Speaker 1: What's up?
Speaker 2: And welcome back to another episode of No Sinner's Podcast
Speaker 2: with your hosts Now fuck that with your load glasses.
Speaker 1: Malone Irish whiskey very all. Yeah, I got the.
Speaker 3: Ad to get like a nicer version of it because
Speaker 3: I got this little thing with short shelves, so they
Speaker 3: only sell a bottle looks like a kettle that will
Speaker 3: fit in the shelf instead of the regular bottle.
Speaker 4: But it's better than the regular bottle, so right, So
Speaker 4: why do.
Speaker 1: You drink Irish risky versus like a Scottish whiskey like
Speaker 1: a Scotch.
Speaker 3: I like both, They're different. Irish whiskey is usually a
Speaker 3: little bit sweeter, a little lighter. Scotch is a little
Speaker 3: bit drier, sometimes a little harsher, a little smokier.
Speaker 1: When processes are different. So a bourbon is a whiskey
Speaker 1: made in Kentucky, right, yeah, yeah, so you've all of
Speaker 1: the whiskey comparisons. So you have Bourbons, which is because
Speaker 1: it's it's a whiskey made of Kentucky or Tennessee. And
Speaker 1: then the scots is a whiskey made in Scotland. Yes,
Speaker 1: then you have an Irish whiskey.
Speaker 4: Yeah. And then you've got Canadian whiskey, and I guess
Speaker 4: Japanese whiskey.
Speaker 1: What is Japanese whiskey?
Speaker 4: It's just like other whiskeys. It doesn't have.
Speaker 1: Is that, It's just that is definitely.
Speaker 4: Not in that case. Fire one up.
Speaker 1: And what about Canadian whiskey? I see uh Sam's club
Speaker 1: sales Canadian whiskey.
Speaker 4: Yeah, like Crown Royals Canadian whiskey.
Speaker 1: Okay, Bourbon is like.
Speaker 3: Sweeter, but it's kind of harsh. Irish is like sweeter
Speaker 3: and lighter. And Scotch is the most complex, but it's
Speaker 3: the driest tasting.
Speaker 1: And what the fun does that mean that somebody who
Speaker 1: don't drink when something is dry?
Speaker 4: When something is dry, it means it's not sweet.
Speaker 1: Do you drink whiskey? Like, do you drink whiskey at all? Duce?
Speaker 4: Is that your shit? Hey?
Speaker 5: You know I do. I don't go as fuck? Do you?
Speaker 1: Are you into it that deep?
Speaker 5: No? No, just give me some koliac on me. I'm straight.
Speaker 4: Oh.
Speaker 3: By the way, speaking of Kooniak, the liquor store across
Speaker 3: the street from me, either some Jamaicans or some Haitians
Speaker 3: run the joint. They have a pyramid of all white
Speaker 3: Hennessy in the store like five feet tall. They've got
Speaker 3: like twenty some bottles retail. They sell it over the counter.
Speaker 5: How much it's in the US now?
Speaker 4: Oh it is okay. Yeah, I don't know if they
Speaker 4: snuck it off a boat at the port.
Speaker 5: That's even good though.
Speaker 1: That that shit tastes.
Speaker 5: It's like you smell alcohol when you fuck with that shit.
Speaker 4: Yeah. I never liked it. I just knew it was popular.
Speaker 4: It's like the shardonay of Konyak.
Speaker 2: Yeah, because it was only overseas, so once it start
Speaker 2: coming over here, I mean, you know, niggas, it was
Speaker 2: always like this ould Oh nigga got the white end
Speaker 2: and see on day one seventy five a bottle type
Speaker 2: of shit like me get out of here.
Speaker 4: Yeah, they got at like eighty nine bucks. Classes.
Speaker 3: I say the shardon Nay of Kgnak because it's like
Speaker 3: I think it's skinless grape.
Speaker 1: Oh that's why, Yeah, that's why.
Speaker 4: It's all white.
Speaker 1: Oh, the skin gets at the color. You know, dudes,
Speaker 1: that there's no difference between brandy and kognac. The only
Speaker 1: difference is where they made that. Yeah, what's the best
Speaker 1: brandy you ever had? I don't know you don't even
Speaker 1: fuck with brandy. Yeah nah no, I mean, you know
Speaker 1: it's crazy. Cavasi ain't remind me of brandy. Well, remember
Speaker 1: all kinds I don't know.
Speaker 2: I don't know no light good brandis. I've never seen
Speaker 2: a good brandy. I guess like Sarak and ship like that.
Speaker 2: You know that ship brandy, Oh the Saraka. Here's a
Speaker 2: French brandy. It's a brandy, which is weird because.
Speaker 4: It's a great vodka. It's a great vodka.
Speaker 1: No, Sarak makes a French brandy too. Oh, they makes
Speaker 1: it weird because it ain't French. It is French, but
Speaker 1: it's not made in that region.
Speaker 4: There's also Armagnac, which is like Koonyak, but it's the
Speaker 4: region next door that has its own brand.
Speaker 1: See that's what it is. So it's really all the
Speaker 1: same process to make all every Koonyak is a brandy.
Speaker 1: But they say every every Konnyak, So every Koonyak is
Speaker 1: a brand made.
Speaker 4: It's Champagne for the sparkling wine, the.
Speaker 1: Same ship, exactly right. And I just think to myself,
Speaker 1: like most of the brothers I know never even tried
Speaker 1: to find a specific brandy because brandy is the better
Speaker 1: quality of liquor. I mean, I guess it could be.
Speaker 5: But ship.
Speaker 1: I'm sure if you made brandy with the same process,
Speaker 1: it'll be the same ship. But I don't think niggas
Speaker 1: really try to find a reasonably priced brandy that has
Speaker 1: the same you know, character as as as traditional knyas
Speaker 1: like Hennessy, And then every drinker I know actually tell
Speaker 1: me Hennessy ain't really good like that. It's just kind
Speaker 1: of like an acquired flavor after you drink long enough, you.
Speaker 3: Gotta it's got to be like XO or beyond in
Speaker 3: the in the brandy world to really for it to
Speaker 3: be good.
Speaker 4: You know what I mean, if you like, if you're
Speaker 4: not spending.
Speaker 5: One hundreds, yeah, it's x so it is smoothie, yeah,
Speaker 5: you know.
Speaker 3: And I don't be honest, you want to a great
Speaker 3: cheat like I think Napoleon and ian J Brandy's they
Speaker 3: both have an XO brand, Like XO brandy by ian
Speaker 3: J is better than like vs.
Speaker 4: Hennessy is a third of the price.
Speaker 1: That's all age. That's all that. All that XO shit
Speaker 1: is about a you know, pete. But all that is
Speaker 1: about age. All that a najo blanco repsital is about age.
Speaker 1: All of them is just talking about how long they've
Speaker 1: been sitting in barrels. It really is the same process.
Speaker 1: Just the longer it sitting the barrel, it you know,
Speaker 1: it becomes more valuable. Let me get storing your ship
Speaker 1: like they charge your storage feet.
Speaker 3: Well, it's additionally like it's and like like wine, when
Speaker 3: it's in the bottle, it's it continues to mature in
Speaker 3: the bottle, but the spirits don't because they've been distilled.
