WTH is Gangster Rap? - Gangster Rap's Top 50 albums Pt. 2 - The Gangster Chronicles

Episode Transcript
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Speaker 1 (00:00):
We like to welcome every one to another episode Against
the Chronicles podcast. Now am Big steal Shure and we
have a special guests again this week, Sorren Baker.

Speaker 2 (00:11):
Thanks for having me. All appreciate it for.

Speaker 1 (00:13):
Sure, hip hop journalist extraording there. So before we continue
on this list, felas we got my boy eight back
this week and give him a round of applause. I
missed you. Dog was crying, So I was missing you
last week. But you know, we've been having this discussion
about the top fifty albums in gangs the rap pretty interesting.

(00:35):
You know. We've definitely went back three and four times,
changed stuff around a lot of it. Surprisingly, a lot
of things that we picked we all mutually agreed upon.

Speaker 2 (00:46):
Yeah, that was a good thing.

Speaker 1 (00:47):
You know. A lot of this stuff shows we got
pretty good tastes, I believe.

Speaker 2 (00:51):
Yeah.

Speaker 1 (00:52):
Yeah.

Speaker 3 (00:52):
I try to go back to to the beginning when
I first started to listen in the hip hop and
there's a lot of records that came out that might
not necessarily been whole albums and shit, but to me,

(01:13):
we're pretty significant.

Speaker 4 (01:14):
You know, if you want to.

Speaker 3 (01:19):
On our opinion of what hip hop fifty or gangster
rap reality rap whatever. It's a lot of songs that
I listened to as a gangster in the hood with
a gang of gangster niggas that probably wasn't considered gangster rap,
but to us it was our gangster music.

Speaker 1 (01:41):
You feel me, like something like Buffalo Girls exactly.

Speaker 3 (01:50):
I'm kind of motherfucking we time club man. I'm about
to pause right now because I got songs on my
list like like, it wasn't gang but to us gangsters,
that was gangster music.

Speaker 1 (02:05):
To us, that's a very interesting thing because it's.

Speaker 4 (02:07):
Gonna it's gonna be a interest in today.

Speaker 1 (02:09):
You feel me, yeah, because when you think about it,
most g's don't really listen to a lot of rap music.

Speaker 3 (02:15):
I mean, because you gotta listen. I mean to say,
the top fifty gangster rap records.

Speaker 2 (02:22):
It's like, man, it's a hard, hard hit me like, because.

Speaker 3 (02:29):
There was a lot of shit that I considered gangster music,
not necessarily like niggas was like, I'm a hood nigga,
but to me when I was fucking fifteen, riding around
in the back seat with the homies, it's what the
nigga was bumping and had shit to do with.

Speaker 4 (02:49):
No fucking gangster rap, you feel me.

Speaker 3 (02:52):
But to us nigga, that made us those signs out
the window and you know what I'm saying, ready to scrape?
You know you today a nigga, be like, Nigga, what
the fuck was the y'all listening to? To us, Nigga,
that ship was hard you feel me?

Speaker 5 (03:08):
So to your point, I remember the super crazy gangster
dudes that I knew that from growing up in Maryland, man,
and as I got.

Speaker 2 (03:22):
To know people like you and.

Speaker 1 (03:25):
Me, but it's further up because they're not.

Speaker 3 (03:28):
But to us it was nigga five minutes of folk
and one love and nigga, nigga please man, That to us, nigga,
that was hood music. You feel me sood music definitely.

Speaker 1 (03:43):
But as you know what that brings us to the
first part of debate because one of the things we've
been having, like not no arguments over, but discussions over
you know, really just and we all make pretty compelling arguments,
I think, but with should be considered. I don't like
the term gangster rap because that's not reality rap. Righteous

(04:04):
I go.

Speaker 3 (04:05):
I feel like when you trying to put it on
that aspect, to me, it's anything that is affiliated to
neighborhood music. You get me, and shit, that's just an
any situation where a nigga might be trying to relate

(04:25):
to a situation of gangsterism or some shit like that.
So that's how I look at a reality rap, because
I don't like to say gangster rap either, because to me,
it's a difference between niggas who spit reality and there's
some niggas who just straight up nigga, I'm from here,

(04:45):
I'm from here. This is my color. I'm a crip,
I'm a blood, and that's what it's about. You know,
perfect example, fucking banging on wax.

Speaker 5 (04:54):
That was gangster Rap's gangster rap.

Speaker 3 (04:59):
You get me, nigga, I'm from this neighborhood. This my
color of my band Dana, we blast on the enemy,
blah blah.

Speaker 4 (05:07):
That's gangster rap to me, and it.

Speaker 1 (05:10):
Spurred the whole genre of music. There are still people
out there that they're like, you got blood rappers like
makes you slick, kind of crossed over from all that
righteous you know, like like Mixy's you know, shout out
to the homie makes you slick, Make you slick? Is
one of those guys in San Diego that kind of
crossed over from that music, you know, doing the real neighborhood.
Like he had the one song that was pretty big
on the underground, I won't stop being a blood you know.

Speaker 4 (05:31):
Oh definitely he had that record.

Speaker 1 (05:33):
But then you had Big June out of San Diego,
the one dude. You know, Big June been around a
long time putting me in work. I don't know that
any of the brothers from the crip car, but you
got brothers from out of here that like really on
some gang banging music. They really Yeah, they've got they
make cryp music or they make blood music. Definitely, there
you go. You know what I'm saying. So I guess
that's what it is to me. What I define is

(05:56):
reality rap. I don't care if you're talking about slinging,
moving work, if you talk about pimping, if you talk
about doing anything against the society that's outside of the
parameters of the law to meet us gangster ship.

Speaker 3 (06:09):
Yeah, yeah, that would be considered. You know what I'm saying,
because that's what a lot of dudes consider themselves on
the gangster tip. You know, if you if it has
any uh references to the underworld, you feel me and
it's a gainst ship, you know.

Speaker 1 (06:28):
And that's what I told someone we was talking about
a particular artist. I said, Bruh, this motherfucker said about
fifteen bricks every album he shoot about, he break at
least a couple of people out of e xail. He's
against the ship.

Speaker 4 (06:44):
But I dig is a motherfucking cabatdo rapper.

Speaker 1 (06:47):
That's what that.

Speaker 3 (06:48):
Yeah, he's a gangster, did with the helicopters, his own
charter jets.

Speaker 1 (06:54):
You know what I'm saying. It's like, man, you know,
and that's the thing, man, You know, when you're writing raps,
you writing about the realities of the hood, but you're
trying to make that shit fly as a motherfucker. You
know when you say it, you know you don't you
might not want to say, like, what's the what's the
young boy? Like T Grizzly, he said, what was our
getaway guard zagg portfolio? The motherfuckers fight was in a
penna or some shit. But he had to make it

(07:15):
sound sexy like we skirted off of the jag, you
know what I mean? Right right? Definitely?

Speaker 3 (07:19):
Yeah, it's always it's always exaggeration and in the hip hop,
but you know that depends on where you're trying to
come from. So, I guess with dealing with U reality
rap or gangster rap or just street reference shit period.
You know what I'm saying, it's a different aspect. You know,

(07:40):
you try to keep it to where it's not too braggadocious.

Speaker 1 (07:45):
You feel me.

Speaker 5 (07:46):
To your point eight? This is something that I learned
from Iced Tea. He had told me many times over
the years that it's faction. Exact facts were intermingled with
some fiction. It might not have happened on this day,
or it might have been in a different car, whatever,
But I gotta make this story better.

Speaker 2 (08:01):
So it's like it's faction, it's both.

Speaker 1 (08:05):
Yeah, it is. So I guess before we continue our
breakdown what we all came with with last week? All right,
you know, we factored in each other's list and a
lot of songs. We have more than one album surprisingly
that we all you know, mutually agreed upon. We have
number forty one Project Pack, Gaddy Green forty two Schooley

(08:26):
d Smoked Some Kill forty three, Ice Cube The Predator
forty four, DJ Quick Safe and Sound forty five, Ice
T the Iceberg album Freedom Speaks. Wi's what you say
forty six, Criminal Mind to Beat DP, Bookie Down Productions
forty seven, Lord three two and Big Mike, The Homies

(08:47):
The Convicts forty eight, UGK Ryan thirty forty nine, east Side,
It's Deuces and Trays number fifty. And this was kind
of interesting to me because it's a Snoop Dogg album
Snoop is like the motherfucking the logo for this gangst
the rap shit, you know, but he has number fifty
album And we kind of explain why as we go
along on this list, because this is the top fifty

(09:09):
best gangst the Rap albums of all time to even
be mentioned in the breath of that stuff, because you've
got classic albums in its final ten. When we talked
about some of these and that as you broke down
your logic and you made your arguments with stuff, and
when as we factored in certain things, it's some bad
motherfuckers on this list.

Speaker 2 (09:28):
Man, would you got to shut out no Limit top Dog?

Speaker 1 (09:30):
Yeah, Yeah, that's what it is. Snoop Dog, no Limit,
top Dog, no limit top Dog. You know it is.
And you know, when you talk about the it's kind
of hard to be to me to stay objective when
you're doing a list like this because like I love
the dating family for example, love top authority, a lot

(09:52):
of projects. Man, but when you got motherfuckers like this
man sitting next to us, Scarface, ice Cube, you know,
Snoop Dogg, they go, of course take up a lot
of slots on there because you can't. You can't. This
ain't fairness. This ain't youth sports to where everybody get
a trophy. It's about who had the best, who stood
the test of time. Right. You know, most of these

(10:13):
guys on this list, you know career's debuty back in
like ninety three, ninety four, ninety five, and they're still
around to some of them earlier, Hey, when did you
jump off the porch? About thirteen?

