Speaker 1: We like to welcome every one to another episode Against
Speaker 1: the Chronicles podcast. Now am Big steal Shure and we
Speaker 1: have a special guests again this week, Sorren Baker.
Speaker 2: Thanks for having me. All appreciate it for.
Speaker 1: Sure, hip hop journalist extraording there. So before we continue
Speaker 1: on this list, felas we got my boy eight back
Speaker 1: this week and give him a round of applause. I
Speaker 1: missed you. Dog was crying, So I was missing you
Speaker 1: last week. But you know, we've been having this discussion
Speaker 1: about the top fifty albums in gangs the rap pretty interesting.
Speaker 1: You know. We've definitely went back three and four times,
Speaker 1: changed stuff around a lot of it. Surprisingly, a lot
Speaker 1: of things that we picked we all mutually agreed upon.
Speaker 2: Yeah, that was a good thing.
Speaker 1: You know. A lot of this stuff shows we got
Speaker 1: pretty good tastes, I believe.
Speaker 2: Yeah.
Speaker 1: Yeah.
Speaker 3: I try to go back to to the beginning when
Speaker 3: I first started to listen in the hip hop and
Speaker 3: there's a lot of records that came out that might
Speaker 3: not necessarily been whole albums and shit, but to me,
Speaker 3: we're pretty significant.
Speaker 4: You know, if you want to.
Speaker 3: On our opinion of what hip hop fifty or gangster
Speaker 3: rap reality rap whatever. It's a lot of songs that
Speaker 3: I listened to as a gangster in the hood with
Speaker 3: a gang of gangster niggas that probably wasn't considered gangster rap,
Speaker 3: but to us it was our gangster music.
Speaker 1: You feel me, like something like Buffalo Girls exactly.
Speaker 3: I'm kind of motherfucking we time club man. I'm about
Speaker 3: to pause right now because I got songs on my
Speaker 3: list like like, it wasn't gang but to us gangsters,
Speaker 3: that was gangster music.
Speaker 1: To us, that's a very interesting thing because it's.
Speaker 4: Gonna it's gonna be a interest in today.
Speaker 1: You feel me, yeah, because when you think about it,
Speaker 1: most g's don't really listen to a lot of rap music.
Speaker 3: I mean, because you gotta listen. I mean to say,
Speaker 3: the top fifty gangster rap records.
Speaker 2: It's like, man, it's a hard, hard hit me like, because.
Speaker 3: There was a lot of shit that I considered gangster music,
Speaker 3: not necessarily like niggas was like, I'm a hood nigga,
Speaker 3: but to me when I was fucking fifteen, riding around
Speaker 3: in the back seat with the homies, it's what the
Speaker 3: nigga was bumping and had shit to do with.
Speaker 4: No fucking gangster rap, you feel me.
Speaker 3: But to us nigga, that made us those signs out
Speaker 3: the window and you know what I'm saying, ready to scrape?
Speaker 3: You know you today a nigga, be like, Nigga, what
Speaker 3: the fuck was the y'all listening to? To us, Nigga,
Speaker 3: that ship was hard you feel me?
Speaker 5: So to your point, I remember the super crazy gangster
Speaker 5: dudes that I knew that from growing up in Maryland, man,
Speaker 5: and as I got.
Speaker 2: To know people like you and.
Speaker 1: Me, but it's further up because they're not.
Speaker 3: But to us it was nigga five minutes of folk
Speaker 3: and one love and nigga, nigga please man, That to us, nigga,
Speaker 3: that was hood music. You feel me sood music definitely.
Speaker 1: But as you know what that brings us to the
Speaker 1: first part of debate because one of the things we've
Speaker 1: been having, like not no arguments over, but discussions over
Speaker 1: you know, really just and we all make pretty compelling arguments,
Speaker 1: I think, but with should be considered. I don't like
Speaker 1: the term gangster rap because that's not reality rap. Righteous
Speaker 1: I go.
Speaker 3: I feel like when you trying to put it on
Speaker 3: that aspect, to me, it's anything that is affiliated to
Speaker 3: neighborhood music. You get me, and shit, that's just an
Speaker 3: any situation where a nigga might be trying to relate
Speaker 3: to a situation of gangsterism or some shit like that.
Speaker 3: So that's how I look at a reality rap, because
Speaker 3: I don't like to say gangster rap either, because to me,
Speaker 3: it's a difference between niggas who spit reality and there's
Speaker 3: some niggas who just straight up nigga, I'm from here,
Speaker 3: I'm from here. This is my color. I'm a crip,
Speaker 3: I'm a blood, and that's what it's about. You know,
Speaker 3: perfect example, fucking banging on wax.
Speaker 5: That was gangster Rap's gangster rap.
Speaker 3: You get me, nigga, I'm from this neighborhood. This my
Speaker 3: color of my band Dana, we blast on the enemy,
Speaker 3: blah blah.
Speaker 4: That's gangster rap to me, and it.
Speaker 1: Spurred the whole genre of music. There are still people
Speaker 1: out there that they're like, you got blood rappers like
Speaker 1: makes you slick, kind of crossed over from all that
Speaker 1: righteous you know, like like Mixy's you know, shout out
Speaker 1: to the homie makes you slick, Make you slick? Is
Speaker 1: one of those guys in San Diego that kind of
Speaker 1: crossed over from that music, you know, doing the real neighborhood.
Speaker 1: Like he had the one song that was pretty big
Speaker 1: on the underground, I won't stop being a blood you know.
Speaker 4: Oh definitely he had that record.
Speaker 1: But then you had Big June out of San Diego,
Speaker 1: the one dude. You know, Big June been around a
Speaker 1: long time putting me in work. I don't know that
Speaker 1: any of the brothers from the crip car, but you
Speaker 1: got brothers from out of here that like really on
Speaker 1: some gang banging music. They really Yeah, they've got they
Speaker 1: make cryp music or they make blood music. Definitely, there
Speaker 1: you go. You know what I'm saying. So I guess
Speaker 1: that's what it is to me. What I define is
Speaker 1: reality rap. I don't care if you're talking about slinging,
Speaker 1: moving work, if you talk about pimping, if you talk
Speaker 1: about doing anything against the society that's outside of the
Speaker 1: parameters of the law to meet us gangster ship.
Speaker 3: Yeah, yeah, that would be considered. You know what I'm saying,
Speaker 3: because that's what a lot of dudes consider themselves on
Speaker 3: the gangster tip. You know, if you if it has
Speaker 3: any uh references to the underworld, you feel me and
Speaker 3: it's a gainst ship, you know.
Speaker 1: And that's what I told someone we was talking about
Speaker 1: a particular artist. I said, Bruh, this motherfucker said about
Speaker 1: fifteen bricks every album he shoot about, he break at
Speaker 1: least a couple of people out of e xail. He's
Speaker 1: against the ship.
Speaker 4: But I dig is a motherfucking cabatdo rapper.
Speaker 1: That's what that.
Speaker 3: Yeah, he's a gangster, did with the helicopters, his own
Speaker 3: charter jets.
Speaker 1: You know what I'm saying. It's like, man, you know,
Speaker 1: and that's the thing, man, You know, when you're writing raps,
Speaker 1: you writing about the realities of the hood, but you're
Speaker 1: trying to make that shit fly as a motherfucker. You
Speaker 1: know when you say it, you know you don't you
Speaker 1: might not want to say, like, what's the what's the
Speaker 1: young boy? Like T Grizzly, he said, what was our
Speaker 1: getaway guard zagg portfolio? The motherfuckers fight was in a
Speaker 1: penna or some shit. But he had to make it
Speaker 1: sound sexy like we skirted off of the jag, you
Speaker 1: know what I mean? Right right? Definitely?
Speaker 3: Yeah, it's always it's always exaggeration and in the hip hop,
Speaker 3: but you know that depends on where you're trying to
Speaker 3: come from. So, I guess with dealing with U reality
Speaker 3: rap or gangster rap or just street reference shit period.
Speaker 3: You know what I'm saying, it's a different aspect. You know,
Speaker 3: you try to keep it to where it's not too braggadocious.
Speaker 1: You feel me.
Speaker 5: To your point eight? This is something that I learned
Speaker 5: from Iced Tea. He had told me many times over
Speaker 5: the years that it's faction. Exact facts were intermingled with
Speaker 5: some fiction. It might not have happened on this day,
Speaker 5: or it might have been in a different car, whatever,
Speaker 5: But I gotta make this story better.
Speaker 2: So it's like it's faction, it's both.
Speaker 1: Yeah, it is. So I guess before we continue our
Speaker 1: breakdown what we all came with with last week? All right,
Speaker 1: you know, we factored in each other's list and a
Speaker 1: lot of songs. We have more than one album surprisingly
Speaker 1: that we all you know, mutually agreed upon. We have
Speaker 1: number forty one Project Pack, Gaddy Green forty two Schooley
Speaker 1: d Smoked Some Kill forty three, Ice Cube The Predator
Speaker 1: forty four, DJ Quick Safe and Sound forty five, Ice
Speaker 1: T the Iceberg album Freedom Speaks. Wi's what you say
Speaker 1: forty six, Criminal Mind to Beat DP, Bookie Down Productions
Speaker 1: forty seven, Lord three two and Big Mike, The Homies
Speaker 1: The Convicts forty eight, UGK Ryan thirty forty nine, east Side,
Speaker 1: It's Deuces and Trays number fifty. And this was kind
Speaker 1: of interesting to me because it's a Snoop Dogg album
Speaker 1: Snoop is like the motherfucking the logo for this gangst
Speaker 1: the rap shit, you know, but he has number fifty
Speaker 1: album And we kind of explain why as we go
Speaker 1: along on this list, because this is the top fifty
Speaker 1: best gangst the Rap albums of all time to even
Speaker 1: be mentioned in the breath of that stuff, because you've
Speaker 1: got classic albums in its final ten. When we talked
Speaker 1: about some of these and that as you broke down
Speaker 1: your logic and you made your arguments with stuff, and
Speaker 1: when as we factored in certain things, it's some bad
Speaker 1: motherfuckers on this list.
Speaker 2: Man, would you got to shut out no Limit top Dog?
Speaker 1: Yeah, Yeah, that's what it is. Snoop Dog, no Limit,
Speaker 1: top Dog, no limit top Dog. You know it is.
Speaker 1: And you know, when you talk about the it's kind
Speaker 1: of hard to be to me to stay objective when
Speaker 1: you're doing a list like this because like I love
Speaker 1: the dating family for example, love top authority, a lot
Speaker 1: of projects. Man, but when you got motherfuckers like this
Speaker 1: man sitting next to us, Scarface, ice Cube, you know,
Speaker 1: Snoop Dogg, they go, of course take up a lot
Speaker 1: of slots on there because you can't. You can't. This
Speaker 1: ain't fairness. This ain't youth sports to where everybody get
Speaker 1: a trophy. It's about who had the best, who stood
Speaker 1: the test of time. Right. You know, most of these
Speaker 1: guys on this list, you know career's debuty back in
Speaker 1: like ninety three, ninety four, ninety five, and they're still
Speaker 1: around to some of them earlier, Hey, when did you
Speaker 1: jump off the porch? About thirteen?