Speaker 3: If you have your base spirit in oak, a lot
Speaker 3: of those impurities they bleed out into the wood. So
Speaker 3: if something's in wood for two years, it's gonna have
Speaker 3: a lot more crap in it and a lot less
Speaker 3: refined than if it's in wood for ten or twenty years.
Speaker 4: That's a bit of our game.
Speaker 1: So it's more of a temperature thing. You can't store y'all.
Speaker 1: You can't get your own mini barrels in store your
Speaker 1: own sit because you need a certain temperature, right.
Speaker 4: You could, It's just fucking hard.
Speaker 3: I mean if you if you called up so and
Speaker 3: so and said, hey, I want a barrel, they'll sell
Speaker 3: it to you. There's there's companies that you can invest
Speaker 3: in that are funds like like alternative investment funds where
Speaker 3: you can buy or participate in a collective purchase of
Speaker 3: wines and agiable spirits and you buy the actual cask,
Speaker 3: remove it from inventory and it's yours to own, and
Speaker 3: then you would sell it, you know, as an investment
Speaker 3: ten years from now at a ten x you know
Speaker 3: price point.
Speaker 1: No sellings. Gl I make a Peter. I'm back from
Speaker 1: the A. I Make a Peter back in Florida. He
Speaker 1: was in Atlanta, got down Reduchmac from the La Giants.
Speaker 1: If you full with Glasses alone and you heard any
Speaker 1: of these alone albums that's been out, and you pretty
Speaker 1: much heard Doucemack on half of the l A Giants whatever.
Speaker 3: Man, Ducemack got one of the hardest, best microphone voices
Speaker 3: in the industry.
Speaker 4: I wish I had a voice like his.
Speaker 6: He owe that shit to Newport. He to cut Newport Man.
Speaker 6: Newport didn't do my voice as well, but it was.
Speaker 1: Did you know why it works for Deuce? Because Duce
Speaker 1: is so fucking harsh on the mic, so it's like, oh,
Speaker 1: it's perfect. This nigga voice sound like to the way
Speaker 1: you be talking. He talking crazy and shit, he be
Speaker 1: saying that, Okay, makes sense that nigga would have his
Speaker 1: voice and he can't crazy because he in such a
Speaker 1: situation where you know, living life, life, got his stresses,
Speaker 1: so the nigga need to smoke, but then he don't
Speaker 1: want to smoke because he needs his voice. But then
Speaker 1: the nigga stressed or smoking the only thing calming down
Speaker 1: nigga and the vicious cycle.
Speaker 5: I've been smoking weed lately, though, that's not smoking.
Speaker 4: Your voice is gonna sound like Frank Sinatra. You're not
Speaker 4: gonna have that cache no.
Speaker 1: More to aid Kendricks from the Temptations.
Speaker 4: That up.
Speaker 1: Now what you said, Pete was taking it out like
Speaker 1: maybe a pot about it. What was you asking me about?
Speaker 3: Oh, we were talking about beats per minuted and how
Speaker 3: that kind of bluesy sort of like down Trodney, darker,
Speaker 3: angrier sort of sound out of you know, Atlanta and Memphis.
Speaker 3: It has a has a lower beats per mintent than
Speaker 3: songs that do well in l A. And I was
Speaker 3: wondering if you thought that some of the fact that
Speaker 3: so much of LA's culture is New Orleans transplants, there
Speaker 3: was a significant, you know, jazz.
Speaker 4: Footprint in l A. For a long time.
Speaker 3: If there's a relationship in beats, permittent and musical culture
Speaker 3: that pulls from New Orleans that found a foothold in
Speaker 3: LA rather than necessarily just straight down home you know,
Speaker 3: old southern town type.
Speaker 1: Of ship like the rest of So. Yeah, so it's
Speaker 1: hell a tricky, right, because, like the West is in
Speaker 1: a unique position because it's the last place to be
Speaker 1: developed around the country, right, people came to the East first,
Speaker 1: South and the East first. The Midwest got developed South
Speaker 1: obviously was there. The West kind of adopted its own
Speaker 1: personality musically, right, which is funk. Right. We adopted that
Speaker 1: in hip hop. That's our personality.
Speaker 5: Right.
Speaker 1: But if you think about it, like in correlation to
Speaker 1: human beings, we're gonna have more pop music than anything.
Speaker 1: It's why rhythmic stations are so big on the West coast.
Speaker 1: It's kind of like the middle ground between urban and
Speaker 1: pop rhythmic, and we got a ton of rhythmic stations
Speaker 1: on the West, you know what I mean. But the
Speaker 1: South kind of has their thing with blues, right, and
Speaker 1: that's where you get trapped, you know, to fill of traps.
Speaker 1: So it's all of this, like you said that down
Speaker 1: trodden that down home Troden type of blues that they
Speaker 1: make in the trap. And more than anything, it's important
Speaker 1: because the sonics, you know, the sounds are getting richer,
Speaker 1: they're getting darker, so like the awight is hitting a
Speaker 1: lot harder. The frequencies is a lot lower than ever before,
Speaker 1: you know what I mean. And I think that's where
Speaker 1: the West is kind of coming up short. Like our
Speaker 1: sounds was always in the middle, you know what I mean.
Speaker 1: We had a when it was the base, we was
Speaker 1: doing fine. But as it going to that eight away
Speaker 1: and it get deeper and darker and darker, the South
Speaker 1: is having its way with the gang, but connecting it
Speaker 1: to New Orleans right well, Marty grass jazz is a
Speaker 1: bit funky. So if you listen to the like a
Speaker 1: lot of their hip hop shit, uh the sausage, the sausage,
Speaker 1: the way they be doing ay thing is it's kind
Speaker 1: of it's that Marty Gras jazz has a funky feel
Speaker 1: to it. So that's why the connection is there. You know,
Speaker 1: they they they they they Jazz is a lot more
Speaker 1: festive than just regular traditionals at jazz, even when they
Speaker 1: bury somebody at it, when they have a funeral and
Speaker 1: they have that procession and they walking and they jam
Speaker 1: and shit carrying the casket and shit looks.
Speaker 3: Like a good toime.
Speaker 1: Yeah for real, you know what I mean? So I
Speaker 1: think our connection is there, Marty Gros Jazz is really
Speaker 1: festive and funk music is fested, so we connect at
Speaker 1: that point.
Speaker 3: Sure, But the bpms on like like what was the
Speaker 3: cash money bpms or like that time, what's.
Speaker 4: The name of that style that all that game?
Speaker 1: Yeah, yeah, probably somewhere between. Their real shit is probably
Speaker 1: right about eighty seven eighty somewhere between eighty seven and ninety.
Speaker 1: I would have to ask head, but right off the
Speaker 1: top of my head, they average is gonna be somewhere
Speaker 1: between eighty seven and ninety because they ain't gonna have
Speaker 1: nothing too much slower than eighty. But they will have
Speaker 1: a lot of shit at one hundred, one hundred bpm
Speaker 1: ninety eight bpm. A lot of that cash money, those
Speaker 1: records like back that Ass Up is a fast song. Yeah, yeah,
Speaker 1: you know what I mean. Uh, A lot of that
Speaker 1: shit is faster. But you know, New Orleans always had
Speaker 1: the cheat code to me because they can kind of
Speaker 1: go down home trotting like a regular South, but or
Speaker 1: they can make like this festive thing. And that's why
Speaker 1: you look at a lot of those cash Money records
Speaker 1: that was hell is successful, like back that ass up,
Speaker 1: Like you know what I mean them shit's high as
Speaker 1: ninety BVM if I remember correctly, I mean they they
Speaker 1: shit is jamming like that. It's all a jam. But
Speaker 1: like when we was in Atlanta, right and we go
Speaker 1: see zatve and shit, really what I was looking for
Speaker 1: for day was just the bottom. I feel like the
Speaker 1: West is struggling musically because right there's a few things,
Speaker 1: but definitely our music don't have as much bottom as
Speaker 1: the rest of the country. Like it's it gets darker
Speaker 1: the rest of the country, you know, everywhere you go,
Speaker 1: and ours it would be you know, hell of pop.
