October 7, 2025 • 66 mins
Glasses Malone and the crew explore the cultural contrasts between the East Coast and West Coast hip hop scenes, examining how geography, lifestyle, and history have shaped each region’s distinct sound and identity. The discussion highlights the long-standing rivalry between the coasts, the evolution of their musical styles, and the influence of community and culture on how hip hop is created and consumed. The hosts reflect on the legacy of regional pioneers, the role of competition in driving creativity, and the ongoing impact of both coasts on the global hip hop landscape.
Rate, subscribe, comment and share.
Follow NC on IG:
Rate, subscribe, comment and share.
Follow NC on IG:
NEW GLASSES MALONE MUSIC
“Wanted” feat. Jurassic 5 & LA Giantz
😳😳😳🤯🤯🤯🤯🔥🔥🔥🔥🔥
Available NOW
- for all my @Spotify users
https://open.spotify.com/album/3CB1JMZvqMfsFAyqM5bSIB?si=Mk-PLiweTrSilFYZo0579Q
- for all my @AppleMusic users
https://music.apple.com/us/album/wanted/1810090085
See omnystudio.com/listener for privacy information.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
What's Up and welcome back to another episode of No
Sealer's Podcast with your hosts Now fuck that with your
low glasses, Malone, the Foulating Ship.
Speaker 2 (00:23):
Live to King.
Speaker 3 (00:24):
Everybody agree with glasses Live the King though. Everybody I
met King now today we talked about that too.
Speaker 4 (00:32):
Yeah, you do agree with him, Trapp, Yeah.
Speaker 1 (00:37):
Thinks playing turn it out? Hey, I really disagree with
that back, I really just like I hate that that.
I hate that. That's the feeling that I get when
we make a good point, right, It's like people feel
like people.
Speaker 2 (00:56):
Just agreeing with me, people just agreeing.
Speaker 1 (01:00):
Like if I'm logic, like this conversation trap. We'd had
this conversation five times. I could prove it to you
a million ways possible, and you just gonna hold on
to this kind of like.
Speaker 2 (01:13):
I don't quite know what it is, like, what are
you talking about? All? No yet? No?
Speaker 4 (01:20):
Yes man, no, yes man. Sometimes sometimes you gotta realize
this too, because I'm a I'm I'm also a viewer.
Speaker 2 (01:31):
I'm one of y'all trolls. I'm one of your viewers.
Speaker 4 (01:34):
And sometimes y'all y'all make it so I can't troll,
and then sometimes I feel no need to because somebody
gave up the different opinion, and.
Speaker 2 (01:43):
Usually it's Trapped.
Speaker 4 (01:47):
But it makes sense because Trap not from where we're from,
so it's his taste and things he likes or or
his views could be different based on his upbringing. But
it's always good that everybody came to agree because unless
it's just boom bam fat.
Speaker 1 (02:04):
So it's like, so like this thing me and Trap
been talking about for like probably about seven months, like
I realized I discovered that like hip hop doesn't have
a sound like right, what we keep saying is a
sound like a West Coast sound or East Coast sound.
We're associating records that we remember growing up and then
(02:24):
so that producer's style of production. We say that's an
East Coast sound, but it's not right. It's it's things
built on different black on black genres. Right, Like so
if we say funk, right, because people hear that lead,
they be like, that's West Coast, No, that's the funky
Warn't that come out.
Speaker 2 (02:43):
Of a move?
Speaker 1 (02:44):
You discovered it through a Doctor Dre song. So you're
saying first and and and and and the and the
mother songs was big too. They wasn't a small song.
But this is the era that blew up in. But
I was just explaining it to somebody on Traps platform
ADHD on club House. I was explaining, like, that's.
Speaker 2 (03:02):
What you use.
Speaker 1 (03:03):
You use a move when you're making funk. That's what
when they when when when parliaments start getting with electric
keyboards as well, they start.
Speaker 2 (03:10):
Using the move.
Speaker 1 (03:10):
So when Dre and them got a chance, they went
and got their hands on the move because that's what
you make funk with. So what they start to associate
with West Coast.
Speaker 2 (03:19):
Is the move saying funk.
Speaker 4 (03:21):
That's the first time I heard the move when because
you know, me going over there being in studios and
when I'm the only West Coast nigga in the room,
they usually say.
Speaker 2 (03:30):
It's that fucking organ, that church organ.
Speaker 1 (03:33):
Yeah yeah, yeah, it's the sense, not the sense that's doctor.
That's not true, right, And I'm telling trap we speaking
from a place of ignorance because we don't know, like
this is how we started when we discovered it.
Speaker 4 (03:47):
You going with fact, he's going with the majority rules.
Like you know how like once like once somebody put
that that title on it, that's West Coast music, and
then it's so many people that fact you coloring with.
Speaker 2 (04:01):
It's totally disregard.
Speaker 4 (04:03):
Hey, you know what, everybody did it, but y'all got it.
We gave it to y'all. That's what it is. Now
they either anti are supportive of that as West Coast salm.
Speaker 1 (04:15):
I disagree, but I also think that's what's warning music
creativity of the music we're producing. That's true, right, because
you're emulating versus understanding what they were doing. Drake, how
could Dre look to a West Coast salm. They're pioneering it.
Speaker 2 (04:31):
So he's not.
Speaker 1 (04:32):
Looking to make the best West Coast song he could make.
He's looking to make the best song man Amu. When
he was making funk, he was like, how can I
make a better version of funk with this stuff right here?
Speaker 2 (04:44):
Right?
Speaker 1 (04:44):
I got these harder drums. These is harder than Maco
and the James Brown band on the drums. Excuse me,
Macio played the guitar who played the drums Charlie Parker.
Speaker 2 (04:52):
Right is Charlie Parker. I don't know one of the
drums from James Brown.
Speaker 1 (04:58):
But now they got these harder kicks right in the
n PC or the SP So now it's like, okay,
how can I make the best version of funk using
this right? That's what dra was thinking. Quick was like,
how can I make the best version warrant? That's what
they're thinking. They're not thinking I'm making West.
Speaker 2 (05:16):
They are it.
Speaker 1 (05:17):
They know when they get on it and they start
talking how we talk every day. That's what's gonna make
it sound like us.
Speaker 2 (05:22):
So what do trap think? Is the East Coast saying
all right, right now? All is no base right now?
Speaker 4 (05:32):
I was in a car in Philly with some of
my friends and they playing those jay z right you know, uh,
you know.
Speaker 2 (05:42):
The famous one.
Speaker 4 (05:44):
You know what's the what's the one that the one reasonable?
That reasonable, that reasonable doubt? They are in there, they
in there going on this ship.
Speaker 2 (05:53):
I'm low key in the back seat like.
Speaker 4 (05:55):
Cuz, like like I am not as pumpedy y'all. And
then I stopped it and I said, hey, check this out.
How are y'all so crazy over Jake y'all? Over his lyrics?
Them beat some reason A little dab.
Speaker 2 (06:10):
Was this is what it is.
Speaker 1 (06:17):
They wasn't so like, we're from Funk is an emphasis
on mid frequency, right, So it's bass, guitars, horns, all
that stuff in the middle. So if if violins and
strings and all of that strength, flute is on the
top frequency, bass, you feel me, bass, brass, all of
(06:38):
those mid frequent and then the low right the drums
ain't a waitever at the tool, but everything at the
very bottom. All of the music, funk music, it lives
in the mid frequency. So that's what trapping them affiliate
with us, and that's what all music was specialist, right.
Speaker 3 (06:56):
All right, all right, So now so now you're going
to We're going to a the East coast, East coast saying, right,
so you're thinking when you're thinking of the East coast saying,
you're thinking of heavy think listen you tinking simple heavy beats.
Speaker 2 (07:08):
You know what I'm saying. You think that ship all wrong.
Speaker 3 (07:13):
Bro Let me get let me get to it, Let
me get to it. Let me finish saying what I'm saying.
Let me finish saying, hold up.
Speaker 1 (07:20):
Trap, Hold up trap, because I'm gonna tell you the
problem you have your ask him what or ask them
what they I'm not finishing.
Speaker 2 (07:26):
I wantn't finishing what I'm standing.
Speaker 1 (07:28):
What you tell us, You tell us what you think
of a West coast beat, and then I'll let this
man from Washington.
Speaker 3 (07:33):
Ok Okay, I tell you, I tell you a West
Coast beat. All right, So West Coast, West Coast is
gonna be funk based, smooth basslines. You know what I'm saying,
laid back drums. That's a G funk. That that that's
G funk right there, that's G funk right there. And know
what I'm saying. Then you're gonna have heavy synth, heavy
synth leads on the song, you know what I'm saying.
(07:53):
Might have a twalk box on it. You know what
I'm saying, that model twalk box and a lot of
instrumentation on it. That's the West Coast saying to beat.
Speaker 1 (08:01):
Yeah, And this is kind of what I'm arguing, like,
this is what I've been arguing with him.
Speaker 5 (08:06):
I'm like, I can tell you the biggest part that
everybody got sucked up with the whole.
Speaker 4 (08:10):
East Coast West Coast ship, the East Coast walk in
West coast car.
Speaker 2 (08:16):
Beating the trunk all that west that was walking in
jukebox radio music.
Speaker 1 (08:23):
I always teach truck with that. I say, they sit
on the stoop and listening.
Speaker 2 (08:27):
You know what. You know, we did no, we did no.
We didn't.
Speaker 3 (08:32):
Hold on, hold on, you're talking about that. The boots
bought it right, They are part of listening to music.
Bro back all right. It was the boombox. We was
outside with the.
Speaker 1 (08:43):
Boots and that's not like a car there.
Speaker 2 (08:47):
But the base don't hit like Trump.
Speaker 1 (08:50):
But he's talking to you when you have a power
amplified sub warfare set up?
Speaker 2 (08:55):
How you think? How you think them jam was going down?
Speaker 3 (08:59):
Niggas baby all be but but y'all, but y'all spend
more money on EV's and we spend our money on
the trunk.
Speaker 6 (09:06):
The base, the base that's not really ain't y'all got
them high end ass loud ass DJ speakers across the
back of the car, all in the doors and they
yelling distorted as fuck.
Speaker 3 (09:19):
You want to hear it, Claire, You want to hear it, Claire,
We want to hear claim.
Speaker 2 (09:21):
You don't want to hear you heard what he saying?
Speaker 4 (09:24):
Claim put it in new song O that ship knocking
y'all run.
Speaker 3 (09:30):
It back, he said, he said, we want to hear
what they saying. We want to hear what they're saying. No,
that's because of them highs so that there lyrics they
saw to hear the beat. We started hearing the beat.
Speaker 2 (09:42):
That's all like you you want to ride and to beat.
Speaker 4 (09:44):
They want to kill who he killed that beat? Nig
This is the music business. Why you want to kill
the beats?
Speaker 2 (09:51):
Hip hop?
Speaker 3 (09:51):
This is hip Hop's about what you're saying. Brother, for
that came pushing the jack this you want to hear
you listen to jam then, bro, it's about the lyrics
with somebody.
Speaker 2 (10:01):
That's saying about being honest. That's trap, truly not be honest.
My way the dasty But that's when he came. Then
we through the Sydney.
Speaker 1 (10:12):
But it's like this, right, Remember I had Jay. I
was into Jay early. You just the house, but because
you can't play it's not that type of record exactly.
Speaker 2 (10:21):
But walk in.
Speaker 1 (10:25):
No ceilings low my brother King, I got my little
brother k Stafs actually my mother son, my man Trap.
We were at the same conversation and we gonna keep
hashing it out till we get it right. This is
how grown men keep working until we had come into
an amicable place. Trap Like, yep, what y'all saying is
(10:46):
the same thing. It's not necessarily low end. You're saying,
y'all focused right, because the hip hop you would associate
with the East Coast, a lot of it is rooted
in jazz. So jazz is not known for big mids,
big low ends. It is kind of the top end.
The melody that's driving a song. Funk is all mid frequency.
(11:09):
We all hip hop is all low end, period. Everybody
gonna have low end. That's something that hip hop kind
of became our signature until the drumless rap that you
loved came out, But it was all low end. That
was the consensus, and all the same a hip hop,
everybody had low end. What you referring to k is
mid all. I should had mid baselines, things that will
(11:33):
stick in the middle. So it gave a six by nine,
not just the sub because you could play New York.
Speaker 2 (11:39):
You could play some hip hop in.
Speaker 1 (11:40):
This original sense, like ll cooja, that shit gonnaknock because
it's eight o waight.
Speaker 2 (11:44):
But what to be.
Speaker 1 (11:45):
Missing is that mid that we live our life to.
So what I'm telling Trap, what he keeps associating with us,
he should be associating with Funk has nothing to do
with us. We didn't make funk. James Brown, who was
the originator and had the first records of funk. Is
not from the West Coast, George claiming this is from
the Carolinas by way of Jersey through Jersey, right, he
(12:07):
is not from the West coast. Roger Troutman, Ohio players
that none of that stuff. That's Midwest, So none of
that stuff. So what you associating with us is in
funk music. The sound that you're referring to doesn't happen
until we start to talk.
Speaker 2 (12:24):
The way we talk over.
Speaker 4 (12:25):
Music is g all right until you put a G
on it, you know what I'm saying, And then y'all
think is a G funk? Because why you put a
gangster on funk? Talking gainst the ship Now it's G funk?
Speaker 1 (12:38):
I like that, don't get twisted.
Speaker 4 (12:47):
I stayed on the East Coast for quite a long time,
so my ship is not like I'm a geographical person
like it is us over.
Speaker 2 (12:55):
But like at the end of the day, I still
respect like, I love folking word bro. I didn't learn.
Speaker 5 (13:01):
About all that shit until I got the Philly bro
like like, and when I got to Philly, I learned
about hold up I can have and then we gave it.
Speaker 2 (13:09):
We gave it south to cheat code.
Speaker 4 (13:11):
We're gonna rap for these niggas, and we're gonna ride
the beat for these you know what I mean. And
now we got them all because you remember, at first, I
was thinking the South was crucial conflict. Certain shit where
you heard, you know what I mean, a sound that
that's not ours? What they found the way to jig
and jam to it.
Speaker 2 (13:26):
Bam.
Speaker 4 (13:27):
East Coast is like y'all only care, he said, he
gotta be all over the mother that's trapped because you
and they raped or even in jail, they're.
Speaker 2 (13:37):
Like, all right, I said, I said, I said, I said,
I said.
Speaker 4 (13:41):
They really want you to hear what listen to the
to the talent and the way I flicked these words, nigga, No,
I want to hear it on the beat.
Speaker 2 (13:50):
I don't want like that's what you want it. You
want it to be a part of the me.
Speaker 4 (13:53):
Yeah, your voice is an instrument added to the beat
if you're not somewhere in that beat.
Speaker 2 (13:59):
Cause you just talked looking over over some music playing
in the background.
Speaker 5 (14:03):
Like so you think the West Coast started g funk? No, yeah, yeah,
we started gause.
Speaker 4 (14:09):
We was gainst this before a lot of other people
here to claim that gainst the title.
Speaker 2 (14:14):
So you gotta remember Trap.
Speaker 5 (14:16):
Said G Funk started on the West coast. He'll be
more correct, Yeah, very very he won't.
Speaker 2 (14:21):
Put funk in it. Yeah, G funk wouldn't be without
without G. Yeah. So, like it can't just be the music.
Speaker 1 (14:28):
Like if I play you, doctor Dre's, I want to
do something, Leon Haywood, I want to do something freaking
to you.
Speaker 2 (14:34):
It's it's actually Dray didn't do nothing to it. There's
nothing about that when he mixed it.
Speaker 4 (14:39):
But you know added, you know, harder hitting drums maybe.
Speaker 1 (14:44):
But you can't even hear that. Like that's the point,
Like if I play you, it sounds like the same thing.
Speaker 2 (14:49):
The G comes in, like Drake when they talk. Do
you agree trap? No, no, no agreement with them out niggas?
Speaker 7 (15:04):
You got a niggas now right, making a good point though,
that's that's.
Speaker 2 (15:14):
The term G Funk. It's a gainst and rapping on
the phone, yea like think about his school deals gagst
the nigga and heats nothing from you. Trap, you ain't
saying nothing trap no trap no no no.
Speaker 3 (15:28):
Sober may not go so now so now listen right,
so so all right, so to the example to the
example that you was showing earlier, and I'm saying the
room just now. So, yes, we was using these samples
before before it went over to the West Coast and
they started using it though, right so.
