Speaker 1: But all right, job.
Speaker 2: All across the USC Compton, Watts Bay to LA. Come
Speaker 2: on to California day from Owy the Valley. We represent
Speaker 2: that Keller County. So if you're keeping it real on
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Speaker 2: Chronicles the Coronic Goals.
Speaker 1: We gonna tell you how are we goals?
Speaker 3: If I lie my notes will girl like Pinocchio. We're
Speaker 3: gonna tell you the truth and nothing but the truth.
Speaker 3: Gangs the Chronic Goals.
Speaker 1: This is not your average shows.
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Speaker 2: and Big Steals the streets.
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Speaker 3: rating the comment. We like to welcome every one to
Speaker 3: another episode Against the Chronicles podcast. I with my guy. Yeah,
Speaker 3: and you know we got our guy Sowmre and Baker,
Speaker 3: you know journalists exporting there.
Speaker 1: I'm back. I'm here, hip hop expert. Thanks for having me.
Speaker 1: I appreciate it.
Speaker 3: What would they call that in the university now, man,
Speaker 3: you I don't know hipologists, hip hopologists.
Speaker 1: I don't know what. I have to figure that out.
Speaker 3: We had to figure that out because hip hop is
Speaker 3: fifty years old, and staying in tune with that, we
Speaker 3: are going start wrapping up this Top fifty Gangster Rap
Speaker 3: Albums of All Time. I got a few emails last week.
Speaker 3: I got an email from a couple of guys over
Speaker 3: in Italy, a couple of people from Spain, couple people
Speaker 3: from Germany. It's amazing how people overseas just so much
Speaker 3: more in the hip hop, just so much more in
Speaker 3: the culture than they are here in the States. Because
Speaker 3: they was really into it. They were saying, could we
Speaker 3: get a more finalized list because we know you guys
Speaker 3: have been talking about and I said, you know, we
Speaker 3: do have another list coming. We just have over these
Speaker 3: conversations right now. So staying in tune with what I
Speaker 3: promise to people in those emails, were gonna start getting
Speaker 3: busy with the bigger reveal coming next week for the
Speaker 3: actual top fifty, the final Top fifty, because everything you've
Speaker 3: heard thus far has just been our thoughts, right, so
Speaker 3: we get that going and you know, we was having
Speaker 3: the debate earlier, and y'all be killing me, man, because
Speaker 3: y'all say a lot of my favorite songs ain't gainst
Speaker 3: the rapper. Like, I can't believe y'all don't think Rick
Speaker 3: Ross is against the rapper. I can't believe y'all don't
Speaker 3: think Biggie is against the rapper. Y'all killing me.
Speaker 1: But they're not. Though.
Speaker 3: Still Biggie small as he was against the rapper. Nah,
Speaker 3: what ain't gangster bottom? What is he? Then? I know
Speaker 3: y'all can say he a hustler rapper. To me, Biggie
Speaker 3: is kind of like the precursor to Rick Ross. I
Speaker 3: can see a lot of Rick Ross and Biggie, you
Speaker 3: know from the style the big Man Flepper. Ross don't
Speaker 3: lost a gang of.
Speaker 1: Weight, now, yeah, I mean I could see it, but.
Speaker 3: It sounded like Ross definitely got his own ship.
Speaker 1: Yeah, but I just think that Biggie was different in
Speaker 1: the sense of his uh, his storytelling and stuff. I
Speaker 1: think is different because Ross, while similar in some ways, Yeah,
Speaker 1: I just I don't see it.
Speaker 3: No, they don't sound like I'm just talking about as
Speaker 3: far as aesthetics, you know, from the dress and everything,
Speaker 3: Big even wear the coogie sweaters and the ship. He
Speaker 3: was the first big dude to kind of get fresh.
Speaker 1: The Fat Boys too, Let's not people always forget the
Speaker 1: Fat Boys.
Speaker 3: Fat Boys actually had some jam and as beats too.
Speaker 3: They had ship that.
Speaker 1: Not Shout and Prince market d and Buffett. People sleep
Speaker 1: on the Fat Boys, man, but they're very important.
Speaker 3: You can't very important hip hops with Some of hip
Speaker 3: hop's first superstars had mega movies, had endorsement deals at
Speaker 3: the time. Wouldn't happen Remember when you had endorsement deals
Speaker 3: back in the day. People with dish. Yeah, Chris Marky
Speaker 3: d used to produce some good records.
Speaker 1: Yes, he did a lot of R and B.
Speaker 4: The little album he did after you Know, down the
Speaker 4: Road that motherfucker was banging. I used to bang that ship.
Speaker 3: Yeah.
Speaker 1: They I remember too when they had that movie Disorderlies,
Speaker 1: and I talked to Kourokski about this in particular, but
Speaker 1: I just remember that was one of those early moments
Speaker 1: where my dad actually liked something that was wrapped that
Speaker 1: was a little outside the normal realm.
Speaker 3: And I just remember that that was that was on
Speaker 3: some ay commercials. Yeah exactly, that was opening the door
Speaker 3: to that. You know that uh, that other side of hip.
Speaker 1: Hop fi side of the business.
Speaker 3: Motherfuckers, dude.
Speaker 4: You know, that's that's when other people come in, get
Speaker 4: to making taco bell commercials and ship like that. People,
Speaker 4: you know, people kind of oh, I like that. You know,
Speaker 4: he made a rap about tacos and.
Speaker 3: Ship you know, So that's how that aspect came.
Speaker 1: And they had to wipe out song they had.
Speaker 4: Yeah, yeah, they was doing They was doing that uh
Speaker 4: that tone Loak route, you know, that wild.
Speaker 1: Thing Route Machine Jail.
Speaker 4: Let's try to rework you know, because uh, hip hop
Speaker 4: was you know, trying to find you know, that identity
Speaker 4: as far as they was concerned, coming from the early stages,
Speaker 4: and then you know.
Speaker 3: To me, that was the hottest project was their first project.
Speaker 3: Well you can tell when they got with the major label,
Speaker 3: they start trying to turn them into a novelty. That
Speaker 3: kind of they was trying to rise off the popularity
Speaker 3: because at the time they didn't even know if hip
Speaker 3: hop was gonna still be around. So it's one of
Speaker 3: the things like let's make as much money as we can.
Speaker 4: It's like one of those one of those yeah, those
Speaker 4: that that beginning thing, you know, let's let's let's snatch
Speaker 4: and grab that ship, you know, because they didn't know,
Speaker 4: like you said. Then when Crush Groove and the success
Speaker 4: of of the jail House Rap and All you Can
Speaker 4: Eat and All in the Stick Them and all that shit,
Speaker 4: you know, like you said, they got picked up by
Speaker 4: a major, and then the majors was like, we don't
Speaker 4: know what the fuck to do with this type of music,
Speaker 4: So basically, let's do like some more parody bullshit, you know,
Speaker 4: Let's have them, let's have them rapping to wipe out,
Speaker 4: and let's have them wrapping the sex machine and let's
Speaker 4: just work to.
Speaker 3: A certain degree because they sold a gang of records.
Speaker 4: Yeah, but to me, they started losing their credibility of
Speaker 4: real hip hop and shit because you know, a motherfucker
Speaker 4: like me who loved jailhouse raping, can you feel it?
Speaker 4: And shit like that around and now you want me
Speaker 4: to bust. Now you want me to bang wipe out
Speaker 4: like really like nigga, I'm on the block and content
Speaker 4: I can't bang white out purists.
Speaker 3: I could picture a record company coming to him now
Speaker 3: with beats from Timberland and all these people. We want
Speaker 3: you to rap on this and with his shiny suit.
Speaker 4: I had to go through that ship. When I left
Speaker 4: Sony and I went over the Big Beat Atlantic, and
Speaker 4: they no longer wanted to funk with our type of music.
Speaker 4: So yeah, they started, uh getting me to listen to beats,
Speaker 4: you know, timbling with make era, you know all that.
Speaker 4: You know that that era that came with you know, Uh,
Speaker 4: I call it that Jahru era, that that era around
Speaker 4: me there, I had an N O t R deal.
Speaker 4: I had a production deal with Big Beat Atlantic through
Speaker 4: Craig Cowman, and you know, I'd signed a deal before
Speaker 4: I went over left Epic, and so after my last record,
Speaker 4: I went over there. You know, I thought I had
Speaker 4: a nine album production deal and uh we produced a
Speaker 4: record on N O t R.
Speaker 3: And it got shelved because.
Speaker 4: They basically know they were going through that cop killer
Speaker 4: death row transition, trying to distance themselves from niggas like us.
Speaker 4: So it was like, Okay, damn, we just signed this
Speaker 4: deal with this dude. And the crazy shit about it
Speaker 4: was before I had turned in my last record with Sony,
Speaker 4: they tried to offer me a.
Speaker 3: New deal Sony and I had already signed the deal
Speaker 3: with Big Beat. So when my last record.
Speaker 4: I was supposed to go over there, but Sony came
Speaker 4: back to me and said, well, fuck it, let's do
Speaker 4: three more records. So I hadn't taken a dime from
Speaker 4: Big Beat Atlantic. I hadn't taken a dimond.
Speaker 3: Now.
Speaker 4: I think I did a publishing deal with them, and
Speaker 4: I took some money from a publishing deal for my
Speaker 4: previous works, but I hadn't took a dime for any
Speaker 4: of the projects yet. And I went back over there,
Speaker 4: and I was like, fuck it, I'm gonna go back
Speaker 4: to Sony because they had like they had like almost
Speaker 4: two meal on the table for me to resign. And
Speaker 4: uh So I went back to Big beating him and
Speaker 4: I was like, well, you know, Sony done offered me
Speaker 4: some bread, and since I haven't even walked in the
Speaker 4: door over here, let's just tear the deal up and
Speaker 4: I'm gonna stay over here. The motherfucker said, no, give
Speaker 4: me half a million and I'll let you go.
