January 22, 2024 • 51 mins
Glasses Malone discuss the impact and legacy of the talented late great Nate Dogg. Nate was so serious in his craft he never cracked a smile in a music video. Joining the conversation is usual suspects Peter Bas and Deuce Mac (1/2 of LA Giants). Tune in and join the conversation in the socials below.
"Please make sure you order a copy of my new album, Cancel Deeez Nutz OUT NOW!!" - the loc
Rate, subscribe, comment and share.
Follow NC on IG
feat Deuce Mac (IG: @deucemac_lagiantz)
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
What's up?
Speaker 2 (00:02):
And welcome back to another episode of No Sinner's Podcast
with your hosts Now fuck that with your load glasses.
Speaker 1 (00:08):
Malone Irish whiskey very all. Yeah, I got the.
Speaker 3 (00:20):
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.
Speaker 4 (00:33):
But it's better than the regular bottle, so right, So
why do.
Speaker 1 (00:38):
You drink Irish risky versus like a Scottish whiskey like
a Scotch.
Speaker 3 (00:43):
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.
Speaker 1 (00:55):
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.
Speaker 4 (01:17):
Yeah. And then you've got Canadian whiskey, and I guess
Japanese whiskey.
Speaker 1 (01:20):
What is Japanese whiskey?
Speaker 4 (01:22):
It's just like other whiskeys. It doesn't have.
Speaker 1 (01:27):
Is that, It's just that is definitely.
Speaker 4 (01:31):
Not in that case. Fire one up.
Speaker 1 (01:37):
And what about Canadian whiskey? I see uh Sam's club
sales Canadian whiskey.
Speaker 4 (01:43):
Yeah, like Crown Royals Canadian whiskey.
Speaker 1 (01:45):
Okay, Bourbon is like.
Speaker 3 (01:49):
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.
Speaker 1 (01:59):
And what the fun does that mean that somebody who
don't drink when something is dry?
Speaker 4 (02:03):
When something is dry, it means it's not sweet.
Speaker 1 (02:09):
Do you drink whiskey? Like, do you drink whiskey at all? Duce?
Speaker 4 (02:12):
Is that your shit? Hey?
Speaker 5 (02:14):
You know I do. I don't go as fuck? Do you?
Speaker 1 (02:17):
Are you into it that deep?
Speaker 5 (02:19):
No? No, just give me some koliac on me. I'm straight.
Speaker 4 (02:26):
Oh.
Speaker 3 (02:26):
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.
Speaker 5 (02:45):
How much it's in the US now?
Speaker 4 (02:48):
Oh it is okay. Yeah, I don't know if they
snuck it off a boat at the port.
Speaker 5 (02:51):
That's even good though.
Speaker 1 (02:53):
That that shit tastes.
Speaker 5 (02:54):
It's like you smell alcohol when you fuck with that shit.
Speaker 4 (02:58):
Yeah. I never liked it. I just knew it was popular.
It's like the shardonay of Konyak.
Speaker 2 (03:03):
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.
Speaker 4 (03:16):
Yeah, they got at like eighty nine bucks. Classes.
Speaker 3 (03:18):
I say the shardon Nay of Kgnak because it's like
I think it's skinless grape.
Speaker 1 (03:25):
Oh that's why, Yeah, that's why.
Speaker 4 (03:27):
It's all white.
Speaker 1 (03:28):
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
(03:51):
it's crazy. Cavasi ain't remind me of brandy. Well, remember
all kinds I don't know.
Speaker 2 (03:58):
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.
Speaker 4 (04:13):
It's a great vodka. It's a great vodka.
Speaker 1 (04:18):
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.
Speaker 4 (04:28):
There's also Armagnac, which is like Koonyak, but it's the
region next door that has its own brand.
Speaker 1 (04:34):
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.
Speaker 4 (04:52):
It's Champagne for the sparkling wine, the.
Speaker 1 (04:54):
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.
Speaker 5 (05:07):
But ship.
Speaker 1 (05:07):
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.
Speaker 3 (05:30):
Gotta it's got to be like XO or beyond in
the in the brandy world to really for it to
be good.
Speaker 4 (05:44):
You know what I mean, if you like, if you're
not spending.
Speaker 5 (05:46):
One hundreds, yeah, it's x so it is smoothie, yeah,
you know.
Speaker 3 (05:51):
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.
Speaker 4 (06:04):
Hennessy is a third of the price.
Speaker 1 (06:08):
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
(06:30):
like they charge your storage feet.
Speaker 3 (06:32):
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
(06:54):
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.
Speaker 4 (07:05):
That's a bit of our game.
Speaker 1 (07:06):
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.
Speaker 4 (07:12):
You could, It's just fucking hard.
Speaker 3 (07:13):
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,
(07:34):
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.
Speaker 1 (07:46):
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.
Speaker 3 (08:05):
Man, Ducemack got one of the hardest, best microphone voices
in the industry.
Speaker 4 (08:11):
I wish I had a voice like his.
Speaker 6 (08:12):
He owe that shit to Newport. He to cut Newport Man.
Newport didn't do my voice as well, but it was.
