Latest / Hip-Hop Now Podcast / That Time in Hip-Hop: Loud Records

Transcript

That Time in Hip-Hop: Loud Records · Hip-Hop Now Podcast

0:02
Speaker 1: What if y'all welcome to another episode of That Time
0:06
Speaker 1: and hip Hop a podcast, a YouTube show all about
0:11
Speaker 1: preservation of hip hop music and coaching with me as always,
0:17
Speaker 1: we watched seventy something episodes deep It's to Homie from
0:21
Speaker 1: Into the Doome dot Com. Into the Dome podcast right
0:25
Speaker 1: here on YouTube subscribe.
0:28
Speaker 2: Tony was good, bro, Look man, we just did thirty
0:32
Speaker 2: five miles tonight as hot as hell. You know what
0:35
Speaker 2: I'm saying. Mother nature was was banging us to death
0:38
Speaker 2: of today. Some dropt from sparkling water. No, no beer,
0:42
Speaker 2: A nice sparkling water. I can rehydrate, man.
0:45
Speaker 3: But everything is good. Family, good. How you doing? Brothers?
0:47
Speaker 1: Think I'm good? Man out holding down for the bed drinkers,
0:51
Speaker 1: you know, don't try not to do too much since
0:54
Speaker 1: I got some more weight to lose. But pumpkin stout, man.
0:59
Speaker 2: That's good stuff. But that's for the winter time. Do
1:02
Speaker 2: you don't drink that water? Suns still out?
1:04
Speaker 1: It's it's pumpkin seat shit damn here.
1:08
Speaker 3: Yeah, I like that too, but we used to drink
1:10
Speaker 3: that down here.
1:11
Speaker 2: Uh And like no, if I'm a December one, it's cold,
1:14
Speaker 2: you bring all the stouts out? Going on the balcony
1:16
Speaker 2: while it's cold. You got your you got your lether wall.
1:19
Speaker 2: You know what I'm saying.
1:19
Speaker 3: You drink.
1:21
Speaker 1: I got a whole stash for the for the winter season.
1:26
Speaker 1: I gotta go. I've been sitting on, man. But for
1:30
Speaker 1: those who are watching again, like we said about this podcast,
1:34
Speaker 1: if you're watching for the first time, Man, we when
1:37
Speaker 1: I say we've done over seventy episodes, it's not just
1:40
Speaker 1: two people talking, you know what I'm saying just to
1:43
Speaker 1: be talking. We're not just loosely going back and going
1:48
Speaker 1: off the stylegia and what we think happened or revision.
1:51
Speaker 1: It's history style talking about hip hop and moments in
1:56
Speaker 1: hip hop. What we do is we pick these subjects
1:59
Speaker 1: and we really deep dive into them. Doesn't matter if
2:01
Speaker 1: it's the eighties, your favorite artists, a record label publication
2:07
Speaker 1: like the Sauce magazine analyzing an album like nazas Elmatic,
2:12
Speaker 1: not to call it great, like we don't already know that,
2:15
Speaker 1: but to say, impose the question and analyze and dissect
2:19
Speaker 1: the question. Did the Sauce create the legend of Nazis Elmatic.
2:25
Speaker 1: That's the kind of content you could get with that
2:27
Speaker 1: time and hip hop that's the kind of content you
2:29
Speaker 1: can get on into the Dome podcast as well as
2:32
Speaker 1: my podcast hip Hop Now. So you are in the
2:34
Speaker 1: right place if you came to learn, reminisce or just
2:38
Speaker 1: get some really great hip hop content like none of
2:43
Speaker 1: that Olympics breakdance and shit, you know, you know what
2:47
Speaker 1: I'm talking about, the worst, none of that. But we'd
2:52
Speaker 1: like to start the shows off with kind of remembering
2:55
Speaker 1: something that came out this month and this month. On
2:59
Speaker 1: August twenty seventh, twenty seventh, nineteen ninety six, Outcast's sophomore
3:07
Speaker 1: album eightty Aliens dropped. Now, for those who were outside,
3:13
Speaker 1: those that were there for it, it was a totally
3:17
Speaker 1: different Outcast than when we got on their debut in
3:21
Speaker 1: a good way. Tone When at Aliens dropped, you heard elevators,
3:26
Speaker 1: the album came out, you saw the album cover. What
3:29
Speaker 1: was your thoughts about Outcasts and the music they put
3:33
Speaker 1: out then?
3:34
Speaker 2: Well, first things first, been from North Carolina, we you know,
3:37
Speaker 2: not too not too far from Georgia, you know, and
3:39
Speaker 2: so we rocked with ourcast Hards or souther player listen,
3:41
Speaker 2: cad of music came out, Player's Ball and Get Up,
3:45
Speaker 2: Get Out. We loved outcasts, and we knew it was
3:47
Speaker 2: something special. That's also outcasts saying the South got something
3:51
Speaker 2: to say. The soft so awesome. We was Rodan Hounds
3:54
Speaker 2: outcasts and anticipating that sophomore album.
3:57
Speaker 3: Couldn't wait to hear it. Didn't know what they expect.
4:00
Speaker 2: But at the end of the day, you probably thought
4:01
Speaker 2: it was gonna be kind of like seller players listen
4:03
Speaker 2: music again, because you know most most most artists have
4:07
Speaker 2: a thing that they stay or sound they stayed stay
4:10
Speaker 2: with our cats has shown in their illustrious career that
4:14
Speaker 2: that's never the case with them. So hearing elevators that baseline,
4:21
Speaker 2: I mean, people were looking at each other like, oh ship,
4:24
Speaker 2: what is this?
4:25
Speaker 3: You know what I'm saying, Like this don't sound like
4:27
Speaker 3: get up, get out of playoffs ball?
4:29
Speaker 2: But it was hard and not And then we knew
4:33
Speaker 2: they could rap anyway, but hearing them on elevators, it's like,
4:38
Speaker 2: so we knew they could rap, but they're real lyricists,
4:41
Speaker 2: you know what I'm saying, Like they are true lyricists, man.
4:45
Speaker 2: And then we found that Andre and Big Boy I
4:48
Speaker 2: want to say, produced elevators even though even though organized noise.
4:51
Speaker 3: Did you know nine nine percent of the work.
4:53
Speaker 2: Our casts produced some of their songs too, you know
4:56
Speaker 2: what I'm saying, some of their own music.
4:58
Speaker 3: So you get that, then you know, you get that album.
5:00
Speaker 2: I went to the school kids record store in Greensbrum
5:03
Speaker 2: and un CG at the time in college, and I
5:06
Speaker 2: picked up the album. You know, back then, man, we
5:07
Speaker 2: used to go buy albums people. There was no Internet
5:10
Speaker 2: in nineteen ninety six like that for music. So you
5:13
Speaker 2: go to the record store. We I got pick it up.
5:15
Speaker 2: Like you said, Vega, I see the covers.
5:18
Speaker 3: It's weird.
5:19
Speaker 2: Don't look like don't look like they sitting, you know,
5:22
Speaker 2: downtown atl on top of the hood somewhere with Alett of.
5:25
Speaker 3: Braves had on Jersey. I mean, it's just like, what
5:28
Speaker 3: is this?
5:28
Speaker 2: They spaced out in the jungle space jungle?
5:32
Speaker 3: What is this?
5:34
Speaker 2: You put that album in and that you may die
5:40
Speaker 2: come on and I'm like, oh my god, in the
5:45
Speaker 2: summer in the city.
5:47
Speaker 3: I'm like, you know.
5:49
Speaker 2: And then you go to two dope boys in the
5:51
Speaker 2: Cadillac and I'm like, oh, we on this.
5:55
Speaker 3: Time now, you know what I'm saying. And then Veg,
5:58
Speaker 3: you get.
5:58
Speaker 2: To ball Line and I said, okay, now they just Okay,
6:04
Speaker 2: they wanted those groups they special.
6:06
Speaker 3: Right right, you know what I'm saying.
6:08
Speaker 2: You know what Andre said while they ran Rainbow Gas Nigga,
6:12
Speaker 2: they made them gas. They got some shit to blog
6:14
Speaker 2: back from where they stay at you know what I'm saying,
6:16
Speaker 2: Like they start going somewhere else, man, Jesse bel you
6:20
Speaker 2: know what I'm saying. Just the album was absolutely incredible, futuristic.
6:26
Speaker 2: It still it still sounds fresh today decades later. Five
6:31
Speaker 2: mics to me following up a five mic classic like
6:35
Speaker 2: Southern Playeristic, we knew they was here to stay. Well
6:40
Speaker 2: eight after you get to the end with the thirteenth
6:42
Speaker 2: floor whatever, the end of the at LS was like, yeah,
6:44
Speaker 2: they they gonna.
6:45
Speaker 1: Be legends, right right.
6:47
Speaker 3: We felt it here. Man, What was y'all what was
6:49
Speaker 3: all thoughts?
6:50
Speaker 2: Man?
6:50
Speaker 3: Well, your thoughts?
6:51
Speaker 2: You know you're from New York, man from Brooklyn, whatever,
6:53
Speaker 2: What was you thinking when you were at LS? And
6:55
Speaker 2: what was some of your people up up state thinking? Man,
6:58
Speaker 2: when y'all heard that at Lings?
7:00
Speaker 1: Well, at the time, I was attended Morgan State in Baltimore, Maryland,
7:05
Speaker 1: and ninety six was probably the one Well actually went
7:12
Speaker 1: home that summer. But ninety six was a time where
7:15
Speaker 1: I spent more time and be more in school. But
7:19
Speaker 1: obviously a lot of my homies is from and Why,
7:21
Speaker 1: and you know, a couple other dudes from other places
7:24
Speaker 1: like Philly and DC and shout out to the homie
7:28
Speaker 1: Zoe from Sacramento, California. Yo. It was like you said, man,
7:35
Speaker 1: it was really like, well, let me just say this.