Speaker 2 (15:45):
Now that that can't be determined, No, nigga, you got no,
that's a lot. It's just like what you said. We
landed with the first hit.
Speaker 1 (15:55):
Song they talking about hip hop, right so remember okay,
remember you're younger, like five minutes funk. Yeah, that's New
York who remember remember explain explaining funking lessons E P
M D.
Speaker 2 (16:09):
You got to chill. That was using funk first, so
now go ahead, go ahead.
Speaker 3 (16:15):
So now so now the thing is this though, right so, now,
once it got over to the West coast, you know
what I'm saying, it was it was the people seeing
them being used and it started being used. That same
sound was being used over and over by the West
Coast artists.
Speaker 1 (16:33):
Stop saying that same start saying, start saying.
Speaker 3 (16:35):
That sample, that sample, funk, funk. Okay, well funk was
being used was being used by many West Coast artists.
Speaker 1 (16:43):
Saying it wasn't being used by many West Coast art that's.
Speaker 2 (16:46):
Not true, all right? So what was Quick using? So
there was a time, all right? So what was hol on?
What was the ground? Hold on? Hold on?
Speaker 1 (16:55):
Quick wasn't using all funk. Most of the first album
is not funk.
Speaker 2 (17:01):
Mm hmm.
Speaker 1 (17:02):
Like he got a lot of he got a lot
of hard beat ship and disco shit.
Speaker 4 (17:06):
Yeah, and he just puts the G two the songs
you're talking about, no, No, the song you're talking about right,
which is the clear song tonight Clear?
Speaker 1 (17:16):
That's one song and I think you're you're saying that
as if that was quick quick then build his whole
premise on full Neither did dre Remember the chronic is not.
Speaker 2 (17:26):
A bunch of G fault There's only two G funk
beats on there.
Speaker 1 (17:30):
Like there's only two beats that's funky on there, remember,
like the other one is Donnie Hathaway. It's a bunch
of breakbeats. It's not funky like that in ninety three
ninety four became funky.
Speaker 2 (17:44):
All right.
Speaker 3 (17:44):
So when you hear when you hear somebody who was
a talk when you heard somebody use the talk box
on the on the song, is that.
Speaker 2 (17:52):
Why you're troutling funk? But has it?
Speaker 3 (17:55):
But has it going, has it going on to as
it going on to sembling in a West coast sound?
Speaker 1 (18:01):
Though what you said, stop saying a West coast sound.
We were making funk, So we use all these elements.
Speaker 2 (18:07):
Do it? He giving us everything? Cool? That worked?
Speaker 1 (18:10):
No, like, but I'm saying, what's happening on you? Like,
but I'm also explaining it to.
Speaker 5 (18:15):
I want to know how he go from funk to
a West coast sound like that's where is because.
Speaker 4 (18:21):
He's is getting acknowledged in his time is whistle song?
Speaker 5 (18:26):
Yeah, but so give it to us even taking funk other.
Speaker 2 (18:30):
Than just saying the West coast sound like so what
you said? All right?
Speaker 5 (18:34):
So so so did you you feel it's just the.
Speaker 2 (18:37):
West feels right here?
Speaker 3 (18:40):
These producers right here have any type of sound that
resemble each other Doctor Dre, DJ Quick, Battlecat and Mustard.
Speaker 1 (18:48):
Like a different hold up, hold up, trapping. They sound
night and day different to us. Okay, night and day different.
Speaker 2 (18:56):
Yeah, yeah, because we figured out here if we're.
Speaker 4 (18:59):
Not saying all of us looking like all of us
sounded like what it sounds here like all black.
Speaker 2 (19:07):
Like coach now oh yeah.
Speaker 1 (19:10):
Okay, look trap look trap right, So it's not Roger Troutman, right,
them using the talk box.
Speaker 4 (19:17):
You know why they use a talk box because they
can't sing, because funk uses the talk box.
Speaker 1 (19:22):
Okay, right, Roger Zapp is a funk band. So if
you're making funk and they not.
Speaker 2 (19:27):
Even from over here, he's just giving us them.
Speaker 1 (19:29):
But that's because Trap not acknowledging music past.
Speaker 2 (19:33):
What we geographical.
Speaker 3 (19:35):
You know, Trap is the West Coast, all right, Stop
stop that they gonna stop believing you. Keep saying they're
gonna stop believing you. Gotta stop saying that.
Speaker 2 (19:45):
Our job is zero. Our job is.
Speaker 4 (19:52):
He refused to take it from West Coast people. But
he's not to teach people about your coach. Why don't
fight to make you smarter? Because that's my man.
Speaker 2 (20:05):
All right?
Speaker 3 (20:08):
So now so now would you say, would you say anything?
The producers resemble each other with the name Sound DJ,
Premier Peak Rock, have it alchemists.
Speaker 4 (20:19):
No even found the same to me know some of them,
some of them I can see some similar areas.
Speaker 2 (20:25):
But he said something that's like no, I can not
I can clear each other.
Speaker 4 (20:30):
Like the Riz is a genius nigga. You can't even
put him in a box. You put him in a bus.
Speaker 2 (20:35):
Are you there? Put They all got.
Speaker 1 (20:37):
Their own style sounds like, I understand what you're saying, trapped.
Their approach using jazz can be the same you trap
off that product.
Speaker 2 (20:50):
M Park. We need to know, like, like bro everything.
I learned that there's some gainst the niggas.
Speaker 4 (20:59):
East Coat that rap against the ship on certain types
of being, you know. And then I found out it's
a West Coast community that's lyrical spiritu and all that
other ship.
Speaker 2 (21:09):
Yeah. Yeah.
Speaker 4 (21:10):
Once the time I was, I was, I was blinded
to like, oh them East Coast niggas with you the sun,
the moon.
Speaker 2 (21:16):
The stars gone, the powers until I went over there.
Speaker 4 (21:24):
And when I stayed over there, it was like, oh
that nigga, it's it's the same ship. It's a it's
a circle that like this there. It's a circle that
like this other ship. It's some ship I like there
and it's some ship I don't like, just like here.
It's a crowd for every sound, yeah, and music that
all we none of us are the originators of these sounds.
(21:47):
They all come from a time before us, even before
a rap.
Speaker 2 (21:51):
So at that point, you can't put music in that's
fucked up. You put rison in that category.
Speaker 3 (21:58):
No so so so again, I just want to get
a clear forgetting it.
Speaker 2 (22:05):
So, I want to get it clear. I want to
get a clear real question respect.
Speaker 3 (22:10):
But then so hold on. So I'm gonna get a
clean real quick, is my Michael. I'm wanna get a
clear real quick.
Speaker 2 (22:15):
Right.
Speaker 3 (22:15):
So, so y'are telling me right now that it's no
resemblance to the sound. I mean it can sound so
they have their own sound though, but Premiere Pete Rock,
havoc Ris Alchemists do not resemble a sound that wo
come from a certain region. Telling no, because guess what,
(22:36):
they didn't produce records for big artists other places, and
in the records work, it's either at work or don't.
Speaker 1 (22:42):
Alchemist is from here, right, Alchemist is from right, Premiers
from Texas. Right, I get, I get what you're saying.
But what I'm telling you is off who made hit.
What he confusing is they're building a premise off jazz.
That that's what he's not getting, Like all of those
specific producers tend to lean towards jazz or certain type
(23:06):
of places influenced.
Speaker 2 (23:08):
They put him on, like he said, like.
Speaker 1 (23:10):
He's still caring people to him that lean towards funk,
and I'm telling him this, James Brown and Parliament sounder same.
Speaker 2 (23:17):
Trap. You ask me, ask me that question, King is crazy?
The track that is a fair question.
Speaker 1 (23:25):
Track this Jazz Parliament sound the same.
Speaker 2 (23:29):
No, but James Brown and Green sound the saying no
they don't. That's what I'm saying.
Speaker 3 (23:33):
Something drum break the movement where they got to.
Speaker 2 (23:40):
Remove and see it in your phone. That's the clip
clean say that again? Who sounds the same?
Speaker 3 (23:47):
I'm saying as far as the drum breaks go Al Green,
A Green, I'm talking about. I'm talking about the sound.
I'm not talking about this. I'm not talking about what
you're talking about right now? Is the is the thevant
of the music? No, nothing of nobody's signing the same.
Al Green, Al Green has the same type of breaks
on his beats, on his on his music that James
(24:10):
Brown has.
Speaker 2 (24:11):
All music had breaks.
Speaker 1 (24:12):
A Green and James Brown sound nothing.
Speaker 8 (24:14):
Alike, nothing alike, nothing alike, trapping all right, So to
scare me, all right, so now listen, let me ask
you this now right yes, right?
Speaker 2 (24:25):
So so no, no, no, no, no, no, I'm good, I'm good.
I'm straight.
Speaker 3 (24:28):
So now let me ask you this right, because this
is where we this is where we came from. This
is how this whole conversations started right there, right, So
because I asked you, I asked.
Speaker 2 (24:36):
You earlier what what distinguish? What? What? How can you
distinguish different dramas of music?
Speaker 3 (24:46):
Way to distinguish is there is there a way to distinguish, Yes,
hip hop from country, country, from R and B R
n B from jazz.
Speaker 2 (24:55):
So what I'm saying jazz from eating into the way
to distinguish that.
Speaker 1 (24:59):
So this is so surface level answer, right, that the
average it's a surface level thing.
Speaker 2 (25:04):
Right.
Speaker 1 (25:04):
Will you recognize instruments that are that seem to be popular? Right,
It's like if you use the band Joe, you think
of funk music. If you use the acoustic guitar, you
think of country.
Speaker 2 (25:14):
If you use the band thought the country country about country? Yeah,
but that's not those instruments to creator. See you use
You can.
Speaker 1 (25:27):
Make anything with those instruments. The energy is the true
dictating factor of that.
Speaker 4 (25:33):
Niggas wrapping over violins, nigga, yes, trapp trap that drums, rap,
no drum, no nothing.
Speaker 2 (25:41):
They just be wrapping over this loop.
Speaker 3 (25:43):
So now when you're thinking of well, so now when
you're thinking of rock and roll, you're thinking of electric guitars, right,
live drums.
Speaker 2 (25:52):
Being wrong, wrong, vocal tones, raw vocal tones and anything
like that. Right, so we think that.
Speaker 1 (26:00):
Trap hip hop, Hold up, hold up trap, that's the problem.
Like your your ignorant take on it doesn't not no,
not like.
Speaker 2 (26:09):
That trying to say money. You're trying to say money.
Educated about what I'm talking about, right, say that.
Speaker 1 (26:19):
Let me say that because ignorant for the black people,
we go back to our mount I understand that mean right,
neither we are not into rock music, no, not not
saying we don't like we don't know the essence, the original, right,
we don't know these or.
Speaker 2 (26:36):
The orges keep coming in with this chicken baby.
Speaker 1 (26:42):
We don't know the assets or the origins, right, We
just we don't follow rock the way we follow hip.
So again, Ray Charles, excuse me, Little Richard didn't have
no motherfucking like you can talk.
Speaker 2 (26:53):
You did it with the piano.
Speaker 3 (26:55):
Yeah, live drums, you had live drums.
Speaker 2 (26:58):
But rock and roll with you're missing a point.
Speaker 1 (27:01):
What you're saying, goods are so the things that you
discover about rock, you feel like define rock and I'm
telling you that's not true.
Speaker 2 (27:11):
You're right good.
Speaker 1 (27:11):
He made a good point through the energy that defines rock.
And I'm telling you this. And when you keep saying
something you're trying to figure out a way.
Speaker 2 (27:19):
Oh well go home, styles you fit like you're.
Speaker 1 (27:25):
Defining, right, you're defining. You're defining it based off of
your of our uneducated ideal of it. And I'm telling
you energy truly defines the genres. That's why right now,
post Malone can make country and it don't sound like
no kind of country you.
Speaker 2 (27:41):
Ever heard before.
Speaker 1 (27:42):
That's why I've been telling you for a while, Travis Scott,
who's in the making rock music, but you can't do
it because it's not the the version of it that
you understand based off your limited understanding.
Speaker 2 (27:53):
And I keep arguing, I'm like, no, that got It's
clear the Beyonce and may actually make country or she
made it her version of country.
Speaker 1 (28:01):
So this is the tricky part because the country people
say no. But I understand why she has a right
to say she did as her forefathers and as a
country person who lives that life.
Speaker 2 (28:12):
But was it actually country music? Country? So if I
got on it, it's country music once.
Speaker 3 (28:22):
I got on it, just like Jon No, no, no, no,
it doesn't work like that.
Speaker 2 (28:27):
It don't work like that.
Speaker 1 (28:28):
But when you're saying it don't work like that, Trap,
that's the problem.
Speaker 2 (28:31):
It does work that much? Did you what you said?
How come they ignore people like little Ouzi? And so
when they say they you know, they not because they
because they're prejudice, because they like when they say they're
not this because trap and them are prejudice. A black
man rap.
Speaker 3 (28:47):
You're you're prejudice right now, Bro, Say what you're saying, bro,
how it.
Speaker 2 (28:52):
Opens up the door for people to you know, if
they say they this, then let them be this.
Speaker 1 (28:56):
But then no, no, no no, because there if they
have the inner.
Speaker 2 (29:00):
I don't know that goes back.
Speaker 1 (29:02):
Go ahead, he rock and roll, bro, And and he's
making his own version that dropped crazy but it's crazy
because flix.
Speaker 2 (29:11):
But let's say he rap.
Speaker 1 (29:13):
This is the crazy part. He's telling us he's rot.
I can hear the energy, but you know what it is,
a black man rapping, rapping, black man rapped. He gotta be,
he gotta be hip hop. And I mean he's saying
he's not right. And then like we can see post
(29:34):
Malone doing melodic rap. We don't call that country.
Speaker 2 (29:38):
Because he's white. You can get away with it.
Speaker 1 (29:42):
We can't look like we got gotta be you gotta
be hip hop one of.
Speaker 3 (29:48):
Them niggasp this right. So now when you're saying that
right there, right as far as his last album he had,
he had rap songs on it. Then he had rock
and roll song. But he was leave rock and roll.
You can rap on rock and roll songs. No, no,
he was doing rock and roll. He was doing wrong
vocal songs.
Speaker 1 (30:08):
That's not he was using every way to get to
rock and roll. Trap, you don't have to vocals to
do rock and roll.
Speaker 3 (30:15):
No, no, no, that's a part. That's a part of it.
Electric guitars, live drums, bass for vocal tones. Hey, Trap
was limp, biscuit, hip hop or something else.
Speaker 2 (30:34):
No, they was rock and roll.
Speaker 5 (30:35):
So when they wrapped, they wrapped on their stuff. They
had some raps in the uh in their music.
Speaker 1 (30:41):
It's not Listen, this is a simple thing. Vocal delivery
doesn't define.
Speaker 2 (30:46):
I agree with you, know, I definitely agree with you.
Speaker 1 (30:49):
So what I'm telling Trap is he's talking about the
conventional way that we have all started to digest rock
and roll. Here's the conventional way. Oh that's this that
the third that's the layman's understanding. When I'm the matter
of trap and all of us and hip hop today,
as we said it, going forward, we got this opportunity
is no, let's get back to really what this ship
(31:09):
is about. Let's stop doing this generic ship that's fucking
the game up.
Speaker 2 (31:14):
Like we're not challenging the status.
Speaker 1 (31:16):
Called music because we're so busy trying to regurgitate the
same thing we like. When Dre and then was doing
that thing, they didn't have the ability to say, hey,
we're making West Coast music. They was trying to make
the best funk. When Dray would make funk, he was
making the best funk he could. When he was making music,
he was making the best music.
Speaker 2 (31:33):
He took.
Speaker 1 (31:34):
Uh David axelrod Uh, I forgot.
Speaker 2 (31:39):
The name, but you know the name of the song.
Speaker 1 (31:40):
Talking about trap, you say they kind of prejudice trap.
Speaker 2 (31:43):
Now I'm thinking about it, he sound kind of prejudice like.
Speaker 3 (31:48):
Doing that thing right now? Yo, you see what he
did right now? That's why he's said next, That's why
he's glasses.
Speaker 2 (31:59):
We were having glance saying right now is what doing
doing that? How he made next episode?
Speaker 6 (32:05):
Right?
