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Speaker 1: rappaport r A p A p O r T Blue

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Speaker 1: Apron is a better way to cook, all right, One

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Speaker 1: to one to one to check one two one two

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Speaker 1: one two. It's the Iron Wrap Ports Stereo Podcast. My

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Speaker 1: name is Michael Rapp Report a k a. The Gringo

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Speaker 1: Man Dingo a k a. The Human Flam Machine. Um.

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Speaker 1: This is a gym. This is a gym episode of

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Speaker 1: the Iron Wrap Reports Stereo Podcast. This is a hip

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Speaker 1: hop gem. A Diamond UM. One of the first MC

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Speaker 1: slash producers, Lord Finesse. It's gonna call into the podcast

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Speaker 1: today if you do not know who Lord Finesse is.

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Speaker 1: He produced on Notorious b I G Is Ready to

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Speaker 1: Die record. He produced for Big L, one of the

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Speaker 1: founding pillars of hip hop, one of the founding members

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Speaker 1: of the d I t C Digging in the Crates crew,

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Speaker 1: Fat Joe, O, C. Buck Wild, Show Business, A G

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Speaker 1: Diamond D and Big L d I t C. This

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Speaker 1: is like New York influential hip hop. It doesn't get

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Speaker 1: any more hip hop it doesn't get anymore New York. Then,

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Speaker 1: Lord Ferness from the Boogie Down bronx Um, You're gonna

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Speaker 1: break down some ship about Big l stories about Biggie

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Speaker 1: Small's notorious b I g um Iced Tea and whatever's

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Speaker 1: going on with him and the d I t C Crew.

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Speaker 1: Fat Joe shout out to those all those dudes. I

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Speaker 1: love those dudes from day one, late eighties, early nineties.

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Speaker 1: So with no further introduction, I got my man, Lord Finess,

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Speaker 1: want to talk about David axel Rod, the great David

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Speaker 1: axel Rod, who uh music, whose music was sampled and

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Speaker 1: used so much in some of that early great boom

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Speaker 1: back music. David axel Rod just passed. Anyway, It's the

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Speaker 1: Iron Rapports Stereo Podcast. This, this gentleman needs no introduction,

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Speaker 1: no further introduction. A man, Lord Finesse on the call

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Speaker 1: in on the ones and twos to the Iron Rapports

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Speaker 1: Stereo Podcast. What's going on, sir? What up? My man?

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Speaker 1: I'm good man, I'm good man now every time I

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Speaker 1: think in your name, I'm taking no addition and just

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Speaker 1: started laughing. Man, ha ha ha, I was a scumbag manager,

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Speaker 1: uh man, that was good overall, man, that was that

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Speaker 1: was That was nice story. Man. It brought back memories, right,

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Speaker 1: and brought back so many memories. Man, you just forget

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Speaker 1: how young dudes was and how much they had going

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Speaker 1: on when you looked at that, and you'd be like wow, man,

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Speaker 1: and you you you forget how huge they were, you know, Yeah,

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Speaker 1: they were gigantic and they brought that that R and

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Speaker 1: B ship that obviously was you know, reminding of of

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Speaker 1: of the Jackson's and the Silvers and obviously you know,

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Speaker 1: the Jackson five being the most prominent. But you know,

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Speaker 1: for me, I can't think of another group except for

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Speaker 1: maybe Houdini, but you'd have to bring out a calendar

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Speaker 1: the first group, you know, but Hudini was straight hip

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Speaker 1: hop for an R and B group that started rhyming

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Speaker 1: in the songs, you know, like I always remember that

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Speaker 1: because like you know, like you knew they weren't from

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Speaker 1: New York. It was like they had these weird accents.

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Speaker 1: They were from Boston. But then they were rhyming on

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Speaker 1: you know, the Candy Girls song and the Popcorn Love,

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Speaker 1: and you were like, what the funk is this ship?

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Speaker 1: Like it was it was a big deal, right, Yeah, man,

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Speaker 1: it was, it was. It was huge. Man. Like I said,

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Speaker 1: looking at that story, it's just like you know some stuff,

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Speaker 1: you know a lot of stuff you didn't know, and

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Speaker 1: it just it just it was a good It was

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Speaker 1: a good movie at a good time. Man. I appreciate it. Yo. Well,

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Speaker 1: speaking of scumbag managers like I played in New Edition,

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Speaker 1: did you ever come across any scumbag managers like? I mean,

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Speaker 1: you know, like q Tip says, Industry Rule number four

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Speaker 1: thousand and eighty, record company people are shady. I mean

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Speaker 1: I think you know, just in general, show business people

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Speaker 1: are shady. But you know, you ever you ever deal

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Speaker 1: with any uh, you know, record business trickery? Yeah, I

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Speaker 1: mean I learned that when you're giving people authorization over you,

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Speaker 1: you gotta be careful because when they collected, when they're

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Speaker 1: going out and they're collecting your money and you ain't

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Speaker 1: on top of him all the time, and they know

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Speaker 1: you ain't on top of him, and they could slip

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Speaker 1: a check in here and then you won't know. Like

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Speaker 1: for instance, like I had not gonna say the person name,

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Speaker 1: but the person was managing me, and um I remember

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Speaker 1: ice T had got me money for this soundtrack and um,

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Speaker 1: I did the song and they didn't like the song,

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Speaker 1: so I had to do the song over again, you know.

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Speaker 1: So I was like, man, if I got to do

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Speaker 1: the song over again, then it ain't gonna do no

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Speaker 1: money and ship, you know. So he's like what you mean.

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Speaker 1: I'm like, yo, because the budget was was fifteen thousand.

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Speaker 1: I don't breeze do half of that. Now I'm gonna

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Speaker 1: go back. I was banking on the back end money.

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Speaker 1: I ain't gonna have no money. So who told you

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Speaker 1: it was fifteen thousand, I said, you know song and

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Speaker 1: so it was like, nah, it was twenty five thousand. Uh,

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Speaker 1: And I was like for real, and I remember all

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Speaker 1: of us on the three way line and money. I

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Speaker 1: had to come clean. And ever since then, I didn't

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Speaker 1: really want to give nobody authorization to sign for no money.

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Speaker 1: It ain't make no sense anyway, because if you let's

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Speaker 1: say you're a manager and I'm getting fifty thousand, I

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Speaker 1: don't need you to take my fifty thousand just to

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Speaker 1: take your five grand. You don't need a hold my

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Speaker 1: fifty thousand for that. When my check come, I'll cut

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Speaker 1: you your five thousand and let's keep it moving. Just

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Speaker 1: think when you let people hold that type of money

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Speaker 1: and they some people ain't used to seeing that money.