7:38
Speaker 1: For me personally, that's when I really got into Outcasts
7:44
Speaker 1: because I liked Southern playlistic, but I really got into
7:48
Speaker 1: them because what was so hip hop about this switch
7:52
Speaker 1: and skill and sound and all of that was like,
7:56
Speaker 1: that's what their name means. That's like a manifestation of
8:01
Speaker 1: the outcast, Like we're not gonna do no shit. You
8:05
Speaker 1: expect it's gonna be hip hop and we're not gonna
8:08
Speaker 1: do anything anybody else doing. We are us and this
8:11
Speaker 1: is our sound. And when I heard elevators like that
8:14
Speaker 1: shit was getting played at the club like that, that's
8:16
Speaker 1: not really even dancing. You just rapp into the shit,
8:21
Speaker 1: I think in a lot of ways, like you know,
8:23
Speaker 1: it just got it grabbed everybody's attention, you know what
8:27
Speaker 1: I'm saying, especially me and my friends from you know
8:29
Speaker 1: and Why, because we already knew our Casts, we thought
8:32
Speaker 1: they were dope, but this was different. Like you said,
8:36
Speaker 1: this was like raising the bar where it's like, oh,
8:39
Speaker 1: they just not another nineties group amongst nineties groups. Now
8:44
Speaker 1: they're in the top tier. And like you said, it's
8:47
Speaker 1: like we didn't throw around the word classic like that.
8:52
Speaker 1: We just knew some shit was really special. And it
8:56
Speaker 1: took time for us to say classic. But that's what
8:59
Speaker 1: we meant when we said some shit was special, or
9:01
Speaker 1: we reacted in the way we knew this shit was different.
9:04
Speaker 1: And at a time where different was paramount, you had
9:09
Speaker 1: to be different, and Outcast was different from the West Coast,
9:12
Speaker 1: from New York, from everywhere else. And like you said, man,
9:18
Speaker 1: this is one of my favorite albums. Like I go
9:20
Speaker 1: back and forth between well my favorite Outcast albums between
9:25
Speaker 1: this and Equiminine, because sometimes I don't know which one
9:30
Speaker 1: to like, you know, which one I love more, you know,
9:33
Speaker 1: for the lyrics, for the music. So again, y'all y'all
9:36
Speaker 1: watching if you never heard it, or maybe you're more
9:39
Speaker 1: familiar with the later releases from Outcasts, do to knowledge
9:44
Speaker 1: because it's historical in the way that tone said right,
9:47
Speaker 1: source of Wars happens you've probably heard the phrase, you've
9:51
Speaker 1: probably seen the video South got something to say, and
9:54
Speaker 1: then this the album they drop. You heard what we
9:57
Speaker 1: said about it. Yep. So that's the kind of time
10:01
Speaker 1: we lived in back then, where that shit got you
10:04
Speaker 1: some serious respect. And I'm pretty sure all those people
10:08
Speaker 1: who remember Andre saying that at that Source of War
10:10
Speaker 1: was remember that shit when that music dropped.
10:13
Speaker 3: Yep.
10:13
Speaker 1: What did you think about at Alien's Outcast sophomore album,
10:18
Speaker 1: No sophomore jinks? Leave your comments in the comments section below.
10:23
Speaker 1: We absolutely read the comments. We also respond to the
10:27
Speaker 1: comments unless you're a knucklehead. But I'll just get you
10:29
Speaker 1: about it there. So b stated, all right, uh, but
10:35
Speaker 1: now we're going to get into the main topic of
10:38
Speaker 1: the show. Seeing the title, see the background, know why
10:43
Speaker 1: we were here. This is a very special episode because
10:48
Speaker 1: you know what doesn't get talked about enough, at least
10:52
Speaker 1: to us. So tone do us this one solid and
10:57
Speaker 1: let people know what we're here to talk about.
10:59
Speaker 2: You know, in the history of music, doesn't matter what
11:03
Speaker 2: genre a record label make or break artists. We know
11:09
Speaker 2: that we've seen unsung over the decades. You've seen how
11:13
Speaker 2: many people from the sixties, seventies, eighties whatever, still talk
11:17
Speaker 2: about getting jerked by the label or their music being shelved,
11:21
Speaker 2: or you know, they didn't get the opportunity to really
11:25
Speaker 2: express themselves the way they want to, could the label
11:27
Speaker 2: kind of had a grip on their content or whatever
11:30
Speaker 2: the case may be. Well, well, hip hop is no different.
11:33
Speaker 2: There's labels that make and break you, that did that
11:36
Speaker 2: the people back in our time in the eighties and nineties,
11:38
Speaker 2: stuff like that, But there was a few that allowed
11:42
Speaker 2: creativity and allowed artists and groups to splurge their thoughts
11:48
Speaker 2: and talent and to the world, you know what I'm saying.
11:52
Speaker 2: And Loud Records it's a label just like you said that.
11:57
Speaker 2: It's never talked about along the upper echalonce of your
12:01
Speaker 2: bad Boys, or your death Rows.
12:05
Speaker 3: Or your so so Deaf or your.
12:07
Speaker 2: Death jams, those those main ones that people always talked about.
12:12
Speaker 2: For whatever reason, Loud Records was looked at almost like
12:17
Speaker 2: the little brother of those guys, and they really weren't.
12:20
Speaker 2: When we get into the impact of the Loud Records
12:23
Speaker 2: label and the artists there and some of the songs
12:28
Speaker 2: and anthems and classic albums that came from up under
12:32
Speaker 2: Loud and were it all just kind of like the
12:35
Speaker 2: umbrella was incredible, you know what I'm saying. And you know,
12:39
Speaker 2: Steve Rifkin and rich isacson U, you know, nineteen ninety
12:42
Speaker 2: one starting this label, man, and the impact was felt
12:46
Speaker 2: for quite a few years until you know, situations have
12:50
Speaker 2: with Steve Rikin at some point so fitted percent and
12:53
Speaker 2: at some point it went to Sony Music Group. And
12:56
Speaker 2: we'll get into some of the politics all that, because
12:58
Speaker 2: it is a record business. But in the initial I
13:02
Speaker 2: think vision of Steve Rifkin and his team was we
13:07
Speaker 2: love hip hop, We like these artists right here.
13:11
Speaker 3: We're gonna sign artists that maybles of other labels.
13:13
Speaker 2: Would run from or not want to deal with, and
13:15
Speaker 2: we're gonna let them put the music out that.
13:18
Speaker 3: They believe in and we believe in.
13:21
Speaker 2: And they didn't release a lot of commercial music, but
13:25
Speaker 2: it may had.
13:26
Speaker 3: Commercial success, you know what I'm saying.
13:28
Speaker 2: So just your initial and we'll get into the artists
13:32
Speaker 2: in the album vague. But when you think about Loud Records, man, like,
13:36
Speaker 2: what's some of your initial thoughts and why if you
13:39
Speaker 2: even think that people look at it kind of under
13:42
Speaker 2: these other labels when it shouldn't have been.
13:44
Speaker 3: But why do you think that's the case.
13:48
Speaker 1: It's so weird because when you think about it, and
13:51
Speaker 1: you know, when you go through the roster, you know,
13:54
Speaker 1: in retrospect, you know, well, we'll talk about but when
13:58
Speaker 1: you think about it, it's like it's all these albums
14:01
Speaker 1: that we constantly celebrate on a regular basis, classics and
14:06
Speaker 1: who's better than and who's in the best group and uh,
14:11
Speaker 1: you know, puns, legas, like all these different topics that
14:15
Speaker 1: we talk about on social media all the time. Man,
14:19
Speaker 1: half them artists and half them albums were on Loud Records,
14:23
Speaker 1: and I kind of feel like I think it was
14:26
Speaker 1: because other labels sort of had like a certain energy
14:32
Speaker 1: behind them where the artists would talk about the labels right,
14:35
Speaker 1: they would say death Jam or The Boy or Death Row,
14:39
Speaker 1: and Loud Records wasn't like up front and the lyrics
14:43
Speaker 1: of these artists, even though we so, I think it
14:49
Speaker 1: was like the artists was selling the brand on other labels.
14:54
Speaker 1: They were just performing here.
14:55
Speaker 2: It's funny you said that because even when you think
14:57
Speaker 2: about real quick and like one of the it might
15:02
Speaker 2: have been Corrupt Verse or one of the guys VERSU
15:04
Speaker 2: when they started the Verse stranding on Death Road, you
15:07
Speaker 2: know what I'm saying, saying that, or Puff always saying
15:10
Speaker 2: bad Boy, or Big saying bad Boy in a song,
15:13
Speaker 2: you know what I'm saying, or Jermaine and Priest saying
15:15
Speaker 2: so so deaf, you know, you know, in the background
15:18
Speaker 2: of a song with maybe the Brad or something like that.
15:21
Speaker 3: But yeah, you're right, they didn't.
15:22
Speaker 2: Nobody from Loud said yo YadA, YadA YadA on Loud.
15:26
Speaker 3: You know you didn't really hear that.
15:28
Speaker 2: But another thing too, Bag, I just thought about just
15:30
Speaker 2: while you were talking. And sorry to interrupt, but you
15:34
Speaker 2: know bad Boy repesent in the East coast right Death Row,
15:39
Speaker 2: you know, it was West coast.
15:40
Speaker 3: They talked about the West Coast.
15:42
Speaker 2: But Loud, for example, you had when they first started
15:46
Speaker 2: they started with Twister, you know what I'm saying.
15:48
Speaker 3: It was Tongue Twister, and that's.
15:50
Speaker 2: The Midwest to their first album in like ninety one,
15:53
Speaker 2: ninety two or whatever, it's Twist, you know what I'm saying.
15:56
Speaker 3: And then they had East.
