WEBVTT - Conversations About Nate Dogg Never Smiling

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<v Speaker 1>What's up?

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<v Speaker 2>And welcome back to another episode of No Sinner's Podcast

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<v Speaker 2>with your hosts Now fuck that with your load glasses.

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<v Speaker 1>Malone Irish whiskey very all. Yeah, I got the.

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<v Speaker 3>Ad to get like a nicer version of it because

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<v Speaker 3>I got this little thing with short shelves, so they

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<v Speaker 3>only sell a bottle looks like a kettle that will

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<v Speaker 3>fit in the shelf instead of the regular bottle.

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<v Speaker 4>But it's better than the regular bottle, so right, So

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<v Speaker 4>why do.

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<v Speaker 1>You drink Irish risky versus like a Scottish whiskey like

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<v Speaker 1>a Scotch.

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<v Speaker 3>I like both, They're different. Irish whiskey is usually a

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<v Speaker 3>little bit sweeter, a little lighter. Scotch is a little

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<v Speaker 3>bit drier, sometimes a little harsher, a little smokier.

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<v Speaker 1>When processes are different. So a bourbon is a whiskey

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<v Speaker 1>made in Kentucky, right, yeah, yeah, so you've all of

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<v Speaker 1>the whiskey comparisons. So you have Bourbons, which is because

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<v Speaker 1>it's it's a whiskey made of Kentucky or Tennessee. And

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<v Speaker 1>then the scots is a whiskey made in Scotland. Yes,

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<v Speaker 1>then you have an Irish whiskey.

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<v Speaker 4>Yeah. And then you've got Canadian whiskey, and I guess

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<v Speaker 4>Japanese whiskey.

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<v Speaker 1>What is Japanese whiskey?

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<v Speaker 4>It's just like other whiskeys. It doesn't have.

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<v Speaker 1>Is that, It's just that is definitely.

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<v Speaker 4>Not in that case. Fire one up.

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<v Speaker 1>And what about Canadian whiskey? I see uh Sam's club

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<v Speaker 1>sales Canadian whiskey.

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<v Speaker 4>Yeah, like Crown Royals Canadian whiskey.

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<v Speaker 1>Okay, Bourbon is like.

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<v Speaker 3>Sweeter, but it's kind of harsh. Irish is like sweeter

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<v Speaker 3>and lighter. And Scotch is the most complex, but it's

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<v Speaker 3>the driest tasting.

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<v Speaker 1>And what the fun does that mean that somebody who

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<v Speaker 1>don't drink when something is dry?

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<v Speaker 4>When something is dry, it means it's not sweet.

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<v Speaker 1>Do you drink whiskey? Like, do you drink whiskey at all? Duce?

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<v Speaker 4>Is that your shit? Hey?

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<v Speaker 5>You know I do. I don't go as fuck? Do you?

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<v Speaker 1>Are you into it that deep?

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<v Speaker 5>No? No, just give me some koliac on me. I'm straight.

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<v Speaker 4>Oh.

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<v Speaker 3>By the way, speaking of Kooniak, the liquor store across

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<v Speaker 3>the street from me, either some Jamaicans or some Haitians

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<v Speaker 3>run the joint. They have a pyramid of all white

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<v Speaker 3>Hennessy in the store like five feet tall. They've got

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<v Speaker 3>like twenty some bottles retail. They sell it over the counter.

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<v Speaker 5>How much it's in the US now?

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<v Speaker 4>Oh it is okay. Yeah, I don't know if they

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<v Speaker 4>snuck it off a boat at the port.

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<v Speaker 5>That's even good though.

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<v Speaker 1>That that shit tastes.

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<v Speaker 5>It's like you smell alcohol when you fuck with that shit.

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<v Speaker 4>Yeah. I never liked it. I just knew it was popular.

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<v Speaker 4>It's like the shardonay of Konyak.

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<v Speaker 2>Yeah, because it was only overseas, so once it start

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<v Speaker 2>coming over here, I mean, you know, niggas, it was

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<v Speaker 2>always like this ould Oh nigga got the white end

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<v Speaker 2>and see on day one seventy five a bottle type

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<v Speaker 2>of shit like me get out of here.

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<v Speaker 4>Yeah, they got at like eighty nine bucks. Classes.

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<v Speaker 3>I say the shardon Nay of Kgnak because it's like

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<v Speaker 3>I think it's skinless grape.

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<v Speaker 1>Oh that's why, Yeah, that's why.

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<v Speaker 4>It's all white.

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<v Speaker 1>Oh, the skin gets at the color. You know, dudes,

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<v Speaker 1>that there's no difference between brandy and kognac. The only

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<v Speaker 1>difference is where they made that. Yeah, what's the best

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<v Speaker 1>brandy you ever had? I don't know you don't even

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<v Speaker 1>fuck with brandy. Yeah nah no, I mean, you know

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<v Speaker 1>it's crazy. Cavasi ain't remind me of brandy. Well, remember

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<v Speaker 1>all kinds I don't know.

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<v Speaker 2>I don't know no light good brandis. I've never seen

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<v Speaker 2>a good brandy. I guess like Sarak and ship like that.

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<v Speaker 2>You know that ship brandy, Oh the Saraka. Here's a

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<v Speaker 2>French brandy. It's a brandy, which is weird because.

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<v Speaker 4>It's a great vodka. It's a great vodka.

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<v Speaker 1>No, Sarak makes a French brandy too. Oh, they makes

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<v Speaker 1>it weird because it ain't French. It is French, but

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<v Speaker 1>it's not made in that region.

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<v Speaker 4>There's also Armagnac, which is like Koonyak, but it's the

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<v Speaker 4>region next door that has its own brand.

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<v Speaker 1>See that's what it is. So it's really all the

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<v Speaker 1>same process to make all every Koonyak is a brandy.

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<v Speaker 1>But they say every every Konnyak, So every Koonyak is

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<v Speaker 1>a brand made.

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<v Speaker 4>It's Champagne for the sparkling wine, the.

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<v Speaker 1>Same ship, exactly right. And I just think to myself,

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<v Speaker 1>like most of the brothers I know never even tried

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<v Speaker 1>to find a specific brandy because brandy is the better

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<v Speaker 1>quality of liquor. I mean, I guess it could be.

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<v Speaker 5>But ship.

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<v Speaker 1>I'm sure if you made brandy with the same process,

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<v Speaker 1>it'll be the same ship. But I don't think niggas

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<v Speaker 1>really try to find a reasonably priced brandy that has

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<v Speaker 1>the same you know, character as as as traditional knyas

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<v Speaker 1>like Hennessy, And then every drinker I know actually tell

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<v Speaker 1>me Hennessy ain't really good like that. It's just kind

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<v Speaker 1>of like an acquired flavor after you drink long enough, you.

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<v Speaker 3>Gotta it's got to be like XO or beyond in

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<v Speaker 3>the in the brandy world to really for it to

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<v Speaker 3>be good.

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<v Speaker 4>You know what I mean, if you like, if you're

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<v Speaker 4>not spending.

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<v Speaker 5>One hundreds, yeah, it's x so it is smoothie, yeah,

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<v Speaker 5>you know.

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<v Speaker 3>And I don't be honest, you want to a great

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<v Speaker 3>cheat like I think Napoleon and ian J Brandy's they

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<v Speaker 3>both have an XO brand, Like XO brandy by ian

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<v Speaker 3>J is better than like vs.

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<v Speaker 4>Hennessy is a third of the price.

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<v Speaker 1>That's all age. That's all that. All that XO shit

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<v Speaker 1>is about a you know, pete. But all that is

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<v Speaker 1>about age. All that a najo blanco repsital is about age.

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<v Speaker 1>All of them is just talking about how long they've

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<v Speaker 1>been sitting in barrels. It really is the same process.

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<v Speaker 1>Just the longer it sitting the barrel, it you know,

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<v Speaker 1>it becomes more valuable. Let me get storing your ship

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<v Speaker 1>like they charge your storage feet.

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<v Speaker 3>Well, it's additionally like it's and like like wine, when

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<v Speaker 3>it's in the bottle, it's it continues to mature in

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<v Speaker 3>the bottle, but the spirits don't because they've been distilled.

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<v Speaker 3>If you have your base spirit in oak, a lot

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<v Speaker 3>of those impurities they bleed out into the wood. So

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<v Speaker 3>if something's in wood for two years, it's gonna have

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<v Speaker 3>a lot more crap in it and a lot less

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<v Speaker 3>refined than if it's in wood for ten or twenty years.

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<v Speaker 4>That's a bit of our game.

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<v Speaker 1>So it's more of a temperature thing. You can't store y'all.

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<v Speaker 1>You can't get your own mini barrels in store your

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<v Speaker 1>own sit because you need a certain temperature, right.

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<v Speaker 4>You could, It's just fucking hard.

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<v Speaker 3>I mean if you if you called up so and

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<v Speaker 3>so and said, hey, I want a barrel, they'll sell

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<v Speaker 3>it to you. There's there's companies that you can invest

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<v Speaker 3>in that are funds like like alternative investment funds where

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<v Speaker 3>you can buy or participate in a collective purchase of

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<v Speaker 3>wines and agiable spirits and you buy the actual cask,

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<v Speaker 3>remove it from inventory and it's yours to own, and

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<v Speaker 3>then you would sell it, you know, as an investment

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<v Speaker 3>ten years from now at a ten x you know

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<v Speaker 3>price point.

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<v Speaker 1>No sellings. Gl I make a Peter. I'm back from

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<v Speaker 1>the A. I Make a Peter back in Florida. He

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<v Speaker 1>was in Atlanta, got down Reduchmac from the La Giants.

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<v Speaker 1>If you full with Glasses alone and you heard any

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<v Speaker 1>of these alone albums that's been out, and you pretty

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<v Speaker 1>much heard Doucemack on half of the l A Giants whatever.

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<v Speaker 3>Man, Ducemack got one of the hardest, best microphone voices

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<v Speaker 3>in the industry.

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<v Speaker 4>I wish I had a voice like his.

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<v Speaker 6>He owe that shit to Newport. He to cut Newport Man.

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<v Speaker 6>Newport didn't do my voice as well, but it was.

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<v Speaker 1>Did you know why it works for Deuce? Because Duce

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<v Speaker 1>is so fucking harsh on the mic, so it's like, oh,

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<v Speaker 1>it's perfect. This nigga voice sound like to the way

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<v Speaker 1>you be talking. He talking crazy and shit, he be

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<v Speaker 1>saying that, Okay, makes sense that nigga would have his

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<v Speaker 1>voice and he can't crazy because he in such a

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<v Speaker 1>situation where you know, living life, life, got his stresses,

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<v Speaker 1>so the nigga need to smoke, but then he don't

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<v Speaker 1>want to smoke because he needs his voice. But then

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<v Speaker 1>the nigga stressed or smoking the only thing calming down

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<v Speaker 1>nigga and the vicious cycle.

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<v Speaker 5>I've been smoking weed lately, though, that's not smoking.

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<v Speaker 4>Your voice is gonna sound like Frank Sinatra. You're not

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<v Speaker 4>gonna have that cache no.

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<v Speaker 1>More to aid Kendricks from the Temptations.

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<v Speaker 4>That up.

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<v Speaker 1>Now what you said, Pete was taking it out like

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<v Speaker 1>maybe a pot about it. What was you asking me about?

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<v Speaker 3>Oh, we were talking about beats per minuted and how

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<v Speaker 3>that kind of bluesy sort of like down Trodney, darker,

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<v Speaker 3>angrier sort of sound out of you know, Atlanta and Memphis.

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<v Speaker 3>It has a has a lower beats per mintent than

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<v Speaker 3>songs that do well in l A. And I was

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<v Speaker 3>wondering if you thought that some of the fact that

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<v Speaker 3>so much of LA's culture is New Orleans transplants, there

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<v Speaker 3>was a significant, you know, jazz.

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<v Speaker 4>Footprint in l A. For a long time.

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<v Speaker 3>If there's a relationship in beats, permittent and musical culture

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<v Speaker 3>that pulls from New Orleans that found a foothold in

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<v Speaker 3>LA rather than necessarily just straight down home you know,

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<v Speaker 3>old southern town type.