Speaker 1: Everything is kind of the middle up top. But they
Speaker 1: working for it. But I definitely think we got to
Speaker 1: kind of implement more of what's going on down South
Speaker 1: as far as the sound itself, not the rhythm, Like
Speaker 1: we got to keep our rhythm. We gotta stay faster
Speaker 1: because our life ain't as slow as down so like
Speaker 1: our life.
Speaker 4: Is faster, not the style, just the phonics.
Speaker 5: So to spit you know.
Speaker 1: What, I'm talking about Duce.
Speaker 5: Yeah, man, you know what I don't. Man, you know,
Speaker 5: only listen to what I feel like listening to. Sure, Sure, but.
Speaker 1: I don't think we having a conversation of preference, right.
Speaker 1: I think what we're talking about is just because I
Speaker 1: was explaining the peete. One of my ideas going down
Speaker 1: South was to get that deepness of those sounds, like
Speaker 1: them nigga sounds as dark as fuck. Like you hear
Speaker 1: they ate a waits, they ate the waits is way
Speaker 1: darker than ours now, right, Yeah.
Speaker 3: Like in the car West Coast beats could hit on
Speaker 3: an eight. You need a fifteen for an ATL beat.
Speaker 1: There you go, great point, right, you know what I mean.
Speaker 1: And I think we missed some of that bottom And
Speaker 1: that's why I said, but I don't think we can
Speaker 1: slow the music down to make trap. That's the problem.
Speaker 1: We can't, you know what I mean. And it don't
Speaker 1: fit our life. And I was more base lines. Yeah,
Speaker 1: and that's another problem. Like I think we had this
Speaker 1: conversation about I had this conversation with you know, with
Speaker 1: the hommy about Drake, like when Drake music started, like
Speaker 1: his tone matches the baseline. So a lot of music
Speaker 1: started losing the baseline when Drake kind of came about.
Speaker 1: If you listen to Drake music, you don't really have
Speaker 1: a ton of baselines because his octave is the baseline.
Speaker 1: But it's also weird because to me, he don't have
Speaker 1: enough soul to mask not having a baseline. I mean,
Speaker 1: like the shit that the shit he owned the real
Speaker 1: texture of his tone, but he is close so forty
Speaker 1: you know forty his producer being you know, the sonic
Speaker 1: genius his is. They just got rid of the baseline
Speaker 1: and start using eight. Oh wait, because if his shit
Speaker 1: is where the where the baseline is his tone where
Speaker 1: the baseline is you ever notice he uh below right
Speaker 1: here where the base is at So they feeling the
Speaker 1: whole bottom right and then they filling everything on top.
Speaker 1: So it's always gonna be a It's a lot of
Speaker 1: eight A waight kicks shit like that, but it ain't
Speaker 1: never a baseline because they feel like it a clash
Speaker 1: and you know who worked like that to me too Quick?
Speaker 1: Like if you notice Quick, a lot of the voices
Speaker 1: Quick produced are higher because Quick depending on the baseline
Speaker 1: a lot. So think of AMG sugar free, DJ Quick
Speaker 1: himself second to none they always have, which is probably
Speaker 1: the greatest challenge would have been moss Bird because that
Speaker 1: would have been the lowest thing he had to deal
Speaker 1: with as far as ms high seed voices above the baseline.
Speaker 1: So producing a song full is different. I mean, when
Speaker 1: you actually produce a full song, it's a spectrum frequency.
Speaker 1: And I know we getting held of technical because but
Speaker 1: it really matters. It's like we was up in the
Speaker 1: bay and I was listening to a lot of the
Speaker 1: Hyphee records, right, and I was thinking about it, he
Speaker 1: was talking about it. Then I would compare it to
Speaker 1: like Rick Rock, and I'm like, it's not full. The
Speaker 1: frequency rainbow is not all the colors.
Speaker 5: It's really only really.
Speaker 1: At the top or at the bottom, and it's a
Speaker 1: lot of mid that's missing. But then right, if you
Speaker 1: go listen to Rick Rock, like h Yay Area or
Speaker 1: a lot of his ship, it's gonna have all the
Speaker 1: meds around, even the vocals. So when they just ate
Speaker 1: away in melody, it's still a med that's going with
Speaker 1: the melody. And as much as people don't believe that
Speaker 1: the average everyday person can hear that they can feel it.
Speaker 4: Are there examples off the top of your head of.
Speaker 3: Like like saying, Nate Dogg being on tracks that had
Speaker 3: really robust baselines where you did get that collision a
Speaker 3: little bit or his song avoid of it.
Speaker 1: That's why they didn't really do it like that. I mean,
Speaker 1: if you listen into the song they did with a
Speaker 1: shout out to uh my boy from V eight, because
Speaker 1: it's slipping in my mind, I'm getting know what's the
Speaker 1: nigga name? I'll be fucking with you more time he
Speaker 1: produced for Virginia, So Big did I Got Love? You
Speaker 1: know what I'm saying. Niggas don't really know that Big
Speaker 1: did I Got Love? Big did off the uh the
Speaker 1: song with Nate and Corrupt pause, girls Girls All Pause,
Speaker 1: and the other one, Oh that might be Fred Girls
Speaker 1: All Pause. He did do Girls All Pause.
Speaker 4: All the ones that didn't sound like super G funky.
Speaker 1: Yeah, it was like they were funky in their own regards. Sure, sure,
Speaker 1: I take that back. I got love his soul. That's
Speaker 1: Donny Hathaway. Yeah, I just mean, I just.
Speaker 4: Mean, no, no, no.
Speaker 1: That's Donny Hathaway.
Speaker 4: I'm super l A.
Speaker 5: Yeah, he did.
Speaker 1: Girls All Paused for Corrupt, they did. He did something.
Speaker 1: A lot of the sounds that song Streets is a
Speaker 1: mother du oh yeah yeah right, he hard But I think, yeah,
Speaker 1: you're right, Like there isn't a ton of funky ship
Speaker 1: with Nate like that. It's usually like things that kind
Speaker 1: of bleed in the funk, like like that Donnie Hathaway
Speaker 1: sample that they used for I Got Love where they
Speaker 1: take the soul but it had a bass and it
Speaker 1: kind of made it funky a little bit, but it's
Speaker 1: not really funky Warren g Regular which is uh, I
Speaker 1: keep forgetting, you know what I mean, which is that
Speaker 1: Blue Eyes soul that's kind of more jazz and soh
Speaker 1: I key forgetting. How does a beatgo? Uh?
Speaker 4: You know Kenny Kenny was his name, right?
Speaker 3: Who who the originally did that song?