15:58
Speaker 2: Coast Flabel, West Coast flavor like they ended up having
16:01
Speaker 2: into the thirty six Chambers, which we're gonna talk about
16:04
Speaker 2: that obviously legendary and all this stuff but they also
16:06
Speaker 2: had the Alcoholics twenty one and up on the West coast,
16:09
Speaker 2: So you know, loud Rutgers didn't have a specific reagion
16:14
Speaker 2: per se. You know, they they had East Coast, Midwest,
16:17
Speaker 2: and the West coast. You know, they had big porn
16:20
Speaker 2: on the label. But they also had crazy Bone for
16:22
Speaker 2: Bone thugs on there, you know what I'm saying. So
16:25
Speaker 2: they had settle doors. I mean, they had different people
16:28
Speaker 2: from all over Man, so they didn't have they didn't
16:31
Speaker 2: just represent the East Coast or West Coast or one region.
16:34
Speaker 2: They also had a multitude of different type of artists,
16:38
Speaker 2: you know what I'm saying. So I think they had
16:40
Speaker 2: this big bowl, this gumbo, you know what I'm saying.
16:43
Speaker 2: And because like you said that the name of the
16:46
Speaker 2: label wasn't pushed it by the artists, and nothing wrong
16:49
Speaker 2: with that, you know what I'm saying. It wasn't thrown
16:52
Speaker 2: in your face a lot, you know what I'm saying
16:53
Speaker 2: by the artists, so in their lyrics.
16:56
Speaker 3: So I think people slept on it.
16:58
Speaker 1: Yeah, it's kind of like they didn't put the brand
17:02
Speaker 1: in front of the artists who are part of the
17:05
Speaker 1: brand like other labels. Like other labels, kind of made
17:09
Speaker 1: it seem like it's about the brand and then the
17:12
Speaker 1: artist is second in a lot of ways. And even
17:14
Speaker 1: though you know, you talk about huge stars like Snoop
17:17
Speaker 1: and Biggie and all of that, but still the brand
17:20
Speaker 1: of bad Boy was big, and the brand of death
17:24
Speaker 1: Row was big and no limited and all of that.
17:27
Speaker 1: But Loud, as I think they described, was more like
17:32
Speaker 1: it was about the music and the creative freedom, but
17:35
Speaker 1: also like that represented street a street lifestyle, but represented
17:40
Speaker 1: it everywhere, you know what I'm saying. So it wasn't
17:44
Speaker 1: like you said, like, yo, it's only New Yorker, it's
17:47
Speaker 1: only here, or it's only Chicago or whatever. It's like, yo, dope,
17:52
Speaker 1: unique artists who have music, and it ain't really no
17:56
Speaker 1: bidding war happening for him because all of these artists
18:00
Speaker 1: kind of made their name on Loud records.
18:03
Speaker 2: Yeah, you know what, and Loud Rutgers. Nineteen ninety three
18:06
Speaker 2: was a big year for Lock. I was, like I said,
18:08
Speaker 2: a year or two before that, when Twisted dropped, he
18:11
Speaker 2: was still more underground in the Midwest. But obviously in
18:15
Speaker 2: nineteen ninety three, Cream come out and protect your neck
18:18
Speaker 2: and all this kind of stuff like that. Nineteen ninety three,
18:20
Speaker 2: and now you got the Wu Tang clan basically set
18:24
Speaker 2: job job excuse me said loud records out.
18:27
Speaker 3: You know what I'm saying.
18:28
Speaker 2: Set it off with a tornado man. He talking about
18:32
Speaker 2: method man, he talking about thirty six chambers. You know,
18:35
Speaker 2: you're talking about cash row everything around me, you know
18:37
Speaker 2: what I'm saying. So now you you have some future
18:42
Speaker 2: legends dropping songs that.
18:44
Speaker 3: People talk about thirty years later, you know what I'm saying.
18:46
Speaker 3: So that was huge.
18:47
Speaker 2: And then at the time people on the West Coast
18:49
Speaker 2: were really liked that town on one up album by
18:51
Speaker 2: the Alcoholics, you know what I'm saying. So they end
18:54
Speaker 2: up being you know, even because the Alcoholics reminded you
18:58
Speaker 2: of an underground East Coast group to Ron and some
19:03
Speaker 2: of the production they kind of sounded you know, they
19:07
Speaker 2: asked some West Coast but they kind of sounded like
19:08
Speaker 2: the East Coast group, you know what I'm saying. So
19:10
Speaker 2: you had the Alcoholics getting loved on the West Coast
19:13
Speaker 2: and the East, and then you had Wu Tang up
19:15
Speaker 2: taking over, you know what I'm saying. Like as far
19:17
Speaker 2: as like being the new guys on the block, I
19:19
Speaker 2: mean I was in Snoopers the biggest rap in the
19:21
Speaker 2: world at the time. But Wu Tang became one of
19:24
Speaker 2: the biggest groups in the world with thirty six chambers.
19:28
Speaker 1: You know what. I'm crazy about that too. Also for
19:32
Speaker 1: lowed to sign a group like that, right, like it's
19:35
Speaker 1: like nine dudes in the group. And I think at
19:39
Speaker 1: the time, if I remember correctly, most labels just wanted
19:43
Speaker 1: certain people. They didn't want the whole group, and uh,
19:47
Speaker 1: you know, and that's you know why all the deals
19:50
Speaker 1: went all over the place. That's also kind of dope, right,
19:53
Speaker 1: they didn't sign them to a deal that was Yo,
19:55
Speaker 1: all the Woo members soul albums have to be on loud.
19:58
Speaker 1: They was actually a out to sign a group deal
20:01
Speaker 1: head and then single deals everywhere else.
20:04
Speaker 2: Well, that was there was dope that I think really
20:07
Speaker 2: and Steve Rifkin had that conversation, you know what I'm saying,
20:10
Speaker 2: And it was cool that that Rifkin saw the vision
20:13
Speaker 2: from Rizzals saying, you know what, Okay, look man, we'll
20:16
Speaker 2: do our group albums on loud. Cool, right, but yo,
20:21
Speaker 2: we need individuals to have they uh they create a
20:25
Speaker 2: freedom to go everywhere else, you know, meta manum depth
20:28
Speaker 2: Jam ODB somewhere, you know, you know.
20:32
Speaker 3: I mean Ray end up being on loud, I believe,
20:34
Speaker 3: but you know he did it.
20:35
Speaker 2: But the guys all over the place, and like you said,
20:39
Speaker 2: signed someone like Wu Tang. We think of seven eighty
20:42
Speaker 2: nine mcs from the streets. That's a headache within itself,
20:47
Speaker 2: you know what that's about, Like OLDB the group, you
20:49
Speaker 2: know what I'm saying.
20:50
Speaker 3: So, I mean, you know, I'm sure that.
20:52
Speaker 2: A lot of labels probably maybe heard demos and said
20:57
Speaker 2: they got talent.
20:58
Speaker 3: But do I want to deal with like that?
21:00
Speaker 2: Many guys from the streets like that, and it's a
21:03
Speaker 2: recipe for destruction. They might make it one album, but
21:07
Speaker 2: and that be it. Half of them might end up
21:09
Speaker 2: in jailed in jail of day. I mean, you never
21:12
Speaker 2: know what executives are thinking when you have that many people,
21:15
Speaker 2: well like as a group of three people.
21:17
Speaker 1: And they probably didn't know how to promote them, right
21:20
Speaker 1: because a duo is different back then, or even if
21:24
Speaker 1: you got two guys in the DJ, but you talking
21:28
Speaker 1: about like you said, nine dudes, they probably don't know
21:32
Speaker 1: like if are they going to promote meth more? Like
21:35
Speaker 1: you know what I'm saying, They probably just didn't know
21:37
Speaker 1: how to deal with it. But again it's a testament
21:39
Speaker 1: to what Loud was doing. They were believing in the
21:43
Speaker 1: vision of the artists and their teams. And one thing
21:49
Speaker 1: on the show the Woutang American Soccer I think, ye
21:55
Speaker 1: where they kind of show you some of that, like
21:57
Speaker 1: the beginnings and how Steve wanted to sign them because
22:01
Speaker 1: he just it was dope and he thought it was
22:05
Speaker 1: pure and he wanted to put it out and the
22:08
Speaker 1: rest is history.
22:09
Speaker 2: So yeah, man, you know, and for what he did
22:13
Speaker 2: for Wu Tang, I think it can't be stressed enough that. Look,
22:18
Speaker 2: they signed Wu Tang clan and they do several albums
22:21
Speaker 2: with Wu Tan on Loud Records, you know. Then they
22:24
Speaker 2: do a deal with Ray Kwan, you know what I'm saying,
22:27
Speaker 2: didn't release only bill for quber Links on Loud Ruckers,
22:29
Speaker 2: which you know, as far as East Coast concern, you'll
22:34
Speaker 2: be hard pressed to find a lot of albums that
22:37
Speaker 2: people hold hired and only bill for qub Linx. Not many,
22:40
Speaker 2: you know what I'm saying, And not many hier than
22:42
Speaker 2: the thirty six Chambers to a lot of people, you
22:44
Speaker 2: know what I'm saying. So and then of course the
22:46
Speaker 2: roster has you know, you know, and I want to
22:48
Speaker 2: get into you know, as far as like because they
22:51
Speaker 2: pretty much put you know, Wu Tang there.
22:53
Speaker 3: But then they put mob Deep there.
22:55
Speaker 2: You know what I'm saying, as far as like okay,
22:57
Speaker 2: juvenile hell now you you're talking about the infamous album,
23:00
Speaker 2: where again you can surmis that most people consider the
23:06
Speaker 2: Infamous one of the greatest hip hop albums.
23:07
Speaker 3: All time, you know what I'm saying.
23:09
Speaker 2: And Shook Ones to a lot of people, it's one
23:11
Speaker 2: of the greatest songs all time. And when they released
23:13
Speaker 2: that first before the album came out, it's like it
23:17
Speaker 2: tore the East Coast up, especially in New York.
23:19
Speaker 3: You was up there, you know what I'm saying.
23:20
Speaker 2: When when when Shook Ones came out, Man, I mean
23:23
Speaker 2: New York feel proud of that album.
23:25
Speaker 3: I mean that song per se.
