Trying, Yeah, that was on my list,

645
00:35:19,040 --> 00:35:20,360
Speaker 1: just a little higher, but yeah.

646
00:35:20,320 --> 00:35:25,120
Speaker 3: Number ten, it's got that Trying the game, the documentary

647
00:35:27,080 --> 00:35:29,040
Speaker 3: The Ghetto Boys, Gripping on the other level.

648
00:35:29,239 --> 00:35:29,759
Speaker 1: There you go.

649
00:35:30,280 --> 00:35:34,480
Speaker 3: Number seven, scar Face to Fix. Number six, we comes trapped,

650
00:35:34,920 --> 00:35:39,839
Speaker 3: m Fire, The Ghetto Boys, We Can't be stopped. Ice

651
00:35:39,920 --> 00:35:44,560
Speaker 3: Cube death Certificate. It's still laughing al Drad the Chronic

652
00:35:45,760 --> 00:35:49,359
Speaker 3: ice Cube Lethal Injection Number one Snoop Dog Doggie.

653
00:35:49,040 --> 00:35:51,240
Speaker 1: Style lethal injection.

654
00:35:52,840 --> 00:35:55,800
Speaker 3: Oh no man, yeah, I can't, I got I can't.

655
00:35:55,880 --> 00:35:57,120
Speaker 1: I can't ride with that one.

656
00:35:57,840 --> 00:36:00,200
Speaker 3: Yeah, I can't. Man leth and Action.

657
00:36:01,480 --> 00:36:04,919
Speaker 4: No man, no man, well you know what, hold on yeah, man,

658
00:36:05,000 --> 00:36:07,600
Speaker 4: come on man, you I'm about to do you like

659
00:36:07,640 --> 00:36:09,719
Speaker 4: Steven A's list, Man, you're about to get a d

660
00:36:09,960 --> 00:36:10,719
Speaker 4: around this month.

661
00:36:10,760 --> 00:36:15,640
Speaker 3: Hold on, what's wrong with Leithan Jackson with death certificate?

662
00:36:15,840 --> 00:36:18,720
Speaker 3: What over Umbo?

663
00:36:19,480 --> 00:36:21,640
Speaker 1: Still Mann?

664
00:36:22,000 --> 00:36:26,160
Speaker 4: No, there's there's there's twenty other gangster rap album Nigga.

665
00:36:26,200 --> 00:36:30,600
Speaker 4: I picked, man, I picked. I picked motherfucking above the law,

666
00:36:30,640 --> 00:36:35,959
Speaker 4: living like hustlers over my fucking leitho Injection real talk, good,

667
00:36:36,840 --> 00:36:42,440
Speaker 4: real talk leth injections. What's on leith Injection that's gangster

668
00:36:42,600 --> 00:36:46,160
Speaker 4: to you? Tell me what name one song right now?

669
00:36:46,440 --> 00:36:49,040
Speaker 4: Injection is the ship Man. You can't even name a

670
00:36:49,280 --> 00:36:53,160
Speaker 4: song on that motherfucker. Go to that motherfucker album right

671
00:36:53,200 --> 00:36:56,719
Speaker 4: now and tell me what's the gangster gangster ship on there?

672
00:36:57,120 --> 00:37:04,520
Speaker 1: He said, you know what, what wicked on? That's not

673
00:37:04,560 --> 00:37:07,279
Speaker 1: on that album? That's not on that album. That's on

674
00:37:07,320 --> 00:37:09,880
Speaker 1: the Predator, that's on the Predator.

675
00:37:09,920 --> 00:37:11,160
Speaker 3: I made a mistake.

676
00:37:11,480 --> 00:37:12,719
Speaker 1: Predator is way better.

677
00:37:12,600 --> 00:37:14,400
Speaker 3: Because I'm looking at Leithling Jackson right now.

678
00:37:14,600 --> 00:37:22,520
Speaker 1: On Yes, yes you did, hold on, allow me. Ghetto

679
00:37:22,520 --> 00:37:25,959
Speaker 1: Birds a great song though. That baseline on Ghetto Bird

680
00:37:26,040 --> 00:37:28,520
Speaker 1: is incredible. Shout out to KDS on.

681
00:37:29,120 --> 00:37:33,480
Speaker 3: Hold On made a massive era. Okay, I made a

682
00:37:33,520 --> 00:37:37,840
Speaker 3: massive that I don't know what America's most wanted.

683
00:37:38,000 --> 00:37:40,160
Speaker 1: Oh, okay, America's most wanting.

684
00:37:40,160 --> 00:37:41,640
Speaker 3: I don't know why the fuck I was thinking about

685
00:37:41,719 --> 00:37:45,120
Speaker 3: Leithing Jackson, But America's most wanting. Yes, not the ship

686
00:37:45,160 --> 00:37:47,480
Speaker 3: with the bop gun on their America's most wanted.

687
00:37:47,640 --> 00:37:51,960
Speaker 1: Okay, Still I think I still arrive with that certificate.

688
00:37:52,040 --> 00:37:55,120
Speaker 1: But at least America's most wanted I can understand.

689
00:37:55,239 --> 00:37:59,840
Speaker 3: But well, I have here actually written certificate number.

690
00:37:59,600 --> 00:38:02,560
Speaker 1: Two, and the only one is better than is what

691
00:38:02,760 --> 00:38:04,440
Speaker 1: dog Style Doggy Style?

692
00:38:05,239 --> 00:38:07,440
Speaker 3: And that's kind of debate that was up for debate.

693
00:38:07,480 --> 00:38:09,040
Speaker 3: That's why it was so hard for me to put this.

694
00:38:10,120 --> 00:38:15,040
Speaker 1: For me, as brilliant as Doggie Style is story wise,

695
00:38:15,480 --> 00:38:20,760
Speaker 1: conceptual wise, that certificate is just it's just a different

696
00:38:21,760 --> 00:38:24,799
Speaker 1: It's just a different comparison. It's not even a comparable.

697
00:38:24,880 --> 00:38:26,759
Speaker 3: Well, that's why I said this ain't the final list,

698
00:38:26,760 --> 00:38:29,080
Speaker 3: and that's why I struggled with going back and forth.

699
00:38:29,680 --> 00:38:31,920
Speaker 3: I just think at the time when Snoop came out

700
00:38:31,920 --> 00:38:34,120
Speaker 3: with Doggy Style, because you gotta remember it from the

701
00:38:34,160 --> 00:38:38,480
Speaker 3: way it came in rage on that motherfucker Busting, It's

702
00:38:38,600 --> 00:38:41,080
Speaker 3: just wasn't a Snoop Dogg album. It was like it

703
00:38:41,120 --> 00:38:43,759
Speaker 3: was just an introduction to the whole motherfucking coast, you

704
00:38:43,800 --> 00:38:48,319
Speaker 3: know what I mean that first Yeah, but not the

705
00:38:48,320 --> 00:38:53,520
Speaker 3: way that you know, Doggy style was just like a movement. Man.

706
00:38:53,560 --> 00:38:55,439
Speaker 3: It was just like when it first came in. Man,

707
00:38:55,520 --> 00:38:58,279
Speaker 3: it's like, all of these albums are great. I don't

708
00:38:58,320 --> 00:39:00,880
Speaker 3: know how to fuck I fucked. I don't know what

709
00:39:00,920 --> 00:39:04,000
Speaker 3: the fuck I was thinking about, man, But you know,

710
00:39:04,080 --> 00:39:06,600
Speaker 3: you think about it right here, all these right here,

711
00:39:06,640 --> 00:39:08,800
Speaker 3: like even with even when you talk about the Ghetto

712
00:39:08,840 --> 00:39:11,800
Speaker 3: Boys albums like we Can't be stopped. In some ways,

713
00:39:11,960 --> 00:39:14,040
Speaker 3: I like that album better than I do The Chronic.

714
00:39:15,400 --> 00:39:17,960
Speaker 1: Really, I can't ride with you on that.

715
00:39:18,360 --> 00:39:26,120
Speaker 4: I'm gonna say I ain't listen to Leith injection really.

716
00:39:27,680 --> 00:39:29,880
Speaker 3: Well, No, Jason was a mistake that was gonna get.

717
00:39:30,040 --> 00:39:34,799
Speaker 4: It's most want I got in no particular order. I

718
00:39:35,000 --> 00:39:38,800
Speaker 4: just got uh Spice one one a seven, he wrote.

719
00:39:40,400 --> 00:39:45,120
Speaker 4: I got the Chronic, I got NWA first.

720
00:39:44,960 --> 00:39:48,160
Speaker 1: Album straight out of count.

721
00:39:47,840 --> 00:39:52,080
Speaker 4: I got music to Drive by, I got Short Dogs

722
00:39:52,080 --> 00:39:52,680
Speaker 4: in the House.

723
00:39:53,280 --> 00:39:55,160
Speaker 1: Wait, hey, you're thinking that's a gangster.

724
00:39:55,680 --> 00:40:00,120
Speaker 3: The ghetto and all of that against album. Yeah, A

725
00:40:00,880 --> 00:40:06,480
Speaker 3: fifteen just just that's a great album. Yeah, it's probably

726
00:40:07,360 --> 00:40:09,840
Speaker 3: it ain't nothing but a word to me. That that's

727
00:40:09,880 --> 00:40:10,800
Speaker 3: that's hood ship.

728
00:40:12,560 --> 00:40:16,360
Speaker 4: I got. Uh, we can't be stopped. I got gripping

729
00:40:16,440 --> 00:40:20,280
Speaker 4: on the other level, I got death certificate, Doggy Style,

730
00:40:20,719 --> 00:40:22,840
Speaker 4: the chronic and we come strapped.