Speaker 2 (10:30):
Wow?

Speaker 1 (10:32):
When when did your first record come on? Home? Were you?

Speaker 3 (10:35):
My first record came out? I was about seventeen eighteen
when I did the Compton compilation. My first song rhymes
too Funky And.

Speaker 1 (10:45):
This man got a kid.

Speaker 2 (10:47):
You know grown children now Classic cover too.

Speaker 1 (10:50):
Yeah, Yeah, he got a dope children now and he's
still doing it. So it's a testament to why people
make lists like this. A lot of these people are
still relevant today, and we got a few new guys
in there. It's not just confined the dudes whose careers
started back in the nineties and eighties. There's new dudes
out here putting in work. So with that being said,
I know it's gonna be a long night. Let's get

(11:11):
into our picks for this thirty one through forty.

Speaker 2 (11:16):
I think we should start at forty though, still.

Speaker 4 (11:18):
Oh yeah, we can start at forty. Okay, yeah, get yeah.

Speaker 5 (11:21):
You gotta still get I'll start factor this is this,
is this. You had a lot of weight in this one.

Speaker 1 (11:26):
So yeah I did, and you know, our man still
gotta agree on it because we're doing everything fair. And
it's a voting system. You know, we got we got
a tear system. It's a voting system. Number forty I
had Rick Ross tifline down.

Speaker 2 (11:41):
Again.

Speaker 1 (11:41):
Rick Ross is one of those guys that he may
not necessarily be on this album set tripping, but my
man is gonna sell you a brick of cocaine. He
gonna sell you a couple of bricks cocaine.

Speaker 2 (11:51):
Every song he.

Speaker 1 (11:52):
Gonna shoot you. He gonna talk about the big booty
bits at the Strip club. The scan list that you
know that that love money and he bought are in
there for Home Girl a bad and had a Menaja
troad with him. He's a gangster, well, I say too.
He had the mc hammers on that album. BMF is
on that album.

Speaker 5 (12:10):
Tears of Joys referencing Gucci Time by schooly D. There's
a lot of gangsterism on the album for sure. It
is a cinematic or sonically the Justice League and others.
The production on there is pretty phenomenal and should be
used for like movie scores.

Speaker 1 (12:26):
Yeah, it is Rick Ross. That's what I said, Rick Ross.
He creates movies when he's when you listen to him
as cinematic and just his whole he stays in character. Yeah,
but he does give you a human element every once
in a while. And that's what I like about. He
gives you a human element once in a while. And
he came out, you know, he was just coming from

(12:48):
his whole, like a little war with fifty cent. Well,
at the time was in the motherfucker's careers and I
thought when those pictures came out of Ross, you know,
working as a CEO, he stuck with the music, that
shit didn't matter because this music was just so much more.
I don't like to use the word superior. But he
was making some banging ass music. He had and to

(13:08):
wear all that shit you know about the CEO, and
he worked like this. And then Rick Ross he summed
the best on one of his songs, but this was
on the album before it. This is before the album
tapt fund down. He said, our shovel shit, our CEO,
so we can borrow here and pray over the meat loaf.
That was a cold ass bar right there, Like I

(13:29):
do whatever the fuck he said for me to feed
my kids. I get two gigs, our shovel shit, our CEO,
so we can borrow here and pray over the meat loaf.
That was a hard ass bar, like, fuck what you're
talking about. I'm gonna do what I gotta do to
feed my family. That don't make me not a real motherfucker,
right And I think that's when it was kind of
like the term right there, this dude don't won the
battle kind of. So that's why I picked Rick Ross

(13:54):
thirty nine. Master piek ghetto d When you talk about
gangster shit, gangster shit to me also means ghetto master
p is like the logo for ghetto shit, ghetto ass movies,
ghetawa ass records and people fuck with him when master
P had this movement going, who fucked with him?

Speaker 2 (14:15):
Oh? He was number one in the game.

Speaker 1 (14:18):
Yeah, he was like, he was that dude, So you
can't he can't never be marked off as insignificant, you
feel what I mean. I didn't like every record he
came up with. I didn't like every album, but I
respected the shit out that dude, and the hood loved him.
And the hood loved him.

Speaker 5 (14:34):
Mom No, he had like throw them up, pass me
them things. Let's get him the ghetto dude. The title
track was basically kind of did the ten Crack Commandments
type of thing, giving you the recipe on how to
make crack flipping airp and rock him.

Speaker 2 (14:48):
I mean, come and get some. He was like, Hey,
this is where we're at.

Speaker 5 (14:53):
If you want to come get it so and then
beats make him say, uh, of course it is the biggest.

Speaker 4 (15:01):
You're just gonna give off your whole ten.

Speaker 1 (15:04):
No, what we're doing.

Speaker 2 (15:05):
We know what we're doing.

Speaker 1 (15:07):
I'm telling the ten. We discussing them and if like,
and then after we do the discussion, we talk about
what we didn't like other songs, you know what I mean?
We factory and everything else like that. I'm just naming
the songs right now for us to have a discussion about.

Speaker 2 (15:20):
No.

Speaker 3 (15:20):
I was just figuring you was gonna say your forty.
I say my forty. He say it's forty. You run
through your whole ten. We're gonna be discussing your whole
ten for the next hour.

Speaker 1 (15:31):
That's the whole thing about it. We gotta be got
something to talk about them, but figure in don't.

Speaker 3 (15:49):
But then how the fuck we gonna be able to
say on our ten No, it's t know the.

Speaker 1 (15:53):
Thing else you're gonna be able to say. After I
say my team, you say yours. Then we have a small,
you know, discussion about it.

Speaker 4 (15:59):
We come up, we discuss sit in every song.

Speaker 3 (16:01):
If no, I'm just seeing my team run your list list, Okay,
west Side Connection bout thirty eight, thirty seven, the game
Theesus Yo, Jesus yo yo, your bottom from the fifty.

Speaker 1 (16:16):
Year hold on, bro we got a whole.

Speaker 2 (16:18):
Lot more to go holding hold on.

Speaker 3 (16:22):
I'm just saying, I'm just thinking that would be a
little higher.

Speaker 1 (16:25):
Man.

Speaker 3 (16:25):
You can see you got West Side Connection down at
the thirty eight.

Speaker 1 (16:29):
And it's some bad in that top thirty forty.

Speaker 2 (16:33):
Hey, this is some bad mother card man.

Speaker 1 (16:35):
It's small people. Okay, go ahead, lay right off my list.
Off Game, the Red Album, Ice Tea Power Scarface, deeply
rooted Ghetto Boys to Death, Do us Apart? Cypress, Temples
of Boom CMW Music to Drive By Vince Staples, Summertime
O six Man Vince Staples is a bad man dog.

(16:58):
You got music to drive by? Where thirty two.

Speaker 3 (17:03):
Over under Vince Staples? It's not a gangster rap album?
Are you kidding me?

Speaker 1 (17:10):
Listen, listen, don't listen to thee listen to the largah.
First of all, this list is not numbered like that.
You can't look at this list like this is like
this one is old one. It's just kind of just
wrote down.

Speaker 4 (17:25):
Like my ship is totally different.

Speaker 1 (17:27):
It ain't. It ain't like that. This is not a thing.
That's what we're putting together. We're putting together that.

Speaker 2 (17:31):
Listen.

Speaker 1 (17:31):
Don't think about that. This is being those don't think
of the numeric order.

Speaker 2 (17:37):
Like this throwing stuff out here.

Speaker 1 (17:39):
Okay, I'm loving because you gotta remember we I got
Westside connection to thirty eight will come out.

Speaker 3 (17:44):
I'm I'm I'm looking, I'm i'm seeing, I'm seeing how
you're going.

Speaker 1 (17:47):
Yeah, you going by.

Speaker 3 (17:49):
Like like Q got ten albums, you gonna go. QUE
got this spot, qube got.

Speaker 2 (17:59):
CUE got more forty, you got us? Yeah, you got
multiple spots. Q Iced Team.

Speaker 3 (18:04):
Okay, because I'm not looking at minds like this, because
I'm looking at minds like the transition of what gangster
niggas listen to that that that they felt represented gangster
music at the time.

Speaker 4 (18:19):
But I'll see where you're going. I got it.

Speaker 1 (18:22):
It ain't no thing. So okay, it's like we have
a discussion. Now you named your top, you drop your.

Speaker 3 (18:26):
Top teen Okay, let me let me go through you
one more time. Forty to thirty, forty to thirty.

Speaker 1 (18:31):
Rick rosss teflne Don thirty nine, Master Peek, Ghetto d
thirty eight, West Side Connection, bout I thirty seven, The Game,
The Red Album thirty six, iceed T Power thirty five,
scar Face Deeply Rooted thirty four, Ghetto Boys to Death,
do As Park thirty three, cypress Hell, Temples of Boom
thirty two, CMW Music to Drive By thirty one, Vince

(18:53):
Staples Summertime O six and again, I want to just
reiterate that for the for the audience. We are trying
to have some kind of numerical value to the final list,
but it's so motherfucking subjective man.

Speaker 2 (19:08):
It's like these are all discussion points.

Speaker 1 (19:11):
Yeah, these are discussion points. How do you say that?
Because even when you come to the number one album,
it's gonna always be an afterthought like, well, I don't know, man,
this shit was. When you start getting more tours that
top ten stopped top twenty, you start getting real hard.

Speaker 5 (19:24):
Yeah, every yeah, every time you go up higher, it's harder.

Speaker 1 (19:28):
It's harder because you look at this right here, like
let's say the Game the Red album winds up at
like thirty four. You think about that album. That album
was phenomenal. It is when you think about music to
drive By, it was phenomenal. Those were like flawless albums
that you you ain't no skip through on them, right.
You know, when you think about Cypress, he'll temples a boom.