Speaker 1 (08:23):
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,
(08:43):
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.
Speaker 5 (08:53):
I've been smoking weed lately, though, that's not smoking.
Speaker 4 (08:56):
Your voice is gonna sound like Frank Sinatra. You're not
gonna have that cache no.
Speaker 1 (08:59):
More to aid Kendricks from the Temptations.
Speaker 4 (09:12):
That up.
Speaker 1 (09:14):
Now what you said, Pete was taking it out like
maybe a pot about it. What was you asking me about?
Speaker 3 (09:19):
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
(09:41):
was a significant, you know, jazz.
Speaker 4 (09:43):
Footprint in l A. For a long time.
Speaker 3 (09:45):
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.
Speaker 1 (09:58):
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
(10:18):
personality musically, right, which is funk. Right. We adopted that
in hip hop. That's our personality.
Speaker 5 (10:26):
Right.
Speaker 1 (10:27):
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
(10:48):
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
(11:10):
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
(11:30):
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,
(11:52):
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.
Speaker 3 (12:06):
Like a good toime.
Speaker 1 (12:07):
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.
Speaker 3 (12:18):
Sure, But the bpms on like like what was the
cash money bpms or like that time, what's.
Speaker 4 (12:26):
The name of that style that all that game?
Speaker 1 (12:29):
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
(12:50):
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
(13:12):
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
(13:36):
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
(13:59):
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.
Speaker 4 (14:08):
Is faster, not the style, just the phonics.
Speaker 5 (14:12):
So to spit you know.
Speaker 1 (14:13):
What, I'm talking about Duce.
Speaker 5 (14:16):
Yeah, man, you know what I don't. Man, you know,
only listen to what I feel like listening to. Sure, Sure, but.
Speaker 1 (14:24):
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.
Speaker 3 (14:45):
Like in the car West Coast beats could hit on
an eight. You need a fifteen for an ATL beat.
Speaker 1 (14:50):
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
(15:12):
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,
(15:36):
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
(15:57):
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
(16:20):
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
(16:41):
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
(17:04):
frequency rainbow is not all the colors.
Speaker 5 (17:07):
It's really only really.
Speaker 1 (17:10):
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
(17:33):
the average everyday person can hear that they can feel it.
Speaker 4 (17:39):
Are there examples off the top of your head of.
Speaker 3 (17:41):
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.
Speaker 1 (17:53):
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
(18:15):
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.
Speaker 4 (18:35):
All the ones that didn't sound like super G funky.
Speaker 1 (18:39):
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.
Speaker 4 (18:49):
Mean, no, no, no.
Speaker 1 (18:54):
That's Donny Hathaway.
Speaker 4 (18:56):
I'm super l A.
Speaker 5 (18:58):
Yeah, he did.
Speaker 1 (18:59):
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
(19:21):
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?
Speaker 4 (19:45):
You know Kenny Kenny was his name, right?
Speaker 3 (19:48):
Who who the originally did that song?
Speaker 1 (19:51):
Michael McDonald McDonald's right, I get them McDonald from the
Doobie Brothers.
Speaker 4 (19:56):
So yeah, like.
Speaker 1 (19:59):
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.
Speaker 5 (20:23):
The only one that's poty record. It's kind of funky
that's true.
Speaker 1 (20:29):
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.
Speaker 5 (20:46):
So you never lose it.
Speaker 4 (20:48):
And Nate wasn't kind of a higher octave on that.
Speaker 1 (20:50):
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
(21:13):
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.
Speaker 3 (21:27):
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.
Speaker 1 (21:38):
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
(22:00):
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.
Speaker 5 (22:14):
Yeah, it was like more church boy.
Speaker 1 (22:16):
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
(22:40):
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
(23:02):
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.
Speaker 7 (23:16):
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.
Speaker 1 (23:32):
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?
Speaker 2 (23:46):
Did you seen that nigga on one of them documentaries
backing on a nigga or something?
Speaker 1 (23:50):
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
(24:12):
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.
Speaker 2 (24:23):
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.
Speaker 1 (24:41):
I would so trouble.
Speaker 3 (24:46):
Maybe because he was upset that he just couldn't find
the right matching beads for the baseline just just.
Speaker 4 (24:54):
Threw him into a permanent funk for years.
Speaker 1 (24:57):
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,
(25:17):
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
(25:38):
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.
(25:59):
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
(26:22):
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
(26:42):
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
(27:02):
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
(27:26):
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
(27:47):
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
(28:11):
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
(28:31):
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
(28:53):
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.
Speaker 5 (29:08):
Let's do something like.
Speaker 1 (29:10):
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
(29:31):
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
(29:53):
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
(30:16):
so the world could have something that it's never had.
Speaker 4 (30:20):
Sure, yeah, that only makes sense. I mean there's a
lot of it.
Speaker 3 (30:24):
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.
Speaker 4 (30:38):
So yeah, you got it.
Speaker 3 (30:40):
You know, innovate in a combination kind of fashion. That's
the way technologies, even outside of music tendo usually work.
Speaker 1 (30:50):
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.
