HipHop Talks Podcast
Introducing "Hip-Hop Talks Podcast/Media'' - a captivating experience that immerses hip-hop enthusiasts in the boundless world of the genre and its cultural impact. Join hosts Shawn, Coop, and Adriel as they pay homage to the foundations of hip hop, from its origins to the present day with a diverse take on Hip Hop. Shawn, takes you through the boroughs of New York, while Coop provides a provocative, yet daring take on the South’s stake in the Hip Hop game. Adriel brings the unique perspective of Hip Hop through the lens of those that cling onto the lifeline and purity of Hip Hop. Combining their thoughts and views, is liken to your favorite superhero team assembling to lean into each other’s strengths. Through insightful conversations, passionate debates, and meticulous breakdowns, they explore the intricate fabrics of hip hop, including its powerful lyrics, infectious beats, mesmerizing breakdancing, vibrant graffiti art, skillful DJing, and electrifying MCing. "Hip-Hop Talks" is the ultimate destination for fans seeking to deepen their understanding and appreciation of this influential art form. Tune in and become part of the unified community that celebrates the timeless legacy of hip hop.
HipHop Talks Podcast
Mobb Deep + OutKast VS, J. Cole "cLOUDs," Naughty, The Roots, Eminem, Ransom, MORE!
Outro Music. Welcome to Hip Hop Talks, the only hip hop podcast that apparently needs to start giving out ghost titles, because people keep biting our shit way too soon. As soon as we do it, they bite it. It's crazy. I mean, it's not even the type of biting Now, it's the efficiency with which the biting has happened. It's like, oh, they're dropping. Can I steal the idea and try to get some views off the idea before they actually get to express the idea? Matter of fact, you want to know what? Let me do like these other dudes do and keep pulling up, never mind, sean, what up.
Speaker 1:Biting efficiency is crazy, Okay so some of these guys, so some of these dudes have become like okay, so like KD and LeBron have always been great scorers. As they've gotten older, they've become more efficient scorers. See, the haters and the biters are more efficient at the hating and the biting. The longer that they do the hating and the biting, they're proficient at it. Now they can get a master's degree in it. Ag. They might end up being a phd. A player hated degree. Ag, a player hated degree. Yes, they're gonna have the same type of phd as you, except it's gonna be hater behind it. All right.
Speaker 3:Now that we got that out the way how's your week?
Speaker 1:How's your week, fellas? Week's going well. Week's going well. Feel blessed, have a favor. Peace to all.
Speaker 3:Peace to all. Peace to all. Love is love yeah.
Speaker 1:Except for these suck-ass niggas.
Speaker 3:I love them at all. Love is love, man Love. I don't know it's about. I love them at all. Love, love man, love.
Speaker 1:Give it up, I don't know it's about to be one of those. I'm tired, I'm not tired. I feel very well rested. Actually, I've been getting a lot of rest lately. I feel good. I haven't slept this well in a while, the last couple of days, ready to whoop some ass, take some names. First thing, guys, I got actually got my first viral vibe in a while and I think it's something that everybody I think we all as hip-hop heads, can agree on. Um fellas, you know, west side gun just dropped. Uh, the 12 album. Right, it's called 12, 12.
Speaker 1:Okay I thought he said he stopped rapping. Didn't he say he retired, he stopped rapping?
Speaker 2:rappers lie all the time all the time rap daily.
Speaker 1:They rap daily, they lie daily. Um, respectfully, didn't nobody ask you for that. We asked you for the stove album. Um, yeah, I say this respectfully, I say this respectfully. Didn't, nobody ask you for all that? Um, streets already decided. The indie hip hop media has already decided we've been picking stove. Haven decided we've been picking stove. Haven't we all been picking stove? Am I wrong?
Speaker 2:yeah, I mean it's the reason why he's doing like four or five tracks on the album. I thought it was but whatever.
Speaker 1:Okay, nice little five piece. Okay, all right, stop playing with us, give us the stove album. Okay, you guys are the guys that restored the feeling. Let's go ahead and let's keep that momentum going and actually give us the stove album. I've heard a couple of Lucy's here there every time Westside drops. Now it feels like stove is on a quarter or half of the album and that's all well and good. The suppliers and the consumers have asked for the same thing man, if we're keeping it a butt product, that's right.
Speaker 2:The gap between reasonable drought and now is the same thing man if we're keeping it a butt Product. The gap between reasonable drought now is the same distance between them and Mr Morab.
Speaker 1:Want some product.
Speaker 2:Five years? No, we're not going there. Want some product? No, no, no. We've still done a lot of features, though. No, no, no.
Speaker 1:AG's right on track, because that's actually what I was about to say. He took the words from me because I have to be fair, see, I have to be consistent. We can't be getting on Brothers for taking five years off from making a whole project and then not say something. Now, stove to his credit, has probably done about two albums worth of features in hooks.
Speaker 3:Yeah, nobody remembers.
Speaker 1:Nobody remembers all that like if you don't close the deal. You know what? My favorite like football team growing up? It was like the actual early Eagles teams Randall Cunningham, reggie White, jerome Brown, keith Jackson, keith Byers, vasek Ahema, eric Allen, andre Waters. That's one of the best football teams I've ever seen. But nobody remembers that team because they didn't win the ring.
Speaker 1:Yeah, that was a tough squad. They were a tough, tough squad, but they didn't win anything, so nobody remembers them. And so, for all these great soul features and hooks and having us indie podcasters all on lock and having the streets all on lock and all that I mean, it doesn't mean nothing if you don't culminate it with an album. My vibe today is to push them to actually release Stowe's project this year, this year. Enough of these shenanigans. We already have to deal with this with Jermaine Cole. We'll be talking about that momentarily. We already have to deal with this with Kendrick Lamar. Very problematic how y'all are behaving when my soul album.
Speaker 3:It's not coming. I think he has a bad deal right now he's trying to get out of. I think he has like a bad record deal right now. So that's hurting him for putting out the material. That's why he's featured on everything. His feature run is his feature run is enough for an out the material. That's why he's featuring on everything. His featuring run is enough for an actual album itself. It is. But I think he's still trying to get out that bad deal and that's what's hurting him.
Speaker 1:Well, you know, he should do something about that. Okay, on the new music. Oh, actually music anniversaries, let me check real quick. Oh see, I'm on my laptop right now. It's not pulling up the chat yet, for some reason. Let me check.
Speaker 2:I got it. Yeah, Yo Stove got record label issues, but his plug's solid yeah.
Speaker 3:Yeah, facts, facts. Appreciate you double.
Speaker 2:Salute bro.
Speaker 3:So we're going to, of course we're going to. First, we're going to music anniversaries, we're going to new music. What are we doing?
Speaker 1:Yeah, yeah, music anniversaries. Let's actually start at the top. On February 23rd 1993, naughty by Nature released their album 1993, which obviously had the classic hip-hop anthem, hip Hop Hooray. Thoughts about the group, about the frontman Tretch, about the album, about the single and about their place in history, ag go.
Speaker 2:Tretch doesn't get enough credit. He's one of hip-hop's best MCs. As far as this album, it's not my favorite from now. My favorite from now is Poverty's Paradise, but this is their most commercially successful album, correct?
Speaker 1:I don't think so, is it not? Okay, I still feel like the first two did comparably well. I feel like they both went double platinum, maybe more, but I still feel like it's the first one because of OPP. That was the real. Opp was the thing.
Speaker 2:Right. But you know, in the annals of hip-hop they're not talked about enough. If we're being honest, um, I think, uh, naughty, by nature, is heavily underrated and you know, timing is everything. So, um, when they were the most, uh, when they were the height, at the height of their popularity in their careers, um, you know, rap kind of boomed like right after that, after they was like tailing off a little bit. So, um, I think they're left out of a lot of conversation that they should be there. But you know, salute to naughty and the anniversary on 1993. Hip-hop array is forever a hip-hop staple, you know, one of the biggest anthems that we have, you know, in a hip hop period.
Speaker 1:So, where would you rank it all time as a rap song, AJ?
Speaker 2:Like it's definitely making, it's probably hitting it's definitely top 100. I don't know if I could put it top 50, but it would be close Like it would be like anywhere between 50 and 75 in that ballpark.
Speaker 1:OPP top 50?
Speaker 2:OPP is top 50, though right, yeah, opp would rank higher. Yeah, okay, opp is probably going to rank really high at the end of the day. Yeah.
Speaker 3:It's one of those. It's one of those. Yeah, no doubt.
Speaker 1:Sean any thoughts about 1993?
Speaker 3:No, I grew up with AG. Again, hip Hop Array was the one you know. Young Sean, 13-year-old Sean, had love written on your kitten. I don't even know why I was mad man Written on your kitten and Knockin' Out the Box is the other one. Knockin' Out the Box was the other one on your kitten and knocking about the box Knocking about the box was the other one.
Speaker 1:That's my human resources department.
Speaker 3:at Hip Hop Talk I did it like written on your kitten, the 12-year-old wasn't liking that.
Speaker 1:I mean I found I had an overall affection for the song as a whole. I didn't necessarily hone in on the kitten part, you know, but but I can understand how Honeypack Sean at 13 years old.
Speaker 3:He was 12. You're trying to figure yourself out. I get it. I just wasn't turning.
Speaker 1:I just, I just wasn't turning the hip hop anthem into a song about sex. That's what their previous hip-hop anthem actually was. That's what OPP is for. Excuse me for loving hip-hop, for it being a joyful hip-hop song. What the hell was I thinking? That's crazy.
Speaker 2:Somebody showed Coop Digital Underground sex packets. He was like 12-year-old. Coop was like what's that?
Speaker 3:You know what the sex packets were? He was like 12-year-old Cooper's, like what's that? You know what the sex packets were? You knocked it, you pushed it, dot it ran. I know, yes, I don't want it.
Speaker 1:It's going to be shenanigans this evening, also on February 23rd. Most of these anniversaries are on February 23rd today, february 23rd 1999, when Things Fall Apart by the Roots. My partner in crime, andrew, and I actually just covered this on Mirror Music on Tuesday. If y'all haven't watched that show, you should. It's one of me and Andrew's best shows, kind of covering Things Fall Apart, things Fall Apart a classic for both of you guys.
Speaker 2:Yeah, but I kind of prefer illadale half-life, but I you know. But um, it's a classic and I don't want to say too much because I want people to double back and tune into y'all show and mirror music, but I'll leave it at that. They're, they're comparable, though they're they're comparable albums, both really good albums.
Speaker 1:Yeah, sean, classic no.
Speaker 3:I think this album had. I think it got caught up in the second wave of Philadelphia Renaissance, because shortly after this, what's the first wave? I think they were part of that first wave I think you're talking about, you know, fresh Prince, you know Jazzy Jeff and again, I don't want to speak for all of Philly. I know we got some Eddie expenses out there.
Speaker 1:No, no, no, we're used to you being disrespectful. Please just go ahead Continue.
Speaker 3:No, I just think that they have. Philly had a couple of renaissances going on and it wasn't really associated with hip hop. You know you're talking about soul music. You're talking about, like that, the feeling right oh, you're talking just musically, period.
Speaker 3:You're not just talking hip hop, okay, okay and I think this, this album, came out on the uh, the edge of that second or that third renaissance of the music, because now you have state property coming right after this, I think beans dropped. What later on, 99 or early 2000? When beans dropped, I think it's 2000, 2000, yeah, 2000. So now you're talking about that new wave, that news that soulful music came back full circle, but with a true hip-hop format. Beans brought that forward. It's a very musical city. I think the Roots actually play a big part in that. In the first and the second wave maybe, but I think this album was on the actual brink of that third wave, depending on who you are and how you feel about the music out there. Shout out to Philly, though.
Speaker 2:A lot of Philly coverage, early Cooper's waxing poetic about the Eagles, and now we got this album.
Speaker 1:Just real quick and I would encourage everybody first of all, like, share and subscribe to our channel, but also do the same with Mirror Music. We're literally only a few people away from 2,000. That'll probably be happening during the show or definitely be done before the weekend's done. I'm going to see to that personally if not, but I'm just going to tell you I do feel like that. This and Illidelf Life are both classics. If you want to hear my full thoughts on why both of those albums are rap classics to me, tune into Mirror Music. It's already up and loaded and we're going to slide to the next classic that was actually dropped Same day, same year Eminem Slim, shady LP AG. I'm just going to be quiet and let you take it over. Go ahead.
Speaker 3:I'm going to ask Sean what he thinks yeah, I don't want to. I'm good, no, no, no.
Speaker 1:Trust, trust, trust. We want to monetize off this show. We Trust, we want to monetize off this show.
Speaker 2:We don't want you talking about it as a resident Eminem fan, I'm going to be honest, gentlemen. I was late to the party with him. I didn't know the history of him, you know, being in the Rap Olympics, coming through the battle rap circuit or none of that stuff. All I remember is that I was a senior in high school and I worked at a fast food spot. You know it was a rallies. You know what I mean. And you know I worked with this cat, you know white cat, and uh, he would always, you know, making the burgers and stuff. And he's rapping lyrics and I'm like yo, what are you? What are you saying? Like, what are you rapping? You know what I'm saying? I ain't heard that before. He like that's that eminem? And he was telling me about him and I was just like, okay.
Speaker 2:And then you know, mtv, this is the height of the trl total request live era. Like you know once how my name is blew up, you couldn't escape it. So I'm seeing it and I'm like all right, this is a gimmick. Like you know what I mean. I thought it was just a little, you know, a parody type rap, little gimmick thing, but it just kept catching so much fire. And then I'm going to work every day and in high school, in in class, people are talking about it and I'm just like, nah, I'm not buying into it, there's going to be another you know vanilla ice thing, that's what I was subscribing to. And then everybody was saying like, nah, dre is co-signing dude. And I'm still like, you know, dre is just doing anything at this point to get a dollar, to get his second or third Renaissance, as Sean just said. So I still wasn't, you know, vibing with the whole thing. And then I had another cat that was actually, you know, from Queens, like Sean, queens get the money. That worked with us too.
Speaker 2:And he was in high school with us and, uh, homie, all he used to listen to was mob d, nah, cnn, wu-tang clan. And then he came to work one day he was like yo, adriel, I'm telling you that m&m is fire. So when he said that and shout out to eddie like. When he said that, I was like okay, if he's co-signing, it might be, might be something to this.
Speaker 2:So you know, the homie that originally told me about it, the white guy, he, like you know, he was like man, I sit in my car during our lunch break. He was like I'll play you the album or whatever. So he sat in his car and he played joints like rock bottom. You know, bad meets evil and role model. And I was like yo dude is like really dope at rapping. You know what I'm saying, putting the words together, everything. And then when I finally bought in all the way was when the single and video came out for Guilty Conscious with Dr Dre. That was my buy-in and after that I went and copped out. I was like, alright, you know, this dude is dope, he's for real. I've been an Eminem fan ever since.
Speaker 1:But is it a classic?
Speaker 2:For me my favorite album is Eminem Show. It's a classic. I think Marshall Mathers is undebatable. For this one I would say Close but no Cigar. I wouldn't call it a classic.
Speaker 1:Okay, I would tell you that it's not close, but it's a good album, it's a classic.
Speaker 3:I would tell you that it's not close, but it's a good album. It's a 4.25.
Speaker 1:It's on the same level as the Black Star album, the first Black Star album. It's like that. It's dope and you can hear greatness and there's some really dope moments. But it's not a hip-hop classic. It's got some really dope moments.
Speaker 2:A lot of people consider it a classic, but I personally don't. I say Eminem has this is the possible. I say he has two in the possible.
Speaker 1:I don't think this is possible. This is not a possible. I think it's barely a four. Really, it's barely a four.
Speaker 2:I don't give it a four, but it's barely a four, like.
Speaker 1:I don't think it's a four, barely a four, alright.