Speaker 2 (32:06):
That's a simple loop on on on.
Speaker 5 (32:11):
Hey he pulled, He pulled from a lot of plasses though,
didn't he? But you know what made it West Coast doctor?
Speaker 2 (32:19):
You know what I'm saying.
Speaker 4 (32:20):
That's what made it West Coast's doctor J touched it.
It's just like g folk And it's just like when
you when you classify the music, if you're gonna base
it up, you basing the success.
Speaker 2 (32:30):
Of the person on saying that stays sound and me trap.
Speaker 4 (32:34):
I'm not arguing with you. If you give us good ship,
why argue if you give us bad ship?
Speaker 2 (32:39):
Now, less argue. You know what I'm saying.
Speaker 3 (32:43):
But so this is what this is what I said
before in the room. We was in the room, right,
So like I put it on the time of two
thousand and five, right, So in two thousand and five,
a lot of East that was coming out, people from
New York that was coming out, and people was people
from like my generation was like, yo, why are they
rapping on sound of beats? So they wasn't changing up
nothing they was saying, but the beats they was using
(33:05):
was southern. Was southern sound and beats. You know what
I'm saying, And that's a fact right there?
Speaker 2 (33:10):
That was what did it? Did it sound like it
contained rhythm? You know rhythm? You know Ryan patterns of
Negro spirit.
Speaker 1 (33:19):
Here's the East Coast records that came out in two
thousand and five, right, Beanie Siegel to be coming.
Speaker 2 (33:26):
That didn't sound like the South that right?
Speaker 1 (33:30):
Uh, y'all didn't really have a lot of albums that year.
Speaker 2 (33:36):
And you know what else they used on the East Coast?
The song go from songs, go from songs from the
top songs, top song that was a z A wall.
Did that sound like what you're talking about? I don't
know that. I don't know if that off top, I
don't know that.
Speaker 3 (33:55):
Song.
Speaker 2 (33:56):
Fifty cent songs just a Grandmaster? Look what could you
go into? Though?
Speaker 1 (34:01):
Bro, I'm just naming those wasn't that? Those wasn't the
people the young was putting out of music. B hold on,
but that's what I'm telling you. The naked truth. My
Little Kim came out that year.
Speaker 2 (34:12):
Now, y'all got y'all with Harry Franston.
Speaker 1 (34:15):
Tony gave thoughts of a predicate feeling, you know how
that goes? Who else had town of what's the game?
And missing that didn't sound like nothing but a nigga
from more them Mike check there go to whistle song.
So again, what I'm saying is a lot of rhetoric.
Trap that's being used. Doesn't really take into account information
(34:38):
or knowledge. It's just something we regurgitating. Listen, anybody can make.
Speaker 2 (34:45):
Campbell soup, can make a can of gumbo? Can They
ain't like the dumbo? Yeah, but they can, they could try.
It's nasty, soulful, soul food. Yeah.
Speaker 1 (35:00):
You ever notice why they you Southern food and soult fold.
Speaker 2 (35:02):
Why don't Why don't they call that food soul food.
Speaker 4 (35:05):
It's the same ship on the menu, and it's always
a Mexican in the kitchen. Now its soul food spots.
Speaker 1 (35:10):
That's why they soul food.
Speaker 2 (35:14):
That's like what I said, what I said earlier, I'm
going to lose the chicken. I love Louis.
Speaker 1 (35:24):
And most of the Asians on them now, but here
here this fried chicken. Fried chicken is soul food, right coming.
But that don't mean Kentucky fried chicken make soul food.
They fried chicken, Okay, right, you get that trap. Fried
chicken is soul food. But that don't mean Kentucky fried
(35:45):
chicken sell soul food.
Speaker 2 (35:47):
So this is what fried chicken Scott's Scott Scott's thinks.
Speaker 3 (35:53):
Yeah, slick right right there, because I'm my slick because
this is something that that is the term what I
told you, I said, Joe, can you please tell me
the difference between soul fool and southern food.
Speaker 4 (36:09):
It sounds very cooking it a white lady, make me
some bomb ass fried chicken before it, But that don't
mean it's soul fool.
Speaker 2 (36:19):
It could be good. It touched.
Speaker 1 (36:25):
Just because it's like this, right, It's like people can emulate.
And this is why hip hop. This is why black music.
This is kind of when you asking me what made
me get into it, It's like, Okay, I always tell
people I started this because of you, right, you want
to do this shit when you came home?
Speaker 2 (36:40):
Right? Hold on? This is the one right here that
got it to the rap music.
Speaker 9 (36:46):
I was rapping on the phone and too, I was okay,
I didn't connect. I didn't connect you in story why
he got it to rappers? I know I didn't connected
around yeah, okay, right, So.
Speaker 2 (37:01):
The older brother was okay, but then he became a
manager right close.
Speaker 1 (37:06):
The glasses did all of the homies right we started,
We started rapping right then everybody went to jail or
stopped rapping.
Speaker 2 (37:17):
So I kept going. So it saved my life right
to a degree. So I I made a living. I
had to sell sharing no more. Whatever changed my life?
Speaker 4 (37:25):
Cool me need to stop saying that on these ship
bobs got raided by the FBI because.
Speaker 2 (37:30):
Stop talking about I don't what's all that? All right?
Speaker 1 (37:34):
I don't do it.
Speaker 2 (37:35):
Nobody, I don't sell sharing no more. Neither said, yeah,
that's the point. What so what I'm saying?
Speaker 1 (37:41):
So when I started learning about hip hop, I realized
I realized how every black genre got overtook him because
we started to make it like Trapp saying a sound
Elvis Presley starts singing all of these black people songs
and it was like, well, sound like it.
Speaker 2 (37:57):
So it's rock and roll.
Speaker 1 (37:58):
Next thing, you know it, ain't a mother fucking nigga
could get a check in rock and roll because they like, oh,
why would we invest big money in black rocking roll
when we can make the money we have white people
that can do it. Next day, you know, you look
up twenty years ain't a nigga in the space. You
get one nigga and he blow up after we die. Right,
So again I'm telling trap. They do it every time,
(38:21):
and they could do the same thing with soulful if
we don't pay attention, if we get like Colonel fried
chicken is the biggest fried chicken is the biggest fried
chicken in the world.
Speaker 2 (38:29):
I love original recipe, but golden Berr tastes better. But
that's my point.
Speaker 1 (38:34):
So what I'm saying is the point I'm saying the
trap is this is how they do it. Because we
start saying it's a sound. Oh, it's a sound, so
guess what. Anybody can emulate a sound. But if it
has to be the authentic article, So.
Speaker 5 (38:48):
You're saying, it doesn't matter. The chicken is great, it's
who cooked it. Yes, that's what you're saying. Yes, what
you say you don't agree with that?
Speaker 2 (38:58):
No, I bet you no body.
Speaker 1 (39:00):
If you make some some spaghetti and they found out
your black ass make it, they're not gonna call it
authentic Italian food.
Speaker 2 (39:07):
Well you gotta think we don't make Spaghettian the way
Italians make spageti. If you made it exactly how they
make it, now you like niggas spahetti this point to
this point that makes him right. I'm sorry, y'all.
Speaker 1 (39:25):
Is not true, but it's not true. It's like I'm
not saying this about flavor. I'm telling you they would
never consider it if you made it like them authentic
Italian food.
Speaker 4 (39:32):
I just think that that ship work in different situations because,
like I say, a soulful restaurant, you go back there
and it's a popping one.
Speaker 2 (39:41):
Niggas Messicans and but they got it ain't popping like that.
Speaker 1 (39:47):
It's it's it's a last resource. It's a last resort.
That's like, if I'm gonna have to think about this,
that's to get messed.
Speaker 2 (39:54):
I think you can't answer this was because you from Washington. No, no,
no no, It's like it's like I can answer. It's
like no, no, no no. It's like mean Mexican food.
They asked me what I messed with a white girl, right,
not a white girl to that black.
Speaker 6 (40:12):
No.
Speaker 2 (40:12):
It's just like it's a difference. How are you saying.
I'm like, I'm just saying that's the same, like like
like like all.
Speaker 4 (40:23):
Right, if you mean soul food, but it's not made
by a black person, or it's made by Mexican, it's
not soul food.
Speaker 2 (40:29):
So if I will sleep with a white girl, I
don't want to sleep with a white girl.
Speaker 1 (40:32):
That added to do a bunch of black people better
questions for white I'm not, Oh, you want one that's
strictly white beer.
Speaker 2 (40:40):
Yeah, I understand that you think it the other way
you was born. Question is a question that makes sense.
If a white girl sound like she's black? Is she black? No,
she's still white?
Speaker 5 (40:52):
Yeahs on how much black they didn't put up in it?
Speaker 2 (40:57):
You're on this troll mode now this because that'sn't make
him act like that's white black people to get you
acting fact? You're right facts?
Speaker 1 (41:10):
And how do you not because you act black?
Speaker 2 (41:13):
Because I know it's like the music that's answer that
question right there? How do you act?
Speaker 1 (41:19):
You have so?
Speaker 2 (41:20):
Man, you're a white an old.
Speaker 1 (41:21):
Black ass, so you as so that's like the like
black talking. So again I'm telling tralack talking. Yeah, I'm
telling trap like to that point you asked me about
that girl. It's like, uh uh, excuse me, not that
prom say it's funny, that's what they said, black talking,
black talk that black faces, young lady that it's a
less girl. Oh black talk, we southsided, all that black talking.
Speaker 2 (41:48):
Yeah, you're talking black. You will take that. Start using
his in the N words, so like we're not we're
not black. That stop calling his knigga. Yeah, so what
I'm saying, that was crazy. That's facts. That's them. Yeah,
that's facts, though, you know that was that was Yeah,
(42:08):
that was like he stopped talking like that. We don't
even know they not even one of them. So they
really don't want to take it from you. Yeah, that's facts.
But I'm taking my soul food from that Mexican.
Speaker 3 (42:22):
But see, but see the thing is just the hold
re quick, real quick about the Mexican, about the Mexican
cooking and soul food, that all they're doing is getting
a recipe from us, and they just they're just the
ones that that's cooking. But they're using our recipe though the.
Speaker 4 (42:39):
No no, no, no, no, what I'm saying, they feeding
it like they're gonna cook chicken in Mexico.
Speaker 2 (42:44):
It's a different has gotta be chicken, make chicken, though
they make good chicken. But that's but that's not the debate.
Speaker 1 (42:54):
What he said is it is the debate you can
have our recipe that don't make it.
Speaker 2 (42:59):
Yeah, that's the point.
Speaker 1 (43:01):
Soul food is really legitly cook from the soul. Most
people that could really sow Mama, they never had.
Speaker 5 (43:07):
No back on your side. Case it's on the soul?
Is anybody track it from the soul? Now West Coast music?
Speaker 4 (43:17):
If a West Coast nigga ain't on it, at that
point it becomes East Coast music.
Speaker 2 (43:23):
That died. Just me now and now we go back
to the we go back to the dynasty. That's what.
That's what this whole conversation is supposed to get around to.
Speaker 4 (43:33):
It's ways that we're trying to get somebody to understand,
and we're using another scenario.
Speaker 2 (43:38):
This is the problem, this is what.
Speaker 1 (43:40):
This is what's happening with hip hop, specially right because
now everything is accessible right.
Speaker 2 (43:45):
You can be making beats, you can get a cheap
laptop and.
Speaker 4 (43:49):
No connective dot. I hate that blocks, connective blocks, TetR
sands beats. I want a person to move and make
the beat, so I want you to move your fingers.
Speaker 2 (43:57):
I hate that fruit and what I'm saying. They make lots.
But now that everything.
Speaker 1 (44:03):
Not that, everything is accessible right, Everything is accessible right now,
it's easy to be able to make this, it's easy
to be able to record reps.
Speaker 2 (44:12):
So you have a lot of more people emulating.
Speaker 1 (44:15):
You don't have as many talented people because you have
an excess number of people just trying it, and everybody
is gonna start by emulating. So what I'm telling Trap
is the reason this is happening is because people have
convinced them that we have sounds.
Speaker 2 (44:28):
And I'm like, that's not true.
Speaker 1 (44:30):
Right, that's the premise of this. It's two things that
that's important to me to have this conversation and to
keep having it with Trapp One. If you keep doing this,
this is how we'll lose the genre because everybody can
make it. At that point, anybody can do it. All
they got to do is have a recipe. That's not
what this is about, right, So I'm confused. Now you
confuse me now, Trapping, You guys, confuse me now, trap
(44:53):
So you saying that the West Coast sound is not funk?
Speaker 2 (44:58):
No, no, no, this is what I'm staying here, all right,
This is what I'm saying right here, right, this is
what this is what I'm confused. Now you're saying it's
not fun, don't even originate on us.
Speaker 3 (45:10):
All Right, all right, all right, this is what this
is what this comes back to. This comes back to this, right,
It's come back to the discussion that me and Glass
has had many times.
Speaker 2 (45:19):
But is it funk or not funk?
Speaker 3 (45:22):
It's not just it's not just catered around funk though.
What it is is this right here, he says this,
this Glass is stands on this point. Right here, he
says that it doesn't become a regional sound into the content,
into the content of the lyrics is put.
Speaker 2 (45:37):
On the song.
Speaker 3 (45:37):
But I what what I'm saying is is that is
that all right? So now example example pointed out right here,
right when you had the Dynasty album right and and
and Whole Win and Whole Win and got Whole Winning,
got beats from Rick Rock? What did people say about
those songs that he got from Rick Rock?
Speaker 1 (45:55):
The problem is when you keep saying, what did people say?
Speaker 2 (45:58):
Stop you hear you know, hold hold this ship for dread, no,
hold on, hold on, hold on.
Speaker 1 (46:07):
Stop saying with people who don't know this. The average
person don't listeners.
Speaker 2 (46:12):
Bro.
Speaker 1 (46:13):
You have to stop saying the listener that don't mean listeners,
because you can suing food don't mean you educated in food.
Speaker 2 (46:19):
That don't make you a chef. You know, because you
can food food we all eat every day. Trap that
don't make us a chef. That don't mean me no ship.
Speaker 3 (46:26):
But you know what, But you know what you can say,
you can say, you can say what. You can say
what's good food and what's bad food? Though, no, you can't,
you can't. Yes, you can hold on.
Speaker 2 (46:37):
Then McDonald's is the best food in the world. Know,
they got the best. More people that what people saying
is the best, that's not the Let's stop going with this.
Speaker 3 (46:48):
When you state that right there, you state that right there, right,
that's like stating all right, Listen, a person, a person
that doesn't make no music can't determine what good music
sounds like.
Speaker 1 (47:03):
I'm telling you art is subjective, right, I'm not saying
what good music.
Speaker 2 (47:07):
They can tell you what music they like.
Speaker 1 (47:09):
They can tell you, and most of them don't know
what they like because part of it is rooted in
the marketing that's happening, just like McDonald's.
Speaker 2 (47:16):
Part of McDonald's is a social currency. Kids like McDonald's
because it carries a social But I've got example right here,
since we talked about food.
Speaker 5 (47:23):
He trap, It doesn't matter who puts the season on
the steak, it's still steak, right, So that's just that
would be just like music, wouldn't it be No matter
where it's at, what they put on it, it's still
be that genre, funk or whatever it is.
Speaker 3 (47:39):
Now, So now you ever hadscoco steak, It's a skirt.
Speaker 2 (47:45):
It's a skirty steak that Spanish people make, but it's
still stake. It's still steak. But I never had that.
Speaker 3 (47:55):
But to the way that they make it. They make
it so that they they named it tarasco. It's called carrasco,
but it's yeah, it's regular steak though, but when but
the way they make it, it's a Hispanic way. It's
a Hispanic way that it's a Hispanic way of making it.
Speaker 2 (48:14):
I know.
Speaker 3 (48:14):
But it don't taste like steak no more. It's like
steak though, but it's the way they cook it. Okay,
this is the way they cook it, the way they
cut it. It's still fun except we got the g
on it comes West coast when we get on it.
Speaker 2 (48:26):
But it's still funk, and.
Speaker 4 (48:28):
It's just like a steak with different seasons doesn't matter
who cook it, it's still you know, top of it. Okay,
all right, So canso steak like you saying, people make
a rib by steak and it's all beef.
Speaker 2 (48:42):
It's all steak, all beef, all right.