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Speaker 1: It's all types of new charges and receipts to come

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Speaker 1: up to dip more into that money. And you're a

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Speaker 1: kid when this is all going on, Like when you

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Speaker 1: when you first started having success, when you first started

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Speaker 1: making money as a as a rapper and a producer,

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Speaker 1: how old were you? I started I got signed when

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Speaker 1: I was nineteen, And there's no classes in high school

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Speaker 1: that your hip hop producer, hip hop you know MC.

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Speaker 1: Like you're just doing it and it's all by like

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Speaker 1: by the seat of your pants and and and like

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Speaker 1: you know, like I I imagine when you when you

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Speaker 1: started making that money, like you're just like happy to

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Speaker 1: be doing this ship like sort of fashionally. Am I right? Yeah?

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Speaker 1: I remember like when you when you start to see

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Speaker 1: some real bread that you've never seen before. Man, you

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Speaker 1: don't know what to do. It's just coming so quick,

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Speaker 1: it's coming from different angles, and you're just enjoying yourself,

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Speaker 1: you know. So I could see how people could get

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Speaker 1: caught up if you don't have somebody really explaining the

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Speaker 1: value of what you're doing. So remind people you brought

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Speaker 1: up Iced Tea early. Remind people about your connection with

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Speaker 1: Iced Tea and how you you you got you got

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Speaker 1: started working with him, because I remember when when I

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Speaker 1: first heard about that, you know, I was like for

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Speaker 1: Neesse Bronx, Iced teas l A. I mean, it all

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Speaker 1: made sense because it was all love. But I was like,

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Speaker 1: you know, at the time, it was sort of like this.

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Speaker 1: You know, New York is New York. You know, Atlanta

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Speaker 1: and down South started doing their thing in l A

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Speaker 1: was certainly doing this ship. How did you wind up

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Speaker 1: connecting with Iced Tea? Well, that was doing the nineteen

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Speaker 1: eighty nine seminar, but I was already signed the while

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Speaker 1: pitch and I was in a seminar and I turned

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Speaker 1: a lot of heads and I impressed a lot of people,

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Speaker 1: him being one of them. And I just remember him

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Speaker 1: coming up to me is like, look, man, I think

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Speaker 1: you're incredible and if there's anything I can ever do,

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Speaker 1: just holler at you. Okay. So now I'm on Wild Pitch,

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Speaker 1: you know, and it's not a big budget and ain't

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Speaker 1: a lot of money. But now my record is ringing

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Speaker 1: Bells is selling. But you know, I'm not seeing the

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Speaker 1: money I feel I should be seeing so I just

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Speaker 1: remember telling Ice and and him like offering like, look, man,

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Speaker 1: if you you could get out that that situation you in, man,

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Speaker 1: I'll get you a better situation. And that he did,

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Speaker 1: and that's how the whole Rome syndicate came into play.

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Speaker 1: I've learned a lot from him, you know, especially performing.

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Speaker 1: He used to do some some hell of fire shows overseas. Man.

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Speaker 1: Our first European tour was in UM ninety one. I'm

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Speaker 1: remember going on the road with him for like a

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Speaker 1: month and a half, maybe thirty to forty dates or something,

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Speaker 1: and I really got my seat wet with learning how

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Speaker 1: to perform, you know, like I thought I was rocking

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Speaker 1: until you know, you get out there and you gotta

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Speaker 1: do like some some serious time on stage, you know.

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Speaker 1: And then when you're rocking in ninety one overseas, you're

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Speaker 1: twenty one years old, Like what are the crowd's response

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Speaker 1: to hip hop at that time? You know? Country? So

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Speaker 1: you're all over the place. You're in Europe where I'm

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Speaker 1: assuming you're you're an Asia, Like, are people like they're

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Speaker 1: into it? They were aware of what was going on. No,

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Speaker 1: they was very aware of it. That it changed my

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Speaker 1: whole attitude towards rap. I don't really know what being

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Speaker 1: international was, you know, I wanted to be the King

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Speaker 1: of New York or you know, big in the United States,

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Speaker 1: and you know, and you know, with a lot of

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Speaker 1: racial things growing up, seeing racial stuff and being being

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Speaker 1: you know, the sscriminated against. When I was out there,

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Speaker 1: you know, and the stage, you know, the curtains open

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Speaker 1: or you walk out on stage and it's it's it's

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Speaker 1: three to four thousand Europeans predominantly white, you know, and

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Speaker 1: they're saying your songs word for word. It's it's life changing, right,

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Speaker 1: you know, you you want to you start to understand

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Speaker 1: that that is different in different places you received love.

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Speaker 1: So I've been receiving love in Europe since like one

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Speaker 1: So now people are like, you know, Europe is the

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Speaker 1: place to be, and it's like, look, you're a bender

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Speaker 1: plat where was your you know, because you know, I

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Speaker 1: do Europe, I do Japan, I still do Australia, and

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Speaker 1: I'm still just blessed to to do what I do

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Speaker 1: at a high level and still blessed to be in it,

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Speaker 1: you know, in the thick of it. So so for this,

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Speaker 1: you're you're one of the original d I t C

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Speaker 1: Digging in the Crate crew members and you know, I

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Speaker 1: mean we could We're gonna have a whole other podcast

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Speaker 1: because I've been wanting to get you on for a while.

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Speaker 1: But you know, uh, you know, the passing of David

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Speaker 1: axel Rod, who was sampled so much in hip hop,

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Speaker 1: I wanted to just, you know, have you break down

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Speaker 1: his music? And then my follow up question to that

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Speaker 1: you could even answer first this do you still digging

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Speaker 1: the crates and and and do you still you know,

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Speaker 1: go for the records and dig dig for the records

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Speaker 1: or or is your collection just so sick at this point,

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Speaker 1: like you've seen every single record. I mean you've been

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Speaker 1: all over the world. You know, there's a handful of

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Speaker 1: you guys that got a reputation. You Pete Rock, you know,

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Speaker 1: Large Pro, I mean, your your whole crew, Diamond D

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Speaker 1: Show Business, a g Q tip. You know, like all

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Speaker 1: you guys were like just doing it, and and there

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Speaker 1: there's a whole bunch more. I mean, you know, like

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Speaker 1: the Dayloud Dudes, and you know Africa Africa Baby Band

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Speaker 1: from Jungle he was heavy and the beat Nuts. You know,

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Speaker 1: so as I don't want to just get anybody, but

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Speaker 1: I just probably forgotten all all of you guys. I mean,

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Speaker 1: but do you still get that same satisfaction from collecting,

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Speaker 1: you know, records and finding you know, little gems or

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Speaker 1: have you seen it all? It really doesn't. And you know,

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Speaker 1: it's it's it's crazy that I've been in the game

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Speaker 1: this long and I'm still running across music I've never

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Speaker 1: heard before. And I'm not talking about the new music

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Speaker 1: that's coming out. I'm talking about records that's out of print.