Speaker 2:Yo shout out to the homie Sean you wanna I forgot homie's name that Reached out to us from India.
Speaker 3:Yes, I'll probably butcher his name up. Hope I don't pardon me if I do. Akarsh, you, akarsh, you will. Yeah, akarsh, rather, karshin, karshin. I apologize if I butchered it up, but Akarsh, this was for you, man. Appreciate the audience.
Speaker 2:Big time Eminem fan reached out to us you know what I'm saying and he wanted us to talk a little bit more about Eminem. And he wanted us to talk a little bit more about Eminem and it just so happened that, you know, fell on one of the anniversaries of his album. So shout out to you and thank you for tuning in. All the way from India, man, we got fans everywhere.
Speaker 1:Yes, and I'm going to get. I'm going to get Sean a vocal and speech coach because I'm going to go get my master's in international policy. We're going to get Sean some help. I'm going to do all that. We're going to get Sean some help, good luck. I'm going to go work for the UN. Good luck, it's about to be one big rap video at the UN. Good luck. February 25, 2003,. Freeway released Philadelphia Freeway guys.
Speaker 1:Is this album a classic and what are your thoughts on this album? I'm actually kind of excited to talk about this album. This is one of those projects that I enjoy, that I don't feel like enough people talk about, and it's a project that none of us we've never really talked about this project amongst the three of us. So, Sean, kick us off, since we didn't let you in on the Eminem conversation. Yeah.
Speaker 3:I was happy for that.
Speaker 1:Yeah, yeah, we didn't want you there, such a damn hater bro, I'm not a hater man. I was actually me and AG were actually hoping that you just would have jumped all the way out the box and just let AG, I so forth. I was going to pass AG the ball.
Speaker 3:You know no going to do it. Shout out to our cars Feel it there for your freeway? Definitely, definitely. I don't think. Okay, it's not a classic, but it's knocking on the door of a classic. I don't want to just hand a classic out to it, but it's knocking on that door. I would give it like a 4.3, 4.4. Before I can give it anything else, out the Gate first four songs Free. What we Do All my Life Flipside I mean hell On my Own with Nelly. Out the gate he came out swinging and just, oh my goodness, the joint with Petey, the flipside with Petey.
Speaker 2:And then that is crazy.
Speaker 3:It's crazy. Petey, petey Crack was. He was one. He was one of them. He was one of them Got derailed but he was one of them.
Speaker 3:Line them Up with Chris at the end, the finish that's my favorite song Again this was part of that resurgence, that renaissance of Philly, Because you got Free coming out 2003 off the heels of Jay getting ready to retire with a Black album, and you got Beans established. You got all of these things going and they come out the gate with Free and he delivered with this and this is one of Just Blaze's best productions on this album. Just Blaze really laced him up on this album. He gave him some very good tracks that Free, the way Free rapped, the way he attacked the beats this is perfect for Free and I felt that Free was holding his weight and holding his own when he was rapping alongside Jay and Beans. When him and Beans got together, Free was giving it, he was giving it up On what we do, guys. I think that he probably edged both of them out. Jay had the bravado, Jay had the panache, but, man, the way Free Jay was telling him keep going, Keep going. He was going crazy on that joint man.
Speaker 3:I'm still going with Jay, though.
Speaker 2:I'm still going with Jay, though.
Speaker 3:Nah, man Jay had the panache man. He said you know, gotta kill witnesses for Free being sticking out.
Speaker 2:I feel like that line shut it down, though.
Speaker 1:First of all, you know that Sean's not about to give it to Jay, that's true.
Speaker 3:I just gave that to him. That's a dope line.
Speaker 1:In fairness to Sean, he is right this time. Thank, you no man Bullets breathed by you like Louisiana made. That is crazy. Jay was good.
Speaker 3:That's on there bro, but that's Jay, that's Jay. With the bravado, that's Jay with the passion. That, bro, but that's Jay. That's Jay with the bravado, that's Jay with the that's who Jay is.
Speaker 1:If my kids hungry, snatch your dishes out your kitchen. I'll be wild until they pick me out of line he was going crazy.
Speaker 2:I ain't talking about crazy. I was up.
Speaker 1:Wild out, fuck Niggas up. Not trying to visit the morgue. The freeway, move out. I'm sitting in the middleas up.
Speaker 3:I'm not trying to visit the morgue, the freeway move out till I can sit in the morgue till I get my shit together.
Speaker 1:Clean up my sins freeway. Get it in like 10 in the morning and I can give it to you like 10 while you're yawning. Man To deliver the order man.
Speaker 2:Oh yeah, no, no, no, no, that's free.
Speaker 1:Actually, this is what I'm about to say. Actually, if you actually just want to talk about a verse, it's the best verse by a Philly rap artist not named Black Thought or Beanie Siegel. Actually, that's how dope that verse is. It's a moment Like it's better. Like I know people play like Meeks Dreams and Nightmares. Free's verse on what we do is better it is. It's like that.
Speaker 3:The record is like that and I'll tell it is.
Speaker 1:It's like that, the record is like that, and I'll tell you what. Here's another thing this album is better than anything anybody made on Rockefeller. That wasn't a Jay-Z album, because Beanie Seagulls' the Becoming didn't come out on Rockefeller. So as far as like yeah, it was, dame Dash, yeah it was.
Speaker 2:Dame Dash's group. That's a good point Kool.
Speaker 1:So as far as Rockefeller Project's concerned, this is actually the best Rockefeller.
Speaker 2:Project. You're forgetting about Kanye, though. You're forgetting about Kanye though.
Speaker 1:Okay, I don't kind of look at Kanye. I look at Kanye as a Def Jam artist more than a Rockefeller artist. But I hear what you're saying. I look at him as a Rockefeller producer. I look at him as a Def Jam artist, but I hear what you're saying. But I'm saying this Philadelphia Freeway album is like that, that it's like to be honest with you, especially in Sean. You're right at the beginning of the album. I don't know that's as good as the beginning to the blueprint and a lot of Jay's best stuff and a lot of Seagull's best stuff. It's like that. So the record's pretty special All my life with Nate Dawgs my shit.
Speaker 2:That joint is fire Before I get my thoughts. Before I get my thoughts, what are each of y'all's top five on the album? No Particular Order.
Speaker 1:I'm going to be honest with you. The first five records are probably my favorite five records.
Speaker 3:First five records.
Speaker 1:Yeah, free what.
Speaker 2:We Do All my.
Speaker 1:Life Flipside yeah.
Speaker 2:My top five. I no particular order what we do flip side, full effect, turn out the lights. Speaking of kaya, he did kill that beat um and uh, line them up. And full effect is a close second for me, because young guns killed that track and uh, young guns was like really dope at that time. Here's one thing I'll say about well, two things I'll say about the album. All Right is probably my least favorite song on the album. I think they dropped the ball releasing that as a single.
Speaker 2:It should have been the joint with Mariah.
Speaker 1:You don't like.
Speaker 2:All Right? No, I don't.
Speaker 1:I think this album is solid end-to don't. I mean, I think this album is solid in the end. See, I would hold on this. I think this album is actually better than the Slim Shady LP and the Black Star album. I would give this album. Yeah, I think it's better as well.
Speaker 2:But don't you think they dropped the ball on that with not releasing the Mariah record?
Speaker 1:I don't think they released the Mariah record because I don't think it would have moved really enough for what his demographic looked like and the people that were gravitating towards him, and I don't think he would have been able to get Mariah.
Speaker 2:You think he would have been able to get Mariah, but all Jay had to do was put in a call. Whether he would have or not, that's a different story.
Speaker 1:First of all, not to be funny, but women sometimes can be flaky and Mariah is a diva and Mariah will tell you that she's a diva. Mariah will look at you and she'll be like you know I'm a diva motherfucker.
Speaker 3:It's his freeway. At this time he's at A-lister, right? It's not J.
Speaker 1:If it's J, she might pull up for J. You've got to think about the time she might pull up for Jay. She'll pull up. You got to think about the time She'll pull up for Nelly, jay Nas, ja Rule, maybe the rest of them, nah, dmx, that's it, but my biggest takeaway- from this album doesn't have nothing itself to do with Freeway.
Speaker 2:In the 2020s, my top five producer list changed because Hit Boy moved into my top five favorite not necessarily best, but in my top five favorite producers ever when he did the Nas, magic and KD runs and then everything else he was doing. You know with Benny and you know Big Sean. Whoever you know, he moved into my top five. Whoever you know, he moved into my top five.
Speaker 2:That spot before was occupied by Just Blaze, which I always considered like more of an album and placement producer, and the reason why I had to knock him down to the sixth spot was because he didn't have that classic, as Coop says, in the end player, where he was at the helm of a full album Before the Saigon album came out. This is what we had as the most evidence because you know you had Jay blueprint and so on, but that's just like a few tracks here and there, like three or four songs he produced. Just Blaze produced 10 out of the 16 tracks on here. Yes, so he was really the person behind crafting this album and making it what it was. The other people that I have in my top five they have albums that they crafted that were classics from front to back, Whether it be RZA, premiere, dre, kanye and Hit-Boy, you can even go to Hit.
Speaker 1:There's nothing against Philadelphia Freeway. I think at least three of the six nas and hit boy projects are better than philadelphia freeway. At least three, yeah, that's right.
Speaker 2:At least three, probably four, maybe five yeah, but I think this is just blaze best submission as far as doing a bulk of a project, because this is all we had to go off of. Prior to, I think he did majority of bleak's made album, which was a solid effort, and then, of course, the Saigon album. He did all that.
Speaker 1:I feel like he's one of those guys. He's not going to make my top 10 list, but I could see. But I could see, I mean just as going to be just for me as a top 25 producer. Just for me he's a top 25 producer and if he's not top 25, he's really really close to the top 25. And people need to understand is that hip-hop has grown. People need to understand hip-hop has grown so much that considering being a top 25 producer is an honor Major.
Speaker 2:That's not objective placement. That was just he's number six on my favorite list for like. If I want to hear somebody's beats, just Blaze is number six on that list for me.
Speaker 1:Yes, I mean just people, I mean people from our generation got to understand that it's like not 1995. And so that, like, the gauge is different, it's like, oh no, we're 30 years past that. And so some of this stuff should resonate different to you when we make a top 25 list, because the volume of people that have come in now, like the fact that somebody like a DJ Premier, a Dr Dre and a RZA are still holding so well, is very, very remarkable. You get what I'm saying. You got to think about it Outside of really, because I feel like Dilla kind of came somewhere in the middle Outside of Kanye.
Speaker 1:If you were to make your all and maybe hit, if you have hit in your top 10, there hasn't been an all-time great rap producer that's actually come out in the 2000s. If you're talking like top 10 all time unless you think metro is top 10 or unless you think hit is top 10 because kanye and dilla are before 2000 in terms of beats you get what I'm saying, and even if you tried to uh put pharrell in there, that's just prior to 2k super no super thugs.
Speaker 1:98. Super.
Speaker 1:Thug is 98. It's two years before 2000. Same thing with Timbaland, yeah yeah. So when you're talking about how some of this stuff is holding, that's what I mean. I'm holding some of this stuff high. Well, how about this Preem and RZA and Dre? They haven't had a Steph, le, lebron or KD come along like Mike and Magic and Bird have. Like they haven't had guys come along that have actually been comparable. If you really want to know the truth, that's what's been different about hip-hop, is that like, well, this crop of guys haven't even made it conversational. At least LeBron, kd and Steph have made it conversational.
Speaker 2:And let's be real, we're in an era where people don't care about the producer that much anymore, because in our era we was ripping the package and off the CD like Jay-Z said on Volume 3 and rushing to look at the credits at who did what. In the streaming era, really nobody cares about who produced what song. If we're being honest.
Speaker 1:I think you know what hip hip hop is really missing. I mean, we don't want to sidebar too far, we got to get back to it. Hip hop is really missing. It's impactful moments now and we have to learn how to create those impactful moments in this genre. I think because, in list of what I'm saying when I say this like, no, like the punk rock bands of the 80s and the Big Hair that was an impactful thing. Nirvana and the Grunge that was an impactful thing, but rock and roll had been going on for 50 years you feel what I'm saying. We need to have a way to have those impactful moments. That's actually what we're missing at this stage in the game. We're not missing the talent. I still feel like the talent is there. We're missing the impactful moments. The game's not as impactful as it used to be. Like I can remember reading the excerpt from Jay's book when he was talking about you know hearing who shot you for the first time.
Speaker 2:You know what I'm saying?
Speaker 1:Yeah, and how hearing who shot you made Jay feel like as a rapper. You know what I'm saying. It's like, no, we're missing that and that's where and we're kind of going to get into this when we go into our mob deep and outcast thing. Some of these records are just meant to are impactful because they inspire, not because they were necessarily big hits, it's not because they were big big hits, it's not because they were big hits. They were so inspirational, so motivational, like like where did the shook ones part two even make it number one on the rap charts? Like like, damn, overall chart, the shook ones part two even make it number one on the rap charts.
Speaker 2:No, that's why putting that in the hip-hop argument is tricky, because some of the greatest classics of all time are not commercial successes yeah, like think about that.
Speaker 1:It's like, well, I mean shit. For some people that's a top 20 rap song. Right, it didn't even make the top of the rap charts when it came out, but the impact of it the impact of prodigy's verse, the impact of the beat, the impact of the hook, the impact of the representation of east coast hardcore hip-hop, like the representation of all those things, impact the game.
Speaker 2:It permeated through our whole culture. It just didn't break through beyond that.
Speaker 1:I think it did, because I think the modern-day East Coast hip-hop that we listen to is mostly Mobb Deep inspired. Am I wrong?
Speaker 2:No, that would be accurate. I mean, Griselda is heavily inspired.
Speaker 1:We're going to talk about this. We might think that Wu-Tang is the greatest group ever, but they're also the hardest group to emulate. Ever so more people have actually taken up the emulating mob style and sound. Because, well, it's more rooted in one style, because, well, it's just mostly built around it's not as abstract.
Speaker 1:It's built around prodigy as opposed to being built around 9 to fucking 20 guys. You know what I'm saying? Right, new music guys J Cole, clouds, clouds, sean, clouds, yeah, yeah, sean, you want to start off with Exploitic. Actually, ag Gohan, never mind.
Speaker 3:I had Sean start off on a J Cole topic. That was a mistake. We should push that to the Freddie joint. That's a Lucy.
Speaker 1:I think that's a better connection. You want to push it back.
Speaker 2:Yeah to the Discord Dialogue segment.
Speaker 1:We'll push that back. Do y'all want to talk about the Ransom and Davies project Final thoughts? Yeah, let's do that. Yeah, let's do that. Early thoughts about the project AG run it.
Speaker 2:I actually really like the project. But here's the thing I was really nervous.
Speaker 1:Watch mirror music in the background while I stuff.
Speaker 2:Like Watch mirror music in the background. Like Kendrick said, turn the TV off. Coop. The album.
Speaker 2:I was nervous about it, right, because both MCs are very monotone, you know, and I was initially thinking that the album was going to come off boring, and I was, I was initially thinking that the album was going to come off boring. But I think both MCs are better served with another MC. So they have somebody to, you know, contrast their own voice, even though, even though both of them are kind of monotone in their delivery, it's still somewhat of a contrast. Like if you go back and look at Davey's Beloved styles, that contrast helps davis. If you go back and look at uh, chaos is my ladder with ransom and conway, and then coupe de gras with um, rome streets and ransom, those things help ransom versus listening to ransom for a whole project or listen to davis for a whole project. So these two together, although similar and monotone voice, I think the contrast works well. I liked a lot of the production on here. The features was dope. You know I'm saying I have meth on here Jay Electronica. Overall, I thought it was a solid project.
