1 00:00:15,436 --> 00:00:25,476 Speaker 1: Pushkin. There's a reason Kenny Beats is one of the 2 00:00:25,556 --> 00:00:28,996 Speaker 1: great young producers in hip hop because he does his homework. 3 00:00:30,316 --> 00:00:33,036 Speaker 1: Kenny has a vast understanding of the regional sounds and 4 00:00:33,156 --> 00:00:35,716 Speaker 1: histories of cities to pull from when making beats. For 5 00:00:35,756 --> 00:00:38,596 Speaker 1: an artist, this allows him to find a common musical 6 00:00:38,676 --> 00:00:40,956 Speaker 1: language with rappers, which gives him a leg up in 7 00:00:40,996 --> 00:00:44,276 Speaker 1: an art form as hyperlocal as a rap. Everything from 8 00:00:44,316 --> 00:00:47,156 Speaker 1: the popular local dances to the type of crime most 9 00:00:47,196 --> 00:00:50,076 Speaker 1: prevalent in different cities can inform the sound of a 10 00:00:50,156 --> 00:00:54,756 Speaker 1: local scene and influences how Kenny might approach making a beat. Today, 11 00:00:54,796 --> 00:00:57,036 Speaker 1: we're kicking off a two part series of interviews with 12 00:00:57,116 --> 00:00:59,836 Speaker 1: Kenny Beats and The One You're About to Hear, which 13 00:00:59,916 --> 00:01:02,836 Speaker 1: was taped a while back. Kenny maps out the evolution 14 00:01:02,876 --> 00:01:06,596 Speaker 1: of regional sounds in hip hop, drawing parallels between disparate 15 00:01:06,636 --> 00:01:09,516 Speaker 1: cities and now hip hop has evolved from creating beats 16 00:01:09,516 --> 00:01:12,956 Speaker 1: out of old drum samples known as breakbeats, to sampling 17 00:01:13,036 --> 00:01:16,516 Speaker 1: and referencing itself. I should also say that Kenny producer 18 00:01:16,596 --> 00:01:19,316 Speaker 1: theme song The One You're About to Hear as if 19 00:01:19,356 --> 00:01:22,636 Speaker 1: he were Rick Rubin in nineteen eighty five. See ifing 20 00:01:22,676 --> 00:01:30,116 Speaker 1: gets which Specie Boys song it's based on. This is 21 00:01:30,196 --> 00:01:34,116 Speaker 1: broken record liner notes for the digital age. I'm justin Richmonds. 22 00:01:38,556 --> 00:01:41,956 Speaker 1: Here's Rick Rubin and Kenny Beats at Shanglu La. What's 23 00:01:41,956 --> 00:01:44,556 Speaker 1: a good what's a good place to start? Well, really, like, 24 00:01:45,156 --> 00:01:47,756 Speaker 1: first off, everything that you and I have talked about 25 00:01:47,796 --> 00:01:50,276 Speaker 1: when it comes to regional hip hop and these things, 26 00:01:50,356 --> 00:01:52,836 Speaker 1: I'm talking about such a short time period. Yes, I 27 00:01:52,876 --> 00:01:54,836 Speaker 1: was born in ninety one, so I'm really thinking a 28 00:01:54,876 --> 00:01:58,676 Speaker 1: little bit before when I was born, and then how 29 00:01:58,716 --> 00:02:00,436 Speaker 1: that came into all the stuff I grew up with, 30 00:02:00,756 --> 00:02:02,996 Speaker 1: and then all the stuff I'm actually working in now 31 00:02:03,276 --> 00:02:06,996 Speaker 1: and what that was routed in. But oftentimes, like most 32 00:02:06,996 --> 00:02:10,516 Speaker 1: of the parallels I'm finding between two cities or two 33 00:02:10,636 --> 00:02:13,356 Speaker 1: artists or influence going on in the radio now or 34 00:02:13,396 --> 00:02:16,916 Speaker 1: even on like a street level, it doesn't go back 35 00:02:16,956 --> 00:02:20,036 Speaker 1: as far as like hip hop's roots go back. You 36 00:02:20,036 --> 00:02:22,316 Speaker 1: know what I mean When I talk about like all 37 00:02:22,356 --> 00:02:25,476 Speaker 1: the connections between Memphis and Atlanta, and all the connections 38 00:02:25,476 --> 00:02:30,956 Speaker 1: between Detroit in the Bay Area, or even like Florida 39 00:02:30,996 --> 00:02:35,916 Speaker 1: and New Orleans. The real like common denominator for me 40 00:02:36,516 --> 00:02:38,996 Speaker 1: all started by the time like drum machines and eight 41 00:02:38,996 --> 00:02:41,116 Speaker 1: O eights were introduced and those kinds of things. So 42 00:02:41,196 --> 00:02:43,436 Speaker 1: I'm not even thinking back as far as like when 43 00:02:43,516 --> 00:02:46,396 Speaker 1: Boombap hit any of these cities or g Funk or 44 00:02:46,396 --> 00:02:50,676 Speaker 1: even that, It's just the conversation starts there, yes, you know, 45 00:02:50,756 --> 00:02:53,356 Speaker 1: and like I think it's just so interesting how like 46 00:02:53,396 --> 00:02:56,956 Speaker 1: there was like the first big rapper like signed coming 47 00:02:56,956 --> 00:02:59,636 Speaker 1: out of Detroit that people always talk about was this 48 00:02:59,716 --> 00:03:02,716 Speaker 1: dude named Robert s got signed in like nineteen eighty five, 49 00:03:02,836 --> 00:03:06,276 Speaker 1: and that was like very reminiscent of like Brooklyn hip 50 00:03:06,276 --> 00:03:07,756 Speaker 1: hop and like you know what I mean, like New 51 00:03:07,836 --> 00:03:11,076 Speaker 1: York kind of stuff. But like the common conversation with 52 00:03:11,116 --> 00:03:16,076 Speaker 1: Detroit is always eminem Kid Rock, Danny Brown, Big Sean, 53 00:03:16,316 --> 00:03:19,356 Speaker 1: like those are the people like on the Mount rushmore 54 00:03:19,476 --> 00:03:21,996 Speaker 1: of big commercial hip hop in Detroit that comes to 55 00:03:21,996 --> 00:03:25,836 Speaker 1: everyone's minds. But what's going on on the street level 56 00:03:25,876 --> 00:03:29,516 Speaker 1: there right now is so different than any of those 57 00:03:29,596 --> 00:03:33,756 Speaker 1: four big artists. And it all started from what I 58 00:03:33,836 --> 00:03:37,396 Speaker 1: understand with like artists like dex Osama and artists like 59 00:03:38,276 --> 00:03:42,116 Speaker 1: Team east Side and what was dexas grouping of the 60 00:03:42,516 --> 00:03:46,676 Speaker 1: Choppa Boys, and like I can play an example right now, 61 00:03:46,716 --> 00:03:49,516 Speaker 1: the easiest parallel to always draw with people as Detroit 62 00:03:49,556 --> 00:03:51,716 Speaker 1: in the Bay. It's all really fast. When people talk 63 00:03:51,756 --> 00:03:53,636 Speaker 1: about Bay Area music, they really do think of like 64 00:03:53,676 --> 00:03:56,076 Speaker 1: a mustard beat, or they think of like these kind 65 00:03:56,116 --> 00:03:59,836 Speaker 1: of like swung G funk influenced, you know what I mean, 66 00:03:59,956 --> 00:04:04,036 Speaker 1: kinds of production and raps and stuff. And Detroit to 67 00:04:04,116 --> 00:04:05,876 Speaker 1: me is what all the people in the Bay are 68 00:04:05,876 --> 00:04:08,036 Speaker 1: always talking about and listening to when I'm talking to 69 00:04:08,076 --> 00:04:11,196 Speaker 1: those artists, and the first time you hear what I 70 00:04:11,236 --> 00:04:14,836 Speaker 1: think of is like the current style that goes on 71 00:04:14,916 --> 00:04:17,316 Speaker 1: in that city and where all those kids draw from. 72 00:04:17,356 --> 00:04:20,556 Speaker 1: The forefather is from the late nineties, you know what 73 00:04:20,556 --> 00:04:24,516 Speaker 1: I mean. It's it doesn't go back decades and decades, 74 00:04:24,836 --> 00:04:26,636 Speaker 1: and like when you hear decks of stuff, you hear 75 00:04:28,076 --> 00:04:34,036 Speaker 1: big reverbi pianos like piscicado strings and acid basslines, it's 76 00:04:34,036 --> 00:04:36,956 Speaker 1: always these don't don't, don't don't play some play something 77 00:04:43,876 --> 00:04:47,436 Speaker 1: my moment shout, I've gotten the reason why I got 78 00:04:47,476 --> 00:04:50,516 Speaker 1: this vest on me. Yeah, these niggas won't needn't come 79 00:04:50,596 --> 00:04:57,196 Speaker 1: in I so you can hear like it kind of 80 00:04:57,236 --> 00:04:59,116 Speaker 1: sounds like the beats are being made with like the 81 00:04:59,196 --> 00:05:02,356 Speaker 1: stock string sound, the stock piano sound, the stock bass 82 00:05:02,436 --> 00:05:06,636 Speaker 1: sound they had. But when I listen to it, it's 83 00:05:07,876 --> 00:05:11,316 Speaker 1: very often in early like Detroit rap and this subgenre 84 00:05:11,396 --> 00:05:15,796 Speaker 1: of it an acid base wound, like the same similar 85 00:05:15,876 --> 00:05:18,076 Speaker 1: kind of bass sound. And Detroit is also known for 86 00:05:18,156 --> 00:05:22,476 Speaker 1: fathering techno, and there's a lot of those same sound 87 00:05:22,516 --> 00:05:26,276 Speaker 1: palettes used. So in my mind, I'm like, Okay, somebody 88 00:05:26,396 --> 00:05:28,916 Speaker 1: learned how to make music in Detroit around people who 89 00:05:28,916 --> 00:05:31,956 Speaker 1: were familiar with these certain synthesizers, these certain drum machines 90 00:05:32,036 --> 00:05:35,076 Speaker 1: or whatever. But what was resonating where they were from 91 00:05:35,476 --> 00:05:38,036 Speaker 1: wasn't for on the floor drums, wasn't techno, wasn't this. 92 00:05:38,116 --> 00:05:41,036 Speaker 1: It was different kinds of patterns, different kinds of beats. 93 00:05:41,036 --> 00:05:43,316 Speaker 1: They were probably listening to stuff from other cities. So 94 00:05:43,356 --> 00:05:45,036 Speaker 1: when they go to do a high hat pattern on 95 00:05:45,076 --> 00:05:46,716 Speaker 1: a t R A to eight, or they go do 96 00:05:46,836 --> 00:05:49,956 Speaker 1: a bassline on an old juno or whatever it is, 97 00:05:51,316 --> 00:05:56,316 Speaker 1: they're emulating the melodies and the drum patterns and everything 98 00:05:56,316 --> 00:06:00,076 Speaker 1: of hip hop, but they're using techno sounds really if 99 00:06:00,116 --> 00:06:01,796 Speaker 1: you look at it, and I think that's where like 100 00:06:02,436 --> 00:06:06,116 Speaker 1: the early Detroit sound came from. The tempo and everything 101 00:06:06,156 --> 00:06:08,156 Speaker 1: got updated by what kids were listening to in this net, 102 00:06:08,196 --> 00:06:11,636 Speaker 1: but it really was from Detroit techno elements. And when 103 00:06:11,676 --> 00:06:14,596 Speaker 1: you listen to the biggest rappers in Detroit right now, 104 00:06:14,996 --> 00:06:16,476 Speaker 1: if you go to a party in Detroit and play 105 00:06:16,556 --> 00:06:19,276 Speaker 1: these songs like the entire room knows every word if 106 00:06:19,316 --> 00:06:22,756 Speaker 1: even if they have no hook, you hear such similar elements. 107 00:06:23,076 --> 00:06:26,076 Speaker 1: And the producer today, who I think everyone considers just 108 00:06:26,116 --> 00:06:28,156 Speaker 1: the godfather of the current Detroit sound as hell of 109 00:06:28,196 --> 00:06:31,076 Speaker 1: a And when you listen to some of the hottest 110 00:06:31,116 --> 00:06:34,676 Speaker 1: stuff going on out of the Bay or like artists 111 00:06:34,676 --> 00:06:36,716 Speaker 1: like Geasy, you know what I mean, or artists like 112 00:06:37,356 --> 00:06:39,596 Speaker 1: that are coming out of La right now, a lot 113 00:06:39,596 --> 00:06:43,476 Speaker 1: of their sound is informed by these tempos, these kinds 114 00:06:43,476 --> 00:06:45,876 Speaker 1: of kick pounds, these drum patterns, And I think when 115 00:06:45,876 --> 00:06:49,156 Speaker 1: you look at Mustard and you look at like how 116 00:06:49,196 --> 00:06:52,076 Speaker 1: he took over radio in twenty twelve with these big 117 00:06:52,116 --> 00:06:55,836 Speaker 1: basselined hundred bpm beats and that I think it's a 118 00:06:55,836 --> 00:07:01,956 Speaker 1: combination of like these Detroit and Bay sister city like 119 00:07:02,116 --> 00:07:05,316 Speaker 1: kinds of styles of beat making and rap. But at 120 00:07:05,356 --> 00:07:08,756 Speaker 1: the same time, the producers he grew up listening to 121 00:07:09,196 --> 00:07:11,676 Speaker 1: probably weren't the guys making these beats in Detroit. He 122 00:07:11,676 --> 00:07:13,316 Speaker 1: was probably listening to the Battlecat, and he was probably 123 00:07:13,356 --> 00:07:15,116 Speaker 1: listening to DJ Quick, and he was probably listening to 124 00:07:15,236 --> 00:07:18,276 Speaker 1: LA music, where the sound choice is different and the 125 00:07:18,316 --> 00:07:22,436 Speaker 1: bounce is different. So like when you talk about g 126 00:07:22,596 --> 00:07:26,516 Speaker 1: Funk or you talk about like legendary La and Bay producers, like, 127 00:07:26,756 --> 00:07:30,236 Speaker 1: it's much more swung and much more funky, you know 128 00:07:30,236 --> 00:07:32,156 Speaker 1: what I mean. And it's a much different kind of 129 00:07:32,196 --> 00:07:35,516 Speaker 1: attitude than the Detroit shit, just like being in