Latest / The Right Time with Bomani Jones / 1996 Hip-Hop Series: DJ Wally Sparks on Why Dr. Dre and Snoop Needed Each Other, Tupac's incredible rise | 03.17

Transcript

1996 Hip-Hop Series: DJ Wally Sparks on Why Dr. Dre and Snoop Needed Each Other, Tupac's incredible rise | 03.17 · The Right Time with Bomani Jones

• 0:05
  Speaker 1: Ladies and gentlemen welcome to the right time a wave
• 0:08
  Speaker 1: original my name is bomani jones thanks for listening wherever
• 0:11
  Speaker 1: you get your podcast thanks for watching us on youtube
• 0:15
  Speaker 1: subscribe like rate us review us give us five stars
• 0:18
  Speaker 1: you only give us four stars i'm inclined to believe
• 0:20
  Speaker 1: you are a hater it is time machine tuesday our
• 0:24
  Speaker 1: latest installment of our series on the year 1996 in
• 0:27
  Speaker 1: hip-hop We've gone through a lot, right? We went through
• 0:33
  Speaker 1: the year of Tupac. We talked about what was going
• 0:35
  Speaker 1: on down south. We got into a lot of different
• 0:38
  Speaker 1: East Coast stuff. Talked about the singles of the year.
• 0:41
  Speaker 1: And now we wrap it up. Talk about the West Coast.
• 0:43
  Speaker 1: Shout out to my man, Jason England, who's helped us
• 0:45
  Speaker 1: out with half of these. And my man now, DJ
• 0:48
  Speaker 1: Wally Sparks.
• 0:49
  Speaker 2: What's happening?
• 0:50
  Speaker 1: Wrapping this thing up, bringing it home. What's going on, dog?
• 0:53
  Speaker 2: I can't complain, big brother. I'm chilling, man. You know,
• 0:57
  Speaker 2: happy to be here.
• 0:58
  Speaker 1: You know, putting off Chattanooga.
• 1:00
  Speaker 2: Yeah, all the time, man.
• 1:02
  Speaker 3: 4-2-3.
• 1:02
  Speaker 1: I tell you, you and I have talked about this before.
• 1:05
  Speaker 1: The cities that have minor league baseball teams have a
• 1:10
  Speaker 1: real cheat code over their peers who don't because y'all
• 1:13
  Speaker 1: got a hat.
• 1:14
  Speaker 2: Yep. We can represent everywhere we go.
• 1:18
  Speaker 1: Yeah, your little town ain't got no minor league baseball team, man.
• 1:21
  Speaker 1: You just got to wear some shirt that makes some
• 1:23
  Speaker 1: reference to the violence in your town.
• 1:24
  Speaker 2: Right.
• 1:26
  Speaker 1: Kill the city, fool.
• 1:27
  Speaker 2: Yeah, man.
• 1:29
  Speaker 4: I remember when I was touring probably like 10 or
• 1:32
  Speaker 4: 12 years ago, man, I was in Vancouver, Canada, and
• 1:38
  Speaker 4: I was walking some retail space or whatever, just, you know,
• 1:41
  Speaker 4: doing what tourists do. And I looked up in there
• 1:44
  Speaker 4: and I saw a Lookouts hat, man. I had never
• 1:46
  Speaker 4: felt such a large sense of pride in my life, bro.
• 1:48
  Speaker 2: I was like, look at that. Like, we all over
• 1:51
  Speaker 2: the world, baby.
• 1:52
  Speaker 1: It's so funny. Y'all all over iOS. Y'all the, what
• 1:56
  Speaker 1: you call it?
• 1:57
  Speaker 2: The emoji.
• 1:58
  Speaker 1: The big eye emoji.
• 2:01
  Speaker 2: You know?
• 2:03
  Speaker 1: The year 1996 in West Coast rap, to me, is interesting.
• 2:08
  Speaker 1: And I'm curious to know, on a few levels what
• 2:11
  Speaker 1: you think about this, but I think it's somewhat important
• 2:14
  Speaker 1: especially for like younger people who were not around at
• 2:17
  Speaker 1: a time, the time to kind of build.
• 2:19
  Speaker 2: To this, right?
• 2:19
  Speaker 1: So on this series, we'd already talked a lot about
• 2:22
  Speaker 1: Tupac and we'll talk a little bit more about him
• 2:24
  Speaker 1: obviously in this. And the year was his. But I
• 2:27
  Speaker 1: feel like a big part of that with Tupac was
• 2:30
  Speaker 1: we had associated, like even if we associated Tupac with Oakland,
• 2:34
  Speaker 1: it did kind of feel in some ways like Tupac
• 2:35
  Speaker 1: kind of belonged to everybody because that 90, that Me
• 2:38
  Speaker 1: Against the World album, right? With like the Easy Mo
• 2:40
  Speaker 1: B joints and everything else. Like I don't feel like
• 2:43
  Speaker 1: I don't feel like that is an album that is
• 2:45
  Speaker 1: particular to a place. And then he came out and
• 2:49
  Speaker 1: he became the ultimate patriot for California, right? Like he
• 2:53
  Speaker 1: put on harder for that than anything else, but it's
• 2:55
  Speaker 1: also worth noting that that run of time, the West
• 2:58
  Speaker 1: coast was kind of running the game. Like he went
• 3:01
  Speaker 1: and jumped on the winning team.
• 3:02
  Speaker 2: It was like, so this is, this is the way
• 3:05
  Speaker 2: I look at Tupac, uh, uh, his discography.
• 3:09
  Speaker 4: Like you got like, uh, Tupac is now strictly for my,
• 3:14
  Speaker 4: and then me against the world.
• 3:15
  Speaker 2: That's, that's MC New York. You know what I'm saying?
• 3:18
  Speaker 4: And then, uh, and then when he, when he got
• 3:21
  Speaker 4: out of prison and he went to death row, that's
• 3:24
  Speaker 4: when we got like the, the, the pocket we all
• 3:27
  Speaker 4: know now. And you know, it's like, I've never seen
• 3:32
  Speaker 4: anybody decide that they were going to be, you know, the,
• 3:35
  Speaker 4: the spokesperson for a city. Like he became a spokesperson
• 3:37
  Speaker 4: for Los Angeles when he went to death row.
• 3:40
  Speaker 2: You know what I mean?
• 3:40
  Speaker 3: Right.
• 3:42
  Speaker 1: The spokesperson nobody asked for.
• 3:44
  Speaker 4: And he was adamant to live and die in L.A., baby.
• 3:48
  Speaker 2: You know what I'm saying?
• 3:51
  Speaker 1: I tell you this, though. If I had just got
• 3:54
  Speaker 1: let out of.
• 3:55
  Speaker 2: Clinton, Max.
• 3:56
  Speaker 1: And then you take me out and you drop me
• 4:00
  Speaker 1: off in L.A. with a pocket full of money as
• 4:02
  Speaker 1: the hottest thing on the streets. I can't imagine how
• 4:05
  Speaker 1: dope L.A.
• 4:05
  Speaker 2: Would be.
• 4:06
  Speaker 3: Yeah.
• 4:06
  Speaker 2: Yeah, I bet. I'm sure you had a little too
• 4:09
  Speaker 2: much fun.
• 4:09
  Speaker 3: Right.
• 4:10
  Speaker 1: But like for him, because like Oakland with like the
• 4:13
  Speaker 1: Panther tradition and all of that stuff. Right. Like it
• 4:15
  Speaker 1: was a fit. His fit with Digital Underground, like all
• 4:18
  Speaker 1: of that was there. But L.A., as much as Oakland
• 4:23
  Speaker 1: hip-hop and Bay Area hip-hop obviously had a foothold, it
• 4:27
  Speaker 1: was L.A. that fought at mid-part of the 90s with
• 4:29
  Speaker 1: the Death Row Run, you know, and other things too,
• 4:31
  Speaker 1: because I think it's easy to think about L.A. rap
• 4:33
  Speaker 1: just being centered around, like, L.A. was big enough where
• 4:36
  Speaker 1: you got The Chronic and Bizarre Ride to the Far
• 4:38
  Speaker 1: Side coming out in the same year, right? Like, there
• 4:41
  Speaker 1: was a bit more range as to what was going
• 4:44
  Speaker 1: on there, but they took over the game in a
• 4:48
  Speaker 1: lot of ways. Like, New York still had it, I think,
• 4:50
  Speaker 1: in a volume sense. But the top top, it was
• 4:54
  Speaker 1: them LA cats.
• 4:55
  Speaker 4: Yeah, Death Row was kind of like the epicenter of
• 4:57
  Speaker 4: hip-hop during that time. It was like everything was in
• 5:03
  Speaker 4: Death Row's orbit. I mean, I'm just talking across the board.
• 5:06
  Speaker 4: I'm not just talking about California rap. I'm talking about
• 5:10
  Speaker 4: everything that was happening was, you know, there was some
• 5:13
  Speaker 4: sort of G-Funk influence going on, you know, no matter
• 5:17
  Speaker 4: where you were, whether it.
• 5:18
  Speaker 2: Was you making music in the Bay. That was a dude,
• 5:20
  Speaker 2: that was a dude in Memphis, right?
• 5:21
  Speaker 4: That had this indie record named Player G called, and
• 5:24
  Speaker 4: his album's called Pimp Shit.
• 5:26
  Speaker 2: And it's basically just a straight up G-Funk record.
• 5:28
  Speaker 4: Just a dude, just a dude in Memphis talking about
• 5:31
  Speaker 4: murdering and killing and pimping.
• 5:33
  Speaker 2: You know what I mean?
• 5:34
  Speaker 4: Uh, but over some like super duper jamming beats that
• 5:37
  Speaker 4: sound like, you know, a Dr.
• 5:39
  Speaker 2: Dre impression.
• 5:40
  Speaker 4: So, I mean, that's, that's, that's the type of, uh,
• 5:45
  Speaker 4: That's the type of influence and foothold that the music
• 5:49
  Speaker 4: that was coming out of Death Row Camp had on
• 5:52
  Speaker 4: the entire country at the time.
• 5:55
  Speaker 1: Hey, man, we talked about T-Mix before, but T-Mix did
• 5:58
  Speaker 1: some incredible Dr. Dre impressions.
• 6:00
  Speaker 2: Yeah, yeah. And, you know, and that's not even a
• 6:04
  Speaker 2: slight to him. You know what I'm saying?