Speaker 1: Michael McDonald McDonald's right, I get them McDonald from the
Speaker 1: Doobie Brothers.
Speaker 4: So yeah, like.
Speaker 1: It just gets into of the space where And that's
Speaker 1: a great point. Like if you think of the biggest
Speaker 1: records with Nate, they're not really that funky, yeah you
Speaker 1: know what I mean, Like even like like think about it, right,
Speaker 1: like Little Ghetto Boys, Donny Hathaway, Yeah.
Speaker 5: The only one that's poty record. It's kind of funky
Speaker 5: that's true.
Speaker 1: Yeah, no, no, no, no no. And battle Cat he
Speaker 1: is Funky's hell a battle Cat got an R and
Speaker 1: B style, so he'll have those melodies going with the
Speaker 1: base where even if you lose the frequency listening to
Speaker 1: him cad of layer that motherfucking baseline with other keys
Speaker 1: and ship.
Speaker 5: So you never lose it.
Speaker 4: And Nate wasn't kind of a higher octave on that.
Speaker 1: Song he did Mommy's in made I'm so he laid it.
Speaker 1: He was, you know, no, no, no, no, no, no, yeah. Yeah.
Speaker 1: And what's what's funny is one of the biggest Nate
Speaker 1: Dog songs that come to mind too, is that total
Speaker 1: song This is Wherever I Want to be, I mean
Speaker 1: with my loved ones. Yeah, that's a total song from here,
Speaker 1: you know. And they kind of had a walk. Shane's
Speaker 1: still around, right, Shan's still an I ain't I haven't
Speaker 1: total to him.
Speaker 3: But well, there's some of those issues on the on
Speaker 3: the two part album that they did, like with the
Speaker 3: like was the song Nobody Does It Better and all
Speaker 3: of those because those songs kind of had that I
Speaker 3: don't remember he old.
Speaker 1: But what's funny is when you think about the way
Speaker 1: dre used Nate versus the way Warren used Nate. They
Speaker 1: use him completely different. Like what's like, what's the biggest
Speaker 1: Nate dog Doctor Dre song ain't no fun right, probably
Speaker 1: and that's not even really yep, yep, that's probably the
Speaker 1: biggest ones. Yeah, but he used him real sparely. And
Speaker 1: that's because Nate wasn't really a funky singer. I never
Speaker 1: tripped off that and Theate wasn't really a funky singer.
Speaker 5: Yeah, it was like more church boy.
Speaker 1: Yeah. So, like Donnie had the way, that's to me
Speaker 1: who everything about him gave off, Like even the seriousness
Speaker 1: of his face all the time. That Nigga never smiled
Speaker 1: in no video Cuz no that Nigga like Donnie had
Speaker 1: the way. Donny had theway was so dope, bro. They
Speaker 1: say Donny had theway was so consigned with the world
Speaker 1: that Nigga killed himself. He just like couldn't live no more.
Speaker 1: That Nigga jumped out of a building or something. And
Speaker 1: Nate was serious like that. I remember the time they
Speaker 1: came to the studio. Cousin, he was the first legend
Speaker 1: that came to work with me, and he came to
Speaker 1: the studio and we did a song JR. Rodham did
Speaker 1: the music. I need to talk to j R. To
Speaker 1: try to get that song. But it was called Can't
Speaker 1: Be Faded Part two and he was just talking to me.
Speaker 1: Cousin never smiled. It was hell helpful, bro, But he
Speaker 1: was like that nigga never smiled, cud Like. It was like, yeah, gee,
Speaker 1: you know, I got you brother. You know he's talking
Speaker 1: to me like yeah, you know, we're chopping it up
Speaker 1: about some ship. Yeah you know. But I was like
Speaker 1: the nigga just left gotten the limbs left.
Speaker 7: I was like him, but it would work because because
Speaker 7: he lived up to all expectations and they dog you
Speaker 7: know what I'm saying, like they dog cus were serious
Speaker 7: that nigga was all business, all business.
Speaker 1: I'm not asking him because ever smiled like warning them
Speaker 1: nigga ever saw he had to laugh. Nigga when nigga
Speaker 1: when they was chilling. That ain't just funny about do
Speaker 1: they never smiled?
Speaker 2: Did you seen that nigga on one of them documentaries
Speaker 2: backing on a nigga or something?
Speaker 1: But he was even serious then it was funny then
Speaker 1: serious guy. There's a little clip when him singing brown
Speaker 1: Skin right shout out to Lynn, but Joseph Lineberg, Joseph
Speaker 1: did that beat right, He's huh two album no, I
Speaker 1: think so. I guess it made it there, but I
Speaker 1: don't remember hearing the song out, Like I only heard
Speaker 1: it on YouTube. I don't know what body of work
Speaker 1: it came out of. But he was singing brown Skin right,
Speaker 1: and they was it was Warren because they was in
Speaker 1: there brown Skin.
Speaker 2: It's on YouTube, it's one of my it's probably the
Speaker 2: top twenty fevue YouTube video. And he was talking shit
Speaker 2: about niggas don't be still in my wrists down steal
Speaker 2: and I'm like he was serious, and I'm like, this
Speaker 2: niggacuz never smile.
Speaker 1: I would so trouble.
Speaker 3: Maybe because he was upset that he just couldn't find
Speaker 3: the right matching beads for the baseline just just.
Speaker 4: Threw him into a permanent funk for years.
Speaker 1: It's like, this shit ain't right. But I be thinking
Speaker 1: about all this shit, so it's like there's a real connection.
Speaker 1: Like the West adopted funk that became our identity. But
Speaker 1: to me, the music that we really made ourselves, I
Speaker 1: mean it's more sunshine pop that was like in the sixties,
Speaker 1: in the seventies. But that music that aged will right so,
Speaker 1: and it's funny because that booted is derived from a
Speaker 1: sunshine pop song, a band that's oute of Orange County, right,
Speaker 1: the South held on the blues. That's where you get
Speaker 1: that trappy darkness from, I mean, from the blues rips.
Speaker 1: That's how they make they music. And then you could
Speaker 1: take a group like outcasts who kind of made this
Speaker 1: blues fumk, like like Nigga MC eight could rap over
Speaker 1: all old outcast instrumentals and that shit would hit because
Speaker 1: that's how eight does his thing, right, same thing. The
Speaker 1: mid West adopted R and B. So if you listen
Speaker 1: to all the rappers right, you go back to Do
Speaker 1: or Die, bom Twister. It's a melody to that shit.
Speaker 1: Techn Nelly noticed they all sing because that's because something
Speaker 1: about the Midwest and R and B just locked in.
Speaker 1: Maybe it's motown, but all them niggas be singing, even
Speaker 1: Kanye be singing. Them niggas all figure out a way
Speaker 1: to sing on the song, even Eminem you know what
Speaker 1: I mean. That nigga be singing and shit, you know
Speaker 1: what I mean. And that's just the musical identity that the
Speaker 1: mid West built off of R and B, and it's
Speaker 1: in the East. Obviously it's jazz. They celebrate jazz the most.
Speaker 1: You can't tell them niggas nothing about Premier. They don't
Speaker 1: celebrate Eric Shermon the same way they celebrate Premier or
Speaker 1: Pete Rock. Eric Simon has shit, and I know Eric
Speaker 1: Simon shit mattered on the West, so I know it
Speaker 1: mattered out there. But they don't really celebrate their funky
Speaker 1: producers or even they R and B producers to me,
Speaker 1: like the Tony Polk or the Puffs and all of them.