Speaker 3: Wow. Who was that, Craig Cam. Craig Cam and gotta
Speaker 3: be one of the most files niggas in mute.
Speaker 4: He said, they said, give me a half a million
Speaker 4: and we'll let you out the deal. And I said
Speaker 4: I ain't even started the deal yet.
Speaker 3: Like, I can see if you had got some money
Speaker 3: from me.
Speaker 4: I hadn't took yet, so and then so they wouldn't
Speaker 4: let me out the deal. So I had to renig
Speaker 4: on the Sony deal, pass up on the two meal
Speaker 4: So but I'm like, fuck it. I got a nine
Speaker 4: album production deal over there, so fuck it. As soon
Speaker 4: as I get over there, they was like, pump your breaks.
Speaker 4: We don't know what we want to do.
Speaker 3: Wow, are you serious? Yeah, that's what they said.
Speaker 4: Pump your breaks, we don't know what we want to do.
Speaker 4: I said, oh, I don't give fuck. I gotta sign contract.
Speaker 4: So where's my production deal money? They was like, hold up,
Speaker 4: we don't know what direction. So they go, okay, well,
Speaker 4: because you know how me and Slip was producing all
Speaker 4: my shit, you know. But they come back and they go, well,
Speaker 4: we're taking a different direction blah blah blah. So basically,
Speaker 4: anything I turned the in from my camp they didn't
Speaker 4: want it. So then they started going, well, we want
Speaker 4: to send you a beat from this dude. We want
Speaker 4: send you a beat from this dude. We want to
Speaker 4: send you a beat from this dude. And it was
Speaker 4: all that transition shit and no, we don't want you
Speaker 4: to talk about this.
Speaker 3: They all happened to be signed to Craig Caumera. I
Speaker 3: don't know where they was from. You know, you know
Speaker 3: what he started doing after a while, you know where
Speaker 3: he made a lot of money from. He had went
Speaker 3: and got Feen, you know, Fin there was no limit,
Speaker 3: and he took him down. They had him writing for
Speaker 3: a bunch of people and was pretty much using Fiend
Speaker 3: as a and R. So Fien went out and found
Speaker 3: a whole lot of people, like a whole lot of
Speaker 3: people actually blew up in the South got signed by Fien.
Speaker 3: And what was crazy was Fien was telling me that
Speaker 3: pretty much Craig Camera and that sold all his publishing
Speaker 3: and cashed out like and got millions of dollars, something
Speaker 3: like eighty five million dollars. And he had to find
Speaker 3: out about it from reading one of the journals. And
Speaker 3: the trade magazines didn't tell him nothing, didn't give him
Speaker 3: a dime, didn't send him a million and say good
Speaker 3: looking out for helping me build this and nothing, so
Speaker 3: I could believe that he probably wanted to get in
Speaker 3: on your production and all that shit too.
Speaker 4: I don't know what but now they was just the
Speaker 4: They basically was like, we don't want none of that.
Speaker 4: We don't want none of that old he ate c
Speaker 4: M dub Ship. Well, I had to threaten to take
Speaker 4: him to court and sue him because they didn't want
Speaker 4: to give me the budget. And they told me that
Speaker 4: I was free to go seek another deal if I wanted.
Speaker 3: You could have went them together two millions.
Speaker 4: But yeah, but tearing up Ship, well, you know, we
Speaker 4: went back in for for a minute and then uh,
Speaker 4: you know, shit started getting ugly and whatever. So we
Speaker 4: settled and they paid me something and I went away.
Speaker 1: Wow.
Speaker 3: And then that's when you wouldn't did a thing with Matt. Yeah,
Speaker 3: that ain't no telling what kind of records we had
Speaker 3: to get off that motherfucker. Sony already knew what to
Speaker 3: do with you. They already had you.
Speaker 4: Sony really didn't know shit to do with me. That
Speaker 4: was the problem all my time with Won't. That was
Speaker 4: the reason for me exactly, And I don't know how
Speaker 4: to fuck I'm oh, that's how I met Craig because
Speaker 4: of my niggas from DFC, my nigga, my Breed's cousin,
Speaker 4: Breed's cousins. They got a deal through Craig and they
Speaker 4: hollered at us to do some some work. They project
Speaker 4: me and Slip did Caps Get Peeled? And I think
Speaker 4: Slip mixed half Day album?
Speaker 3: Y'all did that? Yeah? Well Caps, Yeah, Caps get pilled? Yeah,
Speaker 3: that was me and Slip. I didn't know that. That's hard.
Speaker 3: I told y'all, Produce is a cold motherfucker behind on Courtland.
Speaker 3: So that's how we hooked up with Craig.
Speaker 4: And then from that, you know, just the successive minutes
Speaker 4: to Society and Me and Slip, you know, doing we
Speaker 4: Come Strapped and all that. He offered me a production deal.
Speaker 4: So I was gonna do Niggas on the Run in OTR.
Speaker 4: I was gonna do the homies, little Hawking Bird, and
Speaker 4: then I was gonna do me.
Speaker 3: I was always wondering who there was because she was
Speaker 3: promoting the hill out of them when he'd be on
Speaker 3: that chair, a little Hawk and Bird, neighborhood Niggas on
Speaker 3: the Run. I was looking forward to that ship.
Speaker 1: I was too.
Speaker 4: And then yeah, we worked on the n OTR album,
Speaker 4: our album. We did the whole album, mixed it, everything,
Speaker 4: turned it in and it never came out.
Speaker 3: It got shelved and so after that, I just knew
Speaker 3: ship was finna go.
Speaker 1: You know, it's the music business.
Speaker 3: You know what, let me take that bet. I can't say,
Speaker 3: Craig camera and this file.
Speaker 4: Businesses, you know do business business. It's shrewd business, and
Speaker 4: I think it's fucked up, but it's freud business. Like
Speaker 4: when you in that when you're in that position to
Speaker 4: where you're kind of like sitting at the head of
Speaker 4: the table. I mean, you know, he he got a
Speaker 4: big position with with his with Big Beat, and then
Speaker 4: you know, because once we came over there, he was
Speaker 4: like running Atlantic or one of the big dudes over there.
Speaker 4: He wasn't even on no Big Beat shit, that was
Speaker 4: his label. But when I when I hooked up with Craig,
Speaker 4: he was Atlantic like he was Atlantic. Nigga took us,
Speaker 4: he took everybody. He took us all the dinner and
Speaker 4: bought us Christmas gifts.
Speaker 3: Nigga.
Speaker 4: When we signed the deal, we got a fancy dinner.
Speaker 3: Nigga.
Speaker 4: He bought Christmas gifts for all the crew. Everything that
Speaker 4: Nigga was like, he was cool, but like I said,
Speaker 4: shrewd business.
Speaker 3: What can you do?
Speaker 4: And and a Nigga ship nigga gave me by what
Speaker 4: two two and a quarter on a fucking publishing deal.
Speaker 3: Like I was, like, fuck it. He was pretty cool.
Speaker 4: But like I said, when it comes to business, and
Speaker 4: like I said, the transition of hip hop at the.
Speaker 3: Time, it was going through a rough. It was going
Speaker 3: through a rough. You had this ship with Ice Teeth,
Speaker 3: You had the cop killer shit, you.
Speaker 4: Know, the Reverends and Dolores Tuckers was out there. Ye
Speaker 4: I'm niggas is mentioning us on political campaigns and shit,
Speaker 4: and I had a double sticker on my album and
Speaker 4: shit because of shit like that, Nigga.
Speaker 3: That album wasn't even that bad. That's the crazy part
Speaker 3: about it.
Speaker 4: We come strap out a double sticker because the labels
Speaker 4: were getting a lot of they were getting a lot
Speaker 4: of motherfucking hard hit from just activists and community motherfuckers
Speaker 4: about Like, man, these niggas is with the bitch and
Speaker 4: the whole shit, and niggas were with the drive bys
Speaker 4: and with the police shit and all that. They didn't
Speaker 4: like it. So we got a hard time. As far
Speaker 4: as when West Coast rap got real popular, you know
Speaker 4: what I'm saying. East Coast was the forefront if you
Speaker 4: want to say, but a lot of them, you know,
Speaker 4: Chuck D looking public enemy, you know, devil this and
Speaker 4: fuck this and fuck that. They didn't have it hardest
Speaker 4: niggas over here, as far as y'all nigga said, fuck
Speaker 4: the police, and y'all nigga said, y'all getting jacked in
Speaker 4: his drive by shooting. What year was this, man? This
Speaker 4: was like shit between like the mid nineties, like ninety three,
Speaker 4: ninety four, ninety five.
Speaker 3: You know what happened during that time. If you remember
Speaker 3: the Ghetto Boys first major album, when they went and
Speaker 3: kind of redid the previous.
Speaker 1: One that's in my top ten, Yeah, we can't be
Speaker 1: stopped called No No No Call. On the other level, No,
Speaker 1: it's the Ghetto Boys album. It's the one with the
Speaker 1: mug shots.
Speaker 3: When they got with when they got with American, they
Speaker 3: got with Rick Rubina America pretty much when I was
Speaker 3: in Death America. Not that he tried America with the
Speaker 3: spin on it. Yeah, but what they did was they
Speaker 3: had kind of redd the earlier. It was kind of
Speaker 3: like like it though.
Speaker 1: Grip It on that other level was basically remade into
Speaker 1: the Boys.
