Episode Transcript
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Speaker 1 (00:00):
M Boog Black Cap Podcast, BOUG black Caps Show special
guests in here. He's back the Legend. We talked about
this album coming out last time he was here is
finally dropping Friday two, shortest in the building.
Speaker 2 (00:15):
What up man, what up man?
Speaker 1 (00:16):
Just it feels good to get this uh Little John
album out.
Speaker 2 (00:18):
Man. Oh yeah, you know volume two it's it is
uh long been you know, on the plate as far
as ready to go mix and mastered. You know, he
had what happened with his son, We.
Speaker 1 (00:34):
Kind of yeah, yeah, yeah, I mean that was a
very tragerous situation.
Speaker 2 (00:37):
Yeah, we kind of just held back for a minute
and you know, just took our time and and got
everything ready to proper way.
Speaker 1 (00:44):
Right when something like that happens. Cause obviously Y you
recently uh suffered a loss as well with your brother
d Y. You reach out, you make sure like he's good,
and you know, I.
Speaker 2 (00:53):
Mean, yeah, man, you gotta give r leave room for
however a person might be grieving. I know, you know,
when when that happened to me, it took me a
few days to even respond. So so you know, everything
has to happen when it's supposed to happen. It definitely
got to reach out to make sure you people are
okay though.
Speaker 1 (01:12):
For sure. So this album, you previewed a record with
Fat Joe and Kiss in New York, and it reminded
me of like pre kings of Crunk Too Short and
Little John. Shit. What is kind of because I'm sure
you guys had worked on different parts of this album
over the years, can you kind of give me like
(01:33):
the range of like, I guess what's the oldest record?
Speaker 2 (01:37):
Well, no, it was this.
Speaker 1 (01:39):
All new shit.
Speaker 2 (01:40):
This is.
Speaker 1 (01:42):
Six okay, so that was all. This is all this year.
Speaker 2 (01:44):
We just did it. We were actually gonna we recorded
it so fast, we were gonna just put it out
right when the thing happened with his son Man, he
lost his son man, Rest in peace, young slave. But
it was ready, it was. It happened fast, like literally,
we were gonna work on a song, yeah, a song
that we had previously recorded years earlier. We thought about
(02:07):
updating it, and he sent me just some beats when.
Speaker 1 (02:12):
You guys like get in because I feel like right now,
like hip hop is in a very very rough place commercially,
like it's hard. Like if you notice a lot of
radio stations are going old school.
Speaker 2 (02:22):
Yeah, well, it's not even really a lot of albums
coming out doing big.
Speaker 1 (02:26):
Yeah, there's not like hit records anymore. So when you
guys are going into this, like are you because I
think of a record like, you know, you've kind of
found the fountain of youth because no matter what you do,
it's relevant. I think of the Drink and Smoke record
with Tiger forty that just you know was on the radio.
But when it comes to the John album, you guys
(02:46):
have such just legacy and sound like you guys have
your sound and then you have your sound together. Is
there like an objective like nah, we like we know
what's missing right now, let's go on here and delivered.
Speaker 2 (03:00):
Is it just like I never made music like that.
I've just you know whatever when you would working with
talented people. The way I see it is try to
make the best music you can make. Like and even
when I was me by myself, you know, the driving
force of whatever song I might be working on, I'm
really just thinking, make some good music because it's no
I've never seen in my entire career where it was
(03:24):
where it was gonna benefit me to look at a
group of people and go, this is gonna be my
dance hit for the clubs, or yeah, this is the
one they gonna bump in the streets. I never thought
like that.
Speaker 1 (03:34):
I'm like, yo, what's the beat making me feel?
Speaker 2 (03:37):
We make songs, we listen back to them and we
go ooh, this is one of those ones, and it's
just how you do it. So I don't know, man,
Little John gave me a gang of beats and I
just wrapped on all of them.
Speaker 1 (03:49):
What's the difference for you, because like you've had producers
that you've been locked in with, like obviously guys like
Aunt Banks and you got John. Is like the process
of like locking in for in it? Because this is
obviously you and Little John have classics together for a
lot of people, don't. We talked about it before. I mean,
he produced Blow the Whistle, biggest song ever, and Shake
that Monkey and Shake that Monkey all that. But I'm curious, like,
(04:13):
is the process working with him? Is it a lot
more meticulous to maybe working with some of the other
producers you might usually work with. Is it different? Is
it natural? Is it like, what's what's kind of the
process of the Little John studio session compared to maybe
somebody else.
Speaker 2 (04:26):
Well, I've aligned myself with a few guys who really produce. Yeah,
and when I say produced, I mean they actually work
on the concept of the song with you. Sometimes they
bring excins and they bring the beat with a hook
already on it, which is pretty much the concept where
the songs.
Speaker 1 (04:45):
I had an idea, you know.