Speaker 3 (31:06):
Now we feel it's been a lot of impossible burgers
the last few years.
Speaker 1 (31:09):
It is for real.
Speaker 5 (31:12):
It's a good comparison Bush.
Speaker 1 (31:15):
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.
Speaker 3 (31:29):
The l a almost kind of like what the the
carnates cider burger or whatever?
Speaker 1 (31:34):
Is that a real burger.
Speaker 4 (31:38):
That might be Yeah, I've seen some stuff. Yeah, there's
some stuff.
Speaker 1 (31:41):
The carne side of burger.
Speaker 5 (31:42):
Do what. I know.
Speaker 4 (31:46):
It's kind of think there's there's there's there's a burger
that I've seen this.
Speaker 2 (31:49):
You's not meaning like you're talking about like tortous, no colosso,
no carne, no, you know, like a.
Speaker 5 (31:58):
Burger with cornea inside of attitude might be crazy. You know,
they gotta you.
Speaker 2 (32:02):
Know, they got a burrito in La where it's corny
and sada in a.
Speaker 1 (32:07):
Pastrami corny inside of pastami. Yep, I never had. What
we have to do is.
Speaker 2 (32:15):
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.
Speaker 5 (32:26):
What they said about it, mother fuck about twenty dollars.
Speaker 2 (32:29):
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.
Speaker 5 (32:39):
That's well, I'm gonna do this for it.
Speaker 1 (32:41):
I sound like a heart attack.
Speaker 2 (32:43):
I can't even his I don't think of nothing. I
can't find a logical reason to eat that shit.
Speaker 1 (32:48):
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
(33:09):
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.
Speaker 5 (33:33):
You ain't you had that, Pete?
Speaker 1 (33:37):
Yeah? Over on what's what's the spoty, Pete?
Speaker 3 (33:39):
The like Crenshaw and Uh, imperials got a spot over there.
Speaker 1 (33:47):
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.
Speaker 3 (33:57):
It's between Crenshaw, It's between Imperial and Central.
Speaker 1 (34:03):
Been there the whole time.
Speaker 5 (34:06):
Oh yeah, I can't saw, Yeah, I can't.
Speaker 1 (34:09):
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.
Speaker 5 (34:19):
Man. Yeah, it's just one spot.
Speaker 2 (34:22):
Uh, I'll be working with They grilled it, didn't chop
it up.
Speaker 1 (34:26):
That's how you That's how I did my pastromia all
the time. I have really on the grill.
Speaker 5 (34:32):
It's small pieces, but it's all over.
Speaker 4 (34:34):
Man, that be better better.
Speaker 2 (34:36):
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.
Speaker 5 (34:50):
I don't want it no more.
Speaker 1 (34:53):
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,
(35:16):
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.
(35:37):
I was hitting, h they.
Speaker 5 (35:39):
Don't need you to They gonna need you to reenact
to burn my nigga.
Speaker 1 (35:43):
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.
Speaker 4 (36:00):
Yeah.
Speaker 5 (36:00):
I used to leave with the dreads.
Speaker 1 (36:01):
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.
Speaker 5 (36:16):
Were they at like eighty something?
Speaker 1 (36:18):
Hell no, they shit like sixty fifty nine sixty for real? Yeah,
all that don't like and all that shit.
Speaker 5 (36:28):
That shit snow.
Speaker 1 (36:32):
Yeah.
Speaker 5 (36:34):
Yeah.
Speaker 1 (36:37):
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.
Speaker 5 (36:52):
One thirty, y'all. I was just gonna say, so it
was more like a one thirty two.
Speaker 1 (36:56):
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
(37:18):
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.
Speaker 5 (37:34):
Yeah, it's like we they give us a candy painting
caprese it we gonna cut that motherfucker.
Speaker 1 (37:39):
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
(37:59):
some in the truck.
Speaker 5 (38:01):
They gotta be able to see theyself in.
Speaker 1 (38:02):
It to exactly That's what I'm taking.
Speaker 4 (38:06):
It's worked in the other direction.
Speaker 3 (38:07):
I mean like PC did a song over obviously like
to regulate what I'm good three and then.
Speaker 4 (38:16):
Let me ride. He did both those beats.
Speaker 3 (38:19):
On that Detroit kind of sound, So there was a
successful transferability of styles there to be able to to
another direction.
Speaker 1 (38:28):
PZ is a Detroit rapper.
Speaker 5 (38:29):
He type, I gotta get my shit together, man, you.
Speaker 1 (38:32):
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.
Speaker 5 (38:54):
I'm bad with that, Brono. I'll see new niggas already
click on it.
Speaker 1 (38:58):
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.
Speaker 5 (39:06):
You gonna known name none of the songs. But if
something come on, I might know it.
Speaker 1 (39:10):
Yeah.
Speaker 5 (39:10):
I don't think I ever really played the Travis Scott
song though, bro.
Speaker 1 (39:13):
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.
Speaker 2 (39:21):
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.
Speaker 1 (39:35):
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.
Speaker 5 (39:48):
I mean, you don't hear the niggas who kind of
be trying to MC and ship.
Speaker 1 (39:51):
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
(40:15):
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.