• 6:06
  Speaker 1: Yeah, I was about to say, and I wasn't no shade,
• 6:08
  Speaker 1: but there are tracks that you come across where you're like,
• 6:12
  Speaker 1: Like on that, on the Just Try to Live Devin
• 6:14
  Speaker 1: the Dude record, I feel like there's a T-Mix beat
• 6:16
  Speaker 1: that I had thought was a Dre beat forever. I
• 6:18
  Speaker 1: think some of them joined.
• 6:20
  Speaker 4: That's probably, you know what, that's probably why Dre wanted
• 6:23
  Speaker 4: to work with Devin.
• 6:24
  Speaker 3: Yes.
• 6:25
  Speaker 2: Hearing that, you know what I mean?
• 6:27
  Speaker 1: Yeah, Dre, no, Dre hears Devin, Dre is like, ooh,
• 6:29
  Speaker 1: I can do something with that voice. Yeah. Devin is
• 6:32
  Speaker 1: one of the few people that Dr. Dre has heard
• 6:35
  Speaker 1: and been like, oh, let me get that, who also
• 6:39
  Speaker 1: actually could make records.
• 6:40
  Speaker 3: Mm-hmm.
• 6:41
  Speaker 2: Dr.
• 6:41
  Speaker 1: Dre was late to build Belichick, a wrap. I go
• 6:44
  Speaker 1: get Jonas Gray a hero for 200 yards against me,
• 6:47
  Speaker 1: and then we going to release him, and nobody else
• 6:49
  Speaker 1: is ever going to play him.
• 6:51
  Speaker 3: Yep.
• 6:51
  Speaker 1: I can get him 200 yards. Right.
• 6:53
  Speaker 4: I mean, bro, he turned Julia Edelman into an almost
• 6:58
  Speaker 4: Hall of Famer.
• 6:59
  Speaker 2: You know what I'm saying? Think about that. Julia Edelman
• 7:03
  Speaker 2: ain't that much taller than me. You know what I'm saying?
• 7:05
  Speaker 1: You say Julian Edelman is the hit man, the hit
• 7:08
  Speaker 1: man of the RBX?
• 7:11
  Speaker 2: Yeah, man, exactly.
• 7:13
  Speaker 4: He has exactly what he is.
• 7:15
  Speaker 1: But we could actually start here with this and talking
• 7:17
  Speaker 1: about it because it is very interesting how many people,
• 7:22
  Speaker 1: like when 96 comes around and we talk about with Tupac,
• 7:26
  Speaker 1: Tupac is on top of everything. But the mainstays of
• 7:31
  Speaker 1: Death Row were Dr. Dre and Snoop. And 1996, what
• 7:38
  Speaker 1: is interesting and somewhat defining about them is those two
• 7:42
  Speaker 1: brothers were lost in the wilderness.
• 7:44
  Speaker 2: Without each other, bro.
• 7:46
  Speaker 1: Without each other.
• 7:47
  Speaker 2: You know what I'm saying? They 100% need each other.
• 7:50
  Speaker 4: Because, you know, both of that year, Dre made his
• 7:54
  Speaker 4: first post-Death Row album and Snoop made his first Death
• 7:58
  Speaker 4: Row album without Dr.
• 7:59
  Speaker 2: Dre.
• 8:00
  Speaker 3: Yes.
• 8:00
  Speaker 4: And both of them suffered because they were not working
• 8:04
  Speaker 4: with each other.
• 8:05
  Speaker 1: Yo, it's a very, like, not working with each other
• 8:08
  Speaker 1: type of thing. MC Ren, who I, I love Ren.
• 8:12
  Speaker 1: I think Ren is, like, crazily underrated. Lost in the
• 8:15
  Speaker 1: wilderness forever after the Ruthless thing broke up. He put
• 8:18
  Speaker 1: out a record in 96, too. Like, there are, the
• 8:21
  Speaker 1: scraps of what was popping, like, around Dr. Dre for
• 8:24
  Speaker 1: the early part of the 90s in 96, it's like,
• 8:27
  Speaker 1: they're all out there, and nobody knows what to do.
• 8:30
  Speaker 1: And I do want to talk about that Aftermath record first, because...
• 8:34
  Speaker 1: I want to say this both about Aftermath and when
• 8:36
  Speaker 1: we get to the Dogfather. I try my best to
• 8:40
  Speaker 1: go back and listen to records that I did not
• 8:43
  Speaker 1: like when they came out because it is entirely possible
• 8:47
  Speaker 1: that what I didn't like about them was just some
• 8:49
  Speaker 1: shit I was feeling that day or whatever it was, right?
• 8:53
  Speaker 1: And so, you know, sometimes you go back and you're like, oh,
• 8:56
  Speaker 1: that was a little better than I thought it was.
• 8:59
  Speaker 1: And I tried that with the Aftermath record. And the
• 9:02
  Speaker 1: Aftermath record was exactly as mediocre as I thought it was.
• 9:09
  Speaker 1: We talked about this also when me and Jason were
• 9:11
  Speaker 1: talking about some of the East Coast stuff. It's also
• 9:14
  Speaker 1: the year that Dre did Nas Is Coming. And Nas
• 9:17
  Speaker 1: Is Coming, which is... It's a well-done beat, right? It's
• 9:22
  Speaker 1: kind of a little bit of like post-Sam Snead Dre. Yeah.
• 9:26
  Speaker 1: Because that's another thing, too, about Dre beats. Dre beats
• 9:28
  Speaker 1: are often about, so who were you working with at
• 9:30
  Speaker 1: the time? Like, whose vibe did you take to the
• 9:33
  Speaker 1: next level? Because that Sam Snead run was incredible, right?
• 9:37
  Speaker 1: The Natural Born Killers era Dre was like, ooh, I
• 9:41
  Speaker 1: like what we're doing here.
• 9:42
  Speaker 2: Yeah, this could be something. Right, right, right.
• 9:45
  Speaker 1: Man, yeah. We ain't have none of that. And he
• 9:48
  Speaker 1: had these kind of really big beats with a lot
• 9:51
  Speaker 1: of different tracks, right? Like a lot of, there was
• 9:53
  Speaker 1: a lot going on with them, which is kind of
• 9:55
  Speaker 1: wild because minimalism was always the thing that really worked
• 9:59
  Speaker 1: for him. That's not how I felt about them aftermath beats.
• 10:02
  Speaker 1: And then on top of it, he had to kind
• 10:05
  Speaker 1: of sort of be the star to carry it because
• 10:07
  Speaker 1: after the chronic comes out, he's an actual factual star
• 10:10
  Speaker 1: without being able to really rap. And so what that
• 10:13
  Speaker 1: means is one day you look up, this motherfucker out
• 10:15
  Speaker 1: here doing the tango with Jennifer Lopez. And we didn't...
• 10:19
  Speaker 1: We didn't know that it was Jennifer Lopez. We just
• 10:21
  Speaker 1: knew that it was Dr. Dre doing the tango over
• 10:25
  Speaker 1: a song that was all about what Dr. Dre tried
• 10:28
  Speaker 1: to become in 1996 because he tried to figure out
• 10:31
  Speaker 1: which way the wind was blowing. And he was like,
• 10:33
  Speaker 1: you know what? Gangsta rap is over. And I am
• 10:38
  Speaker 1: going to be the one to say the gangster rap
• 10:40
  Speaker 1: is over. Like, it's almost like he's a precursor to
• 10:44
  Speaker 1: not in terms of like the sound, but like Jay-Z
• 10:47
  Speaker 1: and them cats and Puffy try to go to the suits.
• 10:49
  Speaker 2: Yeah.
• 10:50
  Speaker 3: Right.
• 10:50
  Speaker 1: To be like, yo, no, we off the streets now.
• 10:52
  Speaker 1: We on the suit kick. Dre tried that first and
• 10:55
  Speaker 1: it failed.
• 10:56
  Speaker 2: Dr.
• 10:57
  Speaker 4: Dre, during this period of time that we're talking about,
• 10:59
  Speaker 4: he was like Phil Jackson with the Knicks. You know
• 11:02
  Speaker 4: what I'm saying? Like, you've had years of success.
• 11:07
  Speaker 2: You know what I mean? Years and years and years
• 11:09
  Speaker 2: of success.
• 11:10
  Speaker 4: And, you know, now you're kind of all alone with this,
• 11:13
  Speaker 4: you know, this island of misfit toys and trying to
• 11:15
  Speaker 4: make something shake. And you believe in that your skill
• 11:22
  Speaker 4: level and your expertise is going to get you over
• 11:25
  Speaker 4: the hump. And I ain't going to do nothing to
• 11:27
  Speaker 4: get you to the hump and have you stand at it, buddy.
• 11:30
  Speaker 2: You know what I'm saying?
• 11:33
  Speaker 1: It's like, but what if Phil Jackson went to the
• 11:35
  Speaker 1: Knicks in between the Bulls and the Lakers?
• 11:39
  Speaker 2: Right, right.
• 11:39
  Speaker 1: Yeah.
• 11:40
  Speaker 3: Right?
• 11:40
  Speaker 2: Yeah.
• 11:42
  Speaker 1: Or what if in the beginning of Phil Jackson's second
• 11:46
  Speaker 1: stint with the Lakers, there was no Kobe? Like all
• 11:49
  Speaker 1: he had was Smush Parker in them. Because you go
• 11:53
  Speaker 1: back through and look at the people who were on
• 11:56
  Speaker 1: this record, which is also in large part an attempt
• 11:59
  Speaker 1: at being an R & B record. But to be
• 12:01
  Speaker 1: fair to Dr.
• 12:02
  Speaker 2: Dre, Dr.
• 12:02
  Speaker 1: Dre's produced some cold ass R & B records. Yeah,
• 12:06
  Speaker 1: that was not him. Yeah, the Bichelet record, right? Like
• 12:10
  Speaker 1: this was not him stepping out of himself.
• 12:13
  Speaker 3: No.
• 12:14
  Speaker 1: However, you read through the credits and it's like, I
• 12:17
  Speaker 1: don't know who any of these people are that are
• 12:21
  Speaker 1: on here like what are what are what are we
• 12:24
  Speaker 1: doing whose idea with this and why did you only
• 12:26
  Speaker 1: produce like half the beats how lost are you.
• 12:29
  Speaker 4: Right now he was trying to he was definitely trying
• 12:31
  Speaker 4: to figure something out yeah i mean so i.
• 12:34
  Speaker 1: Bet you this though i bet you he made more
• 12:36
  Speaker 1: record off that aftermath record that he made off of
• 12:38
  Speaker 1: everything he had done combined before.