Speaker 3:I agree. I agree. I like Audubon kicking off the concept of Audubon. It's bittersweet. It's kind of bittersweet, though, because the story right, you're living through the lens of Malcolm X and what happened, the tragedy of that situation, and I felt like that was Dave East, probably one of his better records, better songs on his joint, his better verses.
Speaker 3:I feel like Ransom came to play. He's well-read, he knows what he's doing. Ransom not playing on here, not playing on it at all. I think Dave East tried to keep up. That's what Dave East said. I don't think he was able to keep up because Ransom was in such a pocket as if he was trying to prove something, and he proved it because on every track he was just in a certain pocket man. You can tell. The confidence was there. He's well read, he knows what's going on, he knows his scriptures. You know he was and it was effortlessly, whereas I feel like Dave East was kind of muscling his way through it, if that makes sense, like he's muscling his way through it, if that makes sense, like he's muscling his rhymes through it, right.
Speaker 2:You said the scriptures, sean. Can you talk about that? The heavy five percenter theme throughout the album?
Speaker 3:That he was doing it effortlessly. He was doing it Like you think about the way Dave East was trying to pull it off. You didn't know what he was doing. But Ransom, you can tell that he's well-read, he knows what he's talking about. You be getting Jay Electronica on there. Jay Electronica sounded a little bit out of place with it, like he was again Jay going overboard, and it made me ask myself the question do you look at Jay Electronica or Killer Priest? Which one is a higher caliber? Look at Jay Electronica or Killer Priest? Which one is a higher caliber? And I'll probably give it to Killer Priest, don't do that.
Speaker 2:Don't make me do that, man.
Speaker 3:Cool you rocking with me, Killer Priest.
Speaker 2:I love Killer Priest man, but Jay Electronica, Jay Elect, bro, I don't know bro. Okay, that's a dope conversation though.
Speaker 1:It's one of the more fascinating questions that I've been posed with in the past year. I will tell you that. But here's what I'm going to submit to you. On Mirror Music, I talked about De La Soul and how De La Soul does a lot of the same things his tribe does, but they're not as entertaining as tribe. And that's what I would tell you about Killer Priest and Jay Electronica. Jay Electronica make that shit sound more wavy than Killer Priest do, even if Killer Priest is more fundamentally sound at it, very much like De La and Tribe.
Speaker 2:And so.
Speaker 1:I would still tell you that it's elect because of that, because the box office and the star power like matters, because it elevates it. It separates, like the voice in the star power and the impact is really what separates that, that gifted and talented group. No matter how they're parsed out or whether you're gifted or whether you're talented, when you do those few things well, you become iconic. Yeah, and I love Killer Priest, but he don't have an exhibit seat, whether you're gifted or whether you're talented.
Speaker 2:When you do those few things, you become iconic. Yeah, and I love Killer Priest, but he don't have an exhibit seat.
Speaker 3:I don't think he need it, or an exhibit A.
Speaker 1:But he doesn't have some of the cachet and feng shui that you know what I'm saying, that Alec has. You know what I'm saying? He don't got it True, and he's not trying to have it and he's not trying to have it Because he can pull it off.
Speaker 3:He can pull it off. We've seen it.
Speaker 2:I like this sidebar. This is random as hell, but I like it.
Speaker 1:It's a great sidebar, Andrew. If you're watching, chop this shit up.
Speaker 2:I couldn't do that. Okay, if we're doing this sidebar thing as far as the 5%er theme throughout the album.
Speaker 1:I would like to get to my actual review of the album after the sidebar.
Speaker 2:Oh, my bad. I just want to ask both of y'all a question.
Speaker 1:No, no, no. Finish the sidebar. It's a good sidebar.
Speaker 2:For a 5%er theme collab album. Y'all got this or a written testimony, with J and JLA Speaking of JLA this.
Speaker 3:Cool, more digestible.
Speaker 1:I need to hear this more because I really actually enjoyed a written testimony.
Speaker 1:And I'm probably, and I'm probably and I'm probably partial to a written testimony because me doing an article review about written testimony is because how I ended up in this space, so I'm probably a little bit subconsciously partial to that album. That's right. So that's actually an album it's not fair to ask me about. My whole podcasting career is pretty much based on something that I wrote about that album. That's right. That's actually an album that's not fair to ask me about. My whole podcasting career is pretty much based on something that I wrote about that album. I'm probably not the fair assessment to ask I am partial to that album which anniversary is about to celebrate a five-year anniversary. I know because I wrote the review that got me podcasting about it almost five years ago.
Speaker 2:That's right. I'm taking a written testimony though.
Speaker 1:My early thoughts are a written testimony, but that's why I'm telling you I'm biased and I'd like to listen to the Ransom Project more. But that brings me to the Ransom and Dave East Project. That was actually a Freudian slip, Sean. Here's where I agree with you. This feels like Ransom's project more than Dave's East Project. He grabbed this project and he did what he wanted with it. I don't think I've ever heard him flex on a project like this before.
Speaker 1:Vocally and flow-wise I'm with you. Audubon Ballroom is probably Dave East's shining moment on here. I feel like it's the first rap song I heard this year that has two verse-of-the-year contenders on it and I still think it's probably the best song on this project. And if you start off your album with the best song on your project and you're trying to get people to pay attention to your project, that's what you're supposed to do. So job well done, not only on them executing on the song, but also giving them this appropriate placement at the top. Like to give people the buy-in. Not only that, the song selection and when I mean song selection I mean the actual names of the songs being selected as in to try to tie together a theme after Autobahn Ballroom.
Speaker 3:Yes, right.
Speaker 1:No, I'm going to give you points for that. Those are stylistic and conceptual points that we used to give artists from our era that they're executing, because they actually, for the most part now, they did not fit into the theme all the way well, a la a reasonable doubt or a cuban links, but they did fit into the theme enough and the song titles were dope enough and the production reflected the song titles. If you noticed enough, then I'm going to give them some bonus points for that. That means they thought about this, guys, and them thinking about it made me think that part of the reason why these albums that we hear today don't get all-time classic status is because they don't take all-time time to actually put the whole song together. I mean, we're doing and I'm going to tell you where that comes from we just got, we're about to do this Outkast, mobb Deep thing. So you know, I've been listening to Outkast and Mobb Deep for like the last three days straight. Right, these songs are so full and so finished, guys.
Speaker 1:I was listening to Nighttime Vultures today and it's like no Havoc's on there doing little stuff in the background with the ad-libs, prodigy's ad-libbing and freestyling at the end of the record the beat's doing certain stuff. The vultures are actually making the bird chirping noise. At the beginning of the song, before the beat dropped, they put the whole record together, guys, the whole record. They didn't just hear a dope beat and then come up with a concept of rap over a dope beat. They did all of that and then they put the record together. It's like no, no, no, we don't need to just drop the beat. The song called Nighttime Vultures. It's got to sound like vultures is actually circling around in the background before the beat drop you know, it's the intricacies of it.
Speaker 1:I'm listening to Equimina today, guys, and I'm like man. They literally put every song together intricately, from beginning to end. Everything's intentional about the album and I can only say that the only reason that it's happening. People think that it's the talent. I think it's the time, because when I listen to Ransom and Dave East on this project because Ransom's great throughout this project Dave East got progressively great. Throughout this project.
Speaker 1:Dave East got progressively better throughout this project Because he needed time to catch his wind, because this project was actually pretty well thought out and probably thought out by Ransom, and he probably wanted Dave East riding shotgun on it to help bring it some more cohesion and give it the concept a little bit of a different sound. Probably what Ray was thinking when he was making the purple tape. And he's like no, no, I could probably use coast to give it like a little bit, I could use a little oomph. You know what I'm saying and so I see it. Uh, mayhem of the mayhem record. Oh, ransom zoned out on there, guys, like that's one of his better moments as an mc. I was like that's ransom rapping, like that's one of his better moments as an MC.
Speaker 3:I was like that's Ransom rapping, like that yeah, he was in a pocket, he was in all the pockets Soul Food and Mecca yeah, and don't forget about Meth okay, so guys, the Meth verse.
Speaker 1:The Meth verse don't by any means is the verse of the year right now blazing features. I'm gonna go ahead and say it again. Andrew, you, the new cut creator man, alright, cause you about to have to chop this up too. The meth verse on, by any means necessary. That's the verse of the year right now, guys the verse of the year. It's not a verse it's the verse of the year right now. That's the best rap verse I heard this year.
Speaker 2:You got to rap it like you trying to verse of the year? It's not a verse. It's the verse of the year right now. That's the best rap verse I heard this year. That's rapping like he's trying to get a deal.
Speaker 1:You got a better verse. He rapping like Def Jam never gave him a deal, right. He rapping like he's not part of Wu-Tang Clan guys. You understand that. It's like I need to get in a crew. It's like he's rapping like he needs to get in a crew. He's the front man for the greatest rap group of all time and he's rapping like he needs to get in a crew. It's the verse of the year, Big time. What?
Speaker 2:I want to speak to real quick that both of you said. I'm not mad at Dave East for having to ride shotgun on this album. The Ransom Ransom was killing it. If you remember, I said a couple episodes ago when we was talking about collab albums and how they function the best. One person has to take the reins, and you know that's kind of what this is.
Speaker 1:Ransom, it's Ransom and it's wonderful and people think that it sounds better than the Ransom and the Kanye and the Conway. That's because it does, it, does, it, does, it does by the first five records. It's like the first five records are better than the Ransom and the Conway project.
Speaker 2:But this pairing, the contrast, you know it. Like I said, I would rather hear this project than any of their solo projects Dave East or Ransom, you know because that contrast, like, gives it a little bit more of a different flow for the album.
Speaker 1:I'll tell you what I thought about this project in the end. First of all, I thought this project started off really strong and tailed off a little bit at the end. Some of the beats and the themes got a little repetitive to me at the end, although I still felt like the songs were solid throughout. But I'm going to give this album a four guys.
Speaker 2:I'm going to have a lot of replay value, a lot of staying power Ooh.
Speaker 1:I'm going to tell you what. That depends on what they do with a couple records. First of all, mayhem and the Al-Kabir Beach Depends on what they do with those two records, because those two records need visual aids and the fact that they actually got a meth joint. They should probably do that too. But the Mayhem and the Al-K, the Alcabir beach are must, are must haves.
Speaker 1:And that's some of Ransom's finest moments at MCN because we all know Ransom has the bars. He executed style points and swag points and delivery and inflection. Ransom was pausing and taking his time and catching the beat guys instead of weaving in and out. He never does that Like I'm going to tell you somebody that used to weave in and out, that learned to pause and then they switched their whole flow up and they're an all-time great MC conversation, common. Common used to rap nonstop and then Common started finding his pace and his space on the beat and then something happened between one day it'll all make sense and like water for chocolate, and he found his pocket and he found his timing and he's been pretty much brilliant as an MC timing wise ever since. And I felt like ransom found a couple of pockets on this album. It's like oh shit, that's one of those things where you can hear a guy that's been doing the work.
Speaker 2:That's what I was saying Exactly. But I been doing the work. That's what I was saying exactly about. I am God on this current project. We know.
Speaker 1:I've been doing the work Look here we know.
Speaker 1:I've been doing the work. Look here, since I've been it'll be five years and I've been doing pods and shit. Next like literally in about two and a half weeks Since I've been doing this, there are three people that I did not know about before I started doing this. That I've known about and I think that they're all great. That's Stove, who we've talked about. I Am God, who you just bought up, and Armin, who's plugged the Scott storage. Since I've been doing this for five years, those are the three people that I didn't know about.
Speaker 1:That I know about now and I'm so glad I know about all three of them.
Speaker 3:But Stove is the only one that ain't dropped a couple of projects.
Speaker 1:Gotta get Stove on man. We gotta get Stove in the studio I want.
Speaker 3:Wes.
Speaker 1:Hatton Stove to hear this shit. Right now up in here, right now, lt, go and tell him shout out to LT.
Speaker 3:LT man that's right.
Speaker 1:Everybody getting put on blast this year, nobody safe. I want my solo album. I'm playing with you, niggas. No more, no, for real. We've been waiting five years for a four album for real, like here's how they need to look at it. Do you think Havoc and P would make us wait five years for an album?
Speaker 3:not at all not at all.
Speaker 1:do you think they'd make us wait this long for them? Do you think Benny Segal would make us wait this long for an album? Like you know prison and you know vocal issues, you know what I'm saying. You think the Lox is a group Like think about this. We never went no five-year gap without like really hearing like a Lox project, like some sort of mixtape, some sort of joint, some sort of shoot-off, some sort of camp. It's the record label.
Speaker 3:It's the record label. Some of that is false. We got super chat man, fuck these labels.
Speaker 1:I see that super chat. That's Mad Max. Sean, that's Mad Max. That's not a real super chat. I know you're not in here telling me Jay Electronica, I'm coming through your thermometer. Shaolin Bada big bong better than killer priest Yo man, this dude is a See I told you it's not a real Super Chat.
Speaker 1:I told you it's not a real Super Chat, it's just Mad Max. Let's finish the Super Chat. I said this on Haters Ball Haters Ball. Lets you on Haters Ball. Y'all stop that. On Haters Ball. Haters Ball lets you on Haters Ball. Y'all stop that. Haters Ball are three brothers on YouTube. Y'all should subscribe to Haters Ball. I love Haters Ball. Haters Ball are some of the original followers. Jaylec, a koofy wearing meek, reuses the same bars. He's a koofy wearing meek. You see what happened when you let Mad Max in the chat.
Speaker 1:Mad Max is wild man, you let Mad Max in the chat. Mad Max is wild man. Mad Max, you must have got done watching that whack-ass show. Max, you got done with the whack show and you came over here, came over here to get some real hip-hop. You're like, damn, you're like. I just got done watching that bullshit for a couple of hours. No, this is what happened with Mad Max tonight. Mad Max is like to the real. Stop getting that watered-down product. Take it from somebody that's been to Columbia. The product's been stepped on. The product's been stepped on. Some of these niggas' product's been stepped on okay, let's move forward, man.
Speaker 3:Let's talk about Infinity man.
Speaker 1:Stop stepping with these stepped-on niggas.
Speaker 2:Okay, They've been stepped on. You can't sell that. You can't sell that.
Speaker 1:Okay, on to the next album. Four is for Ransom and Davies. Good project, smith and Wesson Infinity. Yes, you're from New York. I mean y'all go first.
Speaker 3:You didn't like this. I don't know. This album is tough man. It's a solid album. Cool. I love the features on this album more than anything else. I'm going to be honest with you.
Speaker 1:Okay, I would say it again what is this album without the features?
Speaker 3:No, I love the features on the album. I think they compliment Smith and Wesson very well. They even give your boys a shout out. They said they were there when OutKast was named the best duo in 95. They talked about that. I heard that and maybe I want to ask you all that question Are they in your top?
Speaker 2:25 or top 50 or anything for duos. I mean, there ain't even that many, I would say, so they would have to be in the top 25 by default.
Speaker 1:You think so, top 25 by default. I don't think there's like 50 duo groups out there. Oh, you said duo or just groups.
Speaker 3:Duos. I thought he said duos. I said duos, let's go duos, let's go duos.
Speaker 1:Top 25 as far as duos. Yeah, they're probably going to make your top 25 duos. They're not going to make your top 25 groups.
Speaker 3:How about top 10? Duo.
Speaker 1:Yeah.
Speaker 2:UGK 8Ball and MJG Outkast Mobb Deep EP, rock and CL.
Speaker 1:P Rock, cl. Smooth Coogee Rap. Bj Polo, eric B Rock.
Speaker 3:There's no way CNN. Yeah, there's no way.
Speaker 2:Who Migos? I mean not Migos, it's three of them Field Mob.
Speaker 3:Field.
Speaker 2:Mob. I put them above Field Mob no no, no, they're above Field Mob.
Speaker 3:Nice and smooth kid and play showbiz and AG.