Speaker 2: Wow?
Speaker 1: When when did your first record come on? Home? Were you?
Speaker 3: My first record came out? I was about seventeen eighteen
Speaker 3: when I did the Compton compilation. My first song rhymes
Speaker 3: too Funky And.
Speaker 1: This man got a kid.
Speaker 2: You know grown children now Classic cover too.
Speaker 1: Yeah, Yeah, he got a dope children now and he's
Speaker 1: still doing it. So it's a testament to why people
Speaker 1: make lists like this. A lot of these people are
Speaker 1: still relevant today, and we got a few new guys
Speaker 1: in there. It's not just confined the dudes whose careers
Speaker 1: started back in the nineties and eighties. There's new dudes
Speaker 1: out here putting in work. So with that being said,
Speaker 1: I know it's gonna be a long night. Let's get
Speaker 1: into our picks for this thirty one through forty.
Speaker 2: I think we should start at forty though, still.
Speaker 4: Oh yeah, we can start at forty. Okay, yeah, get yeah.
Speaker 5: You gotta still get I'll start factor this is this,
Speaker 5: is this. You had a lot of weight in this one.
Speaker 1: So yeah I did, and you know, our man still
Speaker 1: gotta agree on it because we're doing everything fair. And
Speaker 1: it's a voting system. You know, we got we got
Speaker 1: a tear system. It's a voting system. Number forty I
Speaker 1: had Rick Ross tifline down.
Speaker 2: Again.
Speaker 1: Rick Ross is one of those guys that he may
Speaker 1: not necessarily be on this album set tripping, but my
Speaker 1: man is gonna sell you a brick of cocaine. He
Speaker 1: gonna sell you a couple of bricks cocaine.
Speaker 2: Every song he.
Speaker 1: Gonna shoot you. He gonna talk about the big booty
Speaker 1: bits at the Strip club. The scan list that you
Speaker 1: know that that love money and he bought are in
Speaker 1: there for Home Girl a bad and had a Menaja
Speaker 1: troad with him. He's a gangster, well, I say too.
Speaker 1: He had the mc hammers on that album. BMF is
Speaker 1: on that album.
Speaker 5: Tears of Joys referencing Gucci Time by schooly D. There's
Speaker 5: a lot of gangsterism on the album for sure. It
Speaker 5: is a cinematic or sonically the Justice League and others.
Speaker 5: The production on there is pretty phenomenal and should be
Speaker 5: used for like movie scores.
Speaker 1: Yeah, it is Rick Ross. That's what I said, Rick Ross.
Speaker 1: He creates movies when he's when you listen to him
Speaker 1: as cinematic and just his whole he stays in character. Yeah,
Speaker 1: but he does give you a human element every once
Speaker 1: in a while. And that's what I like about. He
Speaker 1: gives you a human element once in a while. And
Speaker 1: he came out, you know, he was just coming from
Speaker 1: his whole, like a little war with fifty cent. Well,
Speaker 1: at the time was in the motherfucker's careers and I
Speaker 1: thought when those pictures came out of Ross, you know,
Speaker 1: working as a CEO, he stuck with the music, that
Speaker 1: shit didn't matter because this music was just so much more.
Speaker 1: I don't like to use the word superior. But he
Speaker 1: was making some banging ass music. He had and to
Speaker 1: wear all that shit you know about the CEO, and
Speaker 1: he worked like this. And then Rick Ross he summed
Speaker 1: the best on one of his songs, but this was
Speaker 1: on the album before it. This is before the album
Speaker 1: tapt fund down. He said, our shovel shit, our CEO,
Speaker 1: so we can borrow here and pray over the meat loaf.
Speaker 1: That was a cold ass bar right there, Like I
Speaker 1: do whatever the fuck he said for me to feed
Speaker 1: my kids. I get two gigs, our shovel shit, our CEO,
Speaker 1: so we can borrow here and pray over the meat loaf.
Speaker 1: That was a hard ass bar, like, fuck what you're
Speaker 1: talking about. I'm gonna do what I gotta do to
Speaker 1: feed my family. That don't make me not a real motherfucker,
Speaker 1: right And I think that's when it was kind of
Speaker 1: like the term right there, this dude don't won the
Speaker 1: battle kind of. So that's why I picked Rick Ross
Speaker 1: thirty nine. Master piek ghetto d When you talk about
Speaker 1: gangster shit, gangster shit to me also means ghetto master
Speaker 1: p is like the logo for ghetto shit, ghetto ass movies,
Speaker 1: ghetawa ass records and people fuck with him when master
Speaker 1: P had this movement going, who fucked with him?
Speaker 2: Oh? He was number one in the game.
Speaker 1: Yeah, he was like, he was that dude, So you
Speaker 1: can't he can't never be marked off as insignificant, you
Speaker 1: feel what I mean. I didn't like every record he
Speaker 1: came up with. I didn't like every album, but I
Speaker 1: respected the shit out that dude, and the hood loved him.
Speaker 1: And the hood loved him.
Speaker 5: Mom No, he had like throw them up, pass me
Speaker 5: them things. Let's get him the ghetto dude. The title
Speaker 5: track was basically kind of did the ten Crack Commandments
Speaker 5: type of thing, giving you the recipe on how to
Speaker 5: make crack flipping airp and rock him.
Speaker 2: I mean, come and get some. He was like, Hey,
Speaker 2: this is where we're at.
Speaker 5: If you want to come get it so and then
Speaker 5: beats make him say, uh, of course it is the biggest.
Speaker 4: You're just gonna give off your whole ten.
Speaker 1: No, what we're doing.
Speaker 2: We know what we're doing.
Speaker 1: I'm telling the ten. We discussing them and if like,
Speaker 1: and then after we do the discussion, we talk about
Speaker 1: what we didn't like other songs, you know what I mean?
Speaker 1: We factory and everything else like that. I'm just naming
Speaker 1: the songs right now for us to have a discussion about.
Speaker 2: No.
Speaker 3: I was just figuring you was gonna say your forty.
Speaker 3: I say my forty. He say it's forty. You run
Speaker 3: through your whole ten. We're gonna be discussing your whole
Speaker 3: ten for the next hour.
Speaker 1: That's the whole thing about it. We gotta be got
Speaker 1: something to talk about them, but figure in don't.
Speaker 3: But then how the fuck we gonna be able to
Speaker 3: say on our ten No, it's t know the.
Speaker 1: Thing else you're gonna be able to say. After I
Speaker 1: say my team, you say yours. Then we have a small,
Speaker 1: you know, discussion about it.
Speaker 4: We come up, we discuss sit in every song.
Speaker 3: If no, I'm just seeing my team run your list list, Okay,
Speaker 3: west Side Connection bout thirty eight, thirty seven, the game
Speaker 3: Theesus Yo, Jesus yo yo, your bottom from the fifty.
Speaker 1: Year hold on, bro we got a whole.
Speaker 2: Lot more to go holding hold on.
Speaker 3: I'm just saying, I'm just thinking that would be a
Speaker 3: little higher.
Speaker 1: Man.
Speaker 3: You can see you got West Side Connection down at
Speaker 3: the thirty eight.
Speaker 1: And it's some bad in that top thirty forty.
Speaker 2: Hey, this is some bad mother card man.
Speaker 1: It's small people. Okay, go ahead, lay right off my list.
Speaker 1: Off Game, the Red Album, Ice Tea Power Scarface, deeply
Speaker 1: rooted Ghetto Boys to Death, Do us Apart? Cypress, Temples
Speaker 1: of Boom CMW Music to Drive By Vince Staples, Summertime
Speaker 1: O six Man Vince Staples is a bad man dog.
Speaker 1: You got music to drive by? Where thirty two.
Speaker 3: Over under Vince Staples? It's not a gangster rap album?
Speaker 3: Are you kidding me?
Speaker 1: Listen, listen, don't listen to thee listen to the largah.
Speaker 1: First of all, this list is not numbered like that.
Speaker 1: You can't look at this list like this is like
Speaker 1: this one is old one. It's just kind of just
Speaker 1: wrote down.
Speaker 4: Like my ship is totally different.
Speaker 1: It ain't. It ain't like that. This is not a thing.
Speaker 1: That's what we're putting together. We're putting together that.
Speaker 2: Listen.
Speaker 1: Don't think about that. This is being those don't think
Speaker 1: of the numeric order.
Speaker 2: Like this throwing stuff out here.
Speaker 1: Okay, I'm loving because you gotta remember we I got
Speaker 1: Westside connection to thirty eight will come out.
Speaker 3: I'm I'm I'm looking, I'm i'm seeing, I'm seeing how
Speaker 3: you're going.
Speaker 1: Yeah, you going by.
Speaker 3: Like like Q got ten albums, you gonna go. QUE
Speaker 3: got this spot, qube got.
Speaker 2: CUE got more forty, you got us? Yeah, you got
Speaker 2: multiple spots. Q Iced Team.
Speaker 3: Okay, because I'm not looking at minds like this, because
Speaker 3: I'm looking at minds like the transition of what gangster
Speaker 3: niggas listen to that that that they felt represented gangster
Speaker 3: music at the time.
Speaker 4: But I'll see where you're going. I got it.
Speaker 1: It ain't no thing. So okay, it's like we have
Speaker 1: a discussion. Now you named your top, you drop your.
Speaker 3: Top teen Okay, let me let me go through you
Speaker 3: one more time. Forty to thirty, forty to thirty.
Speaker 1: Rick rosss teflne Don thirty nine, Master Peek, Ghetto d
Speaker 1: thirty eight, West Side Connection, bout I thirty seven, The Game,
Speaker 1: The Red Album thirty six, iceed T Power thirty five,
Speaker 1: scar Face Deeply Rooted thirty four, Ghetto Boys to Death,
Speaker 1: do As Park thirty three, cypress Hell, Temples of Boom
Speaker 1: thirty two, CMW Music to Drive By thirty one, Vince
Speaker 1: Staples Summertime O six and again, I want to just
Speaker 1: reiterate that for the for the audience. We are trying
Speaker 1: to have some kind of numerical value to the final list,
Speaker 1: but it's so motherfucking subjective man.
Speaker 2: It's like these are all discussion points.
Speaker 1: Yeah, these are discussion points. How do you say that?
Speaker 1: Because even when you come to the number one album,
Speaker 1: it's gonna always be an afterthought like, well, I don't know, man,
Speaker 1: this shit was. When you start getting more tours that
Speaker 1: top ten stopped top twenty, you start getting real hard.
Speaker 5: Yeah, every yeah, every time you go up higher, it's harder.