23:27
Speaker 1: Yeah. I remember the first time I heard the song,
23:30
Speaker 1: I thought it was crazy and I didn't even recognize
23:32
Speaker 1: them as the same dudes from the first album right there, right, Yeah,
23:38
Speaker 1: it was so different. It was like, wait a minute,
23:41
Speaker 1: that's the same dudes. And like you said, two years later,
23:46
Speaker 1: a few yo, it's so it's so crazy. And again
23:50
Speaker 1: big shout out to w NYC who did a podcast
23:56
Speaker 1: called I think it's called Infamous. I think that's what
23:59
Speaker 1: it's or about Prodigy and Sickle Cell, right, But in
24:04
Speaker 1: that podcast, it's a lot more history about the group
24:09
Speaker 1: in Prodigy in general, and he talks about that. And
24:12
Speaker 1: this was done after he had passed, but it was
24:15
Speaker 1: an interview and he talked about that. He was like, Yo,
24:18
Speaker 1: you know, we did Juvenile Hell. It was a product
24:22
Speaker 1: of the time at that time, but it wasn't working
24:24
Speaker 1: for us. We heard what NAS was doing with Ellmatic
24:28
Speaker 1: and we knew we had to change and that's how
24:31
Speaker 1: you got the Infamous. And again, like to your point,
24:36
Speaker 1: this is a group who had already shown that they
24:40
Speaker 1: could put music out, but it wasn't successful. If allowed
24:44
Speaker 1: to believe in him, to give him one more shot,
24:47
Speaker 1: or actually, I don't think the first I don't think
24:50
Speaker 1: Juvenile Hall was on Loud or was it.
24:53
Speaker 2: I don't think it was on Loud Ruggords. Somebody can
24:55
Speaker 2: fact check us on that.
24:57
Speaker 3: I don't have to. I don't think, Oh.
25:01
Speaker 1: It wasn't because you know I got the con set right.
25:06
Speaker 3: Oh that is the cassette.
25:08
Speaker 1: That's the first Mob Deep album. Y'all stop stop acting
25:12
Speaker 1: like there was another one. That's the first one, but
25:14
Speaker 1: it was on Fourth and Broadway.
25:18
Speaker 3: Yeah, that's right.
25:19
Speaker 2: And you know what's crazy, Steve ripping and that they
25:23
Speaker 2: did the same thing for mom. What I mean by
25:27
Speaker 2: that is this, you have the group in Wu Tang
25:30
Speaker 2: and they have Rick Kwana Loud dropping QBA links.
25:33
Speaker 3: Marb Deep is on Loud.
25:35
Speaker 2: But but but Prodiges is Loud Records as a solo
25:37
Speaker 2: artist suit.
25:38
Speaker 3: You know what I'm saying. I thought I thought that
25:41
Speaker 3: was real dope as well.
25:42
Speaker 1: Man.
25:42
Speaker 2: And again they got those two groups who Loud Records
25:46
Speaker 2: the reason why they was able to put out the
25:49
Speaker 2: music they put out and and a lot of success
25:52
Speaker 2: old uh to Loud Records, man, you know what I'm saying. Like, Also,
25:56
Speaker 2: you know around that time when right after the Infants
25:58
Speaker 2: dropped up a year later exhibit on the West Coast
26:01
Speaker 2: on Loud, Rutgers he drops at the Speed of Life
26:04
Speaker 2: or whatever, and Paparossi is a big song at the
26:07
Speaker 2: time on the not only on the West Coast, but
26:10
Speaker 2: on the East coast because of that production exhibit.
26:13
Speaker 3: Voice and rhyms and power on a mic.
26:16
Speaker 2: You know what I'm saying, and he's had an underrated
26:19
Speaker 2: career of some really dope songs, some really dope albums.
26:23
Speaker 2: If you go back and listen to some of the
26:25
Speaker 2: exhibit earlier albums, Man, dude can spit flames, you know
26:30
Speaker 2: what I'm saying.
26:31
Speaker 3: And yeah, man, his debut being Loud.
26:34
Speaker 2: Rutgers Man and Man, they just they opened the doors
26:38
Speaker 2: for so many different type of rappers.
26:40
Speaker 3: Man. Like, it wasn't like they were sticking to a
26:42
Speaker 3: certain kind of sound.
26:43
Speaker 2: Even though a lot of a street hip hop, it
26:46
Speaker 2: wasn't from, like I said earlier, from this one city
26:49
Speaker 2: of one region, you know, in one state or whatever.
26:51
Speaker 1: He was.
26:52
Speaker 3: There was all over the place where they they with
26:53
Speaker 3: their music.
26:54
Speaker 1: Man, when you think about it, it's something that's unique,
26:58
Speaker 1: unique to certain labels, and it's probably the reason why,
27:02
Speaker 1: Like obviously the brand didn't help, but us looking at
27:06
Speaker 1: Loud Records and you know, even just talking about this
27:10
Speaker 1: artist in the beginning, allowing trusting your artists enough to
27:15
Speaker 1: know that they're gonna make great music. But to Tony's point,
27:20
Speaker 1: it's not just dope hip hop that came out of it.
27:23
Speaker 1: You got classics in the game. You got you know,
27:26
Speaker 1: certified platinum albums and like.
27:29
Speaker 2: You know what too, I just had a thought all
27:33
Speaker 2: of that happened without that label asking energy. I'm a
27:39
Speaker 2: reason a few artists off from Loud Records in the
27:41
Speaker 2: second none of them compromised their sound. I mean my
27:46
Speaker 2: Deep single for an inference with Shook Warns, it wasn't
27:49
Speaker 2: something that it wasn't something for the radio friendly Wu
27:53
Speaker 2: Tang clam method. Man, you know what I'm saying, cream
27:57
Speaker 2: so simple. These aren't radio song. They just end up
28:00
Speaker 2: being doping up to be on the radio. There wasn't
28:02
Speaker 2: an R and B chick on the hook. There weren't
28:05
Speaker 2: like you know it was so so let me let
28:07
Speaker 2: me just name a few people though here as far
28:09
Speaker 2: as like over time, these some of the people that
28:12
Speaker 2: was on their roster.
28:13
Speaker 3: You got Mob, Deep.
28:15
Speaker 2: Wu Tang Mop like I said, Ray Kwan, the beat Nuts,
28:19
Speaker 2: Pete Rock. We're gonna get up to Pete Rock in
28:20
Speaker 2: a minute, Dead Prayers, Alcoholists, little Flip.
28:24
Speaker 3: You know what I'm saying. That's Texas right there. But
28:26
Speaker 3: I'm not mistaken.
28:27
Speaker 2: Three six months your crazy Bowl exhibit, Man, sa Dinac's prodigy,
28:33
Speaker 2: you know, Cellah Dwells and many even on the they
28:36
Speaker 2: even had R and B. They had a girl named
28:39
Speaker 2: why Vet Michelle if you remember the master flexen uh
28:42
Speaker 2: of Volume one, Crazy about your Mister d J. The
28:46
Speaker 2: set up, So Whyleve Michelle had an album on Loud.
28:49
Speaker 2: Then they had a young lady named Divina. The Vina
28:53
Speaker 2: was hot, you know what I'm saying. She was on
28:55
Speaker 2: Loud Rock and she had a dope album that really
28:57
Speaker 2: got slept on because of what happened was she came
29:00
Speaker 2: out the same time Erica, but Duke came out and
29:03
Speaker 2: got over shadowed by On and On, over shadow by
29:06
Speaker 2: by Duism, which that's a landmark album for that coat
29:09
Speaker 2: for that time, and in R.
29:11
Speaker 3: And B and and and and and all that stuff
29:13
Speaker 3: like that.
29:14
Speaker 2: So but Divina had that song also a Ray kwand
29:18
Speaker 2: her label record Label Made Label made on it called uh,
29:22
Speaker 2: oh my god, It's gonna come to me in a minute.
29:26
Speaker 2: But the Vina had a dope song where Ray Kwan
29:28
Speaker 2: did was on a remix.
29:31
Speaker 1: Oh I know what you're talking about.
29:33
Speaker 2: Yeah, it's on the tip of my tongue right now.
29:37
Speaker 3: Man, But uh, I'm gonna pull that up.
29:40
Speaker 2: But never never, nevertheless, uh, they had they had a
29:44
Speaker 2: little bit of everything on on that roster man and
29:47
Speaker 2: all of them was able to show that creative freedom.
29:50
Speaker 2: None of them had some corny like attempt to be
29:54
Speaker 2: on the radio and he'd be like, oh, man, beating
29:55
Speaker 2: us had that song that that just didn't pop off.
29:58
Speaker 2: Now they had off the books, you know what I'm saying,
30:00
Speaker 2: or whatever, so oh they had you get props over
30:03
Speaker 2: here in ninety four on the debut album was that
30:06
Speaker 2: I love the debut, but beating Us. So none of
30:09
Speaker 2: these people on here had to had to change. Mop
30:14
Speaker 2: end up coming on later. I think they third or
30:16
Speaker 2: fourth album or whatever, Warriors or whatever that was on
30:19
Speaker 2: Loud Records, the first few albums on something like like
30:21
Speaker 2: Relativity something like that or whatever. But they end up
30:24
Speaker 2: being on Loud for the Warrior album, big album, you
30:27
Speaker 2: know what I'm saying. And you know, people are gonna
30:29
Speaker 2: change their sound, you know what I'm saying. And they
30:32
Speaker 2: wore and dead press when they came out. Hey, thanks
30:35
Speaker 2: to Lord Jamal for for finding these guys and for
30:38
Speaker 2: help produces a lot.
30:39
Speaker 3: Of their work.
30:40
Speaker 2: But that bigger than hip hop joint, you know what
30:42
Speaker 2: I'm saying. That was they were militant. I mean, yeah,
30:46
Speaker 2: if you look at you know, dead praisers, Let's let's
30:48
Speaker 2: get free or whatever.
30:50
Speaker 3: The album is reminiscing of x Klan.
30:54
Speaker 1: Uh.
