Checking In With De La Soul

Rory and Mal check in with De La Soul and talk the history of the group, their new project with Mass Appeal, and the art of sampling #volume

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Episode Transcript

Speaker 1 (00:01):
The volume.

Speaker 2 (00:07):
All right, Rory, we are back with a new episode.
Today we are joined by hip hop Royalty. Mean that
in every sense of the word. Grew up listening to
these guys.

Speaker 1 (00:16):
Some people just say hip hop royalty just to say
it's a little different guy. No, no, no, listen, man, it's
a little different. I ran home off.

Speaker 2 (00:23):
The school bus to watch video music by VJ Ralph McDaniels.

Speaker 1 (00:29):
Let you catch these guys.

Speaker 2 (00:31):
See the video. I needed to see what they was wearing.
I wanted to see the haircuts they had.

Speaker 1 (00:36):
I was like, all the way in that mold this group,
I'm a little older than you. So that is true.
You know you wasn't really outside like that.

Speaker 2 (00:41):
But today we are joined by legendary.

Speaker 1 (00:49):
We are we are. We are very honored and privileged
to have you. Man, you have no idea what this means.
You guys came up here, man, like this is incredible. Yeah,
this is this is one of those moments. I'm like, damn.
Like they talk in the day lots, so like they
am I doing. They hit our grip chat like where
we talk about guess and everything, and they had the

(01:11):
nerve to ask, do you guys want daylight? On It's like,
why would you would you tell us what? They be
there every time that we need to be there for them.

Speaker 2 (01:23):
But gentlemen, there's a pleasure first of all, rest the
piece of true boy.

Speaker 1 (01:26):
Yes you got to start there, but yes you have
a new album coming.

Speaker 2 (01:32):
We'll get to all of that, but I want to
start from the beginning.

Speaker 1 (01:36):
Man.

Speaker 2 (01:36):
Like I said, watching you guys growing up in New
York City, I'm from the Bronx and getting to see
the videos and you know, that's how we kind of understood,
you know, the fashion and when I was a kid,
we saw what y'are wearing and the things that you're saying.
How does it feel now looking back at all of
the things that y'all have accomplished in the culture, the

(01:58):
people that you're influence is the artists y'all have influenced.

Speaker 1 (02:02):
How does it feel looking back on it? Like damn, Like.

Speaker 2 (02:06):
We accomplished so much and what feels like it's not
it doesn't feel like it was a long time, but
it has been a while.

Speaker 1 (02:14):
But how does it look? How does it feel to
look back at that? Like damn?

Speaker 2 (02:16):
We said, we started out saying we wanted to do this.
Years later, look at everything we accomplished.

Speaker 3 (02:22):
First, you go, wow, where did the time go? Yeah
right right?

Speaker 4 (02:28):
Yeah yeah, and the other part really don't think about
it into people like yourselves say something, and then it's
that moment of reflection like damn, wow, yeah did some shit?
You know what I mean, it's a blessing. I'm thankful.

(02:48):
You know, back then had no idea that what we
are all involved with would be as big as it
is today, you know, and it's still be a part,
a significant part of the fabric. It's just God's gift,
you know what I mean?

Speaker 1 (03:04):
How how did Native tongues exactly come together in that era?
Because if I were to like paint a family tree
of all the music that I love, it would probably
be inspired by y'all, Queen and Tifa, leaders of New
School Tribe. Like that family tree, if you made it,
you could put damn near every artist that I love
under that family tree. What was in the water at

(03:27):
that So how did y'all even all connect Tifa being
from Jersey, Uh tribe being from Queen's leads of New
School in Brooklyn, you guys in Long Island, Like, how
did that collection even come together?

Speaker 3 (03:39):
It started from.

Speaker 5 (03:42):
Us in Jungle being on the same show, we obviously
knew who they were. They had already had what jimbrowski
ow and doing what they were doing Browski.

Speaker 3 (03:52):
Yeah.

Speaker 5 (03:53):
And so by the time we had our first single
and whatever out and running around doing a little show
was we got on the show together. We rocked together,
we started talking.

Speaker 3 (04:05):
And you know, we just like this.

Speaker 5 (04:08):
And in that era, it was always that easy, like yo, man,
pleasure to meet you.

Speaker 3 (04:12):
We love what you're doing.

Speaker 5 (04:13):
Yo, come by the studio and cats will come by,
you know, us being around Paul. That's how we met
Milk and Gears or Light the same way. So it's
like high school, honestly, and then you just start getting
into your little clicks in high school. But everyone was
really friendly with each other. So Jungle came through met
up with us, you know, or even at Queen's Day.

Speaker 3 (04:33):
Queens was when we met Trap.

Speaker 5 (04:35):
We met we met He had Tip roll up his
little boys to Gil poss me in and young Q
Tip and we was like ay, and so.

Speaker 3 (04:41):
We just.

Speaker 1 (04:44):
Like, there's no social media.

Speaker 2 (04:46):
This is literally you have to be in these spaces
to meet each other and each other, and then you know,
like you know, I know what it is now when
rappers in the same room, it's that weird thing where
you know who each other are, you never met met,
but you don't want to say what's up first, because
it's like what if I stin my hand and he
ain't as welcome in.

Speaker 3 (05:05):
Yeah, that has happened, you know what I mean.

Speaker 1 (05:06):
It's kind of like I never met him doing over
there and say what's up?

Speaker 4 (05:09):
That happening and I vowed I would never be like that, Okay,
and that has happened, you know where you you know,
you want to introduce yourself some of your your favorites,
you know, Yeah, and you kind of honored to be
a part of this fabric. It's this fraternity now, yeah, yeah,
and you get kind of played or sun or something

(05:31):
like that.

Speaker 5 (05:31):
Yeah, But it was still different for us because, like
I guess what he's saying is like you didn't know
how he was, but with social media, you already know
someone's wide meet him.

Speaker 3 (05:42):
How is he going to? You know what I'm saying.
I get that.

Speaker 2 (05:44):
Yeah, for y'all to meet Q Tip like that, and
it's like Yo, he's like yo, I'm cute Tip.

Speaker 5 (05:49):
Yeah, he was open and it's happy and we showed
love and it just started from there. Us hanging around
each other. It was just really that simple, us hanging
around each other. But like I said, at the same time,
we hanging around nice and smooth and we're just open
and and like that around all that. So by the
time we just kind of got this little thing between me,

(06:12):
Tip and Africa. I go meet up with them at
the Crib at Africa's house and Tip was like, yo,
aff tell tell possible.

Speaker 3 (06:21):
We were just talking.

Speaker 5 (06:21):
About and it was he was like, yo, like whenever
we try to do stuff together, why don't we Why
don't we call ourselves native tongues, you know? And he
was like, because yo, we we kind of look like
we speak the same language. I was like, Yo, that's dope.
I'm gonna go back and tell Mason Dave. Tip was like,
y'all go tell I leave Fife and Jerobi and the
same to him. He say, y'all gonna tell Sammy Be

(06:42):
and Mike and everyone was with it. And that was
as simple as that. We just don't hanging around each other.
Latifa gets signed to Tommy Boy. I remember my life
was like, Yo, I think y'all just I just I
think y'all signed this girl who was like, I think
she's showing me crazy doope? I was like yeah, yeah, yeah,
but the light I mean, Latifa was just hang out
at our house. She would come to So Long Island,

(07:02):
hang at his crib, my crib, and yeah, she just
became a part of a family. So we just were
just hanging out with each other and it's translated to music.

Speaker 1 (07:11):
This is so crazy. It's one of those that like
when I hear like bus Big and jay Z went
to the same high schools, Like, how does that happen? Really?
How you guys? How much did Red Alert play a
part and everything?

Speaker 5 (07:24):
At that time, it wasn't a big part at first.
It was just like Red was Mike G's uncle.

Speaker 4 (07:29):
We didn't know that and didn't even know that for real.
Like when I found out Red was Mike G's uncle,
I go uptown to Mike's crib and we and the
crib working on music and who comes around peeking around
the room like you And I'm like, what's Red doing

(07:51):
in your house?

Speaker 1 (07:54):
What is he?

Speaker 3 (07:56):
What is he doing here?

Speaker 4 (07:58):
Like right in the room, you know, He's like, oh,
that's my uncle, Oh that's my uncle. When was you
going to let us know that. And when that happened,
that's when I felt like I really arrived in this thing.
I'm in Red Alert's crib, you know what I mean,
house full of records and sneakers and whatnot, and and

(08:18):
I'm like, and then you see Dougie Fresh come through,
Chill Will come through, Barry Bee come through, like all
these different artists.

Speaker 1 (08:26):
You know, it was crazy, were the rumors of native
tongues starting separate groups, like mixing and max like matching
with different groups.

Speaker 5 (08:35):
Actual thing that was real. We uh me q Tip,
Juju and Africa. We actually recorded a few things. We
was called the Fabulous Fleas and then I think.

Speaker 4 (08:52):
Me Sammy b Day, Mike g Kids and another person
from my neighborhood, dam'ed Poplight. We were gonna be kids
on Xena five.