Speaker 2 (04:46):
And it's like, you know, guys like that Jazzy Fay
and Banks, Little John definitely does it. Get some beats
from somebody like Rick Rock or somebody, and there's a
bunch of these. Use is that when they give you
just a beat and see if you want to pick
a beat, it sounds like a real record, right. It's
mixed good, everything's at the right level. The hook is amazing.
(05:09):
All you gotta do is to step in and make
it a song. And then I've aligned myself with the
likes of producers like that, who I can keep circling
back to and go, I need one and I don't.
A lot of songs are great that you have to
you gotta work on them, and you gotta work the sounds,
and you gotta tweak with it, and you gotta, you know,
(05:30):
get into the plug ins and make it happen and
make it bigger and make it better, and then these
other songs, like the guys who I name, they give
it to you and it's ready to go.
Speaker 1 (05:39):
Yeah, you'll get some like sometimes you'll be in a
session with somebody and they'll be like, I like to beat,
but you got the stamps because the beat kind of
sound like it's unmixed.
Speaker 2 (05:46):
Yeah, and you gotta just you gotta doctor it up,
which is okay, right, But these guys that I align
myself with, they pretty much come in the studio with
all that all that work has already done.
Speaker 1 (05:57):
Is there a shade or version of storytelling short on
the new album.
Speaker 2 (06:05):
The Little John Songs. Let me look at it. Let
me look at the titles.
Speaker 1 (06:08):
People who don't realize this is one of the greatest
storytellers you know history.
Speaker 2 (06:11):
This is a four part series, so a lot of
stories to come in volume three and four. Let me
just look at the title because I don't really know
off handed me. Let me see, Yep, we got a
little story telling there, a little bit there somewhat on
(06:34):
that one. Definitely, that's a whole storytelling song. A couple
of that's good to hear. Yeah, So it's it's it's
it's on there, it's approach.
Speaker 1 (06:41):
Like because like again we're talking about freaky tales, Blowjop, Betty,
on and on and on. When you approach the storytelling aspect,
I'm sure you've got so many gems you haven't shared,
but I'm sure you also maybe see something or might
experience a third party where you're like, oh, that would
be fly? Can I tell Like, can I tell that
(07:02):
story on a record? What is the motivation where you're like,
I need to put this.
Speaker 2 (07:06):
It's crazy because I don't even think like, let me
tell a story in this song. I'm thinking of a
subject and it's different ways to rap about it, and
a lot of times the way I rap about the subject,
I'm trying to get to a point. I'm trying to
either show you how the game works. You know what
this game is like somebody like you know the player,
(07:26):
you come out flawless, you know the game works for you,
or I'm showing you like the the hazards and I'm
like telling you in the story you could do it
like this or you can do it like that. And basically,
if I give you an example, then I think you
hear the lesson in a different way than if I
just preached at you. So I'll tell a story about
(07:49):
somebody that's fucking up. Right. It's not me, it's not you, right,
but somebody, but somebody's sucking up And we look into this,
we listen to the story, and we go, shit, I'm
not gonna do what he did. That was corny, that's
that's dumb. So then another scenario, I'll give you a
story of maybe too short the character, and he's coming
out like a hero. In this scenario, I'm talking about
(08:09):
this story I'm telling too Shorts doing everything right. You
like dad, I want to be like that guy. So
the storytelling helps get the point across. But other rappers
might do it in a slick metaphor or something boldly
in your face a statement. I do it in these
little slick stories about playersm in life, in the game,
and then you end up learning.
Speaker 1 (08:30):
I always wonder when you do a song like cuss
words at that time, like obviously hip hop wasn't in
such a like we're like being vulgar was like such
a normal thing. Did you face any blowback from that
record or being the guy who was like.
Speaker 2 (08:46):
I was told by people who came before me, you
can't curse on records. If you curse on records, that
makes it like comedy records or something. It's not a
real song shit like that. But you know, and I
didn't really listen too much to it. I was fashioning
my style between behind like storytellers in the fashion of
(09:09):
Jimmy Spicer, like he does on super Rhymes and what
do you do the bubble Bunch and Dollar Bill y'all, yep,
as well as Spoony G who would his song might
not be a story from front to back, but within
his bragging rhymes, he'll tell you a little story, then
(09:32):
he go back to bragging. And I kind of like,
you know, just that was the style I gravitated towards.
Was you talk a little shit, tell a story, back
it up, and you just weave in and out of it.
You don't necessarily have to just do all shit talking
or all storytelling.
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(11:20):
thank me later, yeah, because I can only imagine like
you when you're the guy who kind of comes out
obviously that's you know when you think about like eighties
hip hop rock, Kim Kars, boogie down productions, even like
ll shit, if those.
Speaker 2 (11:33):
Are the guys that came up with I'm talking about
the guys who inspired me, right right, right.
