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The Bomb Squad · Hip-Hop Now Podcast

• 0:02
  Speaker 1: What up, y'all? I am your host, Vegas, and this
• 0:06
  Speaker 1: is That Time in Hip Hop, a podcast about the history, nostalgia,
• 0:11
  Speaker 1: but more importantly, the preservation of hip hop, music, and culture.
• 0:16
  Speaker 1: 80-something episodes, only with one other person. You know him,
• 0:23
  Speaker 1: especially you on Twitter. You definitely know him. Tony, Into
• 0:27
  Speaker 1: the Dome Podcast. What's good, brother?
• 0:31
  Speaker 2: Hey, what's good, man?
• 0:32
  Speaker 3: Look, I'm only drinking water tonight with a little.
• 0:39
  Speaker 2: Nothing much. But anyway, yeah, so no background tonight, man.
• 0:42
  Speaker 3: You see my blondes in the back. I'm going red, man,
• 0:46
  Speaker 3: on MTV Cribs in the early 2000s tonight.
• 0:49
  Speaker 2: Yo, so just don't mind me, man. What's good, brother?
• 0:53
  Speaker 1: It's all good, man. And for those watching, we recently
• 0:57
  Speaker 1: did an episode celebrating 30 years of It Was Written,
• 1:02
  Speaker 1: part of a series of celebrating albums from 1996 that
• 1:06
  Speaker 1: turned 30 years old this year. You know what I'm saying?
• 1:09
  Speaker 1: Tone being a huge Nas fan. Those who know, you
• 1:13
  Speaker 1: know with me. You know what I'm saying? It was
• 1:16
  Speaker 1: a very dope episode, so check that out after you
• 1:18
  Speaker 1: watch this. What were you going to say?
• 1:21
  Speaker 2: No, facts.
• 1:22
  Speaker 1: Yeah. Very dope episode and doing well on the channel.
• 1:27
  Speaker 1: You know what I'm saying? Hold up. This watch listening
• 1:29
  Speaker 1: to everything. Everything I said. Something I said earlier, but
• 1:35
  Speaker 1: I'm not going to say on this video because I
• 1:36
  Speaker 1: don't want it to show up, but about a certain president.
• 1:40
  Speaker 1: My watch was like, that's incorrect. I was like, what?
• 1:42
  Speaker 1: What do you mean?
• 1:44
  Speaker 2: It is correct. Right.
• 1:46
  Speaker 1: It is. But if you've never seen any of the
• 1:51
  Speaker 1: 80 plus episodes we've done on That Time in Hip Hop,
• 1:55
  Speaker 1: it's all about what I said, preserving hip hop music
• 1:59
  Speaker 1: and culture. Not talking about a certain point in hip
• 2:02
  Speaker 1: hop because it's trendy to constantly talk about that thing.
• 2:06
  Speaker 1: You're going to get details, facts. We was outside for
• 2:10
  Speaker 1: all of it, right? So it's really about Education, whether
• 2:15
  Speaker 1: you were there, not there, forgot about it, wasn't born yet.
• 2:20
  Speaker 1: This is the type of episode that you watch on
• 2:22
  Speaker 1: YouTube that you say, oh, shit, I learned something today.
• 2:27
  Speaker 1: I didn't know about them. I'm going to go check
• 2:29
  Speaker 1: that out. So we got a dope episode, as you see.
• 2:32
  Speaker 1: But first and foremost, this month, the month of September
• 2:37
  Speaker 1: in hip hop, September 2000, M.O.P. released the single for
• 2:42
  Speaker 1: their biggest hit.
• 2:44
  Speaker 2: Ante up.
• 2:46
  Speaker 1: Tone, I'm going to just go to you first and foremost.
• 2:50
  Speaker 1: You knew M.O.P. as a group.
• 2:52
  Speaker 3: Oh, yeah.
• 2:52
  Speaker 1: You know what they did. Could you have ever imagined
• 2:56
  Speaker 1: that they would have such a huge hit robbing motherfuckers
• 3:00
  Speaker 1: on a song?
• 3:03
  Speaker 2: Not in a million years.
• 3:05
  Speaker 3: And I'm going to tell you, I remember being in
• 3:07
  Speaker 3: high school hearing how about some hardcore. you know, M.O.P.,
• 3:11
  Speaker 3: and they're hearing their debut, and they're in their sophomore drama.
• 3:14
  Speaker 2: You know, one thing about M.O.P.
• 3:16
  Speaker 3: Is they came out with dope albums, and they are
• 3:19
  Speaker 3: one of those actual groups and artists in general in
• 3:24
  Speaker 3: hip-hop where they don't have a whack album.
• 3:28
  Speaker 1: Yeah, that's true.
• 3:29
  Speaker 3: If you follow the M.O.P. brand, the hard beats, hard rhymes...
• 3:39
  Speaker 3: Hard hooks. That's what they do. They didn't make music
• 3:43
  Speaker 3: for the clubs. So when Ante Up came out, I
• 3:47
  Speaker 3: remember the first time I heard it, I'm like, oh,
• 3:49
  Speaker 3: another hard-ass M.O.P. song. But it's one of those rare
• 3:54
  Speaker 3: moments in hip-hop when the intention doesn't... You know what
• 3:59
  Speaker 3: I'm saying? It goes a different direction. You intend to
• 4:03
  Speaker 3: make another hard joint. And I know they didn't go
• 4:06
  Speaker 3: in the studio saying... And yep, this is going to
• 4:08
  Speaker 3: be a club.
• 4:09
  Speaker 2: Banger and all that. They're making a hard track. You
• 4:11
  Speaker 2: know what I'm saying?
• 4:12
  Speaker 3: And when you hear it, and you're like, wow, you
• 4:16
  Speaker 3: hear the lyrics to it, and.
• 4:18
  Speaker 2: They talking about robbing cats. Like they always did.
• 4:21
  Speaker 3: You know what I'm saying? It was straight Brownsville hip
• 4:24
  Speaker 3: hop from M.O.P. And then you start seeing it in
• 4:29
  Speaker 3: the clubs. You start hearing it on the radio. You
• 4:32
  Speaker 3: start seeing it in movies. dancing in movies.
• 4:38
  Speaker 1: Crazy.
• 4:39
  Speaker 2: And I'm like, okay, I didn't expect this.
• 4:43
  Speaker 3: And they deserved it because even though for hardcore hip-hop fans,
• 4:48
  Speaker 3: we knew who M.O.P. was, but this took them.
• 4:52
  Speaker 2: Out the stratosphere.
• 4:54
  Speaker 3: And for a lot of maybe casual hip-hop fans to
• 4:57
  Speaker 3: go back and listen to their catalog and appreciate them
• 5:01
  Speaker 3: as a dope group that they are, because they're probably
• 5:03
  Speaker 3: one of the most underrated groups in hip-hop history. And
• 5:08
  Speaker 3: Ante Up to this day, if it come on a
• 5:10
  Speaker 3: big event, the crowd get hyped like Jay-Z's song, You
• 5:14
  Speaker 3: Don't Know. I mean, people gonna rock out to Ante Up, man.
• 5:17
  Speaker 3: But when I first heard it, I definitely didn't think
• 5:21
  Speaker 3: it was gonna go where it went. I just thought
• 5:23
  Speaker 3: it was another real dope M.O.P.
• 5:24
  Speaker 2: Joint. And I'm like, yo, the album is hot. They
• 5:27
  Speaker 2: always have hot albums and hot songs. You know what
• 5:30
  Speaker 2: I'm saying? But it took a life of its own,
• 5:32
  Speaker 2: same way with Havoc. As I.
• 5:36
  Speaker 3: Verge off real quick. I think I interviewed years and
• 5:39
  Speaker 3: years ago, what happened was talking about the Quiet Storm
• 5:42
  Speaker 3: and stuff like that. Him making a song and then
• 5:45
  Speaker 3: Prodigy doing his version of it.
• 5:47
  Speaker 2: And they didn't know it was going to turn into
• 5:49
  Speaker 2: what it turned into. Okay, yeah.
• 5:52
  Speaker 3: Kim jumped on it and it went through the roof,
• 5:54
  Speaker 3: but when he first made Quiet Storm, it was a
• 5:58
  Speaker 3: hardcore track that just like all Mobb Deep songs.
• 6:02
  Speaker 2: Yeah.
• 6:04
  Speaker 3: But yeah, man, when I heard it, I thought it
• 6:05
  Speaker 3: was amazing. I thought it was dope as far as
• 6:07
  Speaker 3: Andy up. But yeah, I couldn't have predicted it would
• 6:11
  Speaker 3: turn into an anthem in hip hop, man.
• 6:14
  Speaker 2: When you first heard it, did you.
• 6:16
  Speaker 3: Think that Andy was going to turn into a legendary
• 6:20
  Speaker 3: hip hop anthem and the biggest song of their career?
• 6:23
  Speaker 1: Hell no. Like you said, when I first heard it,
• 6:28
  Speaker 1: and I'm a big fan of M.O.P., I'm like, oh,
• 6:31
  Speaker 1: another one of these things. This is crazy. I'm thinking
• 6:33
  Speaker 1: about the album. The album's going to be crazy because
• 6:36
  Speaker 1: of this. But then when I started, I was going
• 6:41
  Speaker 1: to clubs in D.C. And I'm like, damn, they're playing
• 6:43
  Speaker 1: Annie Up. And just watching the crowd's reaction, you could
• 6:48
  Speaker 1: tell it just wasn't the dudes. And that, to me,
• 6:51
  Speaker 1: stood out. I was just like, oh, this one of
• 6:55
  Speaker 1: those throw your guns in the air or House of Pain,
• 6:58
  Speaker 1: jump around, where it's just everybody joins in. I know
• 7:02
  Speaker 1: one thing, though. I always say this about M.O.P. They're
• 7:07
  Speaker 1: kind of like the heavy metal version of hip-hop.