• 12:40
  Speaker 4: That i believe that i definitely believe that this is
• 12:43
  Speaker 4: You know what's a good indicator of how lost in
• 12:48
  Speaker 4: the sauce Dre might have been when he was making
• 12:50
  Speaker 4: this record was his kind of peaceful salvo to kind
• 12:55
  Speaker 4: of like quash the East Coast, West Coast beef. And
• 12:59
  Speaker 4: he's like, all right, I'm going to make a record
• 13:01
  Speaker 4: with some East Coast cats and some West Coast cats.
• 13:04
  Speaker 2: This is supposed to be like a peace offering, right?
• 13:07
  Speaker 1: Yes.
• 13:07
  Speaker 2: But he names the song East Coast Killer, West Coast Killer.
• 13:10
  Speaker 3: Yes.
• 13:11
  Speaker 2: You know what I'm saying?
• 13:12
  Speaker 1: Yes.
• 13:13
  Speaker 4: And, bro, what a combination of MCs, man. You got, what,
• 13:18
  Speaker 4: B-Real and RBX representing the West and KRS-One and Nas
• 13:22
  Speaker 4: representing the East.
• 13:23
  Speaker 1: Yeah.
• 13:24
  Speaker 2: Which I have to say... That seems a little bit,
• 13:25
  Speaker 2: don't you think?
• 13:26
  Speaker 1: Yeah, I was about to say, if it was a fight.
• 13:30
  Speaker 2: It wasn't going to be no contest, dog.
• 13:32
  Speaker 1: It wasn't going to take a long time.
• 13:33
  Speaker 4: It wasn't going to be no contest at all, bro.
• 13:38
  Speaker 1: On one side, we got... arguably two of the five
• 13:43
  Speaker 1: best rappers ever. Of all time.
• 13:45
  Speaker 2: Right, depending on who you are.
• 13:46
  Speaker 1: That's who we got on one side. On the other side,
• 13:49
  Speaker 1: we got drop bombs like Hiroshima.
• 13:52
  Speaker 4: And you got, you know, one of the greatest potheads
• 13:56
  Speaker 4: of all time.
• 13:58
  Speaker 1: Who called him Mr.
• 13:59
  Speaker 2: Nasal?
• 14:00
  Speaker 1: I can't remember. Who that was that called him Mr. Nasal.
• 14:04
  Speaker 1: Cypress Hill, I wish they had put a record out
• 14:06
  Speaker 1: this year because they are kind of fascinating to me. Like,
• 14:10
  Speaker 1: as an act to discuss. Whose first album, classic.
• 14:14
  Speaker 3: Yeah.
• 14:15
  Speaker 1: No way around it. It sounds a little like it's
• 14:17
  Speaker 1: hard to appreciate what was going on at the time.
• 14:19
  Speaker 1: If you try to go back and listen to it
• 14:21
  Speaker 1: now because the sound quality is not super high or
• 14:23
  Speaker 1: anything else. But they sold a gazillion records and they
• 14:27
  Speaker 1: never change. But white folks jumped on it so hard.
• 14:30
  Speaker 1: Their brothers was kind of like.
• 14:31
  Speaker 2: Yeah, yeah, we got that.
• 14:34
  Speaker 1: And it's not it's not like what what happened really changed.
• 14:38
  Speaker 1: And it's not like it sounded that much different than
• 14:39
  Speaker 1: the first record that we were all about.
• 14:42
  Speaker 3: Yeah.
• 14:43
  Speaker 4: I mean, Cypress Hill, to their credit, their fans changed.
• 14:49
  Speaker 2: They didn't really change at all.
• 14:50
  Speaker 1: Right.
• 14:51
  Speaker 4: I kind of see them as the hip-hop jam band.
• 14:57
  Speaker 4: They're our Grateful Dead or our Phish or whatever. You
• 15:00
  Speaker 4: know what I mean? That's kind of how I see
• 15:04
  Speaker 4: Cypress Hill in totality.
• 15:07
  Speaker 2: Yeah.
• 15:08
  Speaker 1: And B-Real is one of those rappers that reminds you
• 15:12
  Speaker 1: that producers really just care how your voice sounds. Like, oh,
• 15:15
  Speaker 1: I can do something with that. Like, it's like a
• 15:18
  Speaker 1: drum sound in a pack.
• 15:20
  Speaker 2: Yeah.
• 15:21
  Speaker 1: It's like that mob deep snare on The Infamous. Like, yo,
• 15:24
  Speaker 1: we could use this everywhere. Right, Kanye with the explosive drums.
• 15:30
  Speaker 4: Yeah, and the Knife Wonder had, you know, when he
• 15:32
  Speaker 4: first jumped on the scene, he had that snare that,
• 15:36
  Speaker 4: it was the Knife Wonder snare that everybody was, you know,
• 15:39
  Speaker 4: using in almost every record.
• 15:41
  Speaker 1: Yep, and that is be real.
• 15:42
  Speaker 2: Yeah, there you go. You know what I mean?
• 15:44
  Speaker 1: But Dre was so lost, like, people would not know.
• 15:46
  Speaker 1: We thought it was over.
• 15:48
  Speaker 2: Yeah.
• 15:49
  Speaker 1: And it's so wild because California Love had just come
• 15:51
  Speaker 1: out early in the year. So it wasn't like we
• 15:53
  Speaker 1: hadn't heard him drop any heat no time soon.
• 15:57
  Speaker 4: He wasn't that far removed from actual hit records. No,
• 16:00
  Speaker 4: he did the mix on the dog food joint. You know,
• 16:03
  Speaker 4: that makes it even way more fascinating that the space
• 16:07
  Speaker 4: between super duper jam and this what's happening right here
• 16:13
  Speaker 4: was it was it just didn't see it didn't see
• 16:16
  Speaker 4: it seemed like such an immediate I don't even want
• 16:19
  Speaker 4: to call it a fall off because I think that'd
• 16:21
  Speaker 4: be a little bit disrespectful but it was it was
• 16:24
  Speaker 4: a step back in a in a in a direction
• 16:26
  Speaker 4: that he hadn't been going especially coming off you know
• 16:29
  Speaker 4: Dre had like he had he just he just had
• 16:34
  Speaker 4: a three-peat right the chronic doggy style dog food.
• 16:38
  Speaker 1: Brother You say a three-peat. This is what I think
• 16:41
  Speaker 1: gets lost with Dre. The entire run between Straight Outta
• 16:48
  Speaker 1: Compton and The Chronic. Mm-hmm. It's a lot of classics
• 16:53
  Speaker 1: in there.
• 16:54
  Speaker 3: Yep.
• 16:54
  Speaker 1: Like, not just some, now that you look back on it,
• 16:57
  Speaker 1: the Above the Law joint.
• 16:59
  Speaker 2: Yeah.
• 16:59
  Speaker 1: The DOC.
• 17:00
  Speaker 2: Yeah, yeah.
• 17:01
  Speaker 1: Easy Does It. Mm-hmm. Niggas for Life. Mm-hmm.
• 17:07
  Speaker 2: Um, 100 miles of running.
• 17:08
  Speaker 1: 100 miles of running. I feel like there's a few
• 17:11
  Speaker 1: other things that just kind of pop, you know, like
• 17:13
  Speaker 1: a handful of things that pop up in there. The
• 17:16
  Speaker 1: deep cover joint, right? That was the introduction to Death
• 17:20
  Speaker 1: Row was the deep cover single. His run from 88
• 17:24
  Speaker 1: to 95 is actually somehow underrated because we don't actually
• 17:29
  Speaker 1: act like stuff matters until Tupac and Bia come around.
• 17:33
  Speaker 2: Yeah.
• 17:34
  Speaker 1: He had it all and then he put this shit out.
• 17:43
  Speaker 4: Bro, it's like, it's Emmitt Smith for the Cardinals, baby.
• 17:46
  Speaker 2: You know what I'm saying? It's like, what is happening here?
• 17:50
  Speaker 1: But it's like, what if Emmitt Smith went to the
• 17:52
  Speaker 1: Cardinals and he was 27? Right? Like, by the time
• 17:54
  Speaker 1: Emmitt Smith went to the Cardinals, it had been a
• 17:56
  Speaker 1: bit of a decline, you know? Or put it like this,
• 17:59
  Speaker 1: the Source Awards were just the year before.
• 18:04
  Speaker 2: Yeah, man, that was a strange time for Dre, bro.
• 18:06
  Speaker 1: Yeah, but imagine this, though. Imagine that you have to
• 18:10
  Speaker 1: try to separate yourself from the hottest thing going.
• 18:15
  Speaker 3: Yep.
• 18:16
  Speaker 2: You got to completely isolate yourself from it.
• 18:20
  Speaker 1: Yeah, that's not good for business.
• 18:22
  Speaker 3: No.
• 18:22
  Speaker 1: And that's what he was asked to do. Meanwhile, Snoop
• 18:25
  Speaker 1: is over there. Death Row is a crazy house right now.
• 18:28
  Speaker 1: And imagine you put out the biggest debut record anybody
• 18:33
  Speaker 1: can think of or anybody can remember.
• 18:37
  Speaker 2: Right? Mm-hmm.
• 18:39
  Speaker 1: And you're not even a man at your own label
• 18:41
  Speaker 1: no more.
• 18:42
  Speaker 4: But they also expect you to be the franchise player still.
• 18:50
  Speaker 2: Yes. Yes.
• 18:51
  Speaker 1: But imagine how that feels, right?
• 18:54
  Speaker 2: Mm-hmm.
• 18:55
  Speaker 1: And I say again, it's crazy town over there right now.
• 18:58
  Speaker 1: It's full-on chaos. It's easy to forget this. Tupac dies
• 19:04
  Speaker 1: in September of 96. Machiavelli comes out right after this.
• 19:11
  Speaker 1: The Dogfather comes out in November. Right? Like, this is
• 19:16
  Speaker 1: everything that's going on, and the Dogfather is another one
• 19:19
  Speaker 1: where what I think Dre never gets enough credit for,
• 19:23
  Speaker 1: and a buddy of mine made this point to me,
• 19:26
  Speaker 1: he is the best vocal producer there has ever been.
• 19:30
  Speaker 1: There are so many cats. Let me talk about this
• 19:31
  Speaker 1: with all these these guys here and there. There's so
• 19:33
  Speaker 1: many cats that have only really sounded like that or
• 19:36
  Speaker 1: been that dope with Dre.
• 19:38
  Speaker 2: Right.
• 19:39
  Speaker 1: As much as I say that about Ren, I think
• 19:40
  Speaker 1: Ren is kind of an example of that.
• 19:42
  Speaker 3: Right.