Speaker 1 (11:36):
Right, But you're the guy who's like bitches hoes, And that.
Speaker 2 (11:42):
Was my lane when everybody, when everybody was doing something original,
nobody could be like anybody else. The gang was my lane.
Speaker 1 (11:50):
I kind of feel like you, like were you made
it okay? Though, like the parents' advisory sticker wouldn't might
not existed for warm.
Speaker 2 (11:56):
For that's funny. That's funny because the first time we
did that, we did it on our own with graphics.
We didn't have a sticker. We just put parental advisory
on it.
Speaker 1 (12:05):
So like you added it.
Speaker 2 (12:06):
It wasn't on the Bourn the Maac album. We wanted
you to know it was a dirty album. But if
you listened to, like Melly Mail, anything he did when
he's in storytelling form. When he's in storytelling mode, Grandma's
the flash songs, the message new York, New York, just
he did so many of them. Yeah, of course, But
when Mellie Mail is telling the story, you can actually
(12:30):
see it. Like other rappers can tell you a story
and you follow the story, but literally Melly Mail gives
you details about what's what he's seeing, and then you,
in return, are listening to a song that has a
visual through the words. I try to write like that
with the pimp shit and the game shit, and I'm like,
(12:50):
I want you to actually be in the moment, so
you know.
Speaker 1 (12:53):
I could close my eyes and picture a line of
men lined up to get their dick suck in the
bathroom by blowjob.
Speaker 2 (12:58):
Blow job better. Yes, she's just a little supposed to
be a whole, but she's just a little comfort who
just who's for free. She's just doing it because she's
like sport.
Speaker 1 (13:10):
Nah for sure. For you man like U. When you
think about the greatest storytellers of all time, you're in
that conversation, who do you you talked about?
Speaker 2 (13:18):
Melloy mel I think God, I like that I'm really
not in that conversation. You are in that conversation, but
I'm in that category and the no, but you're in
the combo. I haven't heard it. But at the same time, but.
Speaker 1 (13:30):
It's because it's because I just feel like, I feel
like you don't get the love that you when it
comes to these combos. You gotta get it.
Speaker 2 (13:36):
So look, I take pride in never being considered top
anything because I don't have to look in the mirror
and light in myself and go, you're better than all
of them. You know what. I got stats. You gotta
have numbers, and it's like, it's so cool to me
that of all the people they always put up on
(13:58):
the pedestal, you know what I'm saying, I'm either right
there with him or or I'm ahead of them. And
it's like it's like I'm when you talk the numbers,
let's talk just numbers of every rapper whoever rapped ever. Yeah,
I'm up there in the stats, bro, Like I'm up
there like six platinum for gold, you know, just the
(14:19):
platinum and gold features, the amount of the amount of
units sold, you know, the longevity of the career, the
lasting power of songs like shake that Monkey, blow the Whistle,
as well as.
Speaker 1 (14:32):
That's your and that's your, and that's your like second seven.
Speaker 2 (14:34):
Yeah, that's the second one. Yeah, and the classics that stuck. Yeah,
I'm sorry. I really don't need the storytelling. Stat I
don't need the platinum stat I don't need the top
five anything. Stat. I did what I did, and no
one can dispute it because it's in math.
Speaker 1 (14:54):
I always wanted album number ten. Getting it comes out,
we all think we're losing you. It's over. I feel
like you might've been the first rapper to pump fake
the retirement. Jay Z came after you drop Can't Stay Away,
which is a great album. I think you had more
Freaky Tails on Can't Stay Away.
Speaker 2 (15:12):
It might have been I always kept I kept the
freaky Tails going forever.
Speaker 1 (15:17):
What was like, what like, was there ever like a
second where you were like, I'm really retiring or was
it always kind of like.
Speaker 2 (15:25):
No, that didn't that did not really happen in real life.
That was that was like, yeah, it's album number ten.
On to everybody's the last that was it was organic
in a way because it was my tenth album. YEP,
I turned thirty that year. It was always the talk
of thirty year old rappers though, like Granddaddy's.
Speaker 1 (15:46):
Like, I mean, look, this is the genre is young.
Speaker 2 (15:49):
Yeah, so they were like you're thirty and you rapped,
Like what the fuck? Like old ass has been rapping
at thirty. So all this, all this stuff was was
in the air in my in my mind, I should
say about turning thirty tenth album, and I said it
on the song the song Getting It was definitely gonna
be once we recorded it, we were gonna definitely name
(16:11):
the album Getting It. I had always had a working
title called album number ten, and I thought that was
a dope title. Then we made Getting It and I
subtitled it Getting It. Album number ten was right, a
little small on air because I wanted to brag not
a lot of album I think any rapper really had
ten albums at that time. Yeah, that had came out
(16:33):
on that level and did what my ten albums did.