Speaker 3 (48:45):
So like so so now, like I said, this discussion,
this is probably about like the tenth time he had
a discussion and I and I and I have broken
this and I have broken this down to him many
times right there. Right, So now let's go back into
let's go back into western name right because because this
came up, this also came from him saying that that
(49:07):
it started today today, it started from the trap the
trap situation. So he was saying that trap music is
only it is only made it's only trap music because
of the content of music. What they're talking about, right
is what you said, Glasses.
Speaker 1 (49:20):
Trap music is Atlanta street urban culture. That culture built
on top of black music. So so the black music
would be the standard. I'm pretty sure a white boy
can make a go to here we go. Well, Glasses,
you want to take the black office, if you want
to take the area off of it. Well know, because
(49:42):
most genres of music in the United States comes from
black music.
Speaker 2 (49:46):
Yeah, yeah, slave slave hymns. That's where they learned soul.
Speaker 1 (49:50):
And so what I'm saying is it's Atlanta street urban
culture that specific D boy, Atlanta street urban culture put
on top of black music. That's what trap music is like.
And they'll go right into the songs like Jeez. But
what you know about that is probably the biggest and
greatest trap song of all time. It's somewhere in the running.
(50:11):
It don't sound nothing like lex Luga.
Speaker 2 (50:13):
What you know about no no, no, no, no, no
no no.
Speaker 1 (50:17):
It ain't just eight the way driven. So what I'm
telling trap is what he's mistaken is how people are
coming into the game and grows and biting. They're biting
lex Luga SAMD. They're biting lex Luga saund. They're not
making trap music, they're making Lex Luger music, trap music
and trap music a.
Speaker 2 (50:40):
D I'm gonna tell you what I'm gonna tell you that.
I'm gonna tell you.
Speaker 3 (50:44):
I'm gonna break the dream us down for you completely
right now, right expert on Dreal music is a slotting
stotting any ways. You know what I'm saying, it's a
hort in the horn and minor chords you know what
I'm saying. It's fast, high hats somewhere between the one you.
Speaker 2 (50:59):
Put one standing on the drill. Drill is about it. No, no, no,
no no, that's what makes change. See what I'm saying,
what I'm saying, that's what I told you earlier. This
is what I told you brother earlier.
Speaker 3 (51:11):
Listen, going on the drill, going to mother earlier, all this,
all of this stuff goes.
Speaker 2 (51:18):
It's a combination drill. So that's love on, hold on,
hold on all this hey, Trap, talk to me like
I'm a fifth grader.
Speaker 3 (51:31):
It's a combination. It's a combination, bro. So now it
could be a drill beat, but but it could be
the beat, right, it's a drill texture. The texture, the
texture of the beat is draill right there. You know
what I'm saying. But that's what can be what you
I mean, I just I just told you just now, bro.
Speaker 2 (51:51):
Bro, But listen, Trap, do that. This is the problem like.
Speaker 1 (51:57):
Protecting music top making it. That's why that kid today
said he made a country drill song, because you keep
thinking that they can emulate a.
Speaker 2 (52:07):
Sound because they're making it.
Speaker 3 (52:10):
Because you know it's country drill song. There was a
because there was a drill sounding beat and it spent
some country ship on it.
Speaker 2 (52:18):
Drill, you are what you mean. Stop saying sounding we
are in.
Speaker 3 (52:22):
The like I said, you don't have to. It has
to be a combination. It's not just one thing. It's
a combination, goes a combination, and the lyrics when it
comes together, it makes a drill song exactly. So stop
saying one part of it is it that it has
before combination?
Speaker 2 (52:43):
Combination in the drill song? So love it, just love
so so oh. It is fucking with these old boy,
you're getting hit um with that cold bro. I got
one for the trap chop. She's a New York dish.
(53:07):
That's an uptown thing because I've never had from New York.
Only ate the Philly. You've made it. She's taking Philly.
You made a chap chop York New York invention. You
know what you're talking about. Bro, This ain't got me. Now.
(53:27):
That's a New York. That's a New York thing.
Speaker 1 (53:31):
I'm just trying to let you know like it and
it was a specific thing in New York.
Speaker 2 (53:35):
That wasn't it all over New York. But then in
the poppy store, drill.
Speaker 1 (53:39):
Is a combination of a few things. It's Chicago street
urban culture, right, that type of militant Warren culture put
over black music. He's trying to level it down to
how and I'm like, you can do it a thousand ways, Like,
just because we've heard it done this way, don't mean
it can't be done a multiple ways. No different with
g Front, no different with.
Speaker 2 (53:59):
The Boom Back.
Speaker 1 (54:00):
We decide it's not something it doesn't have to be
something you recognize that sounds like Premiere or that sounds
like Pete or that sounds like mal You.
Speaker 2 (54:10):
Don't have to do it to do that. You're not
supposed to make your shit sound like there. So now
it goes for Drake to come in the industry the
way he did. Is that wise? So he's for Drake
to come into the industry the way he did cause
niggas like trap. Okay, wait, wait, wait a minute, start
with it, all right? All right, So there's three now
(54:31):
yeah stop bro.
Speaker 3 (54:33):
So now it goes on to So now now we're
talking about these songs and these dramas.
Speaker 2 (54:38):
You know what I'm saying.
Speaker 3 (54:39):
These sounds right here, right, it goes along within three
different things, b right, So it would be the sound,
the sound palette. You know what I'm saying, which would
be how to beat how to beat sounds. Then it'll
be the rhythm and the flow that goes along with it.
Speaker 2 (54:51):
Two.
Speaker 3 (54:51):
Then it also be a vocal, the vocal tone and delivery.
When you put these all three d things together, that'll
make the sound or whatever some drama you're talking about
within hip hop, bro. So that's how it goes.
Speaker 1 (55:02):
You go back to what I'm saying again, you need
the artist over the music to talk the culture.
Speaker 2 (55:09):
No, it's it's one. You can't get one without the other.
You keeping one without the other. I'm saying something different
you can't get. Listen.
Speaker 1 (55:19):
I can make a G funk without whatever you tell me.
I can make a G funk song. I bet you money.
Speaker 3 (55:26):
Doubt a bunch of G funk things. You can make
a G funk song on a boom bat beat. I
know what's not gonna be boom Back.
Speaker 2 (55:33):
Listen to what I'm saying. Tell you what tell me?
Speaker 1 (55:36):
Tell me what do I need in the music to
make a G funk song? And I'll make a G
folk song without that. Take him on out of the
nigga Take come on this track.
Speaker 2 (55:43):
Funk song.
Speaker 4 (55:44):
Call him out, What are you saying explaining that again
the money if y'all all my cash on line, doubt,
no doubts, traps.
Speaker 1 (55:56):
It's my understanding of what is That's just great, that's
the point. So I'm trying to tell him, I'll make
a G funk song. You how you ran down all
of them? It sounds you said that sound like drill.
Oh blah blah blah that cap. I bet you you
can name things on G funk and I can make
a G funk song without none of those things.
Speaker 2 (56:14):
All right? Can you make a G funk song with
a violin?
Speaker 1 (56:17):
Yes, songs and on this it's multiple string instruments that
you can get loans from.
Speaker 2 (56:27):
You just go okay.
Speaker 4 (56:28):
Oh like also like might create.
Speaker 1 (56:35):
If you know the energy of funk, you can make
the energy of funk.
Speaker 2 (56:39):
It's not like rock.
Speaker 1 (56:41):
You don't need electric guitar to make rock and roll.
You don't need live drums to make rock and roll.
You just got to know the energy of rock and
roll and you can make it. There are some of
the biggest rock ballads in the world that don't have
no fucking drugs.
Speaker 2 (56:55):
This nigga crazy, right then?
Speaker 1 (56:56):
I'm telling him, the more you get into the genres
and studying the music and what this ship is about,
this is where we have to get back to if
we want to give Hi Poper chance.
Speaker 4 (57:05):
Who can to go back there? I'm a little lostone
trap where you like when you're a rapper producer.
Speaker 1 (57:12):
You remember that song that's on Willie Manchester batter of
the Willie Manchester. I seen you the idea, say you trap?
Speaker 5 (57:19):
What kind of beats do he make East coast and
west coast? South kind that you have to have a
message he makes boom?
Speaker 2 (57:27):
All right, I played some beats right now. I don't
play some beat you ain't got them. This is my beat.
Speaker 3 (57:34):
I would play my beat your beach trapped? They talking
ship I played, I'm play them after hold up.
Speaker 2 (57:41):
I just don't want to run the risk of get
no strike. Yeah that's cool. Oh for his own music.
They'll get you for you and if you ain't got
to see all your ship.
Speaker 1 (57:52):
So why I'm saying the trap is he can tell
me the same thing about funk, like, oh, you need
this to make g funk, You need to lead, you
need these drums, nigga, I'll make it without all of
that because I know about funk, because I've got to
the essence of funk, the ideas that created funk, the
different styles of funk. Man, I find the version of
(58:12):
funk that you talking about that's missing without none of that,
or I'll just make it because I can generate.
Speaker 2 (58:17):
The Well trap you from New York, he's part of
New York.
Speaker 4 (58:22):
Have a different sound, Like there's a hardened sound, there's
a Brooklyn sound of Bronx sound.
Speaker 2 (58:27):
Well, I don't know, concerned you're gonna hear more Spanish influences.
Speaker 3 (58:31):
No, not, not really, I mean, aside from the That's
why I always found out. I always found it about
down when they started coining that that the young dudes
doing that.
Speaker 1 (58:43):
No New York, New York.
Speaker 3 (58:46):
New York has a sound New York has do because
it's too many. But you were here, like styles, nigga,
I know that.
Speaker 2 (58:56):
And hold up, I got you.
Speaker 1 (58:58):
So it's juicy in New York sound. The way that
he was hold on, hold On, hold on is juicy
in New York sound.
Speaker 2 (59:09):
It was a sample, bro Se.
Speaker 3 (59:10):
You keep going towards these samples, beach and keep you
keep going towards sample, just towards sample beach.
Speaker 2 (59:17):
Yes, yes, yes, yes, because of the drums, the drums
on it. But not.
Speaker 3 (59:26):
What I'm saying though, you keep you keep trying to
win the argument right now by going to sample. It's
just those are these are songs that are being these
are beats that are being done over already.
Speaker 2 (59:39):
Though you know what I'm saying.
Speaker 4 (59:41):
So now what you mean all about the business is
that an East Coast sound or like what sound do
that belong to?
Speaker 2 (59:51):
Yes? Yes, yes that was yes so now so now
but sample right there.
Speaker 3 (59:57):
So now when you played the when you play the
the sample up in there earlier, right when you play
the sample in the room earlier, you can hear you
can hear the drums that was used on each one
of those songs. You heard the different At least I
heard the difference between the Eighth Clan one, the e
p n D one, and the Doctor Drake one. I
heard the difference.
Speaker 1 (01:00:17):
You keep saying that trap there nothing, but it's not that.
But what he's talking about his swing, but he's not
relating it to jazz. He's relating to these coach hip
hop not realizing they're just anything from jazz.
Speaker 2 (01:00:30):
Swing of jazz. You back to your dancing because I
noticed this too.
Speaker 4 (01:00:37):
If you tip off when the nigga wrapping over here,
I need to move it on the East Coast.
Speaker 1 (01:00:42):
That jazz to a swing because again, things that don't
belong to hip hop. That's being used out of the
original genre. It's being sampled from out of the original inspiration.
So what we would call that swing, like new Jack
swing is root.
Speaker 2 (01:00:59):
Here Jack, you know what I love? Nobody really talking about.
Speaker 4 (01:01:03):
I just had a studio session and producer kept trying
to skip this beat and I kept seeing, all right, no,
I need to go back like eight beats ago.
Speaker 2 (01:01:11):
What was it.
Speaker 4 (01:01:12):
I feel like God cheated me out of the disco era.
I feel like I wanted to be in you know there,
hey Jack, And you know, I feel like I got
out of that why you like DJ?
Speaker 2 (01:01:25):
Yeah, yeah, I was gonna say that more like so
you know what, you know, it's crazy though down and
I just realized this, and I just realized this ship.
I just realized this. That's fun. That's fun.
Speaker 3 (01:01:39):
I just realized this probably like three years ago, right,
is that Louisiana has two different sounds.
Speaker 2 (01:01:47):
You know what I'm saying, Louisiana don't have yo on
om on.
Speaker 3 (01:01:51):
You have noror Leans, nor Leans rapping nor Leans sound,
you have a bat rule sound b They have two
different sounds bro telling.
Speaker 2 (01:01:59):
You no no, no no.
Speaker 4 (01:02:01):
But they all shared some of some of the same ish,
but they listen.
Speaker 1 (01:02:07):
Trigger Man is a is a song from New York.
That's the main song. Them doing what they're doing makes
it sound like New Orleans. When you hear them back,
they start doing this thing that only niggas from New
York in the streets do. Was the way it was
chopped that they make. And they don't even sometimes sample,
they just rap over the instrumental. Know, they actually do
(01:02:30):
it the whole song.
Speaker 2 (01:02:32):
They can do the whole song.
Speaker 1 (01:02:33):
Like Juni has a big record over the whole instrumental.
It's how he does his thing. Remember New Orleans is
the home of jazz. Yeah, but they what's that ship
they call?
Speaker 2 (01:02:44):
Ye? They don't do that. Don't do that rule.
Speaker 1 (01:02:52):
Bounce come from trigger Man, which is a song made
by New York.
Speaker 2 (01:02:57):
They chopped up one part of the song, Bro and
ther whole song the triggered they was doing the ship
to the whole song. I've heard them chopped that one
part of the song. I keep telling you it going
to your understanding, which is limited. You know, understand, bro, Bro,
I've heard that song.
Speaker 3 (01:03:18):
I've heard the exact part that got chopped up and
they took they take the whole song's it's the one
part of the break. Just like when it came to
break me take the whole record. It took the break
of the movie one part. Some of the biggest songs
are over that whole instrumental.
Speaker 1 (01:03:34):
It's not just that part. That part is something that's
being used a lot, just like we use funk a lot.
That don't make it ours and it don't mean that's
the only thing we do. And it's not West Coasts.
It's just funk trap.
Speaker 2 (01:03:48):
Have you ever made the West Coast beat? I got one,
I got a couple. I got like, No, you don't
gotta No, you don't got it. That's the thing. That's
the thing.
Speaker 4 (01:04:01):
No, that is the cost doesn't make a West Coast beach.
Speaker 2 (01:04:07):
You're why the West Coast alchemist make the beat. Teammate
permian from from California because he makes what does what.
Speaker 3 (01:04:21):
Does the alchemists be saying like like alchemists, he's from
over here where he's sound like you're from signing where's
beach saying something like who liked the raps beat and
paid for him?
Speaker 2 (01:04:32):
Now that's the question. That's the question, y'all picking to
y'all picking what is Alchemist a fan of?
Speaker 4 (01:04:41):
Like you don't like just because I'm from southern California,
I'm geographical about that too, But some of my favorite
rappers come from up north.
Speaker 3 (01:04:49):
All right, But I have a different sound in the
than in southern California. What a different sound in southern California?
Speaker 4 (01:04:57):
No, we lie about to generate different they'll make a
rap song on this type of beat. That's that's what
he's saying. It ain't You can't put a place on
it until you here what's put being put on it.
Speaker 1 (01:05:10):
Then what you do is you start familiarizing that ain't
doucer style with us. Yeah, but I'm telling you that's
not true. I get what you're saying, trap, but I
and I think that's the flaw in the game. That's
why the game is hell gentrified and pasteurized.
Speaker 4 (01:05:26):
Right, Like Nigga Doctor dre produced the firm where they
haven't West Coast Beat.
Speaker 3 (01:05:32):
He messed it up too, trying to sabotage sabotage New York.
Look at that, you say, I'm looking at that, look
at that thinking it's that though too. Get into that,
thank y'all. That's just like just like I said, I
wasn't into jay Z music like that.
Speaker 2 (01:05:48):
Into the Dynasty, bro, man, you know why it's definitely
getting to that.
Speaker 3 (01:05:53):
You got to sabotage Queens Trap to Gadid going out
the door trying to sabotage Queens traf.
Speaker 2 (01:06:00):
I thought you were I thought we was cool. Track back,
he crushed the buildings the looking out.