Speaker 1: It's harder because you look at this right here, like
Speaker 1: let's say the Game the Red album winds up at
Speaker 1: like thirty four. You think about that album. That album
Speaker 1: was phenomenal. It is when you think about music to
Speaker 1: drive By, it was phenomenal. Those were like flawless albums
Speaker 1: that you you ain't no skip through on them, right.
Speaker 1: You know, when you think about Cypress, he'll temples a boom.
Speaker 1: These albums has made multi million dollar careers absolutely, you know,
Speaker 1: a Cypress he'll still out there selling weed and doing tours.
Speaker 1: All of this shit right here all and they'll talk
Speaker 1: about getting how going file Line.
Speaker 5: Of Stone Raiders on this album? Yeah, yeah, we're doing
Speaker 5: that sets in the errors on this album too, So.
Speaker 1: You know, going off of this we think about because really,
Speaker 1: when it comes to great albums, ain't no time period.
Speaker 1: But I will tell you and this is with no
Speaker 1: bias in my heart, because I listen to everybody, like
Speaker 1: I'm aware of the significance of Chief Keith, you know,
Speaker 1: for the young people to a lot of those young
Speaker 1: cats out of Chicago can really rap. Like I like
Speaker 1: the one kid a whole lot. He had a song
Speaker 1: Malcolm that was really dope. My god, Welcome the Old Block.
Speaker 1: What was that kid's name, Little King Vaughn. Welcome to
Speaker 1: Old Block was a phenomenal album. I'll listen to the
Speaker 1: kids they have. I like Vince staples On. I like
Speaker 1: a lot of YG stuff. Though I like a lot
Speaker 1: of YG. I think YG is a complete artist. But
Speaker 1: when you talk about the top fifty gangster rap albums
Speaker 1: of all time, and you also have to compete against
Speaker 1: elite lyricists like Scarface elite elite level pon MC eight,
Speaker 1: elite level PIN. And I ain't saying that because he's
Speaker 1: sitting here Ice QB elite level pon iced T, elite
Speaker 1: level pon YG that's mid he cool, He not whack.
Speaker 1: He not whack at all. I like YG but trying
Speaker 1: to compare him to the lyricists, you know, people of
Speaker 1: that nature, you know Scarface.
Speaker 2: Everybody on this list is a Hall of Fame artist.
Speaker 1: Yeah, that's what I'm saying. This is a hall of
Speaker 1: Fame group. It's like this was not no knock that
Speaker 1: nobody else's Maybe they haven't created that moment yet. You know,
Speaker 1: all these guys created that moment, and some of them
Speaker 1: happened to do it multiple times, which is very hard
Speaker 1: even for great artists. I got artists like I think
Speaker 1: Bust the Rhymes is one of the greatest of all time,
Speaker 1: one of the greatest that ever done it. But I
Speaker 1: don't even he has a couple of albums that come close.
Speaker 1: I don't know if he's made that definitive album yet.
Speaker 1: And that's a whole another.
Speaker 2: But let's get to eight. Man.
Speaker 3: I'm I'm I'm gonna just do broncs like whatever. So
Speaker 3: I got ant Banks, big things, big things.
Speaker 4: I got lighter shaded Brown, Okay.
Speaker 1: I ain't mad at that. I got the boot Yard
Speaker 1: tried he picking real Gangster Rep. I got Volume ten just.
Speaker 2: The grip punk hip hopera.
Speaker 1: I got.
Speaker 4: Genius rap doctor.
Speaker 2: Jacko, Hi shout out Andre.
Speaker 4: I got second to none.
Speaker 1: I ain't mad at that.
Speaker 4: And I got a low profile.
Speaker 2: I gotta pay a duke. Come on, man, that's why.
Speaker 1: We do it, you know what. And what's funny is
Speaker 1: some of the stuff he just named in this part,
Speaker 1: we actually had higher some of the artists. Yeah, some
Speaker 1: of the artists, like I believe with dub Season them
Speaker 1: low profile DJ Aladdin, I had that like him. I
Speaker 1: can't say it now, but I had that ranked really high.
Speaker 2: Well, I got a different duc album ranked very very
Speaker 2: high me too, one that you happen to be on.
Speaker 3: Okay, So because you like that what I'm saying, you
Speaker 3: r right, because then there you know I come from
Speaker 3: that level, because then.
Speaker 2: I got ship like.
Speaker 3: That's higher that I felt like represents more of So
Speaker 3: that that's mine, that's mine's right there. I don't think
Speaker 3: like you know what I'm saying. Look at dudes like
Speaker 3: and Banks, who's representing oak Oakland up in the Bay Area.
Speaker 3: And Banks produced a lot of significant shit West Coast
Speaker 3: artists around that era for sure, And we was getting cracking,
Speaker 3: you know, with the cubes and the cmw's and the
Speaker 3: two Shorts and when the Bay Area was getting cracking
Speaker 3: with the Spice ones and two Shorts and all of that.
Speaker 2: So he was essential.
Speaker 3: Banks had his hand and a lot of heavy Bay
Speaker 3: Area sound, you get me, which was very significant different
Speaker 3: from down here, down here in LA and comped and
Speaker 3: you know, so.
Speaker 2: Very different fields sonically.
Speaker 3: I used to bang at Banks in the neighborhood when
Speaker 3: I used to be dipping in my sixty three. So
Speaker 3: that's what that meant, you know, That's what Ant Banks
Speaker 3: music meant to me. As far as West Coast reality music, well.
Speaker 5: He definitely at the bottom, so I know, I know,
Speaker 5: for riding around, that's perfect music.
Speaker 1: You know what I never understand, man, why people who
Speaker 1: made these like you know, ant producers like Ant Banks,
Speaker 1: not just him, my boy, Humpty hump, those producers, why
Speaker 1: they weren't utilized as much day like even like DJ Quick.
Speaker 1: You would think that like YG would get with him.
Speaker 2: That's a good question.
Speaker 1: You know what I'm saying. It just would make sense
Speaker 1: because a lot of these kids, they are redoing them
Speaker 1: songs that came out. Why not get with the original, dude?
Speaker 1: They're still here.
Speaker 5: Well, I've never but when you look at that like
Speaker 5: using short even though ant Banks didn't do this song,
Speaker 5: you look at like cuss words, and then you look
Speaker 5: at when they made chicken the Head project pat produced
Speaker 5: by DJ Paul and Juicy J. When they did chicken Head,
Speaker 5: they used cuss.
Speaker 2: Words beat exactly.
Speaker 5: That's the Steals point that to me is always like
Speaker 5: the beautiful thing or even like speaking of music, drive by,
Speaker 5: when you hear the same sample that you used that
Speaker 5: it's done on warning. Yes, for instance, you know it's like,
Speaker 5: oh for someone like me, And I was still in
Speaker 5: Maryland at the time, but I'm hearing like, wait a minute,
Speaker 5: everybody's loving this biggie song, but have they heard the
Speaker 5: Conca's most wanted song?
Speaker 2: And in Maryland they hadn't.
Speaker 3: But I know out here that was that was the
Speaker 3: same like here in friendly game of baseball and we
Speaker 3: turned around and flipped it drive by Miss Daisy Daisy.
Speaker 3: So you know that that was that was significant around
Speaker 3: that time of hip hop. Absolutely not that it was
Speaker 3: considered biting to me. I called it idolized in a
Speaker 3: nigga because I love some fucking main source.
Speaker 2: You feel me, And it's the thing too.
Speaker 3: Likeigga coming from the West Coast and banging some motherfucking.
Speaker 5: Or some just hanging talking about police brutality, though exactly
Speaker 5: exactly he did.
Speaker 2: And this is the thing, it was very clever.
Speaker 5: But the thing that I loved just listening to the
Speaker 5: music was main source had friendly Game of Baseball, which
Speaker 5: was in a way, their version of the police are one.
Speaker 2: Time gap for the month. They did it that way.
Speaker 5: But then the beauty of it is to use the
Speaker 5: same samples, the same base in a different way to
Speaker 5: make a drive by Miss Daisy, which is drive by.
Speaker 5: It's like it's just breaking it down in different ways.
Speaker 5: And to me, that was the beauty of listening to
Speaker 5: how people freaked the samples like that's I loved it
Speaker 5: and warning and I mean.
Speaker 3: It's just just different ears coming from these producers, you
Speaker 3: know Slip. You know, it was one of those producers
Speaker 3: that you could hear you could hear a sample or
Speaker 3: hear somebody else's song and be, oh, damn, man, what
Speaker 3: I would have done And I would have cut this
Speaker 3: up or chopped this or whatever. S you know, just
Speaker 3: show minds at work, man, you know, great minds think alike.
Speaker 1: You feel me for sure? You know what the biggest
Speaker 1: thing is right, and I get that as a producer,
Speaker 1: you need to keep you constantly keep updigging your sounds
Speaker 1: because the sounds do change. If you don't stay up
Speaker 1: on stuff, you can lose a step just like that.
Speaker 1: And it's something that that can become very hard to
Speaker 1: do as you get older if you not, you know,
Speaker 1: stand up on what's going on. But then sometimes it's
Speaker 1: cool to just keep your sound the way it is
Speaker 1: and just give people what it is that you do.
Speaker 5: But if I, if I could bring up a question
Speaker 5: that ties directly into this with eight, if it's a
Speaker 5: comptant thing, it's a constant thing, straight checking them and
Speaker 5: then music to drive by to me again growing up
Speaker 5: in Maryland listening to it and getting these albums the
Speaker 5: day they came out everyone and I remember the record
Speaker 5: stores I got them. At my point is production wise,
Speaker 5: it was the sound that y'all had, but it was
Speaker 5: always evolving. It was very different and you could tell,
Speaker 5: like the equipment, the mixing, the base, just everything from
Speaker 5: it's a constant thing.
Speaker 2: Just straight checking them was like a whole different world.
Speaker 1: The money like that longer but just got bigger now.
Speaker 3: It was it wasn't even that, it was the fact of,
Speaker 3: like you said, trying to evolve and trying to do
Speaker 3: shit out of the norm from typical units. Yeah. I
Speaker 3: always wanted to do different shit than what everybody else
Speaker 3: was doing. I guess, you know, the Parliaments, the funk
Speaker 3: of Daleks and the George Clinton's and whatever. We prided
Speaker 3: ourselves on being different. So each record was always a
Speaker 3: transition of trying to be better than the last one
Speaker 3: or do some shit that you thought the other motherfuckers
Speaker 3: wasn't doing.
Speaker 1: So you know, yeah, that's what that was, because you know,
Speaker 1: the producer don't get nowhere near the credit that they
Speaker 1: should get. And most classic albums, if you notice, always
Speaker 1: just had one, maybe two producers behind them, right. It
Speaker 1: was a more cohesive sound.
Speaker 2: I thought it was a crew though.
Speaker 1: Yeah it was a crew.
Speaker 2: It wasn't always just one. But think about it as
Speaker 2: a crew of people.