731
00:40:22,960 --> 00:40:24,400
Speaker 1: We got almost the seamless.

732
00:40:24,560 --> 00:40:28,680
Speaker 3: We got pretty much. I don't know how that, man.

733
00:40:29,600 --> 00:40:32,719
Speaker 3: It's all right, it's alright, you like it. No, that's good.

734
00:40:32,920 --> 00:40:33,799
Speaker 3: That's not what I want.

735
00:40:33,960 --> 00:40:36,759
Speaker 4: That's what we're gonna put your We're gonna pat your

736
00:40:36,800 --> 00:40:38,960
Speaker 4: face and put the little top hat on you.

737
00:40:38,960 --> 00:40:41,960
Speaker 3: You're gonna get around this motherfucker. I wicked. I wicked.

738
00:40:42,400 --> 00:40:46,000
Speaker 3: You know how you're going through a thing. I was

739
00:40:46,040 --> 00:40:47,880
Speaker 3: trying to find a list I wrote down here, but

740
00:40:47,920 --> 00:40:50,320
Speaker 3: I got like a million fucking notes in this motherfucker,

741
00:40:50,560 --> 00:40:52,320
Speaker 3: and I was thinking, Okay, I don't know how the

742
00:40:52,360 --> 00:40:53,399
Speaker 3: fuck I thought of that. Man.

743
00:40:53,640 --> 00:40:55,600
Speaker 1: It's all good. Still, it's all good.

744
00:40:55,920 --> 00:41:01,520
Speaker 3: Because that was a bad mistake, yo. Now, because that's

745
00:41:01,560 --> 00:41:02,200
Speaker 3: a soundtrack.

746
00:41:03,080 --> 00:41:07,200
Speaker 4: Sound Yeah, I got that. We can do soundtracks. But yeah,

747
00:41:07,200 --> 00:41:09,800
Speaker 4: I got a short dog in the house nigga. That

748
00:41:10,040 --> 00:41:13,360
Speaker 4: bad a hood nigga. I got the eleven through fifteen,

749
00:41:13,560 --> 00:41:17,080
Speaker 4: y'all was the hood man. That banged all through the hood.

750
00:41:17,320 --> 00:41:20,840
Speaker 1: I think that's Short's best album. That and Life is

751
00:41:20,880 --> 00:41:23,439
Speaker 1: Too Short. I always yeah, yeah, yeah, yeah those two

752
00:41:24,080 --> 00:41:29,040
Speaker 1: because dude, cuss words. Oh my god, man, don't fight

753
00:41:29,120 --> 00:41:31,479
Speaker 1: the feeling. It's a hard Those two are hard.

754
00:41:31,520 --> 00:41:34,000
Speaker 3: But I think I like boring to Mac Nigga.

755
00:41:35,320 --> 00:41:38,759
Speaker 1: Dude all he if he just put it, he just

756
00:41:38,760 --> 00:41:42,400
Speaker 1: put an album eight that just had dope fiend beat

757
00:41:43,000 --> 00:41:44,440
Speaker 1: and freaky tails on it.

758
00:41:44,640 --> 00:41:46,040
Speaker 3: Man, man, come on, come.

759
00:41:45,880 --> 00:41:50,399
Speaker 1: On, dude, just those two songs alone. But party Time

760
00:41:50,680 --> 00:41:52,920
Speaker 1: that was great. Yeah, there's a lot of.

761
00:41:53,640 --> 00:41:56,319
Speaker 4: Born Mac was was. It was a nice time, man,

762
00:41:57,200 --> 00:42:01,000
Speaker 4: Short Dogs in the House was cracking, and and Life

763
00:42:01,040 --> 00:42:07,400
Speaker 4: is Too Short, doping no more, motherfucking town. Don't fight.

764
00:42:07,640 --> 00:42:09,880
Speaker 4: Everybody in the hood banged, don't.

765
00:42:10,280 --> 00:42:15,600
Speaker 1: He said, Well the danger so danger Zone said, do

766
00:42:15,680 --> 00:42:17,600
Speaker 1: they call you too short because you're hot? You're with

767
00:42:18,440 --> 00:42:22,200
Speaker 1: this sucker behind your boss from a clip like.

768
00:42:22,400 --> 00:42:26,400
Speaker 3: What these girls was banging? That was banging.

769
00:42:26,520 --> 00:42:30,359
Speaker 1: That was also one of the first whispery flows too.

770
00:42:30,719 --> 00:42:33,000
Speaker 3: Hold on, you want to make sure we got all

771
00:42:33,000 --> 00:42:37,120
Speaker 3: the other stuffore we go, so we keep going right there.

772
00:42:37,520 --> 00:42:43,200
Speaker 3: City Adupe was cracking. It was my nobody does it

773
00:42:43,320 --> 00:42:48,000
Speaker 3: better was Cracking fifteen through eleven in no particular order,

774
00:42:50,200 --> 00:42:53,200
Speaker 3: Easy Easy does it Brother link Shome sees An the

775
00:42:53,239 --> 00:43:01,720
Speaker 3: sickness music to drive by one of these seven he wrote,

776
00:43:01,800 --> 00:43:03,000
Speaker 3: and Short Dogs Mouse.

777
00:43:05,440 --> 00:43:09,640
Speaker 1: Yeah, that's a that's a thorough throw list right there.

778
00:43:10,040 --> 00:43:12,319
Speaker 3: Short Dogs House. I fucked live by saying some ship

779
00:43:12,440 --> 00:43:16,040
Speaker 3: like Leathan Ejection, even though Leithan Ejection had some cuts,

780
00:43:16,080 --> 00:43:18,680
Speaker 3: biggest records ever on that motherfucker. What was on them?

781
00:43:18,840 --> 00:43:20,799
Speaker 3: Let Me See let Me was.

782
00:43:20,800 --> 00:43:22,160
Speaker 1: The only really big song.

783
00:43:22,280 --> 00:43:24,480
Speaker 3: Yeah, because I'm about to go here right now and

784
00:43:24,600 --> 00:43:25,640
Speaker 3: that's my nigg.

785
00:43:26,520 --> 00:43:27,480
Speaker 1: That was on the Predator.

786
00:43:27,600 --> 00:43:28,440
Speaker 3: That was on the Predator.

787
00:43:29,080 --> 00:43:31,839
Speaker 4: I like, Okay, let me tell you what was on

788
00:43:34,520 --> 00:43:36,240
Speaker 4: He got some cool songs.

789
00:43:36,320 --> 00:43:38,279
Speaker 1: Ghatt Bird is one of the best songs on there.

790
00:43:38,320 --> 00:43:43,320
Speaker 3: He had Ghetto Borrow Ye wasn't the wapp Midway. He

791
00:43:43,520 --> 00:43:47,879
Speaker 3: had you know how We Do It? Okay? He had

792
00:43:48,120 --> 00:43:52,360
Speaker 3: Bob Gun, He had the motherfucker to that, How you

793
00:43:52,560 --> 00:43:55,000
Speaker 3: like me now? How You're not doing? What can I

794
00:43:55,160 --> 00:43:58,839
Speaker 3: do now? I liked it. I think the remixed though

795
00:44:00,960 --> 00:44:06,040
Speaker 3: he had little ass g on that motherfucker. But it's

796
00:44:06,120 --> 00:44:09,680
Speaker 3: not it's not deaf certificate. It's not deaf Certificate on

797
00:44:09,719 --> 00:44:10,960
Speaker 3: America's Most Wanted.

798
00:44:12,800 --> 00:44:17,160
Speaker 4: I think because I was, I don't know, you know,

799
00:44:17,520 --> 00:44:22,600
Speaker 4: Cube was, you know, my nigga's big time. My nigga's

800
00:44:22,640 --> 00:44:25,720
Speaker 4: on Hollywood sets and ship and write movies and shit.

801
00:44:26,120 --> 00:44:30,040
Speaker 4: So you know, sometimes people might say your influence for

802
00:44:30,160 --> 00:44:34,000
Speaker 4: the penmanship, which Cube has always been prolific when they

803
00:44:34,080 --> 00:44:35,320
Speaker 4: came to penmanship.

804
00:44:35,880 --> 00:44:37,880
Speaker 3: So but I think when you.

805
00:44:39,480 --> 00:44:43,759
Speaker 4: Listen to records like you know, America's Most Wanted and

806
00:44:44,000 --> 00:44:48,440
Speaker 4: Death Certificate, and hearing songs like fucking Once upon a

807
00:44:48,560 --> 00:44:52,920
Speaker 4: time in the Projects or or fucking Steady Mobbing or

808
00:44:53,239 --> 00:44:57,279
Speaker 4: my summer vacation, you know, you turn around and hear

809
00:44:57,520 --> 00:45:00,920
Speaker 4: bop Gun, it kind of like throw was your flavor

810
00:45:01,080 --> 00:45:04,400
Speaker 4: off a little bit because we wanted Cube to stay,

811
00:45:05,360 --> 00:45:07,960
Speaker 4: you know, in the neighborhood. We wanted Cube to stay

812
00:45:08,360 --> 00:45:12,200
Speaker 4: one eleven n w A straight out of Compton Qube.

813
00:45:12,320 --> 00:45:16,959
Speaker 4: And sometimes niggas be feeling like, you know, I gotta

814
00:45:16,960 --> 00:45:19,640
Speaker 4: say something different. You know, I've been there, done that.