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<v Speaker 1>Of ship like the rest of So. Yeah, so it's

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<v Speaker 1>hell a tricky, right, because, like the West is in

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<v Speaker 1>a unique position because it's the last place to be

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<v Speaker 1>developed around the country, right, people came to the East first,

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<v Speaker 1>South and the East first. The Midwest got developed South

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<v Speaker 1>obviously was there. The West kind of adopted its own

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<v Speaker 1>personality musically, right, which is funk. Right. We adopted that

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<v Speaker 1>in hip hop. That's our personality.

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<v Speaker 5>Right.

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<v Speaker 1>But if you think about it, like in correlation to

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<v Speaker 1>human beings, we're gonna have more pop music than anything.

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<v Speaker 1>It's why rhythmic stations are so big on the West coast.

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<v Speaker 1>It's kind of like the middle ground between urban and

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<v Speaker 1>pop rhythmic, and we got a ton of rhythmic stations

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<v Speaker 1>on the West, you know what I mean. But the

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<v Speaker 1>South kind of has their thing with blues, right, and

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<v Speaker 1>that's where you get trapped, you know, to fill of traps.

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<v Speaker 1>So it's all of this, like you said that down

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<v Speaker 1>trodden that down home Troden type of blues that they

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<v Speaker 1>make in the trap. And more than anything, it's important

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<v Speaker 1>because the sonics, you know, the sounds are getting richer,

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<v Speaker 1>they're getting darker, so like the awight is hitting a

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<v Speaker 1>lot harder. The frequencies is a lot lower than ever before,

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<v Speaker 1>you know what I mean. And I think that's where

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<v Speaker 1>the West is kind of coming up short. Like our

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<v Speaker 1>sounds was always in the middle, you know what I mean.

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<v Speaker 1>We had a when it was the base, we was

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<v Speaker 1>doing fine. But as it going to that eight away

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<v Speaker 1>and it get deeper and darker and darker, the South

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<v Speaker 1>is having its way with the gang, but connecting it

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<v Speaker 1>to New Orleans right well, Marty grass jazz is a

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<v Speaker 1>bit funky. So if you listen to the like a

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<v Speaker 1>lot of their hip hop shit, uh the sausage, the sausage,

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<v Speaker 1>the way they be doing ay thing is it's kind

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<v Speaker 1>of it's that Marty Gras jazz has a funky feel

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<v Speaker 1>to it. So that's why the connection is there. You know,

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<v Speaker 1>they they they they they Jazz is a lot more

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<v Speaker 1>festive than just regular traditionals at jazz, even when they

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<v Speaker 1>bury somebody at it, when they have a funeral and

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<v Speaker 1>they have that procession and they walking and they jam

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<v Speaker 1>and shit carrying the casket and shit looks.

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<v Speaker 3>Like a good toime.

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<v Speaker 1>Yeah for real, you know what I mean? So I

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<v Speaker 1>think our connection is there, Marty Gros Jazz is really

0:12:13.160 --> 0:12:16.839
<v Speaker 1>festive and funk music is fested, so we connect at

0:12:16.840 --> 0:12:17.320
<v Speaker 1>that point.

0:12:18.360 --> 0:12:23.200
<v Speaker 3>Sure, But the bpms on like like what was the

0:12:23.320 --> 0:12:26.320
<v Speaker 3>cash money bpms or like that time, what's.

0:12:26.120 --> 0:12:28.319
<v Speaker 4>The name of that style that all that game?

0:12:29.040 --> 0:12:32.600
<v Speaker 1>Yeah, yeah, probably somewhere between. Their real shit is probably

0:12:32.679 --> 0:12:35.400
<v Speaker 1>right about eighty seven eighty somewhere between eighty seven and ninety.

0:12:35.400 --> 0:12:37.520
<v Speaker 1>I would have to ask head, but right off the

0:12:37.559 --> 0:12:40.319
<v Speaker 1>top of my head, they average is gonna be somewhere

0:12:40.320 --> 0:12:42.800
<v Speaker 1>between eighty seven and ninety because they ain't gonna have

0:12:42.880 --> 0:12:46.800
<v Speaker 1>nothing too much slower than eighty. But they will have

0:12:46.840 --> 0:12:49.880
<v Speaker 1>a lot of shit at one hundred, one hundred bpm

0:12:50.160 --> 0:12:52.720
<v Speaker 1>ninety eight bpm. A lot of that cash money, those

0:12:52.760 --> 0:12:56.520
<v Speaker 1>records like back that Ass Up is a fast song. Yeah, yeah,

0:12:56.679 --> 0:13:00.080
<v Speaker 1>you know what I mean. Uh, A lot of that

0:13:00.120 --> 0:13:03.720
<v Speaker 1>shit is faster. But you know, New Orleans always had

0:13:03.720 --> 0:13:06.360
<v Speaker 1>the cheat code to me because they can kind of

0:13:06.400 --> 0:13:10.160
<v Speaker 1>go down home trotting like a regular South, but or

0:13:10.160 --> 0:13:12.800
<v Speaker 1>they can make like this festive thing. And that's why

0:13:12.840 --> 0:13:14.720
<v Speaker 1>you look at a lot of those cash Money records

0:13:14.760 --> 0:13:17.839
<v Speaker 1>that was hell is successful, like back that ass up,

0:13:18.040 --> 0:13:19.560
<v Speaker 1>Like you know what I mean them shit's high as

0:13:19.640 --> 0:13:23.160
<v Speaker 1>ninety BVM if I remember correctly, I mean they they

0:13:23.200 --> 0:13:27.120
<v Speaker 1>shit is jamming like that. It's all a jam. But

0:13:27.360 --> 0:13:29.040
<v Speaker 1>like when we was in Atlanta, right and we go

0:13:29.080 --> 0:13:32.319
<v Speaker 1>see zatve and shit, really what I was looking for

0:13:32.440 --> 0:13:36.120
<v Speaker 1>for day was just the bottom. I feel like the

0:13:36.160 --> 0:13:40.959
<v Speaker 1>West is struggling musically because right there's a few things,

0:13:40.960 --> 0:13:43.839
<v Speaker 1>but definitely our music don't have as much bottom as

0:13:43.840 --> 0:13:46.280
<v Speaker 1>the rest of the country. Like it's it gets darker

0:13:46.320 --> 0:13:48.160
<v Speaker 1>the rest of the country, you know, everywhere you go,

0:13:48.440 --> 0:13:50.880
<v Speaker 1>and ours it would be you know, hell of pop.

0:13:50.960 --> 0:13:53.360
<v Speaker 1>Everything is kind of the middle up top. But they

0:13:53.520 --> 0:13:56.000
<v Speaker 1>working for it. But I definitely think we got to

0:13:56.080 --> 0:13:58.760
<v Speaker 1>kind of implement more of what's going on down South

0:13:59.200 --> 0:14:02.520
<v Speaker 1>as far as the sound itself, not the rhythm, Like

0:14:02.559 --> 0:14:04.840
<v Speaker 1>we got to keep our rhythm. We gotta stay faster

0:14:04.920 --> 0:14:08.040
<v Speaker 1>because our life ain't as slow as down so like

0:14:08.120 --> 0:14:08.839
<v Speaker 1>our life.

0:14:08.600 --> 0:14:11.920
<v Speaker 4>Is faster, not the style, just the phonics.

0:14:12.040 --> 0:14:13.160
<v Speaker 5>So to spit you know.

0:14:13.160 --> 0:14:14.080
<v Speaker 1>What, I'm talking about Duce.

0:14:16.240 --> 0:14:20.640
<v Speaker 5>Yeah, man, you know what I don't. Man, you know,

0:14:20.680 --> 0:14:24.280
<v Speaker 5>only listen to what I feel like listening to. Sure, Sure, but.

0:14:24.880 --> 0:14:27.240
<v Speaker 1>I don't think we having a conversation of preference, right.

0:14:28.280 --> 0:14:30.120
<v Speaker 1>I think what we're talking about is just because I

0:14:30.160 --> 0:14:33.240
<v Speaker 1>was explaining the peete. One of my ideas going down

0:14:33.320 --> 0:14:37.000
<v Speaker 1>South was to get that deepness of those sounds, like

0:14:37.080 --> 0:14:39.520
<v Speaker 1>them nigga sounds as dark as fuck. Like you hear

0:14:39.600 --> 0:14:42.040
<v Speaker 1>they ate a waits, they ate the waits is way

0:14:42.160 --> 0:14:47.000
<v Speaker 1>darker than ours now, right, Yeah.

0:14:45.920 --> 0:14:48.080
<v Speaker 3>Like in the car West Coast beats could hit on

0:14:48.120 --> 0:14:50.400
<v Speaker 3>an eight. You need a fifteen for an ATL beat.

0:14:50.720 --> 0:14:53.760
<v Speaker 1>There you go, great point, right, you know what I mean.

0:14:53.800 --> 0:14:57.000
<v Speaker 1>And I think we missed some of that bottom And

0:14:57.040 --> 0:14:58.480
<v Speaker 1>that's why I said, but I don't think we can

0:14:58.520 --> 0:15:00.760
<v Speaker 1>slow the music down to make trap. That's the problem.

0:15:01.000 --> 0:15:02.560
<v Speaker 1>We can't, you know what I mean. And it don't

0:15:02.560 --> 0:15:06.760
<v Speaker 1>fit our life. And I was more base lines. Yeah,

0:15:06.800 --> 0:15:08.800
<v Speaker 1>and that's another problem. Like I think we had this

0:15:08.840 --> 0:15:12.240
<v Speaker 1>conversation about I had this conversation with you know, with

0:15:12.320 --> 0:15:15.680
<v Speaker 1>the hommy about Drake, like when Drake music started, like

0:15:15.880 --> 0:15:19.720
<v Speaker 1>his tone matches the baseline. So a lot of music

0:15:19.760 --> 0:15:22.400
<v Speaker 1>started losing the baseline when Drake kind of came about.

0:15:22.680 --> 0:15:24.520
<v Speaker 1>If you listen to Drake music, you don't really have

0:15:24.600 --> 0:15:28.280
<v Speaker 1>a ton of baselines because his octave is the baseline.

0:15:28.320 --> 0:15:31.160
<v Speaker 1>But it's also weird because to me, he don't have

0:15:31.280 --> 0:15:36.120
<v Speaker 1>enough soul to mask not having a baseline. I mean,

0:15:36.200 --> 0:15:38.000
<v Speaker 1>like the shit that the shit he owned the real

0:15:38.080 --> 0:15:41.760
<v Speaker 1>texture of his tone, but he is close so forty

0:15:42.400 --> 0:15:45.000
<v Speaker 1>you know forty his producer being you know, the sonic

0:15:45.400 --> 0:15:48.240
<v Speaker 1>genius his is. They just got rid of the baseline

0:15:48.480 --> 0:15:50.920
<v Speaker 1>and start using eight. Oh wait, because if his shit

0:15:50.960 --> 0:15:53.640
<v Speaker 1>is where the where the baseline is his tone where

0:15:53.640 --> 0:15:57.720
<v Speaker 1>the baseline is you ever notice he uh below right

0:15:57.760 --> 0:16:00.200
<v Speaker 1>here where the base is at So they feeling the

0:16:00.240 --> 0:16:03.880
<v Speaker 1>whole bottom right and then they filling everything on top.

0:16:04.120 --> 0:16:05.880
<v Speaker 1>So it's always gonna be a It's a lot of

0:16:05.920 --> 0:16:08.200
<v Speaker 1>eight A waight kicks shit like that, but it ain't

0:16:08.240 --> 0:16:10.720
<v Speaker 1>never a baseline because they feel like it a clash

0:16:11.280 --> 0:16:13.320
<v Speaker 1>and you know who worked like that to me too Quick?

0:16:14.120 --> 0:16:16.200
<v Speaker 1>Like if you notice Quick, a lot of the voices

0:16:16.280 --> 0:16:20.320
<v Speaker 1>Quick produced are higher because Quick depending on the baseline

0:16:20.360 --> 0:16:24.080
<v Speaker 1>a lot. So think of AMG sugar free, DJ Quick

0:16:24.160 --> 0:16:27.480
<v Speaker 1>himself second to none they always have, which is probably

0:16:27.520 --> 0:16:29.480
<v Speaker 1>the greatest challenge would have been moss Bird because that

0:16:29.480 --> 0:16:31.280
<v Speaker 1>would have been the lowest thing he had to deal

0:16:31.320 --> 0:16:36.800
<v Speaker 1>with as far as ms high seed voices above the baseline.