the 130 00:07:35,556 --> 00:07:37,836 Speaker 1: Motor City is a way different attitude than being in 131 00:07:37,876 --> 00:07:40,076 Speaker 1: the Bay. And so I think they were inspired by 132 00:07:40,076 --> 00:07:43,476 Speaker 1: each other. But Mustard was going to use a softer, 133 00:07:43,756 --> 00:07:47,396 Speaker 1: rounder bass sound instead of that acid base because it 134 00:07:47,476 --> 00:07:49,516 Speaker 1: might be a little more smooth, but he's still going 135 00:07:49,596 --> 00:07:53,716 Speaker 1: to keep it at one hundred bpm. The only the 136 00:07:53,716 --> 00:07:55,956 Speaker 1: only difference is sound choice. To me, really a little 137 00:07:55,956 --> 00:07:58,196 Speaker 1: bit of tempo, a little bit of sound choice, but 138 00:07:58,236 --> 00:08:01,676 Speaker 1: it's essentially the same vibe and you're getting across like 139 00:08:02,116 --> 00:08:04,036 Speaker 1: the same kind of feeling and you listen to like, 140 00:08:04,636 --> 00:08:09,636 Speaker 1: like even in other huge Mustard songs like be Honest 141 00:08:09,956 --> 00:08:13,076 Speaker 1: for kid Ink, like you hear the piano influence and 142 00:08:13,116 --> 00:08:27,156 Speaker 1: you hear other things that are very Detroit it's just 143 00:08:27,396 --> 00:08:30,196 Speaker 1: he opts for the snaps and the no hats and 144 00:08:30,276 --> 00:08:34,116 Speaker 1: the chill little like like the little chants and extra 145 00:08:34,156 --> 00:08:38,716 Speaker 1: percussion and hat rolls rather than the really strict fast 146 00:08:39,156 --> 00:08:41,476 Speaker 1: you know what I mean, hats and percussion of this 147 00:08:41,516 --> 00:08:43,356 Speaker 1: and that. But it's similar sound choice too. You hear 148 00:08:43,396 --> 00:08:47,596 Speaker 1: those same like chant sounds and same rim rolls and 149 00:08:47,636 --> 00:08:49,876 Speaker 1: everything in both the beats. It's just a matter of 150 00:08:49,916 --> 00:08:53,036 Speaker 1: like swing bounce mustards a little behind the beat or 151 00:08:53,036 --> 00:08:55,756 Speaker 1: I feel like Detroit stuff is either strictly quantized or 152 00:08:55,756 --> 00:08:58,236 Speaker 1: if anything, a little ahead. Do you think that, um, 153 00:08:58,756 --> 00:09:01,676 Speaker 1: the local drug choice makes a difference in the tempos 154 00:09:01,716 --> 00:09:05,156 Speaker 1: and it's it's got to. I mean, if you look 155 00:09:05,156 --> 00:09:08,156 Speaker 1: at the Bay, like one of the biggest movements ever 156 00:09:08,236 --> 00:09:09,796 Speaker 1: out of the Bay is a high fee movement. And 157 00:09:09,836 --> 00:09:11,596 Speaker 1: if you look at mac dre and keep the Sneak 158 00:09:11,636 --> 00:09:14,276 Speaker 1: and all those kinds of guys like it was very 159 00:09:14,276 --> 00:09:16,596 Speaker 1: informed by Molly, you know what I mean, and like 160 00:09:16,676 --> 00:09:18,196 Speaker 1: by the drugs that they were doing and stuff. And 161 00:09:18,196 --> 00:09:22,036 Speaker 1: in Detroit, I mean it's not necessarily drugs, but the 162 00:09:22,076 --> 00:09:23,516 Speaker 1: type of crime and the type of things that go 163 00:09:23,556 --> 00:09:27,356 Speaker 1: on their prostitution mainly and the different types of drugs, 164 00:09:27,356 --> 00:09:29,436 Speaker 1: like much more harder stuff. From what I understand, that 165 00:09:29,476 --> 00:09:33,356 Speaker 1: gets sold in Detroit way more prevalently is that's talked 166 00:09:33,356 --> 00:09:35,436 Speaker 1: about in the music way more, you know what I mean, 167 00:09:35,516 --> 00:09:37,876 Speaker 1: And from what I understand, the Bay Area and Detroit 168 00:09:37,916 --> 00:09:40,156 Speaker 1: of that in common with prostitution and things like that. 169 00:09:40,156 --> 00:09:42,996 Speaker 1: But you hear about different kinds of things because this 170 00:09:43,316 --> 00:09:45,876 Speaker 1: music is getting made on a street level and they're 171 00:09:45,956 --> 00:09:48,796 Speaker 1: just talking about what they know in that city. And 172 00:09:48,836 --> 00:09:51,516 Speaker 1: that's what gets the biggest reaction is the people who 173 00:09:51,516 --> 00:09:53,756 Speaker 1: are being the most authentic and the most honest and 174 00:09:53,836 --> 00:09:56,436 Speaker 1: the most regional. They're talking about things that specifically, you know, 175 00:09:56,556 --> 00:10:00,556 Speaker 1: this neighborhood. Like when you talk about New Orleans bounce music. 176 00:10:01,236 --> 00:10:04,516 Speaker 1: One of the characteristics of bounce music is call and response. 177 00:10:05,156 --> 00:10:07,996 Speaker 1: From day one with a big Freeda and Magnolia Shorty 178 00:10:08,036 --> 00:10:10,196 Speaker 1: and those kinds of people, like it was always about 179 00:10:11,076 --> 00:10:13,556 Speaker 1: getting the audience to respond to something that you were saying. 180 00:10:13,556 --> 00:10:15,956 Speaker 1: Even in the beats, it would be there'ld be these 181 00:10:15,956 --> 00:10:40,756 Speaker 1: big chants and something about like let me see you 182 00:10:40,756 --> 00:10:42,076 Speaker 1: bet it, let me see you bets it, let me 183 00:10:42,116 --> 00:10:44,436 Speaker 1: see you The energy is incredibly yeah, and it's so 184 00:10:44,516 --> 00:10:48,236 Speaker 1: high up and the whole genre of of of bounce 185 00:10:48,356 --> 00:10:50,796 Speaker 1: music is based in two or three drum samples. If 186 00:10:50,796 --> 00:10:53,356 Speaker 1: you ask anyone who knows anything about bounce music, they'll 187 00:10:53,356 --> 00:10:57,316 Speaker 1: tell you the trigger Man, uh drum loop is what 188 00:10:57,516 --> 00:11:00,076 Speaker 1: basically the whole genre was created off of it. If 189 00:11:00,116 --> 00:11:01,876 Speaker 1: you look up just the trigger Man, it's but the 190 00:11:01,916 --> 00:11:08,636 Speaker 1: original record is the show Boys. Everyone knows this. The 191 00:11:08,636 --> 00:11:11,196 Speaker 1: whole genre is based in that. And it's like that 192 00:11:11,196 --> 00:11:14,116 Speaker 1: that one break created this whole thing, and it's from 193 00:11:14,516 --> 00:11:16,596 Speaker 1: drum machines, you know what I mean. It's not a 194 00:11:16,676 --> 00:11:19,996 Speaker 1: James Brown thing. It's not an old meters like loop. 195 00:11:20,076 --> 00:11:23,476 Speaker 1: It's someone played those eight oh eight rims and then 196 00:11:23,796 --> 00:11:28,116 Speaker 1: sampled that and forty other songs and it created a 197 00:11:28,156 --> 00:11:29,636 Speaker 1: tempo and a vibe and this and that. But like 198 00:11:30,836 --> 00:11:34,516 Speaker 1: when you see the like the call and response thing 199 00:11:34,556 --> 00:11:38,036 Speaker 1: that goes on and bounce music turned into cash money 200 00:11:38,196 --> 00:11:41,516 Speaker 1: and no limit and artists like Juvenile or credited being 201 00:11:41,556 --> 00:11:44,396 Speaker 1: at the start of dance music and then they turned 202 00:11:44,436 --> 00:11:47,396 Speaker 1: into like crunk music from there. And then you see 203 00:11:47,396 --> 00:11:49,996 Speaker 1: little John all of a sudden be influenced by these 204 00:11:49,996 --> 00:11:54,516 Speaker 1: big call in response channel if you like everything he 205 00:11:54,596 --> 00:11:57,156 Speaker 1: was saying was always like further Crowd, like to the 206 00:11:57,316 --> 00:12:02,396 Speaker 1: Windows too. I was like, it's very New Orleans bounce, 207 00:12:02,636 --> 00:12:04,596 Speaker 1: you know what I mean. Even if you look at 208 00:12:04,636 --> 00:12:08,916 Speaker 1: like the influence on Memphis to crunk music and Little John, Like, 209 00:12:09,236 --> 00:12:13,076 Speaker 1: there's so many different parallels there. And at this point 210 00:12:13,276 --> 00:12:16,516 Speaker 1: when you trace back either the artists I'm working with, 211 00:12:16,516 --> 00:12:20,556 Speaker 1: the artists I'm big fans of, I'm not always like, oh, 212 00:12:20,596 --> 00:12:23,876 Speaker 1: this goes back to this old DJ Premier record and 213 00:12:23,956 --> 00:12:26,836 Speaker 1: that was sampled from this James Brown record, because I 214 00:12:26,836 --> 00:12:28,636 Speaker 1: feel like so much of hip hop is like that. 215 00:12:28,716 --> 00:12:31,196 Speaker 1: But now we're so far along that it's like I'm 216 00:12:31,196 --> 00:12:36,596 Speaker 1: tracing it back to people sampling something off an ASR 217 00:12:36,756 --> 00:12:38,636 Speaker 1: or you know, an NPC, and that only goes back 218 00:12:38,676 --> 00:12:42,316 Speaker 1: to the early nineties, late eighties, you know, like G 219 00:12:42,556 --> 00:12:46,396 Speaker 1: Easy and Cardi B have a current song. I think 220 00:12:46,436 --> 00:12:49,076 Speaker 1: it's called no Limit. Let me play it. If I 221 00:12:49,196 --> 00:12:51,836 Speaker 1: hit it one time, I'm a White book, if I 222 00:12:51,916 --> 00:12:55,156 Speaker 1: hit it two times in the like of if three 223 00:12:55,236 --> 00:12:57,956 Speaker 1: Times I'm a White it's the it's a sample of 224 00:12:57,996 --> 00:13:01,356 Speaker 1: slab of My Knob by three six Mafia. They redo 225 00:13:02,916 --> 00:13:05,476 Speaker 1: the flow. There's things about the beat that are really 226 00:13:05,476 --> 00:13:11,396 Speaker 1: similar than give Me don't have the eggs, don't have 227 00:13:11,556 --> 00:13:17,916 Speaker 1: to pay Memphis super Memphis like MPCs TR eight to eights, 228 00:13:17,956 --> 00:13:20,916 Speaker 1: super simple patterns. But like asap Ferg's biggest song last 229 00:13:20,956 --> 00:13:25,996 Speaker 1: year Ride with the Mob, hamdu A La check and 230 00:13:26,116 --> 00:13:30,116 Speaker 1: with Me and do your job is the name Bimbala 231 00:13:30,196 --> 00:13:34,196 Speaker 1: did the chain tona photo watch Presi Plaine Jain, Yeah, 232 00:13:34,236 --> 00:13:38,756 Speaker 1: make Guiney chain arrested piece So and that's a huge 233 00:13:38,796 --> 00:13:41,476 Speaker 1: New York artist and then a huge Bay Area artist 234 00:13:41,556 --> 00:13:44,636 Speaker 1: and Cardi also a New York artist, all being influenced 235 00:13:44,676 --> 00:13:47,596 Speaker 1: by an old song from Memphis, and three six Mafia 236 00:13:47,636 --> 00:13:50,516 Speaker 1: were known for slowing down the trigger Man break that 237 00:13:50,636 --> 00:13:54,636 Speaker 1: came from New Orleans. They all tie in in a 238 00:13:54,676 --> 00:13:58,156 Speaker 1: weird way. So like this has been something for me 239 00:13:58,196 --> 00:14:00,716 Speaker 1: that's just been such a phenomenon in the last few years, 240 00:14:00,756 --> 00:14:02,876 Speaker 1: because I stopped making hip hop for a while, and 241 00:14:02,916 --> 00:14:05,996 Speaker 1: I came back to it and was so scared that 242 00:14:06,036 --> 00:14:08,836 Speaker 1: my card would get pulled off, not understanding you don't 243 00:14:08,876 --> 00:14:11,756 Speaker 1: even certain thing that's going on in a city, or 244 00:14:11,756 --> 00:14:13,876 Speaker 1: the lineage of it and or how to make it 245 00:14:14,076 --> 00:14:16,196 Speaker 1: or the sound choice, and so I would get stuck 246 00:14:16,196 --> 00:14:19,116 Speaker 1: in these little pockets of being like Okay, I'm working 247 00:14:19,116 --> 00:14:24,276 Speaker 1: with this kid right now from Baltimore. I need to 248 00:14:24,396 --> 00:14:28,476 Speaker 1: understand more about what goes on there in the rap scene, 249 00:14:28,516 --> 00:14:30,596 Speaker 1: in the dance music scene, what kind of dances come 250 00:14:30,636 --> 00:14:33,316 Speaker 1: from there, what kind of attitude the people have from there, 251 00:14:33,356 --> 00:14:35,436 Speaker 1: and why the type of crime it's on in the city. 252 00:14:35,476 --> 00:14:38,036 Speaker 1: It's like, all these things inform the conversation of what 253 00:14:38,116 --> 00:14:39,996 Speaker 1: my high hat pattern is going to be when I 254 00:14:40,036 --> 00:14:43,876 Speaker 1: get there that day. And it's sometimes something that's small 255 00:14:44,396 --> 00:14:46,676 Speaker 1: that gets the person to get on the record and 256 00:14:46,716 --> 00:14:49,996 Speaker 1: do their thing or not because you're assuming, like, oh, 257 00:14:50,076 --> 00:14:51,756 Speaker 1: let me just let me clean that up that snares 258 00:14:51,756 --> 00:14:53,396 Speaker 1: a little ahead of the beat, let me just quantize 259 00:14:53,436 --> 00:14:55,356 Speaker 1: that for you, and then do a similar beat to 260 00:14:55,476 --> 00:14:58,276 Speaker 1: your last single. And then guys get there and they're like, nah, 261 00:14:58,356 --> 00:15:01,156 Speaker 1: this doesn't feel right. And it's not always even the 262 00:15:01,276 --> 00:15:03,476 Speaker 1: volume in the studio or the sound choice or anything 263 00:15:03,516 --> 00:15:07,876 Speaker 1: like that. It doesn't rhythmically hit where they're used to 264 00:15:07,876 --> 00:15:09,636 Speaker 1: it hitting in their head when they think about home 265 00:15:09,676 --> 00:15:11,956 Speaker 1: and they think about the process of making music that 266 00:15:11,996 --> 00:15:14,196 Speaker 1: they started with in their basement with their friends, and 267 00:15:14,236 --> 00:15:17,076 Speaker 1: it probably affects a comfort level in there in the 268 00:15:17,116 --> 00:15:20,196 Speaker 1: way the rhyme works. It's like if you're used to 269 00:15:20,236 --> 00:15:22,556 Speaker 1: a certain bounce and writing to a certain bounce and 270 00:15:22,596 --> 00:15:27,796 Speaker 1: a comfort level, it's harder to it's harder to channel that. Yeah, 271 00:15:27,996 --> 00:15:30,636 Speaker 1: if it's bouncing different, even if the temple is the same. 272 00:15:31,116 --> 00:15:34,636 Speaker 1: And I think guys assume that they're being a good 273 00:15:34,676 --> 00:15:38,236 Speaker 1: engineer or a friend to the artist or the song 274 00:15:38,396 --> 00:15:41,996 Speaker 1: by trying to clean something up with an equeue or 275 00:15:41,996 --> 00:15:45,236 Speaker 1: trying to put it on beat, or trying to make 276 00:15:45,276 --> 00:15:47,596 Speaker 1: it relate to something that they think is working right 277 00:15:47,596 --> 00:15:49,716 Speaker 1: now on the radio or for another artist, blah blah, 278 00:15:49,716 --> 00:15:53,636 Speaker 1: And that's where you lose everything. And for me, it's 279 00:15:53,636 --> 00:15:56,956 Speaker 1: like understanding when a new artist comes to the studio 280 00:15:56,996 --> 00:15:59,956 Speaker 1: from New Orleans that it's not always a conversation of like, oh, 281 00:15:59,956 --> 00:16:01,956 Speaker 1: do you understand the trigger man break and help bounce 282 00:16:01,996 --> 00:16:06,356 Speaker 1: music started? It's not that, but it informs where they're from, 283 00:16:06,396 --> 00:16:08,516 Speaker 1: what they grew up on. Maybe they lean towards these 284 00:16:08,596 --> 00:16:11,476 Speaker 1: kinds of tempt Maybe they scored these rhythms, maybe not, 285 00:16:11,516 --> 00:16:13,716 Speaker 1: but it's in each case to learn about them. Did 286 00:16:13,756 --> 00:16:16,396 Speaker 1: you have to go to the places I haven't been 287 00:16:16,396 --> 00:16:18,076 Speaker 1: to a lot of the places I've wanted to, but 288 00:16:18,476 --> 00:16:20,636 Speaker 1: a lot of times. I'd been to these places before 289 00:16:21,196 --> 00:16:24,116 Speaker 1: I learned more about it, because I'd traveled as a 290 00:16:24,196 --> 00:16:27,556 Speaker 1: DJ for years. I've been to forty something states playing shows, 291 00:16:28,196 --> 00:16:30,436 Speaker 1: but then came back into hip hop and working with 292 00:16:30,436 --> 00:16:31,996 Speaker 1: all these different artists a lot of the time in 293 00:16:32,196 --> 00:16:35,716 Speaker 1: LA and it was kind of like getting schooled about 294 00:16:35,716 --> 00:16:37,236 Speaker 1: these places that yeah, I've been there. Oh yeah, I 295 00:16:37,276 --> 00:16:39,796 Speaker 1: know about this neighborhood and this restaurant and so forth 296 00:16:39,836 --> 00:16:42,916 Speaker 1: and so on. But did I ever apply any of 297 00:16:42,956 --> 00:16:45,116 Speaker 1: that knowledge of what I'd even seen in my life 298 00:16:45,116 --> 00:16:47,396 Speaker 1: to the music. No, not before someone was right in 299 00:16:47,436 --> 00:16:49,756 Speaker 1: front of me and was saying to me, like, now 300 00:16:49,876 --> 00:16:52,876 Speaker 1: this is how we do it, like it's sposed that's 301 00:16:52,876 --> 00:16:55,756 Speaker 1: supposed to be what's wrong to you, that's right to us, 302 00:16:56,476 --> 00:17:00,716 Speaker 1: And now like that's paramount for me. So it still 303 00:17:00,716 --> 00:17:04,716 Speaker 1: wouldn't be what you make wouldn't really follow a templated 304 00:17:04,796 --> 00:17:09,596 Speaker 1: you'd use this information as it's like a menu of 305 00:17:09,716 --> 00:17:13,036 Speaker 1: things to pick from because you don't want to make 306 00:17:13,036 --> 00:17:17,276 Speaker 1: the same record someone else made. Never but it's basically 307 00:17:18,116 --> 00:17:19,956 Speaker 1: a lot of the time the job. I feel like 308 00:17:19,956 --> 00:17:22,716 Speaker 1: if the producer in the studio should be just to 309 00:17:22,796 --> 00:17:26,196 Speaker 1: give the vocabulary to the artist so they can get 310 00:17:26,196 --> 00:17:28,556 Speaker 1: out their idea better. You're trying to show them, Okay, 311 00:17:28,596 --> 00:17:30,356 Speaker 1: maybe you want to try this vocal effect, or you 312 00:17:30,356 --> 00:17:32,036 Speaker 1: want to try this instrument, or you wanta try this 313 00:17:32,116 --> 00:17:35,076 Speaker 1: variation of this instrument. For me, it was giving me 314 00:17:35,596 --> 00:17:41,036 Speaker 1: a vocabulary to understand what they're doing, you know what 315 00:17:41,116 --> 00:17:43,996 Speaker 1: I mean, because a lot of times I'm always helping 316 00:17:44,156 --> 00:17:45,996 Speaker 1: you know what I mean, And like, this is the 317 00:17:46,116 --> 00:17:48,876 Speaker 1: artist helping me to just come into their world. Even 318 00:17:48,876 --> 00:17:51,676 Speaker 1: if we don't use that lesson today, a decision I 319 00:17:51,756 --> 00:17:53,636 Speaker 1: make or a sound choice or whatever is going to 320 00:17:53,716 --> 00:17:57,636 Speaker 1: be just informed by the conversation of oh, like you 321 00:17:57,756 --> 00:18:01,716 Speaker 1: make music from Memphis, you know I mean, I'd work 322 00:18:01,716 --> 00:18:04,396 Speaker 1: on a lot of rap. So, like we were saying 323 00:18:04,396 --> 00:18:07,476 Speaker 1: with the Bounce music, shouting out, where you're from, who 324 00:18:07,516 --> 00:18:10,236 Speaker 1: you are, what you stand for is a quintessential like 325 00:18:10,716 --> 00:18:12,756 Speaker 1: cornerstone of a lot of the artists I work with. 326 00:18:12,796 --> 00:18:15,476 Speaker 1: Where they're from is who they are, And my mind, 327 00:18:15,516 --> 00:18:18,156 Speaker 1: I'm like, Okay, would an ode to where you come 328 00:18:18,236 --> 00:18:21,156 Speaker 1: from as far as the tempo or a sample or 329 00:18:21,196 --> 00:18:23,756 Speaker 1: the sound choice set it off when you play this 330 00:18:23,876 --> 00:18:27,116 Speaker 1: live in your hometown, I think it would. And like 331 00:18:27,436 --> 00:18:29,476 Speaker 1: those are the moments where this becomes a tool where 332 00:18:29,476 --> 00:18:33,116 Speaker 1: you're like, oh my god, where the DJ mentality brought 333 00:18:33,156 --> 00:18:38,436 Speaker 1: into production really helps. You're always thinking about what's going 334 00:18:38,476 --> 00:18:41,236 Speaker 1: to rock the club. But isn't that what you would 335 00:18:41,236 --> 00:18:43,356 Speaker 1: say when you used to talk about the first records 336 00:18:43,676 --> 00:18:45,676 Speaker 1: on deaf Jam is that the rap records that were 337 00:18:45,676 --> 00:18:48,196 Speaker 1: coming out didn't reflect how it felt when you went 338 00:18:48,236 --> 00:18:49,996 Speaker 1: to a rap show. You would hear all this scratching 339 00:18:50,316 --> 00:18:52,276 Speaker 1: and all this mic work and all these things, and 340 00:18:52,316 --> 00:18:55,956 Speaker 1: like that's what brought those songs to life. I think 341 00:18:56,036 --> 00:19:01,116 Speaker 1: with people now, like whenever that breakbeat or triggerman sample 342 00:19:01,276 --> 00:19:04,596 Speaker 1: or old vocal thing or something from your childhood or 343 00:19:04,596 --> 00:19:07,796 Speaker 1: that place that makes you think of somewhere comes into 344 00:19:07,836 --> 00:19:10,756 Speaker 1: a new song now with an updated type of beat 345 00:19:10,876 --> 00:19:14,436 Speaker 1: or drum sound or tempo or whatever it is, it 346 00:19:14,556 --> 00:19:19,436 Speaker 1: already like sets such a strong platform and foundation for 347 00:19:19,516 --> 00:19:22,476 Speaker 1: like this song to reach a lot of people and 348 00:19:22,516 --> 00:19:24,036 Speaker 1: make them feel a lot you know what I mean, 349 00:19:24,076 --> 00:19:26,156 Speaker 1: because it's it's routed and like, oh, this is an 350 00:19:26,196 --> 00:19:30,996 Speaker 1: experience a lot of these producers that created these waves 351 00:19:30,996 --> 00:19:32,796 Speaker 1: and these sounds, whether it was what they were playing 352 00:19:32,876 --> 00:19:35,476 Speaker 1: or they're sampling or whatever. I think they're shocked now 353 00:19:35,516 --> 00:19:37,836 Speaker 1: that a lot of times on hip hop, the music 354 00:19:37,916 --> 00:19:40,836 Speaker 1: serves like a bed behind these huge drums, and it's 355 00:19:40,836 --> 00:19:43,516 Speaker 1: not these samples right in the front of these big 356 00:19:43,796 --> 00:19:47,436 Speaker 1: melodies or keyboards things. It's like there's kids who were 357 00:19:47,476 --> 00:19:50,716 Speaker 1: so influenced by crunk music and by three six Maffi 358 00:19:50,796 --> 00:19:53,316 Speaker 1: and by all these things that now it's like the 359 00:19:53,436 --> 00:19:56,116 Speaker 1: drums and the swing of the drums and the sounds 360 00:19:56,116 --> 00:19:58,916 Speaker 1: of the drums are the biggest thing in so many records, 361 00:19:59,076 --> 00:20:01,436 Speaker 1: and you end up with artists like Splurge and ten 362 00:20:01,516 --> 00:20:03,276 Speaker 1: K and kids from Texas who just rap on eight 363 00:20:03,316 --> 00:20:06,676 Speaker 1: o eights Do you want to play? Sure? Splurge is 364 00:20:06,756 --> 00:20:12,716 Speaker 1: from Arlington. These kids just wrap on just drumps. Yeah, 365 00:20:16,516 --> 00:20:18,036 Speaker 1: get that shit to my mom. He'll deal with the 366 00:20:18,076 --> 00:20:20,236 Speaker 1: fashion that she came from town. I came from the mood. 367 00:20:20,236 --> 00:20:23,196 Speaker 1: She took some time. I really to drink like a 368 00:20:23,636 --> 00:20:25,676 Speaker 1: little bits, to go to the pen like a prison. 369 00:20:26,076 --> 00:20:29,596 Speaker 1: Is so good. He's in every single label, meeting everything 370 00:20:29,596 --> 00:20:32,036 Speaker 1: he could be in, telling them no melodies, no hooks. 