Speaker 1 (01:06:10):
For tuning into The Note Sellers podcast, please do us
a favorite, subscribe, rate, comment, and share. This episode was
recorded right here on the West coast of the USA
and produced by the Black Effect Podcast Network and not
heard radio year
What's Up and welcome back to another episode of No
Sealer's Podcast with your hosts Now fuck that with your
low glasses, Malone, the Foulating Ship.
Speaker 2 (00:23):
Live to King.
Speaker 3 (00:24):
Everybody agree with glasses Live the King though. Everybody I
met King now today we talked about that too.
Speaker 4 (00:32):
Yeah, you do agree with him, Trapp, Yeah.
Speaker 1 (00:37):
Thinks playing turn it out? Hey, I really disagree with
that back, I really just like I hate that that.
I hate that. That's the feeling that I get when
we make a good point, right, It's like people feel
like people.
Speaker 2 (00:56):
Just agreeing with me, people just agreeing.
Speaker 1 (01:00):
Like if I'm logic, like this conversation trap. We'd had
this conversation five times. I could prove it to you
a million ways possible, and you just gonna hold on
to this kind of like.
Speaker 2 (01:13):
I don't quite know what it is, like, what are
you talking about? All? No yet? No?
Speaker 4 (01:20):
Yes man, no, yes man. Sometimes sometimes you gotta realize
this too, because I'm a I'm I'm also a viewer.
Speaker 2 (01:31):
I'm one of y'all trolls. I'm one of your viewers.
Speaker 4 (01:34):
And sometimes y'all y'all make it so I can't troll,
and then sometimes I feel no need to because somebody
gave up the different opinion, and.
Speaker 2 (01:43):
Usually it's Trapped.
Speaker 4 (01:47):
But it makes sense because Trap not from where we're from,
so it's his taste and things he likes or or
his views could be different based on his upbringing. But
it's always good that everybody came to agree because unless
it's just boom bam fat.
Speaker 1 (02:04):
So it's like, so like this thing me and Trap
been talking about for like probably about seven months, like
I realized I discovered that like hip hop doesn't have
a sound like right, what we keep saying is a
sound like a West Coast sound or East Coast sound.
We're associating records that we remember growing up and then
(02:24):
so that producer's style of production. We say that's an
East Coast sound, but it's not right. It's it's things
built on different black on black genres. Right, Like so
if we say funk, right, because people hear that lead,
they be like, that's West Coast, No, that's the funky
Warn't that come out.
Speaker 2 (02:43):
Of a move?
Speaker 1 (02:44):
You discovered it through a Doctor Dre song. So you're
saying first and and and and and the and the
mother songs was big too. They wasn't a small song.
But this is the era that blew up in. But
I was just explaining it to somebody on Traps platform
ADHD on club House. I was explaining, like, that's.
Speaker 2 (03:02):
What you use.
Speaker 1 (03:03):
You use a move when you're making funk. That's what
when they when when when parliaments start getting with electric
keyboards as well, they start.
Speaker 2 (03:10):
Using the move.
Speaker 1 (03:10):
So when Dre and them got a chance, they went
and got their hands on the move because that's what
you make funk with. So what they start to associate
with West Coast.
Speaker 2 (03:19):
Is the move saying funk.
Speaker 4 (03:21):
That's the first time I heard the move when because
you know, me going over there being in studios and
when I'm the only West Coast nigga in the room,
they usually say.
Speaker 2 (03:30):
It's that fucking organ, that church organ.
Speaker 1 (03:33):
Yeah yeah, yeah, it's the sense, not the sense that's doctor.
That's not true, right, And I'm telling trap we speaking
from a place of ignorance because we don't know, like
this is how we started when we discovered it.
Speaker 4 (03:47):
You going with fact, he's going with the majority rules.
Like you know how like once like once somebody put
that that title on it, that's West Coast music, and
then it's so many people that fact you coloring with.
Speaker 2 (04:01):
It's totally disregard.
Speaker 4 (04:03):
Hey, you know what, everybody did it, but y'all got it.
We gave it to y'all. That's what it is. Now
they either anti are supportive of that as West Coast salm.
Speaker 1 (04:15):
I disagree, but I also think that's what's warning music
creativity of the music we're producing. That's true, right, because
you're emulating versus understanding what they were doing. Drake, how
could Dre look to a West Coast salm. They're pioneering it.
Speaker 2 (04:31):
So he's not.
Speaker 1 (04:32):
Looking to make the best West Coast song he could make.
He's looking to make the best song man Amu. When
he was making funk, he was like, how can I
make a better version of funk with this stuff right here?
Speaker 2 (04:44):
Right?
Speaker 1 (04:44):
I got these harder drums. These is harder than Maco
and the James Brown band on the drums. Excuse me,
Macio played the guitar who played the drums Charlie Parker.
Speaker 2 (04:52):
Right is Charlie Parker. I don't know one of the
drums from James Brown.
Speaker 1 (04:58):
But now they got these harder kicks right in the
n PC or the SP So now it's like, okay,
how can I make the best version of funk using
this right? That's what dra was thinking. Quick was like,
how can I make the best version warrant? That's what
they're thinking. They're not thinking I'm making West.
Speaker 2 (05:16):
They are it.
Speaker 1 (05:17):
They know when they get on it and they start
talking how we talk every day. That's what's gonna make
it sound like us.
Speaker 2 (05:22):
So what do trap think? Is the East Coast saying
all right, right now? All is no base right now?
Speaker 4 (05:32):
I was in a car in Philly with some of
my friends and they playing those jay z right you know, uh,
you know.
Speaker 2 (05:42):
The famous one.
Speaker 4 (05:44):
You know what's the what's the one that the one reasonable?
That reasonable, that reasonable doubt? They are in there, they
in there going on this ship.
Speaker 2 (05:53):
I'm low key in the back seat like.
Speaker 4 (05:55):
Cuz, like like I am not as pumpedy y'all. And
then I stopped it and I said, hey, check this out.
How are y'all so crazy over Jake y'all? Over his lyrics?
Them beat some reason A little dab.
Speaker 2 (06:10):
Was this is what it is.
Speaker 1 (06:17):
They wasn't so like, we're from Funk is an emphasis
on mid frequency, right, So it's bass, guitars, horns, all
that stuff in the middle. So if if violins and
strings and all of that strength, flute is on the
top frequency, bass, you feel me, bass, brass, all of
(06:38):
those mid frequent and then the low right the drums
ain't a waitever at the tool, but everything at the
very bottom. All of the music, funk music, it lives
in the mid frequency. So that's what trapping them affiliate
with us, and that's what all music was specialist, right.
Speaker 3 (06:56):
All right, all right, So now so now you're going
to We're going to a the East coast, East coast saying, right,
so you're thinking when you're thinking of the East coast saying,
you're thinking of heavy think listen you tinking simple heavy beats.
Speaker 2 (07:08):
You know what I'm saying. You think that ship all wrong.
Speaker 3 (07:13):
Bro Let me get let me get to it, Let
me get to it. Let me finish saying what I'm saying.
Let me finish saying, hold up.
Speaker 1 (07:20):
Trap, Hold up trap, because I'm gonna tell you the
problem you have your ask him what or ask them
what they I'm not finishing.
Speaker 2 (07:26):
I wantn't finishing what I'm standing.
Speaker 1 (07:28):
What you tell us, You tell us what you think
of a West coast beat, and then I'll let this
man from Washington.
Speaker 3 (07:33):
Ok Okay, I tell you, I tell you a West
Coast beat. All right, So West Coast, West Coast is
gonna be funk based, smooth basslines. You know what I'm saying,
laid back drums. That's a G funk. That that that's
G funk right there, that's G funk right there. And know
what I'm saying. Then you're gonna have heavy synth, heavy
synth leads on the song, you know what I'm saying.
(07:53):
Might have a twalk box on it. You know what
I'm saying, that model twalk box and a lot of
instrumentation on it. That's the West Coast saying to beat.
Speaker 1 (08:01):
Yeah, And this is kind of what I'm arguing, like,
this is what I've been arguing with him.
Speaker 5 (08:06):
I'm like, I can tell you the biggest part that
everybody got sucked up with the whole.
Speaker 4 (08:10):
East Coast West Coast ship, the East Coast walk in
West coast car.
Speaker 2 (08:16):
Beating the trunk all that west that was walking in
jukebox radio music.
Speaker 1 (08:23):
I always teach truck with that. I say, they sit
on the stoop and listening.
Speaker 2 (08:27):
You know what. You know, we did no, we did no.
We didn't.
Speaker 3 (08:32):
Hold on, hold on, you're talking about that. The boots
bought it right, They are part of listening to music.
Bro back all right. It was the boombox. We was
outside with the.
Speaker 1 (08:43):
Boots and that's not like a car there.
Speaker 2 (08:47):
But the base don't hit like Trump.
Speaker 1 (08:50):
But he's talking to you when you have a power
amplified sub warfare set up?
Speaker 2 (08:55):
How you think? How you think them jam was going down?
Speaker 3 (08:59):
Niggas baby all be but but y'all, but y'all spend
more money on EV's and we spend our money on
the trunk.
Speaker 6 (09:06):
The base, the base that's not really ain't y'all got
them high end ass loud ass DJ speakers across the
back of the car, all in the doors and they
yelling distorted as fuck.
Speaker 3 (09:19):
You want to hear it, Claire, You want to hear it, Claire,
We want to hear claim.
Speaker 2 (09:21):
You don't want to hear you heard what he saying?
Speaker 4 (09:24):
Claim put it in new song O that ship knocking
y'all run.
Speaker 3 (09:30):
It back, he said, he said, we want to hear
what they saying. We want to hear what they're saying. No,
that's because of them highs so that there lyrics they
saw to hear the beat. We started hearing the beat.
Speaker 2 (09:42):
That's all like you you want to ride and to beat.
Speaker 4 (09:44):
They want to kill who he killed that beat? Nig
This is the music business. Why you want to kill
the beats?
Speaker 2 (09:51):
Hip hop?
Speaker 3 (09:51):
This is hip Hop's about what you're saying. Brother, for
that came pushing the jack this you want to hear
you listen to jam then, bro, it's about the lyrics
with somebody.
Speaker 2 (10:01):
That's saying about being honest. That's trap, truly not be honest.
My way the dasty But that's when he came. Then
we through the Sydney.
Speaker 1 (10:12):
But it's like this, right, Remember I had Jay. I
was into Jay early. You just the house, but because
you can't play it's not that type of record exactly.
Speaker 2 (10:21):
But walk in.
Speaker 1 (10:25):
No ceilings low my brother King, I got my little
brother k Stafs actually my mother son, my man Trap.
We were at the same conversation and we gonna keep
hashing it out till we get it right. This is
how grown men keep working until we had come into
an amicable place. Trap Like, yep, what y'all saying is
(10:46):
the same thing. It's not necessarily low end. You're saying,
y'all focused right, because the hip hop you would associate
with the East Coast, a lot of it is rooted
in jazz. So jazz is not known for big mids,
big low ends. It is kind of the top end.
The melody that's driving a song. Funk is all mid frequency.
(11:09):
We all hip hop is all low end, period. Everybody
gonna have low end. That's something that hip hop kind
of became our signature until the drumless rap that you
loved came out, But it was all low end. That
was the consensus, and all the same a hip hop,
everybody had low end. What you referring to k is
mid all. I should had mid baselines, things that will
(11:33):
stick in the middle. So it gave a six by nine,
not just the sub because you could play New York.
Speaker 2 (11:39):
You could play some hip hop in.
Speaker 1 (11:40):
This original sense, like ll cooja, that shit gonnaknock because
it's eight o waight.
Speaker 2 (11:44):
But what to be.
Speaker 1 (11:45):
Missing is that mid that we live our life to.
So what I'm telling Trap, what he keeps associating with us,
he should be associating with Funk has nothing to do
with us. We didn't make funk. James Brown, who was
the originator and had the first records of funk. Is
not from the West Coast, George claiming this is from
the Carolinas by way of Jersey through Jersey, right, he
(12:07):
is not from the West coast. Roger Troutman, Ohio players
that none of that stuff. That's Midwest, So none of
that stuff. So what you associating with us is in
funk music. The sound that you're referring to doesn't happen
until we start to talk.
Speaker 2 (12:24):
The way we talk over.
Speaker 4 (12:25):
Music is g all right until you put a G
on it, you know what I'm saying, And then y'all
think is a G funk? Because why you put a
gangster on funk? Talking gainst the ship Now it's G funk?
Speaker 1 (12:38):
I like that, don't get twisted.
Speaker 4 (12:47):
I stayed on the East Coast for quite a long time,
so my ship is not like I'm a geographical person
like it is us over.
Speaker 2 (12:55):
But like at the end of the day, I still
respect like, I love folking word bro. I didn't learn.
Speaker 5 (13:01):
About all that shit until I got the Philly bro
like like, and when I got to Philly, I learned
about hold up I can have and then we gave it.
Speaker 2 (13:09):
We gave it south to cheat code.
Speaker 4 (13:11):
We're gonna rap for these niggas, and we're gonna ride
the beat for these you know what I mean. And
now we got them all because you remember, at first, I
was thinking the South was crucial conflict. Certain shit where
you heard, you know what I mean, a sound that
that's not ours? What they found the way to jig
and jam to it.
Speaker 2 (13:26):
Bam.
Speaker 4 (13:27):
East Coast is like y'all only care, he said, he
gotta be all over the mother that's trapped because you
and they raped or even in jail, they're.
Speaker 2 (13:37):
Like, all right, I said, I said, I said, I said,
I said.
Speaker 4 (13:41):
They really want you to hear what listen to the
to the talent and the way I flicked these words, nigga, No,
I want to hear it on the beat.
Speaker 2 (13:50):
I don't want like that's what you want it. You
want it to be a part of the me.
Speaker 4 (13:53):
Yeah, your voice is an instrument added to the beat
if you're not somewhere in that beat.
Speaker 2 (13:59):
Cause you just talked looking over over some music playing
in the background.
Speaker 5 (14:03):
Like so you think the West Coast started g funk? No, yeah, yeah,
we started gause.
Speaker 4 (14:09):
We was gainst this before a lot of other people
here to claim that gainst the title.
Speaker 2 (14:14):
So you gotta remember Trap.
Speaker 5 (14:16):
Said G Funk started on the West coast. He'll be
more correct, Yeah, very very he won't.
Speaker 2 (14:21):
Put funk in it. Yeah, G funk wouldn't be without
without G. Yeah. So, like it can't just be the music.
Speaker 1 (14:28):
Like if I play you, doctor Dre's, I want to
do something, Leon Haywood, I want to do something freaking
to you.
Speaker 2 (14:34):
It's it's actually Dray didn't do nothing to it. There's
nothing about that when he mixed it.
Speaker 4 (14:39):
But you know added, you know, harder hitting drums maybe.
Speaker 1 (14:44):
But you can't even hear that. Like that's the point,
Like if I play you, it sounds like the same thing.
Speaker 2 (14:49):
The G comes in, like Drake when they talk. Do
you agree trap? No, no, no agreement with them out niggas?
Speaker 7 (15:04):
You got a niggas now right, making a good point though,
that's that's.
Speaker 2 (15:14):
The term G Funk. It's a gainst and rapping on
the phone, yea like think about his school deals gagst
the nigga and heats nothing from you. Trap, you ain't
saying nothing trap no trap no no no.
Speaker 3 (15:28):
Sober may not go so now so now listen right,
so so all right, so to the example to the
example that you was showing earlier, and I'm saying the
room just now. So, yes, we was using these samples
before before it went over to the West Coast and
they started using it though, right so.
Speaker 2 (15:45):
Now that that can't be determined, No, nigga, you got no,
that's a lot. It's just like what you said. We
landed with the first hit.
Speaker 1 (15:55):
Song they talking about hip hop, right so remember okay,
remember you're younger, like five minutes funk. Yeah, that's New
York who remember remember explain explaining funking lessons E P
M D.
Speaker 2 (16:09):
You got to chill. That was using funk first, so
now go ahead, go ahead.
Speaker 3 (16:15):
So now so now the thing is this though, right so, now,
once it got over to the West coast, you know
what I'm saying, it was it was the people seeing
them being used and it started being used. That same
sound was being used over and over by the West
Coast artists.
Speaker 1 (16:33):
Stop saying that same start saying, start saying.
Speaker 3 (16:35):
That sample, that sample, funk, funk. Okay, well funk was
being used was being used by many West Coast artists.
Speaker 1 (16:43):
Saying it wasn't being used by many West Coast art that's.