• 19:42
  Speaker 1: Like we don't give Ren credit. Like he's the only
• 19:45
  Speaker 1: dude on Niggas for Life that wrote his own raps
• 19:47
  Speaker 1: and was killing it on every track.
• 19:49
  Speaker 2: Right.
• 19:49
  Speaker 1: But it's all.
• 19:50
  Speaker 4: These guys you know but yeah man I agree especially
• 19:55
  Speaker 4: for rap music as Dre as a vocal producer because
• 19:59
  Speaker 4: he gets the most out of every vocal performance that
• 20:03
  Speaker 4: he ever you know puts his hands on like we
• 20:07
  Speaker 4: had just referenced 6-2.
• 20:10
  Speaker 2: You know what I mean?
• 20:11
  Speaker 4: And Devin the dude, like he had, you know, Devin
• 20:13
  Speaker 4: was Devin in 6'2 and 6'2, but you got.
• 20:15
  Speaker 2: Other cats, you know, RBX.
• 20:17
  Speaker 4: You know, we know RBX because of his voice, but
• 20:20
  Speaker 4: we know RBX's voice because of how Dre produced his voice.
• 20:24
  Speaker 1: Right.
• 20:24
  Speaker 2: You know?
• 20:25
  Speaker 3: Right.
• 20:25
  Speaker 1: Hitman.
• 20:26
  Speaker 2: Yeah, yeah. There you go.
• 20:28
  Speaker 1: There's no reason after 2001 that Hitman ain't next. Hitman
• 20:31
  Speaker 1: is all over that record and dope everywhere on that record. Yeah.
• 20:34
  Speaker 1: But also, when you hit your wagon to Dr. Dre,
• 20:36
  Speaker 1: your shit might never come out. But Dogfather... it's a
• 20:40
  Speaker 1: lot of dope producers on dog father. Like it is
• 20:43
  Speaker 1: the bedrock of the West coast sound that is there.
• 20:46
  Speaker 1: Like you can't say it wasn't because he had production.
• 20:49
  Speaker 1: He had production.
• 20:50
  Speaker 2: He did.
• 20:51
  Speaker 4: He just didn't have it. I, I, I, I liked
• 20:54
  Speaker 4: the first single, the snooze outside.
• 20:57
  Speaker 2: Yeah.
• 20:57
  Speaker 4: So I liked that first single and I was like, okay,
• 21:01
  Speaker 4: this is a smart direction to go.
• 21:04
  Speaker 2: If Dre ain't going to be there. Right.
• 21:06
  Speaker 4: And, And then I started, you know, getting to the album. And,
• 21:10
  Speaker 4: you know, what you said about the Aftermath album, I
• 21:13
  Speaker 4: kind of did the same with this album, but I
• 21:15
  Speaker 4: landed a little differently.
• 21:16
  Speaker 2: I was like, okay, this is not as bad as
• 21:17
  Speaker 2: I thought it was. You know what I mean?
• 21:21
  Speaker 4: But that's in due part to what you're saying, you know,
• 21:25
  Speaker 4: the breadth of producers that were working on this record.
• 21:28
  Speaker 2: Because, I mean, I think that's kind of the way
• 21:31
  Speaker 2: you had to do it.
• 21:32
  Speaker 4: You kind of had to ill-matic that album because, you know,
• 21:36
  Speaker 4: As I said, Snoop, especially post-Tupac's death, he was already
• 21:41
  Speaker 4: the franchise player to begin with. Then you got this,
• 21:44
  Speaker 4: you know, this supernova that is Tupac that comes in
• 21:46
  Speaker 4: and then kind of, you know, steals the thunder a
• 21:49
  Speaker 4: little bit. And now Tupac's gone. And now you got
• 21:52
  Speaker 4: to be the man again, you know? So they, you know,
• 21:57
  Speaker 4: let's get the best of the best on the West
• 22:00
  Speaker 4: Coast and just throw them all at Snoop at one
• 22:01
  Speaker 4: time and see what happens.
• 22:03
  Speaker 3: Yeah.
• 22:03
  Speaker 1: And the thing is, if you're going... you have to
• 22:06
  Speaker 1: build a record around Snoop. Yep. Right, you can't just
• 22:09
  Speaker 1: be like, you can't just be like, all right, we
• 22:11
  Speaker 1: got Snoop.
• 22:12
  Speaker 2: Yep.
• 22:13
  Speaker 1: You know, it don't really matter what.
• 22:14
  Speaker 2: The beats are. Yeah, it does. And you know, Snoop's
• 22:17
  Speaker 2: like that.
• 22:18
  Speaker 4: Snoop is not one of those, he's not one of
• 22:19
  Speaker 4: those people that will not let you produce him. He actually,
• 22:23
  Speaker 4: I've seen clips of him in studios like, bro, tell
• 22:27
  Speaker 4: me what to do so I can give you the
• 22:29
  Speaker 4: best version of the record that you need.
• 22:31
  Speaker 1: Yeah, no, he has this, I mean, I think that's
• 22:33
  Speaker 1: if you come up with Dre, right he know what
• 22:35
  Speaker 1: them like you know you and i've talked about this
• 22:37
  Speaker 1: a lot the idea of who produced doggy style and
• 22:40
  Speaker 1: you'll have the people who make the argument that daz
• 22:42
  Speaker 1: really produced it and dre just came in at the
• 22:44
  Speaker 1: end and cleaned it up yeah no but you and
• 22:46
  Speaker 1: i like what was that the uh the original version
• 22:48
  Speaker 1: ain't no fun you listen to that and then you
• 22:51
  Speaker 1: listen to the the finished version it ain't no fun
• 22:53
  Speaker 1: and you understand what's going on yep right like like
• 22:57
  Speaker 1: daz made some beats dre came in it was like
• 23:00
  Speaker 1: yeah very good ones in fact yeah Dre came in
• 23:03
  Speaker 1: and was like, yeah, but. Like, you're on the way.
• 23:06
  Speaker 1: And so if you snoop and you've seen what that
• 23:08
  Speaker 1: change is, then you're like, hell yeah. What y'all need
• 23:11
  Speaker 1: me to do, partner? What y'all need? But yeah, the L.A.
• 23:15
  Speaker 1: Orbit was interesting that year. Ren put out The Villain
• 23:17
  Speaker 1: in Black. Nobody really likes it, but it's not bad.
• 23:20
  Speaker 1: MC8 put out a record. That is not my cup
• 23:23
  Speaker 1: of tea, but people love MC8.
• 23:24
  Speaker 2: People like me on MC8. I'm a big BMW fan, man.
• 23:27
  Speaker 4: Like, Music Drive-By is one of my favorite, contest-most wanted albums.
• 23:30
  Speaker 4: That album's really good. you know it's got a really
• 23:32
  Speaker 4: dope song Scarface on it like really.
• 23:34
  Speaker 1: Good he's another dude where it's like I'm sure people
• 23:37
  Speaker 1: are just out there like yo voice yeah chill you
• 23:42
  Speaker 1: know and I'm just like yeah alright chill you're right
• 23:47
  Speaker 1: I kinda guess.
• 23:49
  Speaker 4: Super slow rappers yeah I'm a Project Pat guy so
• 23:55
  Speaker 4: I like people that speak slow and syrupy you.
• 23:58
  Speaker 1: Know I like Project Pat you know Right? I like
• 24:02
  Speaker 1: Project Pat. It's MC8 in particular that I'm just kind
• 24:04
  Speaker 1: of like, yeah, dog, if you insist.
• 24:09
  Speaker 2: Right?
• 24:10
  Speaker 1: But I will say this, though. MC8 was not showing
• 24:13
  Speaker 1: up if the beats weren't there.
• 24:14
  Speaker 2: No, that's one of the reasons I enjoy it.
• 24:17
  Speaker 4: I think I enjoy Conchita's most wanted discography because, man, man, oh, man,
• 24:22
  Speaker 4: do they ever have some fantastic music that their eight
• 24:28
  Speaker 4: is rapping over.
• 24:29
  Speaker 2: You know what I mean?
• 24:29
  Speaker 1: Yes.
• 24:30
  Speaker 3: Yes.
• 24:31
  Speaker 1: By the way, also interesting about this year, we're talking
• 24:34
  Speaker 1: about Dr. Dre, is this is also the year where
• 24:37
  Speaker 1: Suge was just being spiteful and put out all those
• 24:41
  Speaker 1: other joints.
• 24:42
  Speaker 5: Yeah.
• 24:43
  Speaker 1: Like the Dr. Dre back in the day, I think
• 24:46
  Speaker 1: there's like a second round, like first round knockout or
• 24:49
  Speaker 1: something like that. He was just like, yeah, man, we
• 24:52
  Speaker 1: just going to flood the streets. Nobody has ever really
• 24:55
  Speaker 1: hated harder on somebody, even though you're the one that
• 24:58
  Speaker 1: stole from him. Quite like Suge was with Drake at
• 25:02
  Speaker 1: the end there.
• 25:03
  Speaker 2: That's how bullies get down, man.
• 25:04
  Speaker 4: Say, like, I'm going to take for you and then
• 25:06
  Speaker 4: be like, I'm mad that you left because I took
• 25:10
  Speaker 4: from you. Yeah, man.
• 25:15
  Speaker 1: But look, coming up next, I don't want people to
• 25:16
  Speaker 1: think I'll be doing a talk about what wasn't cracking
• 25:18
  Speaker 1: on the West because there was another album that came
• 25:21
  Speaker 1: out out of L.A. that it was a statement. It's
• 25:24
  Speaker 1: interesting to look back on. Coming up next. Ever wanted
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  Speaker 1: DJ Wiley Sparks. By the way, I was thinking about
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• 28:07
  Speaker 1: if you can't see it. Antoine and Andre and Bernard
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  Speaker 1: and Chad and Primro and Marlon. You know what I'm saying?
• 28:13
  Speaker 2: If you know, you know, baby.
• 28:14
  Speaker 1: That's right. That's right. 96 is the year the West
• 28:19
  Speaker 1: Side Connection record came out.
• 28:21
  Speaker 2: Oh, yeah.
• 28:22
  Speaker 1: And so it's interesting to me. to think about the
• 28:26
  Speaker 1: fact that even after all the success, especially of the
• 28:30
  Speaker 1: NWA cats, right? All of them went platinum solo, including Ren,
• 28:34
  Speaker 1: who went platinum with a record called Kiss My Black Ass.
• 28:37
  Speaker 1: It was an EP.
• 28:37
  Speaker 2: Yeah, I remember that.