Speaker 4: And I didn't like the Ghetto Boys I liked it
Speaker 4: gripping on that other level. It was raw, it was raunchy,
Speaker 4: it was real. I didn't like the way they polished it.
Speaker 3: Yeah. Yeah. And then the distributor, I think Giffen, refused
Speaker 3: to distribute the record. So you was going through a
Speaker 3: whole lot of ship at that time.
Speaker 1: Well, I have all that in my book, The History
Speaker 1: against the Rap if you haven't. But the thing is,
Speaker 1: it was the that one was back when they used
Speaker 1: to manufacture CDs. The company in Indiana that manufactured their
Speaker 1: CDs refused to press the CD because they didn't approve
Speaker 1: of the content. So it's wild that we think about
Speaker 1: now all the wild stuff that we see on TV
Speaker 1: and in these songs and stuff that back then people
Speaker 1: actually refused to make an album, which then got Rick
Speaker 1: Rube to lose his deal and all this other stuff.
Speaker 3: Definitely, it was big.
Speaker 1: It was a big deal, and I think now we went.
Speaker 4: Through a lot of of of we went through a
Speaker 4: lot of backlash trying to it was problem establish our
Speaker 4: identity and hip hop because you know, uh we you
Speaker 4: like I said, we had the forefront of hip hop,
Speaker 4: came out of East Coast, you know, and like I
Speaker 4: was just talking about you know, we had the Fat Boys,
Speaker 4: and we had run DMC and Curtis Blow and you know,
Speaker 4: Utfo and Houdini and a lot of you know, the
Speaker 4: audio tools with a little MC light and then you
Speaker 4: had you know the little tifuzz that come out of
Speaker 4: there and all that type of you know, so it
Speaker 4: was trying to it was hard to establish our identity
Speaker 4: as far as West Coast, and then when we did,
Speaker 4: we caught a lot of backlash four our identity of
Speaker 4: you know, who we were.
Speaker 3: It was just so different at the time. Man, I
Speaker 3: think a lot of people were scared.
Speaker 1: I think that's a big part of it. Everybody was scared.
Speaker 1: It wasn't just the music industry one white people. I
Speaker 1: think it was everybody was like, Yo, what is this
Speaker 1: and why is everybody love it so much? And I
Speaker 1: think that that scared a lot.
Speaker 3: And why do you think that is? Though?
Speaker 4: Why do you think do you think it was just
Speaker 4: a fascination of listening to this new form of music,
Speaker 4: you know, as far as hip hop is concerned, because
Speaker 4: you know, motherfuckers was listening to hip hop.
Speaker 1: I think it's I think it's to me what I
Speaker 1: noticed and what I saw and actually on Ice Tea's
Speaker 1: home invasion in cubes lethal injection. It was the fact
Speaker 1: of to me, it was the white kids listening to
Speaker 1: this reality that people weren't getting exposed to before. That's
Speaker 1: going to change their minds, Like, wait a minute, what
Speaker 1: we've been taught in school is wrong. What we know
Speaker 1: to be true is not true because look at this
Speaker 1: other reality that is reality. I agree with you, because
Speaker 1: that's crazy.
Speaker 3: You know. Obviously you're white, right, and you come from
Speaker 3: a different environment than me and eight right, you know,
Speaker 3: but you're very much into the culture right, have been
Speaker 3: since the beginning. And I think that when people see
Speaker 3: what they see in the mirror, sometimes they don't like
Speaker 3: what They still don't like the reflection, you know. And
Speaker 3: I think, once, because the people that blew this shit up,
Speaker 3: let's keep it real. It wasn't neighborhoods that blew it up.
Speaker 3: It was the It's like you would cross the country
Speaker 3: in the suburbs. It started getting like, hey, is this
Speaker 3: really going on over there?
Speaker 1: Yeah, because the thing I just remember when I was
Speaker 1: first hearing PSK or six in the Morning or Boys
Speaker 1: in the Hood, it matched what I was seeing on
Speaker 1: TV or reading the newspaper or when I would go
Speaker 1: on to Baltimore or DC what I would see, But
Speaker 1: it was being told by the people that were living
Speaker 1: in which I had never seen, ever heard other than
Speaker 1: you know, if I knew people or my friends knew
Speaker 1: people or relatives, my friends or whatever that were in Baltimore,
Speaker 1: in DC in the hoods, then I knew it. But
Speaker 1: I had never heard it told from Philadelphia, from New York,
Speaker 1: from LA from Compton. Like that made it so different
Speaker 1: than it added a real element to it. And I
Speaker 1: think that's what shocked everybody that not only are these
Speaker 1: dudes making this amazing music, but they're incredibly intelligent. They
Speaker 1: can articulate their views and they're really telling what's going
Speaker 1: on in a way that we had never heard before.
Speaker 3: Well, I guess what that being said. I guess we'd
Speaker 3: let you kick it off soon. I guess we're doing
Speaker 3: fifteenth to one.
Speaker 1: Well I did mine, so we just doing the top
Speaker 1: ten because I did up to number eleven last time.
Speaker 1: So y'all got to do fourteen or still, especially you
Speaker 1: got to do fourteen to eleven. Fourteen to eleven, yeah,
Speaker 1: or fifteen or eleven excuse.
Speaker 3: Me, fifteen to eleven. Man, Damn, I've been kind of
Speaker 3: struggling with that. Man, I've been really struggling with it
Speaker 3: because there every time I think I have a list compiled,
Speaker 3: I start thinking, I go back to listening to stuff
Speaker 3: and I say, no, I can't put that that low,
Speaker 3: and I gotta put it here because you know what,
Speaker 3: to me, I take this serious. Man. You know it's
Speaker 3: some dope ass art out there. Man, Yeah, you know
Speaker 3: it's a dope ass art even kind of coming to
Speaker 3: the final five. Man, it's like, Damn, I really put
Speaker 3: that down there. I really put that. You know. It's
Speaker 3: tough because there was and I would say between nineteen
Speaker 3: ninety one and probably nineteen ninety nine, there was so
Speaker 3: much incredible music, man, man, like really incredible music. And
Speaker 3: the thing that was dope about back then is nobody
Speaker 3: sounded like You would get slaughter for coming out sounding
Speaker 3: like somebody else, Like. It wasn't nobody else to sound
Speaker 3: like MCA. It wasn't nobody else to sounded like Snoop.
Speaker 3: It wasn't nobody else to sound like Easy. You feel
Speaker 3: what I'm.
Speaker 1: Saying, Well, I think they did. They just were so
Speaker 1: less popular because people looked at them and it's biting.
Speaker 3: Yeah, you couldn't bite, no biting.
Speaker 1: I were people that were out that sounded alike, but
Speaker 1: they didn't like the.
Speaker 3: Second Motherfuckers because didn't nobody want to hear cheap imitation.
Speaker 3: It's like this.
Speaker 1: They were there, though.
Speaker 3: I wouldn't go said they was there. They were there imitation.
Speaker 3: You probably got some dope ass, you know, imitation Jordan's somewhere,
Speaker 3: but I wouldn't know about them. I'm not even wearing
Speaker 3: a motherfuckers no.
Speaker 1: Because remember, even though I never agreed with this, there
Speaker 1: were people that said that EPMD was sounded like rock him.
Speaker 1: You gotta remember that that was a thing, and they
Speaker 1: both each rapped about it on their albums. So it
Speaker 1: was a thing.
Speaker 3: And you don't get how they think Eric Sermon sounded
Speaker 3: anything like rock Kim.
Speaker 1: I think it was more PMDD, but they definitely sound
Speaker 1: around talking this.
Speaker 3: And said I sounded like Rockym.
Speaker 4: That's why you didn't want to fuck with me on
Speaker 4: Ruthless because I sounded too much like rockim.
Speaker 1: Remember on so what you're saying, Remember on so what
Speaker 1: you're saying, people around town talking this and that, how
Speaker 1: we sound like the r at Our music was.
Speaker 3: A whack dropped the album.
Speaker 1: Thought it was thirty days later people and gold to
Speaker 1: what you're saying, So there was always that element to it.
Speaker 1: But they no one I've been never heard anyone, nor
Speaker 1: are they. But nobody looked at EPMD whack. But I
Speaker 1: also never looked at them as rock Kim even though
Speaker 1: some people did, because I never did.
Speaker 3: But they never got that resemblance of sounding like rock.
Speaker 1: Because when I heard so what you're saying and Parish
Speaker 1: was saying that, I was like, Who's who's comparing them
Speaker 1: to rockym Like I'd never heard that until they said it.
Speaker 1: But then I asked people around, and then when I
Speaker 1: would meet people in New York later, They're like, oh yeah,
Speaker 1: a lot of people thought that because I guess it's
Speaker 1: because they had a slow flow and they were laid back,
Speaker 1: and they weren't.
Speaker 4: I can see them trying to say, you know PMD
Speaker 4: because you know he has that slow flow to a
Speaker 4: withdrawal of his speech.
Speaker 1: So but never, I never never would have thought it.
Speaker 4: Yeah, not in a million years. And I was fans
Speaker 4: of both. You know, I grew up on Rocky M
Speaker 4: and EPM.
Speaker 3: D me too, So.
Speaker 1: I would have never thought that nah never, but you.
Speaker 4: A lot of that just comes from somebody being the
Speaker 4: first yep. And whether it be friends or homies or
Speaker 4: just fans. Anytime somebody comes out new trailing, it's always
Speaker 4: you gonna get that. Oh man, you're trying to be
Speaker 4: so and so. You're trying to be so and so
Speaker 4: until you make your significant point or you or you
Speaker 4: make your presence known that nah, nigga, this is me,
Speaker 4: you know, but a lot of people would would get that.