Speaker 1:They're not above showbiz and AG. To me, no, no, yeah, although the Shining is better than to me, no, yeah, although the Shining is better than.
Speaker 2:MOP God, how are we going to forget MOP?
Speaker 1:That's crazy MOP is better, yo, that's wild.
Speaker 2:I just played, I've been going that long without saying MOP.
Speaker 1:I just played Fire and Squat about three months ago too, DOS FX. They're better than Daz effects to me.
Speaker 3:Longevity.
Speaker 2:What I will say is I rock with this album better than the Davies and the Ransom.
Speaker 3:If you're looking for a true boom bap. I was feeling this album a little more. This is it. This is it. It's a true boom bap. I was feeling this album a little more. This is it. It's a true boom bap album. Honestly.
Speaker 2:That Medina with Pharaoh March Tough the joint with that black Eminence with P.
Speaker 1:How about this Organized Confusion? Are they better than Organized Confusion To keep it in the era Neck and neck.
Speaker 3:I think so.
Speaker 2:Oh, that Moses promise yeah.
Speaker 1:No, okay, so the album is dope, but the album's only going to be dope to us.
Speaker 3:Right, it's not going to do anything, it's not going to have legs. I'm going to be honest with you. We may not talk about it. That's what I'm saying. There we go, sean. It's not that I don't like the album, it's not going to have legs.
Speaker 1:I'm going to be honest with you. We may not talk about the production. That's what I'm saying. Okay, there we go, sean. It's not that I don't like the album, it's. When I listen to the album, it's like I don't see the legs.
Speaker 2:I don't hear the legs.
Speaker 1:Yeah, yeah.
Speaker 2:But I rock with the production more than on the Dave East and Ransom project.
Speaker 1:I think the production better Is the production, the type of production you prefer to hear.
Speaker 3:Yeah, it's the production you prefer to hear but also the production that they need it.
Speaker 1:How about this? It's easier to fit a production for a group that is together and has been together the way that they've been together than it is to do for Dave East, that's what I mean. If you're telling me the projects are comparable, it's like well, the new shit was harder to pull off, is what I'm saying.
Speaker 2:You have to tip your hat to them. Yeah, absolutely, it was harder for.
Speaker 1:Ransom and Dave East to make a project of that caliber at the drop of a dime together than it is for Tech and Steel. Fair enough.
Speaker 2:And we left out Coop's favorite duo, Blackstar. We left them out too. Okay, they don't count.
Speaker 1:It should be like a three album buy-in to the duo. Shit, how about that?
Speaker 2:Right they won short.
Speaker 1:Both of y'all got quiet Wild, wild, wild y'all got quiet wild wild how you got quiet.
Speaker 2:Sean's not even looking at me like I'm not going to acknowledge that Sean's like I gotta go to New York.
Speaker 1:I'm not going to acknowledge that at all. Matt Max with the 199 super chat. I'm watching both because I can do what I want. I'm a lion yeah, you're a lion. Them niggas be lying.
Speaker 3:Y'all deserve each other no no, no, he's a lion.
Speaker 1:Them niggas be lying and they suck. Keep watching. Ain't nobody stopping you from watching. Yo, I'm a lion. I'm a lion when you get done, when you get done, when you get done, when you get done, when you get done watching it.
Speaker 2:That's why I just got through watching Game of Thrones. It's a. We call ourselves a lion it's crazy.
Speaker 3:Who says that look here, look here, look here. And he probably did this.
Speaker 1:When he said lion, he probably did this not the hand, not the whole hand, not the hand, not with the claw. Oh shit, look here, mad Max, mad Max, mad Max, nobody's mad at you, man. When you get done watching the Golden Girls, sometimes you gotta cut the wire on. You know what I'm saying. You know what I'm saying. Sometimes you need to come fucking. Sometimes you need to fuck with Avon and fucking Barney. You know what I'm saying.
Speaker 2:Sometimes, you need to come fuck with Avon and.
Speaker 1:Stringer, after you get done fucking with Dorothy and fucking Blanche. You know what I'm saying. I understand what.
Speaker 2:I don't know what is on your TV in the background, bro. My shit's wild, what the hell is this?
Speaker 1:I just saw Diggins on a wave man it's Andrew, it's me, or music man. We got a whole channel man Building a whole network.
Speaker 2:We gonna do this matchup or what.
Speaker 1:I'm gonna run these views up one step at a time. All right, this is a business model.
Speaker 3:It's ridiculous. Let's get the Wu-Tang final tour.
Speaker 2:Yeah, forgot about that.
Speaker 3:Hold on Mad Max real quick. He wanted to justify his thought.
Speaker 1:Oh my God, sean. I mean I walked through Simba block like Avon, stringer and Wee Bay and had Simba looking for Mufasa for backup. See Mad Max been drinking. See Mad Max been drinking.
Speaker 3:I don't even understand, I don't know.
Speaker 1:No, no, those are ghost-faced bars. These are ghost-faced super chats. Okay, these are Supreme Clientele super chats. Jordan jumped up like Clyde Drexler these are. Supreme Clientele. These are Supreme. Clientele super chats, mad Max, all right. So Wu-Tang Clan is about to go on their final tour with Run the Jewels as the opening act. Guys, we're going when we going, how we going, when we going. Are you excited, are you disappointed? I'm going to be honest with you. When they said this was their final tour, it made me very sad.
Speaker 3:Very sad, very sad, very sad. This one is hers.
Speaker 2:But, imagine how hard it is to get all of them together to commit to that because, if you remember the last tour with Nas, the New York State of Mind tour, method man had the obligations for his active role in Power Book 2 or whatever, so he couldn't hit all the tour dates. So it's like I understand. So it's like I understand it. It's disappointing, but I understand it.
Speaker 1:I think, realistically. You know, hold on, you have to look at this realistically. We've been doing this show. There are three of us. We've been doing this show together for about what nine months now. We've been in the same room together one time for one day, and most of these guys are about seven to twelve years older than us, some a little bit older. Think about how hard it is to get us in a room and think about now, multiply who we are by three or four, and then multiply the notoriety and the lifestyle and the obligations, and then understand how truly hard it is. This is what. Okay, so what was always so brilliant about them is that everybody, from the jump when they first walked in the door, asked how the fuck are they about to make this work?
Speaker 1:There's too many of them, yeah, and so they have made it work. For what is 2020? They have made it work for 32 years, guys. It is probably the greatest feat in hip-hop history that isn't talked about, the fact that these guys are still talking to each other. Yeah, do you understand what I'm saying.
Speaker 1:So people need to understand the gravity of this. It's like the fact that Method man had prior obligations and still found a way to wiggle around the obligations to show up for three or four tour dates. No, that's different. People don't understand how hard it is to ride shotgun with somebody for three, four, five, six, seven years. Think about Go listen to CL Smooth talk about him and Pete Rock. Go listen to Eric and Parrish talk about each other. Havoc and Pete broke up right in front of us and we didn't even know and never said anything. These are duos that I'm talking about. That couldn't get along. Bobby Brown as soon as somebody told Bobby Brown was a star, he's like leaving these fuck niggas Shout out to EPMD.
Speaker 2:We left them off our list too. Man, I can't believe that.
Speaker 1:No, no, I brought up EPMD. I said EPMD, oh, you kept a group of about 10 to 15 niggas together for 30 years. It's almost hard for us to keep duos together for five years. That's the real measuring stick. The fact that they have the greatest catalog, like the fact that what seven or eight of the 50 best rap albums come out of this camp, is ancillary to the fact that the actual camp is still touring together 32 years later. It's amazing these niggas ain't shot each other, stabbed each other, whooped each other's ass. I'm not joking, I'm being serious. These shit be going on on tour.
Speaker 2:They family for real.
Speaker 1:You know what I mean, that's what.
Speaker 1:I'm saying so. It's like so I want to go, because I want to celebrate, because we're never going to see this again, like they are the one thing in hip hop that I know we're never going to see again. It's like no Nas popping up showed us that. No, you can get you another Rakim, you can get you another KRS-One, you can get you another cool G-Rap. You might not get another Tupac, but you definitely not getting another Wu-Tang Clan. It'll never happen again. It'll never happen again. A band of brothers won't come together like this and care about the hip-hop and the love of each other over the money first.
Speaker 2:Long enough to make it happen. More or less, a group with nine to ten members Think about it.
Speaker 1:You know how much you got to care about the craft and care about each other. For a guy that's living in your hood to tell you. So check this out. We're going to do this group album but I'm going to get everybody a solo deal and everybody going to be rich. Look at him Like, tell this nigga, stop lying. You know what I'm saying. Think about RZA's playing and how that sounds to somebody like in 1991. Yeah, yeah, I'm gonna put together a team of guys hope to get the best MC's from my hood and I'm gonna put together a group album and then after that I'm gonna make sure everybody has a solo album so everybody can eat that shit. That had never happened before in rap cause.
Speaker 3:He's a genius innovative, not represented well enough, no happened before in rap, because he's a genius, innovative, not represented well enough, not well enough.
Speaker 2:No, changed the whole landscape of music and hip-hop To everything.
Speaker 1:Now it's unprecedented.
Speaker 3:Unprecedented, unprecedented.
Speaker 1:Wu-Tang forever. I don't care if they don't tour, it's Wu-Tang forever.
Speaker 2:Let's really framework this right, since we're here unprecedented Wu-Tang Forever. I don't care if they don't tour, it's Wu-Tang Forever, wu-tang Forever. Let's really framework this right, since we're here, if we're talking about the impact and what it really did for the culture how groups was able to come into the game and sign a record deal and then get solo deals to the labels of their choice, this is about as groundbreaking as, like jordan wearing the, you know, getting the signature shoe with nike, and then ball players, after jordan, now can get their deals. You know, I'm saying to have their own shoe because before that, you know, the converse all-star, the converse weapons, was just, um, you know the, the team colors, the Lakers and the Celtics Nobody had this signature shoe until Jordan came along and got that. So it really changed the landscape of that, just like Jordan did for athletes to be able to have their signature shoe, but nobody talks about Wu-Tang doing that.
Speaker 1:Nobody talks about it because it was so seamless. Think about this Rappers coming from groups didn't have solo deals until Method man got a deal with Def Jam.
Speaker 3:When.
Speaker 1:Method man got a deal with Def Jam. Like Method man signed to Def Jam. That didn't happen. That didn't happen. You didn't rap with a crew and then a year later have a solo record deal.
Speaker 2:Unless, you left the group.
Speaker 1:Yeah, think about it. A rapper never had that before. No rapper left a group and got some sort of solo rap. Deal with the major label that got notarized that had never happened before. Method man's the first guy of his kind, because buster was after that correct no leaders of the new school broke up yeah, yeah, that's what I said unless you left the group.
Speaker 2:You know I'm saying then you got according.
Speaker 1:I mean, you know man people well, you know everybody keeps talking like he left the group. But I've heard people say well, he got kicked out of the group I've heard both stories and and judging from the behavior, got kicked out of the group and so got a solo deal and has literally talked about and accepted speeches how, like no was a guest artist.
Speaker 2:Well, they broke up live on UNTV Raps or something crazy like that. It was like live in real time.
Speaker 3:That was nasty. Yeah, that was nasty and shout out to 007 with the super chat, these queens get the money. Wu-tang MSG 716, 25, come through. Might be the one fellas. The Garden going to be crazy, the Garden going to be crazy. That might be the one, I'm not going front, going for the Garden. Can I just say one Nah Madison Square Garden legend. This sounds to tell guy who said that man anybody worried about Ron? I'm not going to deal with it.
Speaker 1:Appreciate it.
Speaker 2:Thank you what you got to say, Sean, about that Risen clip.
Speaker 1:Oh, we going to Madison Square Garden, we going to the garden that might be the one that's the one I just ain't getting on.
Speaker 2:No plane, no time soon. I'm just falling off the sky which is different garden.
Speaker 1:I mean we need to make a decision soon, tickets on sale and like, yeah, we'll plan.
Speaker 2:I don't like sitting in bad seats. I mean we need to make a decision soon, tickets on sale and like, yeah, we'll plan behind the scenes.
Speaker 1:I don't like sitting in bad seats. That's what I'm saying.
Speaker 2:Oh, you can still get any seat you want, it's just what you're willing to pay.
Speaker 1:No, I imagine Wu-Tang and Madison Square Garden guys, that is going to sell, that's going to sell, that's going to sell.
Speaker 2:It'll be joint See when the MSG date is 7-16. June 17th July. July. July 17th, gotcha 16.
Speaker 1:All right, july 17th, gotcha 16th. Alright, let me, let me go ahead, and let me go ahead and put you and Sean in the body bag before we get out of here today, before we go to the verses.
Speaker 2:I wanted Sean to talk about the that clip that leaked out. It didn't leak, but Art of Dialogue posted it with RZA what he had to talk about the uh, that clip that leaked out. Um, it didn't leak, but the art of dialogue posted it with RZA what he had to say about that band of the 10 year band of the Wu Tang, how it affected the trajectory of music.
Speaker 1:What are you talking about? The radio shit yeah.
Speaker 2:Well, you know, I'd like to get your thoughts on this too, coop. You know cause like to get your thoughts on this too, coop. You know, because they had a 10-year ban on Hot 97 and basically what RZA was saying, alluding to that really hurt New York hip-hop because you're not playing woo in the peak of their powers, and so that gave room for a lot of the Southern acts to break through New York at the time. So the sister radio stations or the competitor radio stations, they were following suit, the hot 97 playing the down South acts because they wasn't playing their own, and that's how the South got to break through and really take the crown in that moment. Because you know, hot 97 wasn't champion, one of their own, you know, biggest and brightest acts. So he's kind of credited in that band for the permeation of the South to really take over hip hop at that time.
Speaker 2:Some people have been saying online that he's hating, but I can see where he's coming from. You know what I mean. Because if you look at that time, you know when Wu-Tang was on top, like who was really dominant in New York after that, like you know, cause, the band was 10 years. So if you go in the latter part of those years you got Jay, you got Nas, you got X, you got Ja Rule and then 50 came through. But after 50, it was nothing really outside of Dipset that was really bubbling in New York like that.
Speaker 1:I think this is a great conversation to have, because you have an ATLian and a New Yorker. So who will go first, atl or New York? Go ahead, coop.
Speaker 3:You got it, hey, gentlemen.
Speaker 1:Okay. So I don't know if hating is the right word, gentlemen, but when people down here in the South feel disrespected, if there is some truth to what RZA is saying and I do feel there is some truth to it and I'm going to speak to it what you are doing also, when you are making a statement like that, is you are being submissive to the quality of music that is being made down here at the time. Okay, I'm not joking. If you take Wu-Tang out of the equation in the mid-90s in hip-hop East Coast hip-hop, lore you're left with Big Nas, deep and Mob for the most part and that's not a slouch thing. In Jay, of course, jay's coming along, and so you're not left with the cover being bare. But, guys, we're down here. We got Starface, we got Goody Mob, we got Outkast, we got 3-6 Mafia, we got UGast, we got 3-6 Mafia, we got UGK, we got 8-Ball and MJG. You know what I'm saying.
Speaker 2:That was a prime time when no limit in cash money was breaking through.
Speaker 1:No limit in cash money on the precipice of coming through, I'm saying let's keep it, woo peak, let's keep it. 95, 96, let's keep it. The band didn't happen until 97.
Speaker 1:So no, no, no, look, but I'm talking about the music in terms of like, because most of their classic stuff that he's talking about that didn't get played. It's like well, the problem isn't the stuff up until that point, the the problem is is is that what 97 did is is that they cut their most classic groups water off at the time where the South was making its best Southern classics. And so what they really did is they offered an opportunity for New Yorkers to hear classic Southern rap. See, the stuff that you're hearing now isn't as good as the stuff that they were hearing then but right around the time they're banning Wu-Tang.