30:54
Speaker 2: It takes the nation, millions of Paris, of of of
30:57
Speaker 2: the political ice cube on America because most one had
31:00
Speaker 2: a desertificate and even live the injection, you know what
31:03
Speaker 2: I'm saying.
31:03
Speaker 3: Their prayers were very militant, you know what I'm saying.
31:07
Speaker 2: And a loud Rutgers listen to that album, they said,
31:11
Speaker 2: some they calling people crackers and everything on that album.
31:15
Speaker 3: And Steve Rifkin, I mean, they're.
31:20
Speaker 1: Not black, right, they like let it Rick, They left pans,
31:25
Speaker 1: do they think right? You know what? You know what
31:28
Speaker 1: it is is when it's when executives recognized the power
31:34
Speaker 1: of authentically black music. You know, they know, if it's
31:41
Speaker 1: really good, we're gonna go out and support it, you
31:44
Speaker 1: know what I'm saying. And to your point, uh, you know,
31:48
Speaker 1: not compromising the integrity of the artists and the music,
31:53
Speaker 1: like tone said Shook. One's Part two is Mom Deep's
31:57
Speaker 1: first single, a loud and the first line is to
32:01
Speaker 1: all the killers. And that's not like a radio friendly
32:07
Speaker 1: type thing, they even say. But it worked again with
32:13
Speaker 1: mop this was their biggest album, ay Up, was a
32:18
Speaker 1: huge hit for them on Loud Records, a song literally
32:23
Speaker 1: about robbing people and.
32:24
Speaker 2: That Joe's on movie scores on the radios on like
32:28
Speaker 2: you Got Served Everything you know?
32:31
Speaker 1: Right, John john sena took a little bit of it
32:33
Speaker 1: for his intro or his theme music and wrestling like
32:38
Speaker 1: It's just Loud Records was, which was interesting.
32:44
Speaker 3: Rake. The song Divina song with Ray Kuan is called
32:47
Speaker 3: so Good, So Good.
32:50
Speaker 2: Anybody listening to this, Anybody listening to this, go on
32:53
Speaker 2: YouTube put in Divina so Good featuring Ray Kwan.
32:56
Speaker 3: It's our standard song. It's very dope.
32:59
Speaker 2: And when I say some why Bet Michelle go put
33:01
Speaker 2: go on YouTube and put in for Mister Flex Volume
33:05
Speaker 2: one and the first track on there, crazy about You
33:07
Speaker 2: Mster DJ is why Bet Michelle very dope. So to
33:12
Speaker 2: your point, there are are R and B artists on
33:14
Speaker 2: that too, who is kind of like underground R and
33:16
Speaker 2: B artists to an.
33:18
Speaker 1: Extent, right, which which is dope too. I think they
33:22
Speaker 1: also had a metal.
33:23
Speaker 3: Band, they did. They had a metal band too.
33:27
Speaker 1: Yeah, and it's it's again it's unfortunate that label like
33:34
Speaker 1: this that is giving these artists like artistic freedom and
33:39
Speaker 1: winning at the same absolutely gold at Platinum Appums too.
33:44
Speaker 1: Now I don't know this for a fact, but what
33:46
Speaker 1: I assume, because sometimes it can't just be dope music, right,
33:51
Speaker 1: like to spread it around. It has to get around somehow.
33:56
Speaker 1: I think they just did an excellent job of like
34:00
Speaker 1: locking in with the DJs, because I know, like around
34:04
Speaker 1: this time, High ninety seven was the thing in New York,
34:08
Speaker 1: and new music from any of these cats, anybody on
34:13
Speaker 1: Loud pun whatever was like it was there on Friday
34:18
Speaker 1: or whatever when he was gonna drop bombs and it
34:20
Speaker 1: was a premier or whatever, even on the mixtape game,
34:24
Speaker 1: you know what I'm saying. So I think they did.
34:26
Speaker 1: They probably had a lot of street tactics as far
34:30
Speaker 1: as spreading the music, you know, hand in hand and
34:33
Speaker 1: meeting people in shows.
34:35
Speaker 2: But you know what too, I thought another great idea was, well,
34:41
Speaker 2: Pete Rock, who was on Loud all the time, did
34:43
Speaker 2: the Soul Survivor album.
34:45
Speaker 3: It was kind of like a who's who of Loud Records.
34:47
Speaker 2: Too, because almost everybody from Loud, I mean, all these
34:51
Speaker 2: guys from Loud Records were also on Pete rock Soul
34:54
Speaker 2: Surviva album.
34:55
Speaker 3: You know you you you know, so I thought that
34:58
Speaker 3: was very dope.
34:59
Speaker 2: Pa have prology and pun and all these guys from
35:03
Speaker 2: from from Loud on that album. Man, Soul Survival was like, uh,
35:08
Speaker 2: Pete rock version of the chronic in a sense in
35:10
Speaker 2: terms of him doing the production the way Dred the production.
35:14
Speaker 2: He rhymed on some of the songs, but he also
35:16
Speaker 2: let MELFI let all these other people rip off and
35:19
Speaker 2: really get off on that album. But he had two
35:22
Speaker 2: or three solo songs on that way he was rhyming
35:25
Speaker 2: and doing this thing with dope production. I want to say, uh.
35:28
Speaker 2: I think he said years and years ago that Graham
35:31
Speaker 2: Pooper helped him with the writing, you know what I'm
35:34
Speaker 2: saying on some of those songs. But yeah, man, Pete Rockers,
35:38
Speaker 2: A big, big part of Loud ruggis doing a releasing
35:41
Speaker 2: of a critical came album like Soul Survival.
35:45
Speaker 3: Man.
35:45
Speaker 2: But that's what they did, man, they I mean they
35:49
Speaker 2: had big pun capital punishment, which was a platinum album.
35:55
Speaker 2: Didn't didn't try, Yeah, didn't try, umph didn't triumphant who
35:59
Speaker 2: Forever that's records, yep, hutan fore will end up going
36:04
Speaker 2: four million platinum.
36:07
Speaker 1: Which is crazy when you think about it, because again
36:10
Speaker 1: when you're talking about the Bad Boys and the Death Rows.
36:13
Speaker 1: They also spending a lot of money on marketing, and
36:18
Speaker 1: I feel like with Loud, they probably did what they
36:22
Speaker 1: needed to, but it is overwhelmed you you know what
36:25
Speaker 1: I'm saying. It's like the music was taking care of
36:29
Speaker 1: some of the marketing for them in a lot of ways,
36:32
Speaker 1: especially when you're talking about going four times platinum or platinum,
36:35
Speaker 1: and you know what I'm saying.
36:36
Speaker 2: If people don't understand that this is we think of,
36:40
Speaker 2: you know, let' I'm gonna go to hutang for real quick.
36:42
Speaker 2: When you think of nineteen ninety seven, you had to
36:48
Speaker 2: go to the record store again. Like I said earlier,
36:52
Speaker 2: So for them to have a their singers called triumph
36:57
Speaker 2: it is not a commercial song.
36:58
Speaker 3: It just was so good that it ended up.
37:02
Speaker 2: On the radio and then clubs and on playlists and
37:06
Speaker 2: everything like that. But Triumpher is not a commercial song.
37:08
Speaker 2: You mean, anybody who need to remind put it on YouTube.
37:11
Speaker 2: But listen to it, you know what I'm saying. And
37:13
Speaker 2: that's your lead loss song and then it's yours. It's
37:17
Speaker 2: not they played in clubs and stuff. It's not a
37:20
Speaker 2: commercial song. Listen to the beating, the lyrics, you know
37:23
Speaker 2: what I'm saying. And this album took them around the
37:25
Speaker 2: world literally, WU Tank planned it a huge tour, you
37:28
Speaker 2: know what I'm saying, because something like Forever.
37:30
Speaker 3: You know what I'm saying. They had a million dollar video,
37:34
Speaker 3: you know what I'm saying. Basically, you know what I'm saying.
37:36
Speaker 3: I think Mike Williams did the video.
37:39
Speaker 1: You know what.
37:40
Speaker 2: So if you think about during that time, four million
37:44
Speaker 2: records is a lot regardless because even though the bigger
37:47
Speaker 2: labels they didn't have too many artists, they sold four
37:49
Speaker 2: million records. You know what I'm saying, Like you have
37:52
Speaker 2: one or two of the biggest artists on your label,
37:55
Speaker 2: might go platinum, you know what I'm saying, So full
37:57
Speaker 2: time platinum. That's what Masonam did. That's what you know
38:00
Speaker 2: what I'm saying. Even Ready to Die didn't do that initially.
38:02
Speaker 2: You know what I'm saying. That the Chronicle selling products,
38:05
Speaker 2: you know, selling that, these Snoop sold all that. But
38:08
Speaker 2: these are the mega megastars, and so Low was able
38:12
Speaker 2: to have an album that sold for me and Records
38:15
Speaker 2: and then going back to pun a Grimming nominated album
38:18
Speaker 2: that was platinum.
38:19
Speaker 3: The first Puerto Rican to go platinum.
38:22
Speaker 1: Yeah, well you know what was crazy about that too
38:26
Speaker 1: for people watching who don't know whether you were there
38:29
Speaker 1: or not. To give you some context, Yes, hip hop
38:35
Speaker 1: started in the seventies, but hip hop wasn't selling a
38:40
Speaker 1: lot of records until damn, like the mid nineties. Now
38:44
Speaker 1: they were artists that went platinum, but it was just
38:47
Speaker 1: like l L and He's in the Bag by itself
38:49
Speaker 1: run DMC and there in the Corner by themself, right,
38:52
Speaker 1: it was. It was singled out, but it wasn't until
38:55
Speaker 1: the nineties where you could have several groups and artists
38:59
Speaker 1: go platinum. Him and hip hop if they were lucky enough,
39:03
Speaker 1: let alone be on a label that's just straight boom back,
39:07
Speaker 1: straight hip hop, like Mace had to compromise his whole style.
39:12
Speaker 3: Yeah, he didn't wrap that.
39:14
Speaker 1: In order to go platinum, whereas the wool was the woo,
39:19
Speaker 1: pun was pun, you know what I'm saying. So yeah.