Speaker 1: They really pin their hat on the sophistication of the
Speaker 1: jazz bass sample, right, which is Premier, Pete Rock and
Speaker 1: all that other jazz shit Q tip you know what
Speaker 1: I mean. That's how they feel they sound. Is so
Speaker 1: we all picked up different parts of music and different
Speaker 1: parts of the country, like funk. Right, the West is
Speaker 1: with the funk, South is with the blues, mid West
Speaker 1: is with the R and B, and East Coast with
Speaker 1: the jazz. So I think where the South is really
Speaker 1: reigning supreme is because they got like these frequencies lower
Speaker 1: and lower and lower than everybody else. And I mean
Speaker 1: when you start talking to zayto when you start talking
Speaker 1: to Mike will you start talking to DJ Tunk, And
Speaker 1: then they're telling you that they going through a lot
Speaker 1: of shit to get there, like they not. It ain't
Speaker 1: just out that motherfucking fruity Loops nigga. Like there's some
Speaker 1: shit that they doing down there, Like he was telling
Speaker 1: us to get to that space, to find that lowest frequency.
Speaker 1: And I think hip hop is in such a weird
Speaker 1: space right rest in peace tonate, but hip hop is
Speaker 1: in such a weird space that the ghettos have to
Speaker 1: combine to really impact the country. Again, Like even if
Speaker 1: you take like look at what's going on with a
Speaker 1: mephist producer and sexy read the Saint Louis artists, you
Speaker 1: know what I mean, Like take Keith, it worked out there,
Speaker 1: So I think, you know, I think we got our
Speaker 1: ghettos have to combine. And I don't just mean the
Speaker 1: motherfucking rappers. I mean the musical elements of it, the
Speaker 1: musical elements. And it's required because people hip hop is
Speaker 1: kind of ran his last leg as being this separate
Speaker 1: entity and the world's like whatever, you know what I mean,
Speaker 1: they get they get it so fast now, And I
Speaker 1: think We're at the space to where we got to
Speaker 1: combine ghetto powers, Like we gotta go down there and
Speaker 1: fuck with the Southern producers. But that don't mean we
Speaker 1: need to go down there and try to get them
Speaker 1: to make trap records. I think them niggas can all
Speaker 1: produce for the most part. Like I hit the beat
Speaker 1: King in Texas, be King from Texas. I'm like, man,
Speaker 1: he like, I ain't never set my metron on that hard.
Speaker 1: I'm like, set that motherfucker that hard, cause.
Speaker 5: Let's do something like.
Speaker 1: That's why I'm pushing a lot of niggas too. Set
Speaker 1: your metron one in ninety five, cousins, give me what
Speaker 1: you got, Let's see what you got. I hit Fabos.
Speaker 1: I didn't realize Fabro produced uh spaceships on back head
Speaker 1: geeked up whatever. I forgot the proper name of the song.
Speaker 1: I'm like, hey, give me one. I need one of these. Yeah,
Speaker 1: I'm hearing too, and give me the fast shit. I've
Speaker 1: been hitting Pete Rock probably for like a while, just
Speaker 1: to get him. I've been trying to Eric Taman know
Speaker 1: I'm on here, Like, I feel like we got to
Speaker 1: combine the ghetto sonically to really impact mainstream America again,
Speaker 1: because I don't think it could be separate and the
Speaker 1: music does it anymore. I think it gotta be like
Speaker 1: a visual thing at this point. If it's just like
Speaker 1: Saint Louis right, if it's you see sexy Red, that
Speaker 1: shit is just like an anomaly. Or you see certain niggas,
Speaker 1: that's an anomaly in how they look. Right, niggas got
Speaker 1: all these shit going on. But I think for the
Speaker 1: music to be as impactful again, it's required that the
Speaker 1: ghettos combined sonics, like the Atlanta Ghetto in the Los
Speaker 1: Angeles Ghetto combined the sonics and really put it together
Speaker 1: so the world could have something that it's never had.
Speaker 4: Sure, yeah, that only makes sense. I mean there's a
Speaker 4: lot of it.
Speaker 3: Also is there was a sequence of new cities and
Speaker 3: regions coming out with new sounds, so it's new. Well
Speaker 3: the whole obviously globe got covered or the US map anyway,
Speaker 3: there's nowhere else to go.
Speaker 4: So yeah, you got it.
Speaker 3: You know, innovate in a combination kind of fashion. That's
Speaker 3: the way technologies, even outside of music tendo usually work.
Speaker 1: And I think this is the advantage we have over
Speaker 1: our predecessors from a different time. It's like we about
Speaker 1: to make the colossal burger of hip hop. Everybody else
Speaker 1: just been making for stroami sandwiches, hamburgers, real cheese, and ship.
Speaker 3: Now we feel it's been a lot of impossible burgers
Speaker 3: the last few years.
Speaker 1: It is for real.
Speaker 5: It's a good comparison Bush.
Speaker 1: But the ship that is happening, it's dope. It is
Speaker 1: some amburger. Still like the South making good burgers, but
Speaker 1: I feel like the West make Perstromi and it's time
Speaker 1: we make colossal burgers. Man, we gotta put the world
Speaker 1: on Colosso burgers. They ain't had this before.
Speaker 3: The l a almost kind of like what the the
Speaker 3: carnates cider burger or whatever?
Speaker 1: Is that a real burger.
Speaker 4: That might be Yeah, I've seen some stuff. Yeah, there's
Speaker 4: some stuff.
Speaker 1: The carne side of burger.
Speaker 5: Do what. I know.
Speaker 4: It's kind of think there's there's there's there's a burger
Speaker 4: that I've seen this.
Speaker 2: You's not meaning like you're talking about like tortous, no colosso,
Speaker 2: no carne, no, you know, like a.
Speaker 5: Burger with cornea inside of attitude might be crazy. You know,
Speaker 5: they gotta you.
Speaker 2: Know, they got a burrito in La where it's corny
Speaker 2: and sada in a.
Speaker 1: Pastrami corny inside of pastami. Yep, I never had. What
Speaker 1: we have to do is.
Speaker 2: Chili cheese, pastrami and corny and sada. They called it
Speaker 2: something to us, it got a name to it. I
Speaker 2: don't know it is. I never had it, but I
Speaker 2: know my dad and my brother had one of the motherfuckers.
Speaker 5: What they said about it, mother fuck about twenty dollars.
Speaker 2: They said it's fired though. Nice, but I ain't never
Speaker 2: nigga corny and sada with chili cheese and pastrami. That's
Speaker 2: just crazy, nigga.
Speaker 5: That's well, I'm gonna do this for it.
Speaker 1: I sound like a heart attack.
Speaker 2: I can't even his I don't think of nothing. I
Speaker 2: can't find a logical reason to eat that shit.