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Speaker 1: I'm talking about like stuff Farign Farign covers to certain

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Speaker 1: American songs that's incredible. It really doesn't stop. I'm still

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Speaker 1: very much a student of still looking for that rare jewel,

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Speaker 1: that rare gem. And I think that's what a part

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Speaker 1: of hip hop is really missing. Samples and and and

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Speaker 1: your knowledge of music gives hip hop that edge. It

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Speaker 1: break it down, It gives it the edge creatively because

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Speaker 1: the sound is raw, like when you do it with

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Speaker 1: all this music now and you're getting people to play

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Speaker 1: and you know, I mean, it's this, it's cool, but

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Speaker 1: it doesn't have that edge for me as a producer.

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Speaker 1: Samples give me direction, it gives me, it gives me

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Speaker 1: insight and maybe ways I wasn't thinking or hearing something

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Speaker 1: in such a way that I would have never came

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Speaker 1: up with that right, And that's what made hip hop dope.

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Speaker 1: Like when you brought you know, the Low End Theory,

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Speaker 1: or you brought uh, you know, um Midnight Marauders, and

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Speaker 1: you brought pet Rock and cl Smooth Mecca and the

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Speaker 1: Soul Brothers, when you brought Our Laws, Professor breaking Atoms,

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Speaker 1: the way these dudes went at these records, when you

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Speaker 1: brought Show There's an a g Runaway Slave, when you

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Speaker 1: brought dining and albums, stunts, blunts and hip hop. If

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Speaker 1: you listen musically how these things was craft it with

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Speaker 1: samples and stuff, you know, it's it's phenomenal. And I

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Speaker 1: know people say, well I don't I don't sample because

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Speaker 1: of the sample. And it's like, this way is to

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Speaker 1: get around it, because the art of it is sampling

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Speaker 1: me and the taking and doing something creative with it. Now,

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Speaker 1: if you're taking a loop and you loop and then

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Speaker 1: you aren't sampling, you're looking so yeah, you know, but

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Speaker 1: I think there's still room for it. And I just

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Speaker 1: think a lot of people want the easy way out.

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Speaker 1: They want that clean way out. A lot of people

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Speaker 1: aren't risk takers. They call the albums compilations because you know,

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Speaker 1: I got my twol to three radio songs, I got

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Speaker 1: my two still club songs, I got my two traps songs,

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Speaker 1: I got my two real hip hop songs. And it's

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Speaker 1: kind of all over the place instead of really going

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Speaker 1: after sound or style you believe in and and risking

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Speaker 1: it all right now, I hear you, man, I you know,

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Speaker 1: it really frustrates me. And I never thought there would

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Speaker 1: be a day where, you know, I'll be talking on

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Speaker 1: the phone with Lord for Nest and I'd sound like,

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Speaker 1: you know, an old motherfucker. But for me as a fan,

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Speaker 1: and I'm sure for you as a creator and one

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Speaker 1: of the one of the you know, most respected pillars

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Speaker 1: of hip hop, I mean, it breaks my heart to

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Speaker 1: think that the music is going extinct. You know, there's

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Speaker 1: this new ship and and and you know, things change,

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Speaker 1: things evolved, But I feel like you know that that

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Speaker 1: boom bap that you're one of the pioneers. You know,

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Speaker 1: you're you're one of the creative pioneers of is going away.

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Speaker 1: You know, and and I you know, the music business

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Speaker 1: I don't understand that I'm just a fan. I have

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Speaker 1: no agenda, and that's why I feel like, you know,

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Speaker 1: I could speak on it so passionately and and and

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Speaker 1: my point of view is just just from a fan,

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Speaker 1: you know, like it's going extinct. It's like it's like

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Speaker 1: a fucking extinct animal, like that boom bap sound. It

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00:17:00,160 --> 00:17:03,440
Speaker 1: sounds dramatic, but the ship really breaks my fucking heart.

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Speaker 1: Like it. It hurts my heart that there's like, Okay,

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Speaker 1: there's new things, there's young kids, but there should be

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Speaker 1: some fucking balance, you know. And I feel like there's

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Speaker 1: no no balance anymore. And the music is just so

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Speaker 1: like it's like it's like a gumball. You chew it

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Speaker 1: and then you split the ship out. I just look

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Speaker 1: at it in so many different ways, Like for instance,

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Speaker 1: they go real bars back, and it's like real bars

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Speaker 1: never went anywhere. You just neglected real bars. You chose

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Speaker 1: the rod this wave, you chose to get a surf

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Speaker 1: floid and chase after this wave. And now you know

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Speaker 1: you're seeing certain things, and oh, we we gotta bring

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Speaker 1: balance all the responsible for it, you know. But you know,

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Speaker 1: with hip hop, I'm more disappointed with all the technology

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Speaker 1: we have in the world and for the music to

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Speaker 1: sound that way when we did much more with much less.

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Speaker 1: I think that's part of the problem, though, Finesse, I

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Speaker 1: think that's part of the problem. You've got motherfucker's that

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Speaker 1: are making number one songs off their fucking iPhone, straight up,

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Speaker 1: like with these programs on their phones, and and that's

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Speaker 1: how they're learning about it. You know. I always bring

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Speaker 1: up like the first thing you see in the Straight

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Speaker 1: Out of Compton movie, the first image you see is

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Speaker 1: the actor who played Dr Dre laying down. And I'm

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Speaker 1: sure if they did the Lord Finesse movie or any

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Speaker 1: of the people we mentioned early, the first thing they

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Speaker 1: they see in that Dr Dre movie is that actor

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Speaker 1: laying amongst all his records with his headphones because he

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Speaker 1: loved that music. He loved it before there was hip hop,

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Speaker 1: before he thought about, you know, making money. Before all,

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Speaker 1: you like, there was that love of the music and

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Speaker 1: and and I feel like now it's like I want

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Speaker 1: to be a rapper, and and what's the quickest way

329
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Speaker 1: to become a rapper? And God bless motherfucker's for making money.