So I was popping my collar on that situation. And
it just I don't know, it just it just was
it was. It was it was organic that I said
on the song, But then it was manufactured. How we
how we use it for a PR stunt?
Speaker 1 (16:55):
Have you ever thought about turning like any of the
Freaky Tail shit in the like a mini series or
like a TV show, Well.
Speaker 2 (17:02):
A movie name Freaky Tails did pretty damn good. If
you didn't see that, I.
Speaker 1 (17:05):
Didn't see that. Now you need to go look it up.
Speaker 2 (17:07):
It's always at the DVD. It's all the way through. No,
this is new ship, it's brand new, Like, oh, wait,
are you talking about the movie from last Yeah? Yeah,
yeah about fat Yeah yeah, I bought her Amazon. So
freaky Tells is just the continuance of how that name fantastic? Yeah?
How I put those? You know, we've all grown up
(17:30):
on fairy tales, books and shipp and movies. But Freaky
Tales was my two short early days spin on fairy tales.
Freaky tales. But the words freaky tales have been around
so long because the song, the first, the original song,
is the best of all of them. But then Cocktails
is just Freaky Tails, another version, great album, And.
Speaker 1 (17:55):
I feel like you could do like a like a
twelve part mini series.
Speaker 2 (17:59):
I thought a Freaky Tail I was that most people
never even heard. It's like the rarest version of fine.
It's called Freaky Tails Part two and it was never
on a two short album and it's literally the same
beat as the first one, but it's just all different women.
It's only on vinyl, and I'm sure you can type
it in on YouTube.
Speaker 1 (18:19):
And someone said, I wonder if someone uploaded it on YouTube.
Speaker 2 (18:23):
It's gotta bet. I remember. It was so rare even
to me that I traded a guy who had it
a copy of it. I gave him something he wanted.
He gave me his just to get the vinyl. That's crazy,
just so I would have it in my collection. You know,
that's crazy. That was that such a special time or like?
But then I got these are details I got more
(18:44):
Freaky Tail. I don't know how many man I kept
doing it.
Speaker 1 (18:46):
Yeah, No, Cocktails is a great album too. Man, tell
me when you have a guy like Drake who has
I just want to know your take. Drake's kind of
been very active and paying homage to the Bay for
the past eleven twelve years. Obviously started with the model
he sampled for free, he sampled Blow the Whistle on
(19:07):
for free, and then there's this new uh, this new
too Hard for the radio where he pretty much does
the Mac Drake thing. What is you know your relationship
with Drake in general, and how do you kind of
feel about his relationship with the Bank.
Speaker 2 (19:21):
Well, I'm a fan, yeah, been been a fan since
I know somewhere in the two thousand's twenty ten is shit,
Like that's when I started. Yeah, a bunch of little
cute females are like, this is my favorite artists, right,
and you're like, okay, you got turned on to it
that kind of That's how I got turned on to
it by a little bad bitches. But but yeah, he
(19:45):
came in the game, you know, slightly humble when he
saw some of the OG's and and showed love. He
definitely was was an admirer of some Bay rappers as
well as probably some Texas rappers.
Speaker 1 (20:02):
Right, those are the two places I feel like he
always is.
Speaker 2 (20:06):
And he's always fucking with somebody, So he's you know,
he's he's he irritates some people love over here, don't
love him over there. Got a whole legion of people
that like, they don't like him. This is how they talk.
I don't like that soft as ship. You know those
those people, Yeah, you got those people. Then you got
(20:30):
the people that go to all his sold out shows
and keep making the ship number one that love the
funk out of it. Uh, you fast forward to the
whatever you want to call it, the West Coast fiasco
he went through. And now we got these emotions involved
with who's going to forgive and forget, who's going to
(20:55):
hold a grudge, Who's going to ride or die with
one side or the other? Like East Coast, West Coast,
Cripson blood some ship. And that part right now is
I wouldn't say it's a gray area. It's like a
dark gray area.
Speaker 1 (21:10):
It's dark like I saw, you know, a friend of
mine both I'm friends with both these guys and they're
friends with each other. But I saw GM alone was
mad at Pelo for making the be.
Speaker 2 (21:20):
But I'm like, you guess Pilo don't know Kendrick Dog Like, yeah,
glasses is like till the wheels fall off you start.
You started this West Coast, you started, it never ends.
If I've been in a conversation, and you know, it's
sort of like it's a time thing. Man. How many
(21:40):
people swore up and down that the world would never
forgive Chris Brown. And where's Chris Brown at right now? Today?
Speaker 1 (21:48):
Stadiums, you know, and the second second stadium tour in
two years.
Speaker 2 (21:52):
It's like time will tell. I don't know how that
story is supposed to go. Me personally, I was never
East Coast versus West Coast, nor was I Drake versus Kendrick.
I did not see that as a fight in the schoolyard.
I definitely saw that as a country club fight.