Speaker 5 (09:02):
Yeah, So we recorded a bunch of things like actually
the song of roller skating jam named Saturdays. That was
something I did for Fabulous Fleas because Juju did something
that was amazing. Africa makes this beat, this crazy Tip
comes up with the chorus, Tip does something to do.
I said, damn, what can I do? And then I
came up with Saturdays. And so It wasn't until we

(09:24):
was working on daylight, so his dad at that time.
But it's like we needed something. So I just said
to the guys, like, yo, got take this beat back
and do it for daylight. And it was like, yeah,
take it back. So yeah, Saturdays wasn't even for daylight.
It was for fabous Fleas.

Speaker 3 (09:36):
Yeah.

Speaker 1 (09:37):
I mean what stopped some of that music from coming
out just scheduling and it.

Speaker 5 (09:42):
Just were it was more like it it was almost
like an exercise and we hanging it.

Speaker 1 (09:49):
In shape.

Speaker 4 (09:50):
Yeah, I mean, we were all happy with the opportunity
we got to make records.

Speaker 3 (09:54):
Yeah, didn't realize.

Speaker 4 (09:55):
It was going to turn into a career, right, And
we all have individual record deals before we became this collective,
so people had some really tough decisions to make. You know,
Africa had a movie deal on the table at the time.
I mean pretty much we was kind of with everything,

(10:16):
you know what I mean, like we was willing to
stop to make certain things happen, but other people had
other plans. Latifa had the TV show coming her way,
so it was things that was interrupting, you know, on
a professional level.

Speaker 5 (10:31):
Yeah, But honestly, in the early aspect of native tongues.
Anyone could record that.

Speaker 3 (10:37):
That was the thing. The other day.

Speaker 5 (10:38):
That's you could see Cararas one and karas one and
be like, Yo, I'm about to do a record with
this person. Yeah, recording was nothing. We didn't have I'm
being honest. What like young kids got today, like yo,
you put everything out, you do this? You they think
with a brand in mind. You were just you know,
flexing your muscle out making music.

Speaker 1 (10:57):
It was regular shit as just a fan. We're talking
about the rock the Bells cruise. In the time of festivals,
what would it take for a native tongue set or
some type of festival to happen of just the native
tongues click, because that would tell our icon stadium tomorrow. Man, Like,

(11:21):
without question, It's.

Speaker 5 (11:22):
Just and I'm being honest, like Daylight has always been
with it. When day was here, we was with it.
It's just at certain points it's just for certain individuals
to want to do it and we can do it.

Speaker 1 (11:35):
Yeah, that's it. I mean, it's just really it.

Speaker 4 (11:38):
Man.

Speaker 2 (11:38):
You know, I'm not listening, I ain't starting no mess,
but you answering that. I kind of feel like I
know who you.

Speaker 1 (11:45):
I kept it in my head.

Speaker 2 (11:45):
I'm not going to say it, but because I've watched
enough on the album. Yeah, yeah, I watched enough interviews
and I'm like, okay, and one of my favorite producers,
but it's like, okay, I understand that.

Speaker 1 (11:59):
Let's talk about getting to the album.

Speaker 2 (12:01):
The first album, High and Rising, classic album. I mean,
y'all got one of the most iconic dunks behind that album. Yeah.
I looked at those sneakers the other day. I was
in flight club and I was like, I'm about to
pull a trigger heavy price tag for it. But I
feel like that's one of the ones, Like, you know,

(12:23):
I grew up in that time, and I just feel
like that's just a staple, Like I just got to
be able to say I have that shoot. But when
it came time to with Your Daylight was recording the album,
what was that process, Like, what was that feeling the
emotions of oh shit, this is our first album, like
we really recording. It's great to come out, Like what
did y'all feel like, what were the conversations like how

(12:45):
did y'all you know, how did y'all feel in that moment?

Speaker 1 (12:47):
It was a whirlwind of happiness.

Speaker 5 (12:51):
Someone wants to do a deal because mind you, like
single deals was big back then, you have a whole
bunch of singles, it may not get an album, right.

Speaker 1 (12:58):
So by the time we got to that second singing
slowly going back to that by the way, that's a
whole nother comments less.

Speaker 5 (13:03):
Once we got to that single, the second single, Potholes
in My Lawn, you know, we knew from Tommy Boy
that they want to do an entire album. So at
that point, Yo, we're just happy. All these ideas we
all had on in our head along with Paul's ideas,
we just started putting it together. Paul created such a
great atmosphere to record in. You know, we thought everyone

(13:26):
recorded like that, you know, like he allowed everyone idea
to be heard. He made sure that's how we needed
to do things like, Yo, allow people to get their
idea across, even if it's something you birth first, allow
us all.

Speaker 3 (13:41):
To put it in.

Speaker 5 (13:42):
Put these ingredients in the pot, and if it doesn't work,
take it out. So it was just such a great,
great atmosphere that we was in having fun.

Speaker 3 (13:51):
We had structure.

Speaker 5 (13:52):
Paul would be like, you know what, so okay, this
song ghetto thing, Yo, Dave merse, you have your rhyme
ready for this, and then two days Mace find some
cuts and we would follow this this homework, but didn't
still have enough time to have fun and try things
on the fly. It was just fun and whoever was
hanging out that day, they could wind up on an album.

(14:15):
Jungle was on Buddy because they were just there that day,
you know what I'm saying. If they, like I always say,
if they would have came the following day, they could
have been on ghetto thing, you know what I'm saying.
So they have even Buddy becomes become what it has become.

Speaker 3 (14:28):
It's like we didn't plan it, you know what I'm saying.

Speaker 5 (14:31):
It was just like yo, people was there get on
an album and it was just a lot of fun.

Speaker 1 (14:36):
That's making the album.

Speaker 5 (14:37):
Just every day coming to the studio, riding the train
back and forth, just knowing you're going to just hear
your voice what was in your head on paper?

Speaker 3 (14:47):
So now on a.

Speaker 1 (14:49):
Yeah, what was a Long Island like at that time?
Because coming off pe Rock him like, I may be
the only person from Queens that loves Low Island. I
don't think you guys get your just due at all
when it comes to hip hop and what you guys
have contributed. What was the island like at that time?

Speaker 3 (15:10):
Beautiful by day.

Speaker 1 (15:14):
You got Eddie Murphy at the time to.

Speaker 3 (15:18):
Beautiful.

Speaker 1 (15:23):
You didn't want to be a central at that time.

Speaker 5 (15:25):
Now, you know, there was definitely puss of Long Island
that was crazy, very very grind.

Speaker 1 (15:31):
I mean more in the music says.

Speaker 3 (15:32):
Yeah, yeah, the.

Speaker 5 (15:34):
Music says, everyone's bubbling, like you know, because the more
people who got on, the more you became inspired.

Speaker 1 (15:40):
You know what. We saw what Erican Pastor is doing.

Speaker 5 (15:45):
That's crazy and we was like, they're further out than us,
and they got this really hardcore.

Speaker 1 (15:51):
We were so inspired by that.

Speaker 5 (15:54):
Yeah, all that and forget it rock him man, listen,
Yeah you know Breddie Fox.

Speaker 3 (16:00):
Yeah. Well there was a lot happening. This was everywhere.

Speaker 5 (16:04):
Oh yeah, yeah man, because you figure you got to realize, yo,
all these people, a lot.

Speaker 3 (16:13):
Of them tweethmatic.

Speaker 1 (16:15):
Yeah.

Speaker 3 (16:15):
We weren't necessarily born in Long Island.

Speaker 5 (16:18):
We were like people who parents moved us to Long Island, right,
So we had that city.

Speaker 1 (16:23):
DNA in us.

Speaker 5 (16:24):
I'm from the Bronx, He's from Brooklyn, Davis from Brooklyn.

Speaker 3 (16:27):
A lot of us was like.

Speaker 5 (16:28):
That, you know, we had our connection to our cousins
and everything, and we knew what was going on. We
were just out in the forest ye bye. You know
the borrow standard was like out in the boomdocks. But yeah,
like the music was there, we was paying attention to it.

Speaker 1 (16:42):
You know, where uh where was Doom at this point
because after coming off you know, the third base stuff
and everything, Doom being from Long Island as well, Like
was he around at that time before he became m
F Doom came cam d days always around.

Speaker 5 (16:56):
When Doom lost sub Rock, when he lost his brother
and recipes Doom.

Speaker 1 (17:02):
That was hard, you know what I mean?

Speaker 3 (17:03):
That was he disappeared. Yeah, he kind of disappeared.

Speaker 5 (17:07):
Like I would see him every now and then, but
not much because I mean honest, like when he became Doom,
I didn't know that was him.

Speaker 1 (17:16):
I didn't know that was that really, I had no idea.
So there was a lot of people. Yeah, I had no.

Speaker 5 (17:23):
Coming out It's dope. By the time you get to
the joint with mad Lib, I'm like, yo, who is
this dude? And Ice Prince Paul was with us, and
Paul was like, yo, you you know that that's zav right,
and I was like, what are you talking about? And
when I found out, I was like, wow, look this dude,
and it.

Speaker 1 (17:43):
Was what's funny with my age? I knew Doom before
I knew third Base because I'm thirty five, So I
was introduced to doom, not anything that was going on.
And then like when I would listen to gas Face
and watch the performance, gas line, holy ship, that's a doom. Yeah, yeah,
that's the wildest shit ever. Man looked completely different, like

(18:03):
completely That story is just yeah, insane, how that transition
happened with Yeah, me and.