815
00:45:20,080 --> 00:45:24,960
Speaker 4: I'm transitioning. I'm older, family kids, so I need to

816
00:45:25,200 --> 00:45:28,239
Speaker 4: make more you know music. You know, maybe maybe a

817
00:45:28,280 --> 00:45:29,480
Speaker 4: little tone it down a.

818
00:45:29,480 --> 00:45:32,920
Speaker 1: Little the beats too. The bop Gun, for instance, just

819
00:45:33,080 --> 00:45:35,480
Speaker 1: it was, you know how we do it. They were

820
00:45:35,520 --> 00:45:37,800
Speaker 1: both so smooth. They had they had the funk, but

821
00:45:37,880 --> 00:45:41,839
Speaker 1: they were so smooth as opposed to America's most wanted

822
00:45:42,000 --> 00:45:45,759
Speaker 1: alid will death certificate. They had that nigga to admit.

823
00:45:45,640 --> 00:45:48,480
Speaker 3: Though their certificate lething exection. It's easy to see how

824
00:45:48,520 --> 00:45:50,840
Speaker 3: you get the nah not at all. But when you

825
00:45:50,960 --> 00:45:52,799
Speaker 3: think about titles and shit. And I was just because

826
00:45:52,800 --> 00:45:54,600
Speaker 3: I was spitting my list off the top of my head.

827
00:45:54,760 --> 00:45:56,640
Speaker 1: And still, man, we gave you the past. Man, don't,

828
00:45:56,719 --> 00:45:57,960
Speaker 1: don't try to.

829
00:45:58,280 --> 00:46:01,879
Speaker 3: Don't when you think about when you think about though,

830
00:46:01,920 --> 00:46:05,880
Speaker 3: man like death certificate though, Man, just from the beats

831
00:46:06,080 --> 00:46:08,080
Speaker 3: and just the whole thing, it sounded like a movie

832
00:46:08,200 --> 00:46:08,400
Speaker 3: kind of.

833
00:46:08,520 --> 00:46:09,239
Speaker 1: It's phenomenal.

834
00:46:09,480 --> 00:46:12,920
Speaker 3: It sounded like a movie, man, you know, just even

835
00:46:13,120 --> 00:46:15,279
Speaker 3: like stuff like giving up the nappy dugout. And I

836
00:46:15,360 --> 00:46:18,279
Speaker 3: think that was Bobcat's last great work. Like I think

837
00:46:18,360 --> 00:46:20,719
Speaker 3: he was just awesome on it. I think him, who

838
00:46:20,719 --> 00:46:22,239
Speaker 3: would all of them? I think I would have liked

839
00:46:22,280 --> 00:46:24,160
Speaker 3: to see the Boogieymn do more work, you know what

840
00:46:24,200 --> 00:46:24,440
Speaker 3: I mean?

841
00:46:24,800 --> 00:46:25,880
Speaker 1: For sure, I would have.

842
00:46:25,920 --> 00:46:27,560
Speaker 3: Liked to see them do more work, Like I would

843
00:46:27,560 --> 00:46:29,200
Speaker 3: have loved to see the boogie Man hook up with

844
00:46:29,320 --> 00:46:31,560
Speaker 3: MC eight, Like you got all of these you know

845
00:46:31,600 --> 00:46:33,960
Speaker 3: what I'm saying, Just like all of these people like

846
00:46:34,120 --> 00:46:38,600
Speaker 3: like even now, like howda fucked me some Bomb Squad

847
00:46:38,719 --> 00:46:41,279
Speaker 3: beats up? Yeah, yeah, I think you would have been

848
00:46:41,320 --> 00:46:43,359
Speaker 3: dope over the motherfuckers. I think you'd have been dope

849
00:46:43,400 --> 00:46:45,200
Speaker 3: over them and and the Boogieyman. I think that was

850
00:46:45,280 --> 00:46:47,480
Speaker 3: the West Coast answer to the Bomb Squad kind of

851
00:46:47,520 --> 00:46:51,000
Speaker 3: gets with those stick beefy ass baselines. His Bobcat got

852
00:46:51,080 --> 00:46:53,440
Speaker 3: some of the beefiest base lines just in hip hop,

853
00:46:53,640 --> 00:46:54,040
Speaker 3: just all that.

854
00:46:56,000 --> 00:46:59,960
Speaker 1: Yeah, bobcasts a monster, very underrated.

855
00:47:00,320 --> 00:47:02,759
Speaker 3: Bob got some beats now, man, that I know, if

856
00:47:03,040 --> 00:47:04,719
Speaker 3: I know for a fact some of them beats he

857
00:47:04,800 --> 00:47:08,440
Speaker 3: played me eight, maybe ten, fifteen years old, but banging

858
00:47:08,520 --> 00:47:10,239
Speaker 3: like a motherfucker. He's like, I got to change the

859
00:47:10,320 --> 00:47:12,040
Speaker 3: drums up. I'm like, no, you don't need to change

860
00:47:12,040 --> 00:47:13,400
Speaker 3: shit in the motherfucker.

861
00:47:12,920 --> 00:47:17,160
Speaker 4: And Bobcat do backyard boogie. Yes, he did motherfucker bang too.

862
00:47:17,320 --> 00:47:23,359
Speaker 4: That's he's my favorite. That's your backyard. As a matter

863
00:47:23,400 --> 00:47:25,160
Speaker 4: of fact, I don't know. Let me see, I get

864
00:47:25,200 --> 00:47:26,240
Speaker 4: Bob Cat on the phone.

865
00:47:27,560 --> 00:47:28,680
Speaker 1: You should hold on.

866
00:47:28,800 --> 00:47:30,520
Speaker 3: Let me see if I get DJ Bob call on

867
00:47:30,560 --> 00:47:32,080
Speaker 3: the phone. That's my big bro right there.

868
00:47:33,160 --> 00:47:37,040
Speaker 1: Yeah's amazing the phone. He did a lot of great

869
00:47:37,080 --> 00:47:37,719
Speaker 1: work with Park.

870
00:47:38,000 --> 00:47:42,759
Speaker 4: Obviously, bobcat like nigga hit me next week. He hit

871
00:47:42,840 --> 00:47:43,919
Speaker 4: the phone down.

872
00:47:44,320 --> 00:47:46,040
Speaker 3: No, I talked to Bob man. You know what it

873
00:47:46,200 --> 00:47:48,560
Speaker 3: is with Bob. Bob is probably sleep right now. Bob

874
00:47:48,680 --> 00:47:50,560
Speaker 3: stays up at night. When I usually talk to Bob,

875
00:47:50,640 --> 00:47:54,560
Speaker 3: it's at nighttime. Okay, it's at nighttime. He says. Still,

876
00:47:54,640 --> 00:47:56,040
Speaker 3: I'll call you back. And I talked to him like

877
00:47:56,040 --> 00:47:57,800
Speaker 3: at one o'clock in the morning and some shit like that.

878
00:47:58,239 --> 00:48:02,040
Speaker 1: Gotcha. Yeah, he's He's an all time great. That doesn't

879
00:48:02,040 --> 00:48:02,480
Speaker 1: get enough.

880
00:48:02,840 --> 00:48:05,560
Speaker 3: Bob is a phenomenal fucking producer. And that's why I

881
00:48:05,640 --> 00:48:08,600
Speaker 3: get mad at him. Yeah, that's why I get mad

882
00:48:08,600 --> 00:48:10,280
Speaker 3: at him. You know, he got a lot of the problems.

883
00:48:10,280 --> 00:48:12,840
Speaker 3: A lot of the old school cats got there to

884
00:48:12,920 --> 00:48:14,480
Speaker 3: where they think it's like back in the day, to

885
00:48:14,480 --> 00:48:16,239
Speaker 3: where they hold on and shit and just wait for

886
00:48:16,320 --> 00:48:18,520
Speaker 3: that perfect moment. Well I gotta have this. I'm like, dude,

887
00:48:19,080 --> 00:48:22,040
Speaker 3: them six months rollouts ain't happening no more like remember

888
00:48:22,040 --> 00:48:24,040
Speaker 3: the nine of Day roll out eight you would be

889
00:48:24,160 --> 00:48:25,800
Speaker 3: doing this and that you need the street single to

890
00:48:25,880 --> 00:48:27,200
Speaker 3: set this up and all that and all that you're

891
00:48:27,200 --> 00:48:30,120
Speaker 3: not doing that used to put that ship out now, Yeah,

892
00:48:30,280 --> 00:48:34,400
Speaker 3: the the the workings of.

893
00:48:37,040 --> 00:48:40,200
Speaker 4: Putting out a record and the whole transition of the

894
00:48:40,320 --> 00:48:44,000
Speaker 4: setup and you know, the promo tours and going around

895
00:48:44,080 --> 00:48:47,040
Speaker 4: the country and hitting the end stores and you know,

896
00:48:47,560 --> 00:48:50,000
Speaker 4: those days are gone. You know a lot of records,

897
00:48:50,000 --> 00:48:52,600
Speaker 4: a lot of mom and pops are closed. You know

898
00:48:52,680 --> 00:48:58,600
Speaker 4: a lot of one stops are closed. Motherfuckers rely on

899
00:48:59,080 --> 00:49:01,759
Speaker 4: you know what they what they stuck to most of

900
00:49:01,960 --> 00:49:03,360
Speaker 4: now and that's your phone.

901
00:49:03,600 --> 00:49:12,040
Speaker 3: You get me, So it's it's it's easier for motherfucking nowadays.

902
00:49:12,160 --> 00:49:13,640
Speaker 3: You get me. I can make a.

903
00:49:13,719 --> 00:49:19,040
Speaker 4: Song in my living room and then upload it somewhere

904
00:49:19,400 --> 00:49:23,080
Speaker 4: and you know the record stores now or the streaming sites.