Speaker 1: And I think that's what I think the West was
Speaker 1: serving straight much. And I just think it's time. Like
Speaker 1: I said, we still as all of the ghettos. Hip
Speaker 1: hop is the ghetto, right, So I think the idea
Speaker 1: is like, Okay, we can't do this alone anymore at
Speaker 1: a major level, like right, everybody, like, man, we ain't
Speaker 1: tripping if it's just that, like yeah, we'll take it
Speaker 1: like nobody like obviously, let's say the West Coast is
Speaker 1: just that, you know what I mean. They'll take it,
Speaker 1: but it won't have the same impact because people spoiled
Speaker 1: by it. Remember like when when chili cheese fries went
Speaker 1: through that space where everybody had it too much, and
Speaker 1: then they threw them PSHAMI on there and it changed
Speaker 1: the game and back chim chili cheese fries with shrmi meat.
Speaker 5: You ain't you had that, Pete?
Speaker 1: Yeah? Over on what's what's the spoty, Pete?
Speaker 3: The like Crenshaw and Uh, imperials got a spot over there.
Speaker 1: Over there, you're talking over there on the other side.
Speaker 1: What's that you know we're talking about? They always talking
Speaker 1: about that ships just north.
Speaker 3: It's between Crenshaw, It's between Imperial and Central.
Speaker 1: Been there the whole time.
Speaker 5: Oh yeah, I can't saw, Yeah, I can't.
Speaker 1: I can't think of the name it's on. But yeah,
Speaker 1: I think that's just where we're at with it. I
Speaker 1: think we're at that space now. I think that's probably true.
Speaker 5: Man. Yeah, it's just one spot.
Speaker 2: Uh, I'll be working with They grilled it, didn't chop
Speaker 2: it up.
Speaker 1: That's how you That's how I did my pastromia all
Speaker 1: the time. I have really on the grill.
Speaker 5: It's small pieces, but it's all over.
Speaker 4: Man, that be better better.
Speaker 2: That's kind of like the top ship that they got
Speaker 2: in in New York, the chop Cheese, Chop cheese. Yeah, nigga,
Speaker 2: that's ship after they grilled it. Oh yeah, that's ship.
Speaker 2: Because if you run out of pastroliti, bro, you you
Speaker 2: you don't want this ship.
Speaker 5: I don't want it no more.
Speaker 1: Brollihod because probably yeah that's right, brill. That's like inglewood.
Speaker 1: Yeah yeah, but for sure, you know what I mean.
Speaker 1: And that kicked in another gear. And I think that's
Speaker 1: just where we at in hip hop. I mean where
Speaker 1: it's like nobody like we ain't tripping off that, you know,
Speaker 1: white folks, the regular massive American white folks like, man,
Speaker 1: we heard it all. We saw snoop before. You know,
Speaker 1: they're not tripping off a nigga just being a cryp
Speaker 1: no more. They like, yeah, we know some cool crips.
Speaker 1: We're not impressed, right right. I mean, they like, we
Speaker 1: need to see some shit come together that they need
Speaker 1: to They need the crip in the trap to come together.
Speaker 1: That the culture they need to drift, you know, what's funny.
Speaker 1: I was hitting, h they.
Speaker 5: Don't need you to They gonna need you to reenact
Speaker 5: to burn my nigga.
Speaker 1: Ain't nobody seen that really? Go cooks boy. Them niggas boy,
Speaker 1: they wouldn't even know what they got to be away
Speaker 1: for us to fabricate it. Listen, what's crazy is uh,
Speaker 1: I was on Chop from Chicago, the nigga that one
Speaker 1: of the main architects a drill chop.
Speaker 4: Yeah.
Speaker 5: I used to leave with the dreads.
Speaker 1: Yeah. I used to DM all the time, like, man,
Speaker 1: set that metronome up to ninety six. Nigga, see what
Speaker 1: you get, you know what I mean? Just cook with
Speaker 1: them sounds that you be cooking, nigga, I got you
Speaker 1: what do he say? No, he was interested. He was like, Man,
Speaker 1: I don't know what it's gonna sound like. I'm like,
Speaker 1: just do it.
Speaker 5: Were they at like eighty something?
Speaker 1: Hell no, they shit like sixty fifty nine sixty for real? Yeah,
Speaker 1: all that don't like and all that shit.
Speaker 5: That shit snow.
Speaker 1: Yeah.
Speaker 5: Yeah.
Speaker 1: I've been looking at a lot of the shit that
Speaker 1: they got going on in all these places, and I
Speaker 1: really feel like that's the key bringing the ghettos together.
Speaker 1: Dog sixty six. Don't like it, sixty six, she's one
Speaker 1: thirty two.
Speaker 5: One thirty, y'all. I was just gonna say, so it
Speaker 5: was more like a one thirty two.
Speaker 1: But yeah, yeah, yeah, so that just too far out
Speaker 1: around for the West. So I think this is the net,
Speaker 1: the natural progression, you know what I mean, bringing the
Speaker 1: ghettos together, keeping our rhythm, but getting they sounds and
Speaker 1: then adding to it. And that's what's double about having
Speaker 1: ep a ram, you know, I mean, like that nigga
Speaker 1: can really like I think about, like I told you
Speaker 1: when I was texting you this morning, like like we
Speaker 1: got a sauce that nobody got right now. And that's
Speaker 1: because you could take him in the trio click or
Speaker 1: him and my nigga cano or blah blah blah, and
Speaker 1: he could do some things and you'll have something that
Speaker 1: like this is la don't sound like nothing that's actually
Speaker 1: been out there.
Speaker 5: Yeah, it's like we they give us a candy painting
Speaker 5: caprese it we gonna cut that motherfucker.
Speaker 1: Yeah exactly. We take them big ass wheels off. Motherfucker
Speaker 1: puts some dryls. That motherfucker probably that move with that
Speaker 1: biggest holder, that big ass them more than they put
Speaker 1: them five forties up at the motherfuckers with them. Yeah
Speaker 1: we go, Yeah, we're gonna take on this motherfucker puts
Speaker 1: some in the truck.
Speaker 5: They gotta be able to see theyself in.
Speaker 1: It to exactly That's what I'm taking.
Speaker 4: It's worked in the other direction.
Speaker 3: I mean like PC did a song over obviously like
Speaker 3: to regulate what I'm good three and then.
Speaker 4: Let me ride. He did both those beats.
Speaker 3: On that Detroit kind of sound, So there was a
Speaker 3: successful transferability of styles there to be able to to
Speaker 3: another direction.
Speaker 1: PZ is a Detroit rapper.
Speaker 5: He type, I gotta get my shit together, man, you.
Speaker 1: Ain't you ain't. It ain't nothing. Niggas got to work harder,
Speaker 1: even a dope niggas, even a nigga like PS got
Speaker 1: to work harder. And the reason you don't know who
Speaker 1: he is because it ain't happened, Like the sound ain't
Speaker 1: together yet. He's it's there, Like if you hear you
Speaker 1: be okay, I see why niggas fuck with him. But yeah,
Speaker 1: why it ain't necessarily where it should be. Like if
Speaker 1: you hear it, you be like, okay, I see I
Speaker 1: mean to be tightened up in these places.
Speaker 5: I'm bad with that, Brono. I'll see new niggas already
Speaker 5: click on it.
Speaker 1: Yeah, but if it's a dope nigga, you gonna know,
Speaker 1: Like Travis Scott, you ain't gonna be like, who is that?
Speaker 1: Like you? I mean, you might not know a lot
Speaker 1: of his song, but.
Speaker 5: You gonna known name none of the songs. But if
Speaker 5: something come on, I might know it.
Speaker 1: Yeah.