371 00:20:32,436 --> 00:20:37,036 Speaker 1: It's so good. His mixtape was called no Melody, the 372 00:20:37,156 --> 00:20:41,556 Speaker 1: name of the tape, Like they are the most quintessential 373 00:20:41,596 --> 00:20:44,596 Speaker 1: example of like just getting at how you live, making 374 00:20:45,036 --> 00:20:47,076 Speaker 1: what sounds good to your friends where they are. And 375 00:20:47,076 --> 00:20:49,516 Speaker 1: I think it was it's with Spurs, like he's to 376 00:20:49,556 --> 00:20:51,516 Speaker 1: the point now where if he doesn't just hear something 377 00:20:51,596 --> 00:20:54,956 Speaker 1: big and hard and instinctual and powerful that everybody in 378 00:20:54,996 --> 00:20:58,916 Speaker 1: the room goes, he doesn't even want it. And that's 379 00:20:58,916 --> 00:21:00,396 Speaker 1: what I was saying about the good and bad parts 380 00:21:00,396 --> 00:21:02,876 Speaker 1: of that. And hip hop is like it informs people 381 00:21:03,116 --> 00:21:06,036 Speaker 1: in a certain respect of like, Okay, we know this 382 00:21:06,116 --> 00:21:07,716 Speaker 1: is gonna work at the club, and we know that 383 00:21:07,716 --> 00:21:10,036 Speaker 1: this is gonna go off in this region. Kids from 384 00:21:10,076 --> 00:21:12,836 Speaker 1: around here are going to rock with how this song 385 00:21:12,956 --> 00:21:16,476 Speaker 1: is moving because it just feeds into what we all 386 00:21:16,516 --> 00:21:19,196 Speaker 1: know and what we all collectively like the zeitgeist of 387 00:21:20,076 --> 00:21:24,476 Speaker 1: this area. Like it's crazy when you see artists who 388 00:21:24,476 --> 00:21:27,116 Speaker 1: are very much from somewhere and act like it and 389 00:21:27,156 --> 00:21:29,996 Speaker 1: look like it and have the same slang and accent 390 00:21:30,116 --> 00:21:32,956 Speaker 1: or whatever, but their music just sounds like somewhere else 391 00:21:33,476 --> 00:21:36,356 Speaker 1: very specifically, even like kids like Shoreline Mafia who are 392 00:21:36,436 --> 00:21:38,876 Speaker 1: from LA and very big in LA. People always talk 393 00:21:38,876 --> 00:21:41,356 Speaker 1: about how bay their music is, and yet it's within 394 00:21:41,396 --> 00:21:45,236 Speaker 1: a state, but it's two completely different scenes and sounds, 395 00:21:45,316 --> 00:21:48,076 Speaker 1: And I mean New York is really kind of an 396 00:21:48,076 --> 00:21:52,156 Speaker 1: outlier too. I feel like even today, like I think 397 00:21:52,436 --> 00:21:55,036 Speaker 1: New York, a lot of young, hot New York artists 398 00:21:55,356 --> 00:21:58,396 Speaker 1: hate the fact that when people talk about New York beats, 399 00:21:58,396 --> 00:22:04,196 Speaker 1: they think of Boom Bat nine, they think of Wu 400 00:22:04,276 --> 00:22:07,556 Speaker 1: Tang type rhythms and beats and you know what I mean, 401 00:22:07,756 --> 00:22:11,676 Speaker 1: they think of Alchemists beats, they of mob Deep. But 402 00:22:11,756 --> 00:22:14,316 Speaker 1: if you look at the newest, biggest songs from there, 403 00:22:14,356 --> 00:22:17,276 Speaker 1: if you look at all six Nines music, it's the same. 404 00:22:17,436 --> 00:22:19,796 Speaker 1: It's in the nineties, it's all ninety ninety five. If 405 00:22:19,796 --> 00:22:22,876 Speaker 1: you look at Bobby Schmirda, his biggest song ever, hot 406 00:22:22,916 --> 00:22:27,036 Speaker 1: Boy Like, it was literally boom Bat DJ premier New 407 00:22:27,116 --> 00:22:30,436 Speaker 1: York City rap music tempo, it's the it's these kinds 408 00:22:30,436 --> 00:22:34,276 Speaker 1: of things you're hearing now and and drill music and 409 00:22:34,316 --> 00:22:36,716 Speaker 1: in the New Atlanta musicles of the New York. Yeah, 410 00:22:36,876 --> 00:22:55,036 Speaker 1: let's play like a classic one n This is the 411 00:22:55,036 --> 00:22:57,076 Speaker 1: first thing you played that sounds like it's rooted in 412 00:22:57,116 --> 00:23:00,756 Speaker 1: a breakbeat feel totally. And but that's that's classic New York. 413 00:23:00,796 --> 00:23:03,556 Speaker 1: I think when people think New York, that's what they 414 00:23:03,636 --> 00:23:10,396 Speaker 1: think of. And then you look at like the biggest 415 00:23:10,436 --> 00:23:13,076 Speaker 1: artist in New York now like Gummo actually wasn't even 416 00:23:13,076 --> 00:23:16,116 Speaker 1: in the nineties as far BPM rights, but a lot 417 00:23:16,156 --> 00:23:24,716 Speaker 1: of six nines music works in the same tempos. They 418 00:23:24,756 --> 00:23:31,276 Speaker 1: never pop you fully by Whatsout, My nap Out, Mom 419 00:23:31,356 --> 00:23:34,596 Speaker 1: got outs Out, We got so about my Nigga's really 420 00:23:34,636 --> 00:23:39,676 Speaker 1: game ban same day. It's so fast. It sounds like 421 00:23:39,716 --> 00:23:43,716 Speaker 1: a descendant of Crunk though totally, But this is New 422 00:23:43,796 --> 00:23:47,436 Speaker 1: York rap now. Interesting. Bobby Schmirda, do you remember when 423 00:23:47,436 --> 00:23:50,596 Speaker 1: you first heard Crunk? Yeah, I was like eight. Did 424 00:23:50,636 --> 00:23:53,476 Speaker 1: it blow your mind? Because it destroyed me when I 425 00:23:53,516 --> 00:23:58,356 Speaker 1: heard I loved it. I remember hearing like Young Bloods 426 00:23:58,596 --> 00:24:02,436 Speaker 1: and Ying Yang Twins and hearing Little John's production first 427 00:24:02,516 --> 00:24:06,116 Speaker 1: and just being like in awe of how simple and 428 00:24:06,236 --> 00:24:08,956 Speaker 1: hard it was. Yeah, and just being like like, remember 429 00:24:08,956 --> 00:24:14,396 Speaker 1: the whisper song by Getting Twins, Doom Doom Doom Doom Doom. 430 00:24:14,916 --> 00:24:21,436 Speaker 1: I'm like, oh you find it? Yeah, you doing my 431 00:24:21,516 --> 00:24:26,716 Speaker 1: Little Mamma Lemon Whisper. Yeah, you think about it. This 432 00:24:26,876 --> 00:24:30,556 Speaker 1: was a hit so cool, and they're not too far 433 00:24:30,636 --> 00:24:32,396 Speaker 1: away from what Splurge is doing now. It's an eight 434 00:24:32,436 --> 00:24:36,796 Speaker 1: to eight and a snap, splurgees then eight to eighty. Hey, 435 00:24:36,876 --> 00:24:43,676 Speaker 1: let me hear it. Hut you super distorted and like 436 00:24:43,876 --> 00:24:46,716 Speaker 1: super new with the sound choice, but it's still just 437 00:24:47,116 --> 00:24:50,476 Speaker 1: drums and it's focused on the flow. And now they 438 00:24:50,516 --> 00:24:53,596 Speaker 1: call it ASMR. But I feel like with like the 439 00:24:53,796 --> 00:24:57,676 Speaker 1: Whisper song, Hey, all that extra mouth noise and everything 440 00:24:57,796 --> 00:24:59,596 Speaker 1: here is what makes it so interesting on such a 441 00:24:59,636 --> 00:25:02,996 Speaker 1: simple beat. And with Splurge they record it in the 442 00:25:03,076 --> 00:25:04,716 Speaker 1: middle of a room with all his friends and you 443 00:25:04,916 --> 00:25:07,836 Speaker 1: hear all this room noise and extra stuff. And he 444 00:25:07,956 --> 00:25:10,276 Speaker 1: also wraps really quiet and really in front of the mic, 445 00:25:10,676 --> 00:25:14,756 Speaker 1: similar in Palette you know what. And songs like the 446 00:25:14,916 --> 00:25:19,516 Speaker 1: Motto by Drake, like huge hit with Little Wayne, I'm 447 00:25:19,596 --> 00:25:22,076 Speaker 1: a fucking man, y'all get it? Do you? Type of 448 00:25:22,156 --> 00:25:24,316 Speaker 1: money a body I can like a million, just like 449 00:25:24,396 --> 00:25:28,436 Speaker 1: the Whisper song though a three note eight to eight baseline, claps, snares, hats, 450 00:25:29,076 --> 00:25:32,636 Speaker 1: that's Bay tempo. It's very Bay Area in the bounce 451 00:25:32,676 --> 00:25:36,156 Speaker 1: of it. But it's like it shows like in Texas, 452 00:25:37,556 --> 00:25:41,756 Speaker 1: in Texas and in Atlanta and in the Bay Area. 453 00:25:41,916 --> 00:25:46,276 Speaker 1: Necessarily like the same sound choice, you know what, I mean? 454 00:25:46,476 --> 00:25:51,116 Speaker 1: Three or four ideas with the bounce of that respective city, yes, 455 00:25:51,516 --> 00:25:55,436 Speaker 1: the tempo of that respective city. Yes, it's it's that 456 00:25:56,116 --> 00:25:59,756 Speaker 1: instinctual and elemental. It's like we can talk about how 457 00:26:00,876 --> 00:26:03,916 Speaker 1: certain instruments work better in certain parts of the country, 458 00:26:03,996 --> 00:26:07,116 Speaker 1: or certain people respond to horns more in New Orleans 459 00:26:07,196 --> 00:26:09,996 Speaker 1: and Atlanta than where they were spond to pianos and 460 00:26:10,116 --> 00:26:13,956 Speaker 1: strings in the Midwest. Like, I think the tempo and 461 00:26:14,076 --> 00:26:16,996 Speaker 1: the bounce. The bounce and the swing of the records 462 00:26:16,996 --> 00:26:19,836 Speaker 1: are like the two things that really make the biggest 463 00:26:19,876 --> 00:26:22,236 Speaker 1: difference in every part of the country. Because if you 464 00:26:22,316 --> 00:26:25,076 Speaker 1: can get it down to just a base sound in 465 00:26:25,236 --> 00:26:28,516 Speaker 1: a clap or something in the two four but just 466 00:26:28,676 --> 00:26:31,356 Speaker 1: changed one hundred bpm over here, different the kick hits 467 00:26:31,396 --> 00:26:34,556 Speaker 1: a little different in the pattern one hundred thirty bpm 468 00:26:34,636 --> 00:26:38,636 Speaker 1: over here and then one fifty over here. It's like 469 00:26:39,196 --> 00:26:42,676 Speaker 1: it's really about how people feel and how it moves them, 470 00:26:42,996 --> 00:26:48,676 Speaker 1: and maybe the drugs of the city or where people 471 00:26:48,836 --> 00:26:50,956 Speaker 1: party in that respective city or how they party or 472 00:26:50,996 --> 00:26:53,636 Speaker 1: whatever has something to do with that. But at the 473 00:26:53,676 --> 00:26:56,396 Speaker 1: same time, as like there's we've already seen just in 474 00:26:56,436 --> 00:26:59,116 Speaker 1: this conversation, how many things trace back to how many 475 00:26:59,236 --> 00:27:04,076 Speaker 1: other things the cities that believe in the music and 476 00:27:04,156 --> 00:27:05,876 Speaker 1: in the hip hop and see it as a business. 477 00:27:06,276 --> 00:27:09,556 Speaker 1: Are the ones where the sound finally takes press and 478 00:27:09,676 --> 00:27:12,436 Speaker 1: it's not always where it originated. Yeah, I've heard people 479 00:27:12,436 --> 00:27:15,396 Speaker 1: talk about that with Memphis. But if people in Memphis 480 00:27:16,556 --> 00:27:18,996 Speaker 1: had the belief in the business of hip hop that 481 00:27:19,076 --> 00:27:22,116 Speaker 1: they did in Atlanta, crunk music would have started in 482 00:27:22,196 --> 00:27:25,916 Speaker 1: Memphis first, or certain other let's say, just any kind 483 00:27:25,956 --> 00:27:29,076 Speaker 1: of niche trend thing could have popped off in the 484 00:27:29,156 --> 00:27:32,556 Speaker 1: city where they created it rather than somewhere like the 485 00:27:32,676 --> 00:27:35,556 Speaker 1: Bay or a guy like DJ Mustard sees, Oh, this 486 00:27:35,636 --> 00:27:37,756 Speaker 1: has the potential to be. That's what That's what the 487 00:27:37,876 --> 00:27:40,036 Speaker 1: great artists have always done, though the great artists have 488 00:27:40,236 --> 00:27:46,836 Speaker 1: recognized them the local scenes where something's being made that's 489 00:27:46,916 --> 00:27:49,916 Speaker 1: really cool, but it's really only for their and they 490 00:27:51,036 --> 00:27:54,076 Speaker 1: can take the DNA of that and make it into 491 00:27:54,196 --> 00:27:57,756 Speaker 1: something that becomes national totally. And it's always or global 492 00:27:57,836 --> 00:28:00,076 Speaker 1: And that's always been It's always been that way. It's 493 00:28:00,116 --> 00:28:02,956 Speaker 1: always been even in rock and roll. You know, it's 494 00:28:02,956 --> 00:28:07,356 Speaker 1: always been like hearing something and then amplifying it in 495 00:28:07,396 --> 00:28:10,556 Speaker 1: a new way and it gets you know, it's like 496 00:28:10,676 --> 00:28:12,876 Speaker 1: with Led Zeppelin and the Blues you know, like like 497 00:28:13,556 --> 00:28:16,276 Speaker 1: that it had to cross it had to cross the 498 00:28:16,356 --> 00:28:22,596 Speaker 1: Atlantic to get that blown up, because anyone, any self 499 00:28:22,716 --> 00:28:25,956 Speaker 1: respecting blues artist wouldn't play music that was It'd be 500 00:28:25,996 --> 00:28:30,316 Speaker 1: like ridiculous. Yeah, but that's what made it international was 501 00:28:30,396 --> 00:28:33,756 Speaker 1: that it like h And also sometimes it's interesting too 502 00:28:33,796 --> 00:28:41,276 Speaker 1: that sometimes the misunderstanding of something that you like forces 503 00:28:41,356 --> 00:28:44,196 Speaker 1: you to make something that you think you're making something 504 00:28:44,476 --> 00:28:47,796 Speaker 1: like what you heard, and then it comes out completely 505 00:28:47,876 --> 00:28:50,476 Speaker 1: different just because you're you're hearing it different or you 506 00:28:50,516 --> 00:28:51,916 Speaker 1: don't know how to make that stuff and you're just 507 00:28:52,036 --> 00:28:54,196 Speaker 1: trying to guess it at the end of the third thing, Yeah, 508 00:28:54,276 --> 00:28:56,756 Speaker 1: which is also great, Like a lot of great stuff 509 00:28:56,796 --> 00:28:58,516 Speaker 1: happens that way. It was like kind of aiming for 510 00:28:58,596 --> 00:29:01,796 Speaker 1: one thing and getting something completely different. We'll be right 511 00:29:01,836 --> 00:29:08,636 Speaker 1: back with Kenny Beats after a quick break. We're back 512 00:29:08,676 --> 00:29:13,036 Speaker 1: with Rick and Kenny Beats. I think seeing this part 513 00:29:13,076 --> 00:29:16,356 Speaker 1: of the matrix is one of my biggest strengths in 514 00:29:16,516 --> 00:29:20,316 Speaker 1: any room with people making music, because especially if I'm 515 00:29:20,356 --> 00:29:22,516 Speaker 1: in like a very stuffy room with a lot of 516 00:29:22,556 --> 00:29:25,276 Speaker 1: top shelf people who are doing very big things and 517 00:29:25,956 --> 00:29:29,356 Speaker 1: trying to preemptively figure out what's gonna work really well 518 00:29:29,436 --> 00:29:31,116 Speaker 1: for their fan base or whatever. When you come in 519 00:29:31,196 --> 00:29:34,316 Speaker 1: a room like that and you play like a kid 520 00:29:34,436 --> 00:29:37,956 Speaker 1: like Tissa Korean for example, who's actually now on the 521 00:29:38,036 --> 00:29:41,516 Speaker 1: new Chance the Rapper single, but like Tissa months ago 522 00:29:41,636 --> 00:29:51,676 Speaker 1: was just making funny music but dancing in it again 523 00:29:51,876 --> 00:29:55,196 Speaker 1: from Texas just drums, twenty year old kid who's really 524 00:29:55,276 --> 00:29:57,716 Speaker 1: popping the there right now invented a bunch of dance 525 00:29:57,756 --> 00:30:00,796 Speaker 1: crazes and stuff. If I play a Tissa Korean video 526 00:30:00,916 --> 00:30:04,316 Speaker 1: in a room I'm in with all these really stressed out, 527 00:30:04,356 --> 00:30:08,396 Speaker 1: really popping people, instantly it just lightens up the vibe 528 00:30:08,436 --> 00:30:11,436 Speaker 1: because now not like, oh, what's the perfect chord change, 529 00:30:11,436 --> 00:30:14,076 Speaker 1: it's like, oh, this kid's funny, Like oh this song 530 00:30:14,276 --> 00:30:16,116 Speaker 1: is just some big eight O waights and this kid's 531 00:30:16,196 --> 00:30:18,636 Speaker 1: rapping super crazy and they're all dancing wild in the video. 