Speaker 1:Well, you gotta think about that. They're banning Wu-Tang in 97. Atl is 96. Quimina is 98, guys.
Speaker 2:But you don't smite your own to get exposure to what I'm saying.
Speaker 1:Listen to what I'm saying. Part of why it happened is because the South had quality enough records to fill the gap.
Speaker 1:They didn't have a Wu-Tang clan, but that's why I'm saying, oh no See, wu-tang clan got nine members right A-Ball and MJG Two, ugk Four, outkast Six, goody Mob Eight, 3-6 Mafia, they got about they. Wu-tang South there's two core members but there's about six or seven other guys floating around. There was enough great music to fill the gap. And so he's only explaining one part of the story. He's explaining the part of it where they got cut off. He's not explaining the fact that there was quality music coming from the camps out of here in the South to fill the gap.
Speaker 1:Now, it may have taken those groups in bulk to fill the gap, but the quality was there to fill the gap. There is a Soul Food, there is a ATL East, there is a Quimena, there is Coming Out Hard, there is the Diary, there's all of Scarface's projects through the 90s, and so, ag, when you're talking about cutting off their nose and smiting their face, it's like, yeah, they did it, but they did it at their own expense, not realizing how much quality hip-hop the South had to offer. He's not saying it. He's not saying it with the caveat but the South really did have dope shit and that's why they were able to put it on lock. He's not acknowledging that part, and him not acknowledging that part is where it comes off like oh well, you're just hating on the South when you're doing that.
Speaker 2:Yeah, but even if you explain it in that way, like you know, if you cut off somebody else's water in your own you know home, just to give it to somebody else, that's you know. That's the whole point of it all.
Speaker 1:Think about this and New Yorkers need to take note of this and forever remember this. It's criminal that the Purple Tape doesn't have doggy style type numbers. It's criminal. It's a failure. It's a failure by the New york fan base that the purple tape didn't sell five million records. It has every like. When I look at the purple tape in doggy style, it's like no, the purple tape is doggy style east well, I'm glad you talked about it, because at least three million records. At least three million records.
Speaker 2:I'm glad you talked about numbers, because I want to say this, and then Sean piggyback off my point because we was talking behind the scenes. And Wu-Tang is at their height, their absolute peak at 97. And Coop, I know you hate on the Pillage album all the time by Kappa Donna.
Speaker 2:But, think about how much at their peak they have to be for Kappa to be the first solo album out of the gate after forever. The band is in full effect. One, number two RZA takes a step back in production duties and doesn't do the whole album. Two, three you don't have your partners and rom ray and go standing next to you on every track like you did. You know you was the uh person riding in the back seat while ray was riding shotgun on iron man, so you had it for dolo. And then you still come out of that and you sell gold that and for, for he's the 10th member of the clan, he's low man on the totem pole right and he still goes gold despite all those things, because the woo was a household name in 97, that all that stuff was in play and in effect, and he still went gold. Now imagine if they don't have the band, because the band wasn't just for the group, the band affected all the solo members as well. But this is what I'm saying the offshoot groups.
Speaker 1:No, this is what hot 97 did, though Offshoot groups. This is what Hot 97 did, though Nothing Marries I'll Be there For you. Is that diamond yet? Because it should be, and I'm pretty certain if Hot 97 would have played it the way that they should have, it'd be diamond already.
Speaker 1:I don't think it's diamond yet, which is criminal. It's criminal that 50 is getting records from Get Rich or Die. Trying and I'll Be there For you is almost 8 to 10 years older than most of those records and that album and that record's not diamond. That's what Hot 97 did. It's criminal that Takao's not double platinum, only Built for Cuban Leaks isn't quadruple platinum. Return to the 36 Chambers and Liquid Swords should both be at least platinum and a bear you get what I'm saying.
Speaker 2:That was RZA's point. Rza said that Wu-Tang Forever would have went diamond. It still did five million.
Speaker 1:No, it still did five million. So when he's talking about the criminology that was inflicted upon his crew, he is right. What he is failing to understand is that they felt okay inflicting it because they were very well aware it's like oh, no, no, no, we got other music to fill your gap.
Speaker 3:What you got. Sean, I agree Everything happened at one time and it collected everything. New York Radio Hurt Woo at their Zenith. The music probably wasn't the best after Wu-Tang Forever at that first run, but also it's hard to say that because, if it wasn't even after Wu-Tang Forever at that first run.
Speaker 3:But also it's hard to say that because if it wasn't even don't do that, cole If it wasn't even playing in the. I told AG this before. You want to know what? When we consume music in a club, it sounds different than riding your car.
Speaker 1:Hold on, hold on, hold on, sean. We need to admit something Wu-Tang Forever might not be like that, guys no, it's not no, it's not.
Speaker 1:No, you're bugging no, y'all are bugging, because here's the reality of the matter. Here's the reality of the matter. For whatever you say, if y'all were doing their 20 best songs, understand that a 13 track album would have 10 of the 20 and a 27 track album would probably only have another five or six. So tell me how it's like that, ben, it's like that cool, don't do that, no, no favorite album of all time.
Speaker 2:Bro, I'm not doing this with you, I'm so hold on hold on, hold, on, hold, on hold on.
Speaker 1:Just because it's your favorite album of all time doesn't mean that my claim is invalid, though no, I didn't say it's the best, but it's your favorite album of all time doesn't mean that my claim isn't valid, though.
Speaker 2:No, I didn't say it's the best, but it's still my favorite. You know what I'm saying. No, no, no, no, no.
Speaker 1:But we're being objective here. You know what I'm saying. Like Southern Play, a list of Cadillac music is my favorite Outkast album. I know Equimini is better. So like, objectively speaking, is what we are talking when we were talking these things. And maybe the problem is that Wu-Tang Forever ain't like that. What's so memorable about the album outside of the Triumph video to the general populace? That's not in the bars like we are Cool, you have to be. No, I'm asking you. I'm asking you a legitimate question. When people talk about Wu-Tang Forever, what do they talk about outside of Inspector Dex verse in the Triumph video? What do they talk about outside of Inspector Dex verse in the Triumph video? People who were not heads, the general rat populace, the same people who bought all eyes on me and life after death. Like those people, they don't hold Wu-Tang forever like that. Is it like that? Those people are dumb. You can't call those people dumb just because they.
Speaker 1:It's yours. I'm sorry guys, it's yours, it's yours. I'm sorry guys, it's yours, it's yours. Probably wouldn't make Book One of All Eyes on Me or Life After.
Speaker 3:Death.
Speaker 1:That's what I'm saying. It wouldn't make Book One of either of those albums, guys. It wouldn't.
Speaker 2:Definitely wouldn't make Book One of Life After Death. It's yours.
Speaker 1:It's yours isn't good enough for Book One of Life After Death, guys.
Speaker 2:Man Reunited is one of the most iconic Wu songs of all time. Impossible is crazy. One of the best Wu songs of all time.
Speaker 1:MGM.
Speaker 2:You talking about no MGM might be the best Ray and Ghost combo song.
Speaker 1:MGM is my favorite song on Wu-Tang Forever. Objectively, I would tell you that's not one of their 20 best rap songs. Guys, I love the MGM more than y'all do. It's my favorite Ray and Ghost moment. Actually, I love Ray and Ghost on the MGM more than I love them on any of the projects, on any of their solo albums, and objectively, I will tell you no, that's not good enough. Let's table that one for another debate. Y'all talking like Wu-Tang Forever is some sort of five-mic album. It's not, guys.
Speaker 3:You never said a five-mic album, but you sound like it's a three-mic album. That's how you're talking. You're talking like it's a three-mic album.
Speaker 1:Don't do that. It's five-mic to me. How about this? It's closer to a four than it is a five.
Speaker 2:It's five mics to me For every skip. You can pull out of Wu-Tang Forever. I can pull the same amount of skips off All Eyes On Me or Life After Death.
Speaker 1:No, you can't. Those are lies. Both of y'all are full of shit. That's not true.
Speaker 3:Hold on.
Speaker 1:Wu-Tang Forever is not in the same conversation with All Eyes On Me and Life After Death. If you think you are, you're wrong.
Speaker 3:All eyes on me fall off in the second disc.
Speaker 1:I mean, first of all, hold on, you can talk about that second disc, all you want to. Everything that I got on the first disc smokes almost everything on Wu-Tang Forever.
Speaker 2:But see, here you go, like you know, doctoring up shit. You act like the second disc don't exist.
Speaker 3:No, no, no, this is what I mean I could be the same thing, built differently.
Speaker 1:Some classics have classic lyricism, classic beats, classic songs and big moments and do all the records. That's All Eyes On Me. Wu-tang Forever is not that Wu-Tang Forever.
Speaker 3:Lyrics no, I just described All.
Speaker 1:Eyes On Me, you just described Wu-Tang Forever Lyrics.
Speaker 3:Here's what you do Kool-Aid what?
Speaker 2:did Wu-Tang Forever sell versus All Eyes On Me. Say that again. What would Say?
Speaker 1:Forever Sell versus All Eyes On Me. Say that again. What did one man sell versus nine on a double album? Come on, Coo, this is.
Speaker 3:No, no, no, no, no, no. You want to split the hairs. You want to split the hairs.
Speaker 1:What Hold on? Nine guys sold two million and one guy sold five.
Speaker 2:What Styles P say. You know, 10 rappers get better promotion. First of all, hold on um, first of all, hold on. The five was live. The five was live. It didn't go a full five while he was alive, it did. I mean he died some months later. It wasn't a full five mil yet we're not doing this.
Speaker 3:Let's, let's move on, hold on, hold on hold on the previous project.
Speaker 1:The previous project did more numbers than we'll take forever me against. The World sold more than Wu-Tang Forever, and that was a solo project, guys.
Speaker 2:That wasn't before. It was like double platinum and it did like three more million after he passed Coop.
Speaker 1:Hold on, hold, on, hold on Hold on Me Against the World did three million while he was alive, sir. No it was double it was double.
Speaker 2:It did the other ones after he passed. No, no, no.
Speaker 1:While alive, it was double. While he was in prison, it was three million. While he was alive.
Speaker 2:That's still not more than forever, Kluge.
Speaker 1:How much did Forever sell Five, five when Over like total, being blackballed? Hold on, hold on. Hold on Five four. No, they were being blackballed by Hot 9-7. They weren't being blackballed by the industry, sean, they're being blackballed by their local radio station.
Speaker 2:It's a 10-year ban. See, this is what I hate when niggas do this shit, because niggas want to argue shit and not put it in proper context.
Speaker 1:They were banned for 10 years and they don't put it in proper context. Hold on, hold, on Hold on. You think it's not putting shit in proper context.
Speaker 3:Tell me how many classic songs is really's a 10-year ban. That means the radio is not playing it. That means you're not getting that extra bump. You're not getting anything.
Speaker 2:It's an inverse, like while Pac got more and he was more of a fodder. That's why I'm talking about the quality of the record guys Pac and Baby were more martyrs and legends.
Speaker 3:Their ascension is going to go here.
Speaker 2:Wu-Tang's going to go sheer because it was a fan.
Speaker 1:No, listen to what I'm saying. That's why I'm not having a numbers conversation with you. Bad, this nigga from the concert man I mean. First of all, unlike you two guys, I was actually at the Garden for the big show. Show me if you want to pull up, you know what I'm saying Stop talking that shit and pull up.
Speaker 3:Stop talking that shit. Stop talking that shit and pull up.
Speaker 1:Stop talking that shit and pull up Both of y'all, let's talk facts right quick. Y'all want to talk numbers, let's stop talking numbers, let's talk about how many classic rap songs. Stop talking that shit and answer my question how many classic rap songs on 27? It's a 27 rap track album.
Speaker 2:How many?
Speaker 1:classic rap songs are on the 27 songs. According to you guys, classic 7 out of 27? Thank you, you're making my point If 7 out of 27 songs are classic and you're talking about All Eyes On Me and Life After Death. What the fuck are y'all smoking they?
Speaker 2:got about the same. You're talking about all-time classic songs.
Speaker 3:Let's move on. Hold on First.
Speaker 1:of all you could argue. There are people that think that the first seven songs on Life After Death and All Eyes On Me are classic. You understand that right. As far as most people feel like, the first seven songs on Life After Death and All Eyes On Me are classic period and you're giving me seven out of 27. We don't have to have a numbers conversation, guys. The fucking quality is not there and you need to accept it.
Speaker 2:It's not even 27 real songs, like five of them. Shits is like intros where niggas just talking to keep the singing, like you know what I mean. You down to like 22 because you could eliminate five off the top. You got the Woo Revolution.
Speaker 1:You got the outro. You pick the date. You pick the date. In the station head y'all can pick the Biggie or the Tupac album.
Speaker 2:I will smoke Wu-Tang forever we about to fade your ass with Mobb Deep right now. What Mobb Deep got to do with Wu-Tang forever versus All Eyes On Me or Life After Death.
Speaker 1:We can pull it back to back. No, you said that that was comparable and, let's be clear, I'm the one that came on this podcast and said that Mobb Deep would be outcast. Stop acting like you're doing some special shit, ag. I just literally said next last week that Mobb Deep would probably win 13-8. I'm taking outcast because I'm from the South, but I literally said last week, objectively, that Mobb Deep should win based on a hip-hop format. So stop making it seem like you're doing special shit and next time you niggas want to pull up with this Wu-Tang Forever shit versus Life.
Speaker 1:After Death or All Eyes On Me, I'm going to smoke you with either album and apparently every other rap nigga, who knows they shit knows this. You're not beating that Wu-Tang Forever shit.
Speaker 2:Who's going to trail off this one to All Eyes On Me? Then you go trail off, you go fall off a cliff.
Speaker 1:Nigga the shit on All Eyes On Me. Book one is enough to beat you. You don't have 13 classic songs on Wu-Tang Forever. You don't even have 10.
Speaker 2:They don't have 13 classic songs on the first book.
Speaker 1:There are 10 classic records on book one. There aren't 10 classic records between book one and two of Wu-Tang.
Speaker 3:Forever you one and two of Wu-Tang. Forever, you're absolutely right, I know You're right, because you moved the goalposts to the basketball court, to the hockey piece. No, nobody moved nothing.
Speaker 1:You want to talk numbers All eyes on me. If you want to talk numbers, all eyes on me. And life after death is better. And if you want to talk music, it's better. Ain't shit moving. Ain't shit moving. Any way you want to move. Any way you want to move. Wu-tang Forever on its best day is third.
Speaker 2:You're talking about two rappers that were martyrs right after the albums dropped.
Speaker 1:I'm talking about the quality of the music too, guys. I said we can talk sales or quality. It's not a conversation, it's not Right on Wu-Tang. Y'all are wild. That goal post is all over the place, you think impossible fucking with like 10 crack commandments or kicking the door or America's Most Wanted, it's not.
Speaker 2:How many mics you give? Wooten Forever Coop. How many mics you give?
Speaker 1:Four I've always said the run. Guys, if you don't pay attention, I always talk about their run and I always say to Iron man I don't include Wu-Tang Forever in the run, because it's not a classic, it's a four-mic album. That's wild.
Speaker 3:The beat, shall we? Let's go with the verse.
Speaker 1:Pick the station head date. Y'all pick Parker big. It don't even matter which rap album you pick, I ain't picking shit. Let's go to this verse. Pick the station head date. Y'all pick Pac or Big. It don't even matter which rap album you pick, let's go to this verse. Oh, we know y'all can't pick shit. You just picked Wu-Tang Forever and thought it was comparable to Big or Pac shit. We know y'all don't know shit. Today, moving on man Finish school 27-track rap album with seven classic rap songs, y'all trying to compare it to Life After Death. All Eyes on Me, niggas, is smoking.
Speaker 1:Nigga shut up, Can we? Move on, damn Y'all niggas, shut up with that shit. Stop standing over Wu-Tang and be objective for once in your fucking life. How about that?