Speaker 5: I don't think I ever really played the Travis Scott
Speaker 5: song though, bro.
Speaker 1: No, no, but I don't think that. Yeah, I don't
Speaker 1: think he's supposed to. But I'm saying if you heard
Speaker 1: the Travis Scott song, you wouldn't turn it off.
Speaker 2: Oh you mean basically I would respect why he were
Speaker 2: Like I get what it is. I mean, it ain't
Speaker 2: for me, but I get why it is. Like it's
Speaker 2: them niggas who should be finished. Yeah, you know what
Speaker 2: I mean, Like like lil UZI don't got a lot
Speaker 2: of finished ship.
Speaker 1: That's why you ain't gonna know it like he got
Speaker 1: some ship though, like you'll hear you like, I get it,
Speaker 1: but it ain't all finished, Travis, shit be finished everything
Speaker 1: you J Cole? Right, you know J Cole? Is that
Speaker 1: nigga shit finished.
Speaker 5: I mean, you don't hear the niggas who kind of
Speaker 5: be trying to MC and ship.
Speaker 1: I know who they are and and and and more
Speaker 1: than just MC bit literally just be they should be right, Like,
Speaker 1: even if they like future Nigga, you won't know some
Speaker 1: future shit. He don't be trying to MC per se.
Speaker 1: But as a songwriter, the niggas dope up to where
Speaker 1: you're gonna hear it, You're gonna be like, I get
Speaker 1: why niggas fuck with him, even if you don't like
Speaker 1: that nigga is still a product of of of all
Speaker 1: that outcast ship and that nigga still a musician in
Speaker 1: there as a record maker, even if you don't necessarily
Speaker 1: partaking this MC ability. How old this future future gotta
Speaker 1: be forty forty one now, Okay.
Speaker 5: I know, I know.
Speaker 2: I heard some niggas rap over some beats and I
Speaker 2: was like, I mean, I didn't know. I thought it
Speaker 2: was they song till I heard future till I heard
Speaker 2: it about Future, And I'm like, Nigga, that shoot your song,
Speaker 2: Like damn, I ain't out man, I don't be knowing, bro, Yeah,
Speaker 2: your shit, I know Future.
Speaker 5: I know Future got some shit.
Speaker 1: Though, as a songwriter Future, I know why they fuck
Speaker 1: with Future because niggas, That's what I'm saying. Certain you,
Speaker 1: certain niggas, you go here, even if you not, Like
Speaker 1: I don't really listen to Future like that, but I'll
Speaker 1: hear certain songs and I'll be like, I get it.
Speaker 1: This shit crazy, Like like if you listen to that
Speaker 1: beat with that flute away you like fucking ship, you
Speaker 1: ain't working with the MC conversation and all of that.
Speaker 2: And I think that's the song Mazi did it over
Speaker 2: and it was Future song, And when I heard the
Speaker 2: Future version, I was like, oh ship, like.
Speaker 1: This is away together. That shit just go crazy. So
Speaker 1: but again it go back to that finishing ship on
Speaker 1: that on that sonic spectrum, on that frequency spectrum, niggas
Speaker 1: having everything, And that's kind of what happened.
Speaker 2: So people, what's them niggas that was doing on the
Speaker 2: beats by the Pound? Was they all New Orleans niggas?
Speaker 1: I think I know kl is a New Orleans nigga.
Speaker 1: KLC is a New Orleans nigga. I think they were.
Speaker 1: I know KLC is a New Orleans.
Speaker 5: Niggas for sure. And and the Dungeon family is all at.
Speaker 1: M All Georgia niggas. Yeah, but I think we just
Speaker 1: moved past that space. I think hip hop has been
Speaker 1: around for forty years now, you know what I mean, There's.
Speaker 5: So much music coming out that it'd be hard to like,
Speaker 5: like what do we go take from? You know what
Speaker 5: I mean?
Speaker 1: I think that I don't think it's even about taking
Speaker 1: from it no more. I think at this point is
Speaker 1: really just you gotta find the niggas that's the bright
Speaker 1: spots and all of those reasons as producers and really
Speaker 1: get with them because I think or you find some
Speaker 1: niggas who talented, they got some gifts, but they can't
Speaker 1: finish because you gotta finish it, Like we got Marianna Rivera.
Speaker 1: At this point, we got a nigga feel me that
Speaker 1: even if he don't pitch like I can pitch nine innings, right,
Speaker 1: you heard Castle, He's nuts, like as a producer, Irvin
Speaker 1: Polkin produced, but think about how much more legendary he
Speaker 1: gonna be as Marianna Rivere. Well, we only he only
Speaker 1: got to pitch three three, Like listen what he did
Speaker 1: with this is La with the trio click, like you
Speaker 1: putting me in to pitch the last three in is
Speaker 1: he gonna it's gonna be a shutout?
Speaker 5: But I feel what you said because that's kind of
Speaker 5: how like how bad boy in them didn't like Dre
Speaker 5: and them was winning and then they just came with
Speaker 5: a feel of us but put their little twists on me.
Speaker 1: Well, if you think about it, like ideas, everybody talk
Speaker 1: about when when Dre had different niggas working on ideas
Speaker 1: for his ship, like it might have been dashed probably
Speaker 1: on the Loop or Warrn on Loop and then Dra
Speaker 1: come in and finish that motherfucking throw the last three innuites,
Speaker 1: right know, right.
Speaker 5: That it would be cool to take some ship that
Speaker 5: that feel like they ship, but make it our ship.
Speaker 1: Well that's the point, right, I think once you set
Speaker 1: the metron on up, once you get that motherfucker the
Speaker 1: ninety five bpm, you ain't gonna know what it feels
Speaker 1: like like it's gonna have our rhythm and when EP
Speaker 1: playing on it, you ain't gonna it's gonna be like
Speaker 1: something you ain't never heard. I really believe that.
Speaker 5: Right, it's gonna be like what the fuck is that? Yeah, Okay,
Speaker 5: I get it.
Speaker 1: You just can't wrap at a bpm like that's not cool.
Speaker 5: Yeah, we can't float like them. Then that's what That's
Speaker 5: where it fucks us up.
Speaker 2: I can't stand hearing niggas from New York or California
Speaker 2: rapping like Chicago or Detroit or whatever.
Speaker 5: Like I want to hear niggas sound like they own ship.
Speaker 1: It's like a fat girl that wear a little girl clothes.
Speaker 5: Yeah, yeah, like a.
Speaker 1: Fat girl that's wearing like like halter tops like baby that.
Speaker 5: Ain't Yeah yeah, just stomach everywhere. Yeah, you do not
Speaker 5: do that.
Speaker 2: You just can kind of get in your own ship.
Speaker 2: I mean, like you know, you don't got to bite
Speaker 2: them little hoole shit. Go get some fly big girl
Speaker 2: ship that.
Speaker 1: You're putting together. It's like when you see girls that
Speaker 1: be like too skinny, that be wearing shit that be
Speaker 1: for thick girls like baby that is not. You do
Speaker 1: not got to waist for that.
Speaker 3: Yeah, skinny girls twerking or if you got to jump
Speaker 3: ten times to getting the jeans in the wrong jeans
Speaker 3: it don't fit.
Speaker 5: Well if you got ass.
Speaker 1: Don't know, if you got ass might have the job,
Speaker 1: you know what I mean.