Speaker 5 (40:29):
I know, I know.
Speaker 2 (40:29):
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.
Speaker 5 (40:47):
I know Future got some shit.
Speaker 1 (40:48):
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
(41:09):
ain't working with the MC conversation and all of that.
Speaker 2 (41:12):
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.
Speaker 1 (41:22):
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.
Speaker 2 (41:36):
So people, what's them niggas that was doing on the
beats by the Pound? Was they all New Orleans niggas?
Speaker 1 (41:43):
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.
Speaker 5 (41:54):
Niggas for sure. And and the Dungeon family is all at.
Speaker 1 (41:57):
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.
Speaker 5 (42:09):
So much music coming out that it'd be hard to like,
like what do we go take from? You know what
I mean?
Speaker 1 (42:16):
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.
(42:37):
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
(42:58):
he gonna it's gonna be a shutout?
Speaker 5 (43:01):
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.
Speaker 1 (43:13):
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.
Speaker 5 (43:28):
That it would be cool to take some ship that
that feel like they ship, but make it our ship.
Speaker 1 (43:36):
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.
Speaker 5 (43:52):
Right, it's gonna be like what the fuck is that? Yeah, Okay,
I get it.
Speaker 1 (44:00):
You just can't wrap at a bpm like that's not cool.
Speaker 5 (44:03):
Yeah, we can't float like them. Then that's what That's
where it fucks us up.
Speaker 2 (44:07):
I can't stand hearing niggas from New York or California
rapping like Chicago or Detroit or whatever.
Speaker 5 (44:16):
Like I want to hear niggas sound like they own ship.
Speaker 1 (44:19):
It's like a fat girl that wear a little girl clothes.
Speaker 5 (44:22):
Yeah, yeah, like a.
Speaker 1 (44:25):
Fat girl that's wearing like like halter tops like baby that.
Speaker 5 (44:28):
Ain't Yeah yeah, just stomach everywhere. Yeah, you do not
do that.
Speaker 2 (44:32):
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.
Speaker 1 (44:39):
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.
Speaker 3 (44:47):
Yeah, skinny girls twerking or if you got to jump
ten times to getting the jeans in the wrong jeans
it don't fit.
Speaker 5 (44:56):
Well if you got ass.
Speaker 1 (44:57):
Don't know, if you got ass might have the job,
you know what I mean.
Speaker 5 (45:00):
If you got.
Speaker 3 (45:02):
Some but caves at one point, are the genes so tight?
That you didn't just switched everything. You can't tell anymore.
Speaker 5 (45:11):
Well, that's when it looked fucked up in the jeans too.
Speaker 2 (45:14):
Yeah, it looked fucked up when they stuff and shit,
what's all the foot pods and shit start coming out?
Speaker 5 (45:24):
Hey?
Speaker 3 (45:25):
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?
Speaker 4 (45:46):
Or was he just getting them and James jumping on them?
Speaker 1 (45:49):
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
(46:10):
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
(46:32):
could be your preference. But just as a.
Speaker 2 (46:33):
Sheer, reasonable that was better better than who reasonable, that
was better than illmatic.
Speaker 1 (46:40):
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.
(47:01):
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
(47:22):
there's not enough respect on producers cuse, but that nigga
did not play man. He went to the guys. Think
about it historically?
Speaker 2 (47:31):
Is this.
Speaker 4 (47:33):
My memory so shoddy?
Speaker 3 (47:34):
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?
Speaker 4 (47:39):
How did that come together?
Speaker 1 (47:40):
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
(48:01):
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.
(48:22):
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.
Speaker 2 (48:33):
They had a a quality product when you hear reasonable
Doubt Volume one all the way to Volume two.
Speaker 1 (48:40):
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,
(49:03):
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.
Speaker 4 (49:15):
To the world, gotcha, gotcha? Yeah, Wow, Yeah, there's a
panthe goes into the all of this.
Speaker 5 (49:29):
Man, he always has some cool shit.
Speaker 2 (49:31):
I really wasn't I didn't like all his beats, but
that nigga always has some quality shit.
Speaker 5 (49:38):
Yeah.
Speaker 1 (49:38):
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.
Speaker 5 (49:50):
Forget you say any of them type of niggas.
Speaker 2 (49:52):
Huh did Rizi ever do anything for them, like for
other motherfuckers outside of any big notable song outside of Wute.
Speaker 1 (50:02):
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.
Speaker 5 (50:10):
No, no, I understand, but I'm just saying it.
Speaker 1 (50:11):
So No, I know what you're saying.
Speaker 5 (50:13):
It happened with them. You would think that somebody would
reach out him, like Nigga, I need a riser beat.
Speaker 2 (50:18):
Even though he wasn't all that, but he had some
ship though when you know this weird like damn difference.
Speaker 1 (50:26):
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
(50:48):
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.
Speaker 5 (51:02):
That was winning. He was like introducers that ship that
was winning.
Speaker 3 (51:07):
He had a real retailer mentality. He knew a dealer's
only as good as his.
Speaker 1 (51:11):
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
(51:32):
Yeah
What's up?