Speaker 1: Everybody worked like you look at Bobcat when he hooked
Speaker 1: up with Pool and the other cat, you know, and
Speaker 1: the other cat and they would get together, and you
Speaker 1: had Cube who would always have jinks and jinks around.
Speaker 1: It was always a crew of people, but it wasn't
Speaker 1: a whole bunch of producers. I think today it hurts
Speaker 1: a lot of young artists is getting beats online they
Speaker 1: never seen because first of all, the dude making the
Speaker 1: beat ain't really a producer yet. Yeah, he was giving
Speaker 1: you a beat and you go do it. Ain't nobody
Speaker 1: coaching nobody. You remember back in the day eight your
Speaker 1: producers there to say it like this.
Speaker 3: I used to hate that ship, but criticism was always good. Yeah,
Speaker 3: but you got produced.
Speaker 2: No.
Speaker 1: I used to work with Slip.
Speaker 3: Slip was one of those dudes who you know, you
Speaker 3: messed up on this word, or do this or say
Speaker 3: this part with a little more of this or you know.
Speaker 3: So it's just the direction of what producers felt like,
Speaker 3: you know, outside of just producing the fucking beat, you
Speaker 3: know what I'm saying. And especially if they've been working
Speaker 3: with you for a while, they know when you deliver
Speaker 3: years off a little bit. So you got producers who
Speaker 3: will tell you, you know, you might want to run that back,
Speaker 3: or you know, you might want to put a little
Speaker 3: more of this, or you know. And Slip used to
Speaker 3: always give his input, you know, just like I used
Speaker 3: to do when it came to music that I wanted
Speaker 3: to motherfucking rap over you hit me.
Speaker 1: Definitely effort.
Speaker 3: I was the type of motherfucker that be like, shit,
Speaker 3: I go to the record stores.
Speaker 2: You would bring the record, listen to.
Speaker 3: Some old shit that I'd hear at my mom's or
Speaker 3: my aunties, and then come back to Slip and be like,
Speaker 3: hey man, chop this up or listen to this, or
Speaker 3: if I heard something, I'd just sit there and hum
Speaker 3: it to him and Slippers the type of motherfucker he
Speaker 3: finds shit. So it's always it's good to have a
Speaker 3: collective effort, especially from the producer in the MC.
Speaker 1: Yeah, and I think that that that economy is good
Speaker 1: because even though it might have pissed you off at
Speaker 1: that time when he told you some shit, look at
Speaker 1: end result. Oh yeah, definitely. You know if both of
Speaker 1: y'all being being hard on each other, because.
Speaker 3: I always get to add criticism. And that's in a
Speaker 3: lot of ship man, you feel me, Oh don't like
Speaker 3: a lot of motherfuckers will be phony and ship too.
Speaker 3: You have a pack of niggas just sitting there just
Speaker 3: listening to the ship knowing ship as garbage as a motherfucker,
Speaker 3: and they'll be nigga. Ship bomb is a motherfucker nigga
Speaker 3: that ship hard as a motherfucker.
Speaker 1: Yeah, yeah, yeah, they don't want to lose they weed rolling.
Speaker 1: They don't want to lose their little spot in the tour.
Speaker 1: You know, they get to go everywhere, so they gonna
Speaker 1: say hell yeah instead of not knowing, you better keep
Speaker 1: it real with this dude and all the benefits go stuff.
Speaker 3: Then on another note, boot y'all tried. You know, if
Speaker 3: you want to talk about the epitome of gangster ship,
Speaker 3: gangsters who rap, Boo y'all tried was, you know, one
Speaker 3: of those groups, you know, unfortunate like a lot of us,
Speaker 3: didn't get the the proper promotion and respect in the
Speaker 3: hip hop community that they should have, but always represented
Speaker 3: where they was from, didn't have a problem with it.
Speaker 3: And then on top of that, they had some good
Speaker 3: fucking songs.
Speaker 1: The dues are dope ass musicians too.
Speaker 2: I knew.
Speaker 3: I knew Boo Yard tried, done a couple of engagements.
Speaker 3: You know, always was respectable. Like I said, you you uh,
Speaker 3: you get into this hip hop game, and you know,
Speaker 3: we all from different neighborhoods and come from different walks
Speaker 3: and shit. But I just always respected motherfuckers who first
Speaker 3: of all represented where they was from, didn't have a
Speaker 3: problem with it. And then uh them was some motherfuckers who.
Speaker 4: Was really into their craft, get me.
Speaker 3: Uh they it was real about making good music, you know,
Speaker 3: not just gonna be a motherfucking stereotype image of just
Speaker 3: being some Cali niggas from from southern California, from a
Speaker 3: gang and that's what we're gonna stand on.
Speaker 2: Uh.
Speaker 3: They prided themselves on making, you know, quality music, So
Speaker 3: that's why you got to put them up there when
Speaker 3: it comes to reality and shit.
Speaker 5: And I think that's a it's a great point or
Speaker 5: these are great points you're making it, and I think
Speaker 5: it ties into something that we all know in different ways.
Speaker 2: But the labels you're on has a lot to do
Speaker 2: with it.
Speaker 5: Like you said, were marketing in promotion because they were
Speaker 5: on Island when they had their biggest chance and iland
Speaker 5: won the rap label and didn't know how to I
Speaker 5: think maneuver market promote, get them.
Speaker 3: In the mountaintop of that some of my same pitfalls
Speaker 3: dealing with fucking epic.
Speaker 1: You know, And it was probably ten times as hard
Speaker 1: for them because you think about a rap is already
Speaker 1: fairly new, Yeah, and you people see the people that
Speaker 1: people see performing REP songs are black. You got a
Speaker 1: bunch of big Polynesian dudes. So it's like, how do
Speaker 1: we how do we promote this market is because me
Speaker 1: and you both know, all three of us know year
Speaker 1: it's the way you can market that and be very scitful.
Speaker 3: But I the the labels that were outside of hip hop,
Speaker 3: like you know, you had the deaf Jams, but they
Speaker 3: were built on hip hop. You know, you had a
Speaker 3: priority turned around even though they started with the fucking Raisins,
Speaker 3: they turned around Flip God with n w A and
Speaker 3: Easy in there, and they hold label became gangster ship.
Speaker 3: You getting me so to the discretion of motherfucking Epic
Speaker 3: and Island, who were who were subsidiary of big ass
Speaker 3: Sony's and Universals and shit like that. You just got
Speaker 3: a gang of motherfuckers who and not even to speak
Speaker 3: on because it had nothing to do with race, because
Speaker 3: you know what I'm saying, it's a lot of motherfuckers.
Speaker 4: I knew black white Mexican.
Speaker 3: Who were hip hop affiliated, but you got fucking corporate
Speaker 3: motherfuckers who used to run in Pearl Jam Records and
Speaker 3: Shah Day Records and Michael Jackson records, and now you
Speaker 3: tell them, Okay, now we're gonna put out this conference.
Speaker 3: Most wanted music to drive by and they're looking they
Speaker 3: you know, they had no idea. So some of us,
Speaker 3: some of us fail. You know, you know the video
Speaker 3: game Pitfall, you used to have to swing over the
Speaker 3: pit to make it to Some of us had to
Speaker 3: fall in that pit because you got these labels.
Speaker 1: Who just.
Speaker 2: Does this mean?
Speaker 3: It's crazy because you would think that the money, the
Speaker 3: money is there, right you fucking with shit. Michael Jackson
Speaker 3: sold a billion fucking records. Shah Day was doing good,
Speaker 3: Pearl Jam was doing good, Luther Van Droz was doing good.
Speaker 1: So you're with your mother.
Speaker 3: Fuckers got bread. But when it came to hip hop,
Speaker 3: they was like do what, like buy what, get what?
Speaker 3: So a lot of my records was just going on
Speaker 3: the on the strength of just you know, videos and
Speaker 3: word of mouth. That damn, that's Compton's most warning.
Speaker 1: You know. The funny thing about them labels though, bro
Speaker 1: the rock budgets ten times as big as the rap Budgeon.
Speaker 1: Leave the R and B budgets, the you know, pop
Speaker 1: music Budgies is just way just it's not even things,
Speaker 1: but rap is the most profitable, right, So I think
Speaker 1: a lot of labels got used to going in and
Speaker 1: doing a minimum because usually, especially today, when a rap
Speaker 1: when the record label decides to invent than an independent artist, right,
Speaker 1: that independent artists don't already did the groundwork, right, that's
Speaker 1: what it's done already today. Yeah, yesterday was kind of
Speaker 1: like it was kind of like the same thing you
Speaker 1: would start your own.
Speaker 5: Buzz, right, but even like the content compilation, that's exactly
Speaker 5: all the records.
Speaker 1: Exactly, so it was gonna done for them. So really
Speaker 1: all they did is put you Now you had a
Speaker 1: couple of things that went really well, Like you had
Speaker 1: that soundtrack, right, then you had the movie. They just
Speaker 1: added to your whole persona right exactly, you had so
Speaker 1: but that's that's ship that you did.
Speaker 3: Oh no, that's that's that was generated from outside works. Because,
Speaker 3: like I said, Sony and Epic was still they were
Speaker 3: just confused about how to handle.
Speaker 4: This new thing of hip hop.
Speaker 3: And like I said, even though they had the bread
Speaker 3: and you know, you would think that Sony, you know,
Speaker 3: they got a limited fucker record label. Sony was the
Speaker 3: you know, the Japanese you know, they they technology, but
Speaker 3: at the time, you know, considering that, you know, hip
Speaker 3: hop was still the kind of new in the in
Speaker 3: the beginning of the nineties. You didn't have knowledgeable motherfuckers
Speaker 3: who knew how to run rap records. You know, every
Speaker 3: every label didn't have a Russell Simmons and Deaf Jam
Speaker 3: and them.
Speaker 5: But I want to ask you this too, eight because
Speaker 5: from my experience too when I was getting in the
Speaker 5: game as a writer, the other layer of this is
Speaker 5: so many of the labels when they were based in
Speaker 5: New York, they didn't Not only was a rap in
Speaker 5: the business the bigger sense, but then you're dealing with
Speaker 5: people in the U or the other labels not liking
Speaker 5: or caring about West Coast music on top of that.
Speaker 5: So to me, I always felt it was a two
Speaker 5: or three layered problem.
Speaker 4: I used to.
Speaker 1: Have to deal with.
Speaker 3: Epic in New York when it was always time for
Speaker 3: my records to go down.
Speaker 1: Did I feel that.
Speaker 3: Because you know, like you said, a lot of the
Speaker 3: labels were based in the New York And I don't
Speaker 3: know if I ever had the feeling of bias because
Speaker 3: I was from from la Because Epic had an office
Speaker 3: in Santa Monica. So if I ever had any issues,
Speaker 3: I just go to Santa Monica, Colorado.
Speaker 2: That.
Speaker 1: Yeah, So.