Speaker 1 (22:11):
And you've always been as much as you are Oakland,
mister Oakland, you're also the guy who was in Atlanta
and who had the relationship with Texas and then was
on all the jay Z shit and the biggie shit.
Speaker 2 (22:23):
And in order for Drake and Kendrick to really have
a fight, you'd have to go to like the swinkiest
gated community, like on the actual eighteenth Hole or some shit,
you know what I mean. Can't get there unless you
remember they're too rich man rich.
Speaker 1 (22:41):
When you first heard for Free and how he flipp
blowed the whistle, what were.
Speaker 2 (22:44):
Your thoughts on it? I was like, that's dope. Drake
just said my words were for word and forever I
will get a check.
Speaker 1 (22:52):
You will get that check.
Speaker 2 (22:54):
That's how I think about all samples. Man. I'm like,
that's great, because I've sampled so many songs in my career,
and I know that at times, not only has me
sampling that put a lot of money in somebody's pocket,
at times they might have needed that money, right And
you know, I'm still hustling, but I promise you the
(23:16):
income that comes from people sampling too Short is important
to me.
Speaker 1 (23:20):
One hundred percent. I mean, the SWEETI record is huge.
Speaker 2 (23:23):
And it adds a value to my catalog that I'm
thinking as I sit here, that's probably the most valuable
thing that I have is the catalog. Two short catalog.
Speaker 1 (23:34):
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(24:15):
all right. Shout to them man, all right, salute to
the family. Follow him on Instagram. Hardean Underscore Las Vegas. Sorry,
let's get back to the podcast. Your man Hove does
the three shows at Yankee Stadium. To me, out of
all the songs he performed, the coolest shit I saw
him perform was to blow the whistle freestyle Lebron being
in the crowd. For people who don't know, there was
an s Dot Carter mixtape and at that time the
(24:38):
Wizards and the Cavaliers had a rivalry going. There was
a player named DeShawn Stevenson was taking shot to Lebron. Yep,
jay Z comes out of nowhere.
Speaker 2 (24:48):
Don't forget that the jay Z was going to all
the Cavs games, yes, hoping that Lebron would come to
the to the Brooklyn.
Speaker 1 (24:55):
Right, So jay Z drops a blow the Whistle freestyle
paying homage to Lebron taking shots at the wizards. It's legendary.
You see him perform this freestyle, but the fact he
remembered because he was doing so much random shit. I
was just impressed he knew all the lyrics.
Speaker 2 (25:10):
Yeah, he did some rehearsal. He's the photogenic memory motherfucker
something something.
Speaker 1 (25:15):
But you see him doing that freestyle, it's gotta feel
good to see, like all these years later, Like damn,
like oh man, Like.
Speaker 2 (25:21):
Yeah, all I could think about when I saw was
I was like, does he just have the brain capacity
to just retain rhymes right? Or this motherfuckers just do
a whole lot of rehearsing, right, Because it's gotta be
one or the Other's no in between, there's no other option. Yeah.
Speaker 1 (25:41):
I feel like when you have a catalog like yours
or his, like it's only natural that you know you
can't remember like random freestyle.
Speaker 2 (25:48):
Guys like mister Fab can do a flawless freestyle at
any given time, with music or without music. And I've
seen Fab do it on so many occasion. Is where
he literally is telling a in real time story of
what's going on in the room, what is happening right now?
Or I saw him one day look at the people
(26:10):
in the room and he just told the story of
Oakland based on who was at this one show.
Speaker 1 (26:15):
Play with when he battled Royster five nine.
Speaker 2 (26:17):
Mm and got out. It's kind of crazy, But I
think the best thing I ever seen him do was
was Sway in the morning. He's rapping and sways yelling
in his ear things a rap about, and he's finishing
what he's saying, taking in what he's getting yelled at,
and throwing that in there. I've seen him rap like
(26:40):
like fucking sports stats and kind of ship. But I'm
just I'm saying that because I've questioned him and he
has somewhat of a photogenic memory. I've seen him exercise
that in the studio where he freestyles a rap literally
freestyle and then you're come, my hope about Fab. I'm thinking,
(27:02):
how did these people function? Like jay Z doing that freestyle?
But Fab could do a freestyle and then say take
me back to the beginning and then wrap the same
words you.
Speaker 1 (27:13):
Just remembered it. That's crazy.
Speaker 2 (27:14):
So that that is rare out there, and jay Z,
I don't know that was that ship was. It was
a lot of detail and a lot of personal personal
ship that he was trying to get off his chest
in that fucking.
Speaker 1 (27:28):
Was it was all good? Just a week ago? The
first song you worked with hove on or was it
the second?
Speaker 2 (27:33):
Here we Go? Was the first? Real gangsters do real things? Yes,
fucking I forget the name of it.