905
00:49:23,520 --> 00:49:27,239
Speaker 3: You get me. And how do you how do you

906
00:49:27,440 --> 00:49:29,400
Speaker 3: how do you get that? How do you promote that?

907
00:49:29,719 --> 00:49:32,719
Speaker 4: Well, you buy spots and you buy this, and you

908
00:49:32,840 --> 00:49:36,200
Speaker 4: know you buy that, or you know, we can we

909
00:49:36,280 --> 00:49:39,239
Speaker 4: can double your page with fans. You pay for this

910
00:49:39,440 --> 00:49:42,319
Speaker 4: and you pay for that. You know, that's the that's

911
00:49:42,400 --> 00:49:46,040
Speaker 4: the successes of the record business nowadays. You know, I

912
00:49:46,160 --> 00:49:48,680
Speaker 4: miss the days of where you know, you would have

913
00:49:48,760 --> 00:49:52,000
Speaker 4: to go and connect with the fans and in stores

914
00:49:52,200 --> 00:49:56,839
Speaker 4: and you know, even even the corporate fucking bullshit where

915
00:49:56,840 --> 00:49:58,759
Speaker 4: you have to go to the towns and go up

916
00:49:58,840 --> 00:50:03,040
Speaker 4: to the fucking the court the label in Tennessee, or

917
00:50:03,120 --> 00:50:05,960
Speaker 4: go up to the label in Atlanta, or you know.

918
00:50:07,520 --> 00:50:09,880
Speaker 3: It was just you got to see you got to

919
00:50:09,960 --> 00:50:10,279
Speaker 3: see the.

920
00:50:10,360 --> 00:50:13,920
Speaker 4: Grind of your work. And especially for somebody like me

921
00:50:14,520 --> 00:50:19,560
Speaker 4: who grew up in the hood, you know, who didn't

922
00:50:19,680 --> 00:50:22,560
Speaker 4: venture out of the hood too much. You know, it

923
00:50:22,680 --> 00:50:24,840
Speaker 4: gave you a chance for a person who didn't have

924
00:50:24,880 --> 00:50:27,680
Speaker 4: those opportunities to go away to college or you know,

925
00:50:27,920 --> 00:50:28,400
Speaker 4: do whatever.

926
00:50:31,160 --> 00:50:33,480
Speaker 1: So what was one of your biggest markets that you

927
00:50:33,560 --> 00:50:35,480
Speaker 1: didn't realize till you actually went there?

928
00:50:36,719 --> 00:50:36,919
Speaker 3: Man?

929
00:50:37,120 --> 00:50:41,040
Speaker 4: Shit, it was a few of those places, depending on

930
00:50:41,320 --> 00:50:46,879
Speaker 4: you know, during that run of between straight checking them

931
00:50:46,920 --> 00:50:53,479
Speaker 4: and we come strapped. I could go just about shit,

932
00:50:53,560 --> 00:50:59,040
Speaker 4: any place outside of La you get me. I could

933
00:50:59,080 --> 00:51:02,560
Speaker 4: go up north the Frisco. It'd be a thousand people

934
00:51:02,640 --> 00:51:08,360
Speaker 4: waiting outside for sign autographs. I could go down to Texas, Dallas, Houston,

935
00:51:09,120 --> 00:51:12,160
Speaker 4: it'd be people around the block waiting to get autographs

936
00:51:12,239 --> 00:51:15,239
Speaker 4: and buy the new CD that just came out.

937
00:51:18,480 --> 00:51:25,080
Speaker 3: Chicago was always Yeah, Midwest always been big on West

938
00:51:25,120 --> 00:51:27,920
Speaker 3: Coast games. Detroit. I mean we used to hit like

939
00:51:28,120 --> 00:51:29,200
Speaker 3: I would go from here.

940
00:51:29,920 --> 00:51:33,000
Speaker 4: We would pop up the Frisco, then we would pop

941
00:51:33,120 --> 00:51:37,080
Speaker 4: up the Seattle. Then we would bounce down the Arizona,

942
00:51:37,320 --> 00:51:42,120
Speaker 4: then go across the Dallas, Houston, shoot up the motherfucking Denver,

943
00:51:42,800 --> 00:51:48,799
Speaker 4: jump across somewhere to like Saint Louis, then bounce up

944
00:51:48,880 --> 00:51:57,320
Speaker 4: the motherfucking Cleveland, Chicago, Detroit, fucking you know all of

945
00:51:57,360 --> 00:52:01,520
Speaker 4: those spots, jump over the motherfucking Washington to Philly, then

946
00:52:01,680 --> 00:52:04,560
Speaker 4: come down to New Jersey and then roll on into

947
00:52:04,680 --> 00:52:07,480
Speaker 4: New York. That was a standard promo tour for me.

948
00:52:07,719 --> 00:52:10,319
Speaker 3: You know what's funny, man, I always notice, Man, it's

949
00:52:10,440 --> 00:52:16,719
Speaker 3: like the DMV, the DMV from the DMV on up

950
00:52:16,800 --> 00:52:21,200
Speaker 3: to like that Ohio, Detroit. Yeah, that was my run.

951
00:52:21,560 --> 00:52:22,760
Speaker 3: Didn't much Detroit.

952
00:52:22,920 --> 00:52:26,319
Speaker 4: We didn't much do down south like we would get

953
00:52:26,400 --> 00:52:29,759
Speaker 4: to like we would get to maybe as far as

954
00:52:29,920 --> 00:52:33,960
Speaker 4: sometime New Orleans and then we would cut up. We

955
00:52:34,040 --> 00:52:39,160
Speaker 4: wouldn't go across like the Georgia's, the Mississippi, Texas. I

956
00:52:39,239 --> 00:52:42,520
Speaker 4: did all I did, Houston, I did Austin, I did Dallas,

957
00:52:44,640 --> 00:52:47,319
Speaker 4: I did even we would even do Galveston.

958
00:52:47,640 --> 00:52:50,719
Speaker 3: Yeah, but Texas has always listened to like West Coast

959
00:52:50,760 --> 00:52:52,759
Speaker 3: gangster rapt and you could tell kind of their music

960
00:52:52,840 --> 00:52:55,960
Speaker 3: because even on the school tapes he was threw like, yeah,

961
00:52:56,000 --> 00:52:58,640
Speaker 3: he would use a lot of our music. See like

962
00:52:58,719 --> 00:53:01,560
Speaker 3: you know what I'm saying, his favorite artists. Yeah, that's

963
00:53:01,600 --> 00:53:04,080
Speaker 3: what I'm saying. So it was always like that. Like

964
00:53:04,160 --> 00:53:06,600
Speaker 3: even when you think about the Ghetto Boys, it's almost

965
00:53:06,760 --> 00:53:09,040
Speaker 3: like they was Jay Prince's answer to the n w A,

966
00:53:09,200 --> 00:53:12,640
Speaker 3: because they damned it came out, you know, almost the

967
00:53:12,680 --> 00:53:15,359
Speaker 3: same time when you think about the original incarnation maybe

968
00:53:15,400 --> 00:53:19,279
Speaker 3: a few years later, four years later, the same time.

969
00:53:19,320 --> 00:53:22,040
Speaker 1: I remember car Freaks is even before them, but it

970
00:53:22,120 --> 00:53:24,000
Speaker 1: was different. They were very different.

971
00:53:24,600 --> 00:53:26,000
Speaker 3: Jay Prince want a gangster ship.

972
00:53:26,640 --> 00:53:30,360
Speaker 1: He wanted to remember, he was trying to have. He

973
00:53:30,440 --> 00:53:33,120
Speaker 1: wanted Raheem to be his LL cool J. Remember the

974
00:53:33,200 --> 00:53:36,800
Speaker 1: Vigilanni right, I remember, Yeah, that was his LL cool J.

975
00:53:36,920 --> 00:53:38,799
Speaker 1: He even had the red Kango on the cover, if

976
00:53:38,800 --> 00:53:41,560
Speaker 1: you'll remember that. Back in the day, m h the

977
00:53:41,680 --> 00:53:44,440
Speaker 1: Vigilanti ra Vigelini.

978
00:53:44,520 --> 00:53:46,239
Speaker 3: You know, I was talking to Willie D right, and

979
00:53:46,719 --> 00:53:48,960
Speaker 3: I was talking to Homie Willy D. And I asked him.

980
00:53:49,239 --> 00:53:51,160
Speaker 3: I said, hey, man, when we do the Top fifty show,

981
00:53:51,160 --> 00:53:52,719
Speaker 3: because I want I'm gonna have people call in, and

982
00:53:52,719 --> 00:53:54,720
Speaker 3: I want to have people call in, you know, different rappers.

983
00:53:55,440 --> 00:53:56,759
Speaker 3: And he said, well, where are we at in the

984
00:53:56,840 --> 00:53:58,920
Speaker 3: list now? He said we number one? I said, man,

985
00:53:59,000 --> 00:54:00,759
Speaker 3: I don't know y'all number one when in my book?

986
00:54:01,360 --> 00:54:03,120
Speaker 3: He said, if we ain't number one, I don't want

987
00:54:03,200 --> 00:54:05,520
Speaker 3: no second place. I don't want no third place for it.