(19:48):
These albums has made multi million dollar careers absolutely, you know,
a Cypress he'll still out there selling weed and doing tours.
All of this shit right here all and they'll talk
about getting how going file Line.

Speaker 5 (20:02):
Of Stone Raiders on this album? Yeah, yeah, we're doing
that sets in the errors on this album too, So.

Speaker 1 (20:15):
You know, going off of this we think about because really,
when it comes to great albums, ain't no time period.
But I will tell you and this is with no
bias in my heart, because I listen to everybody, like
I'm aware of the significance of Chief Keith, you know,
for the young people to a lot of those young
cats out of Chicago can really rap. Like I like
the one kid a whole lot. He had a song

(20:36):
Malcolm that was really dope. My god, Welcome the Old Block.
What was that kid's name, Little King Vaughn. Welcome to
Old Block was a phenomenal album. I'll listen to the
kids they have. I like Vince staples On. I like

(20:57):
a lot of YG stuff. Though I like a lot
of YG. I think YG is a complete artist. But
when you talk about the top fifty gangster rap albums
of all time, and you also have to compete against
elite lyricists like Scarface elite elite level pon MC eight,
elite level PIN. And I ain't saying that because he's

(21:17):
sitting here Ice QB elite level pon iced T, elite
level pon YG that's mid he cool, He not whack.
He not whack at all. I like YG but trying
to compare him to the lyricists, you know, people of
that nature, you know Scarface.

Speaker 2 (21:37):
Everybody on this list is a Hall of Fame artist.

Speaker 1 (21:39):
Yeah, that's what I'm saying. This is a hall of
Fame group. It's like this was not no knock that
nobody else's Maybe they haven't created that moment yet. You know,
all these guys created that moment, and some of them
happened to do it multiple times, which is very hard
even for great artists. I got artists like I think
Bust the Rhymes is one of the greatest of all time,
one of the greatest that ever done it. But I

(22:02):
don't even he has a couple of albums that come close.
I don't know if he's made that definitive album yet.
And that's a whole another.

Speaker 2 (22:10):
But let's get to eight. Man.

Speaker 3 (22:14):
I'm I'm I'm gonna just do broncs like whatever. So
I got ant Banks, big things, big things.

Speaker 4 (22:26):
I got lighter shaded Brown, Okay.

Speaker 1 (22:29):
I ain't mad at that. I got the boot Yard
tried he picking real Gangster Rep. I got Volume ten just.

Speaker 2 (22:39):
The grip punk hip hopera.

Speaker 1 (22:43):
I got.

Speaker 4 (22:46):
Genius rap doctor.

Speaker 2 (22:47):
Jacko, Hi shout out Andre.

Speaker 4 (22:51):
I got second to none.

Speaker 1 (22:53):
I ain't mad at that.

Speaker 4 (22:54):
And I got a low profile.

Speaker 2 (22:58):
I gotta pay a duke. Come on, man, that's why.

Speaker 1 (23:01):
We do it, you know what. And what's funny is
some of the stuff he just named in this part,
we actually had higher some of the artists. Yeah, some
of the artists, like I believe with dub Season them
low profile DJ Aladdin, I had that like him. I

(23:21):
can't say it now, but I had that ranked really high.

Speaker 2 (23:24):
Well, I got a different duc album ranked very very
high me too, one that you happen to be on.

Speaker 3 (23:30):
Okay, So because you like that what I'm saying, you
r right, because then there you know I come from
that level, because then.

Speaker 2 (23:42):
I got ship like.

Speaker 3 (23:45):
That's higher that I felt like represents more of So
that that's mine, that's mine's right there. I don't think
like you know what I'm saying. Look at dudes like
and Banks, who's representing oak Oakland up in the Bay Area.

(24:10):
And Banks produced a lot of significant shit West Coast
artists around that era for sure, And we was getting cracking,
you know, with the cubes and the cmw's and the
two Shorts and when the Bay Area was getting cracking
with the Spice ones and two Shorts and all of that.

Speaker 2 (24:29):
So he was essential.

Speaker 3 (24:31):
Banks had his hand and a lot of heavy Bay
Area sound, you get me, which was very significant different
from down here, down here in LA and comped and
you know, so.

Speaker 2 (24:45):
Very different fields sonically.

Speaker 3 (24:50):
I used to bang at Banks in the neighborhood when
I used to be dipping in my sixty three. So
that's what that meant, you know, That's what Ant Banks
music meant to me. As far as West Coast reality music, well.

Speaker 5 (25:07):
He definitely at the bottom, so I know, I know,
for riding around, that's perfect music.

Speaker 1 (25:13):
You know what I never understand, man, why people who
made these like you know, ant producers like Ant Banks,
not just him, my boy, Humpty hump, those producers, why
they weren't utilized as much day like even like DJ Quick.
You would think that like YG would get with him.

Speaker 2 (25:35):
That's a good question.

Speaker 1 (25:36):
You know what I'm saying. It just would make sense
because a lot of these kids, they are redoing them
songs that came out. Why not get with the original, dude?
They're still here.

Speaker 5 (25:45):
Well, I've never but when you look at that like
using short even though ant Banks didn't do this song,
you look at like cuss words, and then you look
at when they made chicken the Head project pat produced
by DJ Paul and Juicy J. When they did chicken Head,

(26:06):
they used cuss.

Speaker 2 (26:07):
Words beat exactly.

Speaker 5 (26:09):
That's the Steals point that to me is always like
the beautiful thing or even like speaking of music, drive by,
when you hear the same sample that you used that
it's done on warning. Yes, for instance, you know it's like,
oh for someone like me, And I was still in
Maryland at the time, but I'm hearing like, wait a minute,

(26:32):
everybody's loving this biggie song, but have they heard the
Conca's most wanted song?

Speaker 2 (26:36):
And in Maryland they hadn't.

Speaker 3 (26:38):
But I know out here that was that was the
same like here in friendly game of baseball and we
turned around and flipped it drive by Miss Daisy Daisy.
So you know that that was that was significant around
that time of hip hop. Absolutely not that it was

(26:59):
considered biting to me. I called it idolized in a
nigga because I love some fucking main source.

Speaker 2 (27:09):
You feel me, And it's the thing too.

Speaker 3 (27:12):
Likeigga coming from the West Coast and banging some motherfucking.

Speaker 5 (27:18):
Or some just hanging talking about police brutality, though exactly
exactly he did.

Speaker 2 (27:23):
And this is the thing, it was very clever.

Speaker 5 (27:26):
But the thing that I loved just listening to the
music was main source had friendly Game of Baseball, which
was in a way, their version of the police are one.

Speaker 2 (27:35):
Time gap for the month. They did it that way.

Speaker 5 (27:38):
But then the beauty of it is to use the
same samples, the same base in a different way to
make a drive by Miss Daisy, which is drive by.
It's like it's just breaking it down in different ways.
And to me, that was the beauty of listening to
how people freaked the samples like that's I loved it
and warning and I mean.

Speaker 3 (27:59):
It's just just different ears coming from these producers, you
know Slip. You know, it was one of those producers
that you could hear you could hear a sample or
hear somebody else's song and be, oh, damn, man, what
I would have done And I would have cut this
up or chopped this or whatever. S you know, just
show minds at work, man, you know, great minds think alike.

Speaker 1 (28:22):
You feel me for sure? You know what the biggest
thing is right, and I get that as a producer,
you need to keep you constantly keep updigging your sounds
because the sounds do change. If you don't stay up
on stuff, you can lose a step just like that.
And it's something that that can become very hard to

(28:42):
do as you get older if you not, you know,
stand up on what's going on. But then sometimes it's
cool to just keep your sound the way it is
and just give people what it is that you do.

Speaker 5 (28:54):
But if I, if I could bring up a question
that ties directly into this with eight, if it's a
comptant thing, it's a constant thing, straight checking them and
then music to drive by to me again growing up
in Maryland listening to it and getting these albums the
day they came out everyone and I remember the record
stores I got them. At my point is production wise,

(29:15):
it was the sound that y'all had, but it was
always evolving. It was very different and you could tell,
like the equipment, the mixing, the base, just everything from
it's a constant thing.

Speaker 2 (29:27):
Just straight checking them was like a whole different world.

Speaker 1 (29:30):
The money like that longer but just got bigger now.

Speaker 3 (29:34):
It was it wasn't even that, it was the fact of,
like you said, trying to evolve and trying to do
shit out of the norm from typical units. Yeah. I
always wanted to do different shit than what everybody else
was doing. I guess, you know, the Parliaments, the funk

(29:56):
of Daleks and the George Clinton's and whatever. We prided
ourselves on being different. So each record was always a
transition of trying to be better than the last one
or do some shit that you thought the other motherfuckers
wasn't doing.

Speaker 1 (30:14):
So you know, yeah, that's what that was, because you know,
the producer don't get nowhere near the credit that they
should get. And most classic albums, if you notice, always
just had one, maybe two producers behind them, right. It
was a more cohesive sound.

Speaker 2 (30:31):
I thought it was a crew though.

Speaker 1 (30:32):
Yeah it was a crew.

Speaker 2 (30:33):
It wasn't always just one. But think about it as
a crew of people.

Speaker 1 (30:38):
Everybody worked like you look at Bobcat when he hooked
up with Pool and the other cat, you know, and
the other cat and they would get together, and you
had Cube who would always have jinks and jinks around.
It was always a crew of people, but it wasn't
a whole bunch of producers. I think today it hurts
a lot of young artists is getting beats online they

(30:59):
never seen because first of all, the dude making the
beat ain't really a producer yet. Yeah, he was giving
you a beat and you go do it. Ain't nobody
coaching nobody. You remember back in the day eight your
producers there to say it like this.