• 28:39
  Speaker 1: Yeah, he still sold a million copies of it. But Cube, Mac-10,
• 28:42
  Speaker 1: and Dub-C did the West Side Connection album because they're like,
• 28:45
  Speaker 1: how is it we got the number one album in
• 28:47
  Speaker 1: America and we still can't get no play in New York?
• 28:50
  Speaker 1: And look, New York got 8 million people. Like, not
• 28:52
  Speaker 1: getting played in New York is a big deal in
• 28:55
  Speaker 1: terms of your money. Now, getting played in Houston might
• 28:57
  Speaker 1: have made you more money because we bought records. But
• 28:59
  Speaker 1: it was still a thing. And that West Side Connection.
• 29:02
  Speaker 2: Record, bang. Yeah, man.
• 29:04
  Speaker 4: That record, in my opinion, kind of saved Ice Cube,
• 29:11
  Speaker 4: the rapper. Ice Cube, the rapper had kind of.
• 29:19
  Speaker 2: Almost faded away at this point.
• 29:21
  Speaker 4: Right the way the way we remember ice cube the
• 29:23
  Speaker 4: rapper but then this happened and it was like okay
• 29:26
  Speaker 4: he's still there you know he's he's still there you
• 29:29
  Speaker 4: know me.
• 29:30
  Speaker 1: The east coast west coast beef tupac thing that wasn't
• 29:33
  Speaker 1: that was a one-man beef right like that wasn't that
• 29:36
  Speaker 1: that wasn't really quite the thing though it became a
• 29:38
  Speaker 1: thing because he said it was a thing. But this
• 29:41
  Speaker 1: was the thing that really caused people issues in the
• 29:44
  Speaker 1: industry was the insularity of New York City. And it's
• 29:48
  Speaker 1: like the idea of like, for those of you who
• 29:49
  Speaker 1: are familiar with the no-fly zone thing with Detroit, where
• 29:52
  Speaker 1: Trick Trick's insistence that you got to put somebody local
• 29:55
  Speaker 1: on the bill if you're going to play a show here.
• 29:58
  Speaker 1: It's born of stuff like this. The idea that New
• 30:01
  Speaker 1: York could show up to your show, to your city
• 30:04
  Speaker 1: and put on a show and do everything else. And
• 30:05
  Speaker 1: then you would get love. But they had nothing for
• 30:08
  Speaker 1: you when you came up there. How true it was
• 30:11
  Speaker 1: is its own discussion. The perception, however, was undeniable. And
• 30:15
  Speaker 1: so the West Side Connection album was a straight pushback
• 30:18
  Speaker 1: on the idea that, you know, like what we got
• 30:22
  Speaker 1: to do, man. That's what they saying, what we got
• 30:24
  Speaker 1: to do. And I feel like they should have called
• 30:26
  Speaker 1: that group two and a possible. Cause it was too,
• 30:29
  Speaker 1: I mean, dub C is dope as fuck. Right. Cube
• 30:33
  Speaker 1: is now somehow strangely very underrated, but cube has a
• 30:37
  Speaker 1: cube to me is the best rapper from the West
• 30:39
  Speaker 1: coast ever. Um, Like, I understand now Kendrick is the
• 30:44
  Speaker 1: guy we all talk about now.
• 30:45
  Speaker 2: No, no, no, no, no.
• 30:46
  Speaker 1: Kendrick does not have the first three and change of
• 30:51
  Speaker 1: the Ice Cube catalog, right? The America's Most Wanted, Death Certificate,
• 30:55
  Speaker 1: Kill That Will, and The Predator.
• 30:58
  Speaker 3: Hey.
• 31:00
  Speaker 2: And all the NWA stuff. That's right.
• 31:03
  Speaker 1: That's right. And then I think Dre got Cube lost
• 31:08
  Speaker 1: because Cube went from the Bomb Squad beats to, again,
• 31:12
  Speaker 1: Death Certificate is kind of like bedrock West Coast stuff,
• 31:15
  Speaker 1: but it sounded very different than the G-Funk.
• 31:17
  Speaker 3: Yes, it did.
• 31:18
  Speaker 1: Right? And so then by the time he comes around
• 31:20
  Speaker 1: Lethal Injection, which is a G-Funk record, it's kind of like, hmm,
• 31:24
  Speaker 1: I don't know about this one, but he came back
• 31:26
  Speaker 1: out swinging with Bowdow.
• 31:29
  Speaker 3: Yeah.
• 31:30
  Speaker 4: And, you know, at that point in time, Cube had,
• 31:36
  Speaker 4: you know, Friday had come out. It had been successful. And,
• 31:39
  Speaker 4: you know, he was in Trespass and all these other movies.
• 31:43
  Speaker 4: And Cube was doing other, he was doing the media
• 31:46
  Speaker 4: mogul stuff.
• 31:48
  Speaker 2: Yeah. You know, I'm acting in Higher Learning, doing all
• 31:51
  Speaker 2: these other things.
• 31:52
  Speaker 4: He was doing all this non-rapper stuff, right? And I
• 31:55
  Speaker 4: think people seeing Cube in that sort of light, made
• 32:00
  Speaker 4: people think like, what, I don't even want to say
• 32:03
  Speaker 4: made people think, I'll say, I'll just bring it to me.
• 32:07
  Speaker 2: Made me think like, is Cube going to rap again? Right.
• 32:11
  Speaker 4: Or rap the way I remember Cube rapping? But, you know,
• 32:15
  Speaker 4: I hear Bow Down, I'm like, oh, he's still there.
• 32:18
  Speaker 2: Yes. You know what I'm saying? He's still there.
• 32:21
  Speaker 4: And I think, I don't know, I think, you know,
• 32:25
  Speaker 4: him being in a group dynamic and not having to
• 32:27
  Speaker 4: shoulder the load of being a full on solo album
• 32:31
  Speaker 4: probably is what helped bring that fire back out of him.
• 32:36
  Speaker 2: You know what I mean? Like, you know, you got,
• 32:38
  Speaker 2: you got Dove.
• 32:39
  Speaker 4: You got Mac 10 and, you know, you got somebody
• 32:42
  Speaker 4: that's sort of a peer and then you got a
• 32:44
  Speaker 4: guy that's a little younger and you like the, you know,
• 32:47
  Speaker 4: you like the OG wisdom in the, in the middle or,
• 32:50
  Speaker 4: you know, the, the voice of reason of sorts. And
• 32:53
  Speaker 4: now you can just, you can just, be ice cube
• 32:57
  Speaker 4: the rapper and not have to worry about shouldering the
• 33:00
  Speaker 4: load like that i think that was real beneficial uh
• 33:03
  Speaker 4: to him uh when that west side because you know
• 33:07
  Speaker 4: q was talking that shit on that album you know
• 33:09
  Speaker 4: what i'm saying you know what i.
• 33:11
  Speaker 1: Mean he had also been in like eight beefs mm-hmm
• 33:17
  Speaker 1: around then like.
• 33:19
  Speaker 4: I got i got backup now man i you know
• 33:21
  Speaker 4: could you think about that man cute was he was
• 33:23
  Speaker 4: taking on a lot pause but you know uh but
• 33:27
  Speaker 4: he was you know.
• 33:28
  Speaker 2: Eight who was it common who else would he.
• 33:30
  Speaker 1: Be he had to be for common uh remember uh
• 33:33
  Speaker 1: king of the hill is all west side connection because
• 33:36
  Speaker 1: he had the beef would be real this is a
• 33:39
  Speaker 1: he had to be he had to beef with king's
• 33:41
  Speaker 1: son yep from way back whenever, when they was, you know,
• 33:44
  Speaker 1: having to keep Cube safe. There was the, he had
• 33:48
  Speaker 1: the beef with the Whoop Whoop cat.
• 33:50
  Speaker 2: Oh, Cam. Yeah. Yeah.
• 33:54
  Speaker 1: In the Whoop Whoop, with the video, where they just
• 33:55
  Speaker 1: got the dude, like, smacking shit out of the dude
• 33:57
  Speaker 1: that's clearly Ice Cube.
• 33:58
  Speaker 2: Yep.
• 33:59
  Speaker 1: In the video. I feel like this, but he had,
• 34:02
  Speaker 1: I mean, no Vaseline was earlier, but the first, like,
• 34:05
  Speaker 1: five or six years of the 90s, he was in
• 34:09
  Speaker 1: beef with somebody all the time. He had a beef
• 34:14
  Speaker 1: with Ice-T at some point.
• 34:15
  Speaker 2: Man, they were in the film together. Yeah.
• 34:19
  Speaker 1: He had a beef with everybody. So I think it
• 34:22
  Speaker 1: is lost in there. This was necessary for him.
• 34:25
  Speaker 3: Yeah.
• 34:26
  Speaker 1: To have this album come back swinging. And then Dub
• 34:28
  Speaker 1: C is interesting because Coolio, rest in peace, Coolio's solo career,
• 34:34
  Speaker 1: not at all indicative of the reason Coolio gets a
• 34:38
  Speaker 1: shout-out on Doggy Style is because WC and the Mad
• 34:41
  Speaker 1: Circle is a completely different situation. Yeah.
• 34:45
  Speaker 2: Mm-hmm.
• 34:46
  Speaker 4: Yeah, Coolio's like a predecessor to Flo Rida, where people,
• 34:52
  Speaker 4: they have a perception of Coolio.
• 34:54
  Speaker 1: Right.
• 34:54
  Speaker 2: Because they think Fantastic Voyage and Gangsta's Paradise.
• 34:58
  Speaker 4: It's a little bit more to Coolio than that, buddy.
• 35:01
  Speaker 2: Yeah, I'm saying. Same with Flo Rida.
• 35:04
  Speaker 4: A lot of people don't realize Flo Rida, when he
• 35:06
  Speaker 4: jumped off the porch, he was doing like him and Pitbull, actually.
• 35:09
  Speaker 4: They were kind of like a little bit more gangstified
• 35:12
  Speaker 4: in what their current situation is now.
• 35:16
  Speaker 3: Yeah.
• 35:16
  Speaker 4: But yeah, Coolio was definitely a predecessor to both of
• 35:19
  Speaker 4: them in that same sort of way where, you know.
• 35:25
  Speaker 2: It would be wise not to run up on Coolio.
• 35:27
  Speaker 1: That is correct. That is the best list in a
• 35:32
  Speaker 1: rap to put together is those cats, right? Red Band,
• 35:36
  Speaker 1: MC Hammer, Black Thought.
• 35:38
  Speaker 2: Yeah.
• 35:39
  Speaker 1: Series of gentlemen that, oh boy, he think he got jokes, huh?