988
00:54:05,840 --> 00:54:08,160
Speaker 3: I said, Dog, it's the top fifty hip hop albums

989
00:54:08,160 --> 00:54:10,160
Speaker 3: all the time. I don't give a fuck we ain't

990
00:54:10,200 --> 00:54:11,799
Speaker 3: number one. I don't want to deal on it. He said,

991
00:54:11,840 --> 00:54:13,799
Speaker 3: I'll do the show, but we can't call it nothing

992
00:54:13,840 --> 00:54:17,359
Speaker 3: for that. Willis shout out to my homeboy. Will did

993
00:54:17,400 --> 00:54:19,879
Speaker 3: Willie did a good due him and Brad both Yes, Sir,

994
00:54:20,400 --> 00:54:23,760
Speaker 3: Willie Die is the hummy though Willie D is probably

995
00:54:24,120 --> 00:54:27,400
Speaker 3: when you talk about underrated people, Willie D don't have

996
00:54:27,560 --> 00:54:30,400
Speaker 3: some of the coldest raps. Dog, and he's never he

997
00:54:30,440 --> 00:54:33,440
Speaker 3: ain't never mentioned on the shit. Think about reading these nikes. Dog,

998
00:54:34,160 --> 00:54:37,920
Speaker 3: Here we go again, another brawl the conflict. Somebody finna

999
00:54:38,000 --> 00:54:40,480
Speaker 3: get the ass kick If you ain't down with the

1000
00:54:40,560 --> 00:54:43,880
Speaker 3: ghetto boys, get your happy gas out of dogs. The

1001
00:54:44,000 --> 00:54:46,680
Speaker 3: rumors you heard ain't slander Willie D. Don't give a

1002
00:54:46,760 --> 00:54:49,680
Speaker 3: fuck about the goddamn by a standard so we can

1003
00:54:49,680 --> 00:54:51,600
Speaker 3: see if he clinched my fists. Get out the way,

1004
00:54:51,719 --> 00:54:55,359
Speaker 3: get trolle, bitch. That motherfucker was hard dog.

1005
00:54:56,920 --> 00:54:57,520
Speaker 1: Yes he is.

1006
00:54:57,920 --> 00:55:00,520
Speaker 3: He was hard man a different flame versus man.

1007
00:55:00,640 --> 00:55:03,399
Speaker 4: That's all you people have their favorite tis a month

1008
00:55:03,440 --> 00:55:05,880
Speaker 4: who you know when it comes to the ghetto boys,

1009
00:55:07,560 --> 00:55:12,080
Speaker 4: all three was cool to me and homies. I build

1010
00:55:12,120 --> 00:55:15,439
Speaker 4: a better relationship with Scarface, but they were all cool

1011
00:55:15,480 --> 00:55:19,600
Speaker 4: to me. Motherfuckers have their preferences, you get me.

1012
00:55:20,120 --> 00:55:22,360
Speaker 1: I think the Controversy is one of the best album

1013
00:55:22,400 --> 00:55:22,920
Speaker 1: covers too.

1014
00:55:23,040 --> 00:55:26,680
Speaker 3: Ever, yeah it was man controversy album covers back in

1015
00:55:26,760 --> 00:55:28,440
Speaker 3: the day. You know what. Speaking the back of the day,

1016
00:55:28,480 --> 00:55:32,200
Speaker 3: I wanted to ask, man, if you notice in the nineties,

1017
00:55:32,280 --> 00:55:34,359
Speaker 3: from the nineties, for a long time, we always had

1018
00:55:34,400 --> 00:55:37,719
Speaker 3: a summertime anthem. It ain't been one of those in

1019
00:55:37,840 --> 00:55:41,640
Speaker 3: hip hop in a minute, man, like you know, just

1020
00:55:41,719 --> 00:55:44,040
Speaker 3: think about it. Even when you had will Smith the summertime,

1021
00:55:44,120 --> 00:55:47,800
Speaker 3: you know, summertime you had all these big records, like

1022
00:55:47,920 --> 00:55:50,040
Speaker 3: what was your record all for the money? That came

1023
00:55:50,080 --> 00:55:53,919
Speaker 3: out that was a big summer record. All of the money.

1024
00:55:53,960 --> 00:55:56,319
Speaker 3: You just had songs that just played through the summer. Man,

1025
00:55:56,400 --> 00:55:59,239
Speaker 3: it's like, I wonder sometimes what's happening with hip hop?

1026
00:55:59,320 --> 00:55:59,480
Speaker 4: Man?

1027
00:55:59,560 --> 00:56:02,240
Speaker 3: Like I get work sometimes, Well.

1028
00:56:02,520 --> 00:56:08,520
Speaker 4: There's too much variety and it's too much. It's too much.

1029
00:56:10,000 --> 00:56:14,719
Speaker 4: Whatever you've done for me lately. You put out a

1030
00:56:14,800 --> 00:56:18,279
Speaker 4: song today, nigga hit me. I can put out a

1031
00:56:18,360 --> 00:56:21,800
Speaker 4: song today, A nigga gonna hit me and be like

1032
00:56:21,880 --> 00:56:24,600
Speaker 4: that motherfucker was hard. Two days from now, nigga gonna

1033
00:56:24,600 --> 00:56:25,480
Speaker 4: be like what else you got?

1034
00:56:26,239 --> 00:56:29,040
Speaker 3: Yeah, the music cycle is too short. Then what happened?

1035
00:56:29,280 --> 00:56:32,440
Speaker 3: And that that's I feel. That's because.

1036
00:56:34,080 --> 00:56:37,320
Speaker 4: It's a billion niggas now and when you got shipped

1037
00:56:37,440 --> 00:56:41,000
Speaker 4: like streaming sights to where Okay, they play this song

1038
00:56:41,080 --> 00:56:44,000
Speaker 4: one second and then now you're on this artist this second,

1039
00:56:44,040 --> 00:56:48,160
Speaker 4: Then you're on this artist this second. Motherfucker's attention span is.

1040
00:56:48,320 --> 00:56:51,440
Speaker 3: That's what artists. I noticed the way artists release albums now,

1041
00:56:51,520 --> 00:56:54,759
Speaker 3: especially the Newcats. They release the album right then they'll

1042
00:56:54,840 --> 00:56:56,759
Speaker 3: drop a single, then they drop another single, then they

1043
00:56:56,880 --> 00:56:59,120
Speaker 3: drop another single, they'll drop another album. So you look

1044
00:56:59,200 --> 00:57:01,840
Speaker 3: up the year they don't drop like ten to fifteen

1045
00:57:01,920 --> 00:57:05,040
Speaker 3: fucking album to where the whole course of your career,

1046
00:57:05,120 --> 00:57:08,160
Speaker 3: if you was lucky, you got to get three Yeah, lucky,

1047
00:57:08,200 --> 00:57:11,160
Speaker 3: if you were lucky. Yeah, if you was lucky, you

1048
00:57:11,239 --> 00:57:12,240
Speaker 3: got to get three albums.

1049
00:57:12,400 --> 00:57:15,719
Speaker 4: The power of that's the power of self promotion and

1050
00:57:15,920 --> 00:57:22,320
Speaker 4: self you know doing right now? Yeah, because yeah, nigga,

1051
00:57:22,320 --> 00:57:25,400
Speaker 4: I'm gonna do fifteen songs and then two days later,

1052
00:57:25,680 --> 00:57:28,320
Speaker 4: I'm gonna go just running the studio and do another song,

1053
00:57:28,440 --> 00:57:30,720
Speaker 4: and I'm gonna drop that motherfucking tomorrow as a single.

1054
00:57:31,080 --> 00:57:33,080
Speaker 4: And then two days from now, I'm gonna run to

1055
00:57:33,120 --> 00:57:35,760
Speaker 4: the studio and do another song, and then tomorrow I'm

1056
00:57:35,760 --> 00:57:37,240
Speaker 4: gonna drop that motherfucking single.

1057
00:57:37,520 --> 00:57:39,080
Speaker 3: You know what. I was talking to one of the

1058
00:57:39,120 --> 00:57:42,160
Speaker 3: little homies, right, not little homie very much grown man,

1059
00:57:42,200 --> 00:57:44,840
Speaker 3: but Jeeperica, right, And I was talking to him. He

1060
00:57:44,960 --> 00:57:46,560
Speaker 3: was like, yeah, I'm gonna go get back and recording

1061
00:57:46,600 --> 00:57:49,400
Speaker 3: his album, right, And I was like, damn, you just

1062
00:57:49,480 --> 00:57:51,840
Speaker 3: dropped the album, but he's putting out another one. I

1063
00:57:51,920 --> 00:57:53,920
Speaker 3: guess in the way to climbing the else today with

1064
00:57:54,000 --> 00:57:57,480
Speaker 3: that streaming, because motherfucker's attention span, like I.

1065
00:57:57,600 --> 00:58:00,600
Speaker 4: Said, so fast, It's like you got the album today

1066
00:58:00,880 --> 00:58:03,280
Speaker 4: and by next week, a nigga want you to drop

1067
00:58:03,320 --> 00:58:06,520
Speaker 4: another album causeiggs turned your content, just.

1068
00:58:06,560 --> 00:58:09,520
Speaker 3: Like how we do this podcast, Albums have turned into

1069
00:58:09,600 --> 00:58:13,200
Speaker 3: fucking content, man, where motherfucker's just okay, I'm gonna go

1070
00:58:13,240 --> 00:58:16,200
Speaker 3: record an album and before you know, I know when

1071
00:58:16,240 --> 00:58:18,360
Speaker 3: I was recording, I always want to have a theme,

1072
00:58:18,560 --> 00:58:19,680
Speaker 3: like a story to my shit.