• 7:12
  Speaker 2: Yeah.
• 7:13
  Speaker 1: Their delivery, their beats, their energy. It always feels like
• 7:18
  Speaker 1: more than just typical boom bap. It's on a different level.
• 7:23
  Speaker 1: It's like there's rock, and then there's what heavy metal does.
• 7:27
  Speaker 1: And I felt like M.O.P. was that. The energy, yeah. Right.
• 7:31
  Speaker 1: I think they kind of just had a perfect storm
• 7:35
  Speaker 1: of that energy. But like you said, listen to the words.
• 7:39
  Speaker 2: Fuck you, your honor. Check my persona. It's wrong.
• 7:43
  Speaker 1: Right. This is crazy. Bracelets is jacked. Everything off.
• 7:48
  Speaker 3: Yeah.
• 7:50
  Speaker 1: It's a stick-up song. It's a straight-up stick-up song. You
• 7:56
  Speaker 1: see it come up off them goddamn diamonds.
• 7:59
  Speaker 2: Yeah.
• 7:59
  Speaker 1: This is a hit. On a pop level, that is
• 8:02
  Speaker 1: just so crazy to me.
• 8:04
  Speaker 2: Yeah.
• 8:05
  Speaker 1: Yeah, man. Like, again.
• 8:06
  Speaker 2: Wasn't it on.
• 8:08
  Speaker 1: You Got Served? Yeah, it was on the soundtrack.
• 8:12
  Speaker 2: Yeah, it was on the soundtrack of You Got Served.
• 8:14
  Speaker 2: They had a dance routine to that song.
• 8:17
  Speaker 1: Yeah, and you know what's crazy about that? Damn, I
• 8:21
  Speaker 1: can't remember the actress' name. But she rapped the lyrics
• 8:26
  Speaker 1: to that shit, like on Ellen. I can't remember the
• 8:29
  Speaker 1: actress' name. And this wasn't even a, like, I know
• 8:34
  Speaker 1: the lyrics, but I don't know what they're saying now.
• 8:37
  Speaker 1: She was into that shit, like, take the shits off.
• 8:40
  Speaker 1: And I'm like, yo, I don't think I've ever seen
• 8:43
  Speaker 1: anything like this. I mean, we know now, like, Not
• 8:47
  Speaker 1: Like Us was at the Super Bowl.
• 8:49
  Speaker 2: Right.
• 8:50
  Speaker 1: You don't get no crazier than that.
• 8:52
  Speaker 2: It does.
• 8:55
  Speaker 1: But, yeah, man, like we said, y'all, Annie up. M.O.P.
• 8:58
  Speaker 2: Was around.
• 9:01
  Speaker 1: Two or three albums before that. And then, you know,
• 9:05
  Speaker 1: all of a sudden after trying to at least get
• 9:08
  Speaker 1: to a next level on some hip hop shit, they
• 9:11
  Speaker 1: get a song that is just like timeless and it's
• 9:14
  Speaker 1: been sampled and they're good. So like Tone said, it
• 9:19
  Speaker 1: was almost as if they deserved it for being uniquely themselves.
• 9:25
  Speaker 1: So check out, if you like that shit from M.O.P., man,
• 9:28
  Speaker 1: go check out their music.
• 9:30
  Speaker 2: Yeah.
• 9:31
  Speaker 1: Especially Instagate. I like that shit where he's like, oh,
• 9:34
  Speaker 1: you talking about me? They right there. Yo, come over here.
• 9:38
  Speaker 1: It's like, come on, man. They got too many joints.
• 9:43
  Speaker 1: But let's get into the topic at hand, man. This
• 9:47
  Speaker 1: is a very special show because, as you can tell,
• 9:52
  Speaker 1: me and Tone are big hip-hop fans and old school
• 9:55
  Speaker 1: guys when it comes to hip hop also. But what
• 9:58
  Speaker 1: we don't like, and one of the reasons why we
• 10:01
  Speaker 1: created this show was we like to pay homage to
• 10:05
  Speaker 1: people who had big moments. Like if you could quote like, oh, J.
• 10:09
  Speaker 1: Cole did this and Kendrick did that and blah, blah, blah.
• 10:13
  Speaker 1: You have no idea the people who laid the foundation
• 10:17
  Speaker 1: for for some of these artists to have these situations
• 10:20
  Speaker 1: and blow up and be big and one of the
• 10:23
  Speaker 1: dopest production crews out of hip-hop that you almost never
• 10:28
  Speaker 1: hear about unless it's one of us you're gonna learn
• 10:32
  Speaker 1: about him today tone tell the people what we're here
• 10:35
  Speaker 1: to talk about.
• 10:35
  Speaker 3: Man listen listen A lot of times when you see
• 10:41
  Speaker 3: these lists of greatest producers in hip-hop history, greatest engineers
• 10:45
  Speaker 3: in hip-hop history, greatest beat makers in hip-hop history, you
• 10:49
  Speaker 3: hear DJ Premier, you hear Pete Rock, you hear Dilla,
• 10:55
  Speaker 3: you hear Q-Tip, you hear Organized Noise, you hear DJ Quick,
• 10:59
  Speaker 3: you hear Battle Cat, you hear all of these guys, right?
• 11:02
  Speaker 3: And so many, Eric Sermon, you know, Just Blaze, Kanye West, Alchemist.
• 11:09
  Speaker 3: You hear all these names and, you know, even Beats
• 11:12
  Speaker 3: by the Pound down here where in the South Brown from.
• 11:16
  Speaker 3: Manning Fresh. Old school catch. You might hear about Rick
• 11:20
  Speaker 3: Rubin and all those guys, you know, even Karras 1
• 11:23
  Speaker 3: making beats and stuff. And for some reason, I don't
• 11:29
  Speaker 3: know why. And let me say, other West Coast people,
• 11:33
  Speaker 3: you hear about, uh, Dr. Dre, obviously, and his whole
• 11:38
  Speaker 3: foundation and stuff like that, but people somehow overlook these
• 11:44
  Speaker 3: guys from Long Island, Roosevelt, the Bomb Squad. And if
• 11:50
  Speaker 3: you say, who's the Bomb Squad?
• 11:52
  Speaker 2: Well, you heard of a legendary rap group called Public Enemy, right?
• 11:57
  Speaker 3: You've heard that a lot of list of greatest rap
• 12:01
  Speaker 3: albums of all time.
• 12:04
  Speaker 2: A lot of times.
• 12:05
  Speaker 3: It Takes a Nation to Million is the number one
• 12:08
  Speaker 3: album in hip-hop history to a lot of publications over
• 12:11
  Speaker 3: the last 30 plus years.
• 12:13
  Speaker 2: These are facts. You can look it up.
• 12:17
  Speaker 3: And so the sound behind that, you're talking about innovative,
• 12:24
  Speaker 3: you know, special sounds. Like, you never heard anything like
• 12:29
  Speaker 3: the Bomb Squad until the Bomb Squad dropped.
• 12:32
  Speaker 2: You never heard the... beats that busy. Chuck D said,
• 12:39
  Speaker 2: bring the noise, right? Bring the noise.
• 12:42
  Speaker 3: It's not noise in that sense, but it's a special way.
• 12:46
  Speaker 3: We're going to get into some of that stuff in
• 12:47
  Speaker 3: a minute, but I hate that the Bomb Squad is
• 12:51
  Speaker 3: not mentioned as one of the greatest production groups in
• 12:55
  Speaker 3: hip-hop because they are. Some might argue they are the
• 12:58
  Speaker 3: best because they laid a certain foundation that a lot
• 13:01
  Speaker 3: of people follow after them. After Yo Bum Rush the Show,
• 13:06
  Speaker 3: after It Takes a Nation to Million, after Fear of
• 13:09
  Speaker 3: a Black Planet, after He Got Game, all these things
• 13:12
  Speaker 3: right here by this group, man, like vague, man. I
• 13:17
  Speaker 3: remember hearing Yo Bum Rush the Show, and I'm like, wow,
• 13:22
  Speaker 3: I'm younger.
• 13:22
  Speaker 2: I'm like, wow, this is crazy.
• 13:24
  Speaker 3: Then I remember when I heard Black Still Now or Chaos,
• 13:28
  Speaker 3: you know, and hearing It Takes a Nation to Million.
• 13:31
  Speaker 3: But man, the Bomb Squad, man, like I said, we're
• 13:33
  Speaker 3: going to get into some details, man. But what's your
• 13:35
  Speaker 3: impression when you hear that name, the Bomb Squad?
• 13:40
  Speaker 1: First of all, ill hip-hop name. It is. An ill-ass
• 13:45
  Speaker 1: hip-hop name. And I think about what we said about M.O.P., right?
• 13:52
  Speaker 1: Pure energy. You know what I'm saying? When you think
• 13:56
  Speaker 1: about some of the records we're going to talk about,
• 14:00
  Speaker 1: It was almost like they weren't beat making. They were
• 14:04
  Speaker 1: kind of like scoring Public Enemy albums and finding the
• 14:10
  Speaker 1: perfect mood with the beat for the record and the lyrics.
• 14:15
  Speaker 1: And it always seemed to, like the word that comes
• 14:19
  Speaker 1: across my mind is power when you hear some of
• 14:22
  Speaker 1: those beats. Like you feel that. That's why I work
• 14:25
  Speaker 1: so well with Chuck D, what he had to say lyrically,
• 14:29
  Speaker 1: his voice. The whole image of Public Enemy, it was
• 14:33
  Speaker 1: kind of representative, and they had the perfect soundtrack. Also,
• 14:38
  Speaker 1: Chuck D is a part of the Bomb Squad, if
• 14:39
  Speaker 1: you didn't know that. I didn't really know that, or
• 14:41
  Speaker 1: I forgot it. Yes, absolutely. Until I saw it, and
• 14:44
  Speaker 1: I was like, oh, wait. Chuck is a part of
• 14:47
  Speaker 1: Bomb Squad as well, not just the MC.