Speaker 2:I am objective. That's a five-point album, four and a half at the worst, don.
Speaker 1:Don't be pulling up and telling me to shut up. I'm not your fucking kid AG. What?
Speaker 2:Shut up, Like I said, like let's move on man Shit.
Speaker 3:Keep talking, man Shit, are we going to do this, or what man?
Speaker 2:Tell Coop to get back on so we can run this versus real quick, since he said that he already given us the belt.
Speaker 3:I don't even know Anyhow. Wu-tang forever smoking everybody's boots. I don't care what Shit.
Speaker 2:You don't know where to stop, man. We've been trying to move on.
Speaker 3:Been trying to move on. So what are we going to do?
Speaker 2:Man, let's take it to the. I guess we ain't doing the Bob Deep Outcast thing. But the reason why we was going to do this? Because Twitter was on fire this week comparing Mob Deep and Outcast catalog. So what we originally had planned was to do a little in-pole versus 20, track for track joints, and um outcast versus mob deep see who came out on top. So me and sean was going to take mob deep and coop was going to take outcast to represent atl. But as he said here that um, that, uh, he said a couple shows ago that Outkast would lose. Is that what he said? 13-8? Yeah, he had a mob deep which would be 21 songs, but it's due to here and on there. So we'll go on. But I guess we ain't doing that now. But we'll move on to the next topic, which would be are we going to J Cole versus the Gibbs?
Speaker 3:Yeah, yeah First of all going to the next topic, which would be? Are we going to J Cole?
Speaker 2:versus the Gibbs. Yeah, yeah, first of all, go ahead. Let's talk about the clouds first.
Speaker 3:Yeah, he killed it. I mean, this is who we. This is who he is. We know who he is. We know who J Cole is. This is not a secret. This is not like he's not a rapper's rapper. This is what he do. Second verse he left Earth. We know that. Right, first verse is ramping up. Second verse is he's leaving Earth. This is who he is. This is what he is.
Speaker 3:I think the thing is, the crazy thing is, when you think about Cole and you think about the position that he kind of put himself in and you think about the position that he kind of put himself in Now, you're in a tough spot because if you're going to rap and you're going to say certain things, you're going to speak that bravado. We talked about this before. We talked about this in the past. We said now, where does he go as an artist? Does he continue to talk like he's the big boy or does he continue to talk like he has? You know, there's some big gloves that he can go at anybody. If he's going to talk that kind of talk, then he has to be able to back it up. Right, and we saw in real time that he actually pulled back. He pulled back from being that guy that was actually competing with that big three, because he was part of that big three.
Speaker 3:So now, when he's talking bravado and he's talking about taking out MCs or taking about rappers or whatever, you're going to have some backlash from that, but he's still. He's still still is cold. Regardless of what, he's still cold, he's still one of them, he's still one of the dopest mcs that's out there. Regardless. It ain't nothing you can do about it and I think, at the end of the day, we gotta you gotta respect for respecting for who he is. You gotta respect him for that. And klaus is just showing you that he is one of them, regardless of what what he did in hip-hop. I know it's unforgivable because we talked about it. I didn't like it. I hated the fact that is it know it's unforgivable because we talked about it. I didn't like it, I hated the fact that Is it, though Is it unforgivable, oh?
Speaker 2:Or does time heal? You know what I'm saying? Stuff like that.
Speaker 3:I think time and good music Time heals, but it's still. It's an unforgivable thing. When you're thinking about hip hop, because hip hop is a combat sport, you, hip hop, is a combat sport. You know what I mean? It's a combat sport. So when you're talking about it's a contact sport. So when you're talking about getting into the ring and you're saying you're the best and you say that I'm better than this rapper or I'm taking rappers out, but then you bow out of a battle, you're going to get. They're going to judge you for that. They're going to judge you for that and there's nothing else you can do about that. It's going to always follow him. He can drop. He's going to have to honestly drop more than an amazing album and even with that, people are going to still have something to say. They're going to still say we know he can do that, so why did he back out? It's going to always go back to that. It's unfortunate, but it's going to follow him. It's really going to follow him.
Speaker 2:Yeah, but I mean this should be evidence that he has it in him to make that album. That will quiet a lot of those naysayers. You know what I mean Because, like you said, he's rapping on the highest of levels. I wasn't really a fan of the beat on this track, but the rapping man, what he's doing lyrically on here and then the flow pocket, is crazy work man. It's insane.
Speaker 2:And you know, and and the stuff he's talking about, like subject matter, like talking about ai and you know cole, when he gets in his um, you know thought-provprovoking reflective bag he's. You know that's his wheelhouse. You know what I mean. And he's not talking the. You know I'll smoke every rapper. You know what I'm saying. Who I do a feature with. He's not talking that, no more. He's getting back into his like you know, just reflecting and stuff. And I think if he keeps it there you know what I mean and shoot straight down the middle, I think he'll be all right. You know what I mean, because if he's displaying this level of rapping on his album, then his album is going to be a problem.
Speaker 2:But my worry is more so about who he gets for the production. You know, because I wasn't a fan of the production on this, that much. But you know, had little little elements, had the little wiz khalifa laugh in there and different things, and you know it was. It was a dope track. But my whole thing is, if this, I'm tired of the appetizers or the warm-ups or you know whatever to get ready for the album.
Speaker 2:He's been promoting this album for years. Like at this point you just gotta drop the album and stand on that whatever. Whatever it is Like, because when you record over such a long period of time, you have stuff that may be stellar but it's old, so it's like stale to you now. So he might shelve that and then keep creating and keep creating or do, and you're never going to get the product that you want to put out to the public. At some point you got to like with that baby you created, you got to live with it and you know, give birth to it, right. So I think he's just messing himself up by prolonging it long, you know longer and longer, unless he's just waiting for this tidal wave that was Kendrick Lamar to get totally out of the way, lamar to get totally out of the way.
Speaker 3:I think, is this a warm up for the album? Is this just a wrap up?
Speaker 2:I mean it seems that way. It seems that way Seems like it's part of the rollout. But then we had the podcast, we had the garden show, we had well, thetonio was kind of like just reflecting on his you know where he stood with the whole battle thing or whatever. But I mean he's been promoting the fall off for like way too long.
Speaker 3:At this point you gotta drop it the longer, the more you do things like this and the longer you go through this whole process of just promoting it and dropping loosies that we are talking about, it's going to put more pressure on the album. It's going to put more pressure on the album Because, like you said, all of the ramp up started at the back half of last year, off the heels of arguably one of the biggest battles that we've seen, right, and he came into the new year dropping loosies and telling us that it's still coming. And that's the crazy thing about it, because now he's in a position where he got to deliver. He's in a really interesting space man because you got people like Freddie Gibbs going at him now right Doing sneak disses, and I'll be honest with you, EG.
Speaker 3:I know you and Coop. You guys are big fans of Freddie, more than I am, but I think Freddie is a. I think he's a dangerous person to get in the ring with at this point. If I'm J Cole, I think he's a little bit dangerous.
Speaker 2:Joe Button was talking on his podcast that J Cole's eventually going to have to come outside and make an example of somebody Out of somebody. Regardless of if he didn't want to get into the ring with Kendrick, he has to pick somebody and you got to fight that person. You know what I'm saying. You got to make an example of somebody and that might be Gibbs for him. You know what I mean.
Speaker 2:And with all this talk with Freddie Gibbs sending his little shots or whatever, our Discord dialogues this week is centered around both of their discographies. We put it in our Discord chat chat and it wasn't the obvious question like who's the better rapper? Anything based on legacy or whatever. We know the answer to that already, so we're compartmentalizing this question. So what we asked is just far as discography is concerned, the projects that they put out who has the strongest discography? And an overwhelming 67 in the discord, which are discord members there's about 100 people in there. Uh, the vote was for freddie gibbs 67 and I thought that was a lot more lopsided than what I would think it would be. But me personally, I think that gibbs has the better discography. Is he a better rapper than Cole? No, Does he rank higher all time than Cole, Hell, no, you know. But as far as like putting together, you know cohesive projects, that's like you know four, four and a half five mics. I think he's got that mastered a little bit better than what Cole does.
Speaker 3:Do you want to see a Cole and Freddie battle though that's the crazy thing Do you want to see that?
Speaker 2:I don't.
Speaker 3:Because I don't think Cole could win either way. Because they'll say why are you punching down to Freddie? Because, again, freddie was not looked at. You don't think that would be punching down? I'm saying from the overall trajectory of it.
Speaker 2:From his status in the game.
Speaker 3:From his status right, because you're talking about Freddie, who was never mentioned in the big three. He was never mentioned in the top five, never mentioned even in the top ten. So it's not like he's punching down to someone that's not lyrically inclined. He's punching down to someone who wasn't mentioned in those higher names.
Speaker 2:Jay-Z still dedicated the whole song to Cam Ron.
Speaker 3:Yeah, but you have to think about just the bite balls that Cam had and that didn't really do much for Jay. That wasn't one of those.
Speaker 2:No, it didn't. I'm just saying the principle of it, yeah.
Speaker 3:And Cam is Cam. Cam is going to disrespect and at the end of the day, with Freddie Freddie is very witty, he can probably get some things off, but again, I just don't know if that would be the right move for Cole. But at the same time, if you're Cole, what are you going to do? Because you're going to have others that may feel the same way. You know, I'm saying others may feel like yo. I can go at him too.
Speaker 3:I can do this and I can do that and those may not be nowhere close to where Cole legacy is at this point. As great as Freddie, as consistent as Freddie's catalog is and I know some people would say his catalog is a little bit better than Cole's catalog he doesn't have the legacy that Cole has. Right, that's a separator. When the legacy is not there and you're going legacy to legacy, it's pale in comparison. And if Cole goes into that room, even if he pulls even AG, even if it's close, even if it's close, Cole's not going to win.
Speaker 2:And people want to hold it against him, like, oh, you'll get in the ring with him, but you didn't against Kendrick, so it don't even matter.
Speaker 3:You apologize to the boogeyman, but you ready to get, you know, in the ring with Freddie Gibbs. That's the narrative. Unfortunately, that's the narrative. Unfortunately, that's the narrative. And you know, Freddie and others, there's a lot of material there for Cole.
Speaker 2:We'll just say that.
Speaker 3:It is. But, freddie, he leans into it, he embraces it, he does, he does. He's dangerous. He's going to be like, yeah, you can call me that and he'll make a rhyme about it. He'll lean into it. That makes him very dangerous. If I'm Cole and people got to start playing with Cole name man, it's too much. It's too much second guessing Cole. We never second guessed Cole before.
Speaker 2:Right. And, if I'm being honest, the main reason why I don't want to see a battle is because I don't want Cole distracted. I don't want Cole distracted. I just want the album, the album to stand on its own merits and him not have to be worried about addressing Kendrick, addressing Drake, addressing Freddie or addressing anything. Just focus on putting out a dope project and then stand on that and once we will judge that for what it is. You know what I mean. So that's the main reason why I don't want to see the battle between these two.
Speaker 2:You don't need any distractions, like you kind of, like you said with ross and the whole kendrick and drake you know thing, like he was just putting his two cents in, you know, and he was a distraction from you know drake, focusing on kendrick or whatever. So, um, I don't, I don't want cole distracted man, I want him to really put out a quality product and you know, I, I don't, I don't, by the unwritten rules of hip-hop, the apology still stands as like a major blemish on his career. You know what I mean. But, um, I'm, I'm, I've moved on past that now. You know what I mean.
Speaker 2:If we, if we can, we just got to be objective, as rap fans like, if we can move on from certain things like drake with the ghost writing stuff and the quitt miller stuff you know what I mean and people moved on from that and still rock with his music, then, just like that, we should be able to move on with code. Is it still a little bit fresh? Yeah, and maybe, maybe that's why he's taking so long. Maybe he's waiting for all that to kind of those feelings to kind of die down a little bit before he releases his project because he wants it to be a new slate for himself, so to speak.
Speaker 3:Yeah, I hope. I hope that he can regain momentum. I think he still has a little bit of it left. I just don't know. I just don't know if the if the audience is going to give him that shot. That's my biggest concern. I just don't know if the audience is going to give him a shot.
Speaker 3:Man, hip hop can be unforgiving. Hip hop doesn't you know, it's hard. Man, once you take a fall like that, hip hop won't let you forget. We're the only genre that holds that against our artists, our legends. That's a fact.
Speaker 3:That's a tough spot to be in for Cole, because I still think that Cole is one of them. I still think that he's one of the greatest ones of his generation, of his era. He checks all the boxes in his era. That's the crazy thing. You got to give him respect. I don't like to see this stuff on Twitter and on social media and other platforms talking about cold, like very ill or cold, because it puts him in a bad spot. Man, it really does, it really does. But he also got to put himself out of that too. If you're going to do clouds, you got to get back into your cold bag. Get into the bag that people champion you for as well. Don't dwell on that beef, no more. Don't dwell on what you should have done or what you couldn't have done. What you could have done. Go back into your bag, go into the place that people champion you in the beginning.
Speaker 3:Don't say I'm going to kill an MC, or I can kill this person or kill that person on the mic Nah, he can't do that, no more, he's too talented for that. You don't have to lean into that anymore. He doesn't have to.
Speaker 2:Not right now, Winnie, no he was Nah, don't do that anymore. But yeah, since we're here, though, we're talking about comparison of their discographies man, excuse me, I don't want to put them fake the fans, so let's at least talk about Mobb Deep's discography versus OutKast's discography a little bit. You know, let's get into that.
Speaker 3:Yeah, yeah, yeah, we may get a chance to circle back to the battle at some point.
Speaker 2:And it might be better suited for Stationhead anyway, but I think this was an interesting discussion. As groups go, I have a hard time comparing. I separate groups from duos. We just got through, you know, coop ran off a bunch of duos in hip hop when we was talking about Smith and Wesson.
Speaker 3:I'm sorry, I don't want to go to super chats. I'm sorry, I don't know what a super chance. I almost forgot Number seven. Cold is cold, but forever in my eyes, never be number one. Be the number one, that's fair. My mere thoughts. If you run home from a fight in the hood, at any age, nobody forgets it. J Cole Cole got to wear that jacket forever, it's true. It'll follow you All right. Sorry bro. No, you did real quick.
Speaker 2:I forgot about something. Before we go on to Mob Deep and Outkast, somebody put on Twitter Shout out to I think it was a day Mentality, yeah, shout out to you if you watch the show, bro. He put on Twitter something that I can't get out of my head. Man, he said that J Cole was like Jason Tatum Dead, nice but no aura. I was like, damn, that's kind of harsh, but it's truth to that, right, you know what I mean. It's like.
Speaker 2:You know, even though Cole's a superstar, right, I've always preferred Cole out of the big three. You know he's, you know, tried and true like MC, like a rapper's rapper. Cole was my guy. You know what I mean. That's why I didn't have no dog in the fight with the Kendrick and Drake battle was because I was looking to see what Cole was going to do, cause he was my favorite between Kendrick and Drake. I was like neutral, like whatever, but out of the three of them he just is. You know he still has an it factor, but it's to a lesser degree of what Drake and Kendrick have. But if you ask me who's the nicest MC out of the three of them, I think Cole is the nicest MC, easily. I think Kendrick is the better artist, but Cole is the nicer MC. What do you got to say to that?
Speaker 3:powerful pound. I think he is pound. I think he is Pound for pound, I think he is. But again, we talk about legacy versus legacy, legend versus legend. All of those things play so much of a factor in today's hip hop. I mean, it always plays a factor in hip hop and music in general. Your legacy is your legacy, what you built, what you created, and once you start getting into that conversation, you're pulling heads, you're pulling straws. It's a matter of who you prefer the most. You know, honestly, I don't think there's honest. I don't think there's a wrong answer to either one. I really don't. I really really don't. But if you ask me for my palette, what I like, I go cold.