Speaker 4: Or who y'all trying to be exactly the same ship
Speaker 4: with us, y'all trying to be in w A which
Speaker 4: y'all see them w You know, you get that until
Speaker 4: you have to.
Speaker 1: Make There was a rap group America's Most Wanted. There
Speaker 1: was a rap group Detroit's most Wanted. There was all
Speaker 1: kinds of.
Speaker 3: The most wanted. Have to see him Dub get in line, sucker,
Speaker 3: That's what I'm saying.
Speaker 1: They were always there. It was just that they were.
Speaker 4: It lied sucker, not some y'all was original though Nigga
Speaker 4: was original.
Speaker 3: Nigga see him Dub Nigga Compton, don't play.
Speaker 1: Man. It's crazy, But yeah, they always had somebody come
Speaker 1: and sounded like somebody else, that's for sure, man. And
Speaker 1: the best example, the most egregious example is effects. So
Speaker 1: many people bit them in one of.
Speaker 4: The everybody a lot of a lot of motherfuckers wanted
Speaker 4: to everywhere chicky, chickeny and everything and.
Speaker 3: Then fuck that ship, dude.
Speaker 1: Effects were the most bit ever because career a little bit.
Speaker 1: Everybody biting them hurt them.
Speaker 4: They style was some motherfucking just ridiculous. I loves effects.
Speaker 3: It was original. I was, like you.
Speaker 4: Said, because because of the fascination with their style. Nigga,
Speaker 4: you heard a gang of niggas chickeny, chickeny.
Speaker 1: Yeah, this ship diniz.
Speaker 4: All that a gag and niggas bit by niggas from
Speaker 4: the y'all got effects. Nigga, we got that ship too.
Speaker 3: Nigg Chiggity chickeny nigga boy, striggy striggity nigga. Man.
Speaker 1: I just remember that was that was one of the
Speaker 1: main tapes that my boys loved in Maryland. That's effects, man,
Speaker 1: dead serious effects was their beats on there.
Speaker 4: Oh my god, they kind of flipped the game, right,
Speaker 4: I mean when they come from New.
Speaker 1: York, well once from New York. Uh dre's from Jersey.
Speaker 3: And some hard ship. Man. They beats was just like
Speaker 3: damn man, Yeah, each niggas doing day damn yeah exactly.
Speaker 1: And their other albums are great too, they're just very different.
Speaker 3: That first album just it was just out.
Speaker 4: But you know, sometime when motherfuckers come out in that
Speaker 4: first project, man, it's just how it's like, you can't
Speaker 4: you can't touch that again.
Speaker 1: Yeah, man, you can't touch.
Speaker 4: I don't give fuck your other ship was good, but
Speaker 4: you can't. You can't touch that ever again, man.
Speaker 1: Because it's magic. It had never been done before and
Speaker 1: it could never be done again because of that.
Speaker 4: Come on that bump, skickily bump man, y'all better stop playing.
Speaker 4: We got some good ship man, in our days. You know,
Speaker 4: people a lot of people, uh, you know, we gott
Speaker 4: We get a lot of motherfucking flak nowadays for old
Speaker 4: school hip hop. You know, I'm saying a lot of
Speaker 4: motherfuckers don't like to give us all recognition and props
Speaker 4: and ship. But we have some shit man back in
Speaker 4: the day, for sure, real talk, we have some shit.
Speaker 1: So still you got yours, man, We have to go first, man,
Speaker 1: all right, Well, if we're going into top ten, these
Speaker 1: are somewhat in no particular order, but in somewhat the order.
Speaker 1: Speaking of albums that really changed a lot of sound,
Speaker 1: I gotta go with the first Cypress Hill, the self
Speaker 1: titled Cypress Hill album. That Man, that album inspired so much,
Speaker 1: I think, especially sonically with what Mugs did on there. No,
Speaker 1: that's that's looking like number ten be real and send
Speaker 1: dog too, and really taking the different approach that one.
Speaker 1: You know, I always think about why doesn't that album
Speaker 1: get more recognition and more, And then one of my
Speaker 1: boys told me he thinks it's because the Chronic came
Speaker 1: out the following year. I was like, yeah, maybe that
Speaker 1: has something to do with it. But hand on the pump,
Speaker 1: how I could just kill a man, Pigs, Latin Lingo,
Speaker 1: Funky Field one. There's just so many songs on that album, man,
Speaker 1: it's amazing. I'd also obviously Doggy Styles in the top
Speaker 1: ten for obvious reasons. I would say, mister don't play
Speaker 1: Everything's Working by Project Pat is in there. That's one
Speaker 1: of my favorite albums ever. Yeah, for sure, and he
Speaker 1: like eight. Like all the great gangster rappers, Project Pat
Speaker 1: shows you the downfalls of the game. It's not a glorification,
Speaker 1: it's an education or edutainment or faction, so I gotta
Speaker 1: go with that. I would always go with the Ghetto
Speaker 1: Boys grip It on that other level, slash the Ghetto
Speaker 1: Boys album because they're essentially the same, even though they
Speaker 1: have significant differences. But both of those albums I combined
Speaker 1: into one album because they're essentially the same. That album
Speaker 1: is the only time I ever remember hearing a song
Speaker 1: and it was Mine of a Lunatic that I actually
Speaker 1: the first time I heard it, I was scared I
Speaker 1: was talking about I was really I was floored by
Speaker 1: that that album Mind of a Lunatic because I could
Speaker 1: really see him doing it, like they wrote it so
Speaker 1: well and delivered it so well, and the production was
Speaker 1: so there. And I just remember coming off of the
Speaker 1: car Freak Skettle Boys, I was like, what what happened?
Speaker 1: This is crazy? I got the infamous mob deep up here.
Speaker 1: I think that one, just that whole album is pretty
Speaker 1: flawless in my opinion. Got the both and the only
Speaker 1: two NWA's albums, Brothers for Life straight out Compton. I
Speaker 1: get both those, the Chronic and Glasses, and I share
Speaker 1: an affinity for this album, probably more than most people.
Speaker 1: But easy does it. I also think it's top ten album.
Speaker 1: And then my number one album, which I think is
Speaker 1: one of the best albums period in rap history, which
Speaker 1: is my number one album for gangster rap, is Death
Speaker 1: Certificate by Ice Cube, and I think that's the most
Speaker 1: brilliant examination of it from so many different levels, from
Speaker 1: you know, alive on arrival, looking at the healthcare system,
Speaker 1: from I want to kill Sam to us to color Blind.
Speaker 1: It's really just looking at my summer vacation. Is one
Speaker 1: of the best stories I think ever in rap history
Speaker 1: and really explain the migration of gangs from the West
Speaker 1: to the Midwest especially, and I just and it blended
Speaker 1: in the political commentary, social commentary. Obviously there's a big
Speaker 1: heavy influence with the Nation of Islam on the album
Speaker 1: and Knowledge Yourself and all that stuff. But I just
Speaker 1: think that Certificate, man, you know, shout out Sir Jans
Speaker 1: and DJ Pooh, bobcat Rashad, everybody that did it. And
Speaker 1: again color Blind one of the best examinations too of everything.
Speaker 1: Just phenomenal. So that's my top ten.
Speaker 3: Yes, phenomenal, that's a phenomenal list I have mine. I
Speaker 3: was able to put a top ten together even when
Speaker 3: I was able to put the other ones in because it.
Speaker 1: Was so so many albums. There's so many.
Speaker 3: This is in no particular order, but it kind of yields.
Speaker 3: It's still kind of all over the place. Yo, wall like,
Speaker 3: disagree with you on some of these right here, but
Speaker 3: this is just my my thing, right it's my list
Speaker 3: right here. It's yours. Yep, it's yours right now. I
Speaker 3: don't know if you guys would consider the gangst the
Speaker 3: Rap album, but my number ten, I got fifty cent get.
Speaker 1: Rich of that Trying, Yeah, that was on my list,
Speaker 1: just a little higher, but yeah.
Speaker 3: Number ten, it's got that Trying the game, the documentary
Speaker 3: The Ghetto Boys, Gripping on the other level.
Speaker 1: There you go.
Speaker 3: Number seven, scar Face to Fix. Number six, we comes trapped,
Speaker 3: m Fire, The Ghetto Boys, We Can't be stopped. Ice
Speaker 3: Cube death Certificate. It's still laughing al Drad the Chronic
Speaker 3: ice Cube Lethal Injection Number one Snoop Dog Doggie.
Speaker 1: Style lethal injection.
Speaker 3: Oh no man, yeah, I can't, I got I can't.
Speaker 1: I can't ride with that one.
Speaker 3: Yeah, I can't. Man leth and Action.
Speaker 4: No man, no man, well you know what, hold on yeah, man,
Speaker 4: come on man, you I'm about to do you like
Speaker 4: Steven A's list, Man, you're about to get a d
Speaker 4: around this month.
Speaker 3: Hold on, what's wrong with Leithan Jackson with death certificate?
Speaker 3: What over Umbo?
Speaker 1: Still Mann?
Speaker 4: No, there's there's there's twenty other gangster rap album Nigga.
Speaker 4: I picked, man, I picked. I picked motherfucking above the law,
Speaker 4: living like hustlers over my fucking leitho Injection real talk, good,
Speaker 4: real talk leth injections. What's on leith Injection that's gangster
Speaker 4: to you? Tell me what name one song right now?
Speaker 4: Injection is the ship Man. You can't even name a
Speaker 4: song on that motherfucker. Go to that motherfucker album right
Speaker 4: now and tell me what's the gangster gangster ship on there?