Speaker 2 (00:02):
And welcome back to another episode of No Sinner's Podcast
with your hosts Now fuck that with your load glasses.
Speaker 1 (00:08):
Malone Irish whiskey very all. Yeah, I got the.
Speaker 3 (00:20):
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.
Speaker 4 (00:33):
But it's better than the regular bottle, so right, So
why do.
Speaker 1 (00:38):
You drink Irish risky versus like a Scottish whiskey like
a Scotch.
Speaker 3 (00:43):
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.
Speaker 1 (00:55):
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.
Speaker 4 (01:17):
Yeah. And then you've got Canadian whiskey, and I guess
Japanese whiskey.
Speaker 1 (01:20):
What is Japanese whiskey?
Speaker 4 (01:22):
It's just like other whiskeys. It doesn't have.
Speaker 1 (01:27):
Is that, It's just that is definitely.
Speaker 4 (01:31):
Not in that case. Fire one up.
Speaker 1 (01:37):
And what about Canadian whiskey? I see uh Sam's club
sales Canadian whiskey.
Speaker 4 (01:43):
Yeah, like Crown Royals Canadian whiskey.
Speaker 1 (01:45):
Okay, Bourbon is like.
Speaker 3 (01:49):
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.
Speaker 1 (01:59):
And what the fun does that mean that somebody who
don't drink when something is dry?
Speaker 4 (02:03):
When something is dry, it means it's not sweet.
Speaker 1 (02:09):
Do you drink whiskey? Like, do you drink whiskey at all? Duce?
Speaker 4 (02:12):
Is that your shit? Hey?
Speaker 5 (02:14):
You know I do. I don't go as fuck? Do you?
Speaker 1 (02:17):
Are you into it that deep?
Speaker 5 (02:19):
No? No, just give me some koliac on me. I'm straight.
Speaker 4 (02:26):
Oh.
Speaker 3 (02:26):
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.
Speaker 5 (02:45):
How much it's in the US now?
Speaker 4 (02:48):
Oh it is okay. Yeah, I don't know if they
snuck it off a boat at the port.
Speaker 5 (02:51):
That's even good though.
Speaker 1 (02:53):
That that shit tastes.
Speaker 5 (02:54):
It's like you smell alcohol when you fuck with that shit.
Speaker 4 (02:58):
Yeah. I never liked it. I just knew it was popular.
It's like the shardonay of Konyak.
Speaker 2 (03:03):
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.
Speaker 4 (03:16):
Yeah, they got at like eighty nine bucks. Classes.
Speaker 3 (03:18):
I say the shardon Nay of Kgnak because it's like
I think it's skinless grape.
Speaker 1 (03:25):
Oh that's why, Yeah, that's why.
Speaker 4 (03:27):
It's all white.
Speaker 1 (03:28):
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
(03:51):
it's crazy. Cavasi ain't remind me of brandy. Well, remember
all kinds I don't know.
Speaker 2 (03:58):
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.
Speaker 4 (04:13):
It's a great vodka. It's a great vodka.
Speaker 1 (04:18):
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.
Speaker 4 (04:28):
There's also Armagnac, which is like Koonyak, but it's the
region next door that has its own brand.
Speaker 1 (04:34):
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.
Speaker 4 (04:52):
It's Champagne for the sparkling wine, the.
Speaker 1 (04:54):
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.
Speaker 5 (05:07):
But ship.
Speaker 1 (05:07):
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.
Speaker 3 (05:30):
Gotta it's got to be like XO or beyond in
the in the brandy world to really for it to
be good.
Speaker 4 (05:44):
You know what I mean, if you like, if you're
not spending.
Speaker 5 (05:46):
One hundreds, yeah, it's x so it is smoothie, yeah,
you know.
Speaker 3 (05:51):
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.
Speaker 4 (06:04):
Hennessy is a third of the price.
Speaker 1 (06:08):
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
(06:30):
like they charge your storage feet.
Speaker 3 (06:32):
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
(06:54):
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.
Speaker 4 (07:05):
That's a bit of our game.
Speaker 1 (07:06):
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.
Speaker 4 (07:12):
You could, It's just fucking hard.
Speaker 3 (07:13):
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,
(07:34):
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.
Speaker 1 (07:46):
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.
Speaker 3 (08:05):
Man, Ducemack got one of the hardest, best microphone voices
in the industry.
Speaker 4 (08:11):
I wish I had a voice like his.
Speaker 6 (08:12):
He owe that shit to Newport. He to cut Newport Man.
Newport didn't do my voice as well, but it was.
Speaker 1 (08:23):
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,
(08:43):
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.
Speaker 5 (08:53):
I've been smoking weed lately, though, that's not smoking.
Speaker 4 (08:56):
Your voice is gonna sound like Frank Sinatra. You're not
gonna have that cache no.
Speaker 1 (08:59):
More to aid Kendricks from the Temptations.
Speaker 4 (09:12):
That up.
Speaker 1 (09:14):
Now what you said, Pete was taking it out like
maybe a pot about it. What was you asking me about?
Speaker 3 (09:19):
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
(09:41):
was a significant, you know, jazz.