Speaker 5 (18:08):
Him had a connection because you know, I was heavily
at one point reading a lot of books from Doctor York.
He was part of Hebrew Israelites as well, so we
had that connection. And I mean doing was just so funny,
so intelligent, and I mean yeah, all them cats man
like his brother and all them omar and on them.

Speaker 1 (18:28):
They was like really good dudes, really good dudes.

Speaker 3 (18:31):
Yeah.

Speaker 2 (18:31):
I want to talk about the second album, Dayla Soul
was Dead. Now that album was the content of it
was a little different. Obviously, A three feet High Rosen
probably one of the most iconic debut albums in hip
hop history, but the second album, the tone was a
little different.

Speaker 1 (18:51):
Y yeah, y'all, y'all, y'all touched on.

Speaker 2 (18:55):
We y'all felt like hip hop was headed the energy
and hip hop and it's you know, looking that was
ninety one. How do y'all feel about where hip hop
is today? Because the things that y'all were addressing on
that album and just you know, the energy, the violence
and hip hop and it just the direction of it
just felt like it was a little you know, now,

(19:16):
where hip hop is today? Like how does daylight shit back?
And look at just the culture and where it stands.

Speaker 5 (19:23):
It's hard man to really say it as a group
because my algorithms is differently his, Like we're really, we're
really on these streams for real, Like I look for
just always creative and dope music, so I get fed that.
I don't necessarily get fed a whole bunch of stuff

(19:44):
that I'm not in.

Speaker 1 (19:45):
Alignment in a sense.

Speaker 5 (19:49):
But even with that being said, I've always been open
to what anyone presents.

Speaker 3 (19:54):
I don't got to be with it.

Speaker 5 (19:55):
Yeah, I never felt like like I gotta be the
old dude, like Yo, these these dudes whack and that.
Now there's a lot of shit out here that's horrible,
But come on me, Like, there's a lot of shit
that was horrible. When we was out there was a
lot of tapes that I can go back and play
where I was taping mally Mall and tape a Red Alert,
and it was a lot of fodder in between the Jewels.

(20:16):
So I mean, that's always been there, man, It's always
been a part of it. So I just feel like
there is really good music out but the problem is
that it's just too much. So it's too much for
your mind to kind of take in and why our
attention span is just so short these days. You know,
you can have someone on this one site that you

(20:37):
go and see these people and they got like two
million followers, and you be like, yo, who is this person?
You start listening, like yo, I never heard this person.
You realize, like, wait, they had an album out twenty sixteen.
They live in this one area of space on the
internet that if you don't go to that space you won't.

Speaker 1 (20:53):
Know no about it.

Speaker 5 (20:54):
Yeah, so that is really hard to get used to,
especially if you're not a person who goes and try
to discover music.

Speaker 1 (21:01):
Yeah, speaking of that era, going into Steaks's High this
must have been like fifteen years ago. I went to
watch Peter Rosenberg interview Ninth Wonder and Fante Live and
they were talking about this theory that nineteen ninety six
is when everything split. Where you either went with it
was written nas and then you ended up in the

(21:22):
shiny suits, bad boy everything. But if you went down
the daylight stakes is high shit. That's how you got
to slum. That's how you got to Dillo. This how
you got to little Brother. Do you think the underground
started in ninety six with Steaks's High? Like, did that
start the quote unquote underground hip hop wave?

Speaker 4 (21:38):
Now underground started in the eighties when it was all
all of it was underground, you know, when we start
to get notoriety and popularity as a culture and having
records sold in success. The split became with the industry
dividing us. Okay, you know, having this kind of hip
hop and that kind of hip hop because we came

(22:00):
from the era where we were all under one roof
and we shared the culture, we shared the audiences. If
two short audience didn't know us, he was on a
tour with him, and vice versa, you know, and whoever
was strong in whatever markets they would headline, you know,
So it was it was a strong sense of camaraderie,

(22:24):
you know, amongst the artists, especially at that time community,
and it changed with the competitive nature of selling records.
And then I think, this is my highly subjective opinion,
anything that's moving positive and uplifting people powers of being

(22:47):
trying to figure out how to stop that ship. So
that's when the yeah, mid nineties, that the vibe started
to happen. And who was conscious enough to be down
with that approach with it, you know what I'm saying.

Speaker 5 (23:01):
And then even to a point where as May said,
our first tour in eighty nine, we were all like
us ll slick.

Speaker 3 (23:09):
Rick pew w A two short.

Speaker 2 (23:13):
I wasna brought out l or introduced it on some shot.

Speaker 1 (23:18):
I was like, wait what.

Speaker 3 (23:20):
L well LL had the Nitro Tour.

Speaker 5 (23:22):
So the Nitro Tour started off as L slick Rick
Dayla and then Rush Management that we were all managed by,
they started adding all the other artists too, because for
certain markets ticket sales may have needed help. That alone,
when we got to the West coast side, they made
sure that too Short was on their n w A
NWA was just so killing. Yeah, special lad with short

(23:47):
here and there. But as it's just to Ma's point,
we were it was all these different artists on one tour.

Speaker 3 (23:54):
So when you're talking about when the.

Speaker 5 (23:56):
Nineties really was getting into play, like not even mid
yet or early nineties, when you're gonna have the rough
Riders or something like that, like they can have these
artists that are more in the vein of who they are,
they're starting to be on the same tour. And then
Daylight and common Sense and Pharamond, you know what I'm saying.

(24:16):
Where like I said, like late eighties, everyone will always yeah,
you know, so that had started to happen as well,
that kind of separate us.

Speaker 3 (24:25):
Yeah, you know, each era had whack music.

Speaker 1 (24:29):
Oh yeah, I mean I know.

Speaker 4 (24:32):
I think the difference today it's okay to bite. Sure,
a lot of biting going on.

Speaker 1 (24:39):
That's one thing we talked about.

Speaker 2 (24:40):
I'm like, yo, you have to get like basically like
exiled from the culture.

Speaker 1 (24:45):
If he was caught biten.

Speaker 5 (24:47):
Another person's living the look And I say this with
all respect, like, look, how legendary amazing Risen name is
synonymous with the culture. Yeah, he's synonymous with culture. Forget
wu tang Rizza is the culture. But when Rizzo first
came out, Cass was like, Yo, who's this nigga who
sounds like a Holy War was the dopest hip hop

(25:11):
one of the dopest hip hop records underground record size,
So he was like, Yo, this dude sounded like So you.

Speaker 1 (25:16):
Was already like, was Prince rak.

Speaker 5 (25:21):
The first time you heard Riz as Prince Rakim he
sounded like sir Abu, who had the Holy War record
that even you know, ghost brought back on the mighty
healthy like chorus, like that was Sabu's lyrics.

Speaker 1 (25:36):
Like, so we was like, so biting or what you perceived.

Speaker 5 (25:40):
As biding was a big thing, so like, and then
Rizza obviously easily proved that Noah, no, no, he's he's
official like this this is what he is, who he is.

Speaker 1 (25:48):
But yeah, man, it was.

Speaker 5 (25:50):
It was a big thing to try to make sure
that you was creative and you stayed in your lane
of what you did well.

Speaker 2 (25:56):
Daylight, y'all was definitely you know, speaking of that so unique,
so colorful, like you know, it was like, y'all, y'all
made it cool again. I'm speaking from what I remember
to have fun. I remember, uh you know, kwame kid
and play.

Speaker 1 (26:12):
Like it was always that. It was always that area
of rap.

Speaker 2 (26:16):
But it's like, yo, we ain't gotta be hardcore hard
call the time, Like we could have fun, we could dance,
we could be conscious, you know, we could think about
what we're doing and things like that, and even today
that still exists. But yeah, the way y'all did it, though,
it was in a way where it was like it
didn't seem like I had you had to go too
far into that world. It was like, yo, y'all made

(26:38):
it so palatable to just be thought provoking, to say
some cool shit, to look cool saying it was that
always something y'all thought about. Was that just y'all being y'allself, that.

Speaker 3 (26:48):
Was just in ourselves.

Speaker 1 (26:49):
Yeah, man, it really was.

Speaker 3 (26:51):
Bring surroundings, you know, play a big part of that.

Speaker 5 (26:53):
Yeah, yeah, no, I mean, and it's no different than
what do you even see in someone who's blessed to
be who they are and when you know this high
regard as outcasts like those news are just being who
they are and then you can see that like maybe
Dre and Get you know, they egged each other on
it was and it makes me think of.

Speaker 3 (27:12):
How me and Dave was like.

Speaker 5 (27:14):
They would be like, Yo, man, I'm gonna go get
my pops old pants. I'm gonna tape them up. I'm
gonna win with these spot builts.

Speaker 1 (27:22):
I was a word.

Speaker 5 (27:23):
Then I would find my father's old bell bottoms. Dave
his mom knew how to stitch, and Dave knew it.
Dave showed me how to soul. So we was just
egging each other on and inspiring in each other, you know.
And that was that went into the music. So what
we was doing together as three dudes and showing different
aspects of ourselves. But then we get around Jungle and
then they showing what they doing and then tribe like

(27:45):
we would just make inspiring each other and showing like yo,
if if Tip can do it, I know I can
do it. And Tip is like, Yo, if Dave can
do it, I know I can do it. We were
just inspiring each other, you know what I'm saying.