532 00:30:18,876 --> 00:30:21,316 Speaker 1: Instantly everyone's watching the screen and now it's like, oh, 533 00:30:21,396 --> 00:30:23,476 Speaker 1: this gets funny. I imagine we did something like this. 534 00:30:23,876 --> 00:30:25,876 Speaker 1: Imagine we tried that tempo I met and it's a 535 00:30:26,036 --> 00:30:29,756 Speaker 1: joke at first, yeah, and it's like, oh, well, like 536 00:30:30,356 --> 00:30:33,636 Speaker 1: this is an extreme example because Tissa's so off the wall. 537 00:30:33,716 --> 00:30:37,236 Speaker 1: But Chance saw this kid somewhere and was like, I 538 00:30:37,356 --> 00:30:39,436 Speaker 1: just love his energy. Let me harness it, let me 539 00:30:39,716 --> 00:30:41,676 Speaker 1: see what works about his music that I could apply. 540 00:30:42,356 --> 00:30:45,196 Speaker 1: And the first single from Chances long awaited album is 541 00:30:45,236 --> 00:30:48,636 Speaker 1: featuring Tissa Korean and they dropped it on Triller the 542 00:30:48,836 --> 00:30:53,316 Speaker 1: dance app before streaming services because Tissa's so popping in 543 00:30:53,396 --> 00:30:55,996 Speaker 1: that world that every little young kid dances to his songs. 544 00:30:56,436 --> 00:31:00,956 Speaker 1: But you see how like being aware of these cool, 545 00:31:01,276 --> 00:31:07,756 Speaker 1: small regional things like almost help reinspire the people who 546 00:31:07,796 --> 00:31:09,996 Speaker 1: are the best at it. But this is coming from 547 00:31:10,036 --> 00:31:12,116 Speaker 1: such a place of just like honesty, and like we 548 00:31:12,436 --> 00:31:14,556 Speaker 1: literally want an artist I'm working with right now records 549 00:31:14,556 --> 00:31:16,876 Speaker 1: all his songs in the garage band on his Apple 550 00:31:16,996 --> 00:31:20,556 Speaker 1: microphone on his computer and use all garage band loops 551 00:31:21,036 --> 00:31:41,516 Speaker 1: play something. I'm sure his Bubba Savage Old Bubba is 552 00:31:41,556 --> 00:31:45,316 Speaker 1: twelve years old from Courtland, av in the Bronx. Little 553 00:31:45,316 --> 00:31:47,876 Speaker 1: Oozi's working with him, a Boogie's working with him. All 554 00:31:47,916 --> 00:31:49,836 Speaker 1: these huge artists are a fan of him because he 555 00:31:49,996 --> 00:31:52,516 Speaker 1: just says whatever he wants. But when you put on 556 00:31:52,596 --> 00:31:55,636 Speaker 1: the Buba video in the serious session, kids go, is 557 00:31:55,716 --> 00:31:58,996 Speaker 1: that a twelve year old kid rapping about I'll make 558 00:31:59,036 --> 00:32:01,636 Speaker 1: you disappear? Like magic? You're like, you know, and then 559 00:32:02,316 --> 00:32:04,436 Speaker 1: instantly they start doing You're dealing, We start laughing, it 560 00:32:04,436 --> 00:32:09,116 Speaker 1: starts being funny. And then like I was a female 561 00:32:09,396 --> 00:32:10,876 Speaker 1: the day, a lot of her music is very cute, 562 00:32:10,876 --> 00:32:12,356 Speaker 1: and she heard that piano loop and she's like, oh 563 00:32:12,356 --> 00:32:14,756 Speaker 1: my god, I love this. And then I pulled up 564 00:32:14,796 --> 00:32:17,196 Speaker 1: a bunch of xylophones. We started working with xylophones, and 565 00:32:17,316 --> 00:32:19,476 Speaker 1: we made a real song, you know. And so like 566 00:32:20,236 --> 00:32:22,396 Speaker 1: that's why I focus so hard on these things, because 567 00:32:22,476 --> 00:32:25,876 Speaker 1: these this is what it's inspiring me. It's not getting 568 00:32:25,916 --> 00:32:27,996 Speaker 1: in the room with like the biggest genius ever of 569 00:32:28,036 --> 00:32:30,076 Speaker 1: all time and then showing me how to make a 570 00:32:30,156 --> 00:32:32,836 Speaker 1: record to reach a billion people. It's what's happening in 571 00:32:32,956 --> 00:32:37,436 Speaker 1: this small, small corner of the country that makes those 572 00:32:37,676 --> 00:32:40,756 Speaker 1: people from that part of the country erupt in a 573 00:32:40,916 --> 00:32:43,956 Speaker 1: different way than the fans of the biggest artists ever. 574 00:32:44,116 --> 00:32:47,836 Speaker 1: Like when something's for you from you, by you, you 575 00:32:47,916 --> 00:32:50,356 Speaker 1: know what I mean, where you grew up, Like a 576 00:32:50,516 --> 00:32:53,236 Speaker 1: party in the Bay with all Bay artists with two 577 00:32:53,316 --> 00:32:56,436 Speaker 1: hundred people in a basement is an uncomparable energy to me. 578 00:32:57,076 --> 00:32:59,836 Speaker 1: And like people who play big shows, there's always the 579 00:32:59,836 --> 00:33:02,636 Speaker 1: conversation of like would you rather play for twenty thousand 580 00:33:02,716 --> 00:33:05,596 Speaker 1: people or two hundred of your best fans in the 581 00:33:05,756 --> 00:33:08,076 Speaker 1: world in this one room, and like it's clearly going 582 00:33:08,156 --> 00:33:10,356 Speaker 1: to be better than with the two hundred people. I mean, 583 00:33:10,516 --> 00:33:12,716 Speaker 1: for sure, I think the ladder is always it And 584 00:33:12,796 --> 00:33:15,756 Speaker 1: that's how I look at this. It's like I never 585 00:33:15,956 --> 00:33:18,156 Speaker 1: choose an artist I'm working with because if they're young 586 00:33:18,236 --> 00:33:21,556 Speaker 1: and popping, or because they have a certain wave anywhere. 587 00:33:21,596 --> 00:33:25,316 Speaker 1: I just like what I like and like giving context 588 00:33:25,396 --> 00:33:29,636 Speaker 1: to people is my number one goal. Is like just 589 00:33:29,956 --> 00:33:34,076 Speaker 1: helping someone understand why this is so cool where it 590 00:33:34,196 --> 00:33:36,396 Speaker 1: is and why I latched onto it even though I'm 591 00:33:36,396 --> 00:33:38,436 Speaker 1: not from there, it might not fully get it. When 592 00:33:38,476 --> 00:33:41,996 Speaker 1: you can have an artist like Gez and Cardi b 593 00:33:42,836 --> 00:33:45,436 Speaker 1: an Asap Rocky put out a song like No Limit 594 00:33:45,676 --> 00:33:47,436 Speaker 1: and then kids figure out that that slab of my 595 00:33:47,516 --> 00:33:49,436 Speaker 1: knob and all of a sudden they're listening to three 596 00:33:49,556 --> 00:33:53,436 Speaker 1: six Mafia, It's like, that's so cool to me, you know, 597 00:33:53,556 --> 00:33:57,276 Speaker 1: I love that because it's just raps are to become 598 00:33:57,316 --> 00:33:59,436 Speaker 1: one of the biggest genres in the world, you know 599 00:33:59,436 --> 00:34:02,316 Speaker 1: what I mean. Like from the time that you started 600 00:34:02,436 --> 00:34:04,676 Speaker 1: def jam all the way to right now, It's like, 601 00:34:04,716 --> 00:34:07,236 Speaker 1: I don't know if anyone ever saw this like it's 602 00:34:07,476 --> 00:34:12,476 Speaker 1: nobody did. It's insane nobody, But I think it's so much, 603 00:34:12,956 --> 00:34:16,916 Speaker 1: so many waves of it, just like feeling like it 604 00:34:17,076 --> 00:34:20,116 Speaker 1: was going away, like over and over again. It's it's 605 00:34:20,316 --> 00:34:22,516 Speaker 1: it's because of what we're talking about. Though. I think 606 00:34:22,636 --> 00:34:25,756 Speaker 1: that's why rap has become as big as it's become 607 00:34:26,396 --> 00:34:29,236 Speaker 1: is because it's just like it transports you. Whatever artists 608 00:34:29,236 --> 00:34:31,356 Speaker 1: you're listening to, it transports you to where they're from 609 00:34:31,436 --> 00:34:35,156 Speaker 1: and how they grew up. And even if now they're gigantic, 610 00:34:35,236 --> 00:34:38,356 Speaker 1: whenever they started their first music as always the truest, 611 00:34:38,676 --> 00:34:43,396 Speaker 1: most authentic storytelling you can find in music. For me 612 00:34:43,676 --> 00:34:46,156 Speaker 1: right now, you know, I love to hear the stories 613 00:34:46,196 --> 00:34:48,036 Speaker 1: of all these different places and for me to try 614 00:34:48,076 --> 00:34:51,276 Speaker 1: to help add to those stories without really doing my 615 00:34:51,396 --> 00:34:54,716 Speaker 1: due diligence, yes, I think that would be misguided and 616 00:34:54,756 --> 00:34:56,676 Speaker 1: I think I'd be hurting more than i'd be helping. 617 00:34:56,836 --> 00:35:01,196 Speaker 1: It's crazy. Any theories on why, um, why Miami based 618 00:35:01,316 --> 00:35:05,076 Speaker 1: music was so particular there, like when everyone in the 619 00:35:05,156 --> 00:35:08,956 Speaker 1: country was was going slow, Yeah, they were always fast. 620 00:35:09,236 --> 00:35:12,996 Speaker 1: It was always cocaine. I don't know. I don't know, 621 00:35:13,076 --> 00:35:18,036 Speaker 1: it just always was fast. I'm not a Miami guy. 622 00:35:18,156 --> 00:35:20,436 Speaker 1: Like going from New York and listening going to a 623 00:35:20,516 --> 00:35:22,716 Speaker 1: hip hop club in New York to a hip hop 624 00:35:22,796 --> 00:35:26,636 Speaker 1: club in Miami, every song would be there. You would 625 00:35:27,316 --> 00:35:29,156 Speaker 1: not one of the same songs would play in the 626 00:35:29,196 --> 00:35:32,356 Speaker 1: two cities. Yeah, I mean, does it has to do 627 00:35:32,436 --> 00:35:34,556 Speaker 1: with the street life, has to do with how fast 628 00:35:34,636 --> 00:35:37,076 Speaker 1: paced Miami is and how much money there is there 629 00:35:37,116 --> 00:35:40,396 Speaker 1: and how new the development was going out. That's like, 630 00:35:40,436 --> 00:35:43,916 Speaker 1: I just think that Citi's I've always not liked Miami 631 00:35:43,996 --> 00:35:47,516 Speaker 1: because it's all lambos and beautiful girls in gowns and 632 00:35:47,596 --> 00:35:50,116 Speaker 1: all this money and all this stuff. It's like the 633 00:35:50,316 --> 00:35:52,636 Speaker 1: music must have lended itself to the scene in some 634 00:35:52,756 --> 00:35:55,076 Speaker 1: type of way where people realize the faster we go, 635 00:35:55,556 --> 00:35:59,316 Speaker 1: the more reaction we're getting out of people. But a 636 00:35:59,396 --> 00:36:01,516 Speaker 1: lot of stuff that went on in Miami base slowed down. 637 00:36:01,756 --> 00:36:05,796 Speaker 1: Is juke or is Bounce or is Baltimore Club or 638 00:36:05,916 --> 00:36:08,436 Speaker 1: is whatever? It's same breaks, same as sample play, a 639 00:36:08,556 --> 00:36:22,356 Speaker 1: juke feel. It's very two live crew in the sound 640 00:36:22,436 --> 00:36:24,156 Speaker 1: choice and in the sample choice, and then you listen 641 00:36:24,196 --> 00:36:27,196 Speaker 1: to two live crew, But that still sounded more like discoy, 642 00:36:27,316 --> 00:36:30,036 Speaker 1: like more from the floor or on the floor. Mummy 643 00:36:30,036 --> 00:36:32,116 Speaker 1: bass was not really like that, but the tempo was 644 00:36:32,156 --> 00:36:41,196 Speaker 1: like it was just fast. Yeah, come on, yeah, she's 645 00:36:41,196 --> 00:36:44,516 Speaker 1: all rooted in the planet rob Yeah, for sure it is. 646 00:36:44,956 --> 00:36:47,796 Speaker 1: But again it's drum machines. You know. What I mean 647 00:36:47,956 --> 00:36:51,316 Speaker 1: is no breaks. It's like a very electronic thing in 648 00:36:51,396 --> 00:36:54,676 Speaker 1: the scope of hip hop. Yeah. I had discussion with 649 00:36:54,916 --> 00:36:56,756 Speaker 1: a friend the other day who was talking about that. 650 00:36:57,636 --> 00:37:03,276 Speaker 1: In today's world, the sound is considered part of the writing. 