Speaker 1 (27:44):
Yeah, yeah, yeah. What was like if you kind of
look back to like some of your like working relationships
with artists, like I think the jay z one is
one that like lasted some years. You guys have joints together.
Speaker 2 (27:59):
About three three songs.
Speaker 1 (28:00):
With the three songs, what was like your guys' chemistry
and what was it about you guys that like clicked
to where you were able to just have the stoke.
Speaker 2 (28:08):
I think him being from Brooklyn, he could respect and
relate to cities like Oakland and these tough cities that
are outside of New York, whereas a lot of New
Yorkers would just be like, I'm from New York. It's
the greatest shit. Well from New York. You just can't
(28:30):
even your mind won't even allow you to think that
another city is great and tough and gagsting right and
gamed up and slick. You're just like, I'm from New York, Son,
It's just there's nothing up.
Speaker 1 (28:42):
It's just they got blinders on.
Speaker 2 (28:44):
But Jay musically, he knew the importance of a feature
with two short scarface U GK. You know what I'm saying.
He knew what that would do for his audience as
well as venile, as well as what it would do
for us. So he's giving me a good New York look,
and then I'm stamping him like all over the little
(29:05):
Nixon crannies and where two short fans are like, oh shit,
fucking with jay Z. So those collapse, man, that's what
they do.
Speaker 1 (29:11):
Do you remember the first time you met jay Z?
Speaker 2 (29:15):
Probably had a concert doing on the same show.
Speaker 1 (29:18):
Or maybe the first studio session.
Speaker 2 (29:21):
Man, Yeah, I'm too cool for all the moments. Everybody
tell you the story. But the first time I met
Jay like first time I remember. The first thing I
remember of jay Z is being on the same shows together.
He would be with these dudes who appeared to have
a lot of money because they would be carrying it
(29:42):
real big, and they'd be in their little crew gambling
and talking loud and doing shit and letting you know,
with some money guys. Yeah, Like we're those guys, and
you know, we get it. What's up and leave it at.
Speaker 1 (29:54):
That, you had a great working relationship with Puff.
Speaker 2 (30:00):
Uh.
Speaker 1 (30:00):
I would say this was probably like late nineties, early
two thousands. I think, like obviously all the crazy stories
about Puffer, it is what it is. But I think
that like sometimes we lose sight of like the cultural
significance and creative power that Puff was.
Speaker 2 (30:16):
I mean, it's our our people who have you know,
what do you want to call it stains on their names?
R Kelly's and the p diddies who who literally.
Speaker 1 (30:28):
By the way, I don't want to I don't even
want to relate those two because what r Kelly did
is way different than what did he did, but he
got found guilty of buying a pussy.
Speaker 2 (30:36):
Yeah I'm not I'm not even talking about character. I'm
talking about music. Like they both did some genius ship
in music.
Speaker 1 (30:43):
R Kelly's my Listen, I say this all the time.
R Kelly's my He might be my favorite artist ever.
Speaker 2 (30:49):
He's the goat. King of R and B is what
it is King of R and B to this day.
But yeah, my connection with Puff always was like a
family connection through friends, close friends who the kids play together.
The wives are really good friends and it was like
(31:10):
when I would be around them, it would be the
family function. They definitely definitely went to the parties. But
people have a misconception of a p Diddy party because
the parties that I know of, there was a person
out front with a clipboard, gotta be on the guest list.
Everybody and they Mama, I don't care who you're talking about,
(31:30):
bragging about. They never went to a Diddy Everybody they
Mama's out there begging to get in, trying to get in.
When you get in, it'd be like the most fun
you ever had is a party. Everybody, everybody just out,
whatever the setting is. I might have seen one pair
of titties at a puff Daddy party, some famous titties.
Speaker 1 (31:49):
They were famous tits.
Speaker 2 (31:49):
She would head on the seat.
Speaker 1 (31:50):
Through shirt nice.
Speaker 2 (31:51):
She was just vibing that day. And I always remember,
I don't want to say, man, I.
Speaker 1 (31:56):
Mean, if she had a seat through shirt on, I'm
sure you know I.
Speaker 2 (31:58):
Can say this. But she's done quite a few photo
shoots with their titties, so good for her. So I'm
just I'm not a name dropper, but I saw thitties,
and then I think the stuff that we heard about
in his personal you know.
Speaker 1 (32:15):
The freak off ship. It is not this, I would say,
I don't.
Speaker 2 (32:18):
Think we were all invited to that was his party, yes,
some other ship. Like, no, it's not the party. I mean,
like and call all my homies too, you know, and
watch me do this.
Speaker 1 (32:26):
It's not I tell everybody was no orgies and shit.
More people in the music industry have been to ditty parties,
and everybody would have jumped at a chance to go
to a ditty party because they're legendary parties and they
were very everybody had cameras out. It wasn't like it
was some like shit like I'm like.