Speaker 3 (31:13):
I used to hate that ship, but criticism was always good. Yeah,
but you got produced.

Speaker 2 (31:29):
No.

Speaker 1 (31:30):
I used to work with Slip.

Speaker 3 (31:33):
Slip was one of those dudes who you know, you
messed up on this word, or do this or say
this part with a little more of this or you know.
So it's just the direction of what producers felt like,
you know, outside of just producing the fucking beat, you

(31:54):
know what I'm saying. And especially if they've been working
with you for a while, they know when you deliver
years off a little bit. So you got producers who
will tell you, you know, you might want to run that back,
or you know, you might want to put a little
more of this, or you know. And Slip used to
always give his input, you know, just like I used
to do when it came to music that I wanted

(32:18):
to motherfucking rap over you hit me.

Speaker 1 (32:20):
Definitely effort.

Speaker 3 (32:22):
I was the type of motherfucker that be like, shit,
I go to the record stores.

Speaker 2 (32:26):
You would bring the record, listen to.

Speaker 3 (32:28):
Some old shit that I'd hear at my mom's or
my aunties, and then come back to Slip and be like,
hey man, chop this up or listen to this, or
if I heard something, I'd just sit there and hum
it to him and Slippers the type of motherfucker he
finds shit. So it's always it's good to have a

(32:48):
collective effort, especially from the producer in the MC.

Speaker 1 (32:52):
Yeah, and I think that that that economy is good
because even though it might have pissed you off at
that time when he told you some shit, look at
end result. Oh yeah, definitely. You know if both of
y'all being being hard on each other, because.

Speaker 3 (33:04):
I always get to add criticism. And that's in a
lot of ship man, you feel me, Oh don't like
a lot of motherfuckers will be phony and ship too.
You have a pack of niggas just sitting there just
listening to the ship knowing ship as garbage as a motherfucker,
and they'll be nigga. Ship bomb is a motherfucker nigga
that ship hard as a motherfucker.

Speaker 1 (33:25):
Yeah, yeah, yeah, they don't want to lose they weed rolling.
They don't want to lose their little spot in the tour.
You know, they get to go everywhere, so they gonna
say hell yeah instead of not knowing, you better keep
it real with this dude and all the benefits go stuff.

Speaker 3 (33:41):
Then on another note, boot y'all tried. You know, if
you want to talk about the epitome of gangster ship,
gangsters who rap, Boo y'all tried was, you know, one
of those groups, you know, unfortunate like a lot of us,

(34:01):
didn't get the the proper promotion and respect in the
hip hop community that they should have, but always represented
where they was from, didn't have a problem with it.
And then on top of that, they had some good
fucking songs.

Speaker 1 (34:18):
The dues are dope ass musicians too.

Speaker 2 (34:22):
I knew.

Speaker 3 (34:23):
I knew Boo Yard tried, done a couple of engagements.
You know, always was respectable. Like I said, you you uh,
you get into this hip hop game, and you know,
we all from different neighborhoods and come from different walks
and shit. But I just always respected motherfuckers who first

(34:45):
of all represented where they was from, didn't have a
problem with it. And then uh them was some motherfuckers who.

Speaker 4 (34:54):
Was really into their craft, get me.

Speaker 3 (34:59):
Uh they it was real about making good music, you know,
not just gonna be a motherfucking stereotype image of just
being some Cali niggas from from southern California, from a
gang and that's what we're gonna stand on.

Speaker 2 (35:15):
Uh.

Speaker 3 (35:15):
They prided themselves on making, you know, quality music, So
that's why you got to put them up there when
it comes to reality and shit.

Speaker 5 (35:25):
And I think that's a it's a great point or
these are great points you're making it, and I think
it ties into something that we all know in different ways.

Speaker 2 (35:33):
But the labels you're on has a lot to do
with it.

Speaker 5 (35:37):
Like you said, were marketing in promotion because they were
on Island when they had their biggest chance and iland
won the rap label and didn't know how to I
think maneuver market promote, get them.

Speaker 3 (35:47):
In the mountaintop of that some of my same pitfalls
dealing with fucking epic.

Speaker 1 (35:53):
You know, And it was probably ten times as hard
for them because you think about a rap is already
fairly new, Yeah, and you people see the people that
people see performing REP songs are black. You got a
bunch of big Polynesian dudes. So it's like, how do
we how do we promote this market is because me
and you both know, all three of us know year

(36:13):
it's the way you can market that and be very scitful.

Speaker 3 (36:16):
But I the the labels that were outside of hip hop,
like you know, you had the deaf Jams, but they
were built on hip hop. You know, you had a
priority turned around even though they started with the fucking Raisins,

(36:41):
they turned around Flip God with n w A and
Easy in there, and they hold label became gangster ship.
You getting me so to the discretion of motherfucking Epic
and Island, who were who were subsidiary of big ass
Sony's and Universals and shit like that. You just got

(37:04):
a gang of motherfuckers who and not even to speak
on because it had nothing to do with race, because
you know what I'm saying, it's a lot of motherfuckers.

Speaker 4 (37:14):
I knew black white Mexican.

Speaker 3 (37:18):
Who were hip hop affiliated, but you got fucking corporate
motherfuckers who used to run in Pearl Jam Records and
Shah Day Records and Michael Jackson records, and now you
tell them, Okay, now we're gonna put out this conference.
Most wanted music to drive by and they're looking they

(37:39):
you know, they had no idea. So some of us,
some of us fail. You know, you know the video
game Pitfall, you used to have to swing over the
pit to make it to Some of us had to
fall in that pit because you got these labels.

Speaker 1 (37:53):
Who just.

Speaker 2 (37:56):
Does this mean?

Speaker 3 (37:57):
It's crazy because you would think that the money, the
money is there, right you fucking with shit. Michael Jackson
sold a billion fucking records. Shah Day was doing good,
Pearl Jam was doing good, Luther Van Droz was doing good.

Speaker 1 (38:13):
So you're with your mother.

Speaker 3 (38:15):
Fuckers got bread. But when it came to hip hop,
they was like do what, like buy what, get what?
So a lot of my records was just going on
the on the strength of just you know, videos and
word of mouth. That damn, that's Compton's most warning.

Speaker 1 (38:36):
You know. The funny thing about them labels though, bro
the rock budgets ten times as big as the rap Budgeon.
Leave the R and B budgets, the you know, pop
music Budgies is just way just it's not even things,
but rap is the most profitable, right, So I think
a lot of labels got used to going in and
doing a minimum because usually, especially today, when a rap

(38:58):
when the record label decides to invent than an independent artist, right,
that independent artists don't already did the groundwork, right, that's
what it's done already today. Yeah, yesterday was kind of
like it was kind of like the same thing you
would start your own.

Speaker 5 (39:12):
Buzz, right, but even like the content compilation, that's exactly
all the records.

Speaker 1 (39:17):
Exactly, so it was gonna done for them. So really
all they did is put you Now you had a
couple of things that went really well, Like you had
that soundtrack, right, then you had the movie. They just
added to your whole persona right exactly, you had so
but that's that's ship that you did.

Speaker 3 (39:36):
Oh no, that's that's that was generated from outside works. Because,
like I said, Sony and Epic was still they were
just confused about how to handle.

Speaker 4 (39:51):
This new thing of hip hop.

Speaker 3 (39:54):
And like I said, even though they had the bread
and you know, you would think that Sony, you know,
they got a limited fucker record label. Sony was the
you know, the Japanese you know, they they technology, but

(40:14):
at the time, you know, considering that, you know, hip
hop was still the kind of new in the in
the beginning of the nineties. You didn't have knowledgeable motherfuckers
who knew how to run rap records. You know, every

(40:35):
every label didn't have a Russell Simmons and Deaf Jam
and them.

Speaker 5 (40:39):
But I want to ask you this too, eight because
from my experience too when I was getting in the
game as a writer, the other layer of this is
so many of the labels when they were based in
New York, they didn't Not only was a rap in
the business the bigger sense, but then you're dealing with
people in the U or the other labels not liking

(41:02):
or caring about West Coast music on top of that.
So to me, I always felt it was a two
or three layered problem.

Speaker 4 (41:09):
I used to.

Speaker 1 (41:14):
Have to deal with.

Speaker 3 (41:18):
Epic in New York when it was always time for
my records to go down.

Speaker 1 (41:25):
Did I feel that.

Speaker 3 (41:31):
Because you know, like you said, a lot of the
labels were based in the New York And I don't
know if I ever had the feeling of bias because
I was from from la Because Epic had an office

(42:02):
in Santa Monica. So if I ever had any issues,
I just go to Santa Monica, Colorado.

Speaker 2 (42:08):
That.

Speaker 1 (42:09):
Yeah, So.

Speaker 3 (42:14):
I just felt biased because I just didn't think my
label knew what the fuck to do with me. That
that was just it period. I didn't think that. Yeah,
they just didn't know what to do with a young nigga,
gang banging music whatever from Campton. They they love the

(42:37):
fact that we got us a NWA type, but they
didn't know what to do with this shit, Like, we
don't know what to do with this shit. We don't
know how to go to radio with this shit. We
don't know how to So most of the time it

(42:57):
was just nigga get out on the road promo tour.
We're gonna every city that we got a rep in office,
and we gonna send you there, and then it's up
to them to connect with motherfuckers. Fortunately with me is
I was a neighborhood nigga, So when I went to

(43:19):
places like Chicago, I just go find the niggas and
hang out with the niggas. That's what got our popularity
up in places outside of you get me. It wasn't
for the fact that Epic knew what to do. It
was just the fact that when we got in town,

(43:40):
me and Chill and the rest of the niggas, we
just knew how to gravitate to niggas.