Speaker 3: I just felt biased because I just didn't think my
Speaker 3: label knew what the fuck to do with me. That
Speaker 3: that was just it period. I didn't think that. Yeah,
Speaker 3: they just didn't know what to do with a young nigga,
Speaker 3: gang banging music whatever from Campton. They they love the
Speaker 3: fact that we got us a NWA type, but they
Speaker 3: didn't know what to do with this shit, Like, we
Speaker 3: don't know what to do with this shit. We don't
Speaker 3: know how to go to radio with this shit. We
Speaker 3: don't know how to So most of the time it
Speaker 3: was just nigga get out on the road promo tour.
Speaker 3: We're gonna every city that we got a rep in office,
Speaker 3: and we gonna send you there, and then it's up
Speaker 3: to them to connect with motherfuckers. Fortunately with me is
Speaker 3: I was a neighborhood nigga, So when I went to
Speaker 3: places like Chicago, I just go find the niggas and
Speaker 3: hang out with the niggas. That's what got our popularity
Speaker 3: up in places outside of you get me. It wasn't
Speaker 3: for the fact that Epic knew what to do. It
Speaker 3: was just the fact that when we got in town,
Speaker 3: me and Chill and the rest of the niggas, we
Speaker 3: just knew how to gravitate to niggas.
Speaker 1: Because everybody in every city got a story. I was
Speaker 1: talking to my homie in Cleveland, Man, yeah, eight was
Speaker 1: out here with us. Ask if big such and suction,
Speaker 1: Now we I'd go out there.
Speaker 3: I'd go to towns and and the first thing we do
Speaker 3: is we do some shit like take us to the
Speaker 3: liquor store in the neighborhood. Like so we go to neighborhood,
Speaker 3: and then once niggas see, you know, and then it's
Speaker 3: like where the where where the smoke at.
Speaker 4: Where the our nigga go to the projects?
Speaker 3: So go wuti wom. That's how we connected with a
Speaker 3: lot of niggas. So we did a lot of street
Speaker 3: marketing on our own and then just from word of mouth.
Speaker 3: Because if you had a fucking if you had a
Speaker 3: TV and you was fortunate to have video juke box
Speaker 3: or maybe a fucking yo MTV raps, then you got
Speaker 3: to catch a glimpse of of Compton's most wanted. And
Speaker 3: now you got some niggas that you feel like, is
Speaker 3: are these niggas liked us. These some good niggas. They smoked,
Speaker 3: they drink forties, they rep it. So that's how we connected.
Speaker 3: Because the labels didn't know how to connect. They go
Speaker 3: put us in the motherfucking sweet and in college town
Speaker 3: with all the corpor operations and ship and we were
Speaker 3: not We not got no fans over here.
Speaker 1: We can't connect. Well, you all need to be at
Speaker 1: the Motel six over.
Speaker 3: Goddamn fuck, staying at this motherfucking fancy ass two hundred
Speaker 3: three hundred dollars row. Nigga, you could take us to
Speaker 3: the best western nigga in the motherfucking neighborhood and as
Speaker 3: long as there's a motherfucking liquor store down the street
Speaker 3: where niggas can bail to and whatever and feel like
Speaker 3: we we didn't want to be alienated like that. We
Speaker 3: didn't consider ourselves to the level of you get me,
Speaker 3: gotta have security at the door. You want to do
Speaker 3: what you wanted, Yeah, because liquor thing. Take us to churches,
Speaker 3: chicken or Popeyes or something. Nigga, take us to the
Speaker 3: liquor store and where the nigga's.
Speaker 2: At Chicago go to Heralds.
Speaker 4: But I remember the Heralds we go to Cabrini Green.
Speaker 3: Like, we didn't want to be looked at as celebrities.
Speaker 3: You get me, Nigga, I'm just a nigga talking about
Speaker 3: in the hood. Nigga's what we do with. So that's why,
Speaker 3: you know, being able to connect with regular motherfuckers was
Speaker 3: important doing this rap shit. I never wanted to be
Speaker 3: looked at as you go the nigga pulling up in
Speaker 3: the limos with the securities, with the ear pieces in
Speaker 3: and suits all that, nigga, if you don't get the
Speaker 3: fuck up out of here, nigga, and you know so
Speaker 3: that a lot of the times when we went out
Speaker 3: of town town and you know, first thing they want
Speaker 3: to do is rent a nigga limo and shit like that.
Speaker 1: I'd be like, nigga, get us a van.
Speaker 2: I don't wanna rod.
Speaker 3: Pull up in their motherfucking limos like we some motherfucking
Speaker 3: you know big fuck that shit. When you make motherfuckers
Speaker 3: feel like, oh, the niggas just like us, that's why
Speaker 3: we That's why I never had issues with niggas on
Speaker 3: the road, You get me. I didn't even jump out
Speaker 3: the limos with fifteen security niggas. I jump out the
Speaker 3: I jump out the van with three of the four
Speaker 3: of the homies, I do thee brought from the neighborhood
Speaker 3: and now Nigga why after autograph signed the nigga we
Speaker 3: standing in the alley on the side of the record store.
Speaker 3: Niggas we did and then you get me.
Speaker 5: We did that with the Section eight album and come on, man,
Speaker 5: I remember we did Lise Yeah on the Section eight
Speaker 5: when he was on Priority. I'm like, yo, swing there
Speaker 5: in Chicago.
Speaker 1: You want to go there?
Speaker 2: I was like, man, I mean eight whatever.
Speaker 5: So that's where they. Yeah, we were just chopping it
Speaker 5: up in the street. I think we literally did the
Speaker 5: interview on the street, just chopping it up.
Speaker 1: And you got it.
Speaker 2: You came be.
Speaker 3: This is one of those games where you can't, you know,
Speaker 3: alienate the common man.
Speaker 2: You know what I'm saying.
Speaker 3: You gotta make a nigga feel like I'm just like you, perfect,
Speaker 3: just like I quote my nigga A three.
Speaker 4: Thousand on elevators.
Speaker 3: You feel me when niggas say he walking around the
Speaker 3: mall and nigga like, Nigga, I know you balling like
Speaker 3: my nigga.
Speaker 4: Nigga, I'm just like you, nigga.
Speaker 3: Check even though I'm trying to make a couple of songs, nigga,
Speaker 3: If you don't bang my shit, Nigga, I ain't getting
Speaker 3: no bread you get me, So don't consider me somebody
Speaker 3: outside of you, Nigga. I'm just like you. You go
Speaker 3: to work and punch a clock. Nigga, I'm trying to
Speaker 3: sit in this motherfucker's studio and come up with some songs.
Speaker 3: So you're gonna spend your ten motherfucking dollars. Because you
Speaker 3: don't spend your ten dollars, nigga, I'm ain't nothing happening.
Speaker 3: So that's why I try to get you. Gotta make
Speaker 3: yourself feel like you know, and I think that's with
Speaker 3: some of the these reality artists.
Speaker 1: You feel me.
Speaker 3: Uh, sometimes you gotta make your you gotta you know,
Speaker 3: you gotta make songs. And the attitude is nigga, I'm
Speaker 3: just like you, my nigga, I ain't no different.
Speaker 1: You feel me real.
Speaker 3: So though those are who those are some of the
Speaker 3: artists I feel in that in that era because like
Speaker 3: you said, I got like, I got some dudes that
Speaker 3: you might have had on the bottom of the list
Speaker 3: or whatever. I got them ranked a little higher because
Speaker 3: that's just what that meant to me when I think
Speaker 3: of gangster or reality shit, you feel me?
Speaker 1: Yeah, a lot of shade of brown is real interesting.
Speaker 1: And that's like it makes a good point because Hispanic
Speaker 1: people in hip hop on the West Coast, especially when
Speaker 1: it comes to street music, like neighborhood music, definitely they
Speaker 1: making big moves. You got cats like you know, mister Criminal.
Speaker 2: There's many you know.
Speaker 1: You know mister Criminal's move, Pi's move, mister Capony, A
Speaker 1: lot of them, you know what I mean. You got
Speaker 1: a lot of cats making moves out there.
Speaker 4: Yeah, you you.
Speaker 3: One of them. Hard things to get in, you know.
Speaker 3: For my essay, people, Hm, it was hard to start
Speaker 3: off ship. It was hard for us to get into
Speaker 3: hip hop, you feel me.
Speaker 1: Uh So.
Speaker 3: We had people like you know, I'm I'm a shout out,
Speaker 3: you know, uh Kid Frost Niggas I listened to uh
Speaker 3: Mellow man Ace.
Speaker 1: You getting me.
Speaker 2: A lot lighter shade of brown.
Speaker 3: I'm saying like even before Cypress, He'll got that, you know,
Speaker 3: Causeite my boy be real in them came out and
Speaker 3: it was just never it was just over from the
Speaker 3: day that you took the time.
Speaker 4: But I'm saying for those beginning. For those beginning.
Speaker 3: Like like you say, the mellow Man, really it Frost's
Speaker 3: That's what symbolized to me. Uh, you know the Mexican
Speaker 3: rap or whatever they want to call it. You know,
Speaker 3: now it's a you know you got Chicano rapping.
Speaker 1: Yeah, you got. They got to be real with you.
Speaker 1: They kind of they got their own thing going, you
Speaker 1: know what I mean.
Speaker 3: I mean, but they've been they've been real because I
Speaker 3: could say for myself, they've been real respectful as far
Speaker 3: as hip hop is concerned. Because half of my shows,
Speaker 3: I was about to say that half of my shows,
Speaker 3: the essays come out, deep, homies come out.
Speaker 1: You know, what do you think about the constant We
Speaker 1: just did like a couple of months ago with mag
Speaker 1: Ten with an Ox in the audience. So they've definitely
Speaker 1: always you know, they're a big.
Speaker 3: Pot the spot in what was that Montclair or whatever?
Speaker 3: That That's what it was, Montclair, That's what it was.
Speaker 3: That was nothing, but you know, uh ganging the homies
Speaker 3: out there, essay homies, so they you know, significantly represent uh.
Speaker 1: Hip hop hip hop. Yeah, a big PARTU.
Speaker 3: I begged Sunday Afternoon, you know, lighter shade Brown I
Speaker 3: used to bang all that. Yeah, definitely, So I banged
Speaker 3: some kid Frost, So what want to be uh discriminate.
Speaker 3: You know a lot of people with the hip hop
Speaker 3: how you know, we started to craft or whatever, but
Speaker 3: I've never been.
Speaker 2: Uh let's not forget Cycle Realm too.
Speaker 1: Psych Funk Dubious.
Speaker 3: I used to They was used to be on the
Speaker 3: leg They Funk Dubious used to be on Epic. So
Speaker 3: definitely they They've been representing for a while, you know.