Speaker 1: He said, you know what, what wicked on? That's not
Speaker 1: on that album? That's not on that album. That's on
Speaker 1: the Predator, that's on the Predator.
Speaker 3: I made a mistake.
Speaker 1: Predator is way better.
Speaker 3: Because I'm looking at Leithling Jackson right now.
Speaker 1: On Yes, yes you did, hold on, allow me. Ghetto
Speaker 1: Birds a great song though. That baseline on Ghetto Bird
Speaker 1: is incredible. Shout out to KDS on.
Speaker 3: Hold On made a massive era. Okay, I made a
Speaker 3: massive that I don't know what America's most wanted.
Speaker 1: Oh, okay, America's most wanting.
Speaker 3: I don't know why the fuck I was thinking about
Speaker 3: Leithing Jackson, But America's most wanting. Yes, not the ship
Speaker 3: with the bop gun on their America's most wanted.
Speaker 1: Okay, Still I think I still arrive with that certificate.
Speaker 1: But at least America's most wanted I can understand.
Speaker 3: But well, I have here actually written certificate number.
Speaker 1: Two, and the only one is better than is what
Speaker 1: dog Style Doggy Style?
Speaker 3: And that's kind of debate that was up for debate.
Speaker 3: That's why it was so hard for me to put this.
Speaker 1: For me, as brilliant as Doggie Style is story wise,
Speaker 1: conceptual wise, that certificate is just it's just a different
Speaker 1: It's just a different comparison. It's not even a comparable.
Speaker 3: Well, that's why I said this ain't the final list,
Speaker 3: and that's why I struggled with going back and forth.
Speaker 3: I just think at the time when Snoop came out
Speaker 3: with Doggy Style, because you gotta remember it from the
Speaker 3: way it came in rage on that motherfucker Busting, It's
Speaker 3: just wasn't a Snoop Dogg album. It was like it
Speaker 3: was just an introduction to the whole motherfucking coast, you
Speaker 3: know what I mean that first Yeah, but not the
Speaker 3: way that you know, Doggy style was just like a movement. Man.
Speaker 3: It was just like when it first came in. Man,
Speaker 3: it's like, all of these albums are great. I don't
Speaker 3: know how to fuck I fucked. I don't know what
Speaker 3: the fuck I was thinking about, man, But you know,
Speaker 3: you think about it right here, all these right here,
Speaker 3: like even with even when you talk about the Ghetto
Speaker 3: Boys albums like we Can't be stopped. In some ways,
Speaker 3: I like that album better than I do The Chronic.
Speaker 1: Really, I can't ride with you on that.
Speaker 4: I'm gonna say I ain't listen to Leith injection really.
Speaker 3: Well, No, Jason was a mistake that was gonna get.
Speaker 4: It's most want I got in no particular order. I
Speaker 4: just got uh Spice one one a seven, he wrote.
Speaker 4: I got the Chronic, I got NWA first.
Speaker 1: Album straight out of count.
Speaker 4: I got music to Drive by, I got Short Dogs
Speaker 4: in the House.
Speaker 1: Wait, hey, you're thinking that's a gangster.
Speaker 3: The ghetto and all of that against album. Yeah, A
Speaker 3: fifteen just just that's a great album. Yeah, it's probably
Speaker 3: it ain't nothing but a word to me. That that's
Speaker 3: that's hood ship.
Speaker 4: I got. Uh, we can't be stopped. I got gripping
Speaker 4: on the other level, I got death certificate, Doggy Style,
Speaker 4: the chronic and we come strapped.
Speaker 1: We got almost the seamless.
Speaker 3: We got pretty much. I don't know how that, man.
Speaker 3: It's all right, it's alright, you like it. No, that's good.
Speaker 3: That's not what I want.
Speaker 4: That's what we're gonna put your We're gonna pat your
Speaker 4: face and put the little top hat on you.
Speaker 3: You're gonna get around this motherfucker. I wicked. I wicked.
Speaker 3: You know how you're going through a thing. I was
Speaker 3: trying to find a list I wrote down here, but
Speaker 3: I got like a million fucking notes in this motherfucker,
Speaker 3: and I was thinking, Okay, I don't know how the
Speaker 3: fuck I thought of that. Man.
Speaker 1: It's all good. Still, it's all good.
Speaker 3: Because that was a bad mistake, yo. Now, because that's
Speaker 3: a soundtrack.
Speaker 4: Sound Yeah, I got that. We can do soundtracks. But yeah,
Speaker 4: I got a short dog in the house nigga. That
Speaker 4: bad a hood nigga. I got the eleven through fifteen,
Speaker 4: y'all was the hood man. That banged all through the hood.
Speaker 1: I think that's Short's best album. That and Life is
Speaker 1: Too Short. I always yeah, yeah, yeah, yeah those two
Speaker 1: because dude, cuss words. Oh my god, man, don't fight
Speaker 1: the feeling. It's a hard Those two are hard.
Speaker 3: But I think I like boring to Mac Nigga.
Speaker 1: Dude all he if he just put it, he just
Speaker 1: put an album eight that just had dope fiend beat
Speaker 1: and freaky tails on it.
Speaker 3: Man, man, come on, come.
Speaker 1: On, dude, just those two songs alone. But party Time
Speaker 1: that was great. Yeah, there's a lot of.
Speaker 4: Born Mac was was. It was a nice time, man,
Speaker 4: Short Dogs in the House was cracking, and and Life
Speaker 4: is Too Short, doping no more, motherfucking town. Don't fight.
Speaker 4: Everybody in the hood banged, don't.
Speaker 1: He said, Well the danger so danger Zone said, do
Speaker 1: they call you too short because you're hot? You're with
Speaker 1: this sucker behind your boss from a clip like.
Speaker 3: What these girls was banging? That was banging.
Speaker 1: That was also one of the first whispery flows too.
Speaker 3: Hold on, you want to make sure we got all
Speaker 3: the other stuffore we go, so we keep going right there.
Speaker 3: City Adupe was cracking. It was my nobody does it
Speaker 3: better was Cracking fifteen through eleven in no particular order,
Speaker 3: Easy Easy does it Brother link Shome sees An the
Speaker 3: sickness music to drive by one of these seven he wrote,
Speaker 3: and Short Dogs Mouse.
Speaker 1: Yeah, that's a that's a thorough throw list right there.
Speaker 3: Short Dogs House. I fucked live by saying some ship
Speaker 3: like Leathan Ejection, even though Leithan Ejection had some cuts,
Speaker 3: biggest records ever on that motherfucker. What was on them?
Speaker 3: Let Me See let Me was.
Speaker 1: The only really big song.
Speaker 3: Yeah, because I'm about to go here right now and
Speaker 3: that's my nigg.
Speaker 1: That was on the Predator.
Speaker 3: That was on the Predator.
Speaker 4: I like, Okay, let me tell you what was on
Speaker 4: He got some cool songs.
Speaker 1: Ghatt Bird is one of the best songs on there.
Speaker 3: He had Ghetto Borrow Ye wasn't the wapp Midway. He
Speaker 3: had you know how We Do It? Okay? He had
Speaker 3: Bob Gun, He had the motherfucker to that, How you
Speaker 3: like me now? How You're not doing? What can I
Speaker 3: do now? I liked it. I think the remixed though
Speaker 3: he had little ass g on that motherfucker. But it's
Speaker 3: not it's not deaf certificate. It's not deaf Certificate on
Speaker 3: America's Most Wanted.
Speaker 4: I think because I was, I don't know, you know,
Speaker 4: Cube was, you know, my nigga's big time. My nigga's
Speaker 4: on Hollywood sets and ship and write movies and shit.
Speaker 4: So you know, sometimes people might say your influence for
Speaker 4: the penmanship, which Cube has always been prolific when they
Speaker 4: came to penmanship.
Speaker 3: So but I think when you.
Speaker 4: Listen to records like you know, America's Most Wanted and
Speaker 4: Death Certificate, and hearing songs like fucking Once upon a
Speaker 4: time in the Projects or or fucking Steady Mobbing or
Speaker 4: my summer vacation, you know, you turn around and hear
Speaker 4: bop Gun, it kind of like throw was your flavor
Speaker 4: off a little bit because we wanted Cube to stay,
Speaker 4: you know, in the neighborhood. We wanted Cube to stay
Speaker 4: one eleven n w A straight out of Compton Qube.
Speaker 4: And sometimes niggas be feeling like, you know, I gotta
Speaker 4: say something different. You know, I've been there, done that.
Speaker 4: I'm transitioning. I'm older, family kids, so I need to
Speaker 4: make more you know music. You know, maybe maybe a
Speaker 4: little tone it down a.
Speaker 1: Little the beats too. The bop Gun, for instance, just
Speaker 1: it was, you know how we do it. They were
Speaker 1: both so smooth. They had they had the funk, but
Speaker 1: they were so smooth as opposed to America's most wanted
Speaker 1: alid will death certificate. They had that nigga to admit.
Speaker 3: Though their certificate lething exection. It's easy to see how
Speaker 3: you get the nah not at all. But when you
Speaker 3: think about titles and shit. And I was just because
Speaker 3: I was spitting my list off the top of my head.
Speaker 1: And still, man, we gave you the past. Man, don't,
Speaker 1: don't try to.
Speaker 3: Don't when you think about when you think about though,
Speaker 3: man like death certificate though, Man, just from the beats
Speaker 3: and just the whole thing, it sounded like a movie
Speaker 3: kind of.
Speaker 1: It's phenomenal.
Speaker 3: It sounded like a movie, man, you know, just even
Speaker 3: like stuff like giving up the nappy dugout. And I
Speaker 3: think that was Bobcat's last great work. Like I think
Speaker 3: he was just awesome on it. I think him, who
Speaker 3: would all of them? I think I would have liked
Speaker 3: to see the Boogieymn do more work, you know what
Speaker 3: I mean?