• 14:50
  Speaker 2: Yes, so- Because also with them, you got the brothers, right?
• 14:54
  Speaker 2: The Shockley brothers.
• 14:55
  Speaker 1: Shockley brothers.
• 14:56
  Speaker 2: You know what I'm saying?
• 14:57
  Speaker 3: You got the Bill Stephanie guy, the G Wiz, the
• 15:00
  Speaker 3: Eric Sadler. And we'll get into some of them because
• 15:03
  Speaker 3: Eric Sadler actually played multiple instruments as well. But yeah,
• 15:06
  Speaker 3: the Bomb Squad was a unique group because you had
• 15:09
  Speaker 3: different people with different skill set. And some of the
• 15:13
  Speaker 3: people in the Bomb Squad were DJs first. Right. Right.
• 15:17
  Speaker 2: They were DJing and they started making beats.
• 15:19
  Speaker 3: And, you know, as a beat maker and producers, you
• 15:23
  Speaker 3: know what I'm saying? They captured a moment in hip
• 15:27
  Speaker 3: hop that influenced the entire culture, man.
• 15:29
  Speaker 2: But I digress.
• 15:31
  Speaker 1: Yeah, it's sort of like, I think what people have
• 15:34
  Speaker 1: to understand about a time like that are their influences.
• 15:40
  Speaker 1: Because today in hip hop, you know, hip hop is
• 15:43
  Speaker 1: 50 years old, 50 plus years old. So you have
• 15:46
  Speaker 1: a lot of hip hop history to, to dig into
• 15:49
  Speaker 1: the kind of become a new producer today or a
• 15:52
  Speaker 1: rapper today that's influenced by hip hop. But a lot
• 15:55
  Speaker 1: of these guys were influenced by music. And that's why
• 15:58
  Speaker 1: you had dudes who can play instruments, who, who make beats.
• 16:03
  Speaker 1: They're in there creating something, right? They're not really regurgitating
• 16:07
  Speaker 1: or chopping up. This is no offense to anybody who
• 16:11
  Speaker 1: does that, but it's not just about chopping things up there.
• 16:16
  Speaker 1: Their point of reference creatively is coming from just being
• 16:20
  Speaker 1: music fans, musicians, DJs, like you said.
• 16:25
  Speaker 2: And you know what?
• 16:25
  Speaker 3: I had a whole conversation today about how artists are
• 16:31
  Speaker 3: supposed to evolve.
• 16:33
  Speaker 2: Sometimes all these artists stay stuck.
• 16:36
  Speaker 3: On either their debut album or the earliest parts of
• 16:39
  Speaker 3: their career when they're supposed to grow.
• 16:42
  Speaker 2: And the reason why I said it, because thinking about
• 16:44
  Speaker 2: Public Enemy, when.
• 16:46
  Speaker 3: They first got together, they weren't called Public Enemy.
• 16:50
  Speaker 2: You know what I'm saying? It was Spectrum City, right?
• 16:53
  Speaker 3: And their sound wasn't the same sound as the Bomb
• 16:56
  Speaker 3: Squad at first. And then they had a song called
• 16:59
  Speaker 3: Check Out the Radio, right?
• 17:02
  Speaker 2: Early 80s joint. A lot of people didn't know about
• 17:05
  Speaker 2: them then, right? It's Check Out the Radio.
• 17:06
  Speaker 3: And if I'm not mistaken, and hopefully Chuck see this,
• 17:10
  Speaker 3: If we say anything wrong, Chuck, please correct me.
• 17:13
  Speaker 2: You know what I'm saying? And shout out to Chuck D.
• 17:16
  Speaker 3: But at some point, Rick Rubin ended up hearing some
• 17:20
  Speaker 3: of them early joints like that track and wanted them
• 17:23
  Speaker 3: to join Def Jam.
• 17:25
  Speaker 2: You know what I'm saying? Because it was early in
• 17:27
  Speaker 2: the game. You know, it was brand new. You had
• 17:30
  Speaker 2: him and Russell just trying to find their way. They
• 17:32
  Speaker 2: had LL already.
• 17:33
  Speaker 3: And they had a couple other people, but obviously looking
• 17:36
  Speaker 3: for more talent. And a lot of people showing love to,
• 17:39
  Speaker 3: you know what I'm saying, to Spectrum City until they
• 17:42
  Speaker 3: end up, of course, changing their name to Public Enemy.
• 17:45
  Speaker 3: But their style and their sound advanced over the first
• 17:51
  Speaker 3: couple of years leading up to them joining Def Jam.
• 17:55
  Speaker 1: Yeah, you can kind of, especially in hindsight for myself,
• 17:59
  Speaker 1: you can kind of see the blueprints. for what they
• 18:03
  Speaker 1: did with Public Enemy and how, and it's in the
• 18:07
  Speaker 1: Straight Outta Compton movie, the influence they had on Dr.
• 18:13
  Speaker 1: Dre and his sound for N.W.A.
• 18:16
  Speaker 2: And you know what's funny? Because Dr.
• 18:18
  Speaker 3: Dre, when he was with the Worldwide Wrecking Crew, this
• 18:21
  Speaker 3: is pre-N.W.A., a lot of these early groups were... Influenced
• 18:26
  Speaker 3: by disco and stuff like that, right? Influenced by the
• 18:29
  Speaker 3: 70s and stuff. So when it comes to Public Enemy,
• 18:32
  Speaker 3: and of course, like when Chuck found that sample for
• 18:35
  Speaker 3: Public Enemy number one, if I'm not mistaken, Blow Your
• 18:39
  Speaker 3: Head was a song that was played in like skating
• 18:42
  Speaker 3: rinks and disco and clubs and all that.
• 18:45
  Speaker 2: And he found that sample. And of course, Public Enemy.
• 18:47
  Speaker 3: Number one ended up being this, I mean, it's a
• 18:51
  Speaker 3: longstanding song. legendary track in hip hop. But again, the
• 18:55
  Speaker 3: influence from that song was influenced by songs that you
• 19:01
  Speaker 3: would hear in.
• 19:01
  Speaker 2: A skating rink. The song Blow Your Mind. You know
• 19:03
  Speaker 2: what I'm saying? Right.
• 19:05
  Speaker 3: And a lot of people don't understand how big the
• 19:08
  Speaker 3: skating rink, how big disco is, like Studio 54, all
• 19:12
  Speaker 3: this type of stuff in the 70s also assisted in
• 19:15
  Speaker 3: producers starting to take these ideas and bringing them over
• 19:20
  Speaker 3: into this new culture and this new music, rap music
• 19:23
  Speaker 3: in the hip hop culture.
• 19:24
  Speaker 2: You know what I'm saying? And there were no difference.
• 19:27
  Speaker 1: Yeah. It makes a lot of sense because, um, you know,
• 19:31
  Speaker 1: for those who don't know, like Tone just said, taking
• 19:34
  Speaker 1: a sample from a disco record, well, that was rapper's delight.
• 19:38
  Speaker 2: Absolutely.
• 19:39
  Speaker 1: That's exactly what that was. And that was a loop,
• 19:42
  Speaker 1: you know what I'm saying? A consistent loop. So I,
• 19:45
  Speaker 1: think in a lot of ways because it's especially when
• 19:50
  Speaker 1: you're not from those generations obviously Mean Tone was in
• 19:53
  Speaker 1: Grown Men when Disco was out but you see the
• 19:57
  Speaker 1: connections and the influences and what they were able to
• 20:02
  Speaker 1: turn it into you know because when you hear Public
• 20:05
  Speaker 1: Enemy number one you're not thinking about a disco record
• 20:09
  Speaker 1: at all. You're wondering, damn, what's that sample? That sounds crazy.
• 20:18
  Speaker 1: Let's talk about some early production. I just wrote down
• 20:22
  Speaker 1: a list. Some of it's early, some of it's really not.
• 20:27
  Speaker 1: Just a list to give people a scope of their
• 20:31
  Speaker 1: work because a lot of times, for one, they don't
• 20:36
  Speaker 1: get mentioned enough, but then They also always almost exclusively
• 20:40
  Speaker 1: tied to Public Enemy production when they did way more
• 20:45
  Speaker 1: than that, including The Great Adventures of Slick Rick. They
• 20:49
  Speaker 1: did half the album for that album. You know what
• 20:54
  Speaker 1: I'm saying? Which is nuts because I never even thought
• 20:57
  Speaker 1: about that. I didn't know they were doing production on it.
• 21:01
  Speaker 1: You know what I'm saying? Yeah, the impact on Great
• 21:04
  Speaker 1: Adventures is.
• 21:05
  Speaker 3: And for most hip-hop aficionados, the Great Adventures of Slick
• 21:12
  Speaker 3: Rick is always mentioned as one of the greatest rap albums.
• 21:18
  Speaker 2: Of all time.
• 21:19
  Speaker 3: If you see most lists, like top 20, top 30
• 21:22
  Speaker 3: greatest rap albums, you'd be hard-pressed to see a list
• 21:26
  Speaker 3: without Slick Rick, Great Adventures.
• 21:28
  Speaker 2: He's always been on my list.
• 21:29
  Speaker 3: I'm not saying my list is important, but I'm just
• 21:31
  Speaker 3: saying it's a lot of lists that you will see
• 21:33
  Speaker 3: that on there. It was a groundbreaking album, groundbreaking production.
• 21:37
  Speaker 3: I mean, Slick Rick did some of his production. The
• 21:40
  Speaker 3: Shockley Brothers and the Bomb Squad did a few songs.
• 21:44
  Speaker 2: On there as well.