Speaker 4 (09:43):
Footprint in l A. For a long time.
Speaker 3 (09:45):
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.
Speaker 1 (09:58):
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
(10:18):
personality musically, right, which is funk. Right. We adopted that
in hip hop. That's our personality.
Speaker 5 (10:26):
Right.
Speaker 1 (10:27):
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
(10:48):
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
(11:10):
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
(11:30):
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,
(11:52):
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.
Speaker 3 (12:06):
Like a good toime.
Speaker 1 (12:07):
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.
Speaker 3 (12:18):
Sure, But the bpms on like like what was the
cash money bpms or like that time, what's.
Speaker 4 (12:26):
The name of that style that all that game?
Speaker 1 (12:29):
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
(12:50):
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
(13:12):
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
(13:36):
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
(13:59):
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.
Speaker 4 (14:08):
Is faster, not the style, just the phonics.
Speaker 5 (14:12):
So to spit you know.
Speaker 1 (14:13):
What, I'm talking about Duce.
Speaker 5 (14:16):
Yeah, man, you know what I don't. Man, you know,
only listen to what I feel like listening to. Sure, Sure, but.
Speaker 1 (14:24):
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.
Speaker 3 (14:45):
Like in the car West Coast beats could hit on
an eight. You need a fifteen for an ATL beat.
Speaker 1 (14:50):
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
(15:12):
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,
(15:36):
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
(15:57):
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
(16:20):
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
(16:41):
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
(17:04):
frequency rainbow is not all the colors.
Speaker 5 (17:07):
It's really only really.
Speaker 1 (17:10):
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
(17:33):
the average everyday person can hear that they can feel it.
Speaker 4 (17:39):
Are there examples off the top of your head of.
Speaker 3 (17:41):
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.
Speaker 1 (17:53):
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
(18:15):
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.
Speaker 4 (18:35):
All the ones that didn't sound like super G funky.
Speaker 1 (18:39):
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.
Speaker 4 (18:49):
Mean, no, no, no.
Speaker 1 (18:54):
That's Donny Hathaway.
Speaker 4 (18:56):
I'm super l A.
Speaker 5 (18:58):
Yeah, he did.
Speaker 1 (18:59):
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
(19:21):
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?
Speaker 4 (19:45):
You know Kenny Kenny was his name, right?
Speaker 3 (19:48):
Who who the originally did that song?
Speaker 1 (19:51):
Michael McDonald McDonald's right, I get them McDonald from the
Doobie Brothers.
Speaker 4 (19:56):
So yeah, like.
Speaker 1 (19:59):
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.
Speaker 5 (20:23):
The only one that's poty record. It's kind of funky
that's true.
Speaker 1 (20:29):
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.
Speaker 5 (20:46):
So you never lose it.
Speaker 4 (20:48):
And Nate wasn't kind of a higher octave on that.
Speaker 1 (20:50):
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
(21:13):
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.
Speaker 3 (21:27):
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.
Speaker 1 (21:38):
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
(22:00):
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.
Speaker 5 (22:14):
Yeah, it was like more church boy.
Speaker 1 (22:16):
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
(22:40):
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
(23:02):
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.
Speaker 7 (23:16):
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.
Speaker 1 (23:32):
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?
Speaker 2 (23:46):
Did you seen that nigga on one of them documentaries
backing on a nigga or something?
Speaker 1 (23:50):
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
(24:12):
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.
Speaker 2 (24:23):
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.
Speaker 1 (24:41):
I would so trouble.
Speaker 3 (24:46):
Maybe because he was upset that he just couldn't find
the right matching beads for the baseline just just.
Speaker 4 (24:54):
Threw him into a permanent funk for years.
Speaker 1 (24:57):
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,
(25:17):
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
(25:38):
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.
(25:59):
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
(26:22):
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
(26:42):
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
(27:02):
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
(27:26):
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
(27:47):
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
(28:11):
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
(28:31):
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
(28:53):
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.
Speaker 5 (29:08):
Let's do something like.
Speaker 1 (29:10):
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
(29:31):
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
(29:53):
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
(30:16):
so the world could have something that it's never had.
Speaker 4 (30:20):
Sure, yeah, that only makes sense. I mean there's a
lot of it.
Speaker 3 (30:24):
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.
Speaker 4 (30:38):
So yeah, you got it.
Speaker 3 (30:40):
You know, innovate in a combination kind of fashion. That's
the way technologies, even outside of music tendo usually work.
Speaker 1 (30:50):
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.
Speaker 3 (31:06):
Now we feel it's been a lot of impossible burgers
the last few years.
Speaker 1 (31:09):
It is for real.
Speaker 5 (31:12):
It's a good comparison Bush.
Speaker 1 (31:15):
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.
Speaker 3 (31:29):
The l a almost kind of like what the the
carnates cider burger or whatever?
Speaker 1 (31:34):
Is that a real burger.
Speaker 4 (31:38):
That might be Yeah, I've seen some stuff. Yeah, there's
some stuff.
Speaker 1 (31:41):
The carne side of burger.
Speaker 5 (31:42):
Do what. I know.