0:16:37.560 --> 0:16:41.200
<v Speaker 1>So producing a song full is different. I mean, when

0:16:41.240 --> 0:16:45.720
<v Speaker 1>you actually produce a full song, it's a spectrum frequency.

0:16:46.200 --> 0:16:48.160
<v Speaker 1>And I know we getting held of technical because but

0:16:48.200 --> 0:16:53.920
<v Speaker 1>it really matters. It's like we was up in the

0:16:53.960 --> 0:16:55.400
<v Speaker 1>bay and I was listening to a lot of the

0:16:55.480 --> 0:16:57.440
<v Speaker 1>Hyphee records, right, and I was thinking about it, he

0:16:57.520 --> 0:16:59.600
<v Speaker 1>was talking about it. Then I would compare it to

0:16:59.720 --> 0:17:03.440
<v Speaker 1>like Rick Rock, and I'm like, it's not full. The

0:17:04.920 --> 0:17:07.400
<v Speaker 1>frequency rainbow is not all the colors.

0:17:07.640 --> 0:17:10.200
<v Speaker 5>It's really only really.

0:17:10.119 --> 0:17:13.119
<v Speaker 1>At the top or at the bottom, and it's a

0:17:13.119 --> 0:17:16.159
<v Speaker 1>lot of mid that's missing. But then right, if you

0:17:16.200 --> 0:17:20.680
<v Speaker 1>go listen to Rick Rock, like h Yay Area or

0:17:20.720 --> 0:17:22.480
<v Speaker 1>a lot of his ship, it's gonna have all the

0:17:22.560 --> 0:17:26.480
<v Speaker 1>meds around, even the vocals. So when they just ate

0:17:26.520 --> 0:17:29.399
<v Speaker 1>away in melody, it's still a med that's going with

0:17:29.440 --> 0:17:33.000
<v Speaker 1>the melody. And as much as people don't believe that

0:17:33.520 --> 0:17:37.479
<v Speaker 1>the average everyday person can hear that they can feel it.

0:17:39.600 --> 0:17:41.560
<v Speaker 4>Are there examples off the top of your head of.

0:17:41.520 --> 0:17:46.400
<v Speaker 3>Like like saying, Nate Dogg being on tracks that had

0:17:46.440 --> 0:17:50.040
<v Speaker 3>really robust baselines where you did get that collision a

0:17:50.080 --> 0:17:52.439
<v Speaker 3>little bit or his song avoid of it.

0:17:53.600 --> 0:17:56.920
<v Speaker 1>That's why they didn't really do it like that. I mean,

0:17:59.480 --> 0:18:02.119
<v Speaker 1>if you listen into the song they did with a

0:18:02.119 --> 0:18:05.320
<v Speaker 1>shout out to uh my boy from V eight, because

0:18:05.359 --> 0:18:06.920
<v Speaker 1>it's slipping in my mind, I'm getting know what's the

0:18:07.000 --> 0:18:08.720
<v Speaker 1>nigga name? I'll be fucking with you more time he

0:18:08.800 --> 0:18:15.280
<v Speaker 1>produced for Virginia, So Big did I Got Love? You

0:18:15.280 --> 0:18:17.400
<v Speaker 1>know what I'm saying. Niggas don't really know that Big

0:18:17.440 --> 0:18:21.879
<v Speaker 1>did I Got Love? Big did off the uh the

0:18:21.960 --> 0:18:27.960
<v Speaker 1>song with Nate and Corrupt pause, girls Girls All Pause,

0:18:28.119 --> 0:18:32.919
<v Speaker 1>and the other one, Oh that might be Fred Girls

0:18:32.920 --> 0:18:34.920
<v Speaker 1>All Pause. He did do Girls All Pause.

0:18:35.760 --> 0:18:38.199
<v Speaker 4>All the ones that didn't sound like super G funky.

0:18:39.080 --> 0:18:42.400
<v Speaker 1>Yeah, it was like they were funky in their own regards. Sure, sure,

0:18:44.840 --> 0:18:46.640
<v Speaker 1>I take that back. I got love his soul. That's

0:18:46.640 --> 0:18:49.960
<v Speaker 1>Donny Hathaway. Yeah, I just mean, I just.

0:18:49.920 --> 0:18:54.040
<v Speaker 4>Mean, no, no, no.

0:18:54.160 --> 0:18:55.440
<v Speaker 1>That's Donny Hathaway.

0:18:56.200 --> 0:18:57.159
<v Speaker 4>I'm super l A.

0:18:58.080 --> 0:18:59.800
<v Speaker 5>Yeah, he did.

0:18:59.680 --> 0:19:02.720
<v Speaker 1>Girls All Paused for Corrupt, they did. He did something.

0:19:02.800 --> 0:19:04.399
<v Speaker 1>A lot of the sounds that song Streets is a

0:19:04.480 --> 0:19:12.800
<v Speaker 1>mother du oh yeah yeah right, he hard But I think, yeah,

0:19:12.800 --> 0:19:15.240
<v Speaker 1>you're right, Like there isn't a ton of funky ship

0:19:15.320 --> 0:19:18.160
<v Speaker 1>with Nate like that. It's usually like things that kind

0:19:18.160 --> 0:19:21.479
<v Speaker 1>of bleed in the funk, like like that Donnie Hathaway

0:19:21.560 --> 0:19:23.880
<v Speaker 1>sample that they used for I Got Love where they

0:19:23.880 --> 0:19:26.040
<v Speaker 1>take the soul but it had a bass and it

0:19:26.160 --> 0:19:28.520
<v Speaker 1>kind of made it funky a little bit, but it's

0:19:28.560 --> 0:19:34.439
<v Speaker 1>not really funky Warren g Regular which is uh, I

0:19:34.520 --> 0:19:36.320
<v Speaker 1>keep forgetting, you know what I mean, which is that

0:19:36.320 --> 0:19:39.560
<v Speaker 1>Blue Eyes soul that's kind of more jazz and soh

0:19:40.080 --> 0:19:45.440
<v Speaker 1>I key forgetting. How does a beatgo? Uh?

0:19:45.920 --> 0:19:48.120
<v Speaker 4>You know Kenny Kenny was his name, right?

0:19:48.600 --> 0:19:51.080
<v Speaker 3>Who who the originally did that song?

0:19:51.200 --> 0:19:54.920
<v Speaker 1>Michael McDonald McDonald's right, I get them McDonald from the

0:19:55.000 --> 0:19:55.919
<v Speaker 1>Doobie Brothers.

0:19:56.400 --> 0:19:57.160
<v Speaker 4>So yeah, like.

0:19:59.200 --> 0:20:01.640
<v Speaker 1>It just gets into of the space where And that's

0:20:01.680 --> 0:20:03.560
<v Speaker 1>a great point. Like if you think of the biggest

0:20:03.600 --> 0:20:11.040
<v Speaker 1>records with Nate, they're not really that funky, yeah you

0:20:11.119 --> 0:20:14.960
<v Speaker 1>know what I mean, Like even like like think about it, right,

0:20:15.040 --> 0:20:23.880
<v Speaker 1>like Little Ghetto Boys, Donny Hathaway, Yeah.

0:20:23.680 --> 0:20:27.960
<v Speaker 5>The only one that's poty record. It's kind of funky

0:20:28.280 --> 0:20:28.800
<v Speaker 5>that's true.

0:20:29.200 --> 0:20:33.440
<v Speaker 1>Yeah, no, no, no, no no. And battle Cat he

0:20:33.560 --> 0:20:35.359
<v Speaker 1>is Funky's hell a battle Cat got an R and

0:20:35.400 --> 0:20:38.840
<v Speaker 1>B style, so he'll have those melodies going with the

0:20:39.080 --> 0:20:41.919
<v Speaker 1>base where even if you lose the frequency listening to

0:20:42.000 --> 0:20:46.360
<v Speaker 1>him cad of layer that motherfucking baseline with other keys

0:20:46.359 --> 0:20:46.960
<v Speaker 1>and ship.

0:20:46.840 --> 0:20:47.960
<v Speaker 5>So you never lose it.

0:20:48.359 --> 0:20:50.240
<v Speaker 4>And Nate wasn't kind of a higher octave on that.

0:20:50.240 --> 0:20:54.919
<v Speaker 1>Song he did Mommy's in made I'm so he laid it.

0:20:55.359 --> 0:21:02.560
<v Speaker 1>He was, you know, no, no, no, no, no, no, yeah. Yeah.

0:21:03.000 --> 0:21:05.720
<v Speaker 1>And what's what's funny is one of the biggest Nate

0:21:05.760 --> 0:21:07.600
<v Speaker 1>Dog songs that come to mind too, is that total

0:21:07.720 --> 0:21:12.919
<v Speaker 1>song This is Wherever I Want to be, I mean

0:21:13.040 --> 0:21:18.640
<v Speaker 1>with my loved ones. Yeah, that's a total song from here,

0:21:18.680 --> 0:21:22.679
<v Speaker 1>you know. And they kind of had a walk. Shane's

0:21:22.680 --> 0:21:26.560
<v Speaker 1>still around, right, Shan's still an I ain't I haven't

0:21:26.560 --> 0:21:27.080
<v Speaker 1>total to him.

0:21:27.119 --> 0:21:28.919
<v Speaker 3>But well, there's some of those issues on the on

0:21:29.000 --> 0:21:31.040
<v Speaker 3>the two part album that they did, like with the

0:21:31.160 --> 0:21:33.679
<v Speaker 3>like was the song Nobody Does It Better and all

0:21:33.720 --> 0:21:36.240
<v Speaker 3>of those because those songs kind of had that I

0:21:36.280 --> 0:21:38.840
<v Speaker 3>don't remember he old.

0:21:38.880 --> 0:21:41.520
<v Speaker 1>But what's funny is when you think about the way

0:21:41.680 --> 0:21:47.960
<v Speaker 1>dre used Nate versus the way Warren used Nate. They

0:21:48.119 --> 0:21:53.080
<v Speaker 1>use him completely different. Like what's like, what's the biggest

0:21:53.160 --> 0:21:59.880
<v Speaker 1>Nate dog Doctor Dre song ain't no fun right, probably

0:22:00.280 --> 0:22:03.040
<v Speaker 1>and that's not even really yep, yep, that's probably the

0:22:03.040 --> 0:22:08.400
<v Speaker 1>biggest ones. Yeah, but he used him real sparely. And

0:22:08.440 --> 0:22:11.400
<v Speaker 1>that's because Nate wasn't really a funky singer. I never

0:22:11.440 --> 0:22:13.800
<v Speaker 1>tripped off that and Theate wasn't really a funky singer.

0:22:14.280 --> 0:22:16.000
<v Speaker 5>Yeah, it was like more church boy.

0:22:16.280 --> 0:22:18.560
<v Speaker 1>Yeah. So, like Donnie had the way, that's to me

0:22:18.680 --> 0:22:22.440
<v Speaker 1>who everything about him gave off, Like even the seriousness

0:22:22.440 --> 0:22:24.880
<v Speaker 1>of his face all the time. That Nigga never smiled

0:22:24.920 --> 0:22:28.840
<v Speaker 1>in no video Cuz no that Nigga like Donnie had

0:22:28.840 --> 0:22:31.200
<v Speaker 1>the way. Donny had theway was so dope, bro. They

0:22:31.240 --> 0:22:33.640
<v Speaker 1>say Donny had theway was so consigned with the world

0:22:33.680 --> 0:22:35.959
<v Speaker 1>that Nigga killed himself. He just like couldn't live no more.

0:22:36.000 --> 0:22:40.320
<v Speaker 1>That Nigga jumped out of a building or something. And

0:22:40.400 --> 0:22:42.639
<v Speaker 1>Nate was serious like that. I remember the time they

0:22:42.720 --> 0:22:45.879
<v Speaker 1>came to the studio. Cousin, he was the first legend

0:22:45.880 --> 0:22:48.000
<v Speaker 1>that came to work with me, and he came to

0:22:48.040 --> 0:22:51.080
<v Speaker 1>the studio and we did a song JR. Rodham did

0:22:51.119 --> 0:22:52.720
<v Speaker 1>the music. I need to talk to j R. To

0:22:52.720 --> 0:22:55.200
<v Speaker 1>try to get that song. But it was called Can't

0:22:55.200 --> 0:22:57.600
<v Speaker 1>Be Faded Part two and he was just talking to me.