• 35:44
  Speaker 2: Yeah. Be careful what you say. Be careful how you move.
• 35:48
  Speaker 1: Yes, the all-time great big boy line, run up on Hammer. Yeah.
• 35:56
  Speaker 1: run up on hammer hammer whoop your monkey yeah but
• 36:04
  Speaker 1: dub c also dub c is the crippest rapid crip
• 36:08
  Speaker 1: there has ever been right he's well you know between
• 36:11
  Speaker 1: him and snoop snoop i don't think anybody crypt in
• 36:16
  Speaker 1: our face is harder than snoop with all the pittsburgh
• 36:19
  Speaker 1: stuff bro he took it mainstream yo people really think
• 36:22
  Speaker 1: he a steelers fan He carried that on. Oh, yeah, yeah, yeah.
• 36:28
  Speaker 2: I love the Steelers. Mm-hmm.
• 36:32
  Speaker 4: Bro, it's amazing. It's amazing what Snoop has been able
• 36:37
  Speaker 4: to accomplish as a career. Because there's so many things
• 36:39
  Speaker 4: like what we talk about now, like inside baseball type
• 36:47
  Speaker 4: things that if you know, you know what's happening.
• 36:49
  Speaker 2: But on the surface, it looks like a completely different thing. Look, man.
• 36:54
  Speaker 1: I wrote an article in 03, 10 years after Doggystyle, right?
• 37:00
  Speaker 1: And it was just how crazy it was that at
• 37:01
  Speaker 1: that time he was doing like the, what commercial is that? Wait, well, Manizzle, right?
• 37:05
  Speaker 1: Like he was doing that. That was now almost 25
• 37:08
  Speaker 1: years ago and it hasn't gotten any less crazy. Like
• 37:12
  Speaker 1: the role that he has taken in this after being
• 37:15
  Speaker 1: the most terrifying rapper that anybody thought was, now granted
• 37:18
  Speaker 1: that was always overblown. Like nobody thought he killed that dude.
• 37:22
  Speaker 2: Yeah.
• 37:23
  Speaker 1: But even still. The fact that he got to the
• 37:25
  Speaker 1: place that he could, where he hangs with Martha Stewart
• 37:28
  Speaker 1: and all of this.
• 37:29
  Speaker 2: Snoop Dogg might be the safest rapper in rap right now.
• 37:33
  Speaker 3: Yes.
• 37:33
  Speaker 2: Which is crazy to say.
• 37:35
  Speaker 3: Yes.
• 37:36
  Speaker 2: Considering where he began.
• 37:37
  Speaker 1: If you were here.
• 37:38
  Speaker 2: Yeah.
• 37:39
  Speaker 4: If you lived through Snoop's whole career, saw his start
• 37:42
  Speaker 4: to where he is now, it's like night and day.
• 37:45
  Speaker 3: Yep. Yep.
• 37:47
  Speaker 1: But I tell you this. A West Coast record, we
• 37:49
  Speaker 1: get to the Bay on this because I think it's
• 37:50
  Speaker 1: two really dope and necessary Bay records to talk about
• 37:54
  Speaker 1: in particular. Not that they're the only two, but one
• 37:57
  Speaker 1: too short, getting it album number 10 that he told
• 38:01
  Speaker 1: us was the last record that he always knew was
• 38:03
  Speaker 1: a lie, but it still felt like it was the
• 38:06
  Speaker 1: last record and it was jammed.
• 38:08
  Speaker 2: You know, especially the first single, bro. That's the title track,
• 38:11
  Speaker 2: getting it.
• 38:12
  Speaker 1: Oh, dude, but the title track and then behind it
• 38:14
  Speaker 1: is By You, Sir.
• 38:15
  Speaker 5: Oh, bro.
• 38:16
  Speaker 2: So good. So good.
• 38:17
  Speaker 4: You know, the thing about that album, I think the
• 38:20
  Speaker 4: reason it's celebrated in the history of rap the way
• 38:27
  Speaker 4: it is is because I think Short might have been
• 38:30
  Speaker 4: the first rapper to get to 10 albums. Yeah.
• 38:32
  Speaker 2: Because, you know.
• 38:33
  Speaker 4: Thinking back at that time, I remember there was a
• 38:36
  Speaker 4: time where people were celebrating Big Daddy Kane because he
• 38:38
  Speaker 4: made it to five because no rapper had ever made
• 38:41
  Speaker 4: five albums before. And short getting to 10, like that was,
• 38:45
  Speaker 4: that was, that, in 1996, that seemed like an impossible feat.
• 38:50
  Speaker 3: Yes.
• 38:51
  Speaker 2: You know what I mean?
• 38:53
  Speaker 4: Considering, as I mentioned in our previous conversations, the way
• 38:56
  Speaker 4: records got made back then was completely different the way
• 38:58
  Speaker 4: they get made now. Like, you know, 10 albums ain't nothing.
• 39:01
  Speaker 4: Y'all can make 10 albums in 10 days if I
• 39:02
  Speaker 4: want to now. But but back then, you know, especially
• 39:07
  Speaker 4: somebody like Short, who was on a major label, you
• 39:10
  Speaker 4: know what I mean? Like all his records came out
• 39:12
  Speaker 4: on a major. And for him to and for him
• 39:16
  Speaker 4: to reach 10 albums, you know, starting from.
• 39:20
  Speaker 2: What, 80, 80, you know, in the mid 80s.
• 39:23
  Speaker 4: And always, you know, that's a a decade a rapper
• 39:27
  Speaker 4: that lasted a decade it was unheard of back then
• 39:30
  Speaker 4: and on top of that it was that's probably that
• 39:34
  Speaker 4: might be one of short's best albums it is it.
• 39:37
  Speaker 1: Is and the and the ark is the ark is
• 39:38
  Speaker 1: short and the catalog like from born to mac all
• 39:41
  Speaker 1: the way around because let's be honest they ain't all
• 39:44
  Speaker 1: good but they are all jamming right and you know
• 39:47
  Speaker 1: a lot of it is like sophomoric and ridiculous like
• 39:51
  Speaker 1: teenage type sex songs and like the pimping thing or
• 39:54
  Speaker 1: whatever but when that dude is on and that he's
• 39:58
  Speaker 1: in a pocket yeah ain't nobody better yeah yeah he's
• 40:02
  Speaker 1: one of those um he is not he ain't gonna
• 40:06
  Speaker 1: win no battle Right. Not like the all time great MC,
• 40:11
  Speaker 1: but really good at making records. Like, again, the type
• 40:13
  Speaker 1: of rapper that a producer is like, yeah, come on
• 40:15
  Speaker 1: over here. I got something for you.
• 40:17
  Speaker 2: Too Short is like the ultimate versus artist.
• 40:19
  Speaker 4: Like he won a versus every time just because he
• 40:22
  Speaker 4: got he got jams for days.
• 40:25
  Speaker 1: Yes.
• 40:26
  Speaker 2: Yes.
• 40:27
  Speaker 1: It's jams for days and it's jams for people who
• 40:33
  Speaker 1: drive cars. Mm hmm. and have knock in the trunk
• 40:36
  Speaker 1: of those cars.
• 40:37
  Speaker 4: Or I guess we should say slaps in this context.
• 40:42
  Speaker 1: Yeah, like that's the thing. Too short is, you better
• 40:46
  Speaker 1: tighten up that license plate. on the back of your car.
• 40:50
  Speaker 1: All right, Tushar, Tushar going to test that.
• 40:53
  Speaker 2: Yeah, that drunk going to be rattling.
• 40:55
  Speaker 1: Yeah, like we talk about Bayou Sum, which I didn't realize.
• 40:57
  Speaker 1: I thought that Eric Sermon had done the beat just
• 40:59
  Speaker 1: because Sermon was rapping on it. But, you know, I
• 41:01
  Speaker 1: guess this is also Tushar's Atlanta era, right? Like this
• 41:03
  Speaker 1: is right around when he moved down the street from
• 41:06
  Speaker 1: my parents. Represent money, Bayou Sum, with a super, dude,
• 41:11
  Speaker 1: MC Breed, Breed is like, I feel like Breed's the
• 41:15
  Speaker 1: MC to everybody. If you bring it up, everybody likes Breed,
• 41:18
  Speaker 1: but Breed does not have an album that people think
• 41:22
  Speaker 1: about across the board, whatever. He has an absolute unequivocal
• 41:27
  Speaker 1: classic single, Ain't No Future In Your Front. He's from
• 41:30
  Speaker 1: a place that even now never really, I mean, this
• 41:33
  Speaker 1: is from Michigan, right?
• 41:34
  Speaker 2: Flint, yeah, he's from Flint, Michigan.
• 41:36
  Speaker 1: Yeah, so at a time where there was no geographical
• 41:40
  Speaker 1: mooring for him at the time, but he jumps on
• 41:44
  Speaker 1: this one. Oh boy.
• 41:47
  Speaker 2: Goes crazy. And, and, and he had a record. He
• 41:50
  Speaker 2: had a record with Pac. He did.
• 41:52
  Speaker 1: And it's another thing.
• 41:53
  Speaker 2: A banger.
• 41:54
  Speaker 4: Got to get mine.
• 41:56
  Speaker 2: Got to get yours. Yeah. Yeah.
• 41:58
  Speaker 4: But yeah, Bree, Bree was definitely a breeze. Definitely somebody that,
• 42:02
  Speaker 4: that should be spoken.
• 42:03
  Speaker 2: Of a lot more.
• 42:05
  Speaker 3: Yeah.
• 42:05
  Speaker 1: Where are you on the E 40 hall of game record?
• 42:08
  Speaker 4: I am a big, big, that's I love that record.
• 42:11
  Speaker 4: I mean, you know, back to short, like that's a
• 42:15
  Speaker 4: rapper's ball is from that.
• 42:16
  Speaker 2: You know what I'm saying?
• 42:17
  Speaker 4: You got, you got, uh, uh, Casey and Jojo, you know, that,
• 42:21
  Speaker 4: you know, that was the, that was the, the, the
• 42:24
  Speaker 4: Bay version of how do you want it?
• 42:26
  Speaker 2: You know what I'm saying?
• 42:27
  Speaker 1: Don't want to freestyle, man. Don't rap for free, man.
• 42:31
  Speaker 2: Yeah, man.