Speaker 1: For sure, I would have.
Speaker 3: Liked to see them do more work, Like I would
Speaker 3: have loved to see the boogie Man hook up with
Speaker 3: MC eight, Like you got all of these you know
Speaker 3: what I'm saying, Just like all of these people like
Speaker 3: like even now, like howda fucked me some Bomb Squad
Speaker 3: beats up? Yeah, yeah, I think you would have been
Speaker 3: dope over the motherfuckers. I think you'd have been dope
Speaker 3: over them and and the Boogieyman. I think that was
Speaker 3: the West Coast answer to the Bomb Squad kind of
Speaker 3: gets with those stick beefy ass baselines. His Bobcat got
Speaker 3: some of the beefiest base lines just in hip hop,
Speaker 3: just all that.
Speaker 1: Yeah, bobcasts a monster, very underrated.
Speaker 3: Bob got some beats now, man, that I know, if
Speaker 3: I know for a fact some of them beats he
Speaker 3: played me eight, maybe ten, fifteen years old, but banging
Speaker 3: like a motherfucker. He's like, I got to change the
Speaker 3: drums up. I'm like, no, you don't need to change
Speaker 3: shit in the motherfucker.
Speaker 4: And Bobcat do backyard boogie. Yes, he did motherfucker bang too.
Speaker 4: That's he's my favorite. That's your backyard. As a matter
Speaker 4: of fact, I don't know. Let me see, I get
Speaker 4: Bob Cat on the phone.
Speaker 1: You should hold on.
Speaker 3: Let me see if I get DJ Bob call on
Speaker 3: the phone. That's my big bro right there.
Speaker 1: Yeah's amazing the phone. He did a lot of great
Speaker 1: work with Park.
Speaker 4: Obviously, bobcat like nigga hit me next week. He hit
Speaker 4: the phone down.
Speaker 3: No, I talked to Bob man. You know what it
Speaker 3: is with Bob. Bob is probably sleep right now. Bob
Speaker 3: stays up at night. When I usually talk to Bob,
Speaker 3: it's at nighttime. Okay, it's at nighttime. He says. Still,
Speaker 3: I'll call you back. And I talked to him like
Speaker 3: at one o'clock in the morning and some shit like that.
Speaker 1: Gotcha. Yeah, he's He's an all time great. That doesn't
Speaker 1: get enough.
Speaker 3: Bob is a phenomenal fucking producer. And that's why I
Speaker 3: get mad at him. Yeah, that's why I get mad
Speaker 3: at him. You know, he got a lot of the problems.
Speaker 3: A lot of the old school cats got there to
Speaker 3: where they think it's like back in the day, to
Speaker 3: where they hold on and shit and just wait for
Speaker 3: that perfect moment. Well I gotta have this. I'm like, dude,
Speaker 3: them six months rollouts ain't happening no more like remember
Speaker 3: the nine of Day roll out eight you would be
Speaker 3: doing this and that you need the street single to
Speaker 3: set this up and all that and all that you're
Speaker 3: not doing that used to put that ship out now, Yeah,
Speaker 3: the the the workings of.
Speaker 4: Putting out a record and the whole transition of the
Speaker 4: setup and you know, the promo tours and going around
Speaker 4: the country and hitting the end stores and you know,
Speaker 4: those days are gone. You know a lot of records,
Speaker 4: a lot of mom and pops are closed. You know
Speaker 4: a lot of one stops are closed. Motherfuckers rely on
Speaker 4: you know what they what they stuck to most of
Speaker 4: now and that's your phone.
Speaker 3: You get me, So it's it's it's easier for motherfucking nowadays.
Speaker 3: You get me. I can make a.
Speaker 4: Song in my living room and then upload it somewhere
Speaker 4: and you know the record stores now or the streaming sites.
Speaker 3: You get me. And how do you how do you
Speaker 3: how do you get that? How do you promote that?
Speaker 4: Well, you buy spots and you buy this, and you
Speaker 4: know you buy that, or you know, we can we
Speaker 4: can double your page with fans. You pay for this
Speaker 4: and you pay for that. You know, that's the that's
Speaker 4: the successes of the record business nowadays. You know, I
Speaker 4: miss the days of where you know, you would have
Speaker 4: to go and connect with the fans and in stores
Speaker 4: and you know, even even the corporate fucking bullshit where
Speaker 4: you have to go to the towns and go up
Speaker 4: to the fucking the court the label in Tennessee, or
Speaker 4: go up to the label in Atlanta, or you know.
Speaker 3: It was just you got to see you got to
Speaker 3: see the.
Speaker 4: Grind of your work. And especially for somebody like me
Speaker 4: who grew up in the hood, you know, who didn't
Speaker 4: venture out of the hood too much. You know, it
Speaker 4: gave you a chance for a person who didn't have
Speaker 4: those opportunities to go away to college or you know,
Speaker 4: do whatever.
Speaker 1: So what was one of your biggest markets that you
Speaker 1: didn't realize till you actually went there?
Speaker 3: Man?
Speaker 4: Shit, it was a few of those places, depending on
Speaker 4: you know, during that run of between straight checking them
Speaker 4: and we come strapped. I could go just about shit,
Speaker 4: any place outside of La you get me. I could
Speaker 4: go up north the Frisco. It'd be a thousand people
Speaker 4: waiting outside for sign autographs. I could go down to Texas, Dallas, Houston,
Speaker 4: it'd be people around the block waiting to get autographs
Speaker 4: and buy the new CD that just came out.
Speaker 3: Chicago was always Yeah, Midwest always been big on West
Speaker 3: Coast games. Detroit. I mean we used to hit like
Speaker 3: I would go from here.
Speaker 4: We would pop up the Frisco, then we would pop
Speaker 4: up the Seattle. Then we would bounce down the Arizona,
Speaker 4: then go across the Dallas, Houston, shoot up the motherfucking Denver,
Speaker 4: jump across somewhere to like Saint Louis, then bounce up
Speaker 4: the motherfucking Cleveland, Chicago, Detroit, fucking you know all of
Speaker 4: those spots, jump over the motherfucking Washington to Philly, then
Speaker 4: come down to New Jersey and then roll on into
Speaker 4: New York. That was a standard promo tour for me.
Speaker 3: You know what's funny, man, I always notice, Man, it's
Speaker 3: like the DMV, the DMV from the DMV on up
Speaker 3: to like that Ohio, Detroit. Yeah, that was my run.
Speaker 3: Didn't much Detroit.
Speaker 4: We didn't much do down south like we would get
Speaker 4: to like we would get to maybe as far as
Speaker 4: sometime New Orleans and then we would cut up. We
Speaker 4: wouldn't go across like the Georgia's, the Mississippi, Texas. I
Speaker 4: did all I did, Houston, I did Austin, I did Dallas,
Speaker 4: I did even we would even do Galveston.
Speaker 3: Yeah, but Texas has always listened to like West Coast
Speaker 3: gangster rapt and you could tell kind of their music
Speaker 3: because even on the school tapes he was threw like, yeah,
Speaker 3: he would use a lot of our music. See like
Speaker 3: you know what I'm saying, his favorite artists. Yeah, that's
Speaker 3: what I'm saying. So it was always like that. Like
Speaker 3: even when you think about the Ghetto Boys, it's almost
Speaker 3: like they was Jay Prince's answer to the n w A,
Speaker 3: because they damned it came out, you know, almost the
Speaker 3: same time when you think about the original incarnation maybe
Speaker 3: a few years later, four years later, the same time.
Speaker 1: I remember car Freaks is even before them, but it
Speaker 1: was different. They were very different.
Speaker 3: Jay Prince want a gangster ship.
Speaker 1: He wanted to remember, he was trying to have. He
Speaker 1: wanted Raheem to be his LL cool J. Remember the
Speaker 1: Vigilanni right, I remember, Yeah, that was his LL cool J.
Speaker 1: He even had the red Kango on the cover, if
Speaker 1: you'll remember that. Back in the day, m h the
Speaker 1: Vigilanti ra Vigelini.
Speaker 3: You know, I was talking to Willie D right, and
Speaker 3: I was talking to Homie Willy D. And I asked him.
Speaker 3: I said, hey, man, when we do the Top fifty show,
Speaker 3: because I want I'm gonna have people call in, and
Speaker 3: I want to have people call in, you know, different rappers.
Speaker 3: And he said, well, where are we at in the
Speaker 3: list now? He said we number one? I said, man,
Speaker 3: I don't know y'all number one when in my book?
Speaker 3: He said, if we ain't number one, I don't want
Speaker 3: no second place. I don't want no third place for it.
Speaker 3: I said, Dog, it's the top fifty hip hop albums
Speaker 3: all the time. I don't give a fuck we ain't
Speaker 3: number one. I don't want to deal on it. He said,
Speaker 3: I'll do the show, but we can't call it nothing
Speaker 3: for that. Willis shout out to my homeboy. Will did
Speaker 3: Willie did a good due him and Brad both Yes, Sir,
Speaker 3: Willie Die is the hummy though Willie D is probably
Speaker 3: when you talk about underrated people, Willie D don't have
Speaker 3: some of the coldest raps. Dog, and he's never he
Speaker 3: ain't never mentioned on the shit. Think about reading these nikes. Dog,
Speaker 3: Here we go again, another brawl the conflict. Somebody finna
Speaker 3: get the ass kick If you ain't down with the
Speaker 3: ghetto boys, get your happy gas out of dogs. The
Speaker 3: rumors you heard ain't slander Willie D. Don't give a
Speaker 3: fuck about the goddamn by a standard so we can
Speaker 3: see if he clinched my fists. Get out the way,
Speaker 3: get trolle, bitch. That motherfucker was hard dog.