1073
00:58:19,720 --> 00:58:21,400
Speaker 4: I just didn't go ahead and get recorded a bunch

1074
00:58:21,440 --> 00:58:24,320
Speaker 4: of songs, right, That's me. I like to have a

1075
00:58:24,560 --> 00:58:28,360
Speaker 4: tight or a subject, a theme or something. I don't

1076
00:58:28,520 --> 00:58:30,400
Speaker 4: just like to he put the beat on and I'm

1077
00:58:30,480 --> 00:58:34,120
Speaker 4: just gonna start rapping about anything. I hate doing that shit.

1078
00:58:34,320 --> 00:58:37,400
Speaker 4: So I like the vibe to the music and come

1079
00:58:37,520 --> 00:58:40,280
Speaker 4: up with some kind of concept first, and then once

1080
00:58:40,360 --> 00:58:42,240
Speaker 4: I do that, the shit kind of easy for me.

1081
00:58:42,440 --> 00:58:46,920
Speaker 4: Once I come up with that first five words and

1082
00:58:47,040 --> 00:58:50,360
Speaker 4: shit of whatever that concept or that story is gonna be,

1083
00:58:50,920 --> 00:58:54,040
Speaker 4: usually it just flows after that. But I don't like

1084
00:58:54,240 --> 00:58:56,120
Speaker 4: just getting in there and they put the beat on

1085
00:58:56,320 --> 00:58:59,360
Speaker 4: and the next thing you know, I'm I'm just rapping

1086
00:58:59,400 --> 00:59:00,720
Speaker 4: about any dang and shit.

1087
00:59:00,800 --> 00:59:03,640
Speaker 1: But that's a lot of just rapping the rep that's.

1088
00:59:03,520 --> 00:59:04,160
Speaker 3: What they call it.

1089
00:59:04,280 --> 00:59:07,200
Speaker 4: They call it freestyling today you know, back in our days,

1090
00:59:07,280 --> 00:59:11,760
Speaker 4: freestyling was you know, but today you can have a

1091
00:59:11,840 --> 00:59:15,560
Speaker 4: whole song and they could talk about nothing, just a

1092
00:59:15,720 --> 00:59:16,720
Speaker 4: gun bunch of shit.

1093
00:59:17,560 --> 00:59:20,200
Speaker 3: And that's free styling today, Yeah it is. And you

1094
00:59:20,360 --> 00:59:22,360
Speaker 3: know what, man, I think was hurting the key today,

1095
00:59:22,560 --> 00:59:24,600
Speaker 3: not the sounds like the Olderman old head. But you

1096
00:59:24,640 --> 00:59:28,440
Speaker 3: gotta remember, some of the greatest hip hop albums had

1097
00:59:28,880 --> 00:59:31,720
Speaker 3: producer clicks, or it was just like one person over

1098
00:59:31,800 --> 00:59:33,920
Speaker 3: see it, or they had situations to where it might

1099
00:59:33,960 --> 00:59:35,960
Speaker 3: have been three or four cats, but they was all

1100
00:59:36,040 --> 00:59:39,760
Speaker 3: working in concert with each other like ten albums. Yeah,

1101
00:59:39,840 --> 00:59:42,160
Speaker 3: I think that's what made three six Mafia so great

1102
00:59:42,240 --> 00:59:46,080
Speaker 3: because to me, Juicy J and DJ paul are probably

1103
00:59:46,320 --> 00:59:49,200
Speaker 3: one of, if not the greatest production tandem of all time.

1104
00:59:49,320 --> 00:59:51,160
Speaker 3: They gotta be damned to mention in the top three.

1105
00:59:51,800 --> 00:59:54,840
Speaker 3: Them dudes are phenomenal fucking producers. And I don't never

1106
00:59:54,920 --> 00:59:57,200
Speaker 3: hear them get their credit because they kind of invented

1107
00:59:57,240 --> 00:59:58,040
Speaker 3: the mephis sound.

1108
00:59:59,080 --> 01:00:01,640
Speaker 1: Well they uh stamped it.

1109
01:00:02,120 --> 01:00:03,920
Speaker 3: They definitely stamped it. And I know, you know, you

1110
01:00:04,040 --> 01:00:06,200
Speaker 3: hear a lot of artists like I hear Crunchy Black

1111
01:00:07,080 --> 01:00:11,840
Speaker 3: talking about paul O him money, but without them beats

1112
01:00:12,000 --> 01:00:14,480
Speaker 3: and out Crunchy Black. You my god, man, I love

1113
01:00:14,520 --> 01:00:16,560
Speaker 3: you to death. But without them DJ Paul and Juicy

1114
01:00:16,680 --> 01:00:18,200
Speaker 3: j beats, I don't know if the stuff would have

1115
01:00:18,200 --> 01:00:21,560
Speaker 3: been hidden like that. I mean, and I like Crunchy Black.

1116
01:00:21,600 --> 01:00:23,120
Speaker 3: Crunchy Black is the homie you don't be on the

1117
01:00:23,120 --> 01:00:24,280
Speaker 3: show and everything else, but.

1118
01:00:25,840 --> 01:00:26,960
Speaker 1: You gotta have the beats, man.

1119
01:00:27,120 --> 01:00:29,280
Speaker 3: The producers are very important, and a lot of them.

1120
01:00:29,360 --> 01:00:31,880
Speaker 3: You know, three six Mafia went through a lot of members, right,

1121
01:00:32,320 --> 01:00:34,200
Speaker 3: they went through a whole lot of members. But the

1122
01:00:34,320 --> 01:00:36,680
Speaker 3: one thing that remained the same, what made that group

1123
01:00:36,720 --> 01:00:40,080
Speaker 3: what it was wered DJ Paul and Juicy Jay's beats.

1124
01:00:40,400 --> 01:00:43,920
Speaker 3: Them motherfuckers are incredible, man, and me being a producer,

1125
01:00:44,040 --> 01:00:46,280
Speaker 3: dude to make beats, some of them samples, and the

1126
01:00:46,320 --> 01:00:49,080
Speaker 3: way they flipped them, like even their riding spinners, the

1127
01:00:49,200 --> 01:00:51,000
Speaker 3: way they chopped that ship up because they had to

1128
01:00:51,040 --> 01:00:53,360
Speaker 3: be shopped, because that original groove don't go like they

1129
01:00:53,480 --> 01:00:57,280
Speaker 3: made that group that du du du du dum dumb

1130
01:00:57,400 --> 01:01:00,520
Speaker 3: dumb dump dump dum dumb. Just with they do is

1131
01:01:00,600 --> 01:01:02,600
Speaker 3: it's not easy, not at all.

1132
01:01:02,920 --> 01:01:05,720
Speaker 1: It's not easy, and they did it hundreds of times.

1133
01:01:05,920 --> 01:01:09,040
Speaker 3: That's what I'm saying, Man, you know, and they've taken

1134
01:01:09,280 --> 01:01:12,640
Speaker 3: the same sample and made multiple hit records out of it,

1135
01:01:12,720 --> 01:01:14,080
Speaker 3: and all the motherfuckers sound different.

1136
01:01:15,200 --> 01:01:18,640
Speaker 1: They've done that multiple times too. They flipped it, they

1137
01:01:18,880 --> 01:01:23,320
Speaker 1: flipped chop strip, blend, all kinds of different things.

1138
01:01:23,520 --> 01:01:26,120
Speaker 3: Yeah, they're good song writers. Too many had they had

1139
01:01:26,160 --> 01:01:28,440
Speaker 3: it going on, man, they had this ship. They definitely

1140
01:01:28,480 --> 01:01:30,360
Speaker 3: some of my favorites. Man, I know in this top

1141
01:01:30,440 --> 01:01:33,240
Speaker 3: fifty list, they gotta they gonna wind up probably with

1142
01:01:33,520 --> 01:01:35,200
Speaker 3: more than one representation on there.

1143
01:01:35,880 --> 01:01:38,640
Speaker 1: Project Pad mister don't play. That's that's the one.

1144
01:01:39,200 --> 01:01:41,240
Speaker 3: Yeah, And you know what, he's one of them dudes.

1145
01:01:41,320 --> 01:01:44,120
Speaker 3: Like we mentioned Rick Ross earlier off the thing, He's

1146
01:01:44,200 --> 01:01:46,000
Speaker 3: one of them dudes that just seemed like he just

1147
01:01:46,080 --> 01:01:48,280
Speaker 3: get fucking better. Man. I heard him on some shit,

1148
01:01:49,520 --> 01:01:53,360
Speaker 3: even on the Drake shit he'spassed on there, besyrup like

1149
01:01:53,480 --> 01:01:56,920
Speaker 3: his lick up catching up the guy quicker.

1150
01:01:57,360 --> 01:02:00,840
Speaker 1: Yeah, No, he's he's uh, he is a true master

1151
01:02:01,000 --> 01:02:02,560
Speaker 1: of the game. Project pat Height.

1152
01:02:02,640 --> 01:02:04,720
Speaker 3: You know what, this is something I always wanted to

1153
01:02:04,800 --> 01:02:06,680
Speaker 3: ask you, my nigga, And it's a tripping because I

1154
01:02:06,760 --> 01:02:10,400
Speaker 3: can actually ask you now. You had a very distinct

1155
01:02:10,520 --> 01:02:14,320
Speaker 3: sound like your shit was almost like you almost like

1156
01:02:14,400 --> 01:02:17,520
Speaker 3: the Clive Barkway rap. All your shit was always ominous,

1157
01:02:18,080 --> 01:02:22,440
Speaker 3: like like like a motherfucker creeping Like I forget what

1158
01:02:22,640 --> 01:02:25,040
Speaker 3: song was that. Man, they had this like horn in

1159
01:02:25,120 --> 01:02:27,920
Speaker 3: there like in the background. It was like and then

1160
01:02:27,960 --> 01:02:30,400
Speaker 3: it went to it like this piano break toward the end.