Speaker 5: If you got.
Speaker 3: Some but caves at one point, are the genes so tight?
Speaker 3: That you didn't just switched everything. You can't tell anymore.
Speaker 5: Well, that's when it looked fucked up in the jeans too.
Speaker 2: Yeah, it looked fucked up when they stuff and shit,
Speaker 2: what's all the foot pods and shit start coming out?
Speaker 5: Hey?
Speaker 3: Gee didn't like back in the day, like like Dame
Speaker 3: Dash used to go get beasts and controversy of how
Speaker 3: he got some of these beasts for jay Z but
Speaker 3: would get beasts for Jay? Was there another person like
Speaker 3: if Dame got beat a, was there another person that
Speaker 3: they would have that would tune them up for Rockefeller?
Speaker 4: Or was he just getting them and James jumping on them?
Speaker 1: Well? They The thing about Rockefeller that was really smart
Speaker 1: is they didn't really gamble at first, like even when
Speaker 1: they was making reasonable doubt, like you could hear the blueprint,
Speaker 1: you can hear the illmatic blueprint, right, But they went
Speaker 1: to the guys and fucked with them. And then I
Speaker 1: was having this conversation with somebody the other day and
Speaker 1: they were saying they felt Jay was being commercial like
Speaker 1: his first two albums. I'm like, no, Jay is just
Speaker 1: a better songwriter than nas, like a record writer, not
Speaker 1: like do you like him as an MC better, but
Speaker 1: like just writing reggords, that nigga ja is nice, like
Speaker 1: the niggas sharp, like you understand hooks a lot more bridges,
Speaker 1: a lot more transitions, a lot more now stray MCM
Speaker 1: sing and kind of paint a picture. Then your preference
Speaker 1: could be your preference. But just as a.
Speaker 2: Sheer, reasonable that was better better than who reasonable, that
Speaker 2: was better than illmatic.
Speaker 1: Yeah, but it had illmatic as the blueprint. Okay, you
Speaker 1: know what I'm saying. So I would agree I prefer
Speaker 1: reasonable doubt overal madic. But I can understand why every
Speaker 1: other nigga who fucked with him would never say that,
Speaker 1: and it'd be blasphemos. But to your point, Nah Pete,
Speaker 1: they usually went to the best niggas. You don't need,
Speaker 1: you don't need it. Finisher of Pharrella is doing it.
Speaker 1: Or you remember the second album. They the first album
Speaker 1: they had dope niggas, right, the second album they start
Speaker 1: going to puff and they track masters. They start going
Speaker 1: to the niggas making records. And the third one, you
Speaker 1: know what I mean, they went top producers. That's the
Speaker 1: one thing Jay always had correct like he went to
Speaker 1: the niggas he did not play. He ain't didn't And
Speaker 1: there's not enough respect on producers cuse, but that nigga
Speaker 1: did not play man. He went to the guys. Think
Speaker 1: about it historically?
Speaker 2: Is this.
Speaker 4: My memory so shoddy?
Speaker 3: Like I thought there's some sort of a backstory on,
Speaker 3: like like the hard knock life beat or something like that,
Speaker 3: Like who put that together?
Speaker 4: How did that come together?
Speaker 1: You know all that the track masters that's forty five King.
Speaker 1: Forty five King was the same nigga that did stand too, okay,
Speaker 1: And they say that the word is I'm not sure
Speaker 1: if this is true, but they said King Kapri was
Speaker 1: just playing it. He was like, who shit is that?
Speaker 1: He like, ain't nobody shit niggas? Forty five King made
Speaker 1: this and he was playing instrumental and that's how Jay
Speaker 1: got the instrumental, you know what I mean? But that
Speaker 1: dude passed away, but like his contributions is one of
Speaker 1: the ones that's special. But think about it. When Jay
Speaker 1: first started, they didn't there was no Rockefeller sound, you
Speaker 1: know what I mean, Like the Rockefeller sound didn't happen
Speaker 1: to Blueprint. That's when you start getting a Rockefeller sound.
Speaker 1: So they kind of rolled the wave. Forgive me for
Speaker 1: using that term. But they rolled the wave of successful
Speaker 1: producers for two, three, four albums, you know what I mean.
Speaker 1: They did not dev eight.
Speaker 2: They had a a quality product when you hear reasonable
Speaker 2: Doubt Volume one all the way to Volume two.
Speaker 1: Even when they went to volume three and they got
Speaker 1: Rick Rock the dude, excuse me, rock life familiar, right,
Speaker 1: But they got the blueprint. That's when they start using
Speaker 1: their in house the guys that became the sound that
Speaker 1: we look at Rockefeller, which is just Blaze and Kanye West,
Speaker 1: which kind of was stimulated by being in the first place.
Speaker 1: I mean, so that's where that Rockefeller sound, you know,
Speaker 1: you're talking about two thousand and one. Before that, Jay
Speaker 1: was just pretty much working with the niggas who already
Speaker 1: had the right mentality about making music, and their sonics
Speaker 1: was familiar.
Speaker 4: To the world, gotcha, gotcha? Yeah, Wow, Yeah, there's a
Speaker 4: panthe goes into the all of this.
Speaker 5: Man, he always has some cool shit.
Speaker 2: I really wasn't I didn't like all his beats, but
Speaker 2: that nigga always has some quality shit.
Speaker 5: Yeah.
Speaker 1: Jay wasn't gonna never play with the production like other niggas.
Speaker 1: He didn't play like that. Nigga came right in with
Speaker 1: the work and that was it first album.
Speaker 5: Forget you say any of them type of niggas.
Speaker 2: Huh did Rizi ever do anything for them, like for
Speaker 2: other motherfuckers outside of any big notable song outside of Wute.
Speaker 1: It probably have been so late. I'm sure he did some,
Speaker 1: but it'd have been so late. I mean thinking about
Speaker 1: he was producing eight or nine artists.
Speaker 5: No, no, I understand, but I'm just saying it.
Speaker 1: So No, I know what you're saying.
Speaker 5: It happened with them. You would think that somebody would
Speaker 5: reach out him, like Nigga, I need a riser beat.
Speaker 2: Even though he wasn't all that, but he had some
Speaker 2: ship though when you know this weird like damn difference.
Speaker 1: Never the rapping part maybe was crazy. But so I'm
Speaker 1: looking at Volume one right, this is the second album.
Speaker 1: I can't believe it. The second J album. I'm looking
Speaker 1: at Volume one is Premier Teddy Riley, Puff Prestige Ski
Speaker 1: who was all over the first one, Premier Stevie J
Speaker 1: Prestige track Masters, Tony Proke Ski Uh yeah yeah, jazz yeah,
Speaker 1: puff shit, puff shit, like you know what I mean,
Speaker 1: Like that Nigga never played niggas.
Speaker 5: That was winning. He was like introducers that ship that
Speaker 5: was winning.
Speaker 3: He had a real retailer mentality. He knew a dealer's
Speaker 3: only as good as his.
Speaker 1: Plug and looking out for tuning into the Note Sellers podcast.
Speaker 1: Please do us a favorite, subscribe, rate, comment, and share.
Speaker 1: This episode was recorded right here on the West coast
Speaker 1: of the USA. He produced by my homeboy A King
Speaker 1: for the Black Effect Podcast Network and nine Hard Radio
Speaker 1: Yeah