Speaker 1: Yes he is.
Speaker 3: He was hard man a different flame versus man.
Speaker 4: That's all you people have their favorite tis a month
Speaker 4: who you know when it comes to the ghetto boys,
Speaker 4: all three was cool to me and homies. I build
Speaker 4: a better relationship with Scarface, but they were all cool
Speaker 4: to me. Motherfuckers have their preferences, you get me.
Speaker 1: I think the Controversy is one of the best album
Speaker 1: covers too.
Speaker 3: Ever, yeah it was man controversy album covers back in
Speaker 3: the day. You know what. Speaking the back of the day,
Speaker 3: I wanted to ask, man, if you notice in the nineties,
Speaker 3: from the nineties, for a long time, we always had
Speaker 3: a summertime anthem. It ain't been one of those in
Speaker 3: hip hop in a minute, man, like you know, just
Speaker 3: think about it. Even when you had will Smith the summertime,
Speaker 3: you know, summertime you had all these big records, like
Speaker 3: what was your record all for the money? That came
Speaker 3: out that was a big summer record. All of the money.
Speaker 3: You just had songs that just played through the summer. Man,
Speaker 3: it's like, I wonder sometimes what's happening with hip hop?
Speaker 4: Man?
Speaker 3: Like I get work sometimes, Well.
Speaker 4: There's too much variety and it's too much. It's too much.
Speaker 4: Whatever you've done for me lately. You put out a
Speaker 4: song today, nigga hit me. I can put out a
Speaker 4: song today, A nigga gonna hit me and be like
Speaker 4: that motherfucker was hard. Two days from now, nigga gonna
Speaker 4: be like what else you got?
Speaker 3: Yeah, the music cycle is too short. Then what happened?
Speaker 3: And that that's I feel. That's because.
Speaker 4: It's a billion niggas now and when you got shipped
Speaker 4: like streaming sights to where Okay, they play this song
Speaker 4: one second and then now you're on this artist this second,
Speaker 4: Then you're on this artist this second. Motherfucker's attention span is.
Speaker 3: That's what artists. I noticed the way artists release albums now,
Speaker 3: especially the Newcats. They release the album right then they'll
Speaker 3: drop a single, then they drop another single, then they
Speaker 3: drop another single, they'll drop another album. So you look
Speaker 3: up the year they don't drop like ten to fifteen
Speaker 3: fucking album to where the whole course of your career,
Speaker 3: if you was lucky, you got to get three Yeah, lucky,
Speaker 3: if you were lucky. Yeah, if you was lucky, you
Speaker 3: got to get three albums.
Speaker 4: The power of that's the power of self promotion and
Speaker 4: self you know doing right now? Yeah, because yeah, nigga,
Speaker 4: I'm gonna do fifteen songs and then two days later,
Speaker 4: I'm gonna go just running the studio and do another song,
Speaker 4: and I'm gonna drop that motherfucking tomorrow as a single.
Speaker 4: And then two days from now, I'm gonna run to
Speaker 4: the studio and do another song, and then tomorrow I'm
Speaker 4: gonna drop that motherfucking single.
Speaker 3: You know what. I was talking to one of the
Speaker 3: little homies, right, not little homie very much grown man,
Speaker 3: but Jeeperica, right, And I was talking to him. He
Speaker 3: was like, yeah, I'm gonna go get back and recording
Speaker 3: his album, right, And I was like, damn, you just
Speaker 3: dropped the album, but he's putting out another one. I
Speaker 3: guess in the way to climbing the else today with
Speaker 3: that streaming, because motherfucker's attention span, like I.
Speaker 4: Said, so fast, It's like you got the album today
Speaker 4: and by next week, a nigga want you to drop
Speaker 4: another album causeiggs turned your content, just.
Speaker 3: Like how we do this podcast, Albums have turned into
Speaker 3: fucking content, man, where motherfucker's just okay, I'm gonna go
Speaker 3: record an album and before you know, I know when
Speaker 3: I was recording, I always want to have a theme,
Speaker 3: like a story to my shit.
Speaker 4: I just didn't go ahead and get recorded a bunch
Speaker 4: of songs, right, That's me. I like to have a
Speaker 4: tight or a subject, a theme or something. I don't
Speaker 4: just like to he put the beat on and I'm
Speaker 4: just gonna start rapping about anything. I hate doing that shit.
Speaker 4: So I like the vibe to the music and come
Speaker 4: up with some kind of concept first, and then once
Speaker 4: I do that, the shit kind of easy for me.
Speaker 4: Once I come up with that first five words and
Speaker 4: shit of whatever that concept or that story is gonna be,
Speaker 4: usually it just flows after that. But I don't like
Speaker 4: just getting in there and they put the beat on
Speaker 4: and the next thing you know, I'm I'm just rapping
Speaker 4: about any dang and shit.
Speaker 1: But that's a lot of just rapping the rep that's.
Speaker 3: What they call it.
Speaker 4: They call it freestyling today you know, back in our days,
Speaker 4: freestyling was you know, but today you can have a
Speaker 4: whole song and they could talk about nothing, just a
Speaker 4: gun bunch of shit.
Speaker 3: And that's free styling today, Yeah it is. And you
Speaker 3: know what, man, I think was hurting the key today,
Speaker 3: not the sounds like the Olderman old head. But you
Speaker 3: gotta remember, some of the greatest hip hop albums had
Speaker 3: producer clicks, or it was just like one person over
Speaker 3: see it, or they had situations to where it might
Speaker 3: have been three or four cats, but they was all
Speaker 3: working in concert with each other like ten albums. Yeah,
Speaker 3: I think that's what made three six Mafia so great
Speaker 3: because to me, Juicy J and DJ paul are probably
Speaker 3: one of, if not the greatest production tandem of all time.
Speaker 3: They gotta be damned to mention in the top three.
Speaker 3: Them dudes are phenomenal fucking producers. And I don't never
Speaker 3: hear them get their credit because they kind of invented
Speaker 3: the mephis sound.
Speaker 1: Well they uh stamped it.
Speaker 3: They definitely stamped it. And I know, you know, you
Speaker 3: hear a lot of artists like I hear Crunchy Black
Speaker 3: talking about paul O him money, but without them beats
Speaker 3: and out Crunchy Black. You my god, man, I love
Speaker 3: you to death. But without them DJ Paul and Juicy
Speaker 3: j beats, I don't know if the stuff would have
Speaker 3: been hidden like that. I mean, and I like Crunchy Black.
Speaker 3: Crunchy Black is the homie you don't be on the
Speaker 3: show and everything else, but.
Speaker 1: You gotta have the beats, man.
Speaker 3: The producers are very important, and a lot of them.
Speaker 3: You know, three six Mafia went through a lot of members, right,
Speaker 3: they went through a whole lot of members. But the
Speaker 3: one thing that remained the same, what made that group
Speaker 3: what it was wered DJ Paul and Juicy Jay's beats.
Speaker 3: Them motherfuckers are incredible, man, and me being a producer,
Speaker 3: dude to make beats, some of them samples, and the
Speaker 3: way they flipped them, like even their riding spinners, the
Speaker 3: way they chopped that ship up because they had to
Speaker 3: be shopped, because that original groove don't go like they
Speaker 3: made that group that du du du du dum dumb
Speaker 3: dumb dump dump dum dumb. Just with they do is
Speaker 3: it's not easy, not at all.
Speaker 1: It's not easy, and they did it hundreds of times.
Speaker 3: That's what I'm saying, Man, you know, and they've taken
Speaker 3: the same sample and made multiple hit records out of it,
Speaker 3: and all the motherfuckers sound different.
Speaker 1: They've done that multiple times too. They flipped it, they
Speaker 1: flipped chop strip, blend, all kinds of different things.
Speaker 3: Yeah, they're good song writers. Too many had they had
Speaker 3: it going on, man, they had this ship. They definitely
Speaker 3: some of my favorites. Man, I know in this top
Speaker 3: fifty list, they gotta they gonna wind up probably with
Speaker 3: more than one representation on there.
Speaker 1: Project Pad mister don't play. That's that's the one.
Speaker 3: Yeah, And you know what, he's one of them dudes.
Speaker 3: Like we mentioned Rick Ross earlier off the thing, He's
Speaker 3: one of them dudes that just seemed like he just
Speaker 3: get fucking better. Man. I heard him on some shit,
Speaker 3: even on the Drake shit he'spassed on there, besyrup like
Speaker 3: his lick up catching up the guy quicker.
Speaker 1: Yeah, No, he's he's uh, he is a true master
Speaker 1: of the game. Project pat Height.
Speaker 3: You know what, this is something I always wanted to
Speaker 3: ask you, my nigga, And it's a tripping because I
Speaker 3: can actually ask you now. You had a very distinct
Speaker 3: sound like your shit was almost like you almost like
Speaker 3: the Clive Barkway rap. All your shit was always ominous,
Speaker 3: like like like a motherfucker creeping Like I forget what
Speaker 3: song was that. Man, they had this like horn in
Speaker 3: there like in the background. It was like and then
Speaker 3: it went to it like this piano break toward the end.
Speaker 3: I forget which albue was on and when the piano
Speaker 3: and it sounded real cinematic and had the strings coming
Speaker 3: in and shit, man ate shit always sounded like a
Speaker 3: movie like motherfucker's creeping. Your music always sounded like one
Speaker 3: big ass drive by, Like I just pictured motherfucker's load nay,
Speaker 3: motherfucking magazines up and shit and just creeping on the motherfucker.