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Speaker 1: But just you know, I just like I said, I

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Speaker 1: feel like it's like it's like a piece of candy

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Speaker 1: and it's not the kind you even swallow. It's a

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Speaker 1: on you too, and you spit the funk out man.

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Speaker 1: And and the music is the funked up and the

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00:19:05,480 --> 00:19:08,560
Speaker 1: attitude is fucked up, and it just is what it is, man,

336
00:19:08,600 --> 00:19:11,520
Speaker 1: It just it. But I just don't want them to

337
00:19:11,520 --> 00:19:15,280
Speaker 1: put an age limit on it. You know. Once again,

338
00:19:15,359 --> 00:19:18,760
Speaker 1: it's irritable to me because there is no age limit

339
00:19:18,800 --> 00:19:22,640
Speaker 1: on it. And people got this loser his mentality like, well,

340
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Speaker 1: y'all had your chances. I will turn now. It sounds like,

341
00:19:26,200 --> 00:19:28,760
Speaker 1: but let's let us, let us rock now. And it's

342
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Speaker 1: just like if you got good, you you take a spot.

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Speaker 1: It's this sense of entitlement that kills me. That you

344
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Speaker 1: want to be great, what you want it to be

345
00:19:37,359 --> 00:19:41,520
Speaker 1: given to you. It's right when you like if if

346
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Speaker 1: I played like I could go on Instagram right now

347
00:19:44,920 --> 00:19:47,040
Speaker 1: and play a dope record down on and went to

348
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Speaker 1: Japan and looked all through these crints and all these

349
00:19:50,200 --> 00:19:53,200
Speaker 1: different stores, and I might have it where you can't

350
00:19:53,240 --> 00:19:56,720
Speaker 1: see the title, and I guarantee you it's at least

351
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Speaker 1: seven people tell me what it is. I need that,

352
00:20:00,000 --> 00:20:03,000
Speaker 1: And you're supposed to just give it to him, right,

353
00:20:03,920 --> 00:20:07,400
Speaker 1: It's like, no, I went all the way across the

354
00:20:07,440 --> 00:20:10,919
Speaker 1: world to finding this rare jew. I just want you

355
00:20:10,960 --> 00:20:14,800
Speaker 1: to listen to know what great music is still out there.

356
00:20:15,040 --> 00:20:17,480
Speaker 1: And your first thing is like, well give it to me,

357
00:20:17,800 --> 00:20:19,840
Speaker 1: you know, I won't hook that up or do it

358
00:20:19,920 --> 00:20:21,520
Speaker 1: beat for me and give it to me, and it's

359
00:20:21,600 --> 00:20:25,600
Speaker 1: like it's just like where's the appreciation. It's just like

360
00:20:26,720 --> 00:20:30,119
Speaker 1: it's just so quick. It's just gimme, gimme, gimme, gimme, gimme.

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Speaker 1: They don't do records, they don't dig. They mainly go

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Speaker 1: on YouTube. They they choice and digging as YouTube. I

363
00:20:37,320 --> 00:20:41,280
Speaker 1: always tell people, most of these people is only as

364
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Speaker 1: good as the next person upload. So if they don't

365
00:20:44,320 --> 00:20:46,960
Speaker 1: upload nothing dope thing, what you ain't gonna be dope

366
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Speaker 1: because you ain't gonna go digging, you know. So I

367
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Speaker 1: don't like to knock the new generation, you know. I

368
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Speaker 1: just like to put it in perspective, the difference, you know.

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Speaker 1: And I wish they just split hip hop into put

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Speaker 1: this new wave thing in one category. Mumble rap, call

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Speaker 1: it what it is, call it mumble rap. I mean,

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Speaker 1: you've got mumblers, but then you've got some great artists,

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Speaker 1: you know, but I think it should be traditional rap

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Speaker 1: and then give them this new wave rap. Let them

375
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Speaker 1: lock out with that, and this way, this way, we

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Speaker 1: get what we want and y'all get what y'all want.

377
00:21:26,320 --> 00:21:29,080
Speaker 1: But the way the radio set up now is they're

378
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Speaker 1: ramming one style down your throat. They really just ramming

379
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Speaker 1: it is there's so many different other other hip hop

380
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Speaker 1: you can listen to. You play that, but plan mixed

381
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Speaker 1: sha everything that. Now it wasn't our error. Now it's

382
00:21:44,760 --> 00:21:48,520
Speaker 1: just you force feeding people and you're telling me it's

383
00:21:48,560 --> 00:21:53,159
Speaker 1: a hit, but it don't last. Pass him off, you know,

384
00:21:53,280 --> 00:21:57,199
Speaker 1: like it's crazy, that's crazy. We can talk about this

385
00:21:57,359 --> 00:21:59,480
Speaker 1: all day. I don't know, I know, I know we

386
00:21:59,560 --> 00:22:01,280
Speaker 1: gotta do. We gotta do a full Lord for this

387
00:22:01,800 --> 00:22:04,959
Speaker 1: session of full of full d I T C. Session. So, so,

388
00:22:05,240 --> 00:22:09,320
Speaker 1: David axel Rod passed and for some reason, you guys,

389
00:22:09,760 --> 00:22:12,919
Speaker 1: you guys being the producers gravitated. I mean, there's so

390
00:22:12,960 --> 00:22:15,800
Speaker 1: many different people that you know had obviously James Brown

391
00:22:15,880 --> 00:22:17,879
Speaker 1: and so on and so on, But for some reason,

392
00:22:18,080 --> 00:22:22,760
Speaker 1: David axel Rod had a sound that hip hop producers

393
00:22:22,800 --> 00:22:26,679
Speaker 1: gravitated to over the years. Tell me who David Axelrod

394
00:22:26,840 --> 00:22:31,880
Speaker 1: was to a hip hop producer. He was a unique composer.