• 42:31
  Speaker 4: Like 96 was, uh, there was a, there was a,
• 42:35
  Speaker 4: I think there was a bit of a transition where, uh, the, the,
• 42:41
  Speaker 4: rap from that was coming out of LA. You know, we,
• 42:43
  Speaker 4: you know, we, we spoke, uh, intensively about the Dre,
• 42:47
  Speaker 4: the Dre and death relative at all and how things
• 42:49
  Speaker 4: were changing. Um, I think in 96, the same thing
• 42:54
  Speaker 4: was happening in the inverse for Bay area, uh, rap music.
• 42:57
  Speaker 4: Cause you had, you got E40, you had the, the
• 43:00
  Speaker 4: two short, uh, 10 album thing. You also got the loonies, uh,
• 43:05
  Speaker 4: I got five on it making, you know, making, and
• 43:07
  Speaker 4: then you had other cats like, um, Selly Sale had
• 43:11
  Speaker 4: that big single that had the Key Sweat sample in it.
• 43:14
  Speaker 3: Yep.
• 43:14
  Speaker 1: And he came out this year too. Yeah.
• 43:16
  Speaker 2: You know what I mean? So, and then you had.
• 43:20
  Speaker 4: Even like a, like a underground rapper, like Mack Maul,
• 43:25
  Speaker 4: he had signed to a major that year. He had
• 43:27
  Speaker 4: signed to Relativity Records and put out that Intouchable album.
• 43:29
  Speaker 4: You know, like there was a lot happening in the
• 43:32
  Speaker 4: Bay Area at that time that, that I don't want
• 43:35
  Speaker 4: to say gets glossed over, but because of the, you know,
• 43:39
  Speaker 4: the sheer dominance and like I mentioned before, how everything
• 43:43
  Speaker 4: was in the death row orbit, I think kind of
• 43:47
  Speaker 4: gets maybe a little lost in translation and people don't
• 43:50
  Speaker 4: think about all the things that were happening in the
• 43:53
  Speaker 4: Bay back at that time.
• 43:55
  Speaker 3: Right.
• 43:56
  Speaker 1: Let us also not forget about the Holla Gang. The
• 43:59
  Speaker 1: homie dissing the homie. The record starts with a Rasheed
• 44:05
  Speaker 1: Wallace diss. Because Rasheed is a super hip-hop head from Philly,
• 44:10
  Speaker 1: and this is the mid-' 90s, and I think he was
• 44:12
  Speaker 1: on Rap City. And Joe Clair was asking him about
• 44:15
  Speaker 1: what he was into, and he was like, I don't
• 44:17
  Speaker 1: fool with the Goody Mob. I don't fool with them E-40s.
• 44:21
  Speaker 1: And E-40 took that incredibly personally.
• 44:24
  Speaker 2: Yeah.
• 44:25
  Speaker 4: You know, E-40 is another one of those, you know,
• 44:30
  Speaker 4: watch what you say. You know what I'm saying?
• 44:32
  Speaker 2: Don't run up on him.
• 44:33
  Speaker 4: Yeah.
• 44:33
  Speaker 1: Let me tell you this though.
• 44:35
  Speaker 4: Everybody knows the story about how he got Biggie isolated.
• 44:38
  Speaker 2: Ran up on Biggie.
• 44:40
  Speaker 1: And Biggie apologized.
• 44:41
  Speaker 2: You know what I'm saying?
• 44:43
  Speaker 1: My bad, dawg. Hey, and props to Biggie on that one, too. Hey, man,
• 44:47
  Speaker 1: sometimes you wrong, right? Just, hey, man, you got it,
• 44:50
  Speaker 1: big dawg. You got it. Now, 40 as an emcee
• 44:54
  Speaker 1: is interesting to me because I prefer later, late stage
• 44:58
  Speaker 1: 40 over that era of 40 because at that era
• 45:01
  Speaker 1: of 40, I would have loved to heard, like, an
• 45:03
  Speaker 1: E-40 record with Dre to be like, hey, chill out
• 45:05
  Speaker 1: a little bit, dog.
• 45:06
  Speaker 3: Right?
• 45:07
  Speaker 1: Like, in the Busta Rhymes camp of, you're doing a
• 45:09
  Speaker 1: lot right now, man.
• 45:11
  Speaker 4: Yeah, I think that's what is endearing about E-40 is
• 45:15
  Speaker 4: that he does, he really, really does a lot.
• 45:18
  Speaker 3: Yeah.
• 45:18
  Speaker 2: He does a whole lot.
• 45:19
  Speaker 4: And that definitely lends to his uniqueness. You know, like,
• 45:24
  Speaker 4: He is the slang master, bro.
• 45:26
  Speaker 2: You know? Yeah.
• 45:28
  Speaker 1: But it's not just the slang. It's a lot of syllables.
• 45:31
  Speaker 1: It's a lot of up-down. It's a lot of, like, hey,
• 45:33
  Speaker 1: the beat. It's right there.
• 45:34
  Speaker 2: It's right there. Come on back.
• 45:35
  Speaker 1: Come on back, B-Dawg.
• 45:35
  Speaker 2: Come on back.
• 45:36
  Speaker 1: I mean, you didn't leave it. I'm not saying you left,
• 45:37
  Speaker 1: but you got a little close there.
• 45:38
  Speaker 2: Come on back.
• 45:39
  Speaker 3: Come on back.
• 45:41
  Speaker 1: He also had all-time ear for beats.
• 45:43
  Speaker 2: Yes, he did.
• 45:44
  Speaker 4: Shout out to Studio Tone, though. You know, that was
• 45:46
  Speaker 4: kind of like the sick-witted records in-house producer.
• 45:48
  Speaker 2: You know? Yeah.
• 45:49
  Speaker 4: Even Pimp Steve referenced him in Murder. Like, I was
• 45:52
  Speaker 4: at the studio with Tone, man. I wish I could stay.
• 45:54
  Speaker 1: Oh, that's the Tone Capone.
• 45:56
  Speaker 2: Yeah. Yep.
• 45:57
  Speaker 1: Yeah, that Scarface loves Tone Capone.
• 45:59
  Speaker 2: Yeah. You know what I mean?
• 46:00
  Speaker 4: Like, he was making all those records, those Click and
• 46:05
  Speaker 4: E-40 and Be Legit and D-Shot records.
• 46:08
  Speaker 2: He was all over all that stuff, man. Yeah.
• 46:10
  Speaker 1: Scarface, I think it was in his book, he said
• 46:12
  Speaker 1: he had Tone Capone as, like, top five producer ever.
• 46:15
  Speaker 2: I can see that.
• 46:16
  Speaker 1: If I'm also not mistaken, he also has Scarface on
• 46:20
  Speaker 1: that list. Scarface got beats, I will note. But just
• 46:22
  Speaker 1: to give a measure of context on what Scarface's taste
• 46:30
  Speaker 1: in beats are, first of.
• 46:31
  Speaker 2: All, me. Yeah, there.
• 46:35
  Speaker 1: You go. But this was also, I forgot the year
• 46:38
  Speaker 1: that the Crips and the Bloods put out Banging on Wax.
• 46:42
  Speaker 2: Oh man. Piru love, man.
• 46:43
  Speaker 4: Piru love got that, that kind of jumped off here in, uh,
• 46:46
  Speaker 4: well in Chattanooga rather, uh, where I was at, but,
• 46:50
  Speaker 4: but yeah, that was, uh, that was an interesting time.
• 46:53
  Speaker 1: But I think what you just, what you just said though,
• 46:56
  Speaker 1: I think gets to something else interesting that could be,
• 46:59
  Speaker 1: if you weren't around for people to understand, I always
• 47:02
  Speaker 1: say in rap, the West coast really started at like Birmingham. Like,
• 47:09
  Speaker 1: if you, and like in Houston, definitely, if you ask
• 47:11
  Speaker 1: people which way they were going, not even in a beef,
• 47:13
  Speaker 1: just in terms of sonically what they was about, it
• 47:16
  Speaker 1: was that West Coast sound with the live instrumentation, like
• 47:19
  Speaker 1: leaning on, you know, leaning on a different sample, not just,
• 47:24
  Speaker 1: it's not simply the records they were sampling, right? Because
• 47:27
  Speaker 1: like De La Soul was sampling PFOC, right? It's not
• 47:29
  Speaker 1: as though the West Coast, but it was the way
• 47:31
  Speaker 1: that they were doing this. Like that sound of the
• 47:34
  Speaker 1: West Coast was, I've always felt like the reason it
• 47:38
  Speaker 1: also caught on so big and with white people, which
• 47:41
  Speaker 1: is its own discussion, but sonically what people were about
• 47:46
  Speaker 1: West of the East coast of the East coast is
• 47:47
  Speaker 1: just the coast. The rest of the nation I felt
• 47:50
  Speaker 1: like was really rocking West coast music in a way,
• 47:52
  Speaker 1: but it didn't really feel like that after 96.
• 47:56
  Speaker 2: Yeah. Things change. Things definitely change.
• 47:58
  Speaker 4: Like, but to your point, like, all that stuff that
• 48:04
  Speaker 4: was being made from the late eighties early and into
• 48:08
  Speaker 4: the mid nineties from the West coast, it would like, especially,
• 48:11
  Speaker 4: especially down South. It was, it was getting serious, serious love. Like,
• 48:17
  Speaker 4: you know, um, it, it, it wouldn't be, uh, unlikely
• 48:24
  Speaker 4: to find somebody that, that lived in Tennessee or Georgia
• 48:28
  Speaker 4: for that matter, or, or Mississippi, Alabama, uh, to, you know,
• 48:33
  Speaker 4: they say, who's your favorite rapper?
• 48:35
  Speaker 2: And they say Too Short. You know what I mean?
• 48:38
  Speaker 4: I mean, you even had a homie in Dallas that
• 48:40
  Speaker 4: sounded like Too Short, Ron C.
• 48:42
  Speaker 2: You remember him?
• 48:42
  Speaker 3: Yes.
• 48:43
  Speaker 2: You know, like that's just.
• 48:48
  Speaker 4: An example of the type of influence that West Coast
• 48:51
  Speaker 4: music had on the rest of the country that was
• 48:55
  Speaker 4: not the Eastern Seaboard, you know? So, but yeah, I mean, Yeah, man,
• 49:00
  Speaker 4: West Coast music, West Coast rap music in particular, had
• 49:04
  Speaker 4: a real stranglehold on the hip hop populace for a really, really, really,
• 49:11
  Speaker 4: really long time. And, you know, it's evidenced in some
• 49:17
  Speaker 4: of the longevity, like, you know, the 40s and the pop.
• 49:20
  Speaker 4: and Dre making the dud of.
• 49:23
  Speaker 2: His career and then coming back with one of his records.
• 49:26
  Speaker 2: You know what I'm saying? Yeah. All of that's possible.