Speaker 1 (27:58):
And even on like the branding and fashion side, and
again I'm not here to like shit on the current generation,
but like the way that you guys dressed and branded,
everything was authentic to what you guys were doing. I'm
not knocking anyone that wears Designer or anything like that.
But that is also missing in hip hop. I feel like, yeah,
how you actually dread Like listen, everybody in Queensbridge dressed

(28:20):
that way, because that's how when in Queensbridge dressed, it
was that they were not all buying whatever the mannequin
was at the mall, Like this is really authentic to
what we are doing at this time. That has completely gone.
It's like, I think Virtils did a great job in
merging those type of worlds, but that shit. I think
Odd Future was maybe good at it, but even that
was more on the supreme side. But yeah, that that

(28:42):
has been lost when it comes to branding and marketing.
The authenticity of where you're from and how you dress
is not based off like high end brand shit, Like
but do you like ye'ah didn't go to Roosevelt Fields
and just fucking five.

Speaker 5 (28:54):
Anneticut like right, and it's and like you said, it's
like even like our brothers on the West West side
of things, like you know, you was like, yo, look
out they dressed.

Speaker 3 (29:05):
Look at they're putting things together.

Speaker 1 (29:07):
Yeah, but it wasn't market it was authentic, but it
became marketing. Yeah.

Speaker 5 (29:10):
I just think when the crossroads of the Internet came
into play.

Speaker 6 (29:14):
Yeah, because even we saw it just even before the Internet,
where if we went to Japan, Japan was paying so
much attention to what we were doing.

Speaker 1 (29:26):
Yeah, they were.

Speaker 5 (29:28):
Going to They thought, like, to do this, this is
how I have to dress yps or not. You do
it because this is how you feel and you want
to now contribute this to it, you know what I'm saying,
Like they thought, you know, understandably like Germany, wherever we went,
it's like, yo, the starter kit is to look it.

Speaker 1 (29:46):
And it was like, no, not really feel it. Yeah right,
but yeah, I mean because even like you brought up
outcast with the rock and roll hoole fame, like Big
Boy going up with the fur and three Stacks going
up with denim rolled up, like it.

Speaker 2 (30:02):
Was the perfect they went. They went in as outcast.
That was how did y'all feel like just watching that?
Like what did that mean to daylight soul? To see outcasts? Man?

Speaker 3 (30:14):
Proud of them? Dude.

Speaker 5 (30:15):
You know, we toured a while with Goodie Mob Us,
Goodie Mob and Fishbone.

Speaker 1 (30:21):
We did this banging talk called Milky Way to us.

Speaker 5 (30:24):
So I love those brothers and to even every now
and then to be around Big Boy and Dre there
was some great good dudes and everything they they got,
they deserve every part of it because just like us,
I don't it wasn't planning. They didn't try to do it.
They were they they were naturally like that. You know,

(30:46):
you have what inspires you. You even have when people
make you feel like you ain't it that inspires you
be like, yo, I'm gonna show you how it was
for them on the source of wards, like Yo, we're
gonna show you, like South got something to say it?

Speaker 3 (30:58):
Or did they prove it? Like so them brothers and encourage.

Speaker 4 (31:01):
They had to make the type of records they man, yeah, yeah,
phenomenal man.

Speaker 5 (31:05):
But I bet for them, they didn't look as like
YO were about to jump out the limb on this one.

Speaker 1 (31:09):
They just thought they were doing what they need to do.
I know, even when they became superstars, they would take
I think if Child's Gambino said, nobody takes risks when
they're at their peak anymore, and like that's what they
were doing when you were at the highest form. Outcast
was like, well, we're going this way even though we're
superstars at this point, like we're pop right now and
we're going to go this way. It was just incredible
to watch that moment.

Speaker 2 (31:29):
Man, we talked about it, and to just see them
because I remember the first time I probably saw an
Outcast video, and whenever I had, you know, people say, oh,
New York never fuck with the South. I'm like, y'all
are bugger we first saw Well, let me speak for
myself when I first saw Outcast and just the way
they was rapping, and the way they wore the jerseys

(31:49):
and this and that third and I'm like, Yo, this
is how they get down in Atlanta. Like it just
it was like, oh, this is familiar, Like this is
not as far left as we might try to make
it seem like we're more alike than we are different.

Speaker 5 (32:01):
It's definitely that, and I always do my best to
point out to people like yo, the majority of New
York rappers parents were from the.

Speaker 1 (32:13):
South, right right.

Speaker 5 (32:15):
My mother's from Waynesboro, Georgia. My father's from Rocky Mountain,
North Carolina. They wouldn't allow me to spend a summer
the Bronx.

Speaker 1 (32:22):
I want to say. Unfortunately, and fortunately, your situation with
Tommy Boy got very public, and I think it's a
little fucked up that personal business has to be put
out to the public like that. But I do think
it was definitely something that needed to be put on
front street. Of how the music business works.

Speaker 3 (32:42):
Well, my my.

Speaker 4 (32:46):
Sort process of it at that time period was my
fans are my team. You know, our office is the stage.
You know, being in public is pretty much our office.

(33:08):
So let's bring back office talk to the front of
the office.

Speaker 1 (33:13):
That's how I felt.

Speaker 4 (33:14):
Let's bring it to the front of the office. Let's
bring the things people don't know what happens in the
back office, even the people who are on the promo
team and all of that, you know, because a lot
of people don't know the intricacies of these deals, you know.
So when the negotiation was just being a struggling point
and very stern and unfair, it was time to bring

(33:38):
it to the front, because.

Speaker 3 (33:40):
It never works out in the back.

Speaker 1 (33:42):
Ye never can keep it quiet.

Speaker 4 (33:46):
You know. It was another strategy to bring it to
the front by starting that boycott, you know what I mean,
because it was.

Speaker 5 (33:52):
And mind you, I just want to make sure we
clear we didn't start a boycott. No, we was putting
them on Front Street and the fans started the because
we would never be on the like for Tommy Boy,
because we got other artists that we loved that was
on Tommy Boy and niggad paid.

Speaker 3 (34:09):
We would never tell you.

Speaker 5 (34:10):
To stop supporting supporting Tommy Boy artists.

Speaker 1 (34:14):
And their music.

Speaker 5 (34:14):
We wouldn't want you to not support Lati for Naughty
by Nature or whatever. Yeah, we were just saying, put
a pause on daylight stuff if our day, if this
daylight stuff drops, you don't play it until we work
out what we need the work.

Speaker 2 (34:26):
Yeah, we talked about that in that whole moment, like
just how important it was that stance that y'all made.
And you know what I'm saying, because obviously the business
has changed so much, especially since y'all have been a.

Speaker 3 (34:37):
Part of it.

Speaker 1 (34:40):
How do y'all feel about it though?

Speaker 2 (34:41):
Like the whole sampling and having to clear things and
DSPs and all of these things, Like how do how
do y'all feel one it hinders the art and maybe
helps the business at the same time, Like, how do
y'all feel about that whole.

Speaker 1 (34:56):
Stance with just sampling and clearing and things like that.

Speaker 5 (34:59):
I'm good on doing business and we stand up for
all the time like, you know, if we want this
song called Ring Ring Ring, and we gotta pay for this,
help is on the way sample, let's pay for it
because we feel like we've made something that our fan
base will love, and we're we're taking a cut of.

Speaker 1 (35:20):
This publishing and giving it to you, sir or whoever
we were with it.

Speaker 5 (35:25):
We were with that, and we were the ones who
would decide to put four samples or three samples and things,
So that's on us. I have no problem with that.
I think taking care of business. To take care of business,
I must be honest, because this has happened recently, even
when it came to this album and Sewn seasons. And
I'm not saying names, Shawn see, but I don't like

(35:45):
when rappers get on it like they want a piece
of something I don't. I don't like that because we
all together though, like Yo, to hear premiere cut my
voice in this record, I wanted that's a thank you,
you know that, and to hear like us pay a

(36:06):
homage to like people came after okay before us, so
even after us, and you want to like, I think
we should just be together on that, like yo, like
we hip hop together, like don't be the one trying
to stop us or or like stick us up because
we put your voice in something.

Speaker 3 (36:23):
I think that shit is whack. Yeah.

Speaker 1 (36:26):
I saw Smokey Robinson.

Speaker 2 (36:27):
He was talking about that same thing and how he
clears all sample like anybody want to sample any of
his because he just said, well one of them get
paid too. Is keeping my name in the conversation And
he said, and if guys who weren't even born when
I made this record are inspired by art that I created.

Speaker 3 (36:44):
The music to live in another space.

Speaker 1 (36:46):
Yeah long after I'm gone right, A lot of music
I discovered just based off hip hop samples when I
just started digging into what that sample was has changed
my whole musical brain.

Speaker 5 (36:57):
I get it. You can have someone to be like, nah,
but this just this art that I made. So you know,
you could have George Harrison Beatles who will be like, yo,
you can't sample my stuff for this other artist. Okay,
we get it, you know, but like you said, there's
a lot of artists who are very open to it.
They see as lucrative, but they're just open to art

(37:19):
and and willing to let you do it. And so
if you take care of business that's what it's always was.
I mean, unfortunately, at one point that's what we got
into with, you know, our former former label, because they
treated the first album like it was a New York single.
So you had art, you know, you had record labels
who will put out these these singles that would sell

(37:40):
you know, two thousand whatever copies and cool, that's that's
that's here, you know. But they treated the album like that,
and this album became a hit record everywhere, you know
what I'm saying, Like it was a hit album. And
so when you didn't clear the samples, of course someone's
gonna be like, hey, we're still there and or hey
we're the Turtles and y'all didn't clear this.

Speaker 3 (38:00):
That's what happens.

Speaker 1 (38:01):
So yeah, responsibility the labels is that, I mean, that's
kind of my thing.

Speaker 5 (38:07):
That's why you is it our responsibilitibility or the labels?

Speaker 3 (38:11):
Well, the labels.

Speaker 5 (38:12):
It's the labels responsibility because we were young kids and.

Speaker 1 (38:16):
We didn't know nothing about about publishing and all that.

Speaker 3 (38:19):
But we knew about we knew you understood that.

Speaker 1 (38:26):
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Speaker 1 (40:19):
Terms and conditions apply. All right, we're back. We had
we had to do a pause break on technical difficulty.
More or less. We were talking about it being Tommy
Boy's responsibility to clear those samples. And you know, you
guys were young and just making music at that time.

(40:39):
He knew about getting clearances.

Speaker 4 (40:41):
But yeah, the label, all the administration falls on the label. Yeah,
that's part of their job. We baked the cake, you
sell the cake exactly exactly.

Speaker 1 (40:56):
Coming off the Tommy Boy. Dude, how did this and
tire Mass Appeal year come together? Like, I know there's
no Grammys for labels, but there needs to be some
type of award that goes to Mass Appeal for everything
that they have pulled off this year, not only just

(41:16):
pulling it off, pulling it off with integrity, with grace,
with being extra delicate, even with the mob deep stuff,
like the music actually hits as well. Of course we
see that list and it's like, of course I want
to hear from these guys. But when the music hits
as well, I think that's a different type of stat

(41:37):
Did Peter Nas and like, how did this whole thing
come together when they had this list? Peter like, was
it one big group? Chet? Well, how did this happen?

Speaker 5 (41:47):
Peter and Nas have been trying to get us the
rock with them for a minute. Honestly, when we did
the album and the Anonymous Nobody, there was a point where.

Speaker 1 (41:58):
It could have been with them.

Speaker 5 (42:01):
Quite honestly, Cobolt, who we distributed it through, they just
came in a kind of you know, a better deal.
He's like, Yo, we're just gonna go this route. So
Peter had been always trying to get something rocking with us.
We were supposed didn't do this premium. So on the
Rocks record where it in Daylight, Pete rocking premiere. So
that was signed and everything with the deal we was

(42:22):
doing Massipilla just but then that came about right when
we got into this battle with Tommy Boy. Dave health
was a little crazy and in times when we would
try to hook up link up, you know, maybe Pete
wasn't available. He's on the DJ gig sam a premiere.
So I'm just just basically never happened. Especially once Dave died.
It was like that was out the water. Pete holler
at us early this year like, yo, man, we're doing

(42:45):
this Legends thing. Would love to have y'all be a
part part of it. I was like, Yo, if Mace
with it, I'm with you. I would love to do it.
In my mind, I'm willing to get some music out
and speak my mind because I just got some things
I would like to get out any So right from
there we were just off and running, and we had
a few things in the can from what Pete that produced,

(43:08):
some stuff from what Prem had got done, but there
was a bunch of stuff as well that Dave was
on from other producers, like we had to Jake one joint.
We had a few super Dave West joints with Dave
voice on it. So we was like yo, and not
even thought about it, like well, yo, do I take
some of this stuff and give it to Prem to do?

(43:29):
And Prem even shut that down. Pream was like, nah,
this Dave West joint is I'm not touching that.

Speaker 1 (43:36):
This is done. This is done.

Speaker 5 (43:37):
So that's when the album is opened up to like, Okay,
it won't be a Premium so on the Rocks record,
it'll just be a conventional daylight album with different producers,
blah blah blah. And we just went off and running
in that direction.

Speaker 4 (43:49):
And I'm glad it has prem and Pete Rock's presence,
though in the wrong way. Yeah, because it actually makes
up the void of Premium SOULO the Yeah yeah.

Speaker 1 (44:02):
Yeah. How many joints did Preme do and how many
did did he do?

Speaker 5 (44:06):
Pete with Dave on it were you're talking about on
this album. Yeah, Pete got four, prem got three. Yeah,
and then like then we got some stuff was produced
by us.

Speaker 1 (44:20):
You got not to who came in and did something.

Speaker 5 (44:22):
Jake one, as I said, super Dave West West and
that's really our people's are Eric, he's.

Speaker 1 (44:31):
Down with Little Dragon. He got one on there with
his man Josh, one of my favorite joints on there,
that Little Well. When they sent us the link, I
was like, okay, let me see what the Little Dragon
that's probably in my top three. The entire product that
Little Dragon record is a saying, you know, man, unexpected.

Speaker 5 (44:50):
Yeah, man, it's something for everyone that I feel man like,
it's something for you to really be cause you know,
we've always tried to do music like that and and
I'm glad we were able to ACCOMPLI is balanced with
our albums, Like it wasn't about like everything I'd be sad, everything,
I'd be angry everything, I'd be happy. We tried to
like always throw some jewels, like if you had a

(45:11):
Saturday's you know, no, I'm sorry if you had to
meet myself and I you had a ghetto thing like,
we always tried to do that and we got better
and better at it. So yeah, this album, man, I'm
so proud of it.

Speaker 1 (45:22):
Man.

Speaker 3 (45:22):
Yeah, I'm very, very proud of this album.

Speaker 1 (45:24):
No, I'm definitely.

Speaker 2 (45:25):
I mean it makes sense everything with the Massive Pill
has been doing this shit. You know, we heard the
Mob Joint, the Big l Joint, and then you know
when they sent us the day Live Project, it's as well, Yes, Slick,
I'm looking at Rory, We're like, yo, what the fuck
is Massive Pill doing? Because you know, we talk about
the void and hip hop and I was, no, you know,

(45:46):
the originality is kind of lacking. And then you know
now coming out there's no you know, hip hop rap
songs in the top forty for the first time in
thirty something years, which essentially means the labels are not
putting money behind the songs and things like that. Are
they wrong for that? I mean it was the return
on the investment. A lot of these artists are not

(46:06):
really making the money back for these labels. You may
have a big song, but it's like not selling no tickets.
Nobody wants to come see you. Like a lot of
artists that we've seen have huge followings and they announce
a tour, then they announce that the tour is canceled.
You know, we know why. You know what I mean,
you can get back. It's like, yo, bro, we're not
selling no seats. But to hear Daylight in twenty twenty

(46:29):
five in WHI y'all did with this project, with this album,
I think it speaks to just a different attention to
detail that I think comes from the era that y'all
came from, when it came to know the art of
hip hop and making sure that certain things always remain,
like we have to have this, we have to pay
attention to that. Where now it's like, you know, these
guys get a song, they make a song, and it's like, oh,

(46:51):
it's streaming all of this, but it's like, yeah, you
don't feel that record. And I talked to it a lot.
I don't know if it's because of the way we
consume music. I love the fact that I can open
my phone and listen to any song I want to,
but I also recognize the detachment in it, Like if
somebody if I'm listening to the day Live album and
I'm playing it for my phone, and I got it
on the speakers in the house. Somebody called my phone

(47:14):
and interrupt It interrupts the whole thing, and I might
not go back to the album today, yeah, because that
phone call might be like, Yo, meet me down Stadio.
Go Now, I'm not even going back to that way
as before I went to the Whiz to buy the album, exactly,
I go home, I bust it open. I'm looking at
the artwork, the credits, I'm reading to thank you and
who produced, and while the music by the record is playing.
So it's a different attachment that I had to some

(47:36):
of my favorite projects.

Speaker 1 (47:38):
Versus now I'm like, damn, I love that album.

Speaker 2 (47:40):
But then I look at Rory and I'm like, yo,
I haven't played that album, and after the first one
came out, I haven't played it.

Speaker 1 (47:47):
Love it, but it's no attachment to it. The DJ
Drama Young GZ record. I love that record.

Speaker 5 (47:54):
Yeah, I played it and played it like you even said,
like the next thing, you.

Speaker 3 (47:58):
Know, like, oh wow, I haven't played that last two weeks.

Speaker 5 (48:00):
Like it just like the attachment, yeah, because it's almost
like you said, it's like it's almost like if if
we walk around with.

Speaker 3 (48:07):
It's like, it's the streaming.

Speaker 5 (48:09):
Service that I got that gives me everything, apposed that
it's the album, the CD I bought and.

Speaker 3 (48:15):
I purchased, that's giving me something.

Speaker 1 (48:16):
You you have infinity in your pocket, let alone just
having one CD for that day, like this is one
stay exactly how intentional with the features on this has
it always been for us? I mean you guys haven't
been super feature heavy in your careers.

Speaker 5 (48:33):
We we we got a little crazy with it when
we did Most Thump.

Speaker 4 (48:39):
But even then, the features are more like instruments, Yeah
to the record you you you hear these people as instruments. Yeah,
that's missing to the song. Yeah, like Redman to Ooh,
it just made sense, you know what I mean. So
when we hear it like that, we try to reach out,

(49:00):
and it'll also be a pecking order because it's like, okay,
you got your wish less Yeah, but then okay, who
would be second or third if these people don't work out?

Speaker 3 (49:08):
You know what I mean?

Speaker 5 (49:09):
Now that's what our question because like like say, like
that's a great example of even like Dave, like say,
on the last album and it's nobody and we had
the Houdini record, and Dave was like, yo, yo mars
like I just for some reason, I just hit two
Chains on this record work. He's like yeah, man, like
I think like him doing a chorus. And so I said, Yo,
let's reach out. And then we reached out and he's like, yo,

(49:30):
I don't want to do the course, I want to rhyme.

Speaker 1 (49:31):
I was like, all right, so yeah, that's what it is.

Speaker 5 (49:34):
It's always that intention of like not just making a
record with Common or making a record with two Chains,
because I just say I just did it it like
it feels like it needs that person, and then we
didn't reach out, and then for them to want to
be a part it organically all works together correct.

Speaker 4 (49:53):
And another part of it too, when it came to
two Chain, it was like the fans is bugging, he don't.

Speaker 3 (50:00):
Yeah you know what I'm saying, Yeah, I don't know
what you think you hear. I think it's a part
for us to let you know.

Speaker 5 (50:06):
Yeah, well you know the crazy thing is like and
then even in saying that, like and cats would be
like word daylight and when they hurt the record, it's like, Okay.

Speaker 1 (50:16):
We've got that conversation with Royce. We've had that conversation
with elect of like two chains is respected in both sides,
like you're like, people don't know he can really really
like can really rap like exactly yeah with killing Mike
and forgive me because the link they sent us has

(50:37):
dot dot dot. I don't know the full title. But
the Mama record with Killing Mike? Yeah, yeah, a quick
sixteen for Mama. Yeah, how how did that come together?
With just that that idea? Was that a conversation in
the studio prior.

Speaker 3 (50:47):
To not send them because that was produced by Knots.

Speaker 5 (50:51):
Yeah, send them a bunch of legends crazy, But always
I always try to take time and you hear something
that was amazing about always try to be like, yo,
let me listen to it. When the following day, and
then all of a sudden in the list of stuff
that you think is crazy, like all right, all right, okay,
I can push this one to the side. And I
just also start looking at what I have already and

(51:12):
what I need so not like these three not records
that sound like I can write these crazy rhymes to,
but what's missing from the album and that record where
the voice is saying what she's saying, But Mama told
me you gotta, you know, one thing, you gotta hustle
for it. And I was like, Yo, this could be
a great record where I talk about my mother who

(51:33):
ain't here, and maybe get on with another MC who
mother wasn't here, So it had to be.

Speaker 1 (51:40):
An MC who Mom's was gone.

Speaker 5 (51:42):
With Transition and the first I mean right off the bat,
I was like, it was either going to be kill
a Mic, and I was like bun b And I
wasn't sure if you know, as moms passed, but I
was like, I just hear bun or kill a Mike.

Speaker 3 (51:59):
I just heard, and then I was like, yo, it
should be Mike. And then the crazy thing is NAS.

Speaker 5 (52:05):
He was already doing this thing with all the albums
on the Legends joints, like he want the rhyme on
every album, which was dope to do. So Sean was
like yo, Shawn. She was like, Yo, we need this
joint for NAS to get on. And then he was like, Yo,
why don't you try this one. I was like really,
and he was like, yeah, you know, Nas, he'd been
rocking on like something smooth here. He did something for

(52:27):
Mob on that era. I said, all right, let's try it.
But I just always thought it should be killing Mike.
We gave it to Nas. Nas does something. I didn't
hear it yet, but he needed to then change something,
and so then days become days become weeks. I still
haven't heard what he's done. I'm like, so, yo, when
I'm gonna hear what you did, what you did to it?

(52:48):
And then then Shawn See comes back like yo, I
think I think.

Speaker 3 (52:51):
Nas want a rhyme rhyme. I was like, all right,
you know, let's get him something else. I'll say, So,
let's go back to my idea.

Speaker 5 (52:57):
Let's get this put killer mic on this end, forget
it like Ray Mike Floyded.

Speaker 1 (53:02):
Then how they run it back end up with Nas
at that point because I was I was debating with
some people today. It's between the Big L single, his
verse about p on the Mob Deep one. I think
his verse on the Daylight album might be number one
out of this whole yo, this whole mass appeal. Like

(53:25):
I even texted uh Leon Thomas and I said, Yo,
you know, Nas just name dropped you on a verse. Crazy.
That's like, Yo, that's the craziest text I've ever got.

Speaker 5 (53:37):
Yeah, I mean the crazy thing though we already had
a good amount of records, you know, compile for this
for this album. Running Back wasn't even a part of it.
Black Thought is in the studio, Shawn Ce's in the studio,
some of other people in the studio. I just happened
to be on my computer doing something and my computers

(53:58):
hooked up to the speaker and I just played it
because this was something that you know, me and Dave
West had going on. Thought is on his phone. He
looks up immediately like, yo, like what's that?

Speaker 1 (54:09):
Though, I was like, oh, which is the famous rapper?
I'm out what's that?

Speaker 7 (54:15):
And I was like, oh, nah, this is something that
Shawn's like, nah, you hold it out. I was like no,
I was like what's that. I'm like, all right, it's
this record. He said, nah, that gotta go on the album.
Like I was like, all right, well, okay, we'll put
this on the album. So then that's like a few
days that passed. I was like, yo, maybe I was
like to Shawn's like, yo, maybe this should be the

(54:36):
one we give the NAS.

Speaker 1 (54:37):
So Black Thought an r the NAS record.

Speaker 8 (54:40):
Yeah, Joe was like, I gotta go on the record,
and like so when I gave it to Sean to
give to Nas, probably by the day, like that day
he got it, probably like later that night.

Speaker 5 (54:55):
I get this call like about one in the morning
and I'm like, Yo, who the hell calling my phone?
And I look up and it's Sean. Sharn's like, Yo,
I'm texting you like Nass needs you to call him
right now. I'm like, he got two verses for what
for the runner? He got two verses.

Speaker 3 (55:18):
And he's like, Yo, I need you to hear this.

Speaker 5 (55:20):
So like I said, Yo, send me to join, Like yo,
I mean, and the verse that made it is the
first verse he played that verse.

Speaker 1 (55:27):
And the stuff, the stuff he's addressing on there is
it's super important. Everything I love that he shouted out.
Do I love Like I loved everything that he shouted
out too, Like he made points on there that that's
up there be that at the end of the year,
that one might be verse of the year. It's gonna
be talking like it's definitely definitely one of those he

(55:50):
definitely bodies NAS has been in. I mean it's Nas
so yeah, but he's been in a different type of
shape the ship every time he shows up on these projects.

Speaker 3 (55:58):
I'm like, it should be Yeah, that's what I should.

Speaker 2 (56:00):
Be again a different error, like when whenever y'all hear me,
I gotta make sure that it's always a one because again,
you know, you don't want to give none of these
new catch room to be like, yeah, he falling off,
and even if he is, it's like okay, thirty something
years later, like I bet you know what I mean.

Speaker 1 (56:19):
But Cavin in the Sky, how did y'all come up
with the with the name? Beautiful title? By the way,
thank you man.

Speaker 5 (56:25):
Just watching TV one day, I'm on Prime Video trying
to find a movie, and this movie Cavin and Scott
comes up. I had never heard of the movie didn't
nor was a play as well.

Speaker 1 (56:39):
See the names I see Lina Horns in this movie.

Speaker 5 (56:42):
But as as soon as I saw the title, I
was like, wow, this is a dope title for the album.
Because of this immediately made me think of Dave immediately
whatever the reason, like before you even know the reason,
like you're already thinking it.

Speaker 3 (56:57):
Yeah, And I was like, is this one?

Speaker 5 (57:00):
And I'd already had a title written down that I
thought like, I'm going to maybe think about it and
maybe share it with Mace. And it was something like
after the finish line, then subtitle like.

Speaker 1 (57:11):
Where do you Go? I had that.

Speaker 3 (57:13):
I'm like that, well it was cool.

Speaker 5 (57:16):
But then me and Sean have been texting me back
and forth that day. So when I just came on
to the title of Cavin Scott, I called it and like, Yo,
what do you think of Cavin and Scott?

Speaker 3 (57:27):
And he was like what for the title?

Speaker 1 (57:29):
I was like, Yo, that's dope, that's it. Morse, that's it.

Speaker 5 (57:32):
And I was like, well, I got the mace and
I told him the one title that the the you know,
the after the finish line.

Speaker 1 (57:40):
He said, no, I see where you're going with that.

Speaker 5 (57:42):
But he's like, yo, Cabin in the sky, Like it
just it feels right, it like it feels like something
you want to say for an album title. And so
I was like, yo, man, let me let me think
about this, let me tell Mace.

Speaker 3 (57:54):
But like on my computer from.

Speaker 5 (57:58):
That point before, at that point, my playlist had just
said they lost so new album twenty twenty five, and
then I was just trying to put the new configuration
of the playlist onto my phone and for some reason,
it just wasn't connected, wouldn't drop into my phone, and
something in me was like, yo, change it the Cabin

(58:18):
in the sky and once I did that, and.

Speaker 1 (58:21):
When it was my phone and I was like, that's it.

Speaker 3 (58:24):
This is the title, this is it.

Speaker 1 (58:26):
What's what's What's Dave's legacy to you on a personal level,
not in music, just just who he.

Speaker 5 (58:33):
Was, my brother, my mentor, He was my judge. He
was a judgy ass ball. He was my judge of
Jural Yo, I mean that man. I love that dude.
Like I did a lot of things to hope, Like
when Dave said he loved something I did, like it

(58:55):
meant a lot to me because like he was my
big brother.

Speaker 3 (58:58):
Yeah, yeah, is my big brother.

Speaker 5 (59:01):
And his approval yeah a lot, you know, because Dave
was picky, very picky.

Speaker 3 (59:10):
Hated tomorrow should be like, Yo, you don't like me?

Speaker 4 (59:15):
Man?

Speaker 1 (59:17):
Is it me? He doesn't everybody you know what I'm saying,
They you know, give a about this industry.

Speaker 3 (59:25):
I would challenge him.

Speaker 4 (59:27):
I would really challenge him on coming out of his
comfort zone because he falls into a cover. He would
fall into a comfort zone. And like, especially with working
with Prem, it was like, nah, you got prem like
Disney gilest me. We gotta go to the studio and
work with this dude, you gotta cook the way he cooked.

(59:47):
You know what I mean? You know we're not sending
the meal you're got at the dinner table. You know
what I'm saying. Want to be cooked?

Speaker 3 (59:59):
Yeah it tasted.

Speaker 5 (01:00:00):
Say nah, He'll just move another kitchen and cooking up
before we let you go.

Speaker 1 (01:00:06):
I have a few things I want to touch on,
one being the Chappelle Show was was a huge part
of my teenage years that that definitely shaped me in
a certain way culturally, Like Chappelle Show is it for
me at the time? What was that like with that
live performance in real time? Like did you guys know

(01:00:27):
how impactful that first season? I know Dave was your
man before that, and like, but if you go through
the first season of performances, it's fucking insane, Like that
could be your greatest hits album based off what he
did with that, Like did y'all know how culturally impactful
that what's going to be at the time? Like was
that just a Hey, we get on the tour bus,
let's just say something.

Speaker 5 (01:00:47):
Yeah, Like it was like we had an idea, like, yo,
just try it on the tour bus whatever, Like we
were just rocking with our peoples because it was still
that same camaraderie we had when we was doing albums earlier,
like Yo, I'm rocking with this person because he's our
people's and yes, just makes something the same way like Yo, Dave,

(01:01:09):
we know you, like you got to show cool, like
you need us to perform.

Speaker 3 (01:01:13):
And it was it was more or less following Dave's lead,
just what his vision was.

Speaker 1 (01:01:19):
Yeah. How important is Yummy to Deyla? Yeah, I mean
it's like sister like baby, you know what I mean.
I don't know, maybe fifteen like she she loves by
the way, Shocking.

Speaker 4 (01:01:35):
Connor is her godmother, know what I mean? So her
DNA is solidified, you know.

Speaker 1 (01:01:42):
Yeah, man, uh.

Speaker 4 (01:01:46):
She makes her best music with us. I feel like that,
like this's just a chemistry there, you know, with us
and her that I when I listened to Yummy outside
of us, it's not the same.

Speaker 1 (01:01:59):
Yeah, you got she is one of she is crazy. Yeah,
I mean in the.

Speaker 4 (01:02:06):
Past, not the same, you know what I mean. When
she was with the Rain, it was cool, but it's
not the same as when it was with us, you know,
And I would always lean on her, like Yo, songwriting,
you got a chemistry with pass you got a chemistry
with Dave West, like like it's something else.

Speaker 3 (01:02:28):
She was like.

Speaker 1 (01:02:32):
So much.

Speaker 4 (01:02:34):
One thing I love man. You know she's open, you know,
to criticism, you know, and I'm always coming from a
good place with it. I want to see everybody win.

Speaker 2 (01:02:48):
Who is some of the artists that y'all sit back,
you know, in your downtime and be like, I like
these guys in terms of the like being new or
anybody today Yeah to day.

Speaker 4 (01:03:00):
I mean Anderson Pa he not new, but he was
one of my favorites man.

Speaker 3 (01:03:05):
Yeah, yeah, like super.

Speaker 1 (01:03:07):
He definitely has some of y'all DNA. And for sure.

Speaker 4 (01:03:10):
You know what's crazy is when I met him a
couple of years back at the Blue Note, and he
wasn't quite educated on daylight. Really, he was more educated
on tribe. Yeah, yeah, I remember, and I can understand
that because.

Speaker 1 (01:03:30):
This tribe, that's that's real.

Speaker 4 (01:03:33):
But when he heard our stuff, he was like yo, man,
And I was overwhelmed because he's like.

Speaker 1 (01:03:39):
Mazio, your voice, man, I want to produce your voice.

Speaker 3 (01:03:45):
I'm down. I'm down for that.

Speaker 1 (01:03:48):
I have I have some questions from some amazing mcs.
Jay Electronica wanted to ask you guys, how and when
did you realize that you were this a live performances.

Speaker 3 (01:04:01):
It took a while. When we really sucked, It took
him innute.

Speaker 1 (01:04:08):
You know.

Speaker 5 (01:04:10):
We had this amazing album that was very colorful, vivid,
and we we didn't.

Speaker 3 (01:04:16):
Know how to bring that to a live show. You know.

Speaker 5 (01:04:18):
We we had to figure it out, and we had
great teachers who took the time to let us know
whether it was Chuck ll yeah all them, Yeah they Yo, man,
do this, make sure you're doing that. Make sure if
Dave goes to this end of the stage post, this
is Dougie telling me, like, yo, you go to that,

(01:04:39):
so have balance. Let the crowd see it look uniformed.
So we it was just trying.

Speaker 4 (01:04:45):
Ran Foster, who's like to spend a sound engineer for everyone.

Speaker 3 (01:04:49):
Fellas stopped coffing the night.

Speaker 5 (01:04:52):
You learn because, like I said, like from this first
tour we went on in eighty nine with all the
people we mentioned, the ls and all that, and then
we go right after that to this fun Young Cannibals
tour and throughout the UK and we're in festivals. So
that's what's the biggest thing for us. We're this hip
hop group who have all these listeners outside of hip hop,

(01:05:15):
like they could feel like yo, like outside of hip hop,
outside of daylight, I don't really fuck with hip hop.

Speaker 3 (01:05:20):
You know what I'm saying.

Speaker 5 (01:05:21):
So we have to learn how to perform for that crowd.
We have to learn how to perform at these festival crowds,
which is a whole different crowd because it'll be someone
there early waiting for Lenny Kraviz to.

Speaker 3 (01:05:31):
Get but you in the way.

Speaker 1 (01:05:33):
How do you approach those stuff?

Speaker 3 (01:05:34):
You have to learn how to be like, all right,
and you will.

Speaker 5 (01:05:37):
I would be like, I'm gonna make him smile before
it's over. I was learning how to get to them
like I got you, and yeah, you'll bring people on
stage or you know, you just learned these ways and
of just trying to communicate to the crowd and have
them be a part of it.

Speaker 3 (01:05:53):
And we just kept getting better and better at it.

Speaker 4 (01:05:55):
And it's like it's introducing yourself to a new friend. Yeah,
you know, you can't expect them to be all warm
and fuzzy in the beginning. People got to warm up
to each other. So it takes some time, and you
gotta be humbler your approach. You know.

Speaker 1 (01:06:11):
This is from Fante from Little Brother oh Man. Fante asked,
ask about the responsibility of ownership. Everybody says own your masters,
but very could, very few could pull off the campaign
that you guys have been doing with your catalog.

Speaker 4 (01:06:29):
What's the importance of Well, it's intellectual property, man, It's
it's like owning the house, so you know, it's something
that actually can feed your family for years to come.
You know, once you learn about the business of intellectual property,

(01:06:51):
you need to know that you need to own at
least a portion of it, you know what I mean.
You know, granted, in the world of doing business, when
people are offering their money up for your dream, of
course they want a piece of the pie, you know,
so you have to be very conscious of what you're

(01:07:11):
willing to give up or not willing to give up.
But owning your master's and your publishing is very very important.

Speaker 1 (01:07:18):
Absolutely, yeah yeah. Rapper Big Pool, also from Little Brother.
I thought it had an amazing question, he said, ask them,
how does the group survive over three decades when no separation,
no public fallouts, especially in an industry that was designed
for groups to break up. In the early two thousand,
choosing to only focus on the stars because groups early

(01:07:39):
to that, they they just maned a lot. Yeah, which
I thought Pooh asked an incredible question. Amazing.

Speaker 4 (01:07:46):
I mean, it was a common goal to be a group. Yeah,
you know, it's been God's blessing to stay a group.
You know. It shows a testament of our brotherhood because
we've definitely been through some things, you know, but the
importance is how you come out the other side. Yeah,
and uh, coming out the other side chows shows the

(01:08:07):
true testament of your brotherhood, you know. And you don't
realize that brotherhood until those moments actually happened, you know.
And we had some strenuous moments, but we always resort
back to us three and we took our problems home.
We brothers. We were truly family fight. Yeah, you know

(01:08:28):
what I mean, family fight. I got to make a
dish record. It was like, and then after you cut
you feel bad. You do feel bad, you know what
mind you?

Speaker 5 (01:08:43):
I didn't like if I'm on a tour bus and
I wanted warm, and these two motherfuckers need to be really.

Speaker 3 (01:08:48):
Cold, you know what I'm saying.

Speaker 1 (01:08:54):
Camps out in the back of the bucket, take the
whole ship over and smoke.

Speaker 4 (01:08:56):
Weed, you know, and stop in the next bruck, stop
an extra blanket.

Speaker 1 (01:09:02):
Yeah, you know what I'm saying.

Speaker 4 (01:09:04):
I'm gonna buy some fragrances, put some towel in the door.

Speaker 1 (01:09:09):
And make it worse, make it worse.

Speaker 3 (01:09:12):
Compromise, That's what it was.

Speaker 5 (01:09:14):
Compromise, as he said, just we always saw ourselves as
a group. No one could come and be like, yo,
pass you should do this solo record, all right whatever?
Like we we are a group. We're brothers, man, love
each other.

Speaker 1 (01:09:27):
Uh. In the event you guys grew up in this era,
who would have tweeted y'all problems first?

Speaker 5 (01:09:39):
Yeah like that. I don't want no nigga know what
I'm doing, Ye damn sure wouldn't be me. Yeah, And
I'm not trying to say like he would do, but
if I went to put it in order, it was
probably you, probably then me and and Dave. Dave is
that Dave was in the trade, never he was financtic. Yeah,

(01:09:59):
Dave will give us day ship.

Speaker 1 (01:10:01):
Yeah, man, this this was I didn't want to say
like buggles this this This was an honor to have y'all.
I feel so privileged to have y'all come.

Speaker 2 (01:10:11):
To our studio and yo're more man like, literally like
I used to run home because you can't. I can't
miss Daylight on video. You miss it, that's it. You
gotta wait till you know what I'm saying. So it's like,
literally though I remember those days, like I got to
gutch the day live video. I have y'all here in
the studio today.

Speaker 1 (01:10:30):
Here like fucking legend.

Speaker 2 (01:10:32):
It's just a lot of you know, just just history
and culture and just thank y'all for everything that y'all done.

Speaker 1 (01:10:39):
Yeah, give it to the culture.

Speaker 2 (01:10:41):
Thank y'all for the inspiration, Thank y'all for everything that
y'all continue to do. Thank y'all for continuing to approach
it in the same way you did in eighty nine
eighty eight, or just that attention to detail.

Speaker 1 (01:10:53):
And Kevin Scott does not sound like y'all chasing it
like it sounds like it sounds like this out because
it's like they're not going to believe that.

Speaker 2 (01:11:02):
Y'all were able to make this type of album in
this climate, like and really sound like y'all did thirty
something year, Like it's sucking insane that y'all were able
to do that.

Speaker 1 (01:11:11):
So it was a healthy competition indeed, because because the
media album coming, you know, the Mob Deep one coming,
you know coming, Ghost here, you know.

Speaker 3 (01:11:20):
Right here, problems man up.

Speaker 1 (01:11:22):
Yeah, I was early what's Goost doing over there? No please?

Speaker 2 (01:11:32):
Yeah, was part of the pivot from the people.

Speaker 1 (01:11:38):
Yeah no, well that's what we had said earlier. Like
I knew in the early.

Speaker 5 (01:11:45):
Sessions that massive when MASSI Pill brought us together and
it's me Nas or Ray Ghost and we're bugging out.
But I'm looking at these niggas like, yo, I'm not
going to be a slouch, Like I'm not playing Ghost
is playing ship.

Speaker 1 (01:12:02):
Yeah, I'm like, Yo, this nigga got some shit free
clientele too.

Speaker 5 (01:12:06):
Is crazy telling them this wild thing like Yo, your
cover should be you robbing yourself.

Speaker 1 (01:12:11):
We're all laughing.

Speaker 5 (01:12:13):
That was crazy and I'm like and their energy, it
was like that that made me feel like, yeah, man,
like I gotta I gotta open this up from being
a peat rock premier thing because I gotta kill these niggas.

Speaker 1 (01:12:30):
But in a real, like honorable way, because.

Speaker 5 (01:12:33):
That's how much I respect them Like that, Like I
got to make sure that my album is nowhere near whack,
Like I can't have that, you know, what I'm saying
because I have that healthy level of not only competition
but being scared.

Speaker 3 (01:12:48):
You know what I'm saying, Like for me, like.

Speaker 1 (01:12:50):
I can't look whack Black Thought is.

Speaker 3 (01:12:53):
Going to get on the record with me.

Speaker 1 (01:12:54):
I know he's going to kill it.

Speaker 3 (01:12:57):
Yo.

Speaker 5 (01:12:58):
I know he's going to, but I gotta, like Jesus,
I gotta make sure that at least I got some quotables.
I'm standing next to that dude or my brother Calm
and like, that's how I looked at it.

Speaker 3 (01:13:14):
And that's how I.

Speaker 1 (01:13:14):
Looked at NAS, like I'm gonna get on this record.
NOAs like what's crazy? As though I feel like common
Black Thought, Nas ghosts. I feel like that's how they
view y'all. Like I think the way you're looking at them,
I think they're looking like, nah, I'm with Daylight. I gotta,
I gotta get gotta.

Speaker 5 (01:13:30):
They know that they can come over here and go
for it and and and it's about quality with us.

Speaker 3 (01:13:36):
It's not a styling thing.

Speaker 5 (01:13:37):
I don't need you on my records just so I
can come on your show and nah, Like that's how
we feel, man.

Speaker 1 (01:13:44):
We we love what we do, bro, No love this.

Speaker 2 (01:13:47):
We hear it we've seen it and again, man, it's
it's just been an honor and a privilege.

Speaker 3 (01:13:53):
I think that's what we're catching in this day and age.
Who really loves it?

Speaker 1 (01:13:57):
Yeah, yeah, it'll we it, it'll weed itself.

Speaker 4 (01:14:00):
Yeah, you're taking the DSPs don't pay right, so it's rock.

Speaker 3 (01:14:06):
It's your testament. Who really loves this? Absolutely?

Speaker 2 (01:14:09):
Before I let y'all go, are y'all re releasing the dunks?
Is it talks to Nike like I need to know
heavy tickets say I.

Speaker 3 (01:14:19):
Would love to. I mean, it's just not on me.
It's like, you know, my people's Donny.

Speaker 1 (01:14:23):
Baxed over there Nike, like out the dawn, you know.

Speaker 5 (01:14:26):
I kind of like try to throw like a little
like yo, you know, and she'd be like she'd be.

Speaker 1 (01:14:31):
Silent, yeah, something like you know that we need to
come back. That means that that that we need the
cabin that we don't know, we would love to do that.
That is that is incredible, incredible, And I know we
have a massive Pill here as well. With everything you're
talking about. What's that documented? Because I know Massive Pill

(01:14:54):
does incredible documentary him. There's no fucking way that Peter
was just like we're not going to film this.

Speaker 5 (01:14:59):
Not people is definitely coming through filming, Okay, okay.

Speaker 1 (01:15:03):
I can't I can't wait to see that footage. And
do we get a tour? I would love to have
Scott I always doing shows also, but specifically for this album.

Speaker 5 (01:15:12):
I would love to hopefully, Yeah, we're putting it in
the Yeah for sure.

Speaker 1 (01:15:18):
Well listen, man, thank y'all. We appreciate y'all.

Speaker 3 (01:15:20):
Brother y'all. Yeah, Well, y'all are holding it down with integrity.

Speaker 1 (01:15:26):
Thank you much love, respect, Thank you, stick.

Speaker 3 (01:15:28):
To your guns.

Speaker 5 (01:15:30):
Keep it going, man, And you're just just real quick
even off of what he just said, Like yo, man,
like we're blessed to be who we are. We're blessed
to be of an age and nigga, we like geeked
out that we want your showing.

Speaker 1 (01:15:46):
With y'all, Like we know y'all you watch we're just
idiot fans with microphones.

Speaker 3 (01:15:52):
This is like, y'all, man, y'all.

Speaker 1 (01:15:55):
Define the culture that we love. We're just guys that
have electricity.

Speaker 3 (01:15:58):
You're covering it response to believe, Yeah, and I love that.

Speaker 2 (01:16:02):
We definitely that's definitely one of the conversations we have,
like we want to make sure that we talk about
the right ship. We talk about it the right way
from an honest perspective. We could be wrong, you know
what I'm saying. I'm open to that too, but I
just as long as it never comes off as hating.

Speaker 1 (01:16:16):
You know, I'm never never hated.

Speaker 3 (01:16:18):
Yeah, yeah, I don't don't do that gossip real deal.

Speaker 1 (01:16:23):
Definitely really appreciate it.

Speaker 2 (01:16:24):
Thank you, Cabin in the Sky. Download that screen the
court day, so we just judged that.

Speaker 3 (01:16:33):
Twenty first. Please