Speaker 2 (16:46):
Not true, all right? So what was Quick using? So
there was a time, all right? So what was hol on?
What was the ground? Hold on? Hold on?
Speaker 1 (16:55):
Quick wasn't using all funk. Most of the first album
is not funk.
Speaker 2 (17:01):
Mm hmm.
Speaker 1 (17:02):
Like he got a lot of he got a lot
of hard beat ship and disco shit.
Speaker 4 (17:06):
Yeah, and he just puts the G two the songs
you're talking about, no, No, the song you're talking about right,
which is the clear song tonight Clear?
Speaker 1 (17:16):
That's one song and I think you're you're saying that
as if that was quick quick then build his whole
premise on full Neither did dre Remember the chronic is not.
Speaker 2 (17:26):
A bunch of G fault There's only two G funk
beats on there.
Speaker 1 (17:30):
Like there's only two beats that's funky on there, remember,
like the other one is Donnie Hathaway. It's a bunch
of breakbeats. It's not funky like that in ninety three
ninety four became funky.
Speaker 2 (17:44):
All right.
Speaker 3 (17:44):
So when you hear when you hear somebody who was
a talk when you heard somebody use the talk box
on the on the song, is that.
Speaker 2 (17:52):
Why you're troutling funk? But has it?
Speaker 3 (17:55):
But has it going, has it going on to as
it going on to sembling in a West coast sound?
Speaker 1 (18:01):
Though what you said, stop saying a West coast sound.
We were making funk, So we use all these elements.
Speaker 2 (18:07):
Do it? He giving us everything? Cool? That worked?
Speaker 1 (18:10):
No, like, but I'm saying, what's happening on you? Like,
but I'm also explaining it to.
Speaker 5 (18:15):
I want to know how he go from funk to
a West coast sound like that's where is because.
Speaker 4 (18:21):
He's is getting acknowledged in his time is whistle song?
Speaker 5 (18:26):
Yeah, but so give it to us even taking funk other.
Speaker 2 (18:30):
Than just saying the West coast sound like so what
you said? All right?
Speaker 5 (18:34):
So so so did you you feel it's just the.
Speaker 2 (18:37):
West feels right here?
Speaker 3 (18:40):
These producers right here have any type of sound that
resemble each other Doctor Dre, DJ Quick, Battlecat and Mustard.
Speaker 1 (18:48):
Like a different hold up, hold up, trapping. They sound
night and day different to us. Okay, night and day different.
Speaker 2 (18:56):
Yeah, yeah, because we figured out here if we're.
Speaker 4 (18:59):
Not saying all of us looking like all of us
sounded like what it sounds here like all black.
Speaker 2 (19:07):
Like coach now oh yeah.
Speaker 1 (19:10):
Okay, look trap look trap right, So it's not Roger Troutman, right,
them using the talk box.
Speaker 4 (19:17):
You know why they use a talk box because they
can't sing, because funk uses the talk box.
Speaker 1 (19:22):
Okay, right, Roger Zapp is a funk band. So if
you're making funk and they not.
Speaker 2 (19:27):
Even from over here, he's just giving us them.
Speaker 1 (19:29):
But that's because Trap not acknowledging music past.
Speaker 2 (19:33):
What we geographical.
Speaker 3 (19:35):
You know, Trap is the West Coast, all right, Stop
stop that they gonna stop believing you. Keep saying they're
gonna stop believing you. Gotta stop saying that.
Speaker 2 (19:45):
Our job is zero. Our job is.
Speaker 4 (19:52):
He refused to take it from West Coast people. But
he's not to teach people about your coach. Why don't
fight to make you smarter? Because that's my man.
Speaker 2 (20:05):
All right?
Speaker 3 (20:08):
So now so now would you say, would you say anything?
The producers resemble each other with the name Sound DJ,
Premier Peak Rock, have it alchemists.
Speaker 4 (20:19):
No even found the same to me know some of them,
some of them I can see some similar areas.
Speaker 2 (20:25):
But he said something that's like no, I can not
I can clear each other.
Speaker 4 (20:30):
Like the Riz is a genius nigga. You can't even
put him in a box. You put him in a bus.
Speaker 2 (20:35):
Are you there? Put They all got.
Speaker 1 (20:37):
Their own style sounds like, I understand what you're saying, trapped.
Their approach using jazz can be the same you trap
off that product.
Speaker 2 (20:50):
M Park. We need to know, like, like bro everything.
I learned that there's some gainst the niggas.
Speaker 4 (20:59):
East Coat that rap against the ship on certain types
of being, you know. And then I found out it's
a West Coast community that's lyrical spiritu and all that
other ship.
Speaker 2 (21:09):
Yeah. Yeah.
Speaker 4 (21:10):
Once the time I was, I was, I was blinded
to like, oh them East Coast niggas with you the sun,
the moon.
Speaker 2 (21:16):
The stars gone, the powers until I went over there.
Speaker 4 (21:24):
And when I stayed over there, it was like, oh
that nigga, it's it's the same ship. It's a it's
a circle that like this there. It's a circle that
like this other ship. It's some ship I like there
and it's some ship I don't like, just like here.
It's a crowd for every sound, yeah, and music that
all we none of us are the originators of these sounds.
(21:47):
They all come from a time before us, even before
a rap.
Speaker 2 (21:51):
So at that point, you can't put music in that's
fucked up. You put rison in that category.
Speaker 3 (21:58):
No so so so again, I just want to get
a clear forgetting it.
Speaker 2 (22:05):
So, I want to get it clear. I want to
get a clear real question respect.
Speaker 3 (22:10):
But then so hold on. So I'm gonna get a
clean real quick, is my Michael. I'm wanna get a
clear real quick.
Speaker 2 (22:15):
Right.
Speaker 3 (22:15):
So, so y'are telling me right now that it's no
resemblance to the sound. I mean it can sound so
they have their own sound though, but Premiere Pete Rock,
havoc Ris Alchemists do not resemble a sound that wo
come from a certain region. Telling no, because guess what,
(22:36):
they didn't produce records for big artists other places, and
in the records work, it's either at work or don't.
Speaker 1 (22:42):
Alchemist is from here, right, Alchemist is from right, Premiers
from Texas. Right, I get, I get what you're saying.
But what I'm telling you is off who made hit.
What he confusing is they're building a premise off jazz.
That that's what he's not getting, Like all of those
specific producers tend to lean towards jazz or certain type
(23:06):
of places influenced.
Speaker 2 (23:08):
They put him on, like he said, like.
Speaker 1 (23:10):
He's still caring people to him that lean towards funk,
and I'm telling him this, James Brown and Parliament sounder same.
Speaker 2 (23:17):
Trap. You ask me, ask me that question, King is crazy?
The track that is a fair question.
Speaker 1 (23:25):
Track this Jazz Parliament sound the same.
Speaker 2 (23:29):
No, but James Brown and Green sound the saying no
they don't. That's what I'm saying.
Speaker 3 (23:33):
Something drum break the movement where they got to.
Speaker 2 (23:40):
Remove and see it in your phone. That's the clip
clean say that again? Who sounds the same?
Speaker 3 (23:47):
I'm saying as far as the drum breaks go Al Green,
A Green, I'm talking about. I'm talking about the sound.
I'm not talking about this. I'm not talking about what
you're talking about right now? Is the is the thevant
of the music? No, nothing of nobody's signing the same.
Al Green, Al Green has the same type of breaks
on his beats, on his on his music that James
(24:10):
Brown has.
Speaker 2 (24:11):
All music had breaks.
Speaker 1 (24:12):
A Green and James Brown sound nothing.
Speaker 8 (24:14):
Alike, nothing alike, nothing alike, trapping all right, So to
scare me, all right, so now listen, let me ask
you this now right yes, right?
Speaker 2 (24:25):
So so no, no, no, no, no, no, I'm good, I'm good.
I'm straight.
Speaker 3 (24:28):
So now let me ask you this right, because this
is where we this is where we came from. This
is how this whole conversations started right there, right, So
because I asked you, I asked.
Speaker 2 (24:36):
You earlier what what distinguish? What? What? How can you
distinguish different dramas of music?
Speaker 3 (24:46):
Way to distinguish is there is there a way to distinguish, Yes,
hip hop from country, country, from R and B R
n B from jazz.
Speaker 2 (24:55):
So what I'm saying jazz from eating into the way
to distinguish that.
Speaker 1 (24:59):
So this is so surface level answer, right, that the
average it's a surface level thing.
Speaker 2 (25:04):
Right.
Speaker 1 (25:04):
Will you recognize instruments that are that seem to be popular? Right,
It's like if you use the band Joe, you think
of funk music. If you use the acoustic guitar, you
think of country.
Speaker 2 (25:14):
If you use the band thought the country country about country? Yeah,
but that's not those instruments to creator. See you use
You can.
Speaker 1 (25:27):
Make anything with those instruments. The energy is the true
dictating factor of that.
Speaker 4 (25:33):
Niggas wrapping over violins, nigga, yes, trapp trap that drums, rap,
no drum, no nothing.
Speaker 2 (25:41):
They just be wrapping over this loop.
Speaker 3 (25:43):
So now when you're thinking of well, so now when
you're thinking of rock and roll, you're thinking of electric guitars, right,
live drums.
Speaker 2 (25:52):
Being wrong, wrong, vocal tones, raw vocal tones and anything
like that. Right, so we think that.
Speaker 1 (26:00):
Trap hip hop, Hold up, hold up trap, that's the problem.
Like your your ignorant take on it doesn't not no,
not like.
Speaker 2 (26:09):
That trying to say money. You're trying to say money.
Educated about what I'm talking about, right, say that.
Speaker 1 (26:19):
Let me say that because ignorant for the black people,
we go back to our mount I understand that mean right,
neither we are not into rock music, no, not not
saying we don't like we don't know the essence, the original, right,
we don't know these or.
Speaker 2 (26:36):
The orges keep coming in with this chicken baby.
Speaker 1 (26:42):
We don't know the assets or the origins, right, We
just we don't follow rock the way we follow hip.
So again, Ray Charles, excuse me, Little Richard didn't have
no motherfucking like you can talk.
Speaker 2 (26:53):
You did it with the piano.
Speaker 3 (26:55):
Yeah, live drums, you had live drums.
Speaker 2 (26:58):
But rock and roll with you're missing a point.
Speaker 1 (27:01):
What you're saying, goods are so the things that you
discover about rock, you feel like define rock and I'm
telling you that's not true.
Speaker 2 (27:11):
You're right good.
Speaker 1 (27:11):
He made a good point through the energy that defines rock.
And I'm telling you this. And when you keep saying
something you're trying to figure out a way.
Speaker 2 (27:19):
Oh well go home, styles you fit like you're.
Speaker 1 (27:25):
Defining, right, you're defining. You're defining it based off of
your of our uneducated ideal of it. And I'm telling
you energy truly defines the genres. That's why right now,
post Malone can make country and it don't sound like
no kind of country you.
Speaker 2 (27:41):
Ever heard before.
Speaker 1 (27:42):
That's why I've been telling you for a while, Travis Scott,
who's in the making rock music, but you can't do
it because it's not the the version of it that
you understand based off your limited understanding.
Speaker 2 (27:53):
And I keep arguing, I'm like, no, that got It's
clear the Beyonce and may actually make country or she
made it her version of country.
Speaker 1 (28:01):
So this is the tricky part because the country people
say no. But I understand why she has a right
to say she did as her forefathers and as a
country person who lives that life.
Speaker 2 (28:12):
But was it actually country music? Country? So if I
got on it, it's country music once.
Speaker 3 (28:22):
I got on it, just like Jon No, no, no, no,
it doesn't work like that.
Speaker 2 (28:27):
It don't work like that.
Speaker 1 (28:28):
But when you're saying it don't work like that, Trap,
that's the problem.
Speaker 2 (28:31):
It does work that much? Did you what you said?
How come they ignore people like little Ouzi? And so
when they say they you know, they not because they
because they're prejudice, because they like when they say they're
not this because trap and them are prejudice. A black
man rap.
Speaker 3 (28:47):
You're you're prejudice right now, Bro, Say what you're saying, bro,
how it.
Speaker 2 (28:52):
Opens up the door for people to you know, if
they say they this, then let them be this.
Speaker 1 (28:56):
But then no, no, no no, because there if they
have the inner.
Speaker 2 (29:00):
I don't know that goes back.
Speaker 1 (29:02):
Go ahead, he rock and roll, bro, And and he's
making his own version that dropped crazy but it's crazy
because flix.
Speaker 2 (29:11):
But let's say he rap.
Speaker 1 (29:13):
This is the crazy part. He's telling us he's rot.
I can hear the energy, but you know what it is,
a black man rapping, rapping, black man rapped. He gotta be,
he gotta be hip hop. And I mean he's saying
he's not right. And then like we can see post
(29:34):
Malone doing melodic rap. We don't call that country.
Speaker 2 (29:38):
Because he's white. You can get away with it.
Speaker 1 (29:42):
We can't look like we got gotta be you gotta
be hip hop one of.
Speaker 3 (29:48):
Them niggasp this right. So now when you're saying that
right there, right as far as his last album he had,
he had rap songs on it. Then he had rock
and roll song. But he was leave rock and roll.
You can rap on rock and roll songs. No, no,
he was doing rock and roll. He was doing wrong
vocal songs.
Speaker 1 (30:08):
That's not he was using every way to get to
rock and roll. Trap, you don't have to vocals to
do rock and roll.
Speaker 3 (30:15):
No, no, no, that's a part. That's a part of it.
Electric guitars, live drums, bass for vocal tones. Hey, Trap
was limp, biscuit, hip hop or something else.
Speaker 2 (30:34):
No, they was rock and roll.
Speaker 5 (30:35):
So when they wrapped, they wrapped on their stuff. They
had some raps in the uh in their music.
Speaker 1 (30:41):
It's not Listen, this is a simple thing. Vocal delivery
doesn't define.
Speaker 2 (30:46):
I agree with you, know, I definitely agree with you.
Speaker 1 (30:49):
So what I'm telling Trap is he's talking about the
conventional way that we have all started to digest rock
and roll. Here's the conventional way. Oh that's this that
the third that's the layman's understanding. When I'm the matter
of trap and all of us and hip hop today,
as we said it, going forward, we got this opportunity
is no, let's get back to really what this ship
(31:09):
is about. Let's stop doing this generic ship that's fucking
the game up.
Speaker 2 (31:14):
Like we're not challenging the status.
Speaker 1 (31:16):
Called music because we're so busy trying to regurgitate the
same thing we like. When Dre and then was doing
that thing, they didn't have the ability to say, hey,
we're making West Coast music. They was trying to make
the best funk. When Dray would make funk, he was
making the best funk he could. When he was making music,
he was making the best music.
Speaker 2 (31:33):
He took.
Speaker 1 (31:34):
Uh David axelrod Uh, I forgot.
Speaker 2 (31:39):
The name, but you know the name of the song.
Speaker 1 (31:40):
Talking about trap, you say they kind of prejudice trap.
Speaker 2 (31:43):
Now I'm thinking about it, he sound kind of prejudice like.
Speaker 3 (31:48):
Doing that thing right now? Yo, you see what he
did right now? That's why he's said next, That's why
he's glasses.
Speaker 2 (31:59):
We were having glance saying right now is what doing
doing that? How he made next episode?
Speaker 6 (32:05):
Right?
Speaker 2 (32:06):
That's a simple loop on on on.
Speaker 5 (32:11):
Hey he pulled, He pulled from a lot of plasses though,
didn't he? But you know what made it West Coast doctor?
Speaker 2 (32:19):
You know what I'm saying.
Speaker 4 (32:20):
That's what made it West Coast's doctor J touched it.
It's just like g folk And it's just like when
you when you classify the music, if you're gonna base
it up, you basing the success.
Speaker 2 (32:30):
Of the person on saying that stays sound and me trap.
Speaker 4 (32:34):
I'm not arguing with you. If you give us good ship,
why argue if you give us bad ship?
Speaker 2 (32:39):
Now, less argue. You know what I'm saying.
Speaker 3 (32:43):
But so this is what this is what I said
before in the room. We was in the room, right,
So like I put it on the time of two
thousand and five, right, So in two thousand and five,
a lot of East that was coming out, people from
New York that was coming out, and people was people
from like my generation was like, yo, why are they
rapping on sound of beats? So they wasn't changing up
nothing they was saying, but the beats they was using
(33:05):
was southern. Was southern sound and beats. You know what
I'm saying, And that's a fact right there?