Speaker 3: Was that an intentional Yeah? I never tried to. I
Speaker 3: left the.
Speaker 4: Uptempo party and rapping to everybody else. I want to
Speaker 4: just tell stories with my shit, And I thought the
Speaker 4: best way to paint the picture of the lifestyle of
Speaker 4: what I was going through was by like scoring fucking
Speaker 4: movies and those shows. You know, you always get to
Speaker 4: a certain part of the movie or the show where
Speaker 4: that sinister music comes in and they're showing you, you know,
Speaker 4: the killer or the motherfucker's getting ready to rob the
Speaker 4: bank or you know what's taking them to that desperate
Speaker 4: situation of what they have to do, whatever it is.
Speaker 4: And that's how I tried to describe my music was
Speaker 4: growing up in the neighborhood. You know, niggas kicked it
Speaker 4: and you know, neighborhood good parties and shit like that.
Speaker 4: But it was always sinister to me. You know, y'all
Speaker 4: look over your back and the lights go out. You
Speaker 4: don't know who creeping down the street. Who's gonna die today?
Speaker 4: You know what we gotta do to make some money.
Speaker 4: You know, life ain't always good at home and shit
Speaker 4: when you're growing up in Compton and poverty and not
Speaker 4: even on movie shit just looking at you know, just
Speaker 4: everyday scene of you know, shoot.
Speaker 3: Nigga made it home today. You get me.
Speaker 4: That's what you went through on a daily thirteen fourteen
Speaker 4: years old. So when it was time for me to
Speaker 4: and I was always a fan of movies, you know,
Speaker 4: gangster movies, killer movie, whatever it be, whatever. I was
Speaker 4: always a fan of that part where the police chase
Speaker 4: get ready to start, or the killers bust into the
Speaker 4: room and shootout starting. You always hear that music, you know,
Speaker 4: that build up, so I always wanted my music to
Speaker 4: be you know, my soundtrack to the streets, and I
Speaker 4: always just felt like, ain't nothing fun over here. You know,
Speaker 4: niggas made fun records, you know, party records.
Speaker 3: You know.
Speaker 4: My nigga Snoop had us grooving like a motherfucker. You know,
Speaker 4: Cube had Cube had us grooving on a couple of songs.
Speaker 4: My nigga Mac had us grooving on songs. Get me,
Speaker 4: I didn't want to groove you get me. I didn't
Speaker 4: want to groove because I didn't feel I didn't feel
Speaker 4: groove like. I didn't feel that like it was hell
Speaker 4: growing up. And that's how I felt in my music. Yeah,
Speaker 4: we're making at money and shit like that, but I
Speaker 4: didn't start I didn't start enjoying that until I got
Speaker 4: out of content because my first three records, I was
Speaker 4: still there. So all my music was like, nigga, niggas,
Speaker 4: is y'all having fun?
Speaker 3: Cool?
Speaker 4: Homie got shot at last night or I still got
Speaker 4: pulled over and nigga I got two records out, Nigga,
Speaker 4: I'm handcuffed in the back of a sheriff car right now.
Speaker 4: That's how that was still going on for me. So
Speaker 4: every time it was time for me to make music.
Speaker 4: I wanted to make that hard hitting point music like
Speaker 4: Nigga the Homie high on sharm On Stick Jo made
Speaker 4: a cool song about sharm Stick. But I'm telling you,
Speaker 4: fuck this shit. The homie shurm doubt and we don't
Speaker 4: know who Finna come blasts on us and the police
Speaker 4: done pulled up. It's like nothing was fun for me
Speaker 4: growing up gang banging and being in the hood. It
Speaker 4: wasn't you know at the days of yeah, we kicking it,
Speaker 4: niggas is barbecuing and we at the park and shit,
Speaker 4: but it was always on high alert. Nigga come through
Speaker 4: here at any time to shoot this motherfuck up. That's
Speaker 4: what I always thought about. So let me go home
Speaker 4: and write a song about that. You get me, or
Speaker 4: I didn't go home and write a song about Yeah.
Speaker 4: We was at the picnic today and niggas was kicking
Speaker 4: it and the bitches was good.
Speaker 3: Nigga.
Speaker 4: I went like, yeah, Nigga, we had a pic nick
Speaker 4: Nigga and the enemy came through and then the one
Speaker 4: times this and Nigga, Nigga the homie got shot. Now
Speaker 4: we finish attend the funeral. Fucked that fucking barbecue we
Speaker 4: was at. That's what I wrote about because I've seen
Speaker 4: that shit on. It was on a daily and if
Speaker 4: it wasn't happening over here, a damn show was happening
Speaker 4: around the corner in the homies hood.
Speaker 3: Exactly what that song sound like, because it sounds like
Speaker 3: a sound was sinister, man, and it's sinistor like this
Speaker 3: one like horn comes in like.
Speaker 4: And then I used to you know, just I used
Speaker 4: to listen to that that groovy type of shit, you know, uh,
Speaker 4: sugar free fucking you know, I used to listen to
Speaker 4: all type of groovy ass motherfucking those sinister songs like.
Speaker 3: I didn't listen to shit like a very dark individual. Dog. Yeah, man,
Speaker 3: I was is dark here. You don't like the joke.
Speaker 3: You don't like that ship? You want a joke? Man,
Speaker 3: Fuck that ship. Nigga.
Speaker 4: I'm like the nigga that walk in and everybody partying
Speaker 4: and chilling and eating, and then you look over in
Speaker 4: the corner and I'm standing over there like and they.
Speaker 3: Like, baby, get you something to eat?
Speaker 4: You don't want I'm standing up looking at everybody like, no,
Speaker 4: I'm good, I'm good.
Speaker 3: It was like that ship.
Speaker 4: You could be your own family members, your cousins and everything.
Speaker 4: They like, Hey, hey, what's that? What's up with the movies?
Speaker 3: Since since we're doing movies in two thousand t twenty four, Man,
Speaker 3: I can't come to you with no comedies then, I mean, shit,
Speaker 3: that's motherfucking you know.
Speaker 4: Times have changed, man, I'm I'm I'm a little more open,
Speaker 4: I'm a little more relaxed, and shit, I ain't worried about.
Speaker 4: You know, you go through different shits when you when
Speaker 4: you and your motherfucking twenties and teens and as a
Speaker 4: parent as opposed to you know, going through life and
Speaker 4: seeing that you know, you can take yourself out of
Speaker 4: those negative equations and shit, you know, So that's what
Speaker 4: you learn to do. That's what I learned to do.
Speaker 4: So you know, I can make whatever kind of music
Speaker 4: right now. But like I said, growing up, I saw
Speaker 4: a different light. I saw a different aspect as far
Speaker 4: as you know, the streets is concerned.
Speaker 3: My shit was.
Speaker 4: My shit was gory, Brother Lynch hung every day you
Speaker 4: feel me like that, That's that's what my life was.
Speaker 4: It wasn't And like I said, we had fun. We
Speaker 4: got to go to Magic Mountain and Disneyland, and shit
Speaker 4: like that sometimes when we forward the ship. But yeah,
Speaker 4: we would it would fight that Magic Mountain and shit
Speaker 4: like that, you know. But I remember one time we
Speaker 4: went up there and the police wouldn't let us, you know,
Speaker 4: they knew we was crips, and they said it was
Speaker 4: blood day at Magic Mountain. Wow, And they wouldn't let
Speaker 4: us even go in. No bullshit, really, no bullshit. Me
Speaker 4: and a gang of the homies or something and the
Speaker 4: ladies went up to Magic Mountain and the motherfucking sheriffs
Speaker 4: they used to have to share something.
Speaker 3: Sheriff said, it's blood that y'all can't come in here. No,
Speaker 3: they probably saved yo.
Speaker 4: They go, my mama, they did, They told us, you know.
Speaker 4: And that was back when niggas was like nineteen and twenty.
Speaker 4: Niggas was knuckleheads and ship.
Speaker 3: Yeah, you know, before we get up out of here,
Speaker 3: we go actually drop this top fifty list next week,
Speaker 3: and it's gonna be a little bit different. We go
Speaker 3: do it big.
Speaker 1: I got some calls set up, man, I'm looking forward
Speaker 1: to that.
Speaker 3: I got some, you know, some surprises, man, some surprise,
Speaker 3: got surprises, some surprise calls, A few of them, A
Speaker 3: few tricks up my sleeve. Before we get up out
Speaker 3: of here, man, I want to give a shout out
Speaker 3: to the spot we record at the Coin Academy, Man,
Speaker 3: the Homy maker, go mac all them dudes, man, good
Speaker 3: cats Man, for sure coin got some good shit going on.
Speaker 3: Rest in peace, my nigga, layload man, Yeah exactly, legend
Speaker 3: shout man show and we out of here. Well. That
Speaker 3: concludes another episode of the Gainst the Chronicles podcast. Be
Speaker 3: sure to download the iHeart app and subscribe to The
Speaker 3: Gangster Chronicles podcast For Apple users, find a purple micae
Speaker 3: on the front of your screen, subscribe to the show,
Speaker 3: leave a comment and rating. Executive producers for The Gangster
Speaker 3: Chronicles podcasts of Norman Stelled, Aaron M. C a Tyler.
Speaker 3: Our visual media director is Brian Whatt, and the audio
Speaker 3: editors tell It Hayes. The Gangster Chronicles is a production
Speaker 3: of iHeart Media Network and The Black Effect Podcast Network.
Speaker 3: For more podcasts from iHeart Radio, visit the iHeart Radio
Speaker 3: app Apple podcasts wherever you're listening to your podcasts