Speaker 3: So it's it's cool to see, you know, because I
Speaker 3: had to put them on on the list because, like
Speaker 3: I said, it's something from my early days of being
Speaker 3: in the neighborhoods and first getting into hip hop. Lighter
Speaker 3: shade of Brown Kid Frost was records I played, not
Speaker 3: just trying to go, oh yeah, well they was a
Speaker 3: part of the hip hop scene, so fucking throw them
Speaker 3: on the list. I banged those songs.
Speaker 2: Yeah.
Speaker 1: It makes it really hard because if y'all think about it, man,
Speaker 1: we've had the pleasure of possibly being in the best
Speaker 1: era ever of music, especially you know, hip hop. We've
Speaker 1: got to see it since its inception and to see
Speaker 1: where it's become and the artists that have been spawned
Speaker 1: from the genre. You got some amazing people, dog, you know,
Speaker 1: you think about it, bro, our grandkids can probably ask
Speaker 1: us questions about Tupac, you know what I'm saying, or
Speaker 1: how was it this? How was this person? Because we
Speaker 1: actually get this, We actually got to see people become lections,
Speaker 1: you know what I mean, like right in front of
Speaker 1: your eyes almost you know, you got scarface, you got it.
Speaker 1: And I think people forget about how Vicious Cube was,
Speaker 1: you know, because this generation really probablyly no cue from
Speaker 1: being Craig in the.
Speaker 3: Movies, right, Yeah, that's the younger generation. Music is different,
Speaker 3: you know. It's it's just like me, though, I'll sit
Speaker 3: up and watch a documentary or some shit that I
Speaker 3: didn't know about.
Speaker 2: Was like, oh damn that for real.
Speaker 3: And so so curiosity, you know, you know how youngsters are,
Speaker 3: and shit, they don't hear no shit.
Speaker 1: Old shit, you know.
Speaker 3: But they'll find out, you know, as as maturity sits
Speaker 3: in and they learn to respect, you know, like you said,
Speaker 3: you look up and it's like fifty years of making
Speaker 3: hip hop and whatever don't seem like it. But it's
Speaker 3: been a while that we've been going strong at it
Speaker 3: right now, So you have to be able to respect
Speaker 3: where it came from, just like anything within the inception
Speaker 3: of it. Uh, you go back and look like, damn
Speaker 3: it's act. Then we couldn't do this and we couldn't
Speaker 3: do that. Now you're able to do like shit. Back
Speaker 3: in my days, you couldn't say blood and crip on
Speaker 3: records and.
Speaker 4: You got bad ad or thig.
Speaker 3: If I had, if if I got on the video
Speaker 3: with the rag hanging off my back pocket, it would
Speaker 3: have got bad.
Speaker 4: They would have played it whatever.
Speaker 3: But you know, with with what we had to go
Speaker 3: through and the lups we took, you able to do
Speaker 3: it the fuck you want to. Now you go straight
Speaker 3: to YouTube and put out videos and you can wear
Speaker 3: what you want to wear and say where you're from.
Speaker 3: And you know you can go from wearing red rags
Speaker 3: and blue rags to rainbow rag.
Speaker 1: When you think you can do it all to think
Speaker 1: about ship, think about what all this came out against
Speaker 1: the rep.
Speaker 3: You can do it. You can do You can slap
Speaker 3: on you a rainbow rag. If you won't clean shout
Speaker 3: out to the people that do. Decide to tell them
Speaker 3: here hould.
Speaker 2: On right to catch you. You know that right?
Speaker 1: You know when you think about gangst the rep right
Speaker 1: gangster rap has also spawned a lot of other like
Speaker 1: sub genres, like the drill, like the drill rap, even trap.
Speaker 3: What you considered drill the new youngster's form of gangster
Speaker 3: rap because they do a lot of killing and fucking
Speaker 3: other bitches. And yeah, there's a lot of there's a
Speaker 3: lot of killing the ops and you know, we from here,
Speaker 3: we got and then and then.
Speaker 4: You've always had uh.
Speaker 3: Braggadocious MC's, uh my man, LLL the cool mods that
Speaker 3: you know, I'm this, I'm bad, I'm bad, I'm mad. Right,
Speaker 3: do you feel like hip hop today with with the way,
Speaker 3: like you said, the drill or whatever whenever?
Speaker 4: Is it just way too braggadocious now?
Speaker 5: I think one of them main differences is if you
Speaker 5: look in the eighties, this would happen, but it's different now.
Speaker 5: There would be you didn't do it as much eight
Speaker 5: but you usually had.
Speaker 4: A story, definitely, definitely.
Speaker 5: Whereas a lot of the current artists, if they're all
Speaker 5: over the place, there's no structure, No, they wrap a
Speaker 5: certain length and then they go to the chorus. There's
Speaker 5: not a story, there's not a it's just I'm this
Speaker 5: I'm this, or I'm doing this, or I'm shooting this
Speaker 5: or I'm doing that chorus.
Speaker 2: It's not a structure of a flow of a.
Speaker 5: It's just a different construction. It's not good or bad,
Speaker 5: it's just different.
Speaker 1: And I just think it's different. Like if you listen,
Speaker 1: I think it's the influencers too. You got to remember
Speaker 1: a lot of these kids came up under Stilty Shaker. Seriously,
Speaker 1: I hear a lot of keyds today, so and just
Speaker 1: think about it. If they were influenced by Silkie. You
Speaker 1: gotta remember these young mamas, you know, girls around the age.
Speaker 1: They got kids that are young adults now that the rappers,
Speaker 1: they would have came up under Siltie Chakra and a
Speaker 1: lot of these dudes that rhymed off beat because a
Speaker 1: lot of people are trying to imitate. I'm not.
Speaker 4: It's just the rhyming off the beat.
Speaker 1: I don't know what it is. It's not that influence
Speaker 1: by Chak like that, you know, That's what I think.
Speaker 4: I just think it's you bang you Selfie shocker.
Speaker 1: Soccer has some ship.
Speaker 5: I think it's just people have different People have different
Speaker 5: attention spans. So eight would study and read stuff all
Speaker 5: the artists that I grew up loving and admiring and thinking.
Speaker 5: Look at the vocabulary that we learned, the history lessons
Speaker 5: we learned, the process we learned, the streets we learn
Speaker 5: from listening to the music. The artists now they're just telling,
Speaker 5: they're just saying stuff.
Speaker 2: It's not as uh.
Speaker 5: Generally speaking, thought provoking. So when you have that, that's
Speaker 5: why it's a bunch of one off lines. Can you
Speaker 5: notice as well as anybody when you listen to these songs,
Speaker 5: every line is punched. I notice that, right, Oh yeah,
Speaker 5: every line or every two lines, they're punched. So that
Speaker 5: means it's all fruity style. There's it's not they're not
Speaker 5: taking the time to write. Again, it's not good or bad.
Speaker 2: It's just different. But when you have that, it's a
Speaker 2: different way where you.
Speaker 1: Gotta remember the vibe. And that's why I say it's
Speaker 1: they variation gainst the rap. You know what the biggest
Speaker 1: difference is. It was like, if somebody says you was
Speaker 1: a smoker back in the day, you want to fight
Speaker 1: a motherfucker, right if you smoke crack? He was embarrassed
Speaker 1: by that. Now these motherfucker's on every kind of drug imaginable. Yeah,
Speaker 1: you know, they taking drugs and they going there saying, yeah,
Speaker 1: fuck me, two or three bitches, wake up in the morning,
Speaker 1: make the whole do my dishes, make her wash my socks,
Speaker 1: then she suck my cock. That's just how they. That's
Speaker 1: just how they. You know, they on their shit, They
Speaker 1: on they vibe. They sound like they fall asleep on
Speaker 1: the tracks. But I can't be a motherfucker that that
Speaker 1: that shouldn't say what the fuck is that bullshit? Because
Speaker 1: it was motherfuckers back in the day. What the hell
Speaker 1: is that bullshit that you're listening to? You? So it's
Speaker 1: always like that. Every generation got the different vibe. You
Speaker 1: know what I'm saying, Well, sure, let's let's let's get
Speaker 1: your list.
Speaker 2: Said well, still and I had talked, so we kind
Speaker 2: of melded together.
Speaker 1: Yeah, that was good for the second time.
Speaker 5: That's like, I like that because the thing that it is,
Speaker 5: as we had talked about it, and as we're going up,
Speaker 5: the albums are going to be definitely classic of the classics. Yeah,
Speaker 5: why people have multiple.
Speaker 4: Entries because now you're going thirty to twenty, so.
Speaker 1: Well, we had we had a low profile which album
Speaker 1: that you had from.
Speaker 2: I got a different one, but eight I got talking,
Speaker 2: I got the first album. That's the one that profile
Speaker 2: and it's it's pay your Dudes. That's why we do it.
Speaker 3: Yeah, that's the first album. We in this together. That's
Speaker 3: the name of the first album. It's just a Laddin
Speaker 3: and Dub Latin Dub.
Speaker 2: It's a duet.
Speaker 1: Dub C has always been funky song man.
Speaker 2: There's nothing going on funky song You say Dubb is underrated,
Speaker 2: absolutely yeah.
Speaker 3: I think me and me and Dub fit into you know,
Speaker 3: uh that same like you transition of underrated and I
Speaker 3: I think Dub you know, has a little bit more
Speaker 3: sometimes and than I do in my spot.
Speaker 4: What do you mean because Douve I think he's I
Speaker 4: think I'm more underrated than I don't.
Speaker 1: Know, because people all over the world seem you get
Speaker 1: a lot of attention from the New York cast.
Speaker 3: I went, Dub Dub has cbe you getting me? Dub
Speaker 3: gets a Dub to me gets a lot of you know,
Speaker 3: because niggas respect Cube and Dub has been there with Cube,
Speaker 3: you know, west Side Connection, you know, fucking Cube Records,
Speaker 3: you know, show with He's on shows with Cube. You know,
Speaker 3: I feel a lot of niggas respect Dub.
Speaker 1: He might not get.
Speaker 3: The true recognition he deserves as a West Coast staple.
Speaker 2: Uh, but Dub packs out shows like a motherfucker's phenomenal.
Speaker 3: Packs shows like a motherfucker, Like I don't give a
Speaker 3: fuck anywhere up and down the West Coast, fucking you know,
Speaker 3: Dub gets shows and motherfuckers packed the house. So yeah,
Speaker 3: I've been to plenty of Dub see shows me and.
Speaker 1: I heard Dub got a cold last beat Bucks.
Speaker 3: He's a showman too, you get me, knows what he's doing.
Speaker 3: He's he reminds me like, you know, I'm a nigga.
Speaker 3: Get up there, I'm gonna rap my ship and I'm
Speaker 3: gonna have me some niggas on the stage and we
Speaker 3: just gonna stand there and be like, yeah, nigga, what
Speaker 3: he puts on the.
Speaker 1: Show man, Yeah, show like a motherfucker.
Speaker 3: His showmanship is is superb to me as far as
Speaker 3: because motherfuckers look at us like we should.
Speaker 1: Be one way.