Speaker 2 (32:43):
You turn into a joke. I've never been to his party, right, and.
Speaker 1 (32:47):
Now it's like a meme and it's like, man, you
would have been fucking in that motherfucker chilling.
Speaker 2 (32:51):
And I'm like a lot of people who are saying
I've never been, couldn't get on the list, couldn't even
get in, And a lot of people who could that
didn't go. They probably not even party people in general.
So what the fuck? You know?
Speaker 1 (33:02):
I see I was gonna say I see you when
uh uh Mount wes Moore have some shows coming up.
Speaker 2 (33:08):
Yeah, we're gonna spark it back up for a minute.
Speaker 1 (33:10):
Well, that's what I was gonna ask, man, because obviously
everybody's so busy. Forty's dropping a quadruple album, you're dropping
volume two out of four projects.
Speaker 2 (33:18):
Snoop is like an R and B Mogo label.
Speaker 1 (33:20):
Mogo Snoop is just doing it every fucking thing. And
then ice Cube has got Big three going on, Like,
is there a world in which obviously the live show thing.
Speaker 2 (33:30):
Don't forget Friday's coming back too, That's right, but.
Speaker 1 (33:33):
The live show thing will always be there for Mount Wesmore,
that's always a bag if you guys want it. But
but will there be another album?
Speaker 2 (33:39):
The problem I have with it because I love everything
we just you just said that everybody's active and we
OG's and you know this, grandkids in the pictures, all
kinds of stuff, right. I think that the one the
part that bothers me is the music that never got
(33:59):
Really it was a two projects and it could even
been stretched at three because we made that many songs.
But it was definitely there was a really good album
that's unreleased. And when you got four experts, what happens is,
let's say we play these songs. Then somebody's like, man,
(34:21):
we made that in twenty twenty one. Man, we got
to updated. We gotta. But if I played it for
you right now, just me and you, you were like,
I want this shit just like this.
Speaker 1 (34:29):
We call that demoitis.
Speaker 2 (34:31):
Yeah. Yeah, but in this case, it's not that they
don't love the songs. They're just like, we gotta just
make new shit. We gonna put our new shit. It
got me new shit. And I'm like, I think sometimes
people just want to hear the actual shit. They don't
care if it was made.
Speaker 1 (34:45):
Yeah, like the original thought when y'all did this that
get was any adaptive stuff that came out through the
like Crypto side.
Speaker 2 (34:53):
No, No, I'm talking about none of the little songs
that got through the cracks that weren't on the actual album. Yeah,
because there might have been five songs that went into
different spaces. NBA got a song, you know, Crypto got
a couple of songs, and it was all kind of
activity going on. No, there's a batch of songs and
(35:14):
it's about fifteen sixteen songs that are really good, and
I just I'm like the Mount Westmore fan. I listened
to him in my car and just whoever's rye with
me gets the privilege of hearing it that day.
Speaker 1 (35:27):
But that's fire.
Speaker 2 (35:28):
But I don't it frustrates me that I can't convince them.
Let's just put the songs out bron and then like,
gotta be perfect, gotta be the perfect song, got to be.
Speaker 1 (35:39):
Who's the hardest guy to convince?
Speaker 2 (35:40):
Is it?
Speaker 1 (35:40):
Snoop?
Speaker 2 (35:43):
They all say something different. Ice Cube would say he
likes some of the songs, some of you don't like anymore.
He kind of don't feel like it's mentally moved on.
Probably Snoop would be like, you know, he would probably say,
y'all figure that shit out. When you figured out, let
(36:04):
me know. And then E forty was say, man, we
got to get rid of all these slower songs, man,
and put we need we need some it need that energy.
May y'all tell y'all don't listen to me. I'm the
best beat I'm the best beat picker in the crew.
Trust me. Let me pick beats and let's make some.
So he want to do new ship and I'm like,
I'm like, it's done. This is the ship that we
(36:25):
did give it to him, Like fuck fuck, well, we
could make it better. And we could because that's how
I always did my ship. I'm like, these are the
songs I got. You like him when you don't.
Speaker 1 (36:36):
What are your thoughts? Man? Like, just watching a guy
like Larry June have so much success coming out of
San Francisco.
Speaker 2 (36:42):
I'm thinking, Uh, the confidence is got to be part
of the success because he he just he doesn't do
a lot of movement, but it's it just yells out
like like he's he's very confident in what he's doing,
the music, the flow, the subject matter, the fucking Instagram
(37:09):
style like everything.
Speaker 1 (37:10):
Yeah, he got it. Know, you got the brand he got,
he got the aura.
Speaker 2 (37:13):
He's and then in his case, he's not even stringing
a bunch of big ass hit records together, but he's
got a solid fan base and a lot of people
are like, I funk with that, dude.
Speaker 1 (37:26):
I was wondering what happened if he like, let forty
like or you or somebody like just an r an
album and be like the.