Speaker 2:Agreed, Agreed. Mob Deep and Outkast man yeah. Two of the best discographies in hip-hop, if you ask me.
Speaker 3:Yes, consistent, very consistent, yes, consistent, very consistent out the gate. There's not too many groups that have that kind of consistency on both sides. As both groups continued to go down that path in their discography, it kind of waned a little bit. It waned a little bit. It waned a little bit on both sides because they started, you know, kind of getting away from the thing that made them successful. Right, you know, I mean, and when you start being more creative as an artist, sometimes the fans don't follow along with you, and I think that's kind of what happened with both.
Speaker 2:Yeah, outkast pushed the bounds of creativity the most between the two of them. But I think both groups have three solo. I mean sorry, I think both groups have three classic records in a row Mobb Deep with the infamous Hell on Earth and Murder Music, and then Outkast with Southern Playalistic AT Aliens and the Clemenon. I think that goes without saying. Even a diehard Outkast fan I don't think would say that Stank On you is a classic, but it's their most successful commercial album. That kind of you know what I mean. That's heavy. That adds a lot of weight on their side of the scale when comparing them to mob deep, because by the time mob deeps get gets to infamy, they're kind of tailing off a little bit. You know what I mean, um, but uh, yeah, it's the song.
Speaker 3:It's the song. Yeah, yeah, it's a song.
Speaker 2:It's a song, absolutely. And you know, just talking about the two stars of the group, andre 3000 and Prodigy, you know, when they were both approaching their zenith in 96, going into 97, those two were in. We talked about this behind the scenes. Those two were in a lot of hip hop conversations outside of the usual suspects, suspects of, like, you know, pot nas, big j on the rise, like a lot of people were putting, you know, prodigy in their top fives. A lot of people were putting andre just outside of their top fives then for their, uh, rhyming ability. So you know those, those two mcs were, you know, top tier. And then the rhyme partners I don't think Big Boy gets enough credit, you know rhyming alongside Andre. Nor do I think Havoc gets enough credit, because I think a lot of times people just look at Havoc as the producer. But you know there's a lot of songs out there where I feel like Havoc got Prodigy, you know.
Speaker 3:I agree, I agree, I agree. I was listening to a lot this Hold on. We got another super chat. We got all Mad Max. Mad Max left my ass off. Mobb Deep is far superior to OutKast, not Tribe, de La or Wu either. Kast has too many poppy music for Mobb. 3-6 with Dust Kast, 3-6 with Dust Kast, off with Dust Kast if Kast don't pick the right joints. And P got more quotables. Mad Max is a wow he has a lot of quotables.
Speaker 3:I think here's the thing. And P got more quotables. Mad Max is a wild man. He has a lot of quotables. He has a lot of quotables. I think here's the thing. Cast, they push the music boundary to the limits and that's why their catalog got a chance to expand, you know, across boundaries.
Speaker 3:It wasn't local anymore, it wasn't just for one genre. When it started reaching other genres of music, that put Kass in a whole different stratosphere and it sounded weird in the beginning. You hear Bombs of a Baghdad in the very beginning, like what the money? What is this? It was just all over the place.
Speaker 3:But I can tell you, I was in Japan when it came out and it was going bonkers over there, bonkers, and you can tell that the sonics, the aesthetics of the sounds and everything were just changing the guard. Because music at that time, you know, instruments at that time became more ubiquitous across hip hop because there was no more boom bap. It started transitioning into more melody, transitioning to more live instrumentation. We just talked about Just Blaze not too long ago. Now you have more of a louder sound than you had, more of a hollow sound, if you will, versus the hollow sound of hip hop, and I do think that with Mobb Deep again, when you get the money all day right, I still feel like it's one of those things where Mobb Deep's Sound was one of the architects of the golden era of New York hip hop and probably hip hop in general.
Speaker 3:You had the funk era. That was established as one of the architects, of course, of the West Coast sound in the early 90s the early 90s. But then you're talking about what ushered in that New York sound and Mob Deep sound, havoc's production, alchemist's production, that whole wheelhouse Q-Tip all of that was an architect to the sound of hip-hop. So we hold it very dear to us but it never progressed past the 2000s. You see what I'm saying, whereas Outkast was able to progress even past that because they kept pushing the envelope when it came to their sound and because of that again they became more of a crossover to different genres than staying pigeonholed into the hardcore hip-hop Right pigeonhole into the, you know, to the hardcore hip hop.
Speaker 2:Right, right, and you know, oh, go ahead bro.
Speaker 3:No, no, no, I'm saying it's changed everything for them.
Speaker 2:Yeah, and you know, when I was looking at the matchups for if we was going to do the song, the song versus that's what kind of make it a little bit difficult, right, because, to your point, mob pretty much stayed in the same wheelhouse, outkast was everywhere. You know, all over the place they was hitting. You know different types of music A lot of soul, a lot of funk, you know even boom bap. You know, down like they was hitting a lot of different pockets with their songs, even, you know, crossing over to the pop crowd. So matching up a lot of the songs is difficult because, mobb Deep, you know what you're going to get, you know what I mean. It's like no frills, but you know, still, still, yet they two are the greatest duos we ever had. That B2, number one, number two, um, as far as duos are concerned, um, regardless of what order you have, man, I think they're the number one and number two, uh, duos that we have a hip-hop agree, agree, agree.
Speaker 3:Um, you're mad max. I see your chat. You're super chat. We appreciate you, man. In a nutshell, mad max is saying that something about the sahara. I don't even know what's going on here, but mad max, we got you man. We appreciate you man.
Speaker 2:Mad max is wild man but but yo real quick man. I. I really like it when you um talk about your stories when you was over in japan, because I use that as kind of like a litmus test for how popping some, what something was and how much reach it had, like if you was over there and it was like hitting you over there, you know what I mean then that's like a big expansive type of reach. You know what I mean. That's like some next level stuff.
Speaker 3:Absolutely, because, again, I can acknowledge that, like I told you, being overseas Japan, australia, wherever I can acknowledge in the early 2000s, where the DJ would do a dedicated New York set, it was like a dedicated New York set and Mobb Deep was part of that. He always started with Shipwrecked Ones, part 2. Had to part of that. They always started with Sugar Bones, part 2. For whatever reason, no matter what the DJ, who he was, it was always starting off with Mobb Deep. But in the regular set, in that regular set, we was hearing a lot, a lot, a lot of cats. Violence of Baghdad was playing everywhere, in every club overseas, no matter where we went. We'd get off the plane and saw you here and it was crazy and I didn't know what they were talking about. Like don't put that thing out, let's just ready to bang Bombs. I'm like what is he talking about? I don't even know. I don't even know what that means, but they were going crazy over it, man.
Speaker 2:You got to be fair, bro, because Ghostface said a lot of shit. You ain't know what it means either, but you were saying it was dope Alec I did.
Speaker 3:When he said I want a ravioli bass, I'm like, yeah, I think I can put that together.
Speaker 3:I knew what that meant though I know Right, I can piece that together when he said, don't put that thing out, are you talking about? I didn't even know what it meant. So still to this day, I still don't know what it means. I don't know what it means. I was fighting for Baghdad, so I don't even know what is going on. But the point is people weren't. They didn't care about that. They cared about the sonics, because it was something like I told you before. We talked about it behind the scenes.
Speaker 3:You can judge music in this reach based on how it rang off. In a club, in places like that, because you're getting everybody it was songs that I could not stand coming up. But again you're overseas, you're in a different state, you're in a different, you know different coasts, and they play some of these songs in the club. I'm like it's not too bad, it's not that bad. When they start playing, master P Mick can say in the club it don't sound that bad, but in the car it sounded like trash, I couldn't stand it. But in the club it was like okay, different element, I get it Different element, and I think that's what Cass was able to do.
Speaker 3:They were able to continue to transcend through the years in different environments, whereas with Mobb Deep it became a relic. They became relics of a sound that they have architected in the early 90s. It's hard to transfer that energy across a country. Um, that didn't you know. That don't know about them being architects in in new york.
Speaker 2:Hip-hop in the golden era of hip-hop okay, well, to kind of kind of pivot that you talked about. You know, being over japan, they do a new york set. So how did that translate? Um, you know your big time wu-tang fan and Wu heavily embraces, like Chinese and Japanese, cultures. So how did they receive Wu over there? You know what I mean. Were they a big staple in Japan?
Speaker 3:They were. But again, you know you're talking about Circa. I was there 2000. I got the April of 2000 and I was there for that whole year. So that's a little.
Speaker 2:Wu decline time Like. Supreme and W's fire Like let's not get it twisted, W's dope.
Speaker 3:But they weren't playing W like that. I remember them playing. I remember listening to more Mystical at that time than Wu-Tang in Japan, Like Danger, Like the joint with Hema Pharrell. I remember that that was going crazy back then.
Speaker 2:Well, that kind of speaks to you and Koo's point, both at the time, because that's not in New York, but a lot of Southern music was breaking through because the quality was picking up. So it was just like a timing thing. Once Wu-Tang was at the Zenith and they were banned, you know, to Coop's point, somebody had to fill that void and then the Southern artists were stepping up and then once they broke through to New York, then the Southern artists became more global, if that makes sense.
Speaker 3:It does. It does because it was people want to dance. I think Riz even mentioned in the interview he was like people wanted to start, they wanted to dance, they didn't want to get the mental stimulation anymore.
Speaker 3:We were past the stimulation era we were listening to Woo, mob, nas, big Jay you know, even Jay switched it up and had more club music because people wanted to dance when they shake a tail feather, you don't want to, you know they don't want to to get the mental stimulation going. And I think because of that, you know you couple that with the resurgence or a surgence of not really a resurgence of the South at that time, the resurgence of the South in the early 2000s, and you know OutKast was at the forefront of that. You don't, I don't think you get that true resurgence without OutKast pushing the boundaries.
Speaker 2:You don't. You don't Because I think the other side of that coin is Goody Mob and Goody Mob never broke through on the level that OutKast did Correct, and I think Goody Mob, quality wise-wise, was neck and neck with Outkast at their peak.
Speaker 3:Facts, facts. But they just, they still felt like the B. I mean no disrespect and it's all family. You know what I mean. Right To me, they felt like the. You know, like in Marvel. You know, you got the big dogs Iron man Thor, captain America. They got the big dogs, iron man Thor, Captain America, they got the outer world stuff. And then you got Daredevil, spider-man.
Speaker 2:They were the ground level heroes.
Speaker 3:Ground level heroes and that's how it felt sometimes with Goody, and I think that Goody was just as dope as Outkast but it didn't have the grandioso sound that Outkast got Because, again, they didn't have Andre Right. They didn't have the grandioso sound that Outkast got Because, again, they didn't have Andre Right, they didn't have Andre Because I was about to say that because again they went from Stankonia to doing the double album. You know, speak About Some Love Below and you're talking about what? 2003? When that album came out. You know September 2003? So you got September 2003.
Speaker 3:So you got on Speak About Some Love Below, where it was just different. I remember laughing like laughing, laughing at you know that album and listening to it like literally laughing, and I would stay by this. I would stay. She means Savannah, georgia, and a lot of my guys around me. They were from a lot of them from Macon, stationed in Savannah, georgia, and a lot of my guys around me. They were from a lot of them from Macon and from Savannah. Some was from Atlanta and they were like giving me the manual to understand what Speakerbox and Love Below really was, and I appreciated it from that angle.
Speaker 2:Yeah, and I was already an OutKast fan of the first four albums. But I was listening to Speakerbox a lot but I couldn't get with the love below and then it went until later. So a lot of my friends in college was like nah man, you need? 22 years later, I'm still wanting Andre to rap on a solo album and that's never going to happen.
Speaker 3:So I think he did good on his own on the Love Below man Honestly like it was, yeah, it was a good album and I remember appreciating it in real time a little bit after real time, just a little bit, because again I'm around a bunch of Southern guys. I'm stationed in Savannah, georgia. At this time I'm 23. And I thought again. It was humor to me at first, but then I started to realize, like this is actually pretty dope, it's different. It was different, different, but again hip hop was shifting so much it was changing.
Speaker 3:Yes, it was like crazy man. It was shifting like crazy. We was like in, that was still the 50 Cent era, like heavy. Right, that's the beginning of the 50 Cent era.
Speaker 2:Yeah, it was pretty much 04 before I came around listening to. You know I had heard the Love Below don't get it twisted, but it's just like it was like 04 before I was really embracing it like that. You know what I mean. It was damn near a year later before I like all right, let me like really put my bias to a side, to the side, and give it some pair of listens and then by that time I'm loving the album. I was digging it by then, but it took me a year to get there. So you can't be early to the party every time.
Speaker 3:A lot of times you end up being late, and that's when I was late too but see, ag, you and I was, we were talking about even going back to mob divas like my infamous versus hell on earth, and I was listening to both my flight today and I was like yo there's not much separation between infamous and hell on earth, and I can see why you would say that hell on earth was better than it's better than infamous. But then I can see why I can say the same thing on today and tomorrow. I don't feel that infamous is better than hell on earth, you know I mean go ahead I'm sorry, go ahead, no, I was just gonna say it depends on what you're looking for.
Speaker 2:Like, I think hell on earth is more consistent, but the infamous has higher highs. So if you're basing it on like the all-time you know, you know kuso argument on here was like um, where the all-time classic songs on wu-tang forever to to that point there's not that many of those on hell on earth either. But just how the album plays is better than to me, better than the Infamous, even though the Infamous has higher highs. But I'm not going to jump out the window and say Forever is better than 36 Chambers, I prefer it. But I've always looked at that album kind of like it was written in Illmatic.
Speaker 2:I know objectively that Illmatic is better than it was written, but I prefer it wasitten because of his growth and expansion on the album. So with Woo Forever it's the same thing. It's growth and expansion in the group and a more grandiose sound. That's why I prefer Woo Forever, although I know in my mind that 36 Chambers is superior. Same thing here, hell on Earth. It's growth with Havoc's production and its growth with Prodigy Rhyme. And he's a better emcee on Hell on Earth. So what my ears tell me is that this is the. You know I prefer this project over the Infamous because both of the active members are better at what they do. But the Infamous, if you're looking for all time great classic songs in the higher highs, then I totally understand if you put that high.
Speaker 3:Yes, the Infamous to me has magical moments.
Speaker 3:that we haven't seen Lightning in a bottle, yeah, Lightning in a bottle, Right. So it gives you a different type of type of hit, that type of adrenaline type of hit. That type of adrenaline Because even Havoc you can tell Havoc was probably imitating a little bit of Nas at that time in the way that he was coming off. Because I listened to Havoc a lot this week Just because I wanted to do my bar seminar on that and I wanted to listen. I'm like man, he sound a lot like he was really trying to follow that blueprint of Nas. Who better to follow.
Speaker 3:Who better to follow? Whereas you can tell, P became more unorthodox when he got to Hell on Earth. Yep, P on Infamous was rapping, rapping. P on Hell on Earth became unorthodox, but he was comfortable. He's like a left-handed fighter rapping. He on Hell on Earth became unorthodox, but he was comfortable.
Speaker 2:He's like a left-handed fighter man. Yes.
Speaker 3:He was confident. He had a different confidence level when he got to Hell on Earth. You could think about Hell on Earth was probably made. The exception was probably what 95 going into 96, and Infamous was 93 going into 95. So you can see the growth pause.
Speaker 2:Nah, I think Infamous was 94 going into 95, because 93, that would be the whole juvenile hell era. They had an exponential leap in 90. 93 going into 94. Yeah.
Speaker 3:Double just put in the chat. He said P-Stop rhyming at some point. Yeah, he did. I mean I think that as he got we always talk about it when he got to HNIC. I think after Murder Music that was P's probably. God bless the dead, that was probably P's zenith, I think after Murder Music that was P's probably. You know, god Bless the Dead, that was probably P's zenith man on Murder Music, I still got Hell on.