395
00:22:32,680 --> 00:22:38,920
Speaker 1: He was a very distinctive, unique composer where it dealt

396
00:22:38,960 --> 00:22:42,080
Speaker 1: with He dealt with jazz, he dealt with like psych rock,

397
00:22:42,880 --> 00:22:46,040
Speaker 1: He dealt with like these different things. And he kind

398
00:22:46,040 --> 00:22:51,080
Speaker 1: of made his sound where it was strange, it was emotional,

399
00:22:51,480 --> 00:22:54,960
Speaker 1: it could be dramatic, and he always for the most

400
00:22:55,000 --> 00:22:58,160
Speaker 1: car I had this funky dramma we we still don't

401
00:22:58,240 --> 00:23:01,480
Speaker 1: know what the drummer is out of that. That that

402
00:23:02,200 --> 00:23:05,040
Speaker 1: out of all of those people he had playing, but

403
00:23:05,400 --> 00:23:09,360
Speaker 1: this dude used to be rocking. Whoever he had was rocking.

404
00:23:09,880 --> 00:23:14,119
Speaker 1: And you know he worked with everybody from Lou Rows

405
00:23:14,160 --> 00:23:17,800
Speaker 1: to Cannonball, ad Lee and the list goes on and on.

406
00:23:18,560 --> 00:23:21,879
Speaker 1: So when you run across the record and the different

407
00:23:22,000 --> 00:23:25,320
Speaker 1: sounds he was giving these artists, it was just like

408
00:23:25,480 --> 00:23:28,440
Speaker 1: he did. He produced that too. And then you got

409
00:23:28,480 --> 00:23:32,040
Speaker 1: the famous one to David McCullum that he did for David,

410
00:23:32,040 --> 00:23:34,679
Speaker 1: which is called The Edge with Dr dre used for

411
00:23:34,960 --> 00:23:41,359
Speaker 1: Um next episode. And I had that record, but I

412
00:23:41,359 --> 00:23:44,280
Speaker 1: ain't never think of using it because it was but

413
00:23:44,440 --> 00:23:47,600
Speaker 1: the record itself. If you look up David McCullum and

414
00:23:47,640 --> 00:23:51,159
Speaker 1: you listen to the record, how dope the whole record is.

415
00:23:51,600 --> 00:23:56,600
Speaker 1: I mean it changes the arrangements like his arrangements was

416
00:23:56,600 --> 00:24:00,960
Speaker 1: was was was just bananas because see would go into

417
00:24:01,040 --> 00:24:05,879
Speaker 1: so many different arrangements. Part would be different carts in

418
00:24:05,960 --> 00:24:08,760
Speaker 1: a record where he goes totally left field and it'd

419
00:24:08,800 --> 00:24:12,040
Speaker 1: be another groove, would be another sound, would be another staff.

420
00:24:12,960 --> 00:24:16,240
Speaker 1: I can't even explain his stuff. But his his albums

421
00:24:16,280 --> 00:24:24,160
Speaker 1: were very, very very phenomenal albums. And that's good name.

422
00:24:24,280 --> 00:24:27,359
Speaker 1: And then he'll produce like this. Uh it was like

423
00:24:27,440 --> 00:24:32,280
Speaker 1: this religious album. Uh, the Electric Prons. Uh, I know

424
00:24:32,320 --> 00:24:34,719
Speaker 1: what the cover looked like. The title is skip in

425
00:24:34,720 --> 00:24:37,920
Speaker 1: my head. But he produced the hound called the Electric Prunes. Right,

426
00:24:38,480 --> 00:24:42,760
Speaker 1: this group, the Electric Prunes, and the album was bananas man,

427
00:24:42,960 --> 00:24:46,960
Speaker 1: and they talking, they singing like who you are you?

428
00:24:48,320 --> 00:24:50,879
Speaker 1: And you're like okay, but when the music come on,

429
00:24:50,960 --> 00:24:56,119
Speaker 1: you're like goddamn. The I n Rapports Stereo podcast is

430
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443
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Speaker 1: to www dot casper dot com forward slash rappaport. Welcome

444
00:25:54,119 --> 00:25:57,400
Speaker 1: to Play, a new podcast network featuring radio and TV

445
00:25:57,520 --> 00:26:01,879
Speaker 1: personalities talking business, sports, tech, entertainment, and more. Play it

446
00:26:02,080 --> 00:26:10,720
Speaker 1: at play dot in. Let me ask you a question.

447
00:26:11,680 --> 00:26:17,520
Speaker 1: If there's one MC today as a fan that you

448
00:26:17,520 --> 00:26:20,119
Speaker 1: you go, I would like to produce his ship. I

449
00:26:20,160 --> 00:26:22,240
Speaker 1: would like to produce a full record. I would like

450
00:26:22,320 --> 00:26:24,399
Speaker 1: to produce some tracks for who would be one of

451
00:26:24,400 --> 00:26:26,760
Speaker 1: the dudes today that you'd be like, you'd be hyped

452
00:26:26,760 --> 00:26:33,360
Speaker 1: to work with? Oh wow, lyrically lyrically like yo you're

453
00:26:33,359 --> 00:26:35,720
Speaker 1: gonna get in there, You're gonna produce it, You're you're

454
00:26:35,720 --> 00:26:38,280
Speaker 1: gonna you're gonna craft the sound, and that you feel

455
00:26:38,280 --> 00:26:43,400
Speaker 1: like would work with with with classic finesse ship, Oh wow,

456
00:26:43,400 --> 00:26:47,840
Speaker 1: that's that's I have a lot, you know, but um,

457
00:26:48,480 --> 00:26:52,520
Speaker 1: you can name a few. I would say NAS definitely. Okay,

458
00:26:53,480 --> 00:26:56,480
Speaker 1: have you ever worked with Nas? Nah? I never worked

459
00:26:56,520 --> 00:27:00,919
Speaker 1: with NAS. I just think May being a rapper and

460
00:27:01,080 --> 00:27:05,199
Speaker 1: me being a producer, it's just a different It's just

461
00:27:05,440 --> 00:27:07,679
Speaker 1: different ways for me to talk to artists when I

462
00:27:07,720 --> 00:27:13,200
Speaker 1: work with with rappers, with lyricists, ts and lyricists. Because

463
00:27:13,560 --> 00:27:16,200
Speaker 1: I'm hearing you around, I'm hearing how are you structuring it?