Speaker 4 (31:46):
It's kind of think there's there's there's there's a burger
that I've seen this.
Speaker 2 (31:49):
You's not meaning like you're talking about like tortous, no colosso,
no carne, no, you know, like a.
Speaker 5 (31:58):
Burger with cornea inside of attitude might be crazy. You know,
they gotta you.
Speaker 2 (32:02):
Know, they got a burrito in La where it's corny
and sada in a.
Speaker 1 (32:07):
Pastrami corny inside of pastami. Yep, I never had. What
we have to do is.
Speaker 2 (32:15):
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.
Speaker 5 (32:26):
What they said about it, mother fuck about twenty dollars.
Speaker 2 (32:29):
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.
Speaker 5 (32:39):
That's well, I'm gonna do this for it.
Speaker 1 (32:41):
I sound like a heart attack.
Speaker 2 (32:43):
I can't even his I don't think of nothing. I
can't find a logical reason to eat that shit.
Speaker 1 (32:48):
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
(33:09):
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.
Speaker 5 (33:33):
You ain't you had that, Pete?
Speaker 1 (33:37):
Yeah? Over on what's what's the spoty, Pete?
Speaker 3 (33:39):
The like Crenshaw and Uh, imperials got a spot over there.
Speaker 1 (33:47):
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.
Speaker 3 (33:57):
It's between Crenshaw, It's between Imperial and Central.
Speaker 1 (34:03):
Been there the whole time.
Speaker 5 (34:06):
Oh yeah, I can't saw, Yeah, I can't.
Speaker 1 (34:09):
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.
Speaker 5 (34:19):
Man. Yeah, it's just one spot.
Speaker 2 (34:22):
Uh, I'll be working with They grilled it, didn't chop
it up.
Speaker 1 (34:26):
That's how you That's how I did my pastromia all
the time. I have really on the grill.
Speaker 5 (34:32):
It's small pieces, but it's all over.
Speaker 4 (34:34):
Man, that be better better.
Speaker 2 (34:36):
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.
Speaker 5 (34:50):
I don't want it no more.
Speaker 1 (34:53):
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,
(35:16):
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.
(35:37):
I was hitting, h they.
Speaker 5 (35:39):
Don't need you to They gonna need you to reenact
to burn my nigga.
Speaker 1 (35:43):
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.
Speaker 4 (36:00):
Yeah.
Speaker 5 (36:00):
I used to leave with the dreads.
Speaker 1 (36:01):
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.
Speaker 5 (36:16):
Were they at like eighty something?
Speaker 1 (36:18):
Hell no, they shit like sixty fifty nine sixty for real? Yeah,
all that don't like and all that shit.
Speaker 5 (36:28):
That shit snow.
Speaker 1 (36:32):
Yeah.
Speaker 5 (36:34):
Yeah.
Speaker 1 (36:37):
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.
Speaker 5 (36:52):
One thirty, y'all. I was just gonna say, so it
was more like a one thirty two.
Speaker 1 (36:56):
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
(37:18):
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.
Speaker 5 (37:34):
Yeah, it's like we they give us a candy painting
caprese it we gonna cut that motherfucker.
Speaker 1 (37:39):
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
(37:59):
some in the truck.
Speaker 5 (38:01):
They gotta be able to see theyself in.
Speaker 1 (38:02):
It to exactly That's what I'm taking.
Speaker 4 (38:06):
It's worked in the other direction.
Speaker 3 (38:07):
I mean like PC did a song over obviously like
to regulate what I'm good three and then.
Speaker 4 (38:16):
Let me ride. He did both those beats.
Speaker 3 (38:19):
On that Detroit kind of sound, So there was a
successful transferability of styles there to be able to to
another direction.
Speaker 1 (38:28):
PZ is a Detroit rapper.
Speaker 5 (38:29):
He type, I gotta get my shit together, man, you.
Speaker 1 (38:32):
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.
Speaker 5 (38:54):
I'm bad with that, Brono. I'll see new niggas already
click on it.
Speaker 1 (38:58):
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.
Speaker 5 (39:06):
You gonna known name none of the songs. But if
something come on, I might know it.
Speaker 1 (39:10):
Yeah.
Speaker 5 (39:10):
I don't think I ever really played the Travis Scott
song though, bro.
Speaker 1 (39:13):
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.
Speaker 2 (39:21):
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.
Speaker 1 (39:35):
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.
Speaker 5 (39:48):
I mean, you don't hear the niggas who kind of
be trying to MC and ship.
Speaker 1 (39:51):
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
(40:15):
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.
Speaker 5 (40:29):
I know, I know.
Speaker 2 (40:29):
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.
Speaker 5 (40:47):
I know Future got some shit.
Speaker 1 (40:48):
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
(41:09):
ain't working with the MC conversation and all of that.
Speaker 2 (41:12):
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.
Speaker 1 (41:22):
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.
Speaker 2 (41:36):
So people, what's them niggas that was doing on the
beats by the Pound? Was they all New Orleans niggas?
Speaker 1 (41:43):
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.
Speaker 5 (41:54):
Niggas for sure. And and the Dungeon family is all at.