0:22:57.760 --> 0:23:01.960
<v Speaker 1>Cousin never smiled. It was hell helpful, bro, But he

0:23:02.080 --> 0:23:06.240
<v Speaker 1>was like that nigga never smiled, cud Like. It was like, yeah, gee,

0:23:06.280 --> 0:23:08.800
<v Speaker 1>you know, I got you brother. You know he's talking

0:23:08.800 --> 0:23:10.439
<v Speaker 1>to me like yeah, you know, we're chopping it up

0:23:10.440 --> 0:23:13.639
<v Speaker 1>about some ship. Yeah you know. But I was like

0:23:13.680 --> 0:23:16.200
<v Speaker 1>the nigga just left gotten the limbs left.

0:23:16.960 --> 0:23:21.000
<v Speaker 7>I was like him, but it would work because because

0:23:21.000 --> 0:23:23.520
<v Speaker 7>he lived up to all expectations and they dog you

0:23:23.560 --> 0:23:26.600
<v Speaker 7>know what I'm saying, like they dog cus were serious

0:23:26.600 --> 0:23:32.000
<v Speaker 7>that nigga was all business, all business.

0:23:32.240 --> 0:23:35.919
<v Speaker 1>I'm not asking him because ever smiled like warning them

0:23:36.160 --> 0:23:42.040
<v Speaker 1>nigga ever saw he had to laugh. Nigga when nigga

0:23:42.080 --> 0:23:44.680
<v Speaker 1>when they was chilling. That ain't just funny about do

0:23:45.200 --> 0:23:46.320
<v Speaker 1>they never smiled?

0:23:46.320 --> 0:23:48.360
<v Speaker 2>Did you seen that nigga on one of them documentaries

0:23:48.400 --> 0:23:49.720
<v Speaker 2>backing on a nigga or something?

0:23:50.400 --> 0:23:57.400
<v Speaker 1>But he was even serious then it was funny then

0:23:57.720 --> 0:24:00.919
<v Speaker 1>serious guy. There's a little clip when him singing brown

0:24:00.960 --> 0:24:04.359
<v Speaker 1>Skin right shout out to Lynn, but Joseph Lineberg, Joseph

0:24:04.440 --> 0:24:10.359
<v Speaker 1>did that beat right, He's huh two album no, I

0:24:10.359 --> 0:24:12.600
<v Speaker 1>think so. I guess it made it there, but I

0:24:12.600 --> 0:24:15.520
<v Speaker 1>don't remember hearing the song out, Like I only heard

0:24:15.560 --> 0:24:17.960
<v Speaker 1>it on YouTube. I don't know what body of work

0:24:18.000 --> 0:24:20.919
<v Speaker 1>it came out of. But he was singing brown Skin right,

0:24:20.960 --> 0:24:22.719
<v Speaker 1>and they was it was Warren because they was in

0:24:22.760 --> 0:24:23.840
<v Speaker 1>there brown Skin.

0:24:23.920 --> 0:24:26.040
<v Speaker 2>It's on YouTube, it's one of my it's probably the

0:24:26.040 --> 0:24:28.960
<v Speaker 2>top twenty fevue YouTube video. And he was talking shit

0:24:29.040 --> 0:24:33.480
<v Speaker 2>about niggas don't be still in my wrists down steal

0:24:33.480 --> 0:24:35.560
<v Speaker 2>and I'm like he was serious, and I'm like, this

0:24:35.640 --> 0:24:38.320
<v Speaker 2>niggacuz never smile.

0:24:41.640 --> 0:24:43.479
<v Speaker 1>I would so trouble.

0:24:46.720 --> 0:24:50.680
<v Speaker 3>Maybe because he was upset that he just couldn't find

0:24:50.680 --> 0:24:54.040
<v Speaker 3>the right matching beads for the baseline just just.

0:24:54.000 --> 0:24:56.919
<v Speaker 4>Threw him into a permanent funk for years.

0:24:57.400 --> 0:25:00.720
<v Speaker 1>It's like, this shit ain't right. But I be thinking

0:25:00.760 --> 0:25:06.640
<v Speaker 1>about all this shit, so it's like there's a real connection.

0:25:06.800 --> 0:25:10.359
<v Speaker 1>Like the West adopted funk that became our identity. But

0:25:10.520 --> 0:25:14.560
<v Speaker 1>to me, the music that we really made ourselves, I

0:25:14.600 --> 0:25:17.680
<v Speaker 1>mean it's more sunshine pop that was like in the sixties,

0:25:17.680 --> 0:25:21.000
<v Speaker 1>in the seventies. But that music that aged will right so,

0:25:21.760 --> 0:25:24.000
<v Speaker 1>and it's funny because that booted is derived from a

0:25:24.040 --> 0:25:27.480
<v Speaker 1>sunshine pop song, a band that's oute of Orange County, right,

0:25:27.560 --> 0:25:29.960
<v Speaker 1>the South held on the blues. That's where you get

0:25:30.000 --> 0:25:33.119
<v Speaker 1>that trappy darkness from, I mean, from the blues rips.

0:25:33.560 --> 0:25:35.960
<v Speaker 1>That's how they make they music. And then you could

0:25:36.000 --> 0:25:37.959
<v Speaker 1>take a group like outcasts who kind of made this

0:25:38.040 --> 0:25:42.560
<v Speaker 1>blues fumk, like like Nigga MC eight could rap over

0:25:42.720 --> 0:25:46.359
<v Speaker 1>all old outcast instrumentals and that shit would hit because

0:25:46.400 --> 0:25:49.600
<v Speaker 1>that's how eight does his thing, right, same thing. The

0:25:49.680 --> 0:25:53.200
<v Speaker 1>mid West adopted R and B. So if you listen

0:25:53.240 --> 0:25:55.080
<v Speaker 1>to all the rappers right, you go back to Do

0:25:55.200 --> 0:25:59.000
<v Speaker 1>or Die, bom Twister. It's a melody to that shit.

0:25:59.560 --> 0:26:04.480
<v Speaker 1>Techn Nelly noticed they all sing because that's because something

0:26:04.480 --> 0:26:07.399
<v Speaker 1>about the Midwest and R and B just locked in.

0:26:07.520 --> 0:26:10.720
<v Speaker 1>Maybe it's motown, but all them niggas be singing, even

0:26:10.800 --> 0:26:13.560
<v Speaker 1>Kanye be singing. Them niggas all figure out a way

0:26:13.560 --> 0:26:16.480
<v Speaker 1>to sing on the song, even Eminem you know what

0:26:16.480 --> 0:26:18.960
<v Speaker 1>I mean. That nigga be singing and shit, you know

0:26:19.000 --> 0:26:22.200
<v Speaker 1>what I mean. And that's just the musical identity that the

0:26:22.240 --> 0:26:25.520
<v Speaker 1>mid West built off of R and B, and it's

0:26:25.920 --> 0:26:29.920
<v Speaker 1>in the East. Obviously it's jazz. They celebrate jazz the most.

0:26:29.960 --> 0:26:33.040
<v Speaker 1>You can't tell them niggas nothing about Premier. They don't

0:26:33.040 --> 0:26:36.520
<v Speaker 1>celebrate Eric Shermon the same way they celebrate Premier or

0:26:36.600 --> 0:26:40.199
<v Speaker 1>Pete Rock. Eric Simon has shit, and I know Eric

0:26:40.280 --> 0:26:42.239
<v Speaker 1>Simon shit mattered on the West, so I know it

0:26:42.280 --> 0:26:47.240
<v Speaker 1>mattered out there. But they don't really celebrate their funky

0:26:47.280 --> 0:26:50.399
<v Speaker 1>producers or even they R and B producers to me,

0:26:50.560 --> 0:26:53.920
<v Speaker 1>like the Tony Polk or the Puffs and all of them.

0:26:54.359 --> 0:26:58.040
<v Speaker 1>They really pin their hat on the sophistication of the

0:26:58.160 --> 0:27:02.800
<v Speaker 1>jazz bass sample, right, which is Premier, Pete Rock and

0:27:02.840 --> 0:27:05.520
<v Speaker 1>all that other jazz shit Q tip you know what

0:27:05.520 --> 0:27:08.240
<v Speaker 1>I mean. That's how they feel they sound. Is so

0:27:08.280 --> 0:27:11.119
<v Speaker 1>we all picked up different parts of music and different

0:27:11.160 --> 0:27:14.600
<v Speaker 1>parts of the country, like funk. Right, the West is

0:27:14.640 --> 0:27:17.320
<v Speaker 1>with the funk, South is with the blues, mid West

0:27:17.400 --> 0:27:19.480
<v Speaker 1>is with the R and B, and East Coast with

0:27:19.520 --> 0:27:25.439
<v Speaker 1>the jazz. So I think where the South is really

0:27:26.040 --> 0:27:31.800
<v Speaker 1>reigning supreme is because they got like these frequencies lower

0:27:31.840 --> 0:27:35.080
<v Speaker 1>and lower and lower than everybody else. And I mean

0:27:36.400 --> 0:27:38.720
<v Speaker 1>when you start talking to zayto when you start talking

0:27:38.720 --> 0:27:41.719
<v Speaker 1>to Mike will you start talking to DJ Tunk, And

0:27:41.760 --> 0:27:43.960
<v Speaker 1>then they're telling you that they going through a lot

0:27:43.960 --> 0:27:47.080
<v Speaker 1>of shit to get there, like they not. It ain't

0:27:47.200 --> 0:27:50.879
<v Speaker 1>just out that motherfucking fruity Loops nigga. Like there's some

0:27:50.920 --> 0:27:53.080
<v Speaker 1>shit that they doing down there, Like he was telling

0:27:53.160 --> 0:27:57.320
<v Speaker 1>us to get to that space, to find that lowest frequency.

0:27:57.920 --> 0:28:00.639
<v Speaker 1>And I think hip hop is in such a weird

0:28:00.680 --> 0:28:03.679
<v Speaker 1>space right rest in peace tonate, but hip hop is

0:28:03.720 --> 0:28:06.399
<v Speaker 1>in such a weird space that the ghettos have to

0:28:06.480 --> 0:28:11.000
<v Speaker 1>combine to really impact the country. Again, Like even if

0:28:11.040 --> 0:28:13.600
<v Speaker 1>you take like look at what's going on with a

0:28:13.720 --> 0:28:17.600
<v Speaker 1>mephist producer and sexy read the Saint Louis artists, you

0:28:17.600 --> 0:28:20.240
<v Speaker 1>know what I mean, Like take Keith, it worked out there,

0:28:20.640 --> 0:28:23.480
<v Speaker 1>So I think, you know, I think we got our

0:28:23.480 --> 0:28:26.159
<v Speaker 1>ghettos have to combine. And I don't just mean the

0:28:26.200 --> 0:28:31.639
<v Speaker 1>motherfucking rappers. I mean the musical elements of it, the

0:28:31.800 --> 0:28:36.040
<v Speaker 1>musical elements. And it's required because people hip hop is

0:28:36.119 --> 0:28:38.560
<v Speaker 1>kind of ran his last leg as being this separate

0:28:38.720 --> 0:28:41.840
<v Speaker 1>entity and the world's like whatever, you know what I mean,

0:28:41.880 --> 0:28:45.600
<v Speaker 1>they get they get it so fast now, And I

0:28:45.640 --> 0:28:47.200
<v Speaker 1>think We're at the space to where we got to

0:28:47.240 --> 0:28:50.560
<v Speaker 1>combine ghetto powers, Like we gotta go down there and

0:28:50.600 --> 0:28:53.120
<v Speaker 1>fuck with the Southern producers. But that don't mean we

0:28:53.160 --> 0:28:54.479
<v Speaker 1>need to go down there and try to get them

0:28:54.560 --> 0:28:57.360
<v Speaker 1>to make trap records. I think them niggas can all

0:28:57.400 --> 0:29:02.080
<v Speaker 1>produce for the most part. Like I hit the beat

0:29:02.160 --> 0:29:04.960
<v Speaker 1>King in Texas, be King from Texas. I'm like, man,

0:29:04.960 --> 0:29:06.960
<v Speaker 1>he like, I ain't never set my metron on that hard.

0:29:07.000 --> 0:29:08.840
<v Speaker 1>I'm like, set that motherfucker that hard, cause.

0:29:08.760 --> 0:29:10.280
<v Speaker 5>Let's do something like.

0:29:10.360 --> 0:29:12.720
<v Speaker 1>That's why I'm pushing a lot of niggas too. Set

0:29:12.760 --> 0:29:15.280
<v Speaker 1>your metron one in ninety five, cousins, give me what

0:29:15.320 --> 0:29:17.680
<v Speaker 1>you got, Let's see what you got. I hit Fabos.