39:22
Speaker 2: Also, and also I saw had to go on the
39:24
Speaker 2: interview recently. Uh he was on a podcast and the
39:29
Speaker 2: podcast was about albums that should have came out and
39:32
Speaker 2: stuff like that but didn't come out.
39:34
Speaker 3: It was a cool episode. But one thing he said,
39:36
Speaker 3: was he remember what Murder Music got got leaked?
39:40
Speaker 2: He said several solids that he said he got leaked
39:42
Speaker 2: and dad to go back and do several more tracks
39:45
Speaker 2: or whatever, and he said they end up being their
39:47
Speaker 2: biggest selling album.
39:48
Speaker 3: Murder Music end.
39:49
Speaker 1: Up going going platinum, right right, We were.
39:54
Speaker 2: Talking about the single. The first single was the solo
39:57
Speaker 2: version of quire Stone.
39:58
Speaker 3: Producty he was.
39:59
Speaker 1: Talking about, mm hmmm.
40:02
Speaker 2: Proistorm was a bangor it wasn't meant to be a
40:05
Speaker 2: club bango and radio single.
40:07
Speaker 3: It just just so good that the clubs picked it up.
40:10
Speaker 2: And then when Little Kim dropped on the remix, it
40:12
Speaker 2: was a rap, you know what I'm saying, And it
40:14
Speaker 2: was playing on radio and everything.
40:16
Speaker 3: You know what I'm saying.
40:16
Speaker 2: But that's a and again, Producty didn't compromised nothing. Quad
40:20
Speaker 2: Storm was straight up marb be, straight up prodigy and
40:23
Speaker 2: you could tell his personality. He gonna be like, son,
40:26
Speaker 2: I'm not singing with that, I'm not doing the song
40:28
Speaker 2: with that chick singing that hook. You can see products
40:32
Speaker 2: are right now sitting there like I ain't doing that.
40:34
Speaker 3: Right, you know what I'm saying. So he didn't compromise nothing.
40:37
Speaker 2: Same way you gain Exhibit First, going back to Exhibit
40:41
Speaker 2: real quick, his first single was Papa ROSSI. The niggas
40:45
Speaker 2: said that the hook was it's a shame niggas in
40:47
Speaker 2: the rap game only for the money and the fame.
40:50
Speaker 2: You know what I'm saying. He dissanced it. He he
40:54
Speaker 2: you know what I'm saying. Like, but that's kind of
40:57
Speaker 2: how it was. Man. Man, I think it's a din
40:59
Speaker 2: ICs Wild Cowboys. I think it was on loud Rutgers
41:01
Speaker 2: and they weren't commercial.
41:03
Speaker 3: I think they had the joy I used to like,
41:04
Speaker 3: oh oh there was a lump lump or something like that.
41:06
Speaker 3: But yeah, it's an our X Wild Cowboys.
41:09
Speaker 2: I'm just trying to think real quick, I said, crazy
41:11
Speaker 2: boat hand work on. Now we're talking about Dead Prayers.
41:14
Speaker 2: We know they weren't commercial, right, we know they were
41:18
Speaker 2: militant and all kind of whatever. And Steven let him,
41:22
Speaker 2: let let him get this shit off.
41:25
Speaker 1: Yeah, it's remarkable when you go back and think about
41:28
Speaker 1: the time and the albums and like you said, the
41:32
Speaker 1: layers of not just having the freedom as an artist,
41:36
Speaker 1: but just making the right choices with these artists right
41:40
Speaker 1: like these these album covers are iconic. Yeah, just everything
41:45
Speaker 1: about it. It's not like, oh, it was a dope
41:47
Speaker 1: album cover, but that album's kind of trash and stuff
41:49
Speaker 1: like that, or you know, people act like the Woo
41:52
Speaker 1: was something that could happen back in the days. No,
41:56
Speaker 1: Like we talked about at Aliens earlier, it was just
42:00
Speaker 1: everybody was inspired by everybody. Yeah, you know what I'm saying.
42:04
Speaker 1: And Loud Records kind of represented what was pure about
42:09
Speaker 1: hip hop, what was pure about hardcore hip hop? And
42:13
Speaker 1: I mean, even though it didn't turn out the way
42:16
Speaker 1: we thought it would, what if it did. Inspected Deck
42:21
Speaker 1: was also on Loud Records. Yeah, you know, uh, Pete
42:25
Speaker 1: Rock's Joint and we didn't really like the album, but
42:28
Speaker 1: imagine if the album that was.
42:30
Speaker 3: Were talking about you talk about un controlled substance.
42:34
Speaker 1: Yeah, yeah, yeah.
42:35
Speaker 2: But one thing I want to go back to real
42:36
Speaker 2: quick too, when I said, because you just said someth
42:38
Speaker 2: about Pete Rock, and I had Dick and Prodigy and
42:42
Speaker 2: Pun and everybody else. So survival when you think about
42:44
Speaker 2: Loud Records also on the Infamous you know what I'm saying,
42:47
Speaker 2: I four and I you had Ray Kwan on the
42:50
Speaker 2: you know you had you know you had on what's
42:54
Speaker 2: the other album hell on Earth. He had met the
42:56
Speaker 2: man an extortion. You know, you had Ray and Doos
42:58
Speaker 2: on another track, you know what I'm saying. And so
43:01
Speaker 2: I mean, so these guys all rock with each other,
43:05
Speaker 2: you know what I'm saying. So I thought all that
43:07
Speaker 2: was dope to Again, there was an example of how
43:10
Speaker 2: different people on loud Rutcords were own each other album.
43:14
Speaker 1: And I think also once they.
43:16
Speaker 2: Oh and Deck was also owned Capital Punishment with Pun
43:19
Speaker 2: and Prodigy on that track.
43:21
Speaker 1: Yeah he was. He damn forgot about that. He sure was. Yeah.
43:26
Speaker 2: That song with Big Pump, Prodigy and Dick and the
43:30
Speaker 2: name escapes Me right Now was actually at the time
43:32
Speaker 2: one of my favorite songs on Capital Punts of the
43:35
Speaker 2: last one of the last songs on there.
43:37
Speaker 1: Yeah, you know what I think in a lot of ways,
43:40
Speaker 1: just to speak to like that, which is also cross
43:43
Speaker 1: promotion for those who don't know when you have the
43:47
Speaker 1: different artists on. But because they had different distributors, I
43:51
Speaker 1: think that's how the Nas and Mob Deep stuff was happening.
43:54
Speaker 1: Also because at one point Loud Records was being distributed
43:57
Speaker 1: by Columbia Sony, which was Naz's label. You know what
44:01
Speaker 1: I'm saying. So it just was a different time in business.
44:07
Speaker 1: And I just really want to touch on one thing
44:10
Speaker 1: you said, tone to give people the context of hearing
44:15
Speaker 1: you say this album went four times platinum or this
44:18
Speaker 1: one went platinum, because we know y'all spoiled now. But
44:21
Speaker 1: what I don't understand is for a person to like
44:24
Speaker 1: a song enough to leave their house to go buy
44:28
Speaker 1: that bit is like you can miss out on record
44:32
Speaker 1: sales if you're not that good for somebody to be like,
44:35
Speaker 1: I got to get out and go get it. Now
44:37
Speaker 1: you can just buy it just to check it out
44:39
Speaker 1: because it's on your phone. So for them to do that,
44:44
Speaker 1: and again, they're not doing no crazy branding campaign. They're
44:47
Speaker 1: not requiring all their artists to talk about loud like
44:51
Speaker 1: it's a gang or something like that. You know, they're
44:54
Speaker 1: just doing business the way they know how to do
44:56
Speaker 1: it and creating really dope music and several classics from
45:02
Speaker 1: some of hip hop's greatest artists and groups in MC's
45:06
Speaker 1: of all times. So it's remarkable to think about, you know,
45:10
Speaker 1: what they were able to accomplish. Yeah, yeah, Now we
45:18
Speaker 1: talked about what made them successful, Tom, what made it
45:24
Speaker 1: all in.
45:27
Speaker 2: Well, I mean, on one end, I think in nineteen
45:31
Speaker 2: ninety six Steve Rikins, so, look, man, it's a business.
45:35
Speaker 2: I'm a businessman. First he sold like fifty percent in
45:40
Speaker 2: like ninety six. After that, you know you're looking at
45:44
Speaker 2: he was a driving force I think of loud rugs.
45:48
Speaker 2: I know he had partner, and I know he had
45:50
Speaker 2: other people he worked with, but I think once his
45:52
Speaker 2: involvement got to be more minimal. At the end of
45:56
Speaker 2: the day, it's like the CEO halfway retired and he
46:01
Speaker 2: rarely comes to the office, and all of a sudden,
46:04
Speaker 2: stuff just start not.
46:06
Speaker 3: Really getting done the way they need to get done.
46:08
Speaker 2: And I think I think they changed a distribution of
46:12
Speaker 2: companies a couple of times, and there was working with
46:15
Speaker 2: a bunch of other different companies. I just think that
46:17
Speaker 2: probably behind closed Doors started probably get a little sloppy.
46:21
Speaker 3: Like most labels, you know what I'm saying.
46:23
Speaker 2: And again, but everything has its lifeline, man, I think
46:27
Speaker 2: it ended up totally being moving and so in the
46:30
Speaker 2: music group around two thousand and two, you know what
46:32
Speaker 2: I'm saying. So he got from nineteen ninety one to
46:34
Speaker 2: like two thousand and two. During that time, they they
46:37
Speaker 2: did some epic legendary stuff for hip hop man. So
46:41
Speaker 2: there's a lot of different rumors, just like any label.
46:46
Speaker 2: Just like at one point the rumor was, you know
46:48
Speaker 2: what I'm saying, Russell Simmons and death.
46:50
Speaker 3: Jail was but the fall in the middle of the nineties,
46:52
Speaker 3: you know what I'm.