Speaker 2:Earth though, but I feel what you're saying.
Speaker 3:Hell on Earth is give me. I'm talking about, like, as far as, like you know, just staying on top of that lyrical mountain because you're talking about Quiet Storm. You know where he just left Earth? On Quiet Storm he did. It might be the main reason why that album went platinum because of that verse. Yes, to be honest, Absolutely, it was everywhere, absolutely, and the anticipation of his solo was shortly after that. But the thing about it is, by the time he got to HNIC, anticipation of his solo was like shortly after that, um, but the thing about it is, by the time he got to H and I see he abandoned all of that. Yes, he abandoned all of that.
Speaker 2:And then it was totally gone on infamy, like totally gone.
Speaker 3:I think he was distracted, though. I think he was with you know Jay and trying to find another. Yeah, um, I think by that time they were chasing a hit because, again, music was you got Jay on one side, you got Nas on the other side with the Stronger Build. That's a lot to deal with.
Speaker 2:Reaching out to 112 for a single, which is not their normal MO.
Speaker 3:Totally different. Totally different To your point double. Yeah, he did took a step back, took a few steps back. But again, like we said, going back to the original point, man, we can close this thing up. You know, both came out hot red, both, both our groups came out on fire, on fire fire, and they started doing different things. They started going different paths and trying to find a new voice in rap and find a new rhythm in rap and they gave the people what they all signed up for in the very beginning. But it benefited Cass more than it benefited Mob.
Speaker 2:Yes, Two of the greatest man, two of the greatest man, two of the greatest, indeed, indeed. You want to do the press play joint and close it out.
Speaker 3:Yeah, you can.
Speaker 2:No doubt man. What's Homie's name again? I forgot it, it's Akarsh.
Speaker 3:Akarsh, akarsh yo, if you're watching Akash Akash.
Speaker 2:Akash yo, if you're watching, you know this is for you. I wanted to put some respect on your request, man. We appreciate you tuning in all the way from India. Man, like out of you know, the three of us, I'm the biggest Eminem fan on the panel. So for the press play, I wanted to do that by honoring what my 10 favorite m&m tracks are. This may not necessarily be a list of what is the best, but you know, for my fandom, this is my 10 favorite m&m tracks for the press play. So, um, to start it off, number 10, I'm going to count down from 10 to 1. Number 10, I got Soldier off the Eminem show and for me, music marks time right Like this. This is back in 2002.
Speaker 2:We're coming off of, you know, his feature. His buzz was at an all time high, like, not just in, you know, white America and the pop circles, not just white America and the pop circles, but the hip hop circles as well. You know, cause, in the year before he had the dead wrong feature verse and he also had, you know, renegade after that. So people who weren't paying attention before, you know, the real hip hop heads was like yo, eminem can rap, rap. You know what I'm saying. He's like rapping next to Big even though Big was deceased, you know and then rapping next to Jay and that sort of thing.
Speaker 2:So, um, I remember I was in college and in the dorms they had like a downstairs like um computer lab and resource center, and I remember one of my homies, um, was in the resource center and I was getting ready to jet to class and then he had some headphones on. He was like yo, come here, come here. You know, I'm saying and I'm like about to be late for class and then I go in the resource center and this was when, uh, like kaza was out to download him psych, that was real popular at the time. He was this was a week before the album came out the Eminem show. He was like yo, the Eminem leak, and I was like word. He was like yeah, man, come listen to this. And he was listening to the whole album but was playing soldier over and over and running it back and I was like back and I was like listen to it. And everybody was going crazy like yo, if this is the bag that he's going to be in on this album, this album is about to be crazy. So that when I hear that song it takes me back to that memory because that was the first song I heard off the album and we just kept running it back like going crazy and and I never did go to class for the record, we just stayed in the you know saying the library um in the computer lab and listened to the album that leaked out, downloaded it off kaza.
Speaker 2:So that's my number 10, track number nine guilty conscious uh with uh featuring dr dre off the slim shady lp. Um, I mean, what can I say? That was my buy-in to, to, to Eminem as a rapper. Like I said, I wasn't with the whole. My name is gimmick and all that. But you know, once I heard Guilty Conscious and saw the video for him and Drake going back and forth and the whole concept and everything, I was like, dude, it's real, he's, like you know, a super dope rapper. So I've always, you know, had that in my top 10 Eminem songs rapper. So I've always, you know, had that in my top 10 Eminem songs.
Speaker 2:Number eight I got, say what you Say also off the Eminem show that when we talk about diss tracks, that song is not talked about enough because Eminem is going at Cannabis and Dr Dre is going at Jermaine Dupri, oddly enough, on that record and I think it's a hard diss track Nobody wants to hear producers battle, but you know it is what it is, but I thought that was one of the standout records on that album and I think the beat's hard. So Say what you Say has always been one of my favorite Eminem songs and you know Em was going at Cannabis so I think he got that one. But Cannabis was like was like you know, overseas in the military or something around that time. So he ain't really had time to respond. Yeah, but um number seven, I have superman also off the eminem show. Superman is crazy because you know the the um common narrative now on twitter is nobody plays eminem in hood or whatever you know. But even back then Eminem didn't have a quote, unquote club banger per se, right. So this was the first joint that he came with that was really circulating and popping in the clubs, you know in the like black music clubs, and I just love the record man, it's like catchy and just everything about it. That was his first real certified, like you know, club banger and joint. That got a whole lot of you know, good spin on black radio. So, love superman. That's my number seven.
Speaker 2:Number six I got 3 am from the uh relapse album. Um, nothing more to say about this than his flow pattern cadence word likes that. He's putting together Rhyme schemes is just insane on this record and, like a lot of people, didn't like the accents that he was using, like he was, you know, playing a part or a role or whatever on this album. But when he was in a flow pocket like this I kind of looked past that and didn't care. Man 3am, he's going insane, you know, talking about being, you know um a murderer who escaped a psych ward on that on that track. So it's a dope joint. Um.
Speaker 2:Number five I got uh the way I am. This uh is from the marshall mathis lp. Um and you I. This is the record that really let me know that Eminem was ahead. You know what I'm saying. Taking a Rakim bar, you know, from uh, as the rhyme goes on, I'm the R, the A to the K, I am, and if it wasn't, then why would I say I am like him taking that and formatting that to his hook. On the way I am, I was like yo. He's really a student of the culture. You know what I mean. He's like, you know, taking stuff from one of our greats and crafting it into a dope song, and the flow pattern that he used in that and in the cadence was just sick man. That's one of his most iconic songs and I have that number five on my list.
Speaker 2:Number four is Stand, also off the marshall mathis lp. Stand is one of the best storytelling tracks ever in hip-hop history. Point blank period and um. I think that song is like timeless and it's eminem's, you know, claim to fame. I think that arguably could be his um best song at the end of the day. But as far as favorites, it's number four on my list. But it's um. The writing on there is impeccable. The way he tells that story, um. So, yeah, number three I gotta lose yourself, lose yourself. You know, big anthemic song. It was perfect for the super bowl when, uh, when Eminem was up there with Dr Dre. Just a huge record that encapsulates that feeling of being an MC Like, because between me, sean and Coop, we've all attempted rapping at some point, you know what I mean and when you're on stage and you got to deliver those rhymes in front of people, this song really captures the essence of that moment, the like, stage fright, the nerves and everything about that.
Speaker 2:And just writing from that perspective is not something that really anybody has wrote from before. Because Because rap is real braggadocio, you know what I'm saying. So it's like a lot of people are not going to tell that side of it and, granted, it's for a movie, so it's kind of describing the emotions he was feeling in the movie. But you know it's a lot of truth to the song as well. You know what I mean Exposing that vulnerability of you, know the nerves and stage fright when you go up in front of people. Because you know, I know I felt that the first time I performed in front of people. So this, this captures that moment, you know, and it's real motivational.
Speaker 2:Number two I got Till I Collapse off the Eminem show. This is my fourth record. I got in my top ten off the Eminem show. As you can tell, that's my favorite Eminem album. Love that album. I think it's a classic. But Till I Collapse, nate Dogg feature. Rest in peace to Nate Dogg. This song just bangs man. This song goes and Eminem's rapping like a demon, like going crazy on here. This, infamously, is the song where he names his top 10 rappers and puts himself um in the ranking with those rappers and um, I just think this is one of his best uh bar seminars, if you will. You know what I mean. As far as like his bar work on the on the record and it gets you hype. If you go work out in the gym, this is a song that needs to be in your gym playlist for real you might throw some extra weight. Yo shout out to iron minds. Bro Bro said in our Discord he was curling like 185-pound dumbbells, like that's insane he be lying Iron.
Speaker 3:Myers be lying, iron Myers be lying, yeah, nah, man.
Speaker 2:I seen bro's profile pic. Bro, like it's just. I mean, nah, I said that Discord, bro, like dude, you know what I'm saying. I mean, I saw that discord, bro, Like dude, you know what I'm saying. He curled into 185. When we blow up, I'm going to hire him as my bodyguard. You know what I'm saying?
Speaker 3:Relax on that, watching the man Pull a five pick on me. Relax on that.
Speaker 2:I get it, you get to stop at the curl thing. Yo shout out to Iram, man Shout out to Iram for real.
Speaker 2:Yeah, yeah, one of the family members in our discord man, Good dude Number one, my favorite, my favorite Eminem song of all time is Rabbit Run. I actually hear Coop reference this song a lot too. I don't know if it's his favorite, but he references a lot. The way Eminem is rapping on this song is insane, man. And once again he's capturing that emotion of being a rapper and having writer's block. You know what I mean Trying to really craft a song and then writer's block is getting in your way and you're trying to fight through that. And he's describing that in real time.
Speaker 2:And I love this record and even, ironically, nas' Book of Rhymes song off God's Son was out around this same time, so it was kind of those two songs were two sides of the same coin. You know what I mean and I just love this song. The way he's rapping on here. He even has the added effects like crumbling up the paper when it's not good enough, throwing it away. Like you know, the sound effects in there is just really dope and to me this is Eminem's magnum opus song for me is Rabbit Run. So that's my press play. Shout out to homie from India that wanted us to talk about Eminem a little bit more. So it was my pleasure to do that. Eminem is just outside of my top five. He's six on my all time list. So um thought it would just be appropriate to wax poetic about Eminem. You know what I'm saying For our international fan.
Speaker 3:You know again, shout out to Homie man. We do get some fan mail from time to time, whether it's on our email or whether it's via the Apple. So thank you guys for who download us on Apple, who download us on Spotify as well. We appreciate that love and support. Shout out to the Discord. The Discord, the dopest Discord out there in the hip hop universe. They keep it going throughout the entire day. They're talking about hip-hop. Sometimes it gets crazy. Y'all be killing me at work, man. It's over, man, I can't even keep up. But they talk about everything from hip-hop, movies, whatever, life, everything. So shout-out to those guys. Shout-out to the homie Trife, trife, diesel Trife, boogie, trife, the engineer, the engineer. You know Trife don't like him and them, so he wasn't a fan of this segment so he probably logged off. But shout out to Trife, I wouldn't log off too.
Speaker 3:I ain't going to lie but yeah, shout out to L man LP. Lp is Queens, get the Money. We got some real thorough heads, man. We got some real thorough ones in the Discord that we converse with, even on the side, and LP is definitely one of those man. We talk a lot and we talk about life and hip-hop a lot. Really thorough dude, man, really thorough dude. Shout out to LB. Lb was sick. Normally LB is in the chat causing hell, but LB is trying to get over. You know some sniffles, so shout out to LB. Always support the crew.
Speaker 2:Get well soon.
Speaker 3:LB, absolutely. Shout out to the Jackron, the Jackron. Shout out to the Jackron, the Jackron. Shout out to the Jackron, the wild man. Shout out to Jackron. I see you. Trife my bad. I thought you blanked out on the M&M joint. Trife my bad, because I wanted to. I actually was thinking about something. I was vomiting my head. That was crazy disrespectful. Shout out to CLF, always popping up in the chat. That's crazy Disrespectful. Yeah, shout out to CLF Always popping up in a chat. You know, I mean shout out to Double.
Speaker 2:Double is crazy. Double is a crazy dude Double is international.
Speaker 3:He's out in Australia. Man. Shout out to Double, australia. Double. Shout out to Australia. And shout out to Double. You, double. Shout out to Australia. Shout out to Double. Yo. Shout out to our executive producer. Man Shout out to Andrew. Andrew, behind the scenes doing a lot visuals. Honestly, andrew is like the glue to the crew. You know what I mean. The three of us, we're wild man, we're wild barbarians out here. We have strong opinions, strong thoughts, passionate thoughts, passionate opinions. But it's all brotherly love. You know what I mean. Shout out to Coop, we'll get him back. He all right, he good, he good.
Speaker 2:That's what we do. My bad, coop, my bad.
Speaker 3:Yeah, AG is a prick. I deal with him all the time.
Speaker 2:Listen, I saw where you said that in the Discord earlier today.
Speaker 3:You are, man, you go too far. I told you that earlier. I'm like dude, I'm working, I'm on a flight and you're talking crazy. I'm like yo dude been talking crazy to me all day. I don't know man, I'm not going to say nothing. I'm not going to repeat that right now. Thank you, we need therapy. Shout out to LT ADM Exposure. Shout out to.
Speaker 2:LT.
Speaker 3:We're going to drop an actual promo tonight with regards to Benny and his team, bsl, so shout out to those guys as well. You guys will see that on the socials tonight. We got some stuff cooking. We got some more things coming up. We appreciate y'all hopping on tonight. You could be anywhere, but you can rock with us. We have some good viewership on a great Thursday night. We're going to start curating some more things. Don't forget to check out Mirror Music. They had a phenomenal show on Tuesday night and if you guys get a chance, go back and take a look at that. I'll drop the link in the Discord again. If you haven't dropped out in our Discord, follow us on Twitter, follow us on YouTube, follow us on Facebook and definitely jump in our Discord. We release a lot of information in there as well. We talk to the people. We talk about hip-hop. It's a strong community over there and love is love. Ag. Anything you want to say before we get out of here? Yeah, that's mad Max. Shout out to crazy mad Max, yeah.
Speaker 2:Shout out Max. Rest in peace to Roberta Flack and Miss Wallace, mother of the legendary, notorious BIG Christopher Wallace.
Speaker 3:Rest in peace to those lovely ladies Beyond Above Media. No, discord does not cost a thing, it is free. I would drop the link in here real quick and before we log off, so you guys can get access to the Discord. Give me one second. Give me one second. Let me log in this other way and I'll get it to you guys.
Speaker 2:That's the place to be man. Our Discord group's always popping in Funny conversations, insightful hip-hop combos Everything is in there.
Speaker 3:Give me one second. Give me one second. Let me put it in.
Speaker 2:KG what you got for the people before we get out of here. Yeah, man, that's it. Man, just rest in peace to the lovely ladies, uh, miss wallace and roberta flack. Man, it was sad news to hear those ladies go, you know, but to send them a rest of peace, I is. You know it's. It's kind of somber. We had every show that we have. More often than not we're saying rest in peace to somebody in our black culture and music or somebody important for us. So hopefully we can have a streak of shows where we don't have to do that at the end to pay our respects, gene Hackman I just saw that at the end.
Speaker 3:To pay our respects.
Speaker 2:Even Gene.
Speaker 3:Hackman. I just saw that, Him and his family man, His wife and his dog. Sad times man. Sad times, but again, we appreciate y'all to come under the hip-hop umbrella with us and rock away. Hip-hop talks, we'll see y'all soon. We'll see y'all soon. And shout out to everybody. Shout out to all the podcasts. Everybody got that, whether it's a large podcast, small podcast. Shout out to everybody. Competition breeds champions. Let's get it, we out Peace.