Speaker 1 (43:45):
Because everybody in every city got a story. I was
talking to my homie in Cleveland, Man, yeah, eight was
out here with us. Ask if big such and suction,
Now we I'd go out there.

Speaker 3 (43:54):
I'd go to towns and and the first thing we do
is we do some shit like take us to the
liquor store in the neighborhood. Like so we go to neighborhood,
and then once niggas see, you know, and then it's
like where the where where the smoke at.

Speaker 4 (44:11):
Where the our nigga go to the projects?

Speaker 3 (44:13):
So go wuti wom. That's how we connected with a
lot of niggas. So we did a lot of street
marketing on our own and then just from word of mouth.
Because if you had a fucking if you had a
TV and you was fortunate to have video juke box
or maybe a fucking yo MTV raps, then you got
to catch a glimpse of of Compton's most wanted. And

(44:37):
now you got some niggas that you feel like, is
are these niggas liked us. These some good niggas. They smoked,
they drink forties, they rep it. So that's how we connected.
Because the labels didn't know how to connect. They go
put us in the motherfucking sweet and in college town

(44:59):
with all the corpor operations and ship and we were
not We not got no fans over here.

Speaker 1 (45:05):
We can't connect. Well, you all need to be at
the Motel six over.

Speaker 3 (45:09):
Goddamn fuck, staying at this motherfucking fancy ass two hundred
three hundred dollars row. Nigga, you could take us to
the best western nigga in the motherfucking neighborhood and as
long as there's a motherfucking liquor store down the street
where niggas can bail to and whatever and feel like
we we didn't want to be alienated like that. We

(45:32):
didn't consider ourselves to the level of you get me,
gotta have security at the door. You want to do
what you wanted, Yeah, because liquor thing. Take us to churches,
chicken or Popeyes or something. Nigga, take us to the
liquor store and where the nigga's.

Speaker 2 (45:48):
At Chicago go to Heralds.

Speaker 4 (45:50):
But I remember the Heralds we go to Cabrini Green.

Speaker 3 (45:54):
Like, we didn't want to be looked at as celebrities.
You get me, Nigga, I'm just a nigga talking about
in the hood. Nigga's what we do with. So that's why,
you know, being able to connect with regular motherfuckers was
important doing this rap shit. I never wanted to be

(46:16):
looked at as you go the nigga pulling up in
the limos with the securities, with the ear pieces in
and suits all that, nigga, if you don't get the
fuck up out of here, nigga, and you know so
that a lot of the times when we went out
of town town and you know, first thing they want
to do is rent a nigga limo and shit like that.

Speaker 1 (46:36):
I'd be like, nigga, get us a van.

Speaker 2 (46:38):
I don't wanna rod.

Speaker 3 (46:39):
Pull up in their motherfucking limos like we some motherfucking
you know big fuck that shit. When you make motherfuckers
feel like, oh, the niggas just like us, that's why
we That's why I never had issues with niggas on
the road, You get me. I didn't even jump out

(47:00):
the limos with fifteen security niggas. I jump out the
I jump out the van with three of the four
of the homies, I do thee brought from the neighborhood
and now Nigga why after autograph signed the nigga we
standing in the alley on the side of the record store.
Niggas we did and then you get me.

Speaker 5 (47:17):
We did that with the Section eight album and come on, man,
I remember we did Lise Yeah on the Section eight
when he was on Priority. I'm like, yo, swing there
in Chicago.

Speaker 1 (47:27):
You want to go there?

Speaker 2 (47:28):
I was like, man, I mean eight whatever.

Speaker 5 (47:29):
So that's where they. Yeah, we were just chopping it
up in the street. I think we literally did the
interview on the street, just chopping it up.

Speaker 1 (47:36):
And you got it.

Speaker 2 (47:37):
You came be.

Speaker 3 (47:39):
This is one of those games where you can't, you know,
alienate the common man.

Speaker 2 (47:45):
You know what I'm saying.

Speaker 3 (47:46):
You gotta make a nigga feel like I'm just like you, perfect,
just like I quote my nigga A three.

Speaker 4 (47:54):
Thousand on elevators.

Speaker 3 (47:56):
You feel me when niggas say he walking around the
mall and nigga like, Nigga, I know you balling like
my nigga.

Speaker 4 (48:02):
Nigga, I'm just like you, nigga.

Speaker 3 (48:04):
Check even though I'm trying to make a couple of songs, nigga,
If you don't bang my shit, Nigga, I ain't getting
no bread you get me, So don't consider me somebody
outside of you, Nigga. I'm just like you. You go
to work and punch a clock. Nigga, I'm trying to
sit in this motherfucker's studio and come up with some songs.

(48:25):
So you're gonna spend your ten motherfucking dollars. Because you
don't spend your ten dollars, nigga, I'm ain't nothing happening.
So that's why I try to get you. Gotta make
yourself feel like you know, and I think that's with
some of the these reality artists.

Speaker 1 (48:41):
You feel me.

Speaker 3 (48:43):
Uh, sometimes you gotta make your you gotta you know,
you gotta make songs. And the attitude is nigga, I'm
just like you, my nigga, I ain't no different.

Speaker 1 (48:54):
You feel me real.

Speaker 3 (48:58):
So though those are who those are some of the
artists I feel in that in that era because like
you said, I got like, I got some dudes that
you might have had on the bottom of the list
or whatever. I got them ranked a little higher because
that's just what that meant to me when I think
of gangster or reality shit, you feel me?

Speaker 1 (49:21):
Yeah, a lot of shade of brown is real interesting.
And that's like it makes a good point because Hispanic
people in hip hop on the West Coast, especially when
it comes to street music, like neighborhood music, definitely they
making big moves. You got cats like you know, mister Criminal.

Speaker 2 (49:40):
There's many you know.

Speaker 1 (49:42):
You know mister Criminal's move, Pi's move, mister Capony, A
lot of them, you know what I mean. You got
a lot of cats making moves out there.

Speaker 4 (49:49):
Yeah, you you.

Speaker 3 (49:52):
One of them. Hard things to get in, you know.
For my essay, people, Hm, it was hard to start
off ship. It was hard for us to get into
hip hop, you feel me.

Speaker 1 (50:05):
Uh So.

Speaker 3 (50:07):
We had people like you know, I'm I'm a shout out,
you know, uh Kid Frost Niggas I listened to uh
Mellow man Ace.

Speaker 1 (50:20):
You getting me.

Speaker 2 (50:24):
A lot lighter shade of brown.

Speaker 3 (50:26):
I'm saying like even before Cypress, He'll got that, you know,
Causeite my boy be real in them came out and
it was just never it was just over from the
day that you took the time.

Speaker 4 (50:38):
But I'm saying for those beginning. For those beginning.

Speaker 3 (50:42):
Like like you say, the mellow Man, really it Frost's
That's what symbolized to me. Uh, you know the Mexican
rap or whatever they want to call it. You know,
now it's a you know you got Chicano rapping.

Speaker 1 (50:56):
Yeah, you got. They got to be real with you.
They kind of they got their own thing going, you
know what I mean.

Speaker 3 (51:01):
I mean, but they've been they've been real because I
could say for myself, they've been real respectful as far
as hip hop is concerned. Because half of my shows,
I was about to say that half of my shows,
the essays come out, deep, homies come out.

Speaker 1 (51:22):
You know, what do you think about the constant We
just did like a couple of months ago with mag
Ten with an Ox in the audience. So they've definitely
always you know, they're a big.

Speaker 3 (51:33):
Pot the spot in what was that Montclair or whatever?
That That's what it was, Montclair, That's what it was.
That was nothing, but you know, uh ganging the homies
out there, essay homies, so they you know, significantly represent uh.

Speaker 1 (51:52):
Hip hop hip hop. Yeah, a big PARTU.

Speaker 3 (51:56):
I begged Sunday Afternoon, you know, lighter shade Brown I
used to bang all that. Yeah, definitely, So I banged
some kid Frost, So what want to be uh discriminate.
You know a lot of people with the hip hop
how you know, we started to craft or whatever, but
I've never been.

Speaker 2 (52:16):
Uh let's not forget Cycle Realm too.

Speaker 1 (52:19):
Psych Funk Dubious.

Speaker 3 (52:25):
I used to They was used to be on the
leg They Funk Dubious used to be on Epic. So
definitely they They've been representing for a while, you know.
So it's it's cool to see, you know, because I
had to put them on on the list because, like
I said, it's something from my early days of being

(52:46):
in the neighborhoods and first getting into hip hop. Lighter
shade of Brown Kid Frost was records I played, not
just trying to go, oh yeah, well they was a
part of the hip hop scene, so fucking throw them
on the list. I banged those songs.

Speaker 2 (53:06):
Yeah.

Speaker 1 (53:06):
It makes it really hard because if y'all think about it, man,
we've had the pleasure of possibly being in the best
era ever of music, especially you know, hip hop. We've
got to see it since its inception and to see
where it's become and the artists that have been spawned
from the genre. You got some amazing people, dog, you know,

(53:26):
you think about it, bro, our grandkids can probably ask
us questions about Tupac, you know what I'm saying, or
how was it this? How was this person? Because we
actually get this, We actually got to see people become lections,
you know what I mean, like right in front of
your eyes almost you know, you got scarface, you got it.
And I think people forget about how Vicious Cube was,

(53:48):
you know, because this generation really probablyly no cue from
being Craig in the.

Speaker 3 (53:51):
Movies, right, Yeah, that's the younger generation. Music is different,
you know. It's it's just like me, though, I'll sit
up and watch a documentary or some shit that I
didn't know about.

Speaker 2 (54:04):
Was like, oh damn that for real.