0:29:17.760 --> 0:29:23.520
<v Speaker 1>I didn't realize Fabro produced uh spaceships on back head

0:29:23.560 --> 0:29:26.120
<v Speaker 1>geeked up whatever. I forgot the proper name of the song.

0:29:26.160 --> 0:29:28.560
<v Speaker 1>I'm like, hey, give me one. I need one of these. Yeah,

0:29:28.560 --> 0:29:31.240
<v Speaker 1>I'm hearing too, and give me the fast shit. I've

0:29:31.240 --> 0:29:34.600
<v Speaker 1>been hitting Pete Rock probably for like a while, just

0:29:34.600 --> 0:29:36.640
<v Speaker 1>to get him. I've been trying to Eric Taman know

0:29:36.720 --> 0:29:39.520
<v Speaker 1>I'm on here, Like, I feel like we got to

0:29:39.600 --> 0:29:44.320
<v Speaker 1>combine the ghetto sonically to really impact mainstream America again,

0:29:44.600 --> 0:29:47.160
<v Speaker 1>because I don't think it could be separate and the

0:29:47.320 --> 0:29:50.080
<v Speaker 1>music does it anymore. I think it gotta be like

0:29:50.120 --> 0:29:53.000
<v Speaker 1>a visual thing at this point. If it's just like

0:29:53.080 --> 0:29:56.160
<v Speaker 1>Saint Louis right, if it's you see sexy Red, that

0:29:56.200 --> 0:29:58.800
<v Speaker 1>shit is just like an anomaly. Or you see certain niggas,

0:29:58.800 --> 0:30:01.760
<v Speaker 1>that's an anomaly in how they look. Right, niggas got

0:30:01.760 --> 0:30:04.600
<v Speaker 1>all these shit going on. But I think for the

0:30:04.720 --> 0:30:08.200
<v Speaker 1>music to be as impactful again, it's required that the

0:30:08.240 --> 0:30:12.400
<v Speaker 1>ghettos combined sonics, like the Atlanta Ghetto in the Los

0:30:12.440 --> 0:30:16.000
<v Speaker 1>Angeles Ghetto combined the sonics and really put it together

0:30:16.080 --> 0:30:18.560
<v Speaker 1>so the world could have something that it's never had.

0:30:20.920 --> 0:30:24.160
<v Speaker 4>Sure, yeah, that only makes sense. I mean there's a

0:30:24.200 --> 0:30:24.600
<v Speaker 4>lot of it.

0:30:24.640 --> 0:30:28.800
<v Speaker 3>Also is there was a sequence of new cities and

0:30:28.840 --> 0:30:31.480
<v Speaker 3>regions coming out with new sounds, so it's new. Well

0:30:31.600 --> 0:30:35.800
<v Speaker 3>the whole obviously globe got covered or the US map anyway,

0:30:35.840 --> 0:30:37.000
<v Speaker 3>there's nowhere else to go.

0:30:38.400 --> 0:30:40.719
<v Speaker 4>So yeah, you got it.

0:30:40.840 --> 0:30:46.400
<v Speaker 3>You know, innovate in a combination kind of fashion. That's

0:30:46.840 --> 0:30:50.080
<v Speaker 3>the way technologies, even outside of music tendo usually work.

0:30:50.960 --> 0:30:53.520
<v Speaker 1>And I think this is the advantage we have over

0:30:54.000 --> 0:30:57.320
<v Speaker 1>our predecessors from a different time. It's like we about

0:30:57.320 --> 0:31:00.800
<v Speaker 1>to make the colossal burger of hip hop. Everybody else

0:31:00.920 --> 0:31:05.640
<v Speaker 1>just been making for stroami sandwiches, hamburgers, real cheese, and ship.

0:31:06.040 --> 0:31:08.320
<v Speaker 3>Now we feel it's been a lot of impossible burgers

0:31:08.360 --> 0:31:09.240
<v Speaker 3>the last few years.

0:31:09.520 --> 0:31:11.480
<v Speaker 1>It is for real.

0:31:12.000 --> 0:31:14.920
<v Speaker 5>It's a good comparison Bush.

0:31:15.120 --> 0:31:17.600
<v Speaker 1>But the ship that is happening, it's dope. It is

0:31:17.680 --> 0:31:20.959
<v Speaker 1>some amburger. Still like the South making good burgers, but

0:31:21.040 --> 0:31:23.080
<v Speaker 1>I feel like the West make Perstromi and it's time

0:31:23.160 --> 0:31:25.640
<v Speaker 1>we make colossal burgers. Man, we gotta put the world

0:31:25.640 --> 0:31:27.640
<v Speaker 1>on Colosso burgers. They ain't had this before.

0:31:29.400 --> 0:31:31.960
<v Speaker 3>The l a almost kind of like what the the

0:31:32.040 --> 0:31:33.920
<v Speaker 3>carnates cider burger or whatever?

0:31:34.720 --> 0:31:35.920
<v Speaker 1>Is that a real burger.

0:31:38.280 --> 0:31:40.560
<v Speaker 4>That might be Yeah, I've seen some stuff. Yeah, there's

0:31:40.560 --> 0:31:41.240
<v Speaker 4>some stuff.

0:31:41.200 --> 0:31:42.160
<v Speaker 1>The carne side of burger.

0:31:42.240 --> 0:31:46.640
<v Speaker 5>Do what. I know.

0:31:46.920 --> 0:31:49.000
<v Speaker 4>It's kind of think there's there's there's there's a burger

0:31:49.040 --> 0:31:49.600
<v Speaker 4>that I've seen this.

0:31:49.720 --> 0:31:53.760
<v Speaker 2>You's not meaning like you're talking about like tortous, no colosso,

0:31:54.480 --> 0:31:58.240
<v Speaker 2>no carne, no, you know, like a.

0:31:58.280 --> 0:32:01.840
<v Speaker 5>Burger with cornea inside of attitude might be crazy. You know,

0:32:01.880 --> 0:32:02.640
<v Speaker 5>they gotta you.

0:32:02.600 --> 0:32:05.240
<v Speaker 2>Know, they got a burrito in La where it's corny

0:32:05.240 --> 0:32:06.000
<v Speaker 2>and sada in a.

0:32:07.360 --> 0:32:14.120
<v Speaker 1>Pastrami corny inside of pastami. Yep, I never had. What

0:32:14.160 --> 0:32:15.280
<v Speaker 1>we have to do is.

0:32:15.280 --> 0:32:18.960
<v Speaker 2>Chili cheese, pastrami and corny and sada. They called it

0:32:19.080 --> 0:32:21.520
<v Speaker 2>something to us, it got a name to it. I

0:32:21.520 --> 0:32:23.479
<v Speaker 2>don't know it is. I never had it, but I

0:32:23.520 --> 0:32:26.080
<v Speaker 2>know my dad and my brother had one of the motherfuckers.

0:32:26.320 --> 0:32:29.320
<v Speaker 5>What they said about it, mother fuck about twenty dollars.

0:32:29.320 --> 0:32:34.000
<v Speaker 2>They said it's fired though. Nice, but I ain't never

0:32:34.360 --> 0:32:38.520
<v Speaker 2>nigga corny and sada with chili cheese and pastrami. That's

0:32:38.560 --> 0:32:39.680
<v Speaker 2>just crazy, nigga.

0:32:39.720 --> 0:32:41.680
<v Speaker 5>That's well, I'm gonna do this for it.

0:32:41.720 --> 0:32:42.920
<v Speaker 1>I sound like a heart attack.

0:32:43.320 --> 0:32:46.360
<v Speaker 2>I can't even his I don't think of nothing. I

0:32:46.400 --> 0:32:48.400
<v Speaker 2>can't find a logical reason to eat that shit.

0:32:48.840 --> 0:32:51.040
<v Speaker 1>And I think that's what I think the West was

0:32:51.080 --> 0:32:54.320
<v Speaker 1>serving straight much. And I just think it's time. Like

0:32:54.400 --> 0:32:57.120
<v Speaker 1>I said, we still as all of the ghettos. Hip

0:32:57.120 --> 0:32:59.920
<v Speaker 1>hop is the ghetto, right, So I think the idea

0:33:00.280 --> 0:33:03.280
<v Speaker 1>is like, Okay, we can't do this alone anymore at

0:33:03.320 --> 0:33:06.600
<v Speaker 1>a major level, like right, everybody, like, man, we ain't

0:33:06.600 --> 0:33:09.040
<v Speaker 1>tripping if it's just that, like yeah, we'll take it

0:33:09.240 --> 0:33:12.160
<v Speaker 1>like nobody like obviously, let's say the West Coast is

0:33:12.680 --> 0:33:14.920
<v Speaker 1>just that, you know what I mean. They'll take it,

0:33:14.960 --> 0:33:17.600
<v Speaker 1>but it won't have the same impact because people spoiled

0:33:17.680 --> 0:33:21.480
<v Speaker 1>by it. Remember like when when chili cheese fries went

0:33:21.480 --> 0:33:23.840
<v Speaker 1>through that space where everybody had it too much, and

0:33:23.880 --> 0:33:25.960
<v Speaker 1>then they threw them PSHAMI on there and it changed

0:33:25.960 --> 0:33:32.880
<v Speaker 1>the game and back chim chili cheese fries with shrmi meat.

0:33:33.560 --> 0:33:36.320
<v Speaker 5>You ain't you had that, Pete?

0:33:37.360 --> 0:33:39.800
<v Speaker 1>Yeah? Over on what's what's the spoty, Pete?

0:33:39.800 --> 0:33:48.880
<v Speaker 3>The like Crenshaw and Uh, imperials got a spot over there.

0:33:47.840 --> 0:33:50.040
<v Speaker 1>Over there, you're talking over there on the other side.

0:33:50.080 --> 0:33:53.760
<v Speaker 1>What's that you know we're talking about? They always talking

0:33:53.760 --> 0:33:57.800
<v Speaker 1>about that ships just north.

0:33:57.880 --> 0:34:02.120
<v Speaker 3>It's between Crenshaw, It's between Imperial and Central.

0:34:03.320 --> 0:34:06.040
<v Speaker 1>Been there the whole time.

0:34:06.240 --> 0:34:09.600
<v Speaker 5>Oh yeah, I can't saw, Yeah, I can't.

0:34:09.640 --> 0:34:12.960
<v Speaker 1>I can't think of the name it's on. But yeah,

0:34:13.080 --> 0:34:15.239
<v Speaker 1>I think that's just where we're at with it. I

0:34:15.239 --> 0:34:19.799
<v Speaker 1>think we're at that space now. I think that's probably true.

0:34:19.840 --> 0:34:22.240
<v Speaker 5>Man. Yeah, it's just one spot.

0:34:22.480 --> 0:34:26.040
<v Speaker 2>Uh, I'll be working with They grilled it, didn't chop

0:34:26.120 --> 0:34:26.440
<v Speaker 2>it up.

0:34:26.960 --> 0:34:28.799
<v Speaker 1>That's how you That's how I did my pastromia all

0:34:28.800 --> 0:34:31.799
<v Speaker 1>the time. I have really on the grill.

0:34:32.080 --> 0:34:34.280
<v Speaker 5>It's small pieces, but it's all over.

0:34:34.440 --> 0:34:36.360
<v Speaker 4>Man, that be better better.

0:34:36.680 --> 0:34:38.719
<v Speaker 2>That's kind of like the top ship that they got

0:34:38.760 --> 0:34:44.480
<v Speaker 2>in in New York, the chop Cheese, Chop cheese. Yeah, nigga,

0:34:44.520 --> 0:34:47.440
<v Speaker 2>that's ship after they grilled it. Oh yeah, that's ship.

0:34:47.920 --> 0:34:49.960
<v Speaker 2>Because if you run out of pastroliti, bro, you you

0:34:49.960 --> 0:34:50.759
<v Speaker 2>you don't want this ship.

0:34:50.800 --> 0:34:51.640
<v Speaker 5>I don't want it no more.

0:34:53.239 --> 0:34:57.800
<v Speaker 1>Brollihod because probably yeah that's right, brill. That's like inglewood.

0:34:58.520 --> 0:35:05.400
<v Speaker 1>Yeah yeah, but for sure, you know what I mean.