651 00:37:03,636 --> 00:37:06,476 Speaker 1: So in other words, if you were if you were 652 00:37:06,516 --> 00:37:09,076 Speaker 1: called in as a producer and you changed the snaw 653 00:37:09,156 --> 00:37:11,756 Speaker 1: a sound from the existing snad without changing the pattern, 654 00:37:12,196 --> 00:37:15,116 Speaker 1: if you just replaced the existing snare sound in the 655 00:37:15,196 --> 00:37:18,516 Speaker 1: track with a different sound, that you would be a 656 00:37:18,596 --> 00:37:21,996 Speaker 1: writer of the song. Is that the case from what 657 00:37:22,036 --> 00:37:26,636 Speaker 1: I understand? Yes, would never name names, But I had 658 00:37:26,636 --> 00:37:28,716 Speaker 1: a good friend of mine who was signed to a 659 00:37:28,916 --> 00:37:31,436 Speaker 1: very big producer, and his contract with that producer was 660 00:37:31,796 --> 00:37:34,916 Speaker 1: if you drop a song completely produced and written and 661 00:37:34,996 --> 00:37:37,716 Speaker 1: everything by you and the people involved, he gets fifteen 662 00:37:37,756 --> 00:37:39,996 Speaker 1: percent of it, just as you being signed to him, 663 00:37:40,036 --> 00:37:43,476 Speaker 1: and if he adds one thing to that beat or 664 00:37:43,516 --> 00:37:45,476 Speaker 1: anything at all, he touches it. In programs on it, 665 00:37:45,636 --> 00:37:47,956 Speaker 1: he's taking eighty percent of the song. And what he 666 00:37:47,996 --> 00:37:50,876 Speaker 1: would do was just basically just like take the midi 667 00:37:50,916 --> 00:37:52,636 Speaker 1: of a high hat pattern and change the high hat 668 00:37:52,716 --> 00:37:54,796 Speaker 1: sound and then all of a sudden he's involved and 669 00:37:54,876 --> 00:37:59,276 Speaker 1: now he owns all of your share. That is wild. Yeah, 670 00:37:59,916 --> 00:38:02,196 Speaker 1: try to keep my friends from signing any of those 671 00:38:02,276 --> 00:38:05,196 Speaker 1: kind of contracts. But it is, it is like that 672 00:38:05,276 --> 00:38:07,396 Speaker 1: these days because sound choice is so paramount. When you 673 00:38:07,476 --> 00:38:10,116 Speaker 1: think about a song like Grinding, you know by Farrell 674 00:38:10,716 --> 00:38:15,476 Speaker 1: a long time ago, but literally it's just drums, you 675 00:38:15,516 --> 00:38:16,596 Speaker 1: know what I mean, Like like a lot of stuff 676 00:38:16,596 --> 00:38:20,196 Speaker 1: we talked about today, it's really like just this big 677 00:38:20,916 --> 00:38:26,076 Speaker 1: instinctual kind of rhythm. And so if someone changes yo yo, 678 00:38:27,356 --> 00:38:35,276 Speaker 1: if someone changes that clap, that's twenty percent of the beat. 679 00:38:37,316 --> 00:38:40,756 Speaker 1: It is what it is. It's like the example I 680 00:38:40,876 --> 00:38:52,636 Speaker 1: was saying before about like samples this Farrell. This that 681 00:38:52,756 --> 00:38:54,876 Speaker 1: little a that Farrell used to use all the time. 682 00:38:56,956 --> 00:39:01,476 Speaker 1: It's from the Triton keyboard, the most popular keyboard in 683 00:39:01,556 --> 00:39:03,836 Speaker 1: hip hop, and like the early two thousands, it's just 684 00:39:03,996 --> 00:39:07,156 Speaker 1: a sound on the Triton. So it's Yamaha. It's not 685 00:39:07,236 --> 00:39:09,716 Speaker 1: owned by Farrell. Even though we've heard it in clip songs, 686 00:39:09,756 --> 00:39:13,116 Speaker 1: Snoop Dogg songs, ANYRD songs, Rihanna songs, all types of 687 00:39:13,196 --> 00:39:16,436 Speaker 1: gigantic Neptunes production because it was just a key piece 688 00:39:16,476 --> 00:39:19,396 Speaker 1: of perk for them that they use all that time, percussion. 689 00:39:20,476 --> 00:39:23,476 Speaker 1: Like to me, I got it. I got my hands 690 00:39:23,516 --> 00:39:25,916 Speaker 1: on it a while ago, and when someone asked me, like, 691 00:39:26,236 --> 00:39:28,236 Speaker 1: like I remember working on a Vince Staple's album, he 692 00:39:28,236 --> 00:39:31,156 Speaker 1: would say, like, I want something that feels kind of neptunesy, 693 00:39:31,236 --> 00:39:32,836 Speaker 1: but I don't want to like take from it or 694 00:39:32,836 --> 00:39:34,876 Speaker 1: I don't want to use the same patterns. And I 695 00:39:34,996 --> 00:39:36,596 Speaker 1: was like, man, like, if I could just get the 696 00:39:36,676 --> 00:39:39,116 Speaker 1: A from some of the Farrell stuff, it immediately puts 697 00:39:39,156 --> 00:39:41,916 Speaker 1: you back to Neptunes, back to Timbo era. And so 698 00:39:42,436 --> 00:39:44,076 Speaker 1: I found it, and then I found out it was 699 00:39:44,196 --> 00:39:47,076 Speaker 1: from a keyboard, and I'm like, Okay, Ferrell doesn't own this, 700 00:39:47,196 --> 00:39:49,316 Speaker 1: and I can't get in trouble for sampling this, but 701 00:39:49,876 --> 00:39:51,596 Speaker 1: it's a Farrell sound, you know what I mean as 702 00:39:51,636 --> 00:39:55,556 Speaker 1: far as I'm concerned, or like, even when you go 703 00:39:55,716 --> 00:40:00,156 Speaker 1: back and listen to like the chant that's in that's 704 00:40:00,196 --> 00:40:04,036 Speaker 1: in like every Mustard beat, every Juicy J thing, like 705 00:40:04,156 --> 00:40:07,756 Speaker 1: every it's it doesn't even trace back to a break. 706 00:40:07,796 --> 00:40:10,396 Speaker 1: It traced back to like, uh, what was it? Like? 707 00:40:10,396 --> 00:40:15,356 Speaker 1: It's like house beats and loops, like Volume three, like 708 00:40:15,476 --> 00:40:19,476 Speaker 1: the I think the original is Yellow Yellow y Ell. 709 00:40:20,116 --> 00:40:22,436 Speaker 1: Is it a song? No, it's a group from England, 710 00:40:22,556 --> 00:40:25,636 Speaker 1: like an electronic group from the eighties, but they had 711 00:40:25,716 --> 00:40:29,756 Speaker 1: the sound. It's just it's just the chant. I can't 712 00:40:29,756 --> 00:40:31,276 Speaker 1: remember what song it is, so I can't. I can't 713 00:40:31,316 --> 00:40:33,756 Speaker 1: tell you. It's been a while, hold on the mustard. 714 00:40:34,236 --> 00:40:38,276 Speaker 1: But but you hear it and everything from California and 715 00:40:38,396 --> 00:40:41,236 Speaker 1: everything from Detroit and a lot of old Southern stuff. 716 00:40:41,276 --> 00:40:42,916 Speaker 1: You hear the chant on the off beat and Little 717 00:40:42,996 --> 00:40:45,716 Speaker 1: John beats and stuff like that, and it's like, man, 718 00:40:46,396 --> 00:40:49,636 Speaker 1: that's a classic sound in hip hop. But you get worried. 719 00:40:49,636 --> 00:40:50,916 Speaker 1: You're like, man, I've heard it in so much stuff. 720 00:40:50,956 --> 00:40:52,956 Speaker 1: If I sample in my own trouble and sometimes it's 721 00:40:52,996 --> 00:40:55,276 Speaker 1: like hard to find the lineage of these sounds. And 722 00:40:55,396 --> 00:40:58,876 Speaker 1: now that so much of these beats is made up 723 00:40:58,876 --> 00:41:01,476 Speaker 1: in the sound choice, you got to be careful. Like 724 00:41:01,916 --> 00:41:03,956 Speaker 1: the main standpoint is I don't want this song to 725 00:41:04,076 --> 00:41:06,036 Speaker 1: not come out because this is a kick that they 726 00:41:06,076 --> 00:41:08,716 Speaker 1: can trace back to a record that I might be 727 00:41:08,756 --> 00:41:11,116 Speaker 1: sample or like an eight O eight that might be stolen, 728 00:41:11,236 --> 00:41:14,676 Speaker 1: and then due to the user license agreement from the website, 729 00:41:14,716 --> 00:41:16,556 Speaker 1: I bought the eight to eight from this is technically 730 00:41:16,636 --> 00:41:19,516 Speaker 1: not my copyright. Like there's all kinds of weird little 731 00:41:19,596 --> 00:41:22,556 Speaker 1: things like that sounds are the name of the game 732 00:41:22,596 --> 00:41:25,716 Speaker 1: now it's not really records, but like the metadata and 733 00:41:25,796 --> 00:41:29,756 Speaker 1: all these sounds exists, and I don't know, Like for me, 734 00:41:30,916 --> 00:41:34,596 Speaker 1: I like really pride myself on hoarding sounds and just 735 00:41:34,756 --> 00:41:38,036 Speaker 1: having terabytes and terabytes and hard drives and hard drives 736 00:41:38,356 --> 00:41:41,676 Speaker 1: of just sounds, and the more I can learn about 737 00:41:41,716 --> 00:41:44,476 Speaker 1: like the lineage of them, easier it is for me 738 00:41:44,556 --> 00:41:46,716 Speaker 1: to use them and apply them. We'll be back with 739 00:41:46,796 --> 00:41:53,436 Speaker 1: Kenny Beats after a quick break. We're back with the 740 00:41:53,516 --> 00:41:57,076 Speaker 1: rest of Rick's conversation with Kenny Beats. Do you ever 741 00:41:57,196 --> 00:42:01,156 Speaker 1: see there being an evolution lyrically in hip hop of 742 00:42:01,276 --> 00:42:06,756 Speaker 1: it not being not all being so similar in content? 743 00:42:08,036 --> 00:42:11,036 Speaker 1: I don't find it to be really no. The amount 744 00:42:11,036 --> 00:42:12,836 Speaker 1: of stuff, the amount of people I work with, it's 745 00:42:14,156 --> 00:42:16,556 Speaker 1: every day. If I have, say, have two sessions a 746 00:42:16,676 --> 00:42:20,556 Speaker 1: day for a whole week, I probably got five six 747 00:42:20,756 --> 00:42:24,756 Speaker 1: perspectives that don't understand each other. Yeah, for sure. And 748 00:42:24,836 --> 00:42:28,996 Speaker 1: like I've rat like nowadays, it's even harder now because 749 00:42:29,196 --> 00:42:32,476 Speaker 1: I'd never base something on a personality or like anything 750 00:42:32,516 --> 00:42:34,436 Speaker 1: other than the music. I'm like, if I love this music, 751 00:42:34,476 --> 00:42:35,996 Speaker 1: I want to help this person to work on it. 752 00:42:36,436 --> 00:42:38,636 Speaker 1: And then I start working with them and I realized, like, oh, 753 00:42:38,716 --> 00:42:42,636 Speaker 1: your past is trouble. Then you're like industry business stuff 754 00:42:42,756 --> 00:42:44,076 Speaker 1: is all messed up and this and that, And I 755 00:42:44,116 --> 00:42:47,596 Speaker 1: don't always do my research, but a lot of times, 756 00:42:47,676 --> 00:42:50,436 Speaker 1: like whoever I get in with, I need to figure 757 00:42:50,476 --> 00:42:52,796 Speaker 1: out how to understand their perspective quickly. And if I 758 00:42:53,996 --> 00:42:56,956 Speaker 1: only had two or three perspectives or contents or like 759 00:42:57,116 --> 00:42:59,836 Speaker 1: things that I had to be weary of when I 760 00:42:59,876 --> 00:43:01,596 Speaker 1: got with an artist, my job would be way easier. 761 00:43:01,716 --> 00:43:04,796 Speaker 1: And it's not easy because someone from New Orleans comes 762 00:43:04,836 --> 00:43:07,436 Speaker 1: in and everything I just learned last week from a 763 00:43:07,556 --> 00:43:10,316 Speaker 1: New York artist does not apply here. Can you always 764 00:43:10,396 --> 00:43:13,236 Speaker 1: understand all the slang like the local slang at first? 765 00:43:13,236 --> 00:43:16,476 Speaker 1: But I ask, I don't pretend to, Yes, that's the 766 00:43:16,556 --> 00:43:19,796 Speaker 1: biggest thing. Don't ever either use a term you're not 767 00:43:19,916 --> 00:43:25,596 Speaker 1: comfortable with or even try to like pretend you understand it. 768 00:43:25,676 --> 00:43:28,116 Speaker 1: Ask if you there's no time, or you say to 769 00:43:28,196 --> 00:43:30,596 Speaker 1: someone what does that mean? They're gonna go oh? He said, 770 00:43:30,636 --> 00:43:32,636 Speaker 1: what does that mean? Like that, no one's ever gonna 771 00:43:32,676 --> 00:43:34,716 Speaker 1: do that. They're gonna go oh, bro. It means this, yeah, 772 00:43:35,076 --> 00:43:36,756 Speaker 1: like if you try to or from where I'm from, 773 00:43:36,796 --> 00:43:39,236 Speaker 1: how would you know that? Yeah? Of course? And Atlanta. 