Speaker 3 (54:07):
And so so curiosity, you know, you know how youngsters are,
and shit, they don't hear no shit.

Speaker 1 (54:13):
Old shit, you know.

Speaker 3 (54:14):
But they'll find out, you know, as as maturity sits
in and they learn to respect, you know, like you said,
you look up and it's like fifty years of making
hip hop and whatever don't seem like it. But it's
been a while that we've been going strong at it

(54:37):
right now, So you have to be able to respect
where it came from, just like anything within the inception
of it. Uh, you go back and look like, damn
it's act. Then we couldn't do this and we couldn't
do that. Now you're able to do like shit. Back
in my days, you couldn't say blood and crip on

(54:58):
records and.

Speaker 4 (54:59):
You got bad ad or thig.

Speaker 3 (55:01):
If I had, if if I got on the video
with the rag hanging off my back pocket, it would
have got bad.

Speaker 4 (55:07):
They would have played it whatever.

Speaker 3 (55:09):
But you know, with with what we had to go
through and the lups we took, you able to do
it the fuck you want to. Now you go straight
to YouTube and put out videos and you can wear
what you want to wear and say where you're from.
And you know you can go from wearing red rags
and blue rags to rainbow rag.

Speaker 1 (55:29):
When you think you can do it all to think
about ship, think about what all this came out against
the rep.

Speaker 3 (55:39):
You can do it. You can do You can slap
on you a rainbow rag. If you won't clean shout
out to the people that do. Decide to tell them
here hould.

Speaker 2 (55:54):
On right to catch you. You know that right?

Speaker 1 (55:57):
You know when you think about gangst the rep right
gangster rap has also spawned a lot of other like
sub genres, like the drill, like the drill rap, even trap.

Speaker 3 (56:09):
What you considered drill the new youngster's form of gangster
rap because they do a lot of killing and fucking
other bitches. And yeah, there's a lot of there's a
lot of killing the ops and you know, we from here,
we got and then and then.

Speaker 4 (56:31):
You've always had uh.

Speaker 3 (56:34):
Braggadocious MC's, uh my man, LLL the cool mods that
you know, I'm this, I'm bad, I'm bad, I'm mad. Right,
do you feel like hip hop today with with the way,
like you said, the drill or whatever whenever?

Speaker 4 (56:53):
Is it just way too braggadocious now?

Speaker 5 (56:58):
I think one of them main differences is if you
look in the eighties, this would happen, but it's different now.
There would be you didn't do it as much eight
but you usually had.

Speaker 4 (57:16):
A story, definitely, definitely.

Speaker 5 (57:19):
Whereas a lot of the current artists, if they're all
over the place, there's no structure, No, they wrap a
certain length and then they go to the chorus. There's
not a story, there's not a it's just I'm this
I'm this, or I'm doing this, or I'm shooting this
or I'm doing that chorus.

Speaker 2 (57:34):
It's not a structure of a flow of a.

Speaker 5 (57:38):
It's just a different construction. It's not good or bad,
it's just different.

Speaker 1 (57:41):
And I just think it's different. Like if you listen,
I think it's the influencers too. You got to remember
a lot of these kids came up under Stilty Shaker. Seriously,
I hear a lot of keyds today, so and just
think about it. If they were influenced by Silkie. You
gotta remember these young mamas, you know, girls around the age.

(58:03):
They got kids that are young adults now that the rappers,
they would have came up under Siltie Chakra and a
lot of these dudes that rhymed off beat because a
lot of people are trying to imitate. I'm not.

Speaker 4 (58:17):
It's just the rhyming off the beat.

Speaker 1 (58:19):
I don't know what it is. It's not that influence
by Chak like that, you know, That's what I think.

Speaker 4 (58:26):
I just think it's you bang you Selfie shocker.

Speaker 1 (58:30):
Soccer has some ship.

Speaker 5 (58:31):
I think it's just people have different People have different
attention spans. So eight would study and read stuff all
the artists that I grew up loving and admiring and thinking.
Look at the vocabulary that we learned, the history lessons
we learned, the process we learned, the streets we learn
from listening to the music. The artists now they're just telling,

(58:53):
they're just saying stuff.

Speaker 2 (58:54):
It's not as uh.

Speaker 5 (58:57):
Generally speaking, thought provoking. So when you have that, that's
why it's a bunch of one off lines. Can you
notice as well as anybody when you listen to these songs,
every line is punched. I notice that, right, Oh yeah,
every line or every two lines, they're punched. So that
means it's all fruity style. There's it's not they're not
taking the time to write. Again, it's not good or bad.

Speaker 2 (59:18):
It's just different. But when you have that, it's a
different way where you.

Speaker 1 (59:22):
Gotta remember the vibe. And that's why I say it's
they variation gainst the rap. You know what the biggest
difference is. It was like, if somebody says you was
a smoker back in the day, you want to fight
a motherfucker, right if you smoke crack? He was embarrassed
by that. Now these motherfucker's on every kind of drug imaginable. Yeah,
you know, they taking drugs and they going there saying, yeah,

(59:44):
fuck me, two or three bitches, wake up in the morning,
make the whole do my dishes, make her wash my socks,
then she suck my cock. That's just how they. That's
just how they. You know, they on their shit, They
on they vibe. They sound like they fall asleep on
the tracks. But I can't be a motherfucker that that
that shouldn't say what the fuck is that bullshit? Because
it was motherfuckers back in the day. What the hell

(01:00:05):
is that bullshit that you're listening to? You? So it's
always like that. Every generation got the different vibe. You
know what I'm saying, Well, sure, let's let's let's get
your list.

Speaker 2 (01:00:15):
Said well, still and I had talked, so we kind
of melded together.

Speaker 1 (01:00:22):
Yeah, that was good for the second time.

Speaker 5 (01:00:26):
That's like, I like that because the thing that it is,
as we had talked about it, and as we're going up,
the albums are going to be definitely classic of the classics. Yeah,
why people have multiple.

Speaker 4 (01:00:43):
Entries because now you're going thirty to twenty, so.

Speaker 1 (01:00:45):
Well, we had we had a low profile which album
that you had from.

Speaker 2 (01:00:50):
I got a different one, but eight I got talking,
I got the first album. That's the one that profile
and it's it's pay your Dudes. That's why we do it.

Speaker 3 (01:01:00):
Yeah, that's the first album. We in this together. That's
the name of the first album. It's just a Laddin
and Dub Latin Dub.

Speaker 2 (01:01:08):
It's a duet.

Speaker 1 (01:01:10):
Dub C has always been funky song man.

Speaker 2 (01:01:15):
There's nothing going on funky song You say Dubb is underrated,
absolutely yeah.

Speaker 3 (01:01:25):
I think me and me and Dub fit into you know,
uh that same like you transition of underrated and I
I think Dub you know, has a little bit more
sometimes and than I do in my spot.

Speaker 4 (01:01:43):
What do you mean because Douve I think he's I
think I'm more underrated than I don't.

Speaker 1 (01:01:50):
Know, because people all over the world seem you get
a lot of attention from the New York cast.

Speaker 3 (01:01:55):
I went, Dub Dub has cbe you getting me? Dub
gets a Dub to me gets a lot of you know,
because niggas respect Cube and Dub has been there with Cube,
you know, west Side Connection, you know, fucking Cube Records,

(01:02:21):
you know, show with He's on shows with Cube. You know,
I feel a lot of niggas respect Dub.

Speaker 1 (01:02:29):
He might not get.

Speaker 3 (01:02:31):
The true recognition he deserves as a West Coast staple.

Speaker 2 (01:02:37):
Uh, but Dub packs out shows like a motherfucker's phenomenal.

Speaker 3 (01:02:44):
Packs shows like a motherfucker, Like I don't give a
fuck anywhere up and down the West Coast, fucking you know,
Dub gets shows and motherfuckers packed the house. So yeah,
I've been to plenty of Dub see shows me and.

Speaker 1 (01:03:04):
I heard Dub got a cold last beat Bucks.

Speaker 3 (01:03:08):
He's a showman too, you get me, knows what he's doing.
He's he reminds me like, you know, I'm a nigga.
Get up there, I'm gonna rap my ship and I'm
gonna have me some niggas on the stage and we
just gonna stand there and be like, yeah, nigga, what
he puts on the.

Speaker 1 (01:03:24):
Show man, Yeah, show like a motherfucker.

Speaker 3 (01:03:28):
His showmanship is is superb to me as far as
because motherfuckers look at us like we should.

Speaker 1 (01:03:35):
Be one way.

Speaker 3 (01:03:36):
Nigga, nigga, I'm gribing motherfucking Mike niggas. Nigga, what nigga,
nigga sit there and listen to my ship. Nigga, I'm
just from me all night, nigga. I'm rapping to a
nigga like dud puts on the show. It's it's it's
exciting to see him and my nigga, Melee nigga that

(01:03:57):
gets the fuck off.

Speaker 1 (01:03:58):
Yeah, get off shot. Let me ask you all this
because this is one thing we talked about. We talked
about you know, reality raps. That's what we gonna call
it from now. Yes, yeah, you could have listens called
the gangster rep you know, for you know purposes.

Speaker 3 (01:04:11):
Yeah, a source magazine did us like that. When Me
and A Face and Spice did the cover, they stopped
saying gangster rapping.

Speaker 4 (01:04:21):
Was like, is it reality rap?

Speaker 3 (01:04:24):
Because everybody don't represent cripping blood so and you know
a lot of people when they associate gangster shit, they
associated with gang banging, so cripping blood. But a lot
of niggas is crued up or clicked up or whatever.

(01:04:45):
So I didn't I've never liked the term gangster rap.

Speaker 2 (01:04:49):
You get me. The media created it, so yeah, I
don't like.