46:52
Speaker 2: Saying, Like for different reasons, economics, business deals and stuff
46:56
Speaker 2: like that. All this stuff happens in labels, man. So
46:59
Speaker 2: there's different rumors. Man. I just think that there they
47:02
Speaker 2: had their time. Oh, the decisions started being made, and
47:07
Speaker 2: eventually different people were you know, dropped from a label
47:12
Speaker 2: for different reasons, shift off the son of the music
47:16
Speaker 2: group or somewhere else, and you know how you know,
47:20
Speaker 2: you know how that story goes.
47:22
Speaker 1: Yeah, I think you touched on something that makes a
47:25
Speaker 1: lot of sense. Like with Steve Rifkin, it's a smart
47:29
Speaker 1: business move. Like to him, ninety six was a peak
47:33
Speaker 1: for something that you know, was unconventional in the history
47:39
Speaker 1: of music industry because typically they push or drive the
47:45
Speaker 1: artists in the direction they think they can go for
47:48
Speaker 1: the most success. And this was a little pure and
47:51
Speaker 1: unconventional and it was working. It was great, and he
47:54
Speaker 1: probably saw it as I need to cash out now
47:57
Speaker 1: while it's on top because it could probably go down.
48:00
Speaker 1: I don't think it's going to go any higher, whatever
48:03
Speaker 1: the case may be. And to your point, you know,
48:05
Speaker 1: once you aren't as invested in maybe ye're there more
48:09
Speaker 1: so as a consultant. You know, you kind of throw
48:12
Speaker 1: your eye ideas in there, but the authority is there,
48:15
Speaker 1: you know, the drop.
48:16
Speaker 3: Yeah, and think about it.
48:18
Speaker 2: To your point, think about ninety six. That's the year
48:21
Speaker 2: before the so called Shiny Suit error, which I say,
48:25
Speaker 2: the same same Chinese suit year, you know, because you
48:28
Speaker 2: know we've done episodes about you know this, then men
48:32
Speaker 2: kill at one point shout out to kill Poma five
48:34
Speaker 2: be earlier, you know, months and months and months ago.
48:37
Speaker 3: I did the episode like that on the Dome podcast,
48:39
Speaker 3: and it's.
48:40
Speaker 2: Like, you know, that was a year where a few
48:42
Speaker 2: people now everybody don't sell a lot of records.
48:45
Speaker 3: Puffin Matce did Biggest appam sol a whole lot, moutass
48:48
Speaker 3: who whole lot, but most people didn't sell a whole lot,
48:52
Speaker 3: you know what I'm saying. So that whole thing is
48:54
Speaker 3: still kind of funny to me.
48:55
Speaker 2: But nevertheless, Steve rip could also looked at it like
48:58
Speaker 2: the type of roster that I have. If people gonna
49:01
Speaker 2: start having these you know, commercial songs and you know
49:05
Speaker 2: R and B on the singers on the hooks and
49:07
Speaker 2: trying to be on the radio that way and all that. Well,
49:10
Speaker 2: I got a type of dudes that being pretty successful,
49:14
Speaker 2: you know these last couple of years where they didn't compromise.
49:16
Speaker 2: They sound and these kind of dudes not gonna do it,
49:20
Speaker 2: you know what I'm saying, Like, so I need to
49:23
Speaker 2: go ahead and get out of here, right because they
49:26
Speaker 2: ain't gonna conform to this new style of hip hop.
49:29
Speaker 2: Then people thought was gonna happen because of what was
49:31
Speaker 2: going on Puffer maxing everybody in nineteen ninety seven. The
49:34
Speaker 2: people call it the era, the sign the suit era.
49:36
Speaker 2: But like I told people before, just real quick as
49:39
Speaker 2: I go on a quick little tangent and in the
49:41
Speaker 2: spring of nineteen ninety eight, DMX drop right and it
49:46
Speaker 2: was back the hardcore again less than it.
49:48
Speaker 3: People don't understand that.
49:51
Speaker 2: And this is for context for this again for because
49:54
Speaker 2: of the rificul left in ninety six for the most part,
49:56
Speaker 2: and ninety seven happened, and that whole next erro talk
50:00
Speaker 2: got over exaggerated. What people are My point is people
50:03
Speaker 2: understanding this DMX dropped a year after Biggie died.
50:07
Speaker 1: Yep.
50:08
Speaker 3: People would have you believe.
50:09
Speaker 2: On social media that the sign and shoot era and
50:12
Speaker 2: we went through all this Will Smith big Wieler style
50:14
Speaker 2: that this ship lasted three or four years. Dm EGG
50:18
Speaker 2: dropped the year eleven months, so after Biggie died, the
50:25
Speaker 2: rough ride of Anthem and the whole game changed again
50:27
Speaker 2: in nineteen ninety eight, where you have DMX dropping two albums,
50:31
Speaker 2: jay Z Hard Not Life, the Hard Not Life Tour,
50:34
Speaker 2: Big Punk Capital Punishment of most definite Tyler quality Black
50:38
Speaker 2: Star album, Gian Dupen's Foundation, all of this outcast equipmental
50:43
Speaker 2: all this shit happened a year after Biggie died. That
50:49
Speaker 2: was over over, no Way out Harlem World, all that
50:55
Speaker 2: all that shit is nineteen ninety seven, yep. So that's
50:59
Speaker 2: just context that. But even in the midst of all that,
51:02
Speaker 2: Loud Back on top of Loud Record was still dropping
51:05
Speaker 2: dope music and Wuchang Forever dropped in nineteen ninety seven,
51:09
Speaker 2: also doing that Shiny Suit few muchs.
51:12
Speaker 3: You know what I'm saying, still end up going four million.
51:15
Speaker 1: And you know what, I'm glad you said that, because
51:18
Speaker 1: that's that's the point right there, someone would say to themselves, well,
51:23
Speaker 1: I know what ended Loud Records and all that dope
51:26
Speaker 1: pure hip hop music, the Shiny Suit era. But if
51:30
Speaker 1: Woo were on Loud Goes four times platinum the year
51:36
Speaker 1: of the shiny, the Shiny Suit era, then that point
51:41
Speaker 1: is mute and one moved. And one thing I wanted
51:44
Speaker 1: to say, because we brought it up that I think
51:48
Speaker 1: probably contributed to the decline is everybody was doing the
51:54
Speaker 1: branding and maybe Loud should have leaned into that a
51:58
Speaker 1: little bit, because I think get helped a lot. It
52:01
Speaker 1: obviously helped a lot with Death Row probably was the
52:04
Speaker 1: blueprint for bad Boy, Yeah, came the blueprint for everybody else,
52:09
Speaker 1: Cash Money, rough Rider, No Limit. Everybody just really honed
52:16
Speaker 1: in on like this is the label, right, And he
52:21
Speaker 1: was right. Even though Tone pointed out the collaborations, the
52:27
Speaker 1: cross promotion within the label with the artists, it still
52:31
Speaker 1: wasn't like this is Loud. This was just Oh raised
52:35
Speaker 1: on a song with Mob Deep, that song Pete Rocks Joint.
52:39
Speaker 1: So uh that Brandon probably played the role because it
52:42
Speaker 1: became even more important to listeners and to labels, and
52:47
Speaker 1: you know that you have the success. But again, we
52:52
Speaker 1: said it. Plenty of plenty of this music was released
52:55
Speaker 1: during the Shiny Suit era or after Platinum pun that
53:00
Speaker 1: was a year later, a year later, right, So it's
53:06
Speaker 1: crazy to even think about it. And just real quick,
53:09
Speaker 1: I'm gonna ask you this because it's kind of on
53:12
Speaker 1: that topic, and you know, it's fun to dispel what
53:16
Speaker 1: people make up or revise history. We know y'all love
53:20
Speaker 1: talking about thirty six Chambers, Purple Tape, Infamous to you,
53:26
Speaker 1: Blue in the Face bars for Tune. I think that's
53:33
Speaker 1: the problem. Why do you think people hone in on
53:38
Speaker 1: certain albums and artists so much that as time goes by,
53:44
Speaker 1: they almost forget everything else that happened. They forget, to
53:47
Speaker 1: your point, the dates that these things are happening, you know,
53:52
Speaker 1: saying the Shiny Suit era, you know, ruined everything when
53:56
Speaker 1: it really only lasted a year.
53:58
Speaker 2: If that, man, well, you know what I think, Because
54:05
Speaker 2: there was a point in time when publications were so
54:08
Speaker 2: strong and powerful and impressionable on younger hip hop fans,
54:13
Speaker 2: they will talk about certain albums more than other albums,
54:17
Speaker 2: certain artists more than certain artists.
54:19
Speaker 3: Or narratives like this thing that just went crazy.
54:23
Speaker 2: You know again, I don't know how many times I've
54:25
Speaker 2: had debase for people about the shiny suit thing because
54:29
Speaker 2: of nineteen ninety seven. I literally listed because I did
54:33
Speaker 2: my second episode of the Dawn podcast was a disrespect
54:36
Speaker 2: of nineteen ninety seven hip hop.
54:38
Speaker 3: That's the name of it. There was a title of
54:39
Speaker 3: those other podcasts to.
54:41
Speaker 2: The show, and I literally listened about twenty five albums
54:45
Speaker 2: from nineteen ninety seven, dope albums from nineteen ninety seven,
54:50
Speaker 2: And I'm like, well, what are we talking about?
54:52
Speaker 3: What shining suit era? You mean no way out in
54:55
Speaker 3: Harlem world? Who?
54:57
Speaker 2: What else are you talking about a couple of singles
55:00
Speaker 2: here and there. I'm a big with big with Will Smith,
55:03
Speaker 2: Big WILLI style, but I can name twenty five other
55:06
Speaker 2: albums like camp Low, you know what I'm saying, Like
55:10
Speaker 2: like like Royal Flush getto Me and that all this
55:13
Speaker 2: kind of suff I named like twenty five albums though,
55:17
Speaker 2: you know what I'm saying, So what are we talking
55:18
Speaker 2: about here? And then like I said, like we've said tonight,
55:22
Speaker 2: who tangs all for a million?