0:35:05.400 --> 0:35:07.480
<v Speaker 1>And that kicked in another gear. And I think that's

0:35:07.600 --> 0:35:10.120
<v Speaker 1>just where we at in hip hop. I mean where

0:35:10.120 --> 0:35:12.640
<v Speaker 1>it's like nobody like we ain't tripping off that, you know,

0:35:12.760 --> 0:35:15.399
<v Speaker 1>white folks, the regular massive American white folks like, man,

0:35:16.040 --> 0:35:18.640
<v Speaker 1>we heard it all. We saw snoop before. You know,

0:35:18.719 --> 0:35:20.680
<v Speaker 1>they're not tripping off a nigga just being a cryp

0:35:20.760 --> 0:35:23.120
<v Speaker 1>no more. They like, yeah, we know some cool crips.

0:35:23.480 --> 0:35:26.400
<v Speaker 1>We're not impressed, right right. I mean, they like, we

0:35:26.480 --> 0:35:28.520
<v Speaker 1>need to see some shit come together that they need

0:35:28.640 --> 0:35:31.080
<v Speaker 1>to They need the crip in the trap to come together.

0:35:34.360 --> 0:35:37.520
<v Speaker 1>That the culture they need to drift, you know, what's funny.

0:35:37.600 --> 0:35:39.959
<v Speaker 1>I was hitting, h they.

0:35:39.880 --> 0:35:41.680
<v Speaker 5>Don't need you to They gonna need you to reenact

0:35:41.719 --> 0:35:42.680
<v Speaker 5>to burn my nigga.

0:35:43.080 --> 0:35:46.759
<v Speaker 1>Ain't nobody seen that really? Go cooks boy. Them niggas boy,

0:35:47.120 --> 0:35:48.879
<v Speaker 1>they wouldn't even know what they got to be away

0:35:48.960 --> 0:35:52.759
<v Speaker 1>for us to fabricate it. Listen, what's crazy is uh,

0:35:53.680 --> 0:35:55.799
<v Speaker 1>I was on Chop from Chicago, the nigga that one

0:35:55.840 --> 0:35:59.719
<v Speaker 1>of the main architects a drill chop.

0:36:00.080 --> 0:36:00.239
<v Speaker 4>Yeah.

0:36:00.239 --> 0:36:01.560
<v Speaker 5>I used to leave with the dreads.

0:36:01.760 --> 0:36:03.279
<v Speaker 1>Yeah. I used to DM all the time, like, man,

0:36:03.320 --> 0:36:05.440
<v Speaker 1>set that metronome up to ninety six. Nigga, see what

0:36:05.520 --> 0:36:08.200
<v Speaker 1>you get, you know what I mean? Just cook with

0:36:08.280 --> 0:36:10.560
<v Speaker 1>them sounds that you be cooking, nigga, I got you

0:36:11.400 --> 0:36:14.160
<v Speaker 1>what do he say? No, he was interested. He was like, Man,

0:36:14.160 --> 0:36:15.680
<v Speaker 1>I don't know what it's gonna sound like. I'm like,

0:36:15.840 --> 0:36:16.200
<v Speaker 1>just do it.

0:36:16.400 --> 0:36:17.919
<v Speaker 5>Were they at like eighty something?

0:36:18.480 --> 0:36:24.839
<v Speaker 1>Hell no, they shit like sixty fifty nine sixty for real? Yeah,

0:36:25.000 --> 0:36:26.719
<v Speaker 1>all that don't like and all that shit.

0:36:28.440 --> 0:36:29.240
<v Speaker 5>That shit snow.

0:36:32.280 --> 0:36:32.480
<v Speaker 1>Yeah.

0:36:34.960 --> 0:36:35.200
<v Speaker 5>Yeah.

0:36:37.040 --> 0:36:38.640
<v Speaker 1>I've been looking at a lot of the shit that

0:36:38.760 --> 0:36:41.080
<v Speaker 1>they got going on in all these places, and I

0:36:41.200 --> 0:36:44.800
<v Speaker 1>really feel like that's the key bringing the ghettos together.

0:36:44.960 --> 0:36:51.880
<v Speaker 1>Dog sixty six. Don't like it, sixty six, she's one

0:36:52.000 --> 0:36:52.520
<v Speaker 1>thirty two.

0:36:52.920 --> 0:36:54.480
<v Speaker 5>One thirty, y'all. I was just gonna say, so it

0:36:54.600 --> 0:36:55.879
<v Speaker 5>was more like a one thirty two.

0:36:56.360 --> 0:36:59.600
<v Speaker 1>But yeah, yeah, yeah, so that just too far out

0:36:59.680 --> 0:37:02.640
<v Speaker 1>around for the West. So I think this is the net,

0:37:02.840 --> 0:37:04.920
<v Speaker 1>the natural progression, you know what I mean, bringing the

0:37:04.960 --> 0:37:08.520
<v Speaker 1>ghettos together, keeping our rhythm, but getting they sounds and

0:37:08.560 --> 0:37:10.759
<v Speaker 1>then adding to it. And that's what's double about having

0:37:10.800 --> 0:37:13.320
<v Speaker 1>ep a ram, you know, I mean, like that nigga

0:37:13.360 --> 0:37:15.600
<v Speaker 1>can really like I think about, like I told you

0:37:16.040 --> 0:37:18.040
<v Speaker 1>when I was texting you this morning, like like we

0:37:18.120 --> 0:37:20.759
<v Speaker 1>got a sauce that nobody got right now. And that's

0:37:20.840 --> 0:37:23.719
<v Speaker 1>because you could take him in the trio click or

0:37:23.800 --> 0:37:26.360
<v Speaker 1>him and my nigga cano or blah blah blah, and

0:37:26.440 --> 0:37:28.920
<v Speaker 1>he could do some things and you'll have something that

0:37:29.600 --> 0:37:33.200
<v Speaker 1>like this is la don't sound like nothing that's actually

0:37:33.280 --> 0:37:33.879
<v Speaker 1>been out there.

0:37:34.560 --> 0:37:36.960
<v Speaker 5>Yeah, it's like we they give us a candy painting

0:37:37.480 --> 0:37:39.400
<v Speaker 5>caprese it we gonna cut that motherfucker.

0:37:39.719 --> 0:37:45.280
<v Speaker 1>Yeah exactly. We take them big ass wheels off. Motherfucker

0:37:45.320 --> 0:37:48.080
<v Speaker 1>puts some dryls. That motherfucker probably that move with that

0:37:48.200 --> 0:37:51.879
<v Speaker 1>biggest holder, that big ass them more than they put

0:37:51.960 --> 0:37:54.560
<v Speaker 1>them five forties up at the motherfuckers with them. Yeah

0:37:54.600 --> 0:37:59.799
<v Speaker 1>we go, Yeah, we're gonna take on this motherfucker puts

0:37:59.840 --> 0:38:00.799
<v Speaker 1>some in the truck.

0:38:01.239 --> 0:38:02.840
<v Speaker 5>They gotta be able to see theyself in.

0:38:02.920 --> 0:38:05.720
<v Speaker 1>It to exactly That's what I'm taking.

0:38:06.280 --> 0:38:07.560
<v Speaker 4>It's worked in the other direction.

0:38:07.680 --> 0:38:11.200
<v Speaker 3>I mean like PC did a song over obviously like

0:38:11.280 --> 0:38:14.520
<v Speaker 3>to regulate what I'm good three and then.

0:38:16.960 --> 0:38:19.759
<v Speaker 4>Let me ride. He did both those beats.

0:38:19.560 --> 0:38:21.800
<v Speaker 3>On that Detroit kind of sound, So there was a

0:38:21.880 --> 0:38:26.600
<v Speaker 3>successful transferability of styles there to be able to to

0:38:26.719 --> 0:38:27.400
<v Speaker 3>another direction.

0:38:28.200 --> 0:38:29.399
<v Speaker 1>PZ is a Detroit rapper.

0:38:29.440 --> 0:38:31.759
<v Speaker 5>He type, I gotta get my shit together, man, you.

0:38:32.840 --> 0:38:35.200
<v Speaker 1>Ain't you ain't. It ain't nothing. Niggas got to work harder,

0:38:35.440 --> 0:38:37.400
<v Speaker 1>even a dope niggas, even a nigga like PS got

0:38:37.480 --> 0:38:39.200
<v Speaker 1>to work harder. And the reason you don't know who

0:38:39.239 --> 0:38:41.560
<v Speaker 1>he is because it ain't happened, Like the sound ain't

0:38:41.600 --> 0:38:44.160
<v Speaker 1>together yet. He's it's there, Like if you hear you

0:38:44.239 --> 0:38:48.239
<v Speaker 1>be okay, I see why niggas fuck with him. But yeah,

0:38:48.320 --> 0:38:50.799
<v Speaker 1>why it ain't necessarily where it should be. Like if

0:38:50.840 --> 0:38:52.600
<v Speaker 1>you hear it, you be like, okay, I see I

0:38:52.719 --> 0:38:54.360
<v Speaker 1>mean to be tightened up in these places.

0:38:54.800 --> 0:38:57.440
<v Speaker 5>I'm bad with that, Brono. I'll see new niggas already

0:38:57.600 --> 0:38:58.080
<v Speaker 5>click on it.

0:38:58.200 --> 0:38:59.880
<v Speaker 1>Yeah, but if it's a dope nigga, you gonna know,

0:39:00.080 --> 0:39:02.000
<v Speaker 1>Like Travis Scott, you ain't gonna be like, who is that?

0:39:04.000 --> 0:39:05.600
<v Speaker 1>Like you? I mean, you might not know a lot

0:39:05.640 --> 0:39:06.200
<v Speaker 1>of his song, but.

0:39:06.239 --> 0:39:08.640
<v Speaker 5>You gonna known name none of the songs. But if

0:39:08.680 --> 0:39:10.000
<v Speaker 5>something come on, I might know it.

0:39:10.320 --> 0:39:10.520
<v Speaker 1>Yeah.

0:39:10.719 --> 0:39:12.640
<v Speaker 5>I don't think I ever really played the Travis Scott

0:39:12.680 --> 0:39:13.279
<v Speaker 5>song though, bro.

0:39:13.480 --> 0:39:15.919
<v Speaker 1>No, no, but I don't think that. Yeah, I don't

0:39:15.960 --> 0:39:18.400
<v Speaker 1>think he's supposed to. But I'm saying if you heard

0:39:18.440 --> 0:39:20.759
<v Speaker 1>the Travis Scott song, you wouldn't turn it off.

0:39:21.320 --> 0:39:24.200
<v Speaker 2>Oh you mean basically I would respect why he were

0:39:24.800 --> 0:39:27.000
<v Speaker 2>Like I get what it is. I mean, it ain't

0:39:27.040 --> 0:39:29.880
<v Speaker 2>for me, but I get why it is. Like it's

0:39:29.920 --> 0:39:32.840
<v Speaker 2>them niggas who should be finished. Yeah, you know what

0:39:32.880 --> 0:39:35.080
<v Speaker 2>I mean, Like like lil UZI don't got a lot

0:39:35.120 --> 0:39:35.680
<v Speaker 2>of finished ship.

0:39:35.760 --> 0:39:38.239
<v Speaker 1>That's why you ain't gonna know it like he got

0:39:38.320 --> 0:39:40.759
<v Speaker 1>some ship though, like you'll hear you like, I get it,

0:39:40.840 --> 0:39:44.880
<v Speaker 1>but it ain't all finished, Travis, shit be finished everything

0:39:44.960 --> 0:39:47.279
<v Speaker 1>you J Cole? Right, you know J Cole? Is that

0:39:47.400 --> 0:39:48.320
<v Speaker 1>nigga shit finished.

0:39:48.960 --> 0:39:50.560
<v Speaker 5>I mean, you don't hear the niggas who kind of

0:39:50.640 --> 0:39:51.839
<v Speaker 5>be trying to MC and ship.

0:39:51.920 --> 0:39:54.680
<v Speaker 1>I know who they are and and and and more

0:39:54.760 --> 0:39:59.560
<v Speaker 1>than just MC bit literally just be they should be right, Like,

0:39:59.719 --> 0:40:02.040
<v Speaker 1>even if they like future Nigga, you won't know some

0:40:02.160 --> 0:40:04.799
<v Speaker 1>future shit. He don't be trying to MC per se.

0:40:05.120 --> 0:40:07.520
<v Speaker 1>But as a songwriter, the niggas dope up to where

0:40:07.560 --> 0:40:09.000
<v Speaker 1>you're gonna hear it, You're gonna be like, I get

0:40:09.000 --> 0:40:11.640
<v Speaker 1>why niggas fuck with him, even if you don't like

0:40:11.719 --> 0:40:15.160
<v Speaker 1>that nigga is still a product of of of all

0:40:15.239 --> 0:40:18.000
<v Speaker 1>that outcast ship and that nigga still a musician in

0:40:18.160 --> 0:40:21.480
<v Speaker 1>there as a record maker, even if you don't necessarily

0:40:22.000 --> 0:40:26.839
<v Speaker 1>partaking this MC ability. How old this future future gotta

0:40:26.880 --> 0:40:29.080
<v Speaker 1>be forty forty one now, Okay.

0:40:29.280 --> 0:40:29.840
<v Speaker 5>I know, I know.

0:40:29.920 --> 0:40:33.719
<v Speaker 2>I heard some niggas rap over some beats and I

0:40:33.880 --> 0:40:36.000
<v Speaker 2>was like, I mean, I didn't know. I thought it

0:40:36.120 --> 0:40:38.879
<v Speaker 2>was they song till I heard future till I heard

0:40:38.920 --> 0:40:40.919
<v Speaker 2>it about Future, And I'm like, Nigga, that shoot your song,

0:40:41.640 --> 0:40:45.279
<v Speaker 2>Like damn, I ain't out man, I don't be knowing, bro, Yeah,

0:40:46.440 --> 0:40:47.440
<v Speaker 2>your shit, I know Future.

0:40:47.480 --> 0:40:48.920
<v Speaker 5>I know Future got some shit.

0:40:48.760 --> 0:40:51.799
<v Speaker 1>Though, as a songwriter Future, I know why they fuck

0:40:51.880 --> 0:40:54.520
<v Speaker 1>with Future because niggas, That's what I'm saying. Certain you,

0:40:55.320 --> 0:40:57.960
<v Speaker 1>certain niggas, you go here, even if you not, Like

0:40:58.040 --> 0:41:00.879
<v Speaker 1>I don't really listen to Future like that, but I'll

0:41:00.960 --> 0:41:02.840
<v Speaker 1>hear certain songs and I'll be like, I get it.

0:41:03.000 --> 0:41:06.080
<v Speaker 1>This shit crazy, Like like if you listen to that

0:41:06.160 --> 0:41:09.360
<v Speaker 1>beat with that flute away you like fucking ship, you

0:41:09.480 --> 0:41:12.120
<v Speaker 1>ain't working with the MC conversation and all of that.

0:41:12.239 --> 0:41:15.480
<v Speaker 2>And I think that's the song Mazi did it over

0:41:16.920 --> 0:41:19.560
<v Speaker 2>and it was Future song, And when I heard the

0:41:19.560 --> 0:41:22.080
<v Speaker 2>Future version, I was like, oh ship, like.

0:41:22.520 --> 0:41:27.040
<v Speaker 1>This is away together. That shit just go crazy. So

0:41:27.680 --> 0:41:29.960
<v Speaker 1>but again it go back to that finishing ship on

0:41:30.040 --> 0:41:33.520
<v Speaker 1>that on that sonic spectrum, on that frequency spectrum, niggas

0:41:33.560 --> 0:41:35.520
<v Speaker 1>having everything, And that's kind of what happened.

0:41:36.000 --> 0:41:38.640
<v Speaker 2>So people, what's them niggas that was doing on the

0:41:38.680 --> 0:41:40.920
<v Speaker 2>beats by the Pound? Was they all New Orleans niggas?

0:41:43.440 --> 0:41:45.880
<v Speaker 1>I think I know kl is a New Orleans nigga.

0:41:46.000 --> 0:41:47.839
<v Speaker 1>KLC is a New Orleans nigga. I think they were.

0:41:53.120 --> 0:41:54.840
<v Speaker 1>I know KLC is a New Orleans.

0:41:54.680 --> 0:41:57.400
<v Speaker 5>Niggas for sure. And and the Dungeon family is all at.

0:41:57.400 --> 0:42:02.120
<v Speaker 1>M All Georgia niggas. Yeah, but I think we just

0:42:02.280 --> 0:42:05.920
<v Speaker 1>moved past that space. I think hip hop has been

0:42:05.960 --> 0:42:09.480
<v Speaker 1>around for forty years now, you know what I mean, There's.

0:42:09.280 --> 0:42:11.960
<v Speaker 5>So much music coming out that it'd be hard to like,

0:42:13.520 --> 0:42:15.600
<v Speaker 5>like what do we go take from? You know what

0:42:15.680 --> 0:42:15.960
<v Speaker 5>I mean?

0:42:16.320 --> 0:42:18.320
<v Speaker 1>I think that I don't think it's even about taking

0:42:18.360 --> 0:42:20.160
<v Speaker 1>from it no more. I think at this point is

0:42:20.280 --> 0:42:23.959
<v Speaker 1>really just you gotta find the niggas that's the bright

0:42:24.000 --> 0:42:28.040
<v Speaker 1>spots and all of those reasons as producers and really

0:42:28.120 --> 0:42:31.160
<v Speaker 1>get with them because I think or you find some

0:42:31.239 --> 0:42:34.239
<v Speaker 1>niggas who talented, they got some gifts, but they can't

0:42:34.280 --> 0:42:37.320
<v Speaker 1>finish because you gotta finish it, Like we got Marianna Rivera.

0:42:37.360 --> 0:42:39.600
<v Speaker 1>At this point, we got a nigga feel me that

0:42:39.920 --> 0:42:42.680
<v Speaker 1>even if he don't pitch like I can pitch nine innings, right,

0:42:42.719 --> 0:42:45.120
<v Speaker 1>you heard Castle, He's nuts, like as a producer, Irvin

0:42:45.160 --> 0:42:49.520
<v Speaker 1>Polkin produced, but think about how much more legendary he

0:42:49.640 --> 0:42:52.279
<v Speaker 1>gonna be as Marianna Rivere. Well, we only he only

0:42:52.320 --> 0:42:54.520
<v Speaker 1>got to pitch three three, Like listen what he did

0:42:54.600 --> 0:42:57.080
<v Speaker 1>with this is La with the trio click, like you

0:42:57.160 --> 0:42:58.680
<v Speaker 1>putting me in to pitch the last three in is

0:42:58.680 --> 0:42:59.960
<v Speaker 1>he gonna it's gonna be a shutout?

0:43:01.040 --> 0:43:02.880
<v Speaker 5>But I feel what you said because that's kind of

0:43:02.920 --> 0:43:06.200
<v Speaker 5>how like how bad boy in them didn't like Dre

0:43:06.360 --> 0:43:08.840
<v Speaker 5>and them was winning and then they just came with

0:43:09.760 --> 0:43:12.440
<v Speaker 5>a feel of us but put their little twists on me.

0:43:13.000 --> 0:43:15.879
<v Speaker 1>Well, if you think about it, like ideas, everybody talk

0:43:15.920 --> 0:43:18.320
<v Speaker 1>about when when Dre had different niggas working on ideas

0:43:18.360 --> 0:43:21.040
<v Speaker 1>for his ship, like it might have been dashed probably

0:43:21.080 --> 0:43:23.279
<v Speaker 1>on the Loop or Warrn on Loop and then Dra

0:43:23.440 --> 0:43:25.880
<v Speaker 1>come in and finish that motherfucking throw the last three innuites,

0:43:26.680 --> 0:43:28.560
<v Speaker 1>right know, right.

0:43:28.840 --> 0:43:32.400
<v Speaker 5>That it would be cool to take some ship that

0:43:32.920 --> 0:43:35.200
<v Speaker 5>that feel like they ship, but make it our ship.

0:43:36.080 --> 0:43:38.279
<v Speaker 1>Well that's the point, right, I think once you set

0:43:38.360 --> 0:43:40.520
<v Speaker 1>the metron on up, once you get that motherfucker the

0:43:40.600 --> 0:43:44.040
<v Speaker 1>ninety five bpm, you ain't gonna know what it feels

0:43:44.120 --> 0:43:47.520
<v Speaker 1>like like it's gonna have our rhythm and when EP

0:43:47.760 --> 0:43:49.680
<v Speaker 1>playing on it, you ain't gonna it's gonna be like

0:43:49.800 --> 0:43:52.080
<v Speaker 1>something you ain't never heard. I really believe that.

0:43:52.880 --> 0:43:57.920
<v Speaker 5>Right, it's gonna be like what the fuck is that? Yeah, Okay,

0:43:58.760 --> 0:43:59.200
<v Speaker 5>I get it.

0:44:00.239 --> 0:44:03.200
<v Speaker 1>You just can't wrap at a bpm like that's not cool.

0:44:03.680 --> 0:44:06.239
<v Speaker 5>Yeah, we can't float like them. Then that's what That's

0:44:06.280 --> 0:44:07.239
<v Speaker 5>where it fucks us up.

0:44:07.719 --> 0:44:11.920
<v Speaker 2>I can't stand hearing niggas from New York or California

0:44:12.080 --> 0:44:16.360
<v Speaker 2>rapping like Chicago or Detroit or whatever.

0:44:16.560 --> 0:44:18.919
<v Speaker 5>Like I want to hear niggas sound like they own ship.

0:44:19.560 --> 0:44:21.920
<v Speaker 1>It's like a fat girl that wear a little girl clothes.

0:44:22.800 --> 0:44:25.360
<v Speaker 5>Yeah, yeah, like a.

0:44:25.400 --> 0:44:28.279
<v Speaker 1>Fat girl that's wearing like like halter tops like baby that.

0:44:28.320 --> 0:44:32.239
<v Speaker 5>Ain't Yeah yeah, just stomach everywhere. Yeah, you do not

0:44:32.400 --> 0:44:32.560
<v Speaker 5>do that.

0:44:32.719 --> 0:44:34.399
<v Speaker 2>You just can kind of get in your own ship.

0:44:34.760 --> 0:44:36.640
<v Speaker 2>I mean, like you know, you don't got to bite

0:44:36.640 --> 0:44:39.080
<v Speaker 2>them little hoole shit. Go get some fly big girl

0:44:39.160 --> 0:44:39.520
<v Speaker 2>ship that.

0:44:39.560 --> 0:44:41.880
<v Speaker 1>You're putting together. It's like when you see girls that

0:44:42.000 --> 0:44:43.880
<v Speaker 1>be like too skinny, that be wearing shit that be

0:44:43.920 --> 0:44:46.200
<v Speaker 1>for thick girls like baby that is not. You do

0:44:46.360 --> 0:44:47.239
<v Speaker 1>not got to waist for that.

0:44:47.880 --> 0:44:50.239
<v Speaker 3>Yeah, skinny girls twerking or if you got to jump

0:44:50.320 --> 0:44:52.240
<v Speaker 3>ten times to getting the jeans in the wrong jeans

0:44:53.400 --> 0:44:54.040
<v Speaker 3>it don't fit.

0:44:56.000 --> 0:44:57.000
<v Speaker 5>Well if you got ass.

0:44:57.040 --> 0:44:59.239
<v Speaker 1>Don't know, if you got ass might have the job,

0:44:59.320 --> 0:44:59.879
<v Speaker 1>you know what I mean.

0:45:00.280 --> 0:45:00.759
<v Speaker 5>If you got.

0:45:02.520 --> 0:45:07.520
<v Speaker 3>Some but caves at one point, are the genes so tight?

0:45:07.960 --> 0:45:11.120
<v Speaker 3>That you didn't just switched everything. You can't tell anymore.

0:45:11.480 --> 0:45:14.160
<v Speaker 5>Well, that's when it looked fucked up in the jeans too.

0:45:14.840 --> 0:45:17.680
<v Speaker 2>Yeah, it looked fucked up when they stuff and shit,

0:45:19.000 --> 0:45:21.359
<v Speaker 2>what's all the foot pods and shit start coming out?

0:45:24.520 --> 0:45:24.680
<v Speaker 5>Hey?

0:45:25.880 --> 0:45:29.640
<v Speaker 3>Gee didn't like back in the day, like like Dame

0:45:29.760 --> 0:45:34.279
<v Speaker 3>Dash used to go get beasts and controversy of how

0:45:34.320 --> 0:45:36.520
<v Speaker 3>he got some of these beasts for jay Z but

0:45:36.600 --> 0:45:40.480
<v Speaker 3>would get beasts for Jay? Was there another person like

0:45:40.600 --> 0:45:43.200
<v Speaker 3>if Dame got beat a, was there another person that

0:45:43.239 --> 0:45:46.000
<v Speaker 3>they would have that would tune them up for Rockefeller?

0:45:46.320 --> 0:45:48.799
<v Speaker 4>Or was he just getting them and James jumping on them?

0:45:49.960 --> 0:45:53.120
<v Speaker 1>Well? They The thing about Rockefeller that was really smart

0:45:53.280 --> 0:45:56.759
<v Speaker 1>is they didn't really gamble at first, like even when

0:45:56.800 --> 0:45:59.400
<v Speaker 1>they was making reasonable doubt, like you could hear the blueprint,

0:45:59.600 --> 0:46:01.879
<v Speaker 1>you can hear the illmatic blueprint, right, But they went

0:46:01.920 --> 0:46:04.480
<v Speaker 1>to the guys and fucked with them. And then I

0:46:04.600 --> 0:46:06.800
<v Speaker 1>was having this conversation with somebody the other day and

0:46:06.840 --> 0:46:09.960
<v Speaker 1>they were saying they felt Jay was being commercial like

0:46:10.040 --> 0:46:12.440
<v Speaker 1>his first two albums. I'm like, no, Jay is just

0:46:12.520 --> 0:46:16.279
<v Speaker 1>a better songwriter than nas, like a record writer, not

0:46:16.520 --> 0:46:18.480
<v Speaker 1>like do you like him as an MC better, but

0:46:18.680 --> 0:46:21.239
<v Speaker 1>like just writing reggords, that nigga ja is nice, like

0:46:21.280 --> 0:46:24.640
<v Speaker 1>the niggas sharp, like you understand hooks a lot more bridges,

0:46:24.680 --> 0:46:28.560
<v Speaker 1>a lot more transitions, a lot more now stray MCM

0:46:28.680 --> 0:46:31.960
<v Speaker 1>sing and kind of paint a picture. Then your preference

0:46:32.000 --> 0:46:33.680
<v Speaker 1>could be your preference. But just as a.

0:46:33.719 --> 0:46:38.960
<v Speaker 2>Sheer, reasonable that was better better than who reasonable, that

0:46:39.160 --> 0:46:40.040
<v Speaker 2>was better than illmatic.

0:46:40.160 --> 0:46:44.000
<v Speaker 1>Yeah, but it had illmatic as the blueprint. Okay, you

0:46:44.040 --> 0:46:45.919
<v Speaker 1>know what I'm saying. So I would agree I prefer

0:46:46.040 --> 0:46:49.319
<v Speaker 1>reasonable doubt overal madic. But I can understand why every

0:46:49.440 --> 0:46:51.920
<v Speaker 1>other nigga who fucked with him would never say that,

0:46:52.040 --> 0:46:55.960
<v Speaker 1>and it'd be blasphemos. But to your point, Nah Pete,

0:46:55.960 --> 0:46:59.359
<v Speaker 1>they usually went to the best niggas. You don't need,

0:46:59.480 --> 0:47:01.600
<v Speaker 1>you don't need it. Finisher of Pharrella is doing it.

0:47:01.760 --> 0:47:04.600
<v Speaker 1>Or you remember the second album. They the first album

0:47:04.640 --> 0:47:07.359
<v Speaker 1>they had dope niggas, right, the second album they start

0:47:07.440 --> 0:47:11.080
<v Speaker 1>going to puff and they track masters. They start going

0:47:11.120 --> 0:47:13.560
<v Speaker 1>to the niggas making records. And the third one, you

0:47:13.600 --> 0:47:15.920
<v Speaker 1>know what I mean, they went top producers. That's the

0:47:16.000 --> 0:47:20.080
<v Speaker 1>one thing Jay always had correct like he went to

0:47:20.200 --> 0:47:22.719
<v Speaker 1>the niggas he did not play. He ain't didn't And

0:47:22.800 --> 0:47:25.720
<v Speaker 1>there's not enough respect on producers cuse, but that nigga

0:47:25.800 --> 0:47:29.200
<v Speaker 1>did not play man. He went to the guys. Think

0:47:29.239 --> 0:47:30.200
<v Speaker 1>about it historically?

0:47:31.680 --> 0:47:31.880
<v Speaker 2>Is this.

0:47:33.360 --> 0:47:34.320
<v Speaker 4>My memory so shoddy?

0:47:34.400 --> 0:47:36.040
<v Speaker 3>Like I thought there's some sort of a backstory on,

0:47:36.239 --> 0:47:38.560
<v Speaker 3>like like the hard knock life beat or something like that,

0:47:38.680 --> 0:47:39.640
<v Speaker 3>Like who put that together?

0:47:39.719 --> 0:47:40.600
<v Speaker 4>How did that come together?

0:47:40.600 --> 0:47:43.640
<v Speaker 1>You know all that the track masters that's forty five King.

0:47:45.280 --> 0:47:49.160
<v Speaker 1>Forty five King was the same nigga that did stand too, okay,

0:47:49.800 --> 0:47:52.200
<v Speaker 1>And they say that the word is I'm not sure

0:47:52.239 --> 0:47:53.920
<v Speaker 1>if this is true, but they said King Kapri was

0:47:54.000 --> 0:47:55.480
<v Speaker 1>just playing it. He was like, who shit is that?

0:47:55.920 --> 0:47:58.759
<v Speaker 1>He like, ain't nobody shit niggas? Forty five King made

0:47:58.800 --> 0:48:00.960
<v Speaker 1>this and he was playing instrumental and that's how Jay

0:48:01.000 --> 0:48:04.600
<v Speaker 1>got the instrumental, you know what I mean? But that

0:48:05.040 --> 0:48:07.719
<v Speaker 1>dude passed away, but like his contributions is one of

0:48:07.760 --> 0:48:10.080
<v Speaker 1>the ones that's special. But think about it. When Jay

0:48:10.160 --> 0:48:16.000
<v Speaker 1>first started, they didn't there was no Rockefeller sound, you

0:48:16.040 --> 0:48:18.319
<v Speaker 1>know what I mean, Like the Rockefeller sound didn't happen

0:48:18.400 --> 0:48:22.600
<v Speaker 1>to Blueprint. That's when you start getting a Rockefeller sound.

0:48:22.640 --> 0:48:25.279
<v Speaker 1>So they kind of rolled the wave. Forgive me for

0:48:25.480 --> 0:48:28.000
<v Speaker 1>using that term. But they rolled the wave of successful

0:48:28.040 --> 0:48:30.960
<v Speaker 1>producers for two, three, four albums, you know what I mean.

0:48:31.080 --> 0:48:32.839
<v Speaker 1>They did not dev eight.

0:48:33.120 --> 0:48:36.440
<v Speaker 2>They had a a quality product when you hear reasonable

0:48:36.520 --> 0:48:39.719
<v Speaker 2>Doubt Volume one all the way to Volume two.

0:48:40.400 --> 0:48:42.120
<v Speaker 1>Even when they went to volume three and they got

0:48:42.200 --> 0:48:46.239
<v Speaker 1>Rick Rock the dude, excuse me, rock life familiar, right,

0:48:46.320 --> 0:48:49.399
<v Speaker 1>But they got the blueprint. That's when they start using

0:48:49.440 --> 0:48:52.200
<v Speaker 1>their in house the guys that became the sound that

0:48:52.280 --> 0:48:55.520
<v Speaker 1>we look at Rockefeller, which is just Blaze and Kanye West,

0:48:56.200 --> 0:48:58.680
<v Speaker 1>which kind of was stimulated by being in the first place.

0:49:00.080 --> 0:49:03.200
<v Speaker 1>I mean, so that's where that Rockefeller sound, you know,

0:49:03.239 --> 0:49:06.680
<v Speaker 1>you're talking about two thousand and one. Before that, Jay

0:49:06.840 --> 0:49:09.680
<v Speaker 1>was just pretty much working with the niggas who already

0:49:09.840 --> 0:49:13.800
<v Speaker 1>had the right mentality about making music, and their sonics

0:49:13.920 --> 0:49:14.840
<v Speaker 1>was familiar.

0:49:15.040 --> 0:49:27.040
<v Speaker 4>To the world, gotcha, gotcha? Yeah, Wow, Yeah, there's a

0:49:27.080 --> 0:49:28.880
<v Speaker 4>panthe goes into the all of this.

0:49:29.080 --> 0:49:31.600
<v Speaker 5>Man, he always has some cool shit.

0:49:31.880 --> 0:49:35.320
<v Speaker 2>I really wasn't I didn't like all his beats, but

0:49:35.440 --> 0:49:37.399
<v Speaker 2>that nigga always has some quality shit.

0:49:38.640 --> 0:49:38.799
<v Speaker 5>Yeah.

0:49:38.920 --> 0:49:42.440
<v Speaker 1>Jay wasn't gonna never play with the production like other niggas.

0:49:43.080 --> 0:49:46.200
<v Speaker 1>He didn't play like that. Nigga came right in with

0:49:46.320 --> 0:49:48.960
<v Speaker 1>the work and that was it first album.

0:49:50.080 --> 0:49:51.800
<v Speaker 5>Forget you say any of them type of niggas.

0:49:52.239 --> 0:49:55.640
<v Speaker 2>Huh did Rizi ever do anything for them, like for

0:49:55.880 --> 0:50:01.480
<v Speaker 2>other motherfuckers outside of any big notable song outside of Wute.

0:50:02.680 --> 0:50:04.759
<v Speaker 1>It probably have been so late. I'm sure he did some,

0:50:05.000 --> 0:50:07.600
<v Speaker 1>but it'd have been so late. I mean thinking about

0:50:07.600 --> 0:50:09.280
<v Speaker 1>he was producing eight or nine artists.

0:50:10.040 --> 0:50:11.600
<v Speaker 5>No, no, I understand, but I'm just saying it.

0:50:11.719 --> 0:50:12.919
<v Speaker 1>So No, I know what you're saying.

0:50:13.640 --> 0:50:16.439
<v Speaker 5>It happened with them. You would think that somebody would

0:50:16.440 --> 0:50:18.480
<v Speaker 5>reach out him, like Nigga, I need a riser beat.

0:50:18.920 --> 0:50:21.440
<v Speaker 2>Even though he wasn't all that, but he had some

0:50:21.560 --> 0:50:26.240
<v Speaker 2>ship though when you know this weird like damn difference.

0:50:26.640 --> 0:50:31.560
<v Speaker 1>Never the rapping part maybe was crazy. But so I'm

0:50:31.600 --> 0:50:34.680
<v Speaker 1>looking at Volume one right, this is the second album.

0:50:35.040 --> 0:50:37.719
<v Speaker 1>I can't believe it. The second J album. I'm looking

0:50:37.760 --> 0:50:42.759
<v Speaker 1>at Volume one is Premier Teddy Riley, Puff Prestige Ski

0:50:42.880 --> 0:50:47.440
<v Speaker 1>who was all over the first one, Premier Stevie J

0:50:48.640 --> 0:50:55.200
<v Speaker 1>Prestige track Masters, Tony Proke Ski Uh yeah yeah, jazz yeah,

0:50:56.640 --> 0:50:59.279
<v Speaker 1>puff shit, puff shit, like you know what I mean,

0:51:00.200 --> 0:51:02.920
<v Speaker 1>Like that Nigga never played niggas.

0:51:02.960 --> 0:51:05.640
<v Speaker 5>That was winning. He was like introducers that ship that

0:51:05.760 --> 0:51:06.160
<v Speaker 5>was winning.

0:51:07.080 --> 0:51:10.840
<v Speaker 3>He had a real retailer mentality. He knew a dealer's

0:51:10.880 --> 0:51:11.600
<v Speaker 3>only as good as his.

0:51:11.640 --> 0:51:19.200
<v Speaker 1>Plug and looking out for tuning into the Note Sellers podcast.

0:51:19.520 --> 0:51:22.279
<v Speaker 1>Please do us a favorite, subscribe, rate, comment, and share.

0:51:22.719 --> 0:51:25.120
<v Speaker 1>This episode was recorded right here on the West coast

0:51:25.160 --> 0:51:28.319
<v Speaker 1>of the USA. He produced by my homeboy A King

0:51:28.440 --> 0:51:31.440
<v Speaker 1>for the Black Effect Podcast Network and nine Hard Radio

0:51:32.000 --> 0:51:32.200
<v Speaker 1>Yeah