Speaker 3 (01:04:54):
And they did that to us because we was West
because like I said, motherfucking beat e p first record
on the Oozzi's.

Speaker 4 (01:05:04):
And Free and nigga, criminal minded and.

Speaker 1 (01:05:10):
And all kind of why. That's the only me got
on the rest of it was conscious, you know, conscious rap.
Let me ask you all this and then I want
to talk about something else before we go. So, would
too Short be considered against the rapper? No, as hard
as this music is that, I.

Speaker 4 (01:05:27):
Won't consider his ship gangster because too short was.

Speaker 1 (01:05:32):
Yeah.

Speaker 3 (01:05:33):
I considered short rap, pimp ship and street, hustler rap
and player and player rap, just like I look at
Rick Ross. It's like hustler rap.

Speaker 2 (01:05:54):
You get me. I'm I'm you know.

Speaker 1 (01:05:57):
You know.

Speaker 3 (01:05:58):
I took me some trips, I me some birds, you nigga,
you know the price was fifteen you know, nigga, and
then he mixed it in with a little player. I'm
gonna take my bitch buyer some motherfucking burking bags.

Speaker 4 (01:06:14):
I'm gonna take you.

Speaker 2 (01:06:15):
Give me my nigga.

Speaker 3 (01:06:16):
Come on, my nigga, go he go you my nigga.
Ross is gonna trick on that hole. You feel me,
My nigga gonna put her on a private plane. My
niggaa fly the bitch to London for lunch and then
fly the bitch back. You know what I'm saying, but

(01:06:36):
niggas he but that's that's that player rap. That's that
you know what I'm saying, that's that upper echelon like
nigga's aspirational, like you know what I'm saying. You nigga
buy socks is a thousand dollars nigga. You feel that's
that rap?

Speaker 1 (01:06:53):
You get me. It's the transition. Now, how about.

Speaker 3 (01:06:58):
So and my nigga Short is you know he's on
too from my early you know, from my two short
favorite nigga gotta fuck me one hundred bitches, you get me.
I met this girl, her name was Lisa. She gave

(01:07:18):
me a piece of it like pizza, and I fucked jaded.
She had the biggest bootyo to plat it. My niggas
a player, you get me.

Speaker 1 (01:07:27):
Short is definitely a born man.

Speaker 3 (01:07:30):
Dope fiend beat you get me. I don't look at
that as this nigga. I come through, dump on the nigga.
You know, fifty niggas on the corner.

Speaker 1 (01:07:40):
I got the a K in the trunk and sugar
free would your class for him is a little bit
more gangster now.

Speaker 4 (01:07:46):
She freeze for the holes man.

Speaker 3 (01:07:48):
He's the he'sna tell you sugar gonna tell you the minute, nigga,
I'm I'm for these holes and I'm gonna talk about
these holes and I'm ana pip a hole. I'm gonna
rap on this track like it's a bitch on the
track walking that motherfucking track, and I'm gonna show you how.

Speaker 4 (01:08:05):
Those are to me. Yeah, you can't consider.

Speaker 3 (01:08:09):
Everybody reality gangster shit because.

Speaker 2 (01:08:15):
Done, I don't. You won't see me.

Speaker 3 (01:08:18):
You don't see fucking sugar Free and no khaki suit
with his fucking you know, with his hair done, and
you gonna see sugar Free in the played our suit
with his nails done, hair done up, you know, nice suit,
two bitches on it. That's why when you go to
a sugar Free concert, nigga, every fucking hole in the

(01:08:40):
city is on his front and center.

Speaker 1 (01:08:43):
Man, can I tell you a story dog about sugar Free.
We up in for Oregon, right, we in hotel and
I always stayed right next door to him. It would
be crossed. You always be over here. It would be
me and it would be sugar free and sugar free
with not on my door all that motherfucker Steve. I
hear something this motherfucker room. You hear that ship be

(01:09:04):
out there like this, do you hear that? I'm like,
sugar for the fuck you.

Speaker 3 (01:09:09):
Don't hear that ship man? And then he just run
the room close again. It just happened, but he walked
you to hear the party go up down every we went.
We was in Portland, Oregon, and we in the room talking, right.
We actually about to leave it, go get him the
bus to go to the venue.

Speaker 1 (01:09:26):
Right. A girl come up there, she want to meet
sugar Free. Her boyfriend is there, like her real boyfriend
is there, so he don't bought They taking pictures and
stuff like that. Sugar Free said, what's that and said
you reckless eyeballing? Said you're reckless eyeballing for sure. And
the girl looked at him like this, and the dude

(01:09:46):
was like looking like he don't know what happened. Sugar
Free said, fix, come here. He said, you my bitch now,
and he made this bi she put and he made
her put her head down and walk behind him, walk
behind me. And so she was following them like that
to the show. And that girl wound up getting the
thing with him and coming down here in southern California.
Well that's that's the real thing. I really did that

(01:10:11):
ship right then and there. So my thing.

Speaker 3 (01:10:13):
That's why I say, even though we're from the gang capital,
so to speak, and crips and bloods and whatever whatever,
everybody who stepped out the West Coast, you know, wasn't
identifying with with with reality rap or gangster rap.

Speaker 1 (01:10:34):
You give me.

Speaker 3 (01:10:34):
It's a lot of dudes you know and like it.
We'll get into that further in the list because there's
other artists that again me coming from the neighborhood and
riding and low riders and standing on the corner. It
was niggas. I knew Damn Will wasn't gangster, but I

(01:10:55):
was banging the fuck out they shit because they just
to me, they had good, uh representation of West Coast
music and ship.

Speaker 4 (01:11:03):
So that that's what I was.

Speaker 3 (01:11:05):
If it was a nigga from the West Coast and
the ship was quality, then I considered it one of
my top favorites. I don't give a fuck who it was. Listen,
I banged me some motherfucking tone Lok. The nigga who
had funky cole medina.

Speaker 2 (01:11:22):
And wild thing.

Speaker 1 (01:11:24):
Well, he was a.

Speaker 3 (01:11:27):
Ship he would get out of that commercial ship has
motherfuckers loped after Dark and that Don't Look was against
it like a mother.

Speaker 1 (01:11:36):
Don't Look was against.

Speaker 3 (01:11:38):
Definitely album Loafed after Don't Chiba was this ship? Do
you'll ever remember an artist called Chiba? Yeah, that was
my ship too.

Speaker 2 (01:11:58):
He was going on of House Records, rough House Records.

Speaker 4 (01:12:01):
It was the first artist Chieba Chiapa Nigga that ship.

Speaker 2 (01:12:05):
So you know who did that song though, who wrote
it and produced it?

Speaker 1 (01:12:11):
That song is a bad motherfucker. See.

Speaker 3 (01:12:13):
I was like, I used to listen to Piper Nigga,
the Piper Niggata tell her, I used to listen to
all kinds of ship you would think, like a nigga
like coming from the hood, like they used to be bigger,
Chieba the Piper going around. It was a gang of
songs that was just hard to me.

Speaker 1 (01:12:29):
You feel me. I'm gonna tell you what my favorite
ship was. What was the one dudes to put out
the album Uptown Saturday Night Camp. Motherfuckers, some bad motherfuckers. Nigga, man,
whatever the ship.

Speaker 3 (01:12:42):
Ship, nigga, Man, you can reach Like I said, man,
everybody has an opinion of what they consider is their
top fifty greatest you know, albums or songs, or whatever,
you know, So not trying to discredit, Like I said,

(01:13:03):
nobody other listens.

Speaker 4 (01:13:04):
Was just this our opinion of what we felt.

Speaker 3 (01:13:07):
Yeah, and I think this motherfutt represent you know, especially
you know for you sowing and Steer. Anybody you was
a true connoisseur or hip hop from back from day one,
since I was about this day one, from from whatever
records I could remember, from when I started listening, Sugar Heel, Gang, Apache,

(01:13:30):
Grandmaster Flash, you know, Treacherous Three. You know I used
to cop twelve inches from the Paramount Swap Meet, you know,
Utfo Boogie Boys.

Speaker 4 (01:13:41):
I mean that shit was just it was a ship
to me.

Speaker 1 (01:13:44):
The Boogie Boys, Man, I ain't heard their name and
along with girl.

Speaker 4 (01:13:48):
You ain't fresh, Sugar, you ain't fresh man.

Speaker 1 (01:13:52):
Man, Come on, man, before we go, I want to
ask y'all something. What what's going on with michell A?

Speaker 5 (01:13:58):
Man?

Speaker 3 (01:13:59):
I've seen something the other day on Miss she was
she was she loaded or drunk or something on stage.

Speaker 1 (01:14:05):
Man.

Speaker 4 (01:14:05):
I think she was drunk, man, Man, my girl was
tipsy or something.

Speaker 6 (01:14:11):
Man.

Speaker 4 (01:14:11):
I kind of I was kind of rooting for my girl,
you know.

Speaker 3 (01:14:14):
Watched a couple of little documentaries and couple of shows,
you know, watching you know, you never know what nobody
story is.

Speaker 4 (01:14:22):
But so just to see your motherfucker walk through some
you know it.

Speaker 1 (01:14:27):
But they said that. During a recent live performance at
the Jazz on the Water Festival in Stockton, California, beloved
nineties R and B singer Michelle A raised eyebrows after
behaving strangely while on stage. A clip from the August
twenty sixth performance shows Michelle l disoriented on stage, constantly
fixing her clothing and hair before even singing a lyric

(01:14:48):
for one of her songs. At one point, she hands
the mic over to an attendee. Commenters immediately assumed that
the something in my Heart sunctions may have been under
the influence of some sort of she need to leave
that dope alone.