Speaker 2 (33:10):
That was what did it? Did it sound like it
contained rhythm? You know rhythm? You know Ryan patterns of
Negro spirit.
Speaker 1 (33:19):
Here's the East Coast records that came out in two
thousand and five, right, Beanie Siegel to be coming.
Speaker 2 (33:26):
That didn't sound like the South that right?
Speaker 1 (33:30):
Uh, y'all didn't really have a lot of albums that year.
Speaker 2 (33:36):
And you know what else they used on the East Coast?
The song go from songs, go from songs from the
top songs, top song that was a z A wall.
Did that sound like what you're talking about? I don't
know that. I don't know if that off top, I
don't know that.
Speaker 3 (33:55):
Song.
Speaker 2 (33:56):
Fifty cent songs just a Grandmaster? Look what could you
go into? Though?
Speaker 1 (34:01):
Bro, I'm just naming those wasn't that? Those wasn't the
people the young was putting out of music. B hold on,
but that's what I'm telling you. The naked truth. My
Little Kim came out that year.
Speaker 2 (34:12):
Now, y'all got y'all with Harry Franston.
Speaker 1 (34:15):
Tony gave thoughts of a predicate feeling, you know how
that goes? Who else had town of what's the game?
And missing that didn't sound like nothing but a nigga
from more them Mike check there go to whistle song.
So again, what I'm saying is a lot of rhetoric.
Trap that's being used. Doesn't really take into account information
(34:38):
or knowledge. It's just something we regurgitating. Listen, anybody can make.
Speaker 2 (34:45):
Campbell soup, can make a can of gumbo? Can They
ain't like the dumbo? Yeah, but they can, they could try.
It's nasty, soulful, soul food. Yeah.
Speaker 1 (35:00):
You ever notice why they you Southern food and soult fold.
Speaker 2 (35:02):
Why don't Why don't they call that food soul food.
Speaker 4 (35:05):
It's the same ship on the menu, and it's always
a Mexican in the kitchen. Now its soul food spots.
Speaker 1 (35:10):
That's why they soul food.
Speaker 2 (35:14):
That's like what I said, what I said earlier, I'm
going to lose the chicken. I love Louis.
Speaker 1 (35:24):
And most of the Asians on them now, but here
here this fried chicken. Fried chicken is soul food, right coming.
But that don't mean Kentucky fried chicken make soul food.
They fried chicken, Okay, right, you get that trap. Fried
chicken is soul food. But that don't mean Kentucky fried
(35:45):
chicken sell soul food.
Speaker 2 (35:47):
So this is what fried chicken Scott's Scott Scott's thinks.
Speaker 3 (35:53):
Yeah, slick right right there, because I'm my slick because
this is something that that is the term what I
told you, I said, Joe, can you please tell me
the difference between soul fool and southern food.
Speaker 4 (36:09):
It sounds very cooking it a white lady, make me
some bomb ass fried chicken before it, But that don't
mean it's soul fool.
Speaker 2 (36:19):
It could be good. It touched.
Speaker 1 (36:25):
Just because it's like this, right, It's like people can emulate.
And this is why hip hop. This is why black music.
This is kind of when you asking me what made
me get into it, It's like, Okay, I always tell
people I started this because of you, right, you want
to do this shit when you came home?
Speaker 2 (36:40):
Right? Hold on? This is the one right here that
got it to the rap music.
Speaker 9 (36:46):
I was rapping on the phone and too, I was okay,
I didn't connect. I didn't connect you in story why
he got it to rappers? I know I didn't connected
around yeah, okay, right, So.
Speaker 2 (37:01):
The older brother was okay, but then he became a
manager right close.
Speaker 1 (37:06):
The glasses did all of the homies right we started,
We started rapping right then everybody went to jail or
stopped rapping.
Speaker 2 (37:17):
So I kept going. So it saved my life right
to a degree. So I I made a living. I
had to sell sharing no more. Whatever changed my life?
Speaker 4 (37:25):
Cool me need to stop saying that on these ship
bobs got raided by the FBI because.
Speaker 2 (37:30):
Stop talking about I don't what's all that? All right?
Speaker 1 (37:34):
I don't do it.
Speaker 2 (37:35):
Nobody, I don't sell sharing no more. Neither said, yeah,
that's the point. What so what I'm saying?
Speaker 1 (37:41):
So when I started learning about hip hop, I realized
I realized how every black genre got overtook him because
we started to make it like Trapp saying a sound
Elvis Presley starts singing all of these black people songs
and it was like, well, sound like it.
Speaker 2 (37:57):
So it's rock and roll.
Speaker 1 (37:58):
Next thing, you know it, ain't a mother fucking nigga
could get a check in rock and roll because they like, oh,
why would we invest big money in black rocking roll
when we can make the money we have white people
that can do it. Next day, you know, you look
up twenty years ain't a nigga in the space. You
get one nigga and he blow up after we die. Right,
So again I'm telling trap. They do it every time,
(38:21):
and they could do the same thing with soulful if
we don't pay attention, if we get like Colonel fried
chicken is the biggest fried chicken is the biggest fried
chicken in the world.
Speaker 2 (38:29):
I love original recipe, but golden Berr tastes better. But
that's my point.
Speaker 1 (38:34):
So what I'm saying is the point I'm saying the
trap is this is how they do it. Because we
start saying it's a sound. Oh, it's a sound, so
guess what. Anybody can emulate a sound. But if it
has to be the authentic article, So.
Speaker 5 (38:48):
You're saying, it doesn't matter. The chicken is great, it's
who cooked it. Yes, that's what you're saying. Yes, what
you say you don't agree with that?
Speaker 2 (38:58):
No, I bet you no body.
Speaker 1 (39:00):
If you make some some spaghetti and they found out
your black ass make it, they're not gonna call it
authentic Italian food.
Speaker 2 (39:07):
Well you gotta think we don't make Spaghettian the way
Italians make spageti. If you made it exactly how they
make it, now you like niggas spahetti this point to
this point that makes him right. I'm sorry, y'all.
Speaker 1 (39:25):
Is not true, but it's not true. It's like I'm
not saying this about flavor. I'm telling you they would
never consider it if you made it like them authentic
Italian food.
Speaker 4 (39:32):
I just think that that ship work in different situations because,
like I say, a soulful restaurant, you go back there
and it's a popping one.
Speaker 2 (39:41):
Niggas Messicans and but they got it ain't popping like that.
Speaker 1 (39:47):
It's it's it's a last resource. It's a last resort.
That's like, if I'm gonna have to think about this,
that's to get messed.
Speaker 2 (39:54):
I think you can't answer this was because you from Washington. No, no,
no no, It's like it's like I can answer. It's
like no, no, no no. It's like mean Mexican food.
They asked me what I messed with a white girl, right,
not a white girl to that black.
Speaker 6 (40:12):
No.
Speaker 2 (40:12):
It's just like it's a difference. How are you saying.
I'm like, I'm just saying that's the same, like like
like like all.
Speaker 4 (40:23):
Right, if you mean soul food, but it's not made
by a black person, or it's made by Mexican, it's
not soul food.
Speaker 2 (40:29):
So if I will sleep with a white girl, I
don't want to sleep with a white girl.
Speaker 1 (40:32):
That added to do a bunch of black people better
questions for white I'm not, Oh, you want one that's
strictly white beer.
Speaker 2 (40:40):
Yeah, I understand that you think it the other way
you was born. Question is a question that makes sense.
If a white girl sound like she's black? Is she black? No,
she's still white?
Speaker 5 (40:52):
Yeahs on how much black they didn't put up in it?
Speaker 2 (40:57):
You're on this troll mode now this because that'sn't make
him act like that's white black people to get you
acting fact? You're right facts?
Speaker 1 (41:10):
And how do you not because you act black?
Speaker 2 (41:13):
Because I know it's like the music that's answer that
question right there? How do you act?
Speaker 1 (41:19):
You have so?
Speaker 2 (41:20):
Man, you're a white an old.
Speaker 1 (41:21):
Black ass, so you as so that's like the like
black talking. So again I'm telling tralack talking. Yeah, I'm
telling trap like to that point you asked me about
that girl. It's like, uh uh, excuse me, not that
prom say it's funny, that's what they said, black talking,
black talk that black faces, young lady that it's a
less girl. Oh black talk, we southsided, all that black talking.
Speaker 2 (41:48):
Yeah, you're talking black. You will take that. Start using
his in the N words, so like we're not we're
not black. That stop calling his knigga. Yeah, so what
I'm saying, that was crazy. That's facts. That's them. Yeah,
that's facts, though, you know that was that was Yeah,
(42:08):
that was like he stopped talking like that. We don't
even know they not even one of them. So they
really don't want to take it from you. Yeah, that's facts.
But I'm taking my soul food from that Mexican.
Speaker 3 (42:22):
But see, but see the thing is just the hold
re quick, real quick about the Mexican, about the Mexican
cooking and soul food, that all they're doing is getting
a recipe from us, and they just they're just the
ones that that's cooking. But they're using our recipe though the.
Speaker 4 (42:39):
No no, no, no, no, what I'm saying, they feeding
it like they're gonna cook chicken in Mexico.
Speaker 2 (42:44):
It's a different has gotta be chicken, make chicken, though
they make good chicken. But that's but that's not the debate.
Speaker 1 (42:54):
What he said is it is the debate you can
have our recipe that don't make it.
Speaker 2 (42:59):
Yeah, that's the point.
Speaker 1 (43:01):
Soul food is really legitly cook from the soul. Most
people that could really sow Mama, they never had.
Speaker 5 (43:07):
No back on your side. Case it's on the soul?
Is anybody track it from the soul? Now West Coast music?
Speaker 4 (43:17):
If a West Coast nigga ain't on it, at that
point it becomes East Coast music.
Speaker 2 (43:23):
That died. Just me now and now we go back
to the we go back to the dynasty. That's what.
That's what this whole conversation is supposed to get around to.
Speaker 4 (43:33):
It's ways that we're trying to get somebody to understand,
and we're using another scenario.
Speaker 2 (43:38):
This is the problem, this is what.
Speaker 1 (43:40):
This is what's happening with hip hop, specially right because
now everything is accessible right.
Speaker 2 (43:45):
You can be making beats, you can get a cheap
laptop and.
Speaker 4 (43:49):
No connective dot. I hate that blocks, connective blocks, TetR
sands beats. I want a person to move and make
the beat, so I want you to move your fingers.
Speaker 2 (43:57):
I hate that fruit and what I'm saying. They make lots.
But now that everything.
Speaker 1 (44:03):
Not that, everything is accessible right, Everything is accessible right now,
it's easy to be able to make this, it's easy
to be able to record reps.
Speaker 2 (44:12):
So you have a lot of more people emulating.
Speaker 1 (44:15):
You don't have as many talented people because you have
an excess number of people just trying it, and everybody
is gonna start by emulating. So what I'm telling Trap
is the reason this is happening is because people have
convinced them that we have sounds.
Speaker 2 (44:28):
And I'm like, that's not true.
Speaker 1 (44:30):
Right, that's the premise of this. It's two things that
that's important to me to have this conversation and to
keep having it with Trapp One. If you keep doing this,
this is how we'll lose the genre because everybody can
make it. At that point, anybody can do it. All
they got to do is have a recipe. That's not
what this is about, right, So I'm confused. Now you
confuse me now, Trapping, You guys, confuse me now, trap
(44:53):
So you saying that the West Coast sound is not funk?
Speaker 2 (44:58):
No, no, no, this is what I'm staying here, all right,
This is what I'm saying right here, right, this is
what this is what I'm confused. Now you're saying it's
not fun, don't even originate on us.
Speaker 3 (45:10):
All Right, all right, all right, this is what this
is what this comes back to. This comes back to this, right,
It's come back to the discussion that me and Glass
has had many times.
Speaker 2 (45:19):
But is it funk or not funk?
Speaker 3 (45:22):
It's not just it's not just catered around funk though.
What it is is this right here, he says this,
this Glass is stands on this point. Right here, he
says that it doesn't become a regional sound into the content,
into the content of the lyrics is put.
Speaker 2 (45:37):
On the song.
Speaker 3 (45:37):
But I what what I'm saying is is that is
that all right? So now example example pointed out right here,
right when you had the Dynasty album right and and
and Whole Win and Whole Win and got Whole Winning,
got beats from Rick Rock? What did people say about
those songs that he got from Rick Rock?
Speaker 1 (45:55):
The problem is when you keep saying, what did people say?
Speaker 2 (45:58):
Stop you hear you know, hold hold this ship for dread, no,
hold on, hold on, hold on.
Speaker 1 (46:07):
Stop saying with people who don't know this. The average
person don't listeners.
Speaker 2 (46:12):
Bro.
Speaker 1 (46:13):
You have to stop saying the listener that don't mean listeners,
because you can suing food don't mean you educated in food.
Speaker 2 (46:19):
That don't make you a chef. You know, because you
can food food we all eat every day. Trap that
don't make us a chef. That don't mean me no ship.
Speaker 3 (46:26):
But you know what, But you know what you can say,
you can say, you can say what. You can say
what's good food and what's bad food? Though, no, you can't,
you can't. Yes, you can hold on.
Speaker 2 (46:37):
Then McDonald's is the best food in the world. Know,
they got the best. More people that what people saying
is the best, that's not the Let's stop going with this.
Speaker 3 (46:48):
When you state that right there, you state that right there, right,
that's like stating all right, Listen, a person, a person
that doesn't make no music can't determine what good music
sounds like.
Speaker 1 (47:03):
I'm telling you art is subjective, right, I'm not saying
what good music.
Speaker 2 (47:07):
They can tell you what music they like.
Speaker 1 (47:09):
They can tell you, and most of them don't know
what they like because part of it is rooted in
the marketing that's happening, just like McDonald's.
Speaker 2 (47:16):
Part of McDonald's is a social currency. Kids like McDonald's
because it carries a social But I've got example right here,
since we talked about food.
Speaker 5 (47:23):
He trap, It doesn't matter who puts the season on
the steak, it's still steak, right, So that's just that
would be just like music, wouldn't it be No matter
where it's at, what they put on it, it's still
be that genre, funk or whatever it is.
Speaker 3 (47:39):
Now, So now you ever hadscoco steak, It's a skirt.
Speaker 2 (47:45):
It's a skirty steak that Spanish people make, but it's
still stake. It's still steak. But I never had that.
Speaker 3 (47:55):
But to the way that they make it. They make
it so that they they named it tarasco. It's called carrasco,
but it's yeah, it's regular steak though, but when but
the way they make it, it's a Hispanic way. It's
a Hispanic way that it's a Hispanic way of making it.
Speaker 2 (48:14):
I know.
Speaker 3 (48:14):
But it don't taste like steak no more. It's like
steak though, but it's the way they cook it. Okay,
this is the way they cook it, the way they
cut it. It's still fun except we got the g
on it comes West coast when we get on it.
Speaker 2 (48:26):
But it's still funk, and.
Speaker 4 (48:28):
It's just like a steak with different seasons doesn't matter
who cook it, it's still you know, top of it. Okay,
all right, So canso steak like you saying, people make
a rib by steak and it's all beef.
Speaker 2 (48:42):
It's all steak, all beef, all right.
Speaker 3 (48:45):
So like so so now, like I said, this discussion,
this is probably about like the tenth time he had
a discussion and I and I and I have broken
this and I have broken this down to him many
times right there. Right, So now let's go back into
let's go back into western name right because because this
came up, this also came from him saying that that
(49:07):
it started today today, it started from the trap the
trap situation. So he was saying that trap music is
only it is only made it's only trap music because
of the content of music. What they're talking about, right
is what you said, Glasses.
Speaker 1 (49:20):
Trap music is Atlanta street urban culture. That culture built
on top of black music. So so the black music
would be the standard. I'm pretty sure a white boy
can make a go to here we go. Well, Glasses,
you want to take the black office, if you want
to take the area off of it. Well know, because
(49:42):
most genres of music in the United States comes from
black music.
Speaker 2 (49:46):
Yeah, yeah, slave slave hymns. That's where they learned soul.
Speaker 1 (49:50):
And so what I'm saying is it's Atlanta street urban
culture that specific D boy, Atlanta street urban culture put
on top of black music. That's what trap music is like.
And they'll go right into the songs like Jeez. But
what you know about that is probably the biggest and
greatest trap song of all time. It's somewhere in the running.