• 21:44
  Speaker 3: And that's a landmark album in hip-hop. Same way you
• 21:49
  Speaker 3: got Public Enemy albums, there's landmark albums in hip-hop. But
• 21:54
  Speaker 3: they also produced one of the greatest West Coast rap
• 22:00
  Speaker 3: albums of all time.
• 22:02
  Speaker 1: Which is crazy. Which is crazy when you think about it, man.
• 22:06
  Speaker 1: Working with Ice Cube, you know, fresh off of NWA,
• 22:11
  Speaker 1: you know, like the story is told, he wanted to
• 22:15
  Speaker 1: work with Dre on his solo, but couldn't. But Dre's style,
• 22:20
  Speaker 1: and you know, this doesn't take anything away from Dr. Dre,
• 22:23
  Speaker 1: but Dre's style was influenced by the Bomb Squad, so
• 22:26
  Speaker 1: Ice Cube was kind of still getting the energy and
• 22:29
  Speaker 1: the sound he wanted on America's Most Wanted, and It
• 22:34
  Speaker 1: was just.
• 22:37
  Speaker 1: Now, y'all know I'm a big Ice Cube fan. So, Tone,
• 22:42
  Speaker 1: when you heard of this whole scenario, Ice Cube's leaving NWA,
• 22:46
  Speaker 1: and he's working with the Bomb Squad, you know, with
• 22:49
  Speaker 1: Public Enemy and all that, what did you think about
• 22:51
  Speaker 1: that whole situation?
• 22:54
  Speaker 3: I remember like it was yesterday. I was in high school,
• 22:56
  Speaker 3: and I was a hip-hop head in high school.
• 22:57
  Speaker 2: Yes, people, I'm old.
• 22:58
  Speaker 3: I was a hip-hop head in high school. I used
• 23:00
  Speaker 3: to make mixtapes for people. When I was in high school,
• 23:03
  Speaker 3: people like these, they called me T-Love in high school.
• 23:05
  Speaker 3: And I used to make mixtapes and they called me
• 23:07
  Speaker 3: T-Hains in college. And I made mixtapes there too. You know,
• 23:11
  Speaker 3: so I remember, you know, you read magazines and all
• 23:16
  Speaker 3: this stuff. You say, my Ice Cube leaving the NWA.
• 23:19
  Speaker 3: Oh man, Ice Cube done. I like Ice Cube though, man.
• 23:21
  Speaker 3: He gonna disappear. Cause you thinking when somebody leave a group,
• 23:24
  Speaker 3: you're thinking they gonna disappear.
• 23:26
  Speaker 1: And that's going to be it.
• 23:27
  Speaker 3: Then you find out like, hey, Ice Cube working on
• 23:29
  Speaker 3: his solo album. And then you start hearing rumors that, well,
• 23:34
  Speaker 3: East Coast group is going to produce them as the
• 23:36
  Speaker 3: bomb squad. Who's the bomb squad? Then you do a
• 23:39
  Speaker 3: little bit of research, reading stuff. And you're like, the
• 23:41
  Speaker 3: guys that make Public Enemy? Ice Cube?
• 23:45
  Speaker 2: What is that?
• 23:46
  Speaker 3: You know what I'm saying?
• 23:47
  Speaker 2: Like, what is that?
• 23:48
  Speaker 3: And then you hear America's Most Wanted. And you're like,
• 23:52
  Speaker 3: what is this? Like, this is incredible where you can.
• 23:59
  Speaker 2: Debate. America's Most Wanted being.
• 24:07
  Speaker 3: A top five West Coast album of all time and
• 24:11
  Speaker 3: a top 10, top 15, top 20 hip hop album
• 24:15
  Speaker 3: of all time and one of the greatest debut albums
• 24:18
  Speaker 3: by a solo MC in hip hop history. Ice Cube
• 24:23
  Speaker 3: writing was great. And then what the Bomb Squad did
• 24:29
  Speaker 3: is loud, is powerful, is busy, It's a public enemy
• 24:34
  Speaker 3: produced album. And it worked for a dude that was
• 24:39
  Speaker 3: just at NWA. How does that happen? What happens when
• 24:45
  Speaker 3: a group of musicians get together and can tailor make
• 24:50
  Speaker 3: a sound or shift a sound and make it work
• 24:53
  Speaker 3: for another artist? And that's what they did for America's
• 24:58
  Speaker 3: Most Wanted. And if you listen to it to this day,
• 25:01
  Speaker 3: America's Most Wanted does not sound dated.
• 25:04
  Speaker 2: It sounds fantastic to this day. It's loud.
• 25:07
  Speaker 3: It's clear. Another thing that Bombs World was good at,
• 25:10
  Speaker 3: that Dr. Dre was good at also, was engineering. It
• 25:13
  Speaker 3: was always clean. It was always loud.
• 25:16
  Speaker 2: I don't know if anyone who's listening to this have
• 25:18
  Speaker 2: ever seen Public Enemy live.
• 25:21
  Speaker 1: I have.
• 25:22
  Speaker 3: And to see Public Enemy in a concert live, they're
• 25:26
  Speaker 3: the loudest, cleanest set I've ever seen. The only group
• 25:30
  Speaker 3: that was even close to them in terms of loud
• 25:32
  Speaker 3: was Cypress Hill. who was on the same ticket they
• 25:36
  Speaker 3: were on that time here in North Carolina when I
• 25:38
  Speaker 3: saw Public Enemy and Cypress Hill. And the music is
• 25:43
  Speaker 3: just so loud and clean with their engineering.
• 25:46
  Speaker 2: As well, man.
• 25:46
  Speaker 3: But what Ice Cube accomplished with that debut with the
• 25:50
  Speaker 3: Shockley Brothers and with the Bomb Squad was fantastic, man.
• 25:54
  Speaker 1: You know what's crazy? We didn't even really get into
• 25:58
  Speaker 1: the list yet, but those are three albums that... that
• 26:02
  Speaker 1: are five-mic classics in a Source magazine. And they're handling
• 26:09
  Speaker 1: the production for Slick Rick, of course. He did some
• 26:13
  Speaker 1: as well. So, Vague, I think that- That's amazing.
• 26:18
  Speaker 3: I think America's Most Wanted is the first West Coast
• 26:21
  Speaker 3: album to get five mics in a Source.
• 26:24
  Speaker 1: It might be. I think it was the first- From.
• 26:29
  Speaker 2: The original micings. I ain't talking about when they revisited.
• 26:32
  Speaker 1: Right.
• 26:33
  Speaker 3: Because you know the initial Source magazine reviews, the Chronic
• 26:37
  Speaker 3: got four.
• 26:37
  Speaker 2: And a half mics.
• 26:39
  Speaker 1: Yeah, I remember that.
• 26:40
  Speaker 3: Doggystyle got four mics. Death Certificate, I think, got four
• 26:44
  Speaker 3: and a half and all that stuff like that.
• 26:46
  Speaker 2: America's Most Wanted. Five mics.
• 26:48
  Speaker 3: Was part of the eight albums. They got five mics initially,
• 26:52
  Speaker 3: and that was, if I'm not mistaken, just for some
• 26:54
  Speaker 3: historical context, people. Yeah, Try Call Quest, People Instinctive Travels. Yeah,
• 27:00
  Speaker 3: Brand Newbies, One For All. Yeah, Ice Cube, America's Most Wanted. Yeah,
• 27:05
  Speaker 3: De La Soul is dead. Yeah, Nauseomatic was the last
• 27:12
  Speaker 3: one out of the eight.
• 27:13
  Speaker 2: You had.
• 27:16
  Speaker 3: A few more escapes me right now, but it's only
• 27:18
  Speaker 3: a few albums. that initially got five mics in the
• 27:22
  Speaker 3: Source magazine, and those were some of the main ones
• 27:25
  Speaker 3: that I just listed, but Ice Cube was one.
• 27:28
  Speaker 2: One of those. They were the first.
• 27:29
  Speaker 3: West Coast artists to get five mics because, like I said,
• 27:33
  Speaker 3: they ended up revising quite a few four and a
• 27:38
  Speaker 3: half and four mic albums in the Source magazine on
• 27:41
  Speaker 3: one of the issues, and they listed like 30 more
• 27:43
  Speaker 3: albums that they gave five mics to that either won
• 27:46
  Speaker 3: the albums like Run DMC, Self Title, and like Raising Hell,
• 27:50
  Speaker 3: some of them.
• 27:51
  Speaker 2: Well, they were out before the source existed.
• 27:54
  Speaker 3: So they went back and mic'd all of those, but
• 27:56
  Speaker 3: they ended up mic'ing several West Coast classics. But Ice Cube,
• 28:00
  Speaker 3: for example, initially, which is a big thing for East
• 28:04
  Speaker 3: Coast publication, they gave Ice Cube five mics in 1990.
• 28:08
  Speaker 1: Yeah, I think the story was before Illmatic came, he
• 28:15
  Speaker 1: was the only soloist that had a five-mic album for
• 28:18
  Speaker 1: the most part. Like you said, there's a lot that
• 28:21
  Speaker 1: happened before that whole situation that, you know, obviously, Children's Story,
• 28:27
  Speaker 1: Great Adventures of Slick Rick. But at that time, once
• 28:31
  Speaker 1: Nas got the five, it was like Cube and Nas
• 28:35
  Speaker 1: were like the only ones. The rest were like.
• 28:37
  Speaker 2: Yeah, the rest of them was groups, I believe. Right.
• 28:40
  Speaker 1: Which is incredible when you consider the... The production from
• 28:45
  Speaker 1: the Bomb Squad. So real quick, I'm going to just
• 28:48
  Speaker 1: run off a couple of the names who there worked
• 28:52
  Speaker 1: on production. Public Enemy, Ice Cube, LL Cool J. You
• 28:56
  Speaker 1: see him over there, the goat right there.
• 28:58
  Speaker 2: James Todd Smith.