464
00:27:16,440 --> 00:27:19,240
Speaker 1: And I'm hearing it in a whole another different way

465
00:27:19,480 --> 00:27:22,960
Speaker 1: than just a regular producer would hear it because I'm

466
00:27:23,080 --> 00:27:26,480
Speaker 1: you're a lyricist, So how would I would have them

467
00:27:26,520 --> 00:27:31,639
Speaker 1: attacking it a certain way? Artists love black thought. I

468
00:27:31,680 --> 00:27:34,679
Speaker 1: think that dude I do it is one of the

469
00:27:34,760 --> 00:27:38,080
Speaker 1: most dangerous dudes out man, and I know him and

470
00:27:38,119 --> 00:27:41,080
Speaker 1: we always chopped it up. But the more I'm hearing

471
00:27:41,119 --> 00:27:43,960
Speaker 1: them more and more, it's like, God, damn, man, who

472
00:27:43,960 --> 00:27:47,879
Speaker 1: are you mad at man? Because he's he's just tearing

473
00:27:47,920 --> 00:27:53,200
Speaker 1: people up on their own tracks. Yeah, my own person

474
00:27:53,320 --> 00:27:57,600
Speaker 1: would be a g out of our crew. He's I

475
00:27:57,640 --> 00:28:00,600
Speaker 1: don't know if he went to another planet and and

476
00:28:00,600 --> 00:28:05,639
Speaker 1: study some some some you know, alien formulas, because he's like,

477
00:28:05,920 --> 00:28:09,480
Speaker 1: he's he's here like iller than ever, and you know

478
00:28:09,840 --> 00:28:14,600
Speaker 1: he's one of my inspirations. I'm driven by substance. I

479
00:28:14,720 --> 00:28:17,959
Speaker 1: love to work with with Jada. I'm but I'm dripping

480
00:28:18,040 --> 00:28:20,960
Speaker 1: and I'm pushed by substance because when I hear the

481
00:28:21,040 --> 00:28:26,520
Speaker 1: wit as a competitor, your mind is going, wow, this

482
00:28:26,680 --> 00:28:30,280
Speaker 1: is ill. What can I say to be on the

483
00:28:30,320 --> 00:28:32,679
Speaker 1: same scale and what can I do that's gonna be

484
00:28:32,720 --> 00:28:37,800
Speaker 1: iller than that? But when you hear certain styles are

485
00:28:37,800 --> 00:28:41,920
Speaker 1: wrapped now, and you go, I could you know, I

486
00:28:41,920 --> 00:28:44,000
Speaker 1: don't want to wish nothing bad on myself, but it's

487
00:28:44,080 --> 00:28:46,680
Speaker 1: like I could catch a stroke and sound better than

488
00:28:46,720 --> 00:28:50,720
Speaker 1: most of these dudes. You know, you know, like like

489
00:28:52,080 --> 00:28:53,800
Speaker 1: and you know, like I said, I don't want to

490
00:28:53,840 --> 00:28:56,840
Speaker 1: wish nothing bad on myself, but it's just no effort

491
00:28:56,840 --> 00:29:00,360
Speaker 1: in it. You know, it's no pride in it. You know,

492
00:29:00,480 --> 00:29:02,680
Speaker 1: our goal was to be the best. Our goal was

493
00:29:02,760 --> 00:29:06,800
Speaker 1: to be compared to the greats, to the hymns to

494
00:29:06,920 --> 00:29:10,040
Speaker 1: the Kings, to the and I understand it's a different

495
00:29:10,160 --> 00:29:13,239
Speaker 1: right now. People want to party and it's cool, but

496
00:29:13,440 --> 00:29:16,800
Speaker 1: everybody can't have the same story. Everybody can't do the

497
00:29:16,880 --> 00:29:20,240
Speaker 1: same thing. I always say, when you look to copy,

498
00:29:20,320 --> 00:29:24,840
Speaker 1: you're automatically happy being number two. You can't copy somebody

499
00:29:24,920 --> 00:29:28,800
Speaker 1: say I'm number one. No, you can't. Your whole thing,

500
00:29:28,880 --> 00:29:32,000
Speaker 1: Your whole basis came from something else. So you know,

501
00:29:32,440 --> 00:29:35,560
Speaker 1: it's it's crazy, and it's how they want the credit

502
00:29:36,080 --> 00:29:40,800
Speaker 1: for something that's just normal. What are you up to personally?

503
00:29:40,800 --> 00:29:43,000
Speaker 1: What what new stuff are you working on? And and

504
00:29:43,000 --> 00:29:48,520
Speaker 1: and what's the future of of d I t c um?

505
00:29:48,560 --> 00:29:50,480
Speaker 1: I think the future of d I t C. I

506
00:29:50,520 --> 00:29:53,120
Speaker 1: think what people don't understand what d I t C

507
00:29:54,240 --> 00:29:58,320
Speaker 1: is like. As long as the artists stay active, d

508
00:29:58,480 --> 00:30:02,160
Speaker 1: I t C lives on her Rather we get together

509
00:30:02,280 --> 00:30:05,960
Speaker 1: all together or if we do solo stuff. As long

510
00:30:06,040 --> 00:30:11,080
Speaker 1: as we successful, that name still lives. You know, people

511
00:30:11,320 --> 00:30:14,560
Speaker 1: think you have to keep doing stuff together for the

512
00:30:14,640 --> 00:30:17,760
Speaker 1: name to live. No, you know, it's good to get together.

513
00:30:18,160 --> 00:30:21,200
Speaker 1: But people got their own endeavors, they got their own visions,

514
00:30:21,240 --> 00:30:23,760
Speaker 1: they got their own dreams, they got you know, we're

515
00:30:23,760 --> 00:30:27,200
Speaker 1: older now, so people got families. There's so many different

516
00:30:27,200 --> 00:30:31,520
Speaker 1: ways to look at it. But I just think right now,

517
00:30:31,560 --> 00:30:34,240
Speaker 1: everybody's doing their own thing. Diamond is doing don peace

518
00:30:34,600 --> 00:30:37,960
Speaker 1: O C got a project out called Same Same Moon,

519
00:30:38,160 --> 00:30:41,959
Speaker 1: Same Son. He released part one. He gave it as

520
00:30:41,960 --> 00:30:47,760
Speaker 1: a free download. Um you got a g working on Ambrosia.

521
00:30:49,320 --> 00:30:54,320
Speaker 1: Uh oh, fat Joe. Of course he's you know, he's

522
00:30:54,360 --> 00:30:56,760
Speaker 1: all the way up already. You know, he's all the

523
00:30:56,800 --> 00:30:58,560
Speaker 1: way up. And I love when he goes all the

524
00:30:58,600 --> 00:31:01,640
Speaker 1: way up because I love he he pulls these fucking

525
00:31:01,680 --> 00:31:04,720
Speaker 1: monster hits out. Just when you think it's over, he

526
00:31:04,840 --> 00:31:08,320
Speaker 1: comes with a motherfucking a bomb. I saw him a

527
00:31:08,320 --> 00:31:10,360
Speaker 1: few months ago and I was like, you motherfucker man.