55:26
Speaker 1: Right? You know?
55:27
Speaker 2: There were so so I think I think to your
55:30
Speaker 2: point to your question, influence, man, you know, people are
55:36
Speaker 2: easily influenced to think something people. People are influenced to
55:40
Speaker 2: talk about the same three or four albums all time,
55:43
Speaker 2: the same three or four artists all the time. So
55:45
Speaker 2: when people like us took about all the other stuff,
55:47
Speaker 2: it's like, oh, we won't hear that.
55:49
Speaker 3: I'm like, yeah, well, hip hop is more than those.
55:51
Speaker 1: Three or four albums, right right, you know what I'm saying?
55:53
Speaker 2: Like, Oh, we listed about twenty different artists from from
55:58
Speaker 2: Loud just now. We talked about mop Warriors out Well,
56:01
Speaker 2: some of y'all might not be up on that. We
56:03
Speaker 2: listen to stuff like that. I listened to that next album.
56:06
Speaker 2: I like Crazy Bone. Maybe some of y'all like I
56:08
Speaker 2: don't like Bone Thuss, Well, I do? You know what
56:10
Speaker 2: I'm saying. So you miss that on them? That's that's fine,
56:13
Speaker 2: you know what I'm saying. But it's more music out there,
56:15
Speaker 2: and more artists out there who were at least very solid,
56:18
Speaker 2: good to great projects during this period.
56:21
Speaker 3: Of Loud Records, And.
56:22
Speaker 2: Maybe some of y'all slept on them because all you
56:24
Speaker 2: did listen to is Mab Deep Infamous and Wu Tan
56:27
Speaker 2: Thursday the Chimper.
56:28
Speaker 3: Well, you know I like touristing, right, What.
56:33
Speaker 2: Can I say, I like Pete Rock, I like Pete Stremer.
56:35
Speaker 2: I played that just must uplay a whole lot of
56:37
Speaker 2: albums though you know, I played a big point album
56:39
Speaker 2: this must.
56:40
Speaker 3: I played Reasonable Doubt right right, So I played Beating.
56:44
Speaker 2: Nuts a lot. That stone Cold Beating that Abue was dope,
56:48
Speaker 2: you know what I'm saying. So I love Beating Nuts.
56:51
Speaker 2: So I mean you got to open your open your
56:53
Speaker 2: you know, yo yo your mind to more music.
56:56
Speaker 3: Man.
56:57
Speaker 1: Yeah, you know what, Like, honestly, it's definitely a lot
57:02
Speaker 1: of that. And I think what people don't realize because
57:05
Speaker 1: a lot of times they want to it seem as
57:10
Speaker 1: it's kind of seen as like a weakness to feel
57:13
Speaker 1: like you've been duped, even though it's not really being duped.
57:17
Speaker 1: It's the fact that the marketing was just better. You
57:21
Speaker 1: saw more bad boy. When you watch videos, you saw
57:24
Speaker 1: more Will Smith, big Willie saw more importantly than seeing
57:28
Speaker 1: the video every moment you saw the coverage, right Like
57:33
Speaker 1: Will Smith is gonna get booked for Good Morning America.
57:37
Speaker 1: Mob deep in getting booked, not back then for no
57:40
Speaker 1: Good Morning in America. Don't matter how big they were,
57:43
Speaker 1: you know what I'm saying. But Will Smith is it's
57:45
Speaker 1: a movie, it's an album, it's all this stuff, and
57:49
Speaker 1: it's marketing his marketing dollars behind it. So it appears
57:54
Speaker 1: that the Shiny Suit ever covered everything, right, you know
57:59
Speaker 1: what I'm saying. But right, but down on the ground,
58:03
Speaker 1: what was actually happening at least what hip hop has
58:06
Speaker 1: and people even speaking with their dollars was like other
58:09
Speaker 1: people was getting money too, you know what I'm saying,
58:12
Speaker 1: Other people going platinum too. And it didn't end what
58:17
Speaker 1: you know, what people loved about hip hop. It's just
58:20
Speaker 1: that hip hop's like any other genre, and once it
58:23
Speaker 1: became a business, there's just going to be different layers
58:26
Speaker 1: to it and different types of artists. So it's crazy
58:29
Speaker 1: to even think about. So what did y'all think about
58:35
Speaker 1: Loud Records? It's time and hip hop it's placed amongst
58:39
Speaker 1: record labels. We have a thing we like to do
58:42
Speaker 1: at the end of these episodes where we asked a
58:45
Speaker 1: question and my question opposed it to you tone is
58:50
Speaker 1: what labels or a label that you can think of,
58:53
Speaker 1: was comparable to a Loud Records as it relates to
58:58
Speaker 1: their output and maybe even success.
59:02
Speaker 2: Well, we did an episode on one now, very very
59:06
Speaker 2: recently and I would say it's very comfortable.
59:08
Speaker 3: That would be Raucous Records.
59:11
Speaker 2: I think that, you know, nobody's artistic integrity was challenged,
59:18
Speaker 2: you know what I'm saying. They made the kind of
59:19
Speaker 2: singles they wanted to make for the albums. The albums
59:22
Speaker 2: had kind of songs that sounded like that artists, not
59:25
Speaker 2: nothing that was forced or nothing that sounded like they
59:29
Speaker 2: were trying to compete with, you know, with Puff or
59:33
Speaker 2: or or whoever, you know what I'm saying. So I
59:36
Speaker 2: think that it would be Rackers. Rockers has some platinum
59:40
Speaker 2: and gold albums. Rockers, they had a couple of big singles,
59:45
Speaker 2: and I think that their their h roster has some
59:50
Speaker 2: very dope, creative and diverse mcs on it. If you know,
59:55
Speaker 2: if you go listen to that sound bombing, it reminds
59:58
Speaker 2: me of the the pet Rocks Sole Survival due production.
1:00:03
Speaker 2: A bunch of different MC's on there, spitting flames, nothing
1:00:07
Speaker 2: commercial on them, just pure.
1:00:10
Speaker 3: Hip hop man.
1:00:11
Speaker 2: So I would say Loud Records and Raucouts have a
1:00:17
Speaker 2: lot of similarities.
1:00:20
Speaker 1: Yeah, it's almost like they overlap each other. And Racus
1:00:26
Speaker 1: grabbed the baton and went a little further.
1:00:28
Speaker 3: It was kind of like that.
1:00:30
Speaker 2: If you think about when you two thousand and two,
1:00:35
Speaker 2: it was kind of pretty much the end of Loud
1:00:37
Speaker 2: as we know it, but leading nothing to two thousand
1:00:39
Speaker 2: and two, probably the last couple of years it had
1:00:42
Speaker 2: calmed down. And those are the years when you had
1:00:45
Speaker 2: nineteen ninety eight Black Star album, nineteen nine nine most
1:00:49
Speaker 2: Death black on both sides, and then two thousand title
1:00:52
Speaker 2: Little Quality, uh train of thought with reflection to turn
1:00:56
Speaker 2: and then all these other ninety nine you had a
1:00:59
Speaker 2: turnoff was a farl munching and Simon says in a
1:01:02
Speaker 2: bit like a gold singer or a big singer in
1:01:04
Speaker 2: the club. And so Rackers did take the patime literally
1:01:07
Speaker 2: from from Loud.
1:01:08
Speaker 1: Records, Yeah, which is dope and again dope. These are
1:01:13
Speaker 1: the things that with all the conversation, all the debates
1:01:18
Speaker 1: on social media about hip hop and the place of artists,
1:01:23
Speaker 1: the place of albums, the place of record labels, this
1:01:27
Speaker 1: is the full context of what really happened. Like this happened,
1:01:32
Speaker 1: you know what I'm saying, So actually happened. It actually happened.
1:01:36
Speaker 1: So the best thing for you to do is support
1:01:39
Speaker 1: real hip hop if you want to see things like
1:01:42
Speaker 1: this happened. You know, we kind of we kind of
1:01:45
Speaker 1: got them, like I like to and I'll throw one
1:01:48
Speaker 1: in there that's not necessarily a back in the day,
1:01:51
Speaker 1: but it kind of reminds me of everything we just
1:01:54
Speaker 1: say about loud and artists freedom and expression. But think
1:02:00
Speaker 1: TD is a little bit of that also, you know
1:02:03
Speaker 1: what I'm saying because it commercially successful, but these dudes
1:02:08
Speaker 1: really even been allowed to express themselves in whatever way
1:02:12
Speaker 1: they want it. And it's not in any one lane
1:02:16
Speaker 1: like it's a West Coast based label, but it feels
1:02:19
Speaker 1: like it's everything when you hear a lot of these
1:02:21
Speaker 1: artists from school, you and all of them, Sizza and
1:02:25
Speaker 1: all of that. So it's pretty dope, man. So leave
1:02:29
Speaker 1: your comments in a comments section below. Let us know
1:02:31
Speaker 1: what y'all thought about anything we've talked about here, Ask
1:02:35
Speaker 1: us questions, whatever it may be. Follow Tony go over
1:02:40
Speaker 1: to his channel right now into the Dome podcast. He's
1:02:43
Speaker 1: talking about this stuff all the time. He's breaking down
1:02:47
Speaker 1: all the albums, artists, debates, whatever it may be. Also
1:02:52
Speaker 1: follow him on Twitter. We don't call it acts, We
1:02:55
Speaker 1: only call Malcolm exactly knowledge as the only X we
1:03:00
Speaker 1: acknowledge outside of DMX right outside of DMX, right. But yeah,
1:03:07
Speaker 1: we do this all the time. Man, we talk about
1:03:09
Speaker 1: hip hop. We got more than seventy episodes talking about
1:03:13
Speaker 1: things like this, movies, labels, artists, moguls, moments in hip hop.
1:03:20
Speaker 1: You know what I'm saying, So subscribe right here to
1:03:22
Speaker 1: hip Hop Now Podcast check out more content. Until next time,
1:03:27
Speaker 1: y'all go out and support real hip hop.
1:03:32
Speaker 3: Peace,