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