• 29:01
  Speaker 1: EPMD, Slick Rick, BDP, Run DMC, Doug E. Fresh, Leaders
• 29:06
  Speaker 1: of the New School. I didn't know that one.
• 29:08
  Speaker 2: Oh, yeah.
• 29:09
  Speaker 1: The Juice soundtrack, I've totally forgot about.
• 29:12
  Speaker 2: Not for Spec Dude, but Big Daddy Cat. Right.
• 29:15
  Speaker 1: Like, I've totally forgot about that. Tricky, Sinead O'Connor, Peter Gabriel, Common,
• 29:23
  Speaker 1: Third Bass, Action Bronson, to name a few.
• 29:26
  Speaker 2: Doug E. Fresh, Keep Rising to the Top?
• 29:28
  Speaker 1: Yeah, yeah, I said Doug E. Fresh.
• 29:30
  Speaker 2: I'm sorry, I'm sorry.
• 29:31
  Speaker 1: But no, no, you said the song, which people know.
• 29:35
  Speaker 2: It's a big song for Dougie.
• 29:38
  Speaker 1: You know what I'm saying? It's a big song for Dougie.
• 29:42
  Speaker 1: One of the things about the Bomb Squad, and maybe
• 29:46
  Speaker 1: this will speak to why they don't get mentioned, because
• 29:51
  Speaker 1: when you think about all that foundational hip-hop, including people
• 29:57
  Speaker 1: all the way up to Action Bronson, But somewhere along
• 30:01
  Speaker 1: the line in that late 80s to early 90s, where
• 30:06
  Speaker 1: I guess they were kind of at their peak as
• 30:08
  Speaker 1: far as their output, I know that they were somewhat disbanded.
• 30:16
  Speaker 1: And then the Shockley brothers were doing some production and
• 30:19
  Speaker 1: other guys were. But tell me if you knew this.
• 30:25
  Speaker 1: I didn't know at some point when, I guess, they
• 30:28
  Speaker 1: established their own label called Soul, that EZ Mobile was
• 30:32
  Speaker 1: a part of the Bomb Squad. Did you know that?
• 30:35
  Speaker 3: So a couple of years ago, I heard about that.
• 30:39
  Speaker 3: But I don't remember doing the knowledge. And I always
• 30:41
  Speaker 3: tell people to do knowledge. I didn't do the knowledge
• 30:43
  Speaker 3: on that, even though I heard that. So I wasn't
• 30:46
  Speaker 3: 100% sure. But I do remember someone in some kind
• 30:51
  Speaker 3: of conversation saying that to me. But, again, I didn't
• 30:54
  Speaker 3: do my research on that. But, yeah, that's very interesting.
• 30:57
  Speaker 3: But not even surprising because, I mean, he's an OB.
• 31:01
  Speaker 3: He had a certain sound. It was hard.
• 31:03
  Speaker 2: It was loud. And it was, you know, just think
• 31:06
  Speaker 2: about some of the stuff he did on Ready to Die.
• 31:08
  Speaker 2: You know what I'm saying?
• 31:09
  Speaker 3: And even stuff with Craig Mack and stuff like that.
• 31:11
  Speaker 3: So I can kind of get that. But that's interesting
• 31:14
  Speaker 3: to hear.
• 31:15
  Speaker 1: Yeah, it is. Another thing. Because, you know, long story
• 31:21
  Speaker 1: short for those watching or listening, you know, it's kind
• 31:26
  Speaker 1: of industry, right? You're the high production team. Everybody wants
• 31:29
  Speaker 1: the production. Everybody wants that sound. Everybody wants the hits.
• 31:32
  Speaker 1: And it just keeps happening. But maybe the business isn't
• 31:37
  Speaker 1: exactly what you would like. And especially once, you know,
• 31:41
  Speaker 1: the calls stop coming in as heavy as they were,
• 31:44
  Speaker 1: you know, then you're not as appreciated. But the smart
• 31:47
  Speaker 1: thing is you start your own shit. which is the
• 31:49
  Speaker 1: label Soul. But their first signing tone was Young Black Teenagers.
• 31:56
  Speaker 1: You remember them?
• 31:59
  Speaker 2: Pass the bottle and twist the cap.
• 32:00
  Speaker 1: Pass the bottle and twist the cap.
• 32:02
  Speaker 3: I remember seeing that video back in high school, and
• 32:06
  Speaker 3: I didn't even know they had any affiliation at the
• 32:08
  Speaker 3: time with Public Enemy.
• 32:10
  Speaker 2: And I was like, what am I watching?
• 32:13
  Speaker 3: And everybody know, if you're listening to this right now,
• 32:18
  Speaker 3: you know.
• 32:19
  Speaker 2: I keep receipts.
• 32:20
  Speaker 3: If you go to Twitter or X and you put
• 32:24
  Speaker 3: in Tony the Dome and put in young black teenagers,
• 32:27
  Speaker 3: you can see what I said about them several years ago.
• 32:29
  Speaker 3: And I posted a picture with my little soliloquy about
• 32:33
  Speaker 3: them because I really couldn't believe that Public Enemy was
• 32:37
  Speaker 3: affiliated with that circus to me personally.
• 32:41
  Speaker 2: And shout out to Chuck. If you see this, man,
• 32:42
  Speaker 2: I'm sorry, brother.
• 32:44
  Speaker 3: But I didn't get it. And I think it was
• 32:46
  Speaker 3: about they had some kind of competition. And it had
• 32:50
  Speaker 3: some kind of bent. And I think it was something
• 32:52
  Speaker 3: that revolved around that. And they used that name for
• 32:56
  Speaker 3: the group. But I remember the video past the ball
• 32:59
  Speaker 3: at Twisted Camp. And it kind of had a dope
• 33:02
  Speaker 3: beat to it, though.
• 33:03
  Speaker 2: It did.
• 33:03
  Speaker 3: But with the visuals, when you see the visuals of
• 33:06
  Speaker 3: white boys with dreads and all of this stuff with
• 33:10
  Speaker 3: the hip-hop gear on, it was really like.
• 33:14
  Speaker 2: It felt like blackface, man. I hate to say that.
• 33:18
  Speaker 3: But I was like, and when I found out it
• 33:21
  Speaker 3: was Chuck and Public Enemy, I couldn't believe it. I've
• 33:25
  Speaker 3: never tweeted or texted Chuck about that. I didn't understand it.
• 33:29
  Speaker 3: Maybe I'll ask him one day. But I never understood that, man.
• 33:35
  Speaker 1: Yeah, it's crazy because I remember either before the song
• 33:41
  Speaker 1: dropped or not too far after it. one of the
• 33:45
  Speaker 1: rappers was in House Party 2. That's right.
• 33:49
  Speaker 2: The white dude with locks. Yeah. He's the main guy from,
• 33:52
  Speaker 2: he's the main, he's the face of the group.
• 33:54
  Speaker 1: He's the main guy. And I remember buying that single because,
• 33:57
  Speaker 1: you know, like you said, the beat was dope and
• 33:59
  Speaker 1: all of that.
• 33:59
  Speaker 2: The beat was hot.
• 34:00
  Speaker 1: But one of the things that contributed, you know, obviously
• 34:05
  Speaker 1: time and hip hop was young. So people feel like
• 34:09
  Speaker 1: you're old, even if you still got it on the
• 34:11
  Speaker 1: production side. But that was interesting. controversial because of what
• 34:16
  Speaker 1: Tone said. It's like young black teenagers and these white
• 34:21
  Speaker 1: dudes jumping around, talking like us, acting like us.
• 34:24
  Speaker 2: Very odd to me.
• 34:26
  Speaker 3: But let me go, I want to go back real
• 34:28
  Speaker 3: quick and show some love to P.E. and the Bomb
• 34:32
  Speaker 3: Squad in the sense of Run DMC. I remember DMC
• 34:37
  Speaker 3: was on an interview one time and he said when
• 34:40
  Speaker 3: he heard Public Enemy No. 1 if I'm not mistaken,
• 34:45
  Speaker 3: when he heard Public Enemy 1, he was like, oh
• 34:46
  Speaker 3: my God.
• 34:48
  Speaker 2: You know what I'm saying?
• 34:50
  Speaker 3: And he's heard Chuck D's voice and he was like, yo,
• 34:56
  Speaker 3: we got to get out the way. This is what
• 35:00
  Speaker 3: DMC said. When he heard Public Enemy, he was like,
• 35:04
  Speaker 3: we got to get out the way. He said Chuck's
• 35:07
  Speaker 3: voice was so powerful and their production was so bang, bang, bang, bang.
• 35:12
  Speaker 3: He was just like, yo, A new wave of hip
• 35:15
  Speaker 3: hop is coming.
• 35:16
  Speaker 2: You know what I mean?
• 35:19
  Speaker 3: And I want to say Run DMC supported Public Enemy.
• 35:25
  Speaker 3: They changed their name to Public Enemy and they supported
• 35:29
  Speaker 3: them and hit up Rick Rube on some old yo man,
• 35:33
  Speaker 3: those guys something special.
• 35:36
  Speaker 2: You know what I'm saying? And then when they did.
• 35:38
  Speaker 3: Rebel Without a Pause they were saying that they heard
• 35:44
  Speaker 3: Arabin Rakim, I Know You Got Sold. And so Rebel
• 35:47
  Speaker 3: Without a Pause was the continuation of I Know You
• 35:51
  Speaker 3: Got Sold. It was influenced by that beat from Arabin Rakim,
• 35:54
  Speaker 3: I Know You Got Sold. And when they did Rebel
• 35:56
  Speaker 3: Without a Pause, they were looking at their own rendition
• 36:00
  Speaker 3: of that song. And we know what that song meant
• 36:03
  Speaker 3: to hip-hop and means to hip-hop and how that production
• 36:05
  Speaker 3: was and everything like that.