1161
01:02:30,960 --> 01:02:35,080
Speaker 3: I forget which albue was on and when the piano

1162
01:02:35,120 --> 01:02:37,840
Speaker 3: and it sounded real cinematic and had the strings coming

1163
01:02:37,880 --> 01:02:39,760
Speaker 3: in and shit, man ate shit always sounded like a

1164
01:02:39,880 --> 01:02:44,080
Speaker 3: movie like motherfucker's creeping. Your music always sounded like one

1165
01:02:44,160 --> 01:02:47,080
Speaker 3: big ass drive by, Like I just pictured motherfucker's load nay,

1166
01:02:47,200 --> 01:02:50,680
Speaker 3: motherfucking magazines up and shit and just creeping on the motherfucker.

1167
01:02:50,800 --> 01:02:55,600
Speaker 3: Was that an intentional Yeah? I never tried to. I

1168
01:02:55,800 --> 01:02:56,200
Speaker 3: left the.

1169
01:02:58,240 --> 01:03:06,360
Speaker 4: Uptempo party and rapping to everybody else. I want to

1170
01:03:06,480 --> 01:03:10,640
Speaker 4: just tell stories with my shit, And I thought the

1171
01:03:10,760 --> 01:03:17,200
Speaker 4: best way to paint the picture of the lifestyle of

1172
01:03:17,320 --> 01:03:25,360
Speaker 4: what I was going through was by like scoring fucking

1173
01:03:25,920 --> 01:03:30,440
Speaker 4: movies and those shows. You know, you always get to

1174
01:03:30,520 --> 01:03:33,439
Speaker 4: a certain part of the movie or the show where

1175
01:03:33,480 --> 01:03:37,440
Speaker 4: that sinister music comes in and they're showing you, you know,

1176
01:03:37,920 --> 01:03:41,240
Speaker 4: the killer or the motherfucker's getting ready to rob the

1177
01:03:41,400 --> 01:03:44,960
Speaker 4: bank or you know what's taking them to that desperate

1178
01:03:45,040 --> 01:03:47,520
Speaker 4: situation of what they have to do, whatever it is.

1179
01:03:48,120 --> 01:03:51,280
Speaker 4: And that's how I tried to describe my music was

1180
01:03:54,640 --> 01:03:58,320
Speaker 4: growing up in the neighborhood. You know, niggas kicked it

1181
01:03:58,480 --> 01:04:02,000
Speaker 4: and you know, neighborhood good parties and shit like that.

1182
01:04:02,240 --> 01:04:06,080
Speaker 4: But it was always sinister to me. You know, y'all

1183
01:04:06,160 --> 01:04:08,960
Speaker 4: look over your back and the lights go out. You

1184
01:04:09,000 --> 01:04:12,160
Speaker 4: don't know who creeping down the street. Who's gonna die today?

1185
01:04:13,080 --> 01:04:15,960
Speaker 4: You know what we gotta do to make some money.

1186
01:04:16,800 --> 01:04:20,400
Speaker 4: You know, life ain't always good at home and shit

1187
01:04:20,520 --> 01:04:24,480
Speaker 4: when you're growing up in Compton and poverty and not

1188
01:04:24,680 --> 01:04:29,000
Speaker 4: even on movie shit just looking at you know, just

1189
01:04:29,160 --> 01:04:32,480
Speaker 4: everyday scene of you know, shoot.

1190
01:04:32,480 --> 01:04:34,600
Speaker 3: Nigga made it home today. You get me.

1191
01:04:36,240 --> 01:04:41,360
Speaker 4: That's what you went through on a daily thirteen fourteen

1192
01:04:41,520 --> 01:04:44,920
Speaker 4: years old. So when it was time for me to

1193
01:04:45,040 --> 01:04:47,160
Speaker 4: and I was always a fan of movies, you know,

1194
01:04:48,280 --> 01:04:53,400
Speaker 4: gangster movies, killer movie, whatever it be, whatever. I was

1195
01:04:53,480 --> 01:04:56,160
Speaker 4: always a fan of that part where the police chase

1196
01:04:56,240 --> 01:04:59,360
Speaker 4: get ready to start, or the killers bust into the

1197
01:04:59,480 --> 01:05:06,800
Speaker 4: room and shootout starting. You always hear that music, you know,

1198
01:05:06,960 --> 01:05:10,520
Speaker 4: that build up, so I always wanted my music to

1199
01:05:10,680 --> 01:05:15,960
Speaker 4: be you know, my soundtrack to the streets, and I

1200
01:05:16,200 --> 01:05:20,760
Speaker 4: always just felt like, ain't nothing fun over here. You know,

1201
01:05:20,920 --> 01:05:24,520
Speaker 4: niggas made fun records, you know, party records.

1202
01:05:24,960 --> 01:05:25,200
Speaker 3: You know.

1203
01:05:27,120 --> 01:05:30,680
Speaker 4: My nigga Snoop had us grooving like a motherfucker. You know,

1204
01:05:33,040 --> 01:05:36,320
Speaker 4: Cube had Cube had us grooving on a couple of songs.

1205
01:05:36,480 --> 01:05:39,920
Speaker 4: My nigga Mac had us grooving on songs. Get me,

1206
01:05:41,560 --> 01:05:44,919
Speaker 4: I didn't want to groove you get me. I didn't

1207
01:05:44,920 --> 01:05:49,600
Speaker 4: want to groove because I didn't feel I didn't feel

1208
01:05:49,720 --> 01:05:54,240
Speaker 4: groove like. I didn't feel that like it was hell

1209
01:05:54,640 --> 01:05:59,160
Speaker 4: growing up. And that's how I felt in my music. Yeah,

1210
01:05:59,240 --> 01:06:01,920
Speaker 4: we're making at money and shit like that, but I

1211
01:06:01,960 --> 01:06:05,400
Speaker 4: didn't start I didn't start enjoying that until I got

1212
01:06:05,640 --> 01:06:09,520
Speaker 4: out of content because my first three records, I was

1213
01:06:09,600 --> 01:06:14,000
Speaker 4: still there. So all my music was like, nigga, niggas,

1214
01:06:14,080 --> 01:06:15,800
Speaker 4: is y'all having fun?

1215
01:06:16,080 --> 01:06:16,360
Speaker 3: Cool?

1216
01:06:17,280 --> 01:06:20,760
Speaker 4: Homie got shot at last night or I still got

1217
01:06:20,880 --> 01:06:24,080
Speaker 4: pulled over and nigga I got two records out, Nigga,

1218
01:06:24,120 --> 01:06:26,760
Speaker 4: I'm handcuffed in the back of a sheriff car right now.

1219
01:06:27,560 --> 01:06:30,480
Speaker 4: That's how that was still going on for me. So

1220
01:06:30,640 --> 01:06:32,920
Speaker 4: every time it was time for me to make music.

1221
01:06:33,840 --> 01:06:36,680
Speaker 4: I wanted to make that hard hitting point music like

1222
01:06:36,880 --> 01:06:41,040
Speaker 4: Nigga the Homie high on sharm On Stick Jo made

1223
01:06:41,320 --> 01:06:44,520
Speaker 4: a cool song about sharm Stick. But I'm telling you,

1224
01:06:44,760 --> 01:06:47,960
Speaker 4: fuck this shit. The homie shurm doubt and we don't

1225
01:06:48,040 --> 01:06:50,440
Speaker 4: know who Finna come blasts on us and the police

1226
01:06:50,480 --> 01:06:54,040
Speaker 4: done pulled up. It's like nothing was fun for me

1227
01:06:54,560 --> 01:06:58,280
Speaker 4: growing up gang banging and being in the hood. It

1228
01:06:58,480 --> 01:07:02,160
Speaker 4: wasn't you know at the days of yeah, we kicking it,

1229
01:07:02,400 --> 01:07:05,320
Speaker 4: niggas is barbecuing and we at the park and shit,

1230
01:07:05,520 --> 01:07:10,160
Speaker 4: but it was always on high alert. Nigga come through

1231
01:07:10,200 --> 01:07:12,960
Speaker 4: here at any time to shoot this motherfuck up. That's

1232
01:07:13,040 --> 01:07:15,280
Speaker 4: what I always thought about. So let me go home

1233
01:07:15,360 --> 01:07:17,800
Speaker 4: and write a song about that. You get me, or

1234
01:07:18,280 --> 01:07:21,080
Speaker 4: I didn't go home and write a song about Yeah.

1235
01:07:21,240 --> 01:07:23,919
Speaker 4: We was at the picnic today and niggas was kicking

1236
01:07:24,000 --> 01:07:25,240
Speaker 4: it and the bitches was good.

1237
01:07:25,560 --> 01:07:25,840
Speaker 3: Nigga.

1238
01:07:25,880 --> 01:07:27,840
Speaker 4: I went like, yeah, Nigga, we had a pic nick

1239
01:07:27,960 --> 01:07:30,200
Speaker 4: Nigga and the enemy came through and then the one

1240
01:07:30,360 --> 01:07:33,480
Speaker 4: times this and Nigga, Nigga the homie got shot. Now

1241
01:07:33,520 --> 01:07:37,080
Speaker 4: we finish attend the funeral. Fucked that fucking barbecue we

1242
01:07:37,280 --> 01:07:40,640
Speaker 4: was at. That's what I wrote about because I've seen

1243
01:07:40,760 --> 01:07:44,280
Speaker 4: that shit on. It was on a daily and if

1244
01:07:44,320 --> 01:07:47,400
Speaker 4: it wasn't happening over here, a damn show was happening

1245
01:07:47,440 --> 01:07:49,120
Speaker 4: around the corner in the homies hood.