Speaker 2 (37:34):
Album with Alchemists was an Alchemist.
Speaker 1 (37:36):
The Alchemist album was hard. That was the Alchemist to
Chains album. But yes, yes he has a solo album
with aut and then the album two. I mean that
album is incredible. It's one of my favorite ABMs of
the year.
Speaker 2 (37:46):
Yeah.
Speaker 1 (37:46):
So, but like he when he jumps on a plow
beat or some ship, You'll be like, oh, I wonder
what ten of those would sound like from Larry.
Speaker 2 (37:54):
Like, yeah, I'm'm pretty sure he's got it too. I
think he's a serial record where it just makes a
lot of songs.
Speaker 1 (38:02):
Are you still pretty like sero recorder?
Speaker 2 (38:05):
Like yeah, but I've always worked in increments, like.
Speaker 1 (38:09):
You're like, Okay, for this month, we're just getting a
lot of Dutch, you know.
Speaker 2 (38:12):
I would be like this season got so I'm like,
when it's cold and ugly outside, let's go in the studio.
And then otherwise the off season in summertime, I'm like,
I don't know, bro, I'm not gonna be around, Like
I get going and I I work when when it's
born outside.
Speaker 1 (38:32):
You have this like string of second Era two short
songs that aren't necessarily like blow the Whistle level, but
are like, no matter where you go, you might hear
my gangsters and strippers just slide down the bar a
bird Robert, Like you got all these records? Can you
just speak to Like, because I think about your career
(38:55):
and Little John E forty and somehow how you guys
are just kind of intertwined with each other the last
seventeen No, I mean, if you think about Little John,
it's longer than that.
Speaker 2 (39:07):
But the connection is the bpms.
Speaker 1 (39:13):
It's like that one hundred to like one oh seven,
just call it one hundred, yeah, one hundred bpms.
Speaker 2 (39:19):
Man, that is something in that tempo just cooks up.
I don't know music that we love, it's just that
that's the magic number. And these are things you could
tell people that would only make the world better. Like
it's not like, don't tell them the secret, but it's
the BPM. And we just found through everything we did separately,
(39:43):
we just found this kindred spirit. And you know, Little
John gave it to a lot of people. Yeah, he
gave that tempo to a lot of people, and a
lot of people caught on either through subconsciously, like it
was loud and clear hypee movement about one ten, just Hyphie,
(40:04):
make it go and we're talking about BPM beats PERMITTI
And then somewhere when it spread out a little bit,
I can I got a playlist, like I proved this conversation.
I prove my point to people and it's like I
can play you down South artists, East Coast, all around,
(40:29):
you know, nower cal, So cal, just people from everywhere
playing that tempo. But they're not just playing that tempo.
Sounds very hyphee, is very Bay is, very West Coast.
And then when it becomes a full fledged West Coast thing,
(40:49):
you know, feel like DJ Muster's version of one hundred bpm,
then it takes on a whole new life of.
Speaker 1 (40:59):
I mean the ones when I think of like the
Tiger Rax City moment, it's just I want to that's
some base shit too. You know, that was like Tiger
was in Vegas.
Speaker 2 (41:07):
But I'm saying when it when it becomes more of
the tempo and not the.
Speaker 1 (41:11):
Hyphie one hundred percent, it's just West Coast. I mean,
I think, like, what do you think about this? Because
I think obviously you and forty and blow the whistle
on all that. And then I feel like the Pack
kind of did their own version of it that turned
into like the Mustard thing, because I feel like the
Pack doesn't get enough love.
Speaker 2 (41:27):
I think the Pack is important because of who they
influenced and who they did, what they what they did
before they and who they did it before. Yep, and
like you can't, you can't really like you don't take
just this one project and a couple of mixtapes they
put out and go, this was the Pack. It was great.
Like it's not enough for people to argue the point,
(41:47):
but the timing of it, if you were there, they
did what they did before a lot of people. And
then god knows who who the base God Little Beat.
Speaker 1 (41:57):
Influenced because it's such an important figure.
Speaker 2 (42:00):
They say it all day. The bass guy liberated me
and he did something.
Speaker 1 (42:05):
This guy had a whole entire wave of people on
Twitter asking him to fuck their bitch.
Speaker 2 (42:11):
But guess what else the songs that the Pack recorded,
bass guy wrote the hook.
Speaker 1 (42:17):
Yeah, nah, he's he's a prolific guy.
Speaker 2 (42:20):
So they were, they were. I think another thing that
that they did they played the party in is you
know how you know how when rappers are rapped and
you go, I don't think this guy really raps that good.
But the song is still like my favorite.
Speaker 1 (42:38):
It's still hard.
Speaker 2 (42:39):
Yeah. I think they were early on that too, because
all three of them, Little you know, stun It and
Little Be they had this little kid kind of