774 00:43:39,396 --> 00:43:42,156 Speaker 1: The biggest term right now is cap or no cap, 775 00:43:42,316 --> 00:43:44,796 Speaker 1: and it means like you're lying, like a cap is lying, 776 00:43:45,516 --> 00:43:47,996 Speaker 1: I mean, And basically if someone says like no cap, 777 00:43:48,196 --> 00:43:50,596 Speaker 1: it means like I'm not lying. I would never walk 778 00:43:50,636 --> 00:43:52,876 Speaker 1: into a room and be like, yo, I swear I 779 00:43:52,956 --> 00:43:55,276 Speaker 1: sent the files no cap. It doesn't sound right coming 780 00:43:55,276 --> 00:43:56,676 Speaker 1: out of my mouth. It's not for me. I'm not 781 00:43:56,756 --> 00:43:59,116 Speaker 1: from Atlanta, but I grew up in New York, and 782 00:43:59,196 --> 00:44:01,316 Speaker 1: trust me, Like my friends say hi to each other, 783 00:44:01,356 --> 00:44:05,036 Speaker 1: they say you're. They don't say yo, they literally yo you're. 784 00:44:05,276 --> 00:44:07,676 Speaker 1: And it's just a New York thing. It's like there's 785 00:44:07,756 --> 00:44:10,036 Speaker 1: different slang from different places, and if you're not from 786 00:44:10,116 --> 00:44:13,156 Speaker 1: that place, unless you're around those people all the time, Like, 787 00:44:13,716 --> 00:44:16,916 Speaker 1: don't even pretend you understand what it means. I was 788 00:44:16,996 --> 00:44:19,516 Speaker 1: in a studio one time with a really really like 789 00:44:20,116 --> 00:44:22,476 Speaker 1: a producer. I'm a big fan of from Atlanta, and 790 00:44:22,596 --> 00:44:24,516 Speaker 1: he just goes bro, do you know what Jay's are like? 791 00:44:24,556 --> 00:44:26,196 Speaker 1: When someone said when he said Jay's in that song, 792 00:44:26,276 --> 00:44:29,596 Speaker 1: you know he's talking about and I was thinking in 793 00:44:29,676 --> 00:44:31,636 Speaker 1: my head, I was like, here's he talking about police officers? 794 00:44:31,716 --> 00:44:34,076 Speaker 1: Maybe he said Jay's at the door was the line, 795 00:44:34,156 --> 00:44:36,556 Speaker 1: and I was like, Jay, what is that He's talking about? 796 00:44:36,556 --> 00:44:39,236 Speaker 1: A junkie? Oh, I didn't know that. My first reaction 797 00:44:39,356 --> 00:44:42,596 Speaker 1: was a police officer. I clearly was the exact opposite. 798 00:44:42,716 --> 00:44:44,836 Speaker 1: I thought they were saying, cops at my door. I 799 00:44:44,876 --> 00:44:46,556 Speaker 1: gotta get out of their type shit. He was talking, 800 00:44:46,676 --> 00:44:50,516 Speaker 1: there's junkies there. I'm serving drugs to junkies, you know 801 00:44:50,556 --> 00:44:52,716 Speaker 1: what I mean? The whole at the lex three lines 802 00:44:52,756 --> 00:44:54,796 Speaker 1: before and after it gets switched out on the context 803 00:44:54,836 --> 00:44:58,556 Speaker 1: because I wasn't aware of a one letter slang term. Yeah, 804 00:44:59,236 --> 00:45:02,396 Speaker 1: the songs from my favorite artist in Detroit that got 805 00:45:02,516 --> 00:45:04,916 Speaker 1: me into them, that made me start listening to him. 806 00:45:04,916 --> 00:45:07,196 Speaker 1: I didn't even understand them until I worked with the artists. Yeah, 807 00:45:07,556 --> 00:45:10,196 Speaker 1: and I loved I loved these songs. Yeah, I know 808 00:45:10,396 --> 00:45:15,116 Speaker 1: every word, but I don't know everyone's talking about sometimes, 809 00:45:15,196 --> 00:45:17,756 Speaker 1: you know, general stuff everybody gets and that's I think 810 00:45:17,956 --> 00:45:21,116 Speaker 1: the common denominator of the money stuff. And you know 811 00:45:21,156 --> 00:45:23,156 Speaker 1: what that's like though, when when you're a little kid 812 00:45:23,276 --> 00:45:26,116 Speaker 1: and you hear music, you don't really know what the 813 00:45:26,156 --> 00:45:27,956 Speaker 1: words mean, but you still love it. If you don't 814 00:45:27,996 --> 00:45:31,076 Speaker 1: know all those words, you know in in everything, you 815 00:45:31,116 --> 00:45:32,716 Speaker 1: don't know all the words, you don't know what they're 816 00:45:32,756 --> 00:45:34,756 Speaker 1: talking about. My favorite band was Kiss when I was 817 00:45:34,756 --> 00:45:37,156 Speaker 1: a toddler. All I listened to his Kiss songs. It's 818 00:45:37,196 --> 00:45:39,276 Speaker 1: just the music spoke to me. It wasn't the words. 819 00:45:39,396 --> 00:45:41,556 Speaker 1: You know, how did you get How did you end 820 00:45:41,636 --> 00:45:43,716 Speaker 1: up getting into Kiss in the nineties, that's a funny 821 00:45:43,756 --> 00:45:46,196 Speaker 1: time to get into Kiss. My dad's an audio file. 822 00:45:47,036 --> 00:45:49,196 Speaker 1: My dad listens. If he's an audio file, he wouldn't 823 00:45:49,196 --> 00:45:50,796 Speaker 1: be listening to kid No. Yeah, but I'm just saying 824 00:45:50,916 --> 00:45:55,036 Speaker 1: he listens to everything. So across my childhood, like my 825 00:45:55,196 --> 00:45:57,356 Speaker 1: dad would literally play me a Boz Skag song, and 826 00:45:57,436 --> 00:45:59,596 Speaker 1: then play me a Commander Cody song, and then play 827 00:45:59,676 --> 00:46:02,596 Speaker 1: me the Chronic and then a Cheryl Crow song will 828 00:46:02,596 --> 00:46:04,036 Speaker 1: be in the radio and he would like it, and 829 00:46:04,116 --> 00:46:08,276 Speaker 1: then he'd play me like a Grateful Dead or whatever 830 00:46:08,316 --> 00:46:10,596 Speaker 1: it was. So stuff have come across my plate. And 831 00:46:10,676 --> 00:46:12,796 Speaker 1: when I heard I Just want to rock and roll 832 00:46:12,876 --> 00:46:14,996 Speaker 1: all night as a four year old, I was like, 833 00:46:15,116 --> 00:46:18,716 Speaker 1: this is music. It's great, A great recognize my two 834 00:46:18,796 --> 00:46:22,076 Speaker 1: favorite songs that year because I there's a videotape of 835 00:46:22,156 --> 00:46:24,676 Speaker 1: me like talking about it. Are I just want to 836 00:46:24,716 --> 00:46:27,756 Speaker 1: have fun shell Crow and all I want to do 837 00:46:27,796 --> 00:46:29,276 Speaker 1: is rock and roll all night? By Kiss, I was 838 00:46:29,356 --> 00:46:34,956 Speaker 1: in a very similar mind space. But yeah, like I 839 00:46:35,036 --> 00:46:37,956 Speaker 1: don't know, like, but those are anthems, you know for sure. 840 00:46:37,956 --> 00:46:39,476 Speaker 1: I think at four years old, like you, that's when 841 00:46:39,516 --> 00:46:44,116 Speaker 1: you start to recognize a good anthem. Yeah, but at 842 00:46:44,116 --> 00:46:46,476 Speaker 1: to say, like I grew up with my I played 843 00:46:46,756 --> 00:46:48,396 Speaker 1: instruments a lot of my life, so I had to 844 00:46:48,436 --> 00:46:51,836 Speaker 1: play music that lend itself to instruments. Played classic rock 845 00:46:51,916 --> 00:46:54,916 Speaker 1: and played jam band stuff and fusion stuff and funk 846 00:46:54,996 --> 00:46:57,996 Speaker 1: and soul because bands, yeah a little bit, But there 847 00:46:58,036 --> 00:47:00,076 Speaker 1: wasn't that much of a scene for in Connecticut I had. 848 00:47:00,276 --> 00:47:02,236 Speaker 1: I had a amount of friends in one hand, I 849 00:47:02,236 --> 00:47:04,316 Speaker 1: coul account who really played music and did music in 850 00:47:04,316 --> 00:47:08,396 Speaker 1: their free time. It was all sports. But uh, my 851 00:47:08,556 --> 00:47:13,356 Speaker 1: dad was never ironic about liking hip hop or like 852 00:47:13,516 --> 00:47:15,316 Speaker 1: liking what was on the radio and so like, I 853 00:47:15,356 --> 00:47:17,996 Speaker 1: remember the Thong song. He just thought it had such 854 00:47:18,116 --> 00:47:19,756 Speaker 1: great production, Like you would always talk about that. He 855 00:47:19,756 --> 00:47:21,196 Speaker 1: would talk about the beat of the Thong song and 856 00:47:21,316 --> 00:47:23,756 Speaker 1: not be funny because it's a song about like a 857 00:47:23,916 --> 00:47:25,796 Speaker 1: kind of bathing suit or kind of underwear, and it's 858 00:47:25,796 --> 00:47:28,156 Speaker 1: like the big ass song of the year. My dad 859 00:47:28,236 --> 00:47:30,356 Speaker 1: was just like he just loved the song. And my 860 00:47:30,436 --> 00:47:32,916 Speaker 1: dad would sing it un ironically and he'd be singing 861 00:47:32,996 --> 00:47:35,236 Speaker 1: that dong dong dong dong, and You're like, this is 862 00:47:35,436 --> 00:47:37,876 Speaker 1: so dumb. But I would see in his face he's 863 00:47:37,876 --> 00:47:39,676 Speaker 1: like he would see me laughing at him and be like, 864 00:47:40,476 --> 00:47:42,196 Speaker 1: you're just turning to me kind of like I'm not 865 00:47:42,516 --> 00:47:44,916 Speaker 1: I'm not making fun of this song. I like this song. 866 00:47:44,996 --> 00:47:49,516 Speaker 1: So I had an appreciation via him for the stuff 867 00:47:49,556 --> 00:47:51,956 Speaker 1: that my friends were listening to and that I had 868 00:47:51,996 --> 00:47:54,516 Speaker 1: around me all the time as being really good music. 869 00:47:54,716 --> 00:47:57,356 Speaker 1: So even something that would be a novel to many people, 870 00:47:57,396 --> 00:48:00,876 Speaker 1: that would be a novelty song, if it was well made, 871 00:48:01,596 --> 00:48:03,796 Speaker 1: it would still be good it. It didn't have to 872 00:48:03,876 --> 00:48:07,116 Speaker 1: be the cool song totally. Yeah. But like my dad 873 00:48:07,196 --> 00:48:08,956 Speaker 1: was listening to West Coast hip hop and listening to 874 00:48:09,116 --> 00:48:12,316 Speaker 1: a current things that were on the radio with me 875 00:48:12,436 --> 00:48:13,996 Speaker 1: on top of showing me all this other music. And 876 00:48:14,036 --> 00:48:16,396 Speaker 1: I grew up in Connecticut, so I had I was seamless. 877 00:48:16,916 --> 00:48:19,476 Speaker 1: I was regionless as far as there was no music coming. 878 00:48:19,516 --> 00:48:22,756 Speaker 1: There still isn't any music coming from where I grew up. 879 00:48:23,116 --> 00:48:25,316 Speaker 1: New York was the closest thing I had, and when 880 00:48:25,316 --> 00:48:26,756 Speaker 1: I was old enough, I spent all my time in 881 00:48:26,796 --> 00:48:31,756 Speaker 1: New York. But I really grew up without a core regional. 882 00:48:32,276 --> 00:48:36,436 Speaker 1: Really good though, because that way you're not pigeonholed into totally, 883 00:48:36,876 --> 00:48:40,276 Speaker 1: you know, being brainwashed into one sound as being your sound. Yeah, 884 00:48:40,516 --> 00:48:43,556 Speaker 1: so you really are free. It's so interesting how how 885 00:48:43,916 --> 00:48:45,956 Speaker 1: the things like in the moment you probably as a 886 00:48:46,036 --> 00:48:49,196 Speaker 1: kid would wish everybody played and there was a scene 887 00:48:49,316 --> 00:48:51,796 Speaker 1: and there were clubs to play in, and how come, 888 00:48:51,916 --> 00:48:53,676 Speaker 1: you know, people get to do that in other places 889 00:48:53,716 --> 00:48:55,556 Speaker 1: and I don't get to do that. But it really 890 00:48:55,636 --> 00:48:59,396 Speaker 1: formed who you are now, and maybe you wouldn't be 891 00:48:59,436 --> 00:49:01,756 Speaker 1: the same producer you are today if it was if 892 00:49:01,756 --> 00:49:04,236 Speaker 1: it wasn't for that. I think that's the first thing 893 00:49:04,276 --> 00:49:06,556 Speaker 1: you and I ever talked about, was it. Yeah, Like 894 00:49:06,796 --> 00:49:09,876 Speaker 1: when we first talked in your car, Like I remember 895 00:49:09,956 --> 00:49:12,356 Speaker 1: just saying like I remember growing up and just wishing 896 00:49:13,076 --> 00:49:15,516 Speaker 1: I had more money. You know, I had a bigger 897 00:49:15,556 --> 00:49:17,356 Speaker 1: friend and had my friend's house and lived in a 898 00:49:17,396 --> 00:49:19,996 Speaker 1: place where everybody did music and dad dada, and now 899 00:49:20,876 --> 00:49:22,556 Speaker 1: I just turned twenty eight. Now, at twenty eight, I 900 00:49:22,676 --> 00:49:25,996 Speaker 1: literally would never trade places with anybody. I'm so glad 901 00:49:26,036 --> 00:49:30,356 Speaker 1: I don't have that that obstacle in my mind of like, oh, well, 902 00:49:30,796 --> 00:49:32,436 Speaker 1: this is what I'm supposed to be doing, or this 903 00:49:32,556 --> 00:49:35,396 Speaker 1: is where I'm from. It's like my metal phase was 904 00:49:35,476 --> 00:49:38,116 Speaker 1: just as long as my like Leonard skinnerd phase is 905 00:49:38,156 --> 00:49:40,116 Speaker 1: just as long as my Dilla phase. You know what 906 00:49:40,156 --> 00:49:43,076 Speaker 1: I mean? They all, That's what I'm saying. They shared 907 00:49:43,156 --> 00:49:46,756 Speaker 1: equal parts in my mind, And like I think a 908 00:49:46,836 --> 00:49:48,916 Speaker 1: lot of my friends at least now, who make a 909 00:49:48,996 --> 00:49:50,796 Speaker 1: lot of music and have made music as they were kids, 910 00:49:50,836 --> 00:49:53,716 Speaker 1: they always have this dichotomy of