Speaker 3: Nigga, nigga, I'm gribing motherfucking Mike niggas. Nigga, what nigga,
Speaker 3: nigga sit there and listen to my ship. Nigga, I'm
Speaker 3: just from me all night, nigga. I'm rapping to a
Speaker 3: nigga like dud puts on the show. It's it's it's
Speaker 3: exciting to see him and my nigga, Melee nigga that
Speaker 3: gets the fuck off.
Speaker 1: Yeah, get off shot. Let me ask you all this
Speaker 1: because this is one thing we talked about. We talked
Speaker 1: about you know, reality raps. That's what we gonna call
Speaker 1: it from now. Yes, yeah, you could have listens called
Speaker 1: the gangster rep you know, for you know purposes.
Speaker 3: Yeah, a source magazine did us like that. When Me
Speaker 3: and A Face and Spice did the cover, they stopped
Speaker 3: saying gangster rapping.
Speaker 4: Was like, is it reality rap?
Speaker 3: Because everybody don't represent cripping blood so and you know
Speaker 3: a lot of people when they associate gangster shit, they
Speaker 3: associated with gang banging, so cripping blood. But a lot
Speaker 3: of niggas is crued up or clicked up or whatever.
Speaker 3: So I didn't I've never liked the term gangster rap.
Speaker 2: You get me. The media created it, so yeah, I
Speaker 2: don't like.
Speaker 3: And they did that to us because we was West
Speaker 3: because like I said, motherfucking beat e p first record
Speaker 3: on the Oozzi's.
Speaker 4: And Free and nigga, criminal minded and.
Speaker 1: And all kind of why. That's the only me got
Speaker 1: on the rest of it was conscious, you know, conscious rap.
Speaker 1: Let me ask you all this and then I want
Speaker 1: to talk about something else before we go. So, would
Speaker 1: too Short be considered against the rapper? No, as hard
Speaker 1: as this music is that, I.
Speaker 4: Won't consider his ship gangster because too short was.
Speaker 1: Yeah.
Speaker 3: I considered short rap, pimp ship and street, hustler rap
Speaker 3: and player and player rap, just like I look at
Speaker 3: Rick Ross. It's like hustler rap.
Speaker 2: You get me. I'm I'm you know.
Speaker 1: You know.
Speaker 3: I took me some trips, I me some birds, you nigga,
Speaker 3: you know the price was fifteen you know, nigga, and
Speaker 3: then he mixed it in with a little player. I'm
Speaker 3: gonna take my bitch buyer some motherfucking burking bags.
Speaker 4: I'm gonna take you.
Speaker 2: Give me my nigga.
Speaker 3: Come on, my nigga, go he go you my nigga.
Speaker 3: Ross is gonna trick on that hole. You feel me,
Speaker 3: My nigga gonna put her on a private plane. My
Speaker 3: niggaa fly the bitch to London for lunch and then
Speaker 3: fly the bitch back. You know what I'm saying, but
Speaker 3: niggas he but that's that's that player rap. That's that
Speaker 3: you know what I'm saying, that's that upper echelon like
Speaker 3: nigga's aspirational, like you know what I'm saying. You nigga
Speaker 3: buy socks is a thousand dollars nigga. You feel that's
Speaker 3: that rap?
Speaker 1: You get me. It's the transition. Now, how about.
Speaker 3: So and my nigga Short is you know he's on
Speaker 3: too from my early you know, from my two short
Speaker 3: favorite nigga gotta fuck me one hundred bitches, you get me.
Speaker 3: I met this girl, her name was Lisa. She gave
Speaker 3: me a piece of it like pizza, and I fucked jaded.
Speaker 3: She had the biggest bootyo to plat it. My niggas
Speaker 3: a player, you get me.
Speaker 1: Short is definitely a born man.
Speaker 3: Dope fiend beat you get me. I don't look at
Speaker 3: that as this nigga. I come through, dump on the nigga.
Speaker 3: You know, fifty niggas on the corner.
Speaker 1: I got the a K in the trunk and sugar
Speaker 1: free would your class for him is a little bit
Speaker 1: more gangster now.
Speaker 4: She freeze for the holes man.
Speaker 3: He's the he'sna tell you sugar gonna tell you the minute, nigga,
Speaker 3: I'm I'm for these holes and I'm gonna talk about
Speaker 3: these holes and I'm ana pip a hole. I'm gonna
Speaker 3: rap on this track like it's a bitch on the
Speaker 3: track walking that motherfucking track, and I'm gonna show you how.
Speaker 4: Those are to me. Yeah, you can't consider.
Speaker 3: Everybody reality gangster shit because.
Speaker 2: Done, I don't. You won't see me.
Speaker 3: You don't see fucking sugar Free and no khaki suit
Speaker 3: with his fucking you know, with his hair done, and
Speaker 3: you gonna see sugar Free in the played our suit
Speaker 3: with his nails done, hair done up, you know, nice suit,
Speaker 3: two bitches on it. That's why when you go to
Speaker 3: a sugar Free concert, nigga, every fucking hole in the
Speaker 3: city is on his front and center.
Speaker 1: Man, can I tell you a story dog about sugar Free.
Speaker 1: We up in for Oregon, right, we in hotel and
Speaker 1: I always stayed right next door to him. It would
Speaker 1: be crossed. You always be over here. It would be
Speaker 1: me and it would be sugar free and sugar free
Speaker 1: with not on my door all that motherfucker Steve. I
Speaker 1: hear something this motherfucker room. You hear that ship be
Speaker 1: out there like this, do you hear that? I'm like,
Speaker 1: sugar for the fuck you.
Speaker 3: Don't hear that ship man? And then he just run
Speaker 3: the room close again. It just happened, but he walked
Speaker 3: you to hear the party go up down every we went.
Speaker 3: We was in Portland, Oregon, and we in the room talking, right.
Speaker 3: We actually about to leave it, go get him the
Speaker 3: bus to go to the venue.
Speaker 1: Right. A girl come up there, she want to meet
Speaker 1: sugar Free. Her boyfriend is there, like her real boyfriend
Speaker 1: is there, so he don't bought They taking pictures and
Speaker 1: stuff like that. Sugar Free said, what's that and said
Speaker 1: you reckless eyeballing? Said you're reckless eyeballing for sure. And
Speaker 1: the girl looked at him like this, and the dude
Speaker 1: was like looking like he don't know what happened. Sugar
Speaker 1: Free said, fix, come here. He said, you my bitch now,
Speaker 1: and he made this bi she put and he made
Speaker 1: her put her head down and walk behind him, walk
Speaker 1: behind me. And so she was following them like that
Speaker 1: to the show. And that girl wound up getting the
Speaker 1: thing with him and coming down here in southern California.
Speaker 1: Well that's that's the real thing. I really did that
Speaker 1: ship right then and there. So my thing.
Speaker 3: That's why I say, even though we're from the gang capital,
Speaker 3: so to speak, and crips and bloods and whatever whatever,
Speaker 3: everybody who stepped out the West Coast, you know, wasn't
Speaker 3: identifying with with with reality rap or gangster rap.
Speaker 1: You give me.
Speaker 3: It's a lot of dudes you know and like it.
Speaker 3: We'll get into that further in the list because there's
Speaker 3: other artists that again me coming from the neighborhood and
Speaker 3: riding and low riders and standing on the corner. It
Speaker 3: was niggas. I knew Damn Will wasn't gangster, but I
Speaker 3: was banging the fuck out they shit because they just
Speaker 3: to me, they had good, uh representation of West Coast
Speaker 3: music and ship.
Speaker 4: So that that's what I was.
Speaker 3: If it was a nigga from the West Coast and
Speaker 3: the ship was quality, then I considered it one of
Speaker 3: my top favorites. I don't give a fuck who it was. Listen,
Speaker 3: I banged me some motherfucking tone Lok. The nigga who
Speaker 3: had funky cole medina.
Speaker 2: And wild thing.
Speaker 1: Well, he was a.
Speaker 3: Ship he would get out of that commercial ship has
Speaker 3: motherfuckers loped after Dark and that Don't Look was against
Speaker 3: it like a mother.
Speaker 1: Don't Look was against.
Speaker 3: Definitely album Loafed after Don't Chiba was this ship? Do
Speaker 3: you'll ever remember an artist called Chiba? Yeah, that was
Speaker 3: my ship too.
Speaker 2: He was going on of House Records, rough House Records.
Speaker 4: It was the first artist Chieba Chiapa Nigga that ship.
Speaker 2: So you know who did that song though, who wrote
Speaker 2: it and produced it?
Speaker 1: That song is a bad motherfucker. See.
Speaker 3: I was like, I used to listen to Piper Nigga,
Speaker 3: the Piper Niggata tell her, I used to listen to
Speaker 3: all kinds of ship you would think, like a nigga
Speaker 3: like coming from the hood, like they used to be bigger,
Speaker 3: Chieba the Piper going around. It was a gang of
Speaker 3: songs that was just hard to me.
Speaker 1: You feel me. I'm gonna tell you what my favorite
Speaker 1: ship was. What was the one dudes to put out
Speaker 1: the album Uptown Saturday Night Camp. Motherfuckers, some bad motherfuckers. Nigga, man,
Speaker 1: whatever the ship.
Speaker 3: Ship, nigga, Man, you can reach Like I said, man,
Speaker 3: everybody has an opinion of what they consider is their
Speaker 3: top fifty greatest you know, albums or songs, or whatever,
Speaker 3: you know, So not trying to discredit, Like I said,
Speaker 3: nobody other listens.
Speaker 4: Was just this our opinion of what we felt.
Speaker 3: Yeah, and I think this motherfutt represent you know, especially
Speaker 3: you know for you sowing and Steer. Anybody you was
Speaker 3: a true connoisseur or hip hop from back from day one,
Speaker 3: since I was about this day one, from from whatever
Speaker 3: records I could remember, from when I started listening, Sugar Heel, Gang, Apache,
Speaker 3: Grandmaster Flash, you know, Treacherous Three. You know I used
Speaker 3: to cop twelve inches from the Paramount Swap Meet, you know,
Speaker 3: Utfo Boogie Boys.
Speaker 4: I mean that shit was just it was a ship
Speaker 4: to me.
Speaker 1: The Boogie Boys, Man, I ain't heard their name and
Speaker 1: along with girl.
Speaker 4: You ain't fresh, Sugar, you ain't fresh man.
Speaker 1: Man, Come on, man, before we go, I want to
Speaker 1: ask y'all something. What what's going on with michell A?
Speaker 5: Man?
Speaker 3: I've seen something the other day on Miss she was
Speaker 3: she was she loaded or drunk or something on stage.
Speaker 1: Man.
Speaker 4: I think she was drunk, man, Man, my girl was
Speaker 4: tipsy or something.
Speaker 6: Man.
Speaker 4: I kind of I was kind of rooting for my girl,
Speaker 4: you know.