1246
01:07:49,560 --> 01:07:52,760
Speaker 3: Exactly what that song sound like, because it sounds like

1247
01:07:52,880 --> 01:07:56,720
Speaker 3: a sound was sinister, man, and it's sinistor like this

1248
01:07:56,920 --> 01:07:58,600
Speaker 3: one like horn comes in like.

1249
01:08:01,720 --> 01:08:04,720
Speaker 4: And then I used to you know, just I used

1250
01:08:04,760 --> 01:08:08,520
Speaker 4: to listen to that that groovy type of shit, you know, uh,

1251
01:08:09,640 --> 01:08:14,200
Speaker 4: sugar free fucking you know, I used to listen to

1252
01:08:14,320 --> 01:08:19,439
Speaker 4: all type of groovy ass motherfucking those sinister songs like.

1253
01:08:19,560 --> 01:08:25,000
Speaker 3: I didn't listen to shit like a very dark individual. Dog. Yeah, man,

1254
01:08:25,320 --> 01:08:28,760
Speaker 3: I was is dark here. You don't like the joke.

1255
01:08:28,880 --> 01:08:31,320
Speaker 3: You don't like that ship? You want a joke? Man,

1256
01:08:31,479 --> 01:08:32,599
Speaker 3: Fuck that ship. Nigga.

1257
01:08:32,640 --> 01:08:36,200
Speaker 4: I'm like the nigga that walk in and everybody partying

1258
01:08:36,320 --> 01:08:38,760
Speaker 4: and chilling and eating, and then you look over in

1259
01:08:38,840 --> 01:08:41,800
Speaker 4: the corner and I'm standing over there like and they.

1260
01:08:41,880 --> 01:08:43,639
Speaker 3: Like, baby, get you something to eat?

1261
01:08:43,840 --> 01:08:47,320
Speaker 4: You don't want I'm standing up looking at everybody like, no,

1262
01:08:47,439 --> 01:08:48,719
Speaker 4: I'm good, I'm good.

1263
01:08:49,680 --> 01:08:50,479
Speaker 3: It was like that ship.

1264
01:08:50,840 --> 01:08:53,919
Speaker 4: You could be your own family members, your cousins and everything.

1265
01:08:54,000 --> 01:08:57,320
Speaker 4: They like, Hey, hey, what's that? What's up with the movies?

1266
01:08:57,960 --> 01:09:00,840
Speaker 3: Since since we're doing movies in two thousand t twenty four, Man,

1267
01:09:01,360 --> 01:09:04,320
Speaker 3: I can't come to you with no comedies then, I mean, shit,

1268
01:09:04,400 --> 01:09:05,800
Speaker 3: that's motherfucking you know.

1269
01:09:06,400 --> 01:09:10,160
Speaker 4: Times have changed, man, I'm I'm I'm a little more open,

1270
01:09:10,320 --> 01:09:13,320
Speaker 4: I'm a little more relaxed, and shit, I ain't worried about.

1271
01:09:13,400 --> 01:09:16,000
Speaker 4: You know, you go through different shits when you when

1272
01:09:16,040 --> 01:09:20,040
Speaker 4: you and your motherfucking twenties and teens and as a

1273
01:09:20,120 --> 01:09:23,920
Speaker 4: parent as opposed to you know, going through life and

1274
01:09:24,040 --> 01:09:27,120
Speaker 4: seeing that you know, you can take yourself out of

1275
01:09:27,160 --> 01:09:30,240
Speaker 4: those negative equations and shit, you know, So that's what

1276
01:09:30,400 --> 01:09:32,640
Speaker 4: you learn to do. That's what I learned to do.

1277
01:09:32,960 --> 01:09:35,639
Speaker 4: So you know, I can make whatever kind of music

1278
01:09:35,800 --> 01:09:38,519
Speaker 4: right now. But like I said, growing up, I saw

1279
01:09:38,600 --> 01:09:41,680
Speaker 4: a different light. I saw a different aspect as far

1280
01:09:41,720 --> 01:09:44,240
Speaker 4: as you know, the streets is concerned.

1281
01:09:44,720 --> 01:09:45,280
Speaker 3: My shit was.

1282
01:09:45,720 --> 01:09:48,760
Speaker 4: My shit was gory, Brother Lynch hung every day you

1283
01:09:48,920 --> 01:09:52,400
Speaker 4: feel me like that, That's that's what my life was.

1284
01:09:52,720 --> 01:09:55,439
Speaker 4: It wasn't And like I said, we had fun. We

1285
01:09:55,560 --> 01:09:58,240
Speaker 4: got to go to Magic Mountain and Disneyland, and shit

1286
01:09:58,439 --> 01:10:02,120
Speaker 4: like that sometimes when we forward the ship. But yeah,

1287
01:10:02,360 --> 01:10:05,519
Speaker 4: we would it would fight that Magic Mountain and shit

1288
01:10:05,680 --> 01:10:07,960
Speaker 4: like that, you know. But I remember one time we

1289
01:10:08,040 --> 01:10:10,280
Speaker 4: went up there and the police wouldn't let us, you know,

1290
01:10:10,720 --> 01:10:13,479
Speaker 4: they knew we was crips, and they said it was

1291
01:10:13,640 --> 01:10:16,519
Speaker 4: blood day at Magic Mountain. Wow, And they wouldn't let

1292
01:10:16,600 --> 01:10:21,680
Speaker 4: us even go in. No bullshit, really, no bullshit. Me

1293
01:10:21,840 --> 01:10:23,960
Speaker 4: and a gang of the homies or something and the

1294
01:10:24,080 --> 01:10:28,360
Speaker 4: ladies went up to Magic Mountain and the motherfucking sheriffs

1295
01:10:28,560 --> 01:10:29,800
Speaker 4: they used to have to share something.

1296
01:10:29,840 --> 01:10:31,920
Speaker 3: Sheriff said, it's blood that y'all can't come in here. No,

1297
01:10:32,120 --> 01:10:33,160
Speaker 3: they probably saved yo.

1298
01:10:33,240 --> 01:10:36,360
Speaker 4: They go, my mama, they did, They told us, you know.

1299
01:10:36,479 --> 01:10:39,519
Speaker 4: And that was back when niggas was like nineteen and twenty.

1300
01:10:39,760 --> 01:10:41,439
Speaker 4: Niggas was knuckleheads and ship.

1301
01:10:42,040 --> 01:10:43,680
Speaker 3: Yeah, you know, before we get up out of here,

1302
01:10:45,360 --> 01:10:48,040
Speaker 3: we go actually drop this top fifty list next week,

1303
01:10:48,080 --> 01:10:49,960
Speaker 3: and it's gonna be a little bit different. We go

1304
01:10:50,280 --> 01:10:50,760
Speaker 3: do it big.

1305
01:10:50,840 --> 01:10:53,639
Speaker 1: I got some calls set up, man, I'm looking forward

1306
01:10:53,680 --> 01:10:53,800
Speaker 1: to that.

1307
01:10:54,040 --> 01:10:56,679
Speaker 3: I got some, you know, some surprises, man, some surprise,

1308
01:10:57,120 --> 01:11:00,560
Speaker 3: got surprises, some surprise calls, A few of them, A

1309
01:11:00,600 --> 01:11:02,479
Speaker 3: few tricks up my sleeve. Before we get up out

1310
01:11:02,479 --> 01:11:03,920
Speaker 3: of here, man, I want to give a shout out

1311
01:11:04,560 --> 01:11:07,479
Speaker 3: to the spot we record at the Coin Academy, Man,

1312
01:11:07,520 --> 01:11:10,200
Speaker 3: the Homy maker, go mac all them dudes, man, good

1313
01:11:10,280 --> 01:11:14,080
Speaker 3: cats Man, for sure coin got some good shit going on.

1314
01:11:14,560 --> 01:11:18,679
Speaker 3: Rest in peace, my nigga, layload man, Yeah exactly, legend

1315
01:11:18,760 --> 01:11:22,479
Speaker 3: shout man show and we out of here. Well. That

1316
01:11:22,560 --> 01:11:25,360
Speaker 3: concludes another episode of the Gainst the Chronicles podcast. Be

1317
01:11:25,479 --> 01:11:27,680
Speaker 3: sure to download the iHeart app and subscribe to The

1318
01:11:27,720 --> 01:11:31,120
Speaker 3: Gangster Chronicles podcast For Apple users, find a purple micae

1319
01:11:31,160 --> 01:11:32,920
Speaker 3: on the front of your screen, subscribe to the show,

1320
01:11:33,040 --> 01:11:35,920
Speaker 3: leave a comment and rating. Executive producers for The Gangster

1321
01:11:36,000 --> 01:11:38,920
Speaker 3: Chronicles podcasts of Norman Stelled, Aaron M. C a Tyler.

1322
01:11:39,280 --> 01:11:41,880
Speaker 3: Our visual media director is Brian Whatt, and the audio

1323
01:11:42,000 --> 01:11:44,719
Speaker 3: editors tell It Hayes. The Gangster Chronicles is a production

1324
01:11:44,800 --> 01:11:47,839
Speaker 3: of iHeart Media Network and The Black Effect Podcast Network.

1325
01:11:48,120 --> 01:11:51,120
Speaker 3: For more podcasts from iHeart Radio, visit the iHeart Radio

1326
01:11:51,200 --> 01:11:53,880
Speaker 3: app Apple podcasts wherever you're listening to your podcasts