• 36:07
  Speaker 2: And it just shows that everyone was influencing each other
• 36:10
  Speaker 2: at the time.
• 36:12
  Speaker 1: Yeah, it's... it's sort of like, it makes a lot
• 36:16
  Speaker 1: of sense, right. Given the fact that when they came along,
• 36:21
  Speaker 1: the type of production being uniquely theirs at that time, um,
• 36:26
  Speaker 1: that I think that's why it was more important to
• 36:30
  Speaker 1: mention everyone. Um, I didn't say BBD also.
• 36:33
  Speaker 2: Yeah. BBD, Paul Abdul.
• 36:37
  Speaker 1: Paul Abdul. I didn't say it, but yeah.
• 36:39
  Speaker 2: Yeah. Paul Abdul as well.
• 36:41
  Speaker 1: Um, But it makes sense from the standpoint of just
• 36:47
  Speaker 1: them being creative. And like we said about young Black teenagers, right?
• 36:52
  Speaker 1: The beat was dope, right? So the Bomb Squad didn't fall. Yeah.
• 36:58
  Speaker 1: But you know what it makes me think about? All right.
• 37:03
  Speaker 1: This was an attempt to do what, Dr. Dre and
• 37:10
  Speaker 1: Jimmy Iovine eventually did with Eminem. If you find somebody dope,
• 37:17
  Speaker 1: you know what I'm saying? That's unconventional and you're like, yo,
• 37:22
  Speaker 1: we give them the right production. This could be crazy.
• 37:26
  Speaker 1: But it never really worked completely as far as respect
• 37:30
  Speaker 1: level until we got Eminem.
• 37:33
  Speaker 3: So, that's interesting. So that means let's just say young
• 37:41
  Speaker 3: black teenagers weren't gimmicky. And let's say they could really,
• 37:45
  Speaker 3: really rap. You think it could have changed? You know,
• 37:48
  Speaker 3: Beastie Boys had their own thing. They were different genres
• 37:51
  Speaker 3: before hip hop. Even when it came to hip hop,
• 37:53
  Speaker 3: could have had so much flavor and style. They weren't lyricists,
• 37:56
  Speaker 3: but people loved the Beastie Boys because they made great music.
• 37:59
  Speaker 3: So if young black teenagers would have made like great
• 38:02
  Speaker 3: music and was rapping, you think it could have been,
• 38:04
  Speaker 3: they could have blew up.
• 38:08
  Speaker 1: I think that name was a distraction. You know what
• 38:11
  Speaker 1: I mean? We see that name. We like, yo, what
• 38:15
  Speaker 1: is this? So we don't hear anything. You know what
• 38:19
  Speaker 1: I'm saying?
• 38:20
  Speaker 3: So the name kind of made you almost block them
• 38:22
  Speaker 3: out and not give them a chance.
• 38:24
  Speaker 1: Right, right. Because you just caught off guard like, wait
• 38:28
  Speaker 1: a minute, they not black.
• 38:30
  Speaker 2: I was surprised they got signed off on.
• 38:32
  Speaker 3: I was surprised that everyone know how militant at the
• 38:36
  Speaker 3: end of the day Public Enemy was.
• 38:38
  Speaker 2: You know what I'm saying?
• 38:39
  Speaker 3: So I was a little surprised that they signed off
• 38:43
  Speaker 3: on that name. I know it might've been a game
• 38:47
  Speaker 3: or whatever, but I was surprised at the end of
• 38:50
  Speaker 3: the day, they said, okay, I know who was joking
• 38:52
  Speaker 3: around about this competition, but let's not name them that
• 38:55
  Speaker 3: because we lost the backlash for that. But they still
• 38:59
  Speaker 3: did it. And I was very shocked. And to be
• 39:02
  Speaker 3: honest with you, and I don't remember the album because
• 39:05
  Speaker 3: it's been so many decades. If you go back right now,
• 39:09
  Speaker 3: the production on the album probably was dope. But that
• 39:14
  Speaker 3: name alone made people check out before they even give
• 39:16
  Speaker 3: them a shot.
• 39:17
  Speaker 1: Right. Because that's what I kind of felt like when
• 39:21
  Speaker 1: I saw this and remembered, like, oh, yeah, young black teenagers.
• 39:24
  Speaker 1: I remember them. All I could think of is controversy. Like, nothing.
• 39:30
  Speaker 1: about lyrics the only thing i knew was the song
• 39:32
  Speaker 1: because i bought the single because i thought the single
• 39:35
  Speaker 1: was cool but when i saw the video i was
• 39:36
  Speaker 1: like what like yeah i bought the single before i
• 39:40
  Speaker 1: saw them so i thought they were black i was
• 39:44
  Speaker 1: like oh this is this is a regular name, but whatever,
• 39:47
  Speaker 1: you know, YBT.
• 39:49
  Speaker 3: You know, it felt like, you remember Five Heartbeats when
• 39:52
  Speaker 3: they was like, they looked at the album cover, they're like,
• 39:56
  Speaker 3: what is this?
• 39:56
  Speaker 2: You know what I'm saying?
• 39:58
  Speaker 3: So it's kind of like, you see the videos, like
• 40:01
  Speaker 3: see the album cover of.
• 40:03
  Speaker 2: And you're like, I'm checking out, man. What is this?
• 40:07
  Speaker 3: And so you don't even give a bit of it up.
• 40:09
  Speaker 3: I do want to say this real quick too, man. Like,
• 40:13
  Speaker 3: We had said earlier about the Juice soundtrack. Anyone who
• 40:17
  Speaker 3: a Big Daddy Kane, well, you notice if it's Big
• 40:19
  Speaker 3: Daddy Kane, but the song, No Respect Dude, that was
• 40:23
  Speaker 3: on Juice was fire.
• 40:24
  Speaker 2: You know what I'm saying? Well, that's the Bomb Squad.
• 40:26
  Speaker 2: You know what I'm saying?
• 40:27
  Speaker 3: If you like Slick Rick, for example, like I do,
• 40:30
  Speaker 3: me personally, I know this might not be popular for
• 40:33
  Speaker 3: a lot of people, but on the Greatest Villains of
• 40:36
  Speaker 3: Slick Rick, my favorite song on Greatest Villains of Slick
• 40:40
  Speaker 3: Rick is The Moment I Feared. And The Moment I
• 40:42
  Speaker 3: Fear is produced by the Bomb Squad.
• 40:45
  Speaker 2: Don't get me wrong.
• 40:46
  Speaker 3: Everybody knows Children's Story, legendary. Hey Young World, legendary. We
• 40:51
  Speaker 3: know all that. But when it came to pure hip hop,
• 40:55
  Speaker 3: my favorite song was The Moment I Fear and it's
• 40:57
  Speaker 3: produced by the Bomb Squad.
• 40:59
  Speaker 1: And you know what's crazy? Like we said earlier about
• 41:03
  Speaker 1: the music they created at that time was like scoring
• 41:07
  Speaker 1: a movie. And think about how that beat felt. when
• 41:11
  Speaker 1: he's like, it was the moment I feared.
• 41:13
  Speaker 2: Oh my God.
• 41:15
  Speaker 1: It felt tense. You know what I'm saying?
• 41:17
  Speaker 2: It was tense.
• 41:18
  Speaker 1: Yeah.
• 41:18
  Speaker 3: And the story was tense because he was about to
• 41:20
  Speaker 3: get robbed. And the beat made you fit. The beat,
• 41:25
  Speaker 3: I'm glad you said it, the beat fit the energy
• 41:28
  Speaker 3: of the lyrics of the song and put you right
• 41:31
  Speaker 3: there in that club with Slick Rick before the.
• 41:35
  Speaker 2: Dude tried to rob him.
• 41:37
  Speaker 3: And it was the way the beat was manifested it
• 41:41
  Speaker 3: just flowed perfectly with, it sounded, the soundtrack to the song,
• 41:48
  Speaker 3: you know what I mean, if that makes sense. Like,
• 41:50
  Speaker 3: it felt right. And it felt like, like you said,
• 41:54
  Speaker 3: the beat was kind of, like, tense.
• 41:57
  Speaker 2: Like, this nigga about to get robbed, you know what
• 41:59
  Speaker 2: I mean?
• 41:59
  Speaker 3: Like, so it kind of felt like, and you know,
• 42:02
  Speaker 3: it was good for doing that. They made sure the beat,
• 42:07
  Speaker 3: matched the rhymes and the beat matched the sound for
• 42:12
  Speaker 3: when it came to Public Enemy of Chuck D's very
• 42:15
  Speaker 3: powerful voice.
• 42:16
  Speaker 2: He was known to have a.
• 42:18
  Speaker 3: Very powerful voice and during his era maybe only Melly
• 42:23
  Speaker 3: Mail had a voice that powerful.
• 42:27
  Speaker 2: You know what I'm saying?
• 42:28
  Speaker 3: So you had to make the right production to be
• 42:31
  Speaker 3: able to handle that type of power in his voice.
• 42:35
  Speaker 3: It's like You had to have a certain kind of
• 42:36
  Speaker 3: production to have the biggest voice because Biggie Smalls had
• 42:42
  Speaker 3: a powerful voice. Chuck D had a powerful voice. Ice Cube,
• 42:45
  Speaker 3: we spoke about earlier, what America's Most Wanted. Well, Cube
• 42:49
  Speaker 3: had a strong presence on the mic. So the production
• 42:53
  Speaker 3: had to match that intensity and that presence on the mic, man.
• 42:57
  Speaker 3: And they were able to do that with those songs
• 43:02
  Speaker 3: on those albums, man.
• 43:05
  Speaker 1: Yeah, again, talking about their production credits over time, right?