like, here's the music 911 00:49:53,796 --> 00:49:55,436 Speaker 1: my dad showed me and my parents showed me and 912 00:49:55,476 --> 00:49:57,836 Speaker 1: all this old stuff I was put onto, and then 913 00:49:57,876 --> 00:50:00,076 Speaker 1: here's the music I listened to with my friends. And 914 00:50:00,196 --> 00:50:02,276 Speaker 1: that's definitely true, because that's how you find out about 915 00:50:02,316 --> 00:50:04,156 Speaker 1: a lot of stuff. But the music I listened to 916 00:50:04,236 --> 00:50:07,596 Speaker 1: with my friends wasn't written off by my dad and like, oh, yeah, 917 00:50:07,676 --> 00:50:09,676 Speaker 1: that's that's what's on the radio now. My dad would 918 00:50:09,876 --> 00:50:13,076 Speaker 1: hear certain things and be like, jay Z's really way 919 00:50:13,156 --> 00:50:14,836 Speaker 1: better than everybody else. Huh, you know what I mean, 920 00:50:14,916 --> 00:50:16,956 Speaker 1: Like he would see he would understand enough to like 921 00:50:17,196 --> 00:50:21,676 Speaker 1: really dive into totally. And I think that was many 922 00:50:21,756 --> 00:50:25,436 Speaker 1: people as they get older, only they only like the 923 00:50:25,516 --> 00:50:27,316 Speaker 1: music that they liked as a as a as a 924 00:50:27,396 --> 00:50:29,916 Speaker 1: kid or a teenager. Yeah, that's sort of the rest 925 00:50:29,956 --> 00:50:32,316 Speaker 1: of their lives. That's their music. So like that, My 926 00:50:32,356 --> 00:50:35,116 Speaker 1: appreciation has always been that just for everything. Everything like 927 00:50:35,276 --> 00:50:36,956 Speaker 1: what you like, you know, and it doesn't matter. You're 928 00:50:36,996 --> 00:50:39,356 Speaker 1: not from a place that lends itself to anything, so 929 00:50:39,436 --> 00:50:42,596 Speaker 1: you can like everything from everywhere. Yes, I never had 930 00:50:42,716 --> 00:50:48,036 Speaker 1: the moment in my career and like my music making life, 931 00:50:48,436 --> 00:50:52,276 Speaker 1: where I got popular doing a specific thing or a 932 00:50:52,316 --> 00:50:55,116 Speaker 1: specific sound. It was never like, Oh, it's this kid 933 00:50:55,436 --> 00:50:57,276 Speaker 1: from New York with a working with all these New 934 00:50:57,396 --> 00:50:59,396 Speaker 1: York artists and he's got that sound right now, so 935 00:50:59,516 --> 00:51:00,996 Speaker 1: let's try to put him with some other artists and 936 00:51:01,036 --> 00:51:03,196 Speaker 1: see if that fits with them. My whole life has 937 00:51:03,236 --> 00:51:05,236 Speaker 1: always been whatever this project is or this person is, 938 00:51:05,396 --> 00:51:08,956 Speaker 1: I'm that chameleon today and then tomorrow. I'm this Yes, 939 00:51:09,156 --> 00:51:11,356 Speaker 1: That's why I've forced myself to learn about all the 940 00:51:11,436 --> 00:51:15,396 Speaker 1: things that go on. But like a lot of my 941 00:51:15,516 --> 00:51:18,036 Speaker 1: favorite producers and the biggest producers doing it today have 942 00:51:18,276 --> 00:51:21,996 Speaker 1: found this lane, like thinking about take Keith. Take Keith 943 00:51:22,196 --> 00:51:26,196 Speaker 1: is probably the biggest producer out of Memphis ever at 944 00:51:26,276 --> 00:51:28,476 Speaker 1: this point last year, the amount of singles he had 945 00:51:28,636 --> 00:51:30,476 Speaker 1: and the amount of number ones and everything like, He's 946 00:51:30,516 --> 00:51:34,636 Speaker 1: doing everything from Drake to Travis to Beyonce, and he 947 00:51:34,876 --> 00:51:37,716 Speaker 1: is the most Memphis beat maker you could ever be. 948 00:51:37,796 --> 00:51:41,316 Speaker 1: It is the most three six Mafia influence you could 949 00:51:41,356 --> 00:51:44,316 Speaker 1: ever be. And he's taken his sound to the nth degree. 950 00:51:44,716 --> 00:51:50,076 Speaker 1: Is Beyonce forming her style and her current outlook on 951 00:51:50,156 --> 00:51:53,076 Speaker 1: what her new music needs to be around this kid's 952 00:51:53,396 --> 00:51:55,556 Speaker 1: drum patterns and tempos and what he's doing, Because what 953 00:51:55,596 --> 00:51:58,636 Speaker 1: he's doing is such a cultural phenomenon right now. Can 954 00:51:58,716 --> 00:52:02,516 Speaker 1: you play what would have been the tracks that the 955 00:52:02,636 --> 00:52:04,956 Speaker 1: older tracks he made that inspired these people to want 956 00:52:04,996 --> 00:52:07,636 Speaker 1: to work with you. This is the first one she 957 00:52:07,756 --> 00:52:11,516 Speaker 1: called shoot by Blackboy JB, also from Memphis. Baswin in 958 00:52:11,636 --> 00:52:15,276 Speaker 1: mo I hit the first role freaking bits on Go 959 00:52:15,556 --> 00:52:19,516 Speaker 1: See Gone off the roll and without anything. Just listen 960 00:52:19,556 --> 00:52:31,076 Speaker 1: to a three six Mafia beat right after that. I 961 00:52:31,276 --> 00:52:39,996 Speaker 1: gotta say, even though in three six Mafia it's much 962 00:52:40,036 --> 00:52:42,556 Speaker 1: more of a sample, more soulful vibe, that's always what 963 00:52:42,636 --> 00:52:45,036 Speaker 1: their stuff was, you can tell that Take Heath was 964 00:52:45,076 --> 00:52:49,556 Speaker 1: influenced by extremely on the beat quantize straight hat, straight 965 00:52:49,676 --> 00:52:54,076 Speaker 1: kick patterns, sharp ass snares, and it's the music is 966 00:52:54,236 --> 00:52:57,156 Speaker 1: very faint comparatively how big the drums are way more 967 00:52:57,236 --> 00:53:00,636 Speaker 1: so now with Take Heath. But even in three six Mafia, 968 00:53:00,676 --> 00:53:03,036 Speaker 1: it's much more about hearing that hat and that eight 969 00:53:03,116 --> 00:53:04,956 Speaker 1: oh weight than it is about those strings or any 970 00:53:04,956 --> 00:53:06,836 Speaker 1: of those samples or in a Dyla thing or a 971 00:53:06,876 --> 00:53:08,996 Speaker 1: boom Bat thing, like you're gonna hear what's going on 972 00:53:09,116 --> 00:53:13,756 Speaker 1: in the sample very upfront. But Take Keith is so 973 00:53:14,076 --> 00:53:16,516 Speaker 1: routed and where he's from, founded artist, where he's from 974 00:53:16,636 --> 00:53:20,636 Speaker 1: in Block Boy, that that song Shoot just became a phenomenon. 975 00:53:20,756 --> 00:53:22,756 Speaker 1: There was a dance that went with it. That dance 976 00:53:22,836 --> 00:53:24,996 Speaker 1: is now in Fortnite and in every video game, and 977 00:53:25,036 --> 00:53:27,436 Speaker 1: it is a huge thing. It's whenever you like pound 978 00:53:27,516 --> 00:53:29,396 Speaker 1: your arm forwards and kick your leg back at the 979 00:53:29,476 --> 00:53:31,436 Speaker 1: same time, you see everybody always doing it, little kids 980 00:53:31,436 --> 00:53:33,636 Speaker 1: do it all the time. That dance was founded by 981 00:53:33,676 --> 00:53:36,796 Speaker 1: this artist, helped blow up the song Take Keith made 982 00:53:36,836 --> 00:53:39,356 Speaker 1: one hundred percent of his beats. The next song that 983 00:53:39,436 --> 00:53:42,276 Speaker 1: they did after that song Shoot, which I played, was 984 00:53:44,076 --> 00:53:47,716 Speaker 1: block Boy and Drake and let me see just what 985 00:53:47,836 --> 00:53:51,276 Speaker 1: it's at right now. Yeah, it's at two hundred and 986 00:53:51,316 --> 00:53:56,276 Speaker 1: seventy nine million views on YouTube. The which Drake getting 987 00:53:56,316 --> 00:53:59,476 Speaker 1: on the Take Keith and Blockboys song, and it's like 988 00:54:00,796 --> 00:54:05,276 Speaker 1: it's the most regional thing in the world. It's specifically Memphis. 989 00:54:05,396 --> 00:54:10,596 Speaker 1: All Takekeeth was working on was like artists from where 990 00:54:10,636 --> 00:54:12,356 Speaker 1: he's from, and then all of a sudden, Drake gets 991 00:54:12,436 --> 00:54:14,556 Speaker 1: on it. It puts eyes onto it in a different way. 992 00:54:14,836 --> 00:54:18,236 Speaker 1: Then all of a sudden he's doing Travis Scott Records 993 00:54:18,436 --> 00:54:22,276 Speaker 1: featuring Drake, which are amalgamations of three different beats which 994 00:54:22,396 --> 00:54:25,236 Speaker 1: change how radio sounds. It's the first like number one 995 00:54:25,316 --> 00:54:28,756 Speaker 1: single to ever be that weird with all those different songs, 996 00:54:28,836 --> 00:54:31,196 Speaker 1: and it broke all these records, and it all evolved 997 00:54:31,276 --> 00:54:33,916 Speaker 1: from what he was doing in Memphis based on old 998 00:54:33,996 --> 00:54:36,236 Speaker 1: three six Mafia stuff to try to make everyone around 999 00:54:36,316 --> 00:54:40,636 Speaker 1: him go, oh, that's hard. And now it's Beyonce. It's amazing, 1000 00:54:40,916 --> 00:54:44,036 Speaker 1: and there's a lot of stuff you can break, all 1001 00:54:44,316 --> 00:54:46,276 Speaker 1: these different types of rap music and all these niche 1002 00:54:46,316 --> 00:54:48,916 Speaker 1: shub genres into. But I think the main thing is 1003 00:54:48,916 --> 00:54:50,796 Speaker 1: going to be, like if you go back to the 1004 00:54:50,916 --> 00:54:53,556 Speaker 1: first iterations of all of it, Like we said before, 1005 00:54:53,636 --> 00:54:56,436 Speaker 1: they only had so many tools, so many drum machines 1006 00:54:56,516 --> 00:55:00,756 Speaker 1: and so many things you could get across, and really 1007 00:55:01,076 --> 00:55:05,156 Speaker 1: the feel and the bounce and the tempo and those 1008 00:55:05,236 --> 00:55:10,116 Speaker 1: things are what dictated now styles that are a vastly 1009 00:55:10,436 --> 00:55:14,596 Speaker 1: different and fully formed and evolved. And it always like, men, 1010 00:55:14,676 --> 00:55:16,716 Speaker 1: we ten of us got ten drum machines and ten 1011 00:55:16,796 --> 00:55:19,236 Speaker 1: parts of the country. We got to make ten different 1012 00:55:19,276 --> 00:55:22,276 Speaker 1: crowds rock. This one drum machine with this one pattern 1013 00:55:22,436 --> 00:55:24,516 Speaker 1: does not work in half these places. We got to 1014 00:55:24,516 --> 00:55:27,116 Speaker 1: figure out what works here. Yeah, And now, like I'm 1015 00:55:27,156 --> 00:55:29,556 Speaker 1: still trying to do that same thing, but I've just 1016 00:55:29,596 --> 00:55:31,876 Speaker 1: got a lot of history that I've got to pay 1017 00:55:31,956 --> 00:55:40,196 Speaker 1: respect to. Beautiful cool Man. Thanks to Kenny Beats for 1018 00:55:40,236 --> 00:55:43,196 Speaker 1: breaking down the origins of regional hip hop sounds for us. 1019 00:55:43,516 --> 00:55:45,916 Speaker 1: Be sure to check out next week's episode, where we'll 1020 00:55:45,996 --> 00:55:47,996 Speaker 1: hear all that Kenny has been up to since him 1021 00:55:48,036 --> 00:55:50,916 Speaker 1: and Rick Last back to see Kenny Beats in action. 1022 00:55:51,196 --> 00:55:53,356 Speaker 1: Check out the two seasons of his show The Cave 1023 00:55:53,476 --> 00:55:55,596 Speaker 1: that he has up on YouTube. But he sits down 1024 00:55:55,676 --> 00:55:58,356 Speaker 1: with artists and makes it beat specifically tailored to them 1025 00:55:58,596 --> 00:56:01,956 Speaker 1: on the spot. It's incredible. Also, be sure to check 1026 00:56:01,956 --> 00:56:04,236 Speaker 1: out a playlist of songs produced by Kenny Beats that 1027 00:56:04,316 --> 00:56:07,636 Speaker 1: we put together at broken Record podcast dot com. You 1028 00:56:07,676 --> 00:56:10,636 Speaker 1: can follow us on YouTube, YouTube dot com, slash broken 1029 00:56:10,676 --> 00:56:13,476 Speaker 1: Record Podcast, where we can find extended cuts of new 1030 00:56:13,556 --> 00:56:17,276 Speaker 1: and old episodes, and follow us on Twitter at broken Record. 1031 00:56:18,036 --> 00:56:22,516 Speaker 1: Broken Record is produced Helpful Leah Rose, Jason Gambrel, Martin Gonzalez, 1032 00:56:22,916 --> 00:56:26,356 Speaker 1: Eric Sandler, and Jennifer Sanchez, with engineering help from Nick 1033 00:56:26,396 --> 00:56:30,596 Speaker 1: Chafee and our executive producer is Meio LaBelle. Broken Record 1034 00:56:30,676 --> 00:56:33,076 Speaker 1: is a production of Pushkin Industries. If you like a show, 1035 00:56:33,316 --> 00:56:35,476 Speaker 1: please remember to share, rate, and review us on your 1036 00:56:35,516 --> 00:56:38,276 Speaker 1: podcast staff. Our theme music based on the Beastie Boys 1037 00:56:38,316 --> 00:56:42,116 Speaker 1: Brass Monkey, is by today's guest, the uncomparable Kenny Beats. 1038 00:56:42,796 --> 00:56:43,756 Speaker 1: I'm justin Richmond.