Speaker 4 (01:15:00):
Yeah, she she Yeah, it was pretty bad. It was
pretty bad.

Speaker 2 (01:15:03):
And it was like, is she trying to like drop
it like it's hut, like what is she? Yeah? Yeah, yeah, yeah,
I saw that. Yeah.

Speaker 1 (01:15:14):
Yeah, you know what, man, let's keep the homegirl in
our prayers, man. And I didn't ask about that to
make fun. It was really about to see if you
all heard anything, man, because I'm gonna tell you something.
Mental health is real. You know, mental health is real.

Speaker 3 (01:15:35):
Trying to make it in life, man, every day just
to be just like I said, Uh, people have a
problem with being normal today, you know what I'm saying. Uh,
everybody want to be somewhere. Cameras everywhere, phones everywhere. It's
unfortunate that you know, you in that situation, you know

(01:15:58):
what I'm saying. Uh uh so uh, just trying to survive, man,
is a hard thing. So I don't know what the fuck,
you know, for somebody who felt like that's the road
she had to take that day or whatever happened that
day before she got on stage. You know, you never

(01:16:19):
know what a motherfucker going through. But it's unfortunate. Now
you got to keep people like that in your prayers
because for sure people don't.

Speaker 4 (01:16:28):
You don't know what a motherfucker go through.

Speaker 3 (01:16:31):
Fortunate that you know, we all go through shit, but
we can, you know, kind of handle the situation.

Speaker 1 (01:16:42):
All this year, right, And.

Speaker 3 (01:16:45):
It's just some people, unfortunately, that take a different road
than we take when when it comes to dealing with
life and stressing and kids or your career not going
the way you wanted to go.

Speaker 1 (01:17:00):
You know, it's a lot of motherfuckers.

Speaker 3 (01:17:02):
It's a lot of motherfuckers who take the long road
or the wrong road, you know what I'm saying. So
just to be able to deal with that type of ship,
you know. And and it's hard. So we don't know
what she going through.

Speaker 1 (01:17:14):
And what about your boy? L L shout out to
l L. He finally says something, Man, I've been I
think there was long overdue.

Speaker 2 (01:17:21):
What's up?

Speaker 1 (01:17:22):
L L told her pretty much all the old GMC,
stop being lazy and fucking up your legacy and start
doing some shows, start putting out your music. Don't let
the motherfucker tell you, because you a certain age to
stop rapping. He said. If I can get up here
and do this, shoo.

Speaker 3 (01:17:35):
That's that's that's just you know, And I get where
my nigga L coming from because I think a lot
of artists on on the tip of being older artist, uh,
one of the you know, somebody who's uh, somebody who's

(01:17:56):
been a part of building the foundation of hip, you
get a lot of backlash absolutely uh nowadays from our
younger counterparts or or our younger competition, so to speak.
And not that it's even a competition, h but I

(01:18:17):
always ask the question why in our field, because in
nobody else's field is there in an age limit unless
you're fucking unless you're a fucking football player and whatever.

Speaker 2 (01:18:32):
And then still they.

Speaker 4 (01:18:34):
Are left with the decision because if a motherfucking.

Speaker 3 (01:18:38):
Team go, nigga, you forty eight and you can still
slang a fucking ball like Tom Brady or whatever, I
think I might, I might give you another contract. It's
only in our field of hip hop, because they don't
do it in country music. They don't do it in
R and B, they don't do it in fucking pop.

(01:18:59):
They don't do it than rock or heavy metal or
or nothing.

Speaker 1 (01:19:04):
He was saying.

Speaker 3 (01:19:05):
He was like, this is not football. You could have,
this is not basketball. You could have, motherfucking you can
have a new nigga named Kenny Small on the saxophone
doing jazz music. And then you still got niggas like
Kenny g and all you know, George Benson and shit
like that, who's still being able to do what they do.

Speaker 2 (01:19:27):
There's people that were making music before I was born
that are still toring.

Speaker 3 (01:19:31):
And I don't understand why we get discriminated for or
hip hop has an age limit, Like you know, I
hear it all the time. Oh man, you should be
doing something else by now, and and you you still
dig out.

Speaker 1 (01:19:47):
Who the fuck is the motherfucker to tell somebody what
they should be doing them?

Speaker 3 (01:19:50):
And I don't you should listen to I don't know.
I think I think that, you know, sometimes it just
might be that niggas don't like competition. I'm all for competition.

Speaker 1 (01:20:04):
Pet looked at this competition.

Speaker 3 (01:20:07):
I look at this trying to be you know, I
got my own fan base. I'm not trying to come
into your lane. I'm not trying to do what the
youngsters doing or whatever. But I think that some you know,
feel just like, well, man, you you didn't you dine
did George?

Speaker 2 (01:20:23):
You?

Speaker 3 (01:20:23):
You was from the hood, you talked about this whatever, whatever,
And then they'll turn around and say, well, you can't
still be talking about this at at fifty sixty years old,
Which then you get motherfuckers who still put out good
music and transition and make real and they still go, why.

Speaker 2 (01:20:42):
Are you here? Why are you here? The actors actors.

Speaker 3 (01:20:49):
Though, But so I think it's, you know, because they
want to say hip hop is a young man's game, and.

Speaker 5 (01:20:57):
So it's because people still don't respect rap now period.

Speaker 1 (01:21:08):
No, but you're almost looked at it, like I've heard
some people saying, like, especially when I've heard a woman say, well,
that's kind of juvenile for men to be fifty years
old still rapping. Ain't that kind of childish?

Speaker 3 (01:21:21):
They look at it, And I said, well, if that's
his trade, you know what I'm saying, this ship to accountant.
You don't say that ship to an accountant or the
motherfucker that's the manager at Walgreen.

Speaker 4 (01:21:30):
You have too old want to be working at the
cash rec because that's looked up.

Speaker 3 (01:21:34):
And then the crazy shit about it is a motherfucker
turned around and go get a job at Walmart or
some ship like that. And then motherfuckers to be clowning
you in Walmart working, Oh god damn eight and here
motherfucking managing Walmart.

Speaker 1 (01:21:50):
Like what, nigga, I'm you.

Speaker 6 (01:21:51):
Ain't supposed to wrap, You ain't supposed to have no job.
He's just supposed to just die leaders ship's nothing. Go somewhere,
sit out, hide out, nigga.

Speaker 3 (01:22:05):
Don't go get no regular job, don't don't get a
record deal, don't do no podcasts, don't don't do shipigga,
just go in the house, lock the door, and just
sit up for the rest of your days. And if
a nigga see you out in the street, you take
a picture with him and give up a That's it.

Speaker 2 (01:22:24):
That's all they want you to be, like, when's your
new album coming out?

Speaker 3 (01:22:28):
No, they'll be like, nigga, you still rapping. You put
another record out, nigga eat you one hundred and you
steal what.

Speaker 1 (01:22:37):
Motherfucker you supposed to put? A motherfucker paint pictures that.

Speaker 3 (01:22:41):
Nigga still said, what the fuck I'm supposed to do?
I can't go get no regular job because you're gonna cloud.

Speaker 1 (01:22:51):
You can't go to work.

Speaker 3 (01:22:52):
So so you can't do nothing. Once your rap career
is over, you stop making records.

Speaker 2 (01:22:58):
You can't retire from life.

Speaker 3 (01:22:59):
You got to retire. Nigga, don't come outside, don't do ship.

Speaker 1 (01:23:04):
Because what they gonna do. First they gonna come somebody
will come with a video, a video on their phone.
They gonna be like, they gonna be over your face,
look at this big stuff. I need your ass fell off.
The ain't working out what you want here?

Speaker 4 (01:23:18):
Doing you in here that motherfucking costco day?

Speaker 1 (01:23:21):
Don't work? You want to sample. Motherfucker nig said, you.

Speaker 4 (01:23:27):
Ain't supposed to do ship like what you stop rapping?

Speaker 1 (01:23:31):
Take you just sick your motherfucking ass down somewhere. Let
us do it.

Speaker 2 (01:23:35):
What you doing on the podcast?

Speaker 1 (01:23:36):
What's funny?

Speaker 2 (01:23:37):
Oh?

Speaker 4 (01:23:38):
But then they want you the coast side. Yeah, you
need to you, yes, you need to help me to
shout out.

Speaker 3 (01:23:44):
You need to be pushing you a young artist. You
need to give everything. Give all the cameras in that podcast.

Speaker 2 (01:23:53):
You old motherfucker.

Speaker 1 (01:23:54):
You hold the tripping motherfucker give up.

Speaker 3 (01:23:57):
You need to go find you a young digger and
let him be the Gangster Chronicles.

Speaker 1 (01:24:04):
It's just funny man, it's cold man. You know what
For those that don't know, Soaring has recent game cold?
When's the new book?

Speaker 2 (01:24:12):
Dropping Dog Juicy j September fifth, Chronicles of the Juice.

Speaker 1 (01:24:15):
Man, Chronicles of I've read I'll get.

Speaker 4 (01:24:22):
Listens to God damn it, out right down Ship? What
you want to do?

Speaker 1 (01:24:25):
Video?

Speaker 3 (01:24:26):
Out right down? God damn it Ship? Yup, we still
doing it, God damn it. We're gonna get on your nerve.
Can we can't?

Speaker 4 (01:24:32):
No, mo damn it because they like it. What's going
all right down?

Speaker 1 (01:24:36):
Anyway? And the link would be in the motherfucking description
Jill Yes, Sir,

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WTH is Gangster Rap? - Gangster Rap's Top 50 albums Pt. 2

Episode Transcript

Hosts And Creators

Norman Steele

MC Eiht

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}WTH is Gangster Rap? - Gangster Rap's Top 50 albums Pt. 2