• 49:28
  Speaker 4: Like, Snoop having his issues with Death Row, leaving Death Row,
• 49:35
  Speaker 4: going to No Limit. And then, and then, and then, uh,
• 49:40
  Speaker 4: of coming back to Dre and starting to make Snoop
• 49:44
  Speaker 4: and Dre records again.
• 49:45
  Speaker 2: You know what I mean?
• 49:45
  Speaker 4: Like all, all of that is a, is a, is
• 49:49
  Speaker 4: a testament to how, how deep rooted the influence of
• 49:56
  Speaker 4: West coast hip hop had on the nation.
• 49:59
  Speaker 1: By the way, I almost forgot one record.
• 50:03
  Speaker 5: Um and actually thinking about this record made me to
• 50:05
  Speaker 5: remind shout out to the homies dot x you're probably
• 50:08
  Speaker 5: out there listening because i forgot to mention wild cowboys
• 50:10
  Speaker 5: when we did the episode on uh on east coast
• 50:13
  Speaker 5: rap and that's on me but that was a good
• 50:14
  Speaker 5: one too but i thought of that because this is
• 50:17
  Speaker 5: the year the razzcats put out soul on ice and
• 50:20
  Speaker 5: i'm not really here to talk about the entire soul
• 50:22
  Speaker 5: on ice album i have a good friend who was
• 50:25
  Speaker 5: adamant that nature of the threat ensure Deraz Kaz would
• 50:28
  Speaker 5: never catch on and rap because they was never going
• 50:30
  Speaker 5: to let him because he was spitting too much truth
• 50:32
  Speaker 5: in that crazy ass record.
• 50:34
  Speaker 1: It's not even really, it didn't seem that crazy at
• 50:37
  Speaker 1: the time because it was in line with a certain sensibility,
• 50:39
  Speaker 1: but you go back and you're like, yeah, they was
• 50:41
  Speaker 1: never going to let you.
• 50:42
  Speaker 4: On after this. No, not after this. Nah, man, you
• 50:47
  Speaker 4: talking too much light, right? We got to leave you
• 50:49
  Speaker 4: right where you at, buddy.
• 50:51
  Speaker 1: No, like, I'm just like, nature of the threat. Like,
• 50:53
  Speaker 1: I do miss the days. Again, I miss the days
• 50:56
  Speaker 1: that we had rappers that was hanging out, you know,
• 50:58
  Speaker 1: at the Shrine of the Black Madonna. You know what
• 51:00
  Speaker 1: I'm saying? Getting them books and coming to kick us knowledge.
• 51:03
  Speaker 2: Yeah, man.
• 51:04
  Speaker 4: Shout out to Raz Kaz's twin sons, man. The group
• 51:08
  Speaker 4: Coast Contra. They really, really dope. So if you looking
• 51:11
  Speaker 4: for some new hip hop that's actually good, and if
• 51:15
  Speaker 4: you like people that can rhyme, I would suggest that
• 51:18
  Speaker 4: you give Coach Contra a listen.
• 51:20
  Speaker 2: They're pretty good.
• 51:22
  Speaker 1: Yeah, I am looking at these records because I've not
• 51:24
  Speaker 1: listened to this record in a really long time. Hey,
• 51:27
  Speaker 1: he did a lot of reading before he wrote this song.
• 51:32
  Speaker 2: I bet he did. He had.
• 51:34
  Speaker 1: Well, actually, at the very least, he did a lot
• 51:37
  Speaker 1: of note taking, right? Like, this is a serious amount
• 51:41
  Speaker 1: of information about the history of the world that he
• 51:44
  Speaker 1: has put forth. And let me get the time right
• 51:48
  Speaker 1: on this. Seven minutes and 43 seconds. That's a whole
• 51:52
  Speaker 1: lot of words, bro. Yo, and the idea that you
• 51:56
  Speaker 1: can get that on a record at that point and
• 51:57
  Speaker 1: then everybody would be like, yeah, let's do that. Can
• 52:00
  Speaker 1: you imagine what would happen right now if, like, one
• 52:03
  Speaker 1: of the Migos showed up and was like, yo, this
• 52:05
  Speaker 1: is what I'm.
• 52:05
  Speaker 2: Trying to do.
• 52:07
  Speaker 4: Yeah, I'm about to kick a near eight-minute knowledge session.
• 52:13
  Speaker 1: Yeah, the knowledge, again, that's another one. I think Jay-Z,
• 52:18
  Speaker 1: who used to be a very knowledge-inclined sort of rapping dude,
• 52:23
  Speaker 1: Jay-Z was down with the technology, you know what I'm saying?
• 52:26
  Speaker 1: He was down with the mathematics. Shit is garbage, but
• 52:30
  Speaker 1: you're trying to kick knowledge? Knowledge kicking was over.
• 52:33
  Speaker 2: Turned around.
• 52:34
  Speaker 1: At that point, there was no more room. I miss
• 52:37
  Speaker 1: knowledge kickers. I know that sometimes they was wrong. That
• 52:40
  Speaker 1: wasn't the point.
• 52:40
  Speaker 2: That's what I listen to, though.
• 52:42
  Speaker 1: Yeah, yeah, yeah. Like, I'll ride this out, right? Like,
• 52:44
  Speaker 1: you know, maybe. Yeah, like, kick some knowledge, dog. Nobody
• 52:48
  Speaker 1: kicking no knowledge.
• 52:49
  Speaker 2: Not no more than that. You know what I mean?
• 52:50
  Speaker 1: Like, even a cat like Kendrick, who is definitely speaking
• 52:53
  Speaker 1: from a position of knowledge, he ain't kicking knowledge.
• 52:56
  Speaker 2: Ain't nobody kicking knowledge like that no more. You know
• 53:00
  Speaker 2: what I'm saying?
• 53:01
  Speaker 1: You got the knowledge.
• 53:02
  Speaker 2: You know what I'm saying?
• 53:03
  Speaker 3: Yeah.
• 53:04
  Speaker 4: Ain't nobody talking about the supreme mathematics and none of.
• 53:08
  Speaker 2: That no more.
• 53:10
  Speaker 1: They still out here, though, boy.
• 53:11
  Speaker 4: 100% still out here. It's not happening on rap songs
• 53:15
  Speaker 4: no more.
• 53:16
  Speaker 2: No, no.
• 53:16
  Speaker 1: They still got their little storefronts, right? Little churches out here.
• 53:21
  Speaker 1: You walk up and down. I think it's on Linux.
• 53:23
  Speaker 1: You run up on one of those, like around 127
• 53:25
  Speaker 1: or something like that. It's like, oh, y'all still over here.
• 53:28
  Speaker 2: I believe it, man. Hey, man.
• 53:30
  Speaker 1: But speaking of kicking knowledge, the boy Wiley Sparks been
• 53:33
  Speaker 1: out here kicking knowledge with us for the last month
• 53:35
  Speaker 1: and change. Brother, I appreciate it. I want to make
• 53:38
  Speaker 1: sure people know twitch.tv slash DJ Wiley Sparks. Wiley be
• 53:41
  Speaker 1: over there cutting up. Catch him in Atlanta. DJ, catch
• 53:44
  Speaker 1: him with the arts, beats, and lyrics. That comes to
• 53:46
  Speaker 1: your city. Go check it out. Wiley's going to be
• 53:48
  Speaker 1: there spinning. You was just up there with KLC and
• 53:50
  Speaker 1: Matty Fresh.
• 53:51
  Speaker 2: Over the weekend. Yeah, man. That was fun, bro. Bro,
• 53:54
  Speaker 2: I was... Oh, man. That was so much fun. Like, yeah.
• 53:57
  Speaker 4: And Mia X was on stage with us, too. So, uh, yeah,
• 54:00
  Speaker 4: I was, uh, this past, uh, this past weekend, uh,
• 54:03
  Speaker 4: here in Atlanta, uh, the Art Beats and Lyrics, uh, show, show,
• 54:06
  Speaker 4: pardon me, uh, took place. And I mean, it's probably
• 54:11
  Speaker 4: like 4,000 people in there, bro. And, uh, KLC from
• 54:16
  Speaker 4: Beats by the Pound and drum majors, drum majors, Medicine Man,
• 54:19
  Speaker 4: et cetera, and Manny Fresh, they kind of, they kind
• 54:21
  Speaker 4: of did like a dueling DJ set where, you know,
• 54:25
  Speaker 4: KL would be playing stuff that he made, like No
• 54:28
  Speaker 4: Limit records that he made and other stuff that he produced,
• 54:30
  Speaker 4: you know, Ludicrous Move, Bitch, that kind of stuff, you
• 54:33
  Speaker 4: know what I mean? And Manny was playing, obviously, the
• 54:35
  Speaker 4: Cash Money stuff and they just going back and forth,
• 54:38
  Speaker 4: you know, kicking this banter or whatever and it was.
• 54:41
  Speaker 2: Bro, it was so good. So good.
• 54:44
  Speaker 4: And I appreciate, I really, really, really appreciate that they
• 54:49
  Speaker 4: just didn't stick to the hits and they went and
• 54:51
  Speaker 4: played the shit.
• 54:53
  Speaker 2: You know what I'm saying?
• 54:54
  Speaker 4: Like, KL played the theme, Mr. Want Want, and I
• 55:00
  Speaker 4: was like, yes! And then Manny played Drag Him in
• 55:05
  Speaker 4: the River.
• 55:05
  Speaker 2: I was like, yes! You know what I mean? It
• 55:07
  Speaker 2: was a good time, man.
• 55:09
  Speaker 4: So, you know, shout out to the whole Art Beasts
• 55:12
  Speaker 4: and Lyrics team, man. It is a great event if
• 55:15
  Speaker 4: it does come to your city. We'll actually be in
• 55:18
  Speaker 4: New York soon, so I definitely holler at you when
• 55:21
  Speaker 4: I get up there.
• 55:22
  Speaker 1: Hey, let me know, brother. And ladies and gentlemen, thanks
• 55:25
  Speaker 1: so much for joining us here on The Right Time.
• 55:28
  Speaker 1: We do this four days a week. Ryan Brumley handles
• 55:30
  Speaker 1: everything behind the scenes.
• 55:31
  Speaker 2: Thank you, sir.
• 55:32
  Speaker 1: Hit the voicemail line 323-596-7767. Remember, follow The Right Time. Subscribe, like,
• 55:39
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• 55:41
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• 55:43
  Speaker 1: a hater. We'll talk to you guys in a couple
• 55:45
  Speaker 1: of days. Take it easy.