Speaker 3: Watched a couple of little documentaries and couple of shows,
Speaker 3: you know, watching you know, you never know what nobody
Speaker 3: story is.
Speaker 4: But so just to see your motherfucker walk through some
Speaker 4: you know it.
Speaker 1: But they said that. During a recent live performance at
Speaker 1: the Jazz on the Water Festival in Stockton, California, beloved
Speaker 1: nineties R and B singer Michelle A raised eyebrows after
Speaker 1: behaving strangely while on stage. A clip from the August
Speaker 1: twenty sixth performance shows Michelle l disoriented on stage, constantly
Speaker 1: fixing her clothing and hair before even singing a lyric
Speaker 1: for one of her songs. At one point, she hands
Speaker 1: the mic over to an attendee. Commenters immediately assumed that
Speaker 1: the something in my Heart sunctions may have been under
Speaker 1: the influence of some sort of she need to leave
Speaker 1: that dope alone.
Speaker 4: Yeah, she she Yeah, it was pretty bad. It was
Speaker 4: pretty bad.
Speaker 2: And it was like, is she trying to like drop
Speaker 2: it like it's hut, like what is she? Yeah? Yeah, yeah, yeah,
Speaker 2: I saw that. Yeah.
Speaker 1: Yeah, you know what, man, let's keep the homegirl in
Speaker 1: our prayers, man. And I didn't ask about that to
Speaker 1: make fun. It was really about to see if you
Speaker 1: all heard anything, man, because I'm gonna tell you something.
Speaker 1: Mental health is real. You know, mental health is real.
Speaker 3: Trying to make it in life, man, every day just
Speaker 3: to be just like I said, Uh, people have a
Speaker 3: problem with being normal today, you know what I'm saying. Uh,
Speaker 3: everybody want to be somewhere. Cameras everywhere, phones everywhere. It's
Speaker 3: unfortunate that you know, you in that situation, you know
Speaker 3: what I'm saying. Uh uh so uh, just trying to survive, man,
Speaker 3: is a hard thing. So I don't know what the fuck,
Speaker 3: you know, for somebody who felt like that's the road
Speaker 3: she had to take that day or whatever happened that
Speaker 3: day before she got on stage. You know, you never
Speaker 3: know what a motherfucker going through. But it's unfortunate. Now
Speaker 3: you got to keep people like that in your prayers
Speaker 3: because for sure people don't.
Speaker 4: You don't know what a motherfucker go through.
Speaker 3: Fortunate that you know, we all go through shit, but
Speaker 3: we can, you know, kind of handle the situation.
Speaker 1: All this year, right, And.
Speaker 3: It's just some people, unfortunately, that take a different road
Speaker 3: than we take when when it comes to dealing with
Speaker 3: life and stressing and kids or your career not going
Speaker 3: the way you wanted to go.
Speaker 1: You know, it's a lot of motherfuckers.
Speaker 3: It's a lot of motherfuckers who take the long road
Speaker 3: or the wrong road, you know what I'm saying. So
Speaker 3: just to be able to deal with that type of ship,
Speaker 3: you know. And and it's hard. So we don't know
Speaker 3: what she going through.
Speaker 1: And what about your boy? L L shout out to
Speaker 1: l L. He finally says something, Man, I've been I
Speaker 1: think there was long overdue.
Speaker 2: What's up?
Speaker 1: L L told her pretty much all the old GMC,
Speaker 1: stop being lazy and fucking up your legacy and start
Speaker 1: doing some shows, start putting out your music. Don't let
Speaker 1: the motherfucker tell you, because you a certain age to
Speaker 1: stop rapping. He said. If I can get up here
Speaker 1: and do this, shoo.
Speaker 3: That's that's that's just you know, And I get where
Speaker 3: my nigga L coming from because I think a lot
Speaker 3: of artists on on the tip of being older artist, uh,
Speaker 3: one of the you know, somebody who's uh, somebody who's
Speaker 3: been a part of building the foundation of hip, you
Speaker 3: get a lot of backlash absolutely uh nowadays from our
Speaker 3: younger counterparts or or our younger competition, so to speak.
Speaker 3: And not that it's even a competition, h but I
Speaker 3: always ask the question why in our field, because in
Speaker 3: nobody else's field is there in an age limit unless
Speaker 3: you're fucking unless you're a fucking football player and whatever.
Speaker 2: And then still they.
Speaker 4: Are left with the decision because if a motherfucking.
Speaker 3: Team go, nigga, you forty eight and you can still
Speaker 3: slang a fucking ball like Tom Brady or whatever, I
Speaker 3: think I might, I might give you another contract. It's
Speaker 3: only in our field of hip hop, because they don't
Speaker 3: do it in country music. They don't do it in
Speaker 3: R and B, they don't do it in fucking pop.
Speaker 3: They don't do it than rock or heavy metal or
Speaker 3: or nothing.
Speaker 1: He was saying.
Speaker 3: He was like, this is not football. You could have,
Speaker 3: this is not basketball. You could have, motherfucking you can
Speaker 3: have a new nigga named Kenny Small on the saxophone
Speaker 3: doing jazz music. And then you still got niggas like
Speaker 3: Kenny g and all you know, George Benson and shit
Speaker 3: like that, who's still being able to do what they do.
Speaker 2: There's people that were making music before I was born
Speaker 2: that are still toring.
Speaker 3: And I don't understand why we get discriminated for or
Speaker 3: hip hop has an age limit, Like you know, I
Speaker 3: hear it all the time. Oh man, you should be
Speaker 3: doing something else by now, and and you you still
Speaker 3: dig out.
Speaker 1: Who the fuck is the motherfucker to tell somebody what
Speaker 1: they should be doing them?
Speaker 3: And I don't you should listen to I don't know.
Speaker 3: I think I think that, you know, sometimes it just
Speaker 3: might be that niggas don't like competition. I'm all for competition.
Speaker 1: Pet looked at this competition.
Speaker 3: I look at this trying to be you know, I
Speaker 3: got my own fan base. I'm not trying to come
Speaker 3: into your lane. I'm not trying to do what the
Speaker 3: youngsters doing or whatever. But I think that some you know,
Speaker 3: feel just like, well, man, you you didn't you dine
Speaker 3: did George?
Speaker 2: You?
Speaker 3: You was from the hood, you talked about this whatever, whatever,
Speaker 3: And then they'll turn around and say, well, you can't
Speaker 3: still be talking about this at at fifty sixty years old,
Speaker 3: Which then you get motherfuckers who still put out good
Speaker 3: music and transition and make real and they still go, why.
Speaker 2: Are you here? Why are you here? The actors actors.
Speaker 3: Though, But so I think it's, you know, because they
Speaker 3: want to say hip hop is a young man's game, and.
Speaker 5: So it's because people still don't respect rap now period.
Speaker 1: No, but you're almost looked at it, like I've heard
Speaker 1: some people saying, like, especially when I've heard a woman say, well,
Speaker 1: that's kind of juvenile for men to be fifty years
Speaker 1: old still rapping. Ain't that kind of childish?
Speaker 3: They look at it, And I said, well, if that's
Speaker 3: his trade, you know what I'm saying, this ship to accountant.
Speaker 3: You don't say that ship to an accountant or the
Speaker 3: motherfucker that's the manager at Walgreen.
Speaker 4: You have too old want to be working at the
Speaker 4: cash rec because that's looked up.
Speaker 3: And then the crazy shit about it is a motherfucker
Speaker 3: turned around and go get a job at Walmart or
Speaker 3: some ship like that. And then motherfuckers to be clowning
Speaker 3: you in Walmart working, Oh god damn eight and here
Speaker 3: motherfucking managing Walmart.
Speaker 1: Like what, nigga, I'm you.
Speaker 6: Ain't supposed to wrap, You ain't supposed to have no job.
Speaker 6: He's just supposed to just die leaders ship's nothing. Go somewhere,
Speaker 6: sit out, hide out, nigga.
Speaker 3: Don't go get no regular job, don't don't get a
Speaker 3: record deal, don't do no podcasts, don't don't do shipigga,
Speaker 3: just go in the house, lock the door, and just
Speaker 3: sit up for the rest of your days. And if
Speaker 3: a nigga see you out in the street, you take
Speaker 3: a picture with him and give up a That's it.
Speaker 2: That's all they want you to be, like, when's your
Speaker 2: new album coming out?
Speaker 3: No, they'll be like, nigga, you still rapping. You put
Speaker 3: another record out, nigga eat you one hundred and you
Speaker 3: steal what.
Speaker 1: Motherfucker you supposed to put? A motherfucker paint pictures that.
Speaker 3: Nigga still said, what the fuck I'm supposed to do?
Speaker 3: I can't go get no regular job because you're gonna cloud.
Speaker 1: You can't go to work.
Speaker 3: So so you can't do nothing. Once your rap career
Speaker 3: is over, you stop making records.
Speaker 2: You can't retire from life.
Speaker 3: You got to retire. Nigga, don't come outside, don't do ship.
Speaker 1: Because what they gonna do. First they gonna come somebody
Speaker 1: will come with a video, a video on their phone.
Speaker 1: They gonna be like, they gonna be over your face,
Speaker 1: look at this big stuff. I need your ass fell off.
Speaker 1: The ain't working out what you want here?
Speaker 4: Doing you in here that motherfucking costco day?
Speaker 1: Don't work? You want to sample. Motherfucker nig said, you.
Speaker 4: Ain't supposed to do ship like what you stop rapping?
Speaker 1: Take you just sick your motherfucking ass down somewhere. Let
Speaker 1: us do it.
Speaker 2: What you doing on the podcast?
Speaker 1: What's funny?
Speaker 2: Oh?
Speaker 4: But then they want you the coast side. Yeah, you
Speaker 4: need to you, yes, you need to help me to
Speaker 4: shout out.
Speaker 3: You need to be pushing you a young artist. You
Speaker 3: need to give everything. Give all the cameras in that podcast.
Speaker 2: You old motherfucker.
Speaker 1: You hold the tripping motherfucker give up.
Speaker 3: You need to go find you a young digger and
Speaker 3: let him be the Gangster Chronicles.
Speaker 1: It's just funny man, it's cold man. You know what
Speaker 1: For those that don't know, Soaring has recent game cold?
Speaker 1: When's the new book?
Speaker 2: Dropping Dog Juicy j September fifth, Chronicles of the Juice.
Speaker 1: Man, Chronicles of I've read I'll get.
Speaker 4: Listens to God damn it, out right down Ship? What
Speaker 4: you want to do?
Speaker 1: Video?
Speaker 3: Out right down? God damn it Ship? Yup, we still
Speaker 3: doing it, God damn it. We're gonna get on your nerve.
Speaker 3: Can we can't?
Speaker 4: No, mo damn it because they like it. What's going
Speaker 4: all right down?
Speaker 1: Anyway? And the link would be in the motherfucking description
Speaker 1: Jill Yes, Sir,