• 43:10
  Speaker 1: Because we did say Action Bronson and Common and names
• 43:13
  Speaker 1: like that. But, you know, as, you know, that point
• 43:20
  Speaker 1: in hip hop, you know, there was just a point
• 43:21
  Speaker 1: in hip hop where you could continue to work as
• 43:26
  Speaker 1: a producer, but you're probably not as visible because of
• 43:31
  Speaker 1: how hip hop treated anything that was deemed old. So
• 43:36
  Speaker 1: it was almost as if you had to be active
• 43:39
  Speaker 1: under a radar as opposed to back then where everybody
• 43:43
  Speaker 1: knew the Bomb Squad and their production and their work.
• 43:46
  Speaker 1: So let me ask you this, Tone, considering what the
• 43:50
  Speaker 1: Bomb Squad did for like Def Jam artists and other
• 43:55
  Speaker 1: hip hop artists and just hip hop in general, when
• 43:58
  Speaker 1: you think about production teams, throughout history, like some of
• 44:02
  Speaker 1: them you named, like Organized Noise, The Hitmen, Bad Boy.
• 44:07
  Speaker 1: You feel like there's more of a conversation around their
• 44:13
  Speaker 1: production versus the Bomb Squad. Do you think they're just
• 44:17
  Speaker 1: a victim of most people, not all of us, definitely
• 44:21
  Speaker 1: not us, really only looking at hip hop as Illmatic
• 44:25
  Speaker 1: forward or Wu-Tang, into the Wu-Tang forward? Yeah. Everybody else
• 44:31
  Speaker 1: gets left out.
• 44:33
  Speaker 3: You asked the perfect question just now, because if anybody
• 44:36
  Speaker 3: watching this go back to just yesterday on my timeline,
• 44:39
  Speaker 3: I literally typed, there was hip hop before 1994, people.
• 44:44
  Speaker 3: I literally typed, it's on my page right now. If
• 44:46
  Speaker 3: you don't believe it, just go to my page. My name,
• 44:49
  Speaker 3: it'll say 1994. It'll pop up. I said, people, there
• 44:53
  Speaker 3: was hip hop before 1994. You know what I'm saying?
• 44:56
  Speaker 3: Sometimes the nostalgia with the 90s make you forget that
• 45:00
  Speaker 3: 87 to 88, that era, some would consider the best year, 88,
• 45:07
  Speaker 3: in hip-hop. 87, one of the best years in hip-hop.
• 45:10
  Speaker 3: I'm not saying that a few years in the 90s
• 45:13
  Speaker 3: can't rival them, but there was amazing production and amazing
• 45:17
  Speaker 3: talent and amazing sound that innovated and influenced the sounds
• 45:22
  Speaker 3: you guys got in the 90s that you love so much.
• 45:26
  Speaker 2: A lot of the production, when you think of.
• 45:30
  Speaker 3: Very busy production, like somebody like Timbaland, you know, people
• 45:34
  Speaker 3: like that, what a busy production was with the Bomb Squad.
• 45:41
  Speaker 3: You know, layers and layers of music, loud, almost like rock.
• 45:46
  Speaker 3: It took, like, the sounds of, like, the early... Def
• 45:51
  Speaker 3: Jam sound to another whole level. You know, you had
• 45:54
  Speaker 3: how great Larry Smith was. Obviously, rest in peace, Larry
• 45:57
  Speaker 3: Smith is not talked about enough. I was talking about
• 45:59
  Speaker 3: him on my page, put in, turned on, put Larry
• 46:02
  Speaker 3: Smith in. He's one of the greatest. He did all
• 46:04
  Speaker 3: this stuff with Run New City, Houdini, and all these people.
• 46:07
  Speaker 2: Right? You had Larry Smith. You had Rick Rubin. You
• 46:10
  Speaker 2: had all of them. But then the Bomb Squad took
• 46:13
  Speaker 2: some of their stuff, too.
• 46:15
  Speaker 3: And made it grand, made it louder, made it more
• 46:18
  Speaker 3: complex than I mean, like, so when you hear Night
• 46:23
  Speaker 3: of the Living Bass, it's, uh, uh. Nobody was making
• 46:28
  Speaker 3: music like that before that. You know what I'm saying?
• 46:30
  Speaker 3: If you watch the video, it's like a movie. But
• 46:32
  Speaker 3: if you just listen to it in your car, it's
• 46:34
  Speaker 3: like blowing your eardrums out.
• 46:36
  Speaker 2: You know what I'm saying? Bass. Hello. You know, whatever.
• 46:39
  Speaker 2: It's like boom, boom, boom, boom, boom.
• 46:42
  Speaker 3: It's like you didn't hear nothing like that before the
• 46:44
  Speaker 3: Bomb Squad. You know what I'm saying? So, yeah, innovative music.
• 46:49
  Speaker 3: But before that time, so unless you're a hip-hop historian
• 46:54
  Speaker 3: as a young person, you totally bypassed what the Bomb
• 46:59
  Speaker 3: Squad did in hip-hop and you started hip-hop with maybe Dr.
• 47:03
  Speaker 3: Dre or maybe Tribe and the Native Tongues or EPMD
• 47:08
  Speaker 3: and people like that. You just totally forget about the
• 47:10
  Speaker 3: whole era before that that influenced all of them.
• 47:14
  Speaker 2: Yeah, I mean.
• 47:16
  Speaker 1: I think that's where my mind goes when I think
• 47:19
  Speaker 1: about this and I think about the Bomb Squad. We
• 47:23
  Speaker 1: ask ourselves, they did all these hits, all these classics.
• 47:30
  Speaker 1: They were the engineers behind the sound, yet in a
• 47:38
  Speaker 1: society where we're more social than ever because of social media,
• 47:45
  Speaker 1: you're just hearing about the same names because that's what people,
• 47:50
  Speaker 1: most people know. That's what most people want to talk about.
• 47:53
  Speaker 1: And they don't really want to learn about the pioneers.
• 47:57
  Speaker 1: I will say this. There's a younger generation that is
• 47:59
  Speaker 1: digging deep enough to go into that stuff and finds
• 48:04
  Speaker 1: it fascinating. And I love that. But to your point,
• 48:08
  Speaker 1: you know, the bomb squad and what they did production-wise
• 48:13
  Speaker 1: and laid the foundation for certain sounds. There's a reason
• 48:16
  Speaker 1: why this month in hip hop was MOP, right? I
• 48:20
  Speaker 1: said they're kind of like heavy metal. Bomb Squad was
• 48:23
  Speaker 1: kind of like rock and roll, but in a hip
• 48:26
  Speaker 1: hop sounding way. And I did a podcast maybe a
• 48:30
  Speaker 1: couple years ago about albums that still sound really good today.
• 48:37
  Speaker 1: And It Takes a Nation of Millions was on there.
• 48:40
  Speaker 1: And what's crazy about it is Before I did that,
• 48:44
  Speaker 1: because I wanted to, you know, I don't want to
• 48:46
  Speaker 1: just say this shit. I just went and listened to
• 48:48
  Speaker 1: the albums that I had in my list before I
• 48:51
  Speaker 1: did the show. And Tone, when I put It Takes
• 48:54
  Speaker 1: a Nation of Millions in, I was like, I don't
• 48:58
  Speaker 1: remember it sounding this crispy. I had to look and
• 49:02
  Speaker 1: see if it was remastered. Like, yo, it's got to
• 49:05
  Speaker 1: be remastered. It's phenomenal. Like you said, this is It's why, like,
• 49:11
  Speaker 1: I don't give a fuck what Dr. Dre put out.
• 49:13
  Speaker 1: I'm listening just because of the engineering alone. Yeah.
• 49:18
  Speaker 2: I mean, again.
• 49:19
  Speaker 3: They have several critically acclaimed albums. Of course, it's based
• 49:25
  Speaker 3: on several things. Of course, the messages, the production, the engineering,
• 49:33
  Speaker 3: everything like that. And again, They came out. So Public
• 49:38
  Speaker 3: Enemy have like 15, 16 albums, I think, or projects total.
• 49:42
  Speaker 3: But the Bomb Squad totally produced, I think, six or
• 49:44
  Speaker 3: seven of them. But let me just say this. You
• 49:46
  Speaker 3: think about Yo! Bum Rush the Show. That's a groundbreaking
• 49:49
  Speaker 3: debut album by Public Enemy.
• 49:51
  Speaker 2: You know what I'm saying? People skip right to It
• 49:53
  Speaker 2: Takes a Nation. Yo! Bum Rush the Show is Public
• 49:56
  Speaker 2: Enemy at their finest as well.
• 49:58
  Speaker 3: They advanced their sound and style and everything to me
• 50:02
  Speaker 3: on It.
• 50:02
  Speaker 2: Takes a Nation a Million. But then you got some fans.
• 50:06
  Speaker 3: who came to me recently when I was talking about
• 50:08
  Speaker 3: Texas Nation to me, their favorite Public Enemy album was
• 50:11
  Speaker 3: Fear of.
• 50:11
  Speaker 2: A Black Planet. You know what I'm saying?
• 50:13
  Speaker 3: Another amazing album that got like five stars reviews on
• 50:17
  Speaker 3: all these professional, whatever, same way your boy Rush and
• 50:21
  Speaker 3: Texas Nation did.
• 50:22
  Speaker 2: Then you had the Apocalypse Now, you know.
• 50:25
  Speaker 3: What I'm saying, that got like four or five stars
• 50:28
  Speaker 3: and all this critical acclaim.
• 50:30
  Speaker 2: He got gang joint, you know what I'm saying, like that.
• 50:33
  Speaker 3: So then you get these kind of like, These singles
• 50:38
  Speaker 3: like Can't Trust It, you know, 9-11 Bass Heads, you know,
• 50:44
  Speaker 3: 9-1-1 is a Joke. We talking about Enough Respect, we
• 50:47
  Speaker 3: talking about The Moment I Fear. You know, we talking
• 50:49
  Speaker 3: about all these kind of songs. And every last one
• 50:53
  Speaker 3: of the songs sound totally different, but they all still loud. Like,
• 50:57
  Speaker 3: the Bomb Squad doesn't have a redundant sound. If you
• 51:01
  Speaker 3: go listen to It Takes a Nation to Million right now,
• 51:04
  Speaker 3: every song sounds totally different.
