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