528
00:31:10,440 --> 00:31:13,200
Speaker 1: I was so happy for him. Yeah, you know, I

529
00:31:13,280 --> 00:31:15,440
Speaker 1: think you by show he in the studio. He got

530
00:31:15,520 --> 00:31:18,640
Speaker 1: some projects ruined. I think one with him and Molecules

531
00:31:19,520 --> 00:31:23,560
Speaker 1: and okay, you know everybody always have an ace up.

532
00:31:23,640 --> 00:31:27,680
Speaker 1: They sleeve me. I'm finally uh ready to do this

533
00:31:27,760 --> 00:31:31,760
Speaker 1: new project, you know, after really serious stories. To me,

534
00:31:31,840 --> 00:31:35,440
Speaker 1: it's just maximizing the opportunity. It has to be big.

535
00:31:35,480 --> 00:31:37,680
Speaker 1: I'm looking at the top what I've done, and I

536
00:31:37,760 --> 00:31:39,640
Speaker 1: have to be comfortable, and it has to be fun

537
00:31:39,680 --> 00:31:42,640
Speaker 1: while I'm doing it. And the name of my new

538
00:31:42,680 --> 00:31:45,480
Speaker 1: project I'm working on is called the Inevitable. That's the

539
00:31:45,560 --> 00:31:49,040
Speaker 1: name of it, all right. I'm looking for that inevitable,

540
00:31:49,560 --> 00:31:52,000
Speaker 1: all right. Before I let you go for this, give

541
00:31:52,040 --> 00:31:56,480
Speaker 1: me one notorious b I G Biggie story. It could

542
00:31:56,520 --> 00:31:58,760
Speaker 1: be from when you worked at him, before you worked

543
00:31:58,760 --> 00:32:01,160
Speaker 1: at him, you know, do me one story that you

544
00:32:01,240 --> 00:32:06,840
Speaker 1: remember about Biggie Small. I remember, you know, Okay, this

545
00:32:06,920 --> 00:32:11,320
Speaker 1: is what I remember, right. I remember me Um I was,

546
00:32:11,520 --> 00:32:14,160
Speaker 1: you know, Poup hooked me up with Big so I

547
00:32:14,200 --> 00:32:16,720
Speaker 1: would give Big first shot at a lot of beats.

548
00:32:16,880 --> 00:32:19,280
Speaker 1: And I remember, and this is on YouTube. You can

549
00:32:19,320 --> 00:32:22,920
Speaker 1: look this up. It's us talking in the studio and

550
00:32:23,000 --> 00:32:25,760
Speaker 1: I remember Um planning a beat for red Hot lovel

551
00:32:25,800 --> 00:32:28,120
Speaker 1: of Tone from the track Masses when he was Robin

552
00:32:29,080 --> 00:32:33,280
Speaker 1: Ye And you know, Jesseless is there. It's that video

553
00:32:33,360 --> 00:32:35,760
Speaker 1: is up there and he's telling Big how dope the

554
00:32:35,800 --> 00:32:39,600
Speaker 1: beat is, you know, and it's like your word, that's

555
00:32:39,680 --> 00:32:43,320
Speaker 1: that's your man now, that's your man now. And I'm like, na,

556
00:32:43,520 --> 00:32:45,680
Speaker 1: I mean, you know, I just submitted it to all

557
00:32:46,320 --> 00:32:49,360
Speaker 1: so you ain't submit me that beat Okay, that's why

558
00:32:49,400 --> 00:32:51,600
Speaker 1: I let him, let him, let him use the beat,

559
00:32:51,640 --> 00:32:53,520
Speaker 1: because when he finished with it, I'm gonna take it

560
00:32:53,600 --> 00:32:55,720
Speaker 1: and do it over my jomp wunna beat ten times

561
00:32:55,760 --> 00:32:57,960
Speaker 1: better than it is. And you know, he went on

562
00:32:58,240 --> 00:33:01,200
Speaker 1: and on, and you know, we always had that great

563
00:33:01,320 --> 00:33:05,360
Speaker 1: playful relationship where we always snapped and joke and it

564
00:33:05,480 --> 00:33:09,240
Speaker 1: was always fun, you know, being in the studio with

565
00:33:09,320 --> 00:33:13,240
Speaker 1: this dude. This dude personality was like no other. It's

566
00:33:13,280 --> 00:33:18,320
Speaker 1: like you gamble, you eat, you could shoot dice and

567
00:33:18,360 --> 00:33:20,920
Speaker 1: then at the end of the night, man, you would

568
00:33:21,520 --> 00:33:24,280
Speaker 1: get a song done that was was crazy, and it's like,

569
00:33:24,600 --> 00:33:27,720
Speaker 1: how does this dude put it all in one area,

570
00:33:28,360 --> 00:33:30,760
Speaker 1: you know, as far as having fun and recording, and

571
00:33:30,800 --> 00:33:33,160
Speaker 1: then it would be kind of the same thing. Hell,

572
00:33:33,240 --> 00:33:35,800
Speaker 1: he was snapped and and he was just going there.

573
00:33:35,920 --> 00:33:39,120
Speaker 1: He would knock the song right out, and it's like

574
00:33:40,440 --> 00:33:44,400
Speaker 1: these dudes was was I think definite blessings, you know,

575
00:33:44,760 --> 00:33:47,680
Speaker 1: to be able to work with both of them, you know,

576
00:33:47,720 --> 00:33:51,520
Speaker 1: it's like like no other. I'm always gonna remember, you know,

577
00:33:51,880 --> 00:33:55,120
Speaker 1: all the different times in the different places. You know,

578
00:33:55,600 --> 00:34:00,160
Speaker 1: it's incredible. And and we with Big Alm Biggie, the

579
00:34:00,520 --> 00:34:03,280
Speaker 1: talent was apparent to you right away, like you knew,

580
00:34:03,320 --> 00:34:04,920
Speaker 1: like there was a little bit of a little bit

581
00:34:04,960 --> 00:34:08,880
Speaker 1: of shine on the on these guys. Correct, definite, we're big.