• 51:06
  Speaker 1: Mm-hmm.
• 51:06
  Speaker 3: They just happened to be loud and crisp and complex
• 51:09
  Speaker 3: and a bunch of noise. I think they started the
• 51:13
  Speaker 3: whole thing of, let me make some gumbo.
• 51:17
  Speaker 2: You know what I'm saying?
• 51:17
  Speaker 3: Like, I'm going to make this gumbo. The gumbo tastes good,
• 51:20
  Speaker 3: but it looks crazy, right? I think the production of
• 51:24
  Speaker 3: Public Enemy was, y'all never made nothing this damn loud before.
• 51:29
  Speaker 3: You know what I'm saying? We're going to make the
• 51:30
  Speaker 3: loudest noise. hip-hop possible. And that's the way I look
• 51:35
  Speaker 3: at the Bomb Squad.
• 51:35
  Speaker 2: Like, boom! And that's how it was when I saw
• 51:38
  Speaker 2: them live. You know what I'm saying?
• 51:40
  Speaker 3: And I think that they ushered in that type of energy.
• 51:46
  Speaker 3: And nobody sounds like the Bomb Squad production.
• 51:51
  Speaker 1: You can't duplicate it.
• 51:53
  Speaker 3: You can't duplicate that because you had several amazing people
• 51:57
  Speaker 3: in the bomb squad who all had different skill sets.
• 52:01
  Speaker 3: You got somebody like Eric Sala playing instruments, right? You know,
• 52:05
  Speaker 3: you have artists in it like Chuck D is an emcee.
• 52:09
  Speaker 3: He's a real artist. He's creative in his mind. So
• 52:12
  Speaker 3: he might say, hey, I like that, but dude, he
• 52:15
  Speaker 3: was finding samples for the bomb squad. You know, he
• 52:18
  Speaker 3: was finding samples and they made the beats. You know,
• 52:21
  Speaker 3: Shockley Brothers. They were DJs and producers and stuff like that.
• 52:26
  Speaker 2: You know what I'm saying? Then I got the guy Bill.
• 52:27
  Speaker 2: You got G-Wiz, I think, came on later.
• 52:30
  Speaker 3: You have all these different people with all these different
• 52:33
  Speaker 3: ideals and music experience. And when they all came together,
• 52:38
  Speaker 3: like Voltron, man, you get possibly the greatest hip-hop album
• 52:44
  Speaker 3: of all time, and it takes a nation to a million,
• 52:46
  Speaker 3: on a lot of lists.
• 52:47
  Speaker 2: It's the highest-ranking rap album ever.
• 52:49
  Speaker 3: Then you get Ice Cube's... a debut album, which is
• 52:53
  Speaker 3: looked at as one of the greatest debut albums of
• 52:55
  Speaker 3: hip hop. You get the assistance on sneak Rick album,
• 52:59
  Speaker 3: which is a landmark album in the golden era.
• 53:01
  Speaker 2: Of hip hop.
• 53:02
  Speaker 3: So these things all happen under the watch of the
• 53:05
  Speaker 3: bomb squad.
• 53:06
  Speaker 2: It's amazing.
• 53:08
  Speaker 1: It's, it's amazing, man. I'm glad you said, don't trust
• 53:11
  Speaker 1: it because that is, that's like the perfect example of
• 53:15
  Speaker 1: the noise you described. I remember I saw the video first, man.
• 53:20
  Speaker 1: And it was loud on the TV. You didn't have
• 53:23
  Speaker 1: to adjust the volume. You were just like, yo, what
• 53:27
  Speaker 1: is this? And it was always like a force or
• 53:30
  Speaker 1: a ball of energy. And like you said, when you
• 53:33
  Speaker 1: start to listen to a beat like that and you
• 53:35
  Speaker 1: try to break down the layers, you can't imagine those
• 53:40
  Speaker 1: sounds and voices that are all made and put together
• 53:45
  Speaker 1: for a rhythm. You know what I'm saying? It's just
• 53:48
  Speaker 1: something you don't necessarily... hear or see unless you're talking
• 53:51
  Speaker 1: about somebody like Dilla, who was very good at chopping
• 53:56
  Speaker 1: something up to a point where you wouldn't even recognize it.
• 54:01
  Speaker 1: But what do y'all think about the Bomb Squad? Did
• 54:05
  Speaker 1: you learn something today? Is there some other songs, records,
• 54:10
  Speaker 1: beats you'd like to point out? Facts? Leave your comments
• 54:13
  Speaker 1: in the comments section below. This is what we do, man.
• 54:16
  Speaker 1: We try to commemorate, celebrate, appreciate, uh, hip hop, whether
• 54:23
  Speaker 1: it's rappers, whether it's a moment in time, you know,
• 54:27
  Speaker 1: in the bomb squad, like you, if even if you're young,
• 54:31
  Speaker 1: you've heard about some of these legendary albums and artists,
• 54:36
  Speaker 1: and these guys were right at the core of it
• 54:39
  Speaker 1: at hip hop, driving hip hop forward into the next
• 54:42
  Speaker 1: phase with the influence. So definitely appreciate, uh, The Shockley Brothers,
• 54:49
  Speaker 1: you know what I'm saying? Hank and Keith Shockley. Vietnam,
• 54:55
  Speaker 1: Eric Sadler, you know, G-Wiz, Gary G-Wiz, Ronaldo, of course,
• 55:00
  Speaker 1: Chuck D. Definitely a dope production team. One of the
• 55:06
  Speaker 1: ones you need to mention and do the knowledge on. Tone,
• 55:10
  Speaker 1: tell everybody where they can follow you. Your podcast right
• 55:15
  Speaker 1: here on YouTube, all the good information and what you're
• 55:18
  Speaker 1: up to next. Yeah, man.
• 55:20
  Speaker 2: You know, just Tony the Dome on Twitter, man.
• 55:24
  Speaker 3: And you'll see links to different things, man. But yeah,
• 55:29
  Speaker 3: the Dome podcast right here on YouTube. Obviously, TonyTheDome.com as well.
• 55:34
  Speaker 3: I still post some of my old articles because I
• 55:37
  Speaker 3: was going to stop posting, but a lot of people
• 55:40
  Speaker 3: started hitting me like, yo, they enjoyed some of the jokes.
• 55:43
  Speaker 3: So I started back posting old articles everywhere. from every
• 55:47
  Speaker 3: genre of hip hop. And they're still getting a lot
• 55:50
  Speaker 3: of views. Some people still like to read. So if
• 55:53
  Speaker 3: you still like to read, I know some people, tennis
• 55:55
  Speaker 3: fans are short, but if you're a person who really
• 55:58
  Speaker 3: enjoy reading, uh, tone of the dome.com, man, go in
• 56:01
  Speaker 3: there and check some of those articles out. Master got
• 56:04
  Speaker 3: ones on there. Well, I'll cast Jay-Z, many ribbons and
• 56:07
  Speaker 3: all of those people like that. Shaka Khan, you know?
• 56:10
  Speaker 3: So yeah, it's a lot, man, Madonna, whatever. So for
• 56:14
  Speaker 3: music heads, you know, not just hip hop heads, But
• 56:17
  Speaker 3: for Music Hands, of course, like I said, the Dome Podcast, man.
• 56:21
  Speaker 3: I've had some good guests over the last couple of months.
• 56:23
  Speaker 3: Got more to come. You can also catch me if
• 56:26
  Speaker 3: you like following my profiles, reaching out to Culture United
• 56:31
  Speaker 3: with the company, man.
• 56:32
  Speaker 2: Of course, with the Rap Roundtable and other people as well, man.
• 56:40
  Speaker 2: Other platforms as well, man.
• 56:41
  Speaker 3: So, yeah, just turn the dome out on Twitter, man,
• 56:44
  Speaker 3: and just kind of follow what I'm doing, man.
• 56:45
  Speaker 2: I appreciate you.
• 56:47
  Speaker 1: All right, you can follow me on social media at VegasWorldINC.
• 56:52
  Speaker 1: And check out my podcast, weekly podcast, News and Perspectives,
• 56:57
  Speaker 1: right here on Hip Hop Now podcast channel. Also, by
• 57:03
  Speaker 1: the time this releases, we have a brand new episode
• 57:07
  Speaker 1: in the Celebrate 1996 series. It is Illidelf Half-Life. Oh, man,
• 57:13
  Speaker 1: I got to see that one. Yeah, my guess is Kill. 889.
• 57:18
  Speaker 1: Y'all know him. Well, yeah, okay. That makes sense. So, yeah,
• 57:22
  Speaker 1: we just chopping it up about the album, the time. Tone,
• 57:26
  Speaker 1: you already know I had a couple cassette singles ready
• 57:29
  Speaker 1: from back then that I bought.
• 57:30
  Speaker 2: I know you did. I still got them, too.
• 57:33
  Speaker 1: Right. But, yeah, just dope conversation commemorating that year. And, again,
• 57:38
  Speaker 1: you can check out the episode me and Tone did.
• 57:41
  Speaker 1: Nas' It Was Written. And trust me, it's not just good.
• 57:45
  Speaker 1: glazing the album. It's all about the time, who Nas was,
• 57:50
  Speaker 1: the motivations, what people were saying, the songs, everything. Everything
• 57:57
  Speaker 1: we talk about with that album. Make a lot of
• 58:00
  Speaker 1: great points about hip-hop today as well as what was
• 58:03
  Speaker 1: happening back then. Check that out. Until next time, y'all,
• 58:08
  Speaker 1: go out and support real hip-hop. Peace.