Speaker 1 (41:57):
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.
Speaker 5 (42:09):
So much music coming out that it'd be hard to like,
like what do we go take from? You know what
I mean?
Speaker 1 (42:16):
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.
(42:37):
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
(42:58):
he gonna it's gonna be a shutout?
Speaker 5 (43:01):
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.
Speaker 1 (43:13):
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.
Speaker 5 (43:28):
That it would be cool to take some ship that
that feel like they ship, but make it our ship.
Speaker 1 (43:36):
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.
Speaker 5 (43:52):
Right, it's gonna be like what the fuck is that? Yeah, Okay,
I get it.
Speaker 1 (44:00):
You just can't wrap at a bpm like that's not cool.
Speaker 5 (44:03):
Yeah, we can't float like them. Then that's what That's
where it fucks us up.
Speaker 2 (44:07):
I can't stand hearing niggas from New York or California
rapping like Chicago or Detroit or whatever.
Speaker 5 (44:16):
Like I want to hear niggas sound like they own ship.
Speaker 1 (44:19):
It's like a fat girl that wear a little girl clothes.
Speaker 5 (44:22):
Yeah, yeah, like a.
Speaker 1 (44:25):
Fat girl that's wearing like like halter tops like baby that.
Speaker 5 (44:28):
Ain't Yeah yeah, just stomach everywhere. Yeah, you do not
do that.
Speaker 2 (44:32):
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.
Speaker 1 (44:39):
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.
Speaker 3 (44:47):
Yeah, skinny girls twerking or if you got to jump
ten times to getting the jeans in the wrong jeans
it don't fit.
Speaker 5 (44:56):
Well if you got ass.
Speaker 1 (44:57):
Don't know, if you got ass might have the job,
you know what I mean.
Speaker 5 (45:00):
If you got.
Speaker 3 (45:02):
Some but caves at one point, are the genes so tight?
That you didn't just switched everything. You can't tell anymore.
Speaker 5 (45:11):
Well, that's when it looked fucked up in the jeans too.
Speaker 2 (45:14):
Yeah, it looked fucked up when they stuff and shit,
what's all the foot pods and shit start coming out?
Speaker 5 (45:24):
Hey?
Speaker 3 (45:25):
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?
Speaker 4 (45:46):
Or was he just getting them and James jumping on them?
Speaker 1 (45:49):
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
(46:10):
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
(46:32):
could be your preference. But just as a.
Speaker 2 (46:33):
Sheer, reasonable that was better better than who reasonable, that
was better than illmatic.
Speaker 1 (46:40):
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.
(47:01):
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
(47:22):
there's not enough respect on producers cuse, but that nigga
did not play man. He went to the guys. Think
about it historically?
Speaker 2 (47:31):
Is this.
Speaker 4 (47:33):
My memory so shoddy?
Speaker 3 (47:34):
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?
Speaker 4 (47:39):
How did that come together?
Speaker 1 (47:40):
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
(48:01):
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.
(48:22):
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.
Speaker 2 (48:33):
They had a a quality product when you hear reasonable
Doubt Volume one all the way to Volume two.
Speaker 1 (48:40):
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,
(49:03):
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.
Speaker 4 (49:15):
To the world, gotcha, gotcha? Yeah, Wow, Yeah, there's a
panthe goes into the all of this.
Speaker 5 (49:29):
Man, he always has some cool shit.
Speaker 2 (49:31):
I really wasn't I didn't like all his beats, but
that nigga always has some quality shit.
Speaker 5 (49:38):
Yeah.
Speaker 1 (49:38):
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.
Speaker 5 (49:50):
Forget you say any of them type of niggas.
Speaker 2 (49:52):
Huh did Rizi ever do anything for them, like for
other motherfuckers outside of any big notable song outside of Wute.
Speaker 1 (50:02):
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.
Speaker 5 (50:10):
No, no, I understand, but I'm just saying it.
Speaker 1 (50:11):
So No, I know what you're saying.
Speaker 5 (50:13):
It happened with them. You would think that somebody would
reach out him, like Nigga, I need a riser beat.
Speaker 2 (50:18):
Even though he wasn't all that, but he had some
ship though when you know this weird like damn difference.
Speaker 1 (50:26):
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
(50:48):
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.
Speaker 5 (51:02):
That was winning. He was like introducers that ship that
was winning.
Speaker 3 (51:07):
He had a real retailer mentality. He knew a dealer's
only as good as his.
Speaker 1 (51:11):
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
(51:32):
Yeah
Popular Podcasts
40s and Free Agents: NFL Draft Season
Daniel Jeremiah of Move the Sticks and Gregg Rosenthal of NFL Daily join forces to break down every team's needs this offseason.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
Las Culturistas with Matt Rogers and Bowen Yang
Ding dong! Join your culture consultants, Matt Rogers and Bowen Yang, on an unforgettable journey into the beating heart of CULTURE. Alongside sizzling special guests, they GET INTO the hottest pop-culture moments of the day and the formative cultural experiences that turned them into Culturistas. Produced by the Big Money Players Network and iHeartRadio.