582
00:34:09,520 --> 00:34:12,000
Speaker 1: He had like an abstract style. He had a style

583
00:34:12,040 --> 00:34:15,239
Speaker 1: like I've never heard before, Like the way he go

584
00:34:15,440 --> 00:34:18,359
Speaker 1: from left to right. He just take you all over

585
00:34:18,400 --> 00:34:22,520
Speaker 1: the places. His flow was like nothing I've ever witnessed

586
00:34:22,520 --> 00:34:25,239
Speaker 1: when I first heard him, and I remember back and

587
00:34:25,280 --> 00:34:27,520
Speaker 1: telling the crew like you, I'm working with this this

588
00:34:27,640 --> 00:34:31,080
Speaker 1: biggie small dude. This dude is crazy. His flow is

589
00:34:31,120 --> 00:34:35,320
Speaker 1: just crazy. It wasn't compound, packed and punched on like hours,

590
00:34:35,840 --> 00:34:39,680
Speaker 1: but it was so highly effective. It was just very impressive.

591
00:34:40,280 --> 00:34:46,360
Speaker 1: With l L. Reminded me of like what Lebron is

592
00:34:46,400 --> 00:34:51,080
Speaker 1: to the game today. Damn you see the upside at

593
00:34:51,120 --> 00:34:53,759
Speaker 1: a very because when I bumped into l L was

594
00:34:53,840 --> 00:34:58,480
Speaker 1: sixteen seventeen when I discovered hell, you know, so when

595
00:34:58,520 --> 00:35:01,920
Speaker 1: I'm listening to him robbing and at that age, and

596
00:35:01,960 --> 00:35:04,520
Speaker 1: I got him by like maybe five six years or whatever,

597
00:35:05,160 --> 00:35:08,840
Speaker 1: and I'm going dag when he gets older because he

598
00:35:08,920 --> 00:35:11,839
Speaker 1: made it look easy. Some of his early music was

599
00:35:11,920 --> 00:35:15,480
Speaker 1: just so crazy. It literally was so crazy that I'm like,

600
00:35:16,760 --> 00:35:19,359
Speaker 1: you know, I'm like, I'm glad he's my man, you know,

601
00:35:19,520 --> 00:35:22,759
Speaker 1: like this is my dude. I would hate to like

602
00:35:23,040 --> 00:35:26,080
Speaker 1: have a person like him, like I don't like finess

603
00:35:26,080 --> 00:35:29,759
Speaker 1: some value every chance because this dude he was he

604
00:35:29,920 --> 00:35:34,680
Speaker 1: was very very very special. Damn. That's that's good ship, fines.

605
00:35:34,800 --> 00:35:38,120
Speaker 1: I appreciate that. Yo. I'm gonna let you go. I

606
00:35:38,160 --> 00:35:40,640
Speaker 1: would love to do a full podcast with you, face

607
00:35:40,719 --> 00:35:42,160
Speaker 1: to face. We had to do this on the phone.

608
00:35:42,160 --> 00:35:44,040
Speaker 1: I wanted to get you, David Axel right inside. I

609
00:35:44,080 --> 00:35:46,480
Speaker 1: knew we would have been flowing to all kinds of

610
00:35:46,480 --> 00:35:48,719
Speaker 1: other ships. You know, I'm such a fan of yours

611
00:35:48,760 --> 00:35:52,160
Speaker 1: for so many years, and you know, I I appreciate

612
00:35:52,239 --> 00:35:53,920
Speaker 1: you you have you know you're coming on the rock

613
00:35:54,040 --> 00:35:55,920
Speaker 1: with me. Man. I'm a fan of your work just

614
00:35:56,080 --> 00:35:58,360
Speaker 1: as well. Man, And see all the different films and

615
00:35:58,400 --> 00:36:01,400
Speaker 1: the different things you did like throughout the course and

616
00:36:01,400 --> 00:36:05,319
Speaker 1: you're still going with it. It's just that's that's a blessing, man.

617
00:36:05,560 --> 00:36:09,520
Speaker 1: And you can't can't purchase longevity and can't purchase what

618
00:36:09,640 --> 00:36:14,560
Speaker 1: you got, man, That's that's just a blessing. But more importantly,

619
00:36:14,600 --> 00:36:18,800
Speaker 1: it's like, no, we gotta get together sometime soon and

620
00:36:19,160 --> 00:36:21,919
Speaker 1: work on something come up with something we could do together. Man,

621
00:36:21,960 --> 00:36:24,880
Speaker 1: you're the felone dude. Man, I would love it, and

622
00:36:25,320 --> 00:36:29,160
Speaker 1: I know we're gonna do something real crazy. Man, I

623
00:36:29,160 --> 00:36:31,319
Speaker 1: would love it. I would love to sit and build

624
00:36:31,360 --> 00:36:33,920
Speaker 1: with you on that we we were gonna be in

625
00:36:33,920 --> 00:36:35,799
Speaker 1: the same in the same city, at the same place

626
00:36:35,840 --> 00:36:38,600
Speaker 1: at the same time soon. Man. Yeah. Man, I've been

627
00:36:38,640 --> 00:36:41,280
Speaker 1: in Calie a couple of times and I still can't

628
00:36:41,320 --> 00:36:44,239
Speaker 1: catch you. Man. I know, sometimes you're in Cali, I'm

629
00:36:44,239 --> 00:36:47,080
Speaker 1: in New York, and then sometimes I hit you you're oversea.

630
00:36:47,560 --> 00:36:50,040
Speaker 1: We'll do it. We'll we'll do it, or or we'll

631
00:36:50,040 --> 00:36:52,759
Speaker 1: have to do it at Corona at the park and

632
00:36:52,960 --> 00:36:59,120
Speaker 1: sometimes definite. Man. Alright, befaness, I appreciate it, my man. Alright,

633
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Speaker 1: Iron wrapp Report. We got the five Star Stereo Podcast

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Speaker 1: have spoken. We are a five star podcast. We've even

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Speaker 1: got soft asked T shirts to prove it. Anytime you

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Speaker 1: hear something on the Iron Rapp Report podcast that is

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Speaker 1: five star worthy, go to iTunes and give us five

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Speaker 1: star reviews. You could do it as many times you want.

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Speaker 1: Leave us a review. We see everything. Ask a question,

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Speaker 1: I llow us whatever you want. Hit up iTunes, give

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Speaker 1: us a review, the good, the bad, being different, whatever

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Speaker 1: don't show us the love we deserve. I s