(50:11):
It don't sound nothing like lex Luga.
Speaker 2 (50:13):
What you know about no no, no, no, no, no
no no.
Speaker 1 (50:17):
It ain't just eight the way driven. So what I'm
telling trap is what he's mistaken is how people are
coming into the game and grows and biting. They're biting
lex Luga SAMD. They're biting lex Luga saund. They're not
making trap music, they're making Lex Luger music, trap music
and trap music a.
Speaker 2 (50:40):
D I'm gonna tell you what I'm gonna tell you that.
I'm gonna tell you.
Speaker 3 (50:44):
I'm gonna break the dream us down for you completely
right now, right expert on Dreal music is a slotting
stotting any ways. You know what I'm saying, it's a
hort in the horn and minor chords you know what
I'm saying. It's fast, high hats somewhere between the one you.
Speaker 2 (50:59):
Put one standing on the drill. Drill is about it. No, no, no,
no no, that's what makes change. See what I'm saying,
what I'm saying, that's what I told you earlier. This
is what I told you brother earlier.
Speaker 3 (51:11):
Listen, going on the drill, going to mother earlier, all this,
all of this stuff goes.
Speaker 2 (51:18):
It's a combination drill. So that's love on, hold on,
hold on all this hey, Trap, talk to me like
I'm a fifth grader.
Speaker 3 (51:31):
It's a combination. It's a combination, bro. So now it
could be a drill beat, but but it could be
the beat, right, it's a drill texture. The texture, the
texture of the beat is draill right there. You know
what I'm saying. But that's what can be what you
I mean, I just I just told you just now, bro.
Speaker 2 (51:51):
Bro, But listen, Trap, do that. This is the problem like.
Speaker 1 (51:57):
Protecting music top making it. That's why that kid today
said he made a country drill song, because you keep
thinking that they can emulate a.
Speaker 2 (52:07):
Sound because they're making it.
Speaker 3 (52:10):
Because you know it's country drill song. There was a
because there was a drill sounding beat and it spent
some country ship on it.
Speaker 2 (52:18):
Drill, you are what you mean. Stop saying sounding we
are in.
Speaker 3 (52:22):
The like I said, you don't have to. It has
to be a combination. It's not just one thing. It's
a combination, goes a combination, and the lyrics when it
comes together, it makes a drill song exactly. So stop
saying one part of it is it that it has
before combination?
Speaker 2 (52:43):
Combination in the drill song? So love it, just love
so so oh. It is fucking with these old boy,
you're getting hit um with that cold bro. I got
one for the trap chop. She's a New York dish.
(53:07):
That's an uptown thing because I've never had from New York.
Only ate the Philly. You've made it. She's taking Philly.
You made a chap chop York New York invention. You
know what you're talking about. Bro, This ain't got me. Now.
(53:27):
That's a New York. That's a New York thing.
Speaker 1 (53:31):
I'm just trying to let you know like it and
it was a specific thing in New York.
Speaker 2 (53:35):
That wasn't it all over New York. But then in
the poppy store, drill.
Speaker 1 (53:39):
Is a combination of a few things. It's Chicago street
urban culture, right, that type of militant Warren culture put
over black music. He's trying to level it down to
how and I'm like, you can do it a thousand ways, Like,
just because we've heard it done this way, don't mean
it can't be done a multiple ways. No different with
g Front, no different with.
Speaker 2 (53:59):
The Boom Back.
Speaker 1 (54:00):
We decide it's not something it doesn't have to be
something you recognize that sounds like Premiere or that sounds
like Pete or that sounds like mal You.
Speaker 2 (54:10):
Don't have to do it to do that. You're not
supposed to make your shit sound like there. So now
it goes for Drake to come in the industry the
way he did. Is that wise? So he's for Drake
to come into the industry the way he did cause
niggas like trap. Okay, wait, wait, wait a minute, start
with it, all right? All right, So there's three now
(54:31):
yeah stop bro.
Speaker 3 (54:33):
So now it goes on to So now now we're
talking about these songs and these dramas.
Speaker 2 (54:38):
You know what I'm saying.
Speaker 3 (54:39):
These sounds right here, right, it goes along within three
different things, b right, So it would be the sound,
the sound palette. You know what I'm saying, which would
be how to beat how to beat sounds. Then it'll
be the rhythm and the flow that goes along with it.
Speaker 2 (54:51):
Two.
Speaker 3 (54:51):
Then it also be a vocal, the vocal tone and delivery.
When you put these all three d things together, that'll
make the sound or whatever some drama you're talking about
within hip hop, bro. So that's how it goes.
Speaker 1 (55:02):
You go back to what I'm saying again, you need
the artist over the music to talk the culture.
Speaker 2 (55:09):
No, it's it's one. You can't get one without the other.
You keeping one without the other. I'm saying something different
you can't get. Listen.
Speaker 1 (55:19):
I can make a G funk without whatever you tell me.
I can make a G funk song. I bet you money.
Speaker 3 (55:26):
Doubt a bunch of G funk things. You can make
a G funk song on a boom bat beat. I
know what's not gonna be boom Back.
Speaker 2 (55:33):
Listen to what I'm saying. Tell you what tell me?
Speaker 1 (55:36):
Tell me what do I need in the music to
make a G funk song? And I'll make a G
folk song without that. Take him on out of the
nigga Take come on this track.
Speaker 2 (55:43):
Funk song.
Speaker 4 (55:44):
Call him out, What are you saying explaining that again
the money if y'all all my cash on line, doubt,
no doubts, traps.
Speaker 1 (55:56):
It's my understanding of what is That's just great, that's
the point. So I'm trying to tell him, I'll make
a G funk song. You how you ran down all
of them? It sounds you said that sound like drill.
Oh blah blah blah that cap. I bet you you
can name things on G funk and I can make
a G funk song without none of those things.
Speaker 2 (56:14):
All right? Can you make a G funk song with
a violin?
Speaker 1 (56:17):
Yes, songs and on this it's multiple string instruments that
you can get loans from.
Speaker 2 (56:27):
You just go okay.
Speaker 4 (56:28):
Oh like also like might create.
Speaker 1 (56:35):
If you know the energy of funk, you can make
the energy of funk.
Speaker 2 (56:39):
It's not like rock.
Speaker 1 (56:41):
You don't need electric guitar to make rock and roll.
You don't need live drums to make rock and roll.
You just got to know the energy of rock and
roll and you can make it. There are some of
the biggest rock ballads in the world that don't have
no fucking drugs.
Speaker 2 (56:55):
This nigga crazy, right then?
Speaker 1 (56:56):
I'm telling him, the more you get into the genres
and studying the music and what this ship is about,
this is where we have to get back to if
we want to give Hi Poper chance.
Speaker 4 (57:05):
Who can to go back there? I'm a little lostone
trap where you like when you're a rapper producer.
Speaker 1 (57:12):
You remember that song that's on Willie Manchester batter of
the Willie Manchester. I seen you the idea, say you trap?
Speaker 5 (57:19):
What kind of beats do he make East coast and
west coast? South kind that you have to have a
message he makes boom?
Speaker 2 (57:27):
All right, I played some beats right now. I don't
play some beat you ain't got them. This is my beat.
Speaker 3 (57:34):
I would play my beat your beach trapped? They talking
ship I played, I'm play them after hold up.
Speaker 2 (57:41):
I just don't want to run the risk of get
no strike. Yeah that's cool. Oh for his own music.
They'll get you for you and if you ain't got
to see all your ship.
Speaker 1 (57:52):
So why I'm saying the trap is he can tell
me the same thing about funk, like, oh, you need
this to make g funk, You need to lead, you
need these drums, nigga, I'll make it without all of
that because I know about funk, because I've got to
the essence of funk, the ideas that created funk, the
different styles of funk. Man, I find the version of
(58:12):
funk that you talking about that's missing without none of that,
or I'll just make it because I can generate.
Speaker 2 (58:17):
The Well trap you from New York, he's part of
New York.
Speaker 4 (58:22):
Have a different sound, Like there's a hardened sound, there's
a Brooklyn sound of Bronx sound.
Speaker 2 (58:27):
Well, I don't know, concerned you're gonna hear more Spanish influences.
Speaker 3 (58:31):
No, not, not really, I mean, aside from the That's
why I always found out. I always found it about
down when they started coining that that the young dudes
doing that.
Speaker 1 (58:43):
No New York, New York.
Speaker 3 (58:46):
New York has a sound New York has do because
it's too many. But you were here, like styles, nigga,
I know that.
Speaker 2 (58:56):
And hold up, I got you.
Speaker 1 (58:58):
So it's juicy in New York sound. The way that
he was hold on, hold On, hold on is juicy
in New York sound.
Speaker 2 (59:09):
It was a sample, bro Se.
Speaker 3 (59:10):
You keep going towards these samples, beach and keep you
keep going towards sample, just towards sample beach.
Speaker 2 (59:17):
Yes, yes, yes, yes, because of the drums, the drums
on it. But not.
Speaker 3 (59:26):
What I'm saying though, you keep you keep trying to
win the argument right now by going to sample. It's
just those are these are songs that are being these
are beats that are being done over already.
Speaker 2 (59:39):
Though you know what I'm saying.
Speaker 4 (59:41):
So now what you mean all about the business is
that an East Coast sound or like what sound do
that belong to?
Speaker 2 (59:51):
Yes? Yes, yes that was yes so now so now
but sample right there.
Speaker 3 (59:57):
So now when you played the when you play the
the sample up in there earlier, right when you play
the sample in the room earlier, you can hear you
can hear the drums that was used on each one
of those songs. You heard the different At least I
heard the difference between the Eighth Clan one, the e
p n D one, and the Doctor Drake one. I
heard the difference.
Speaker 1 (01:00:17):
You keep saying that trap there nothing, but it's not that.
But what he's talking about his swing, but he's not
relating it to jazz. He's relating to these coach hip
hop not realizing they're just anything from jazz.
Speaker 2 (01:00:30):
Swing of jazz. You back to your dancing because I
noticed this too.
Speaker 4 (01:00:37):
If you tip off when the nigga wrapping over here,
I need to move it on the East Coast.
Speaker 1 (01:00:42):
That jazz to a swing because again, things that don't
belong to hip hop. That's being used out of the
original genre. It's being sampled from out of the original inspiration.
So what we would call that swing, like new Jack
swing is root.
Speaker 2 (01:00:59):
Here Jack, you know what I love? Nobody really talking about.
Speaker 4 (01:01:03):
I just had a studio session and producer kept trying
to skip this beat and I kept seeing, all right, no,
I need to go back like eight beats ago.
Speaker 2 (01:01:11):
What was it.
Speaker 4 (01:01:12):
I feel like God cheated me out of the disco era.
I feel like I wanted to be in you know there,
hey Jack, And you know, I feel like I got
out of that why you like DJ?
Speaker 2 (01:01:25):
Yeah, yeah, I was gonna say that more like so
you know what, you know, it's crazy though down and
I just realized this, and I just realized this ship.
I just realized this. That's fun. That's fun.
Speaker 3 (01:01:39):
I just realized this probably like three years ago, right,
is that Louisiana has two different sounds.
Speaker 2 (01:01:47):
You know what I'm saying, Louisiana don't have yo on
om on.
Speaker 3 (01:01:51):
You have noror Leans, nor Leans rapping nor Leans sound,
you have a bat rule sound b They have two
different sounds bro telling.
Speaker 2 (01:01:59):
You no no, no no.
Speaker 4 (01:02:01):
But they all shared some of some of the same ish,
but they listen.
Speaker 1 (01:02:07):
Trigger Man is a is a song from New York.
That's the main song. Them doing what they're doing makes
it sound like New Orleans. When you hear them back,
they start doing this thing that only niggas from New
York in the streets do. Was the way it was
chopped that they make. And they don't even sometimes sample,
they just rap over the instrumental. Know, they actually do
(01:02:30):
it the whole song.
Speaker 2 (01:02:32):
They can do the whole song.
Speaker 1 (01:02:33):
Like Juni has a big record over the whole instrumental.
It's how he does his thing. Remember New Orleans is
the home of jazz. Yeah, but they what's that ship
they call?
Speaker 2 (01:02:44):
Ye? They don't do that. Don't do that rule.
Speaker 1 (01:02:52):
Bounce come from trigger Man, which is a song made
by New York.
Speaker 2 (01:02:57):
They chopped up one part of the song, Bro and
ther whole song the triggered they was doing the ship
to the whole song. I've heard them chopped that one
part of the song. I keep telling you it going
to your understanding, which is limited. You know, understand, bro, Bro,
I've heard that song.
Speaker 3 (01:03:18):
I've heard the exact part that got chopped up and
they took they take the whole song's it's the one
part of the break. Just like when it came to
break me take the whole record. It took the break
of the movie one part. Some of the biggest songs
are over that whole instrumental.
Speaker 1 (01:03:34):
It's not just that part. That part is something that's
being used a lot, just like we use funk a lot.
That don't make it ours and it don't mean that's
the only thing we do. And it's not West Coasts.
It's just funk trap.
Speaker 2 (01:03:48):
Have you ever made the West Coast beat? I got one,
I got a couple. I got like, No, you don't
gotta No, you don't got it. That's the thing. That's
the thing.
Speaker 4 (01:04:01):
No, that is the cost doesn't make a West Coast beach.
Speaker 2 (01:04:07):
You're why the West Coast alchemist make the beat. Teammate
permian from from California because he makes what does what.
Speaker 3 (01:04:21):
Does the alchemists be saying like like alchemists, he's from
over here where he's sound like you're from signing where's
beach saying something like who liked the raps beat and
paid for him?
Speaker 2 (01:04:32):
Now that's the question. That's the question, y'all picking to
y'all picking what is Alchemist a fan of?
Speaker 4 (01:04:41):
Like you don't like just because I'm from southern California,
I'm geographical about that too, But some of my favorite
rappers come from up north.
Speaker 3 (01:04:49):
All right, But I have a different sound in the
than in southern California. What a different sound in southern California?
Speaker 4 (01:04:57):
No, we lie about to generate different they'll make a
rap song on this type of beat. That's that's what
he's saying. It ain't You can't put a place on
it until you here what's put being put on it.
Speaker 1 (01:05:10):
Then what you do is you start familiarizing that ain't
doucer style with us. Yeah, but I'm telling you that's
not true. I get what you're saying, trap, but I
and I think that's the flaw in the game. That's
why the game is hell gentrified and pasteurized.
Speaker 4 (01:05:26):
Right, Like Nigga Doctor dre produced the firm where they
haven't West Coast Beat.
Speaker 3 (01:05:32):
He messed it up too, trying to sabotage sabotage New York.
Look at that, you say, I'm looking at that, look
at that thinking it's that though too. Get into that,
thank y'all. That's just like just like I said, I
wasn't into jay Z music like that.
Speaker 2 (01:05:48):
Into the Dynasty, bro, man, you know why it's definitely
getting to that.
Speaker 3 (01:05:53):
You got to sabotage Queens Trap to Gadid going out
the door trying to sabotage Queens traf.
Speaker 2 (01:06:00):
I thought you were I thought we was cool. Track back,
he crushed the buildings the looking out.
Speaker 1 (01:06:10):
For tuning into The Note Sellers podcast, please do us
a favorite, subscribe, rate, comment, and share. This episode was
recorded right here on the West coast of the USA
and produced by the Black Effect Podcast Network and not
heard radio year
Popular Podcasts
My Favorite Murder with Karen Kilgariff and Georgia Hardstark
My Favorite Murder is a true crime comedy podcast hosted by Karen Kilgariff and Georgia Hardstark. Each week, Karen and Georgia share compelling true crimes and hometown stories from friends and listeners. Since MFM launched in January of 2016, Karen and Georgia have shared their lifelong interest in true crime and have covered stories of infamous serial killers like the Night Stalker, mysterious cold cases, captivating cults, incredible survivor stories and important events from history like the Tulsa race massacre of 1921. My Favorite Murder is part of the Exactly Right podcast network that provides a platform for bold, creative voices to bring to life provocative, entertaining and relatable stories for audiences everywhere. The Exactly Right roster of podcasts covers a variety of topics including historic true crime, comedic interviews and news, science, pop culture and more. Podcasts on the network include Buried Bones with Kate Winkler Dawson and Paul Holes, That's Messed Up: An SVU Podcast, This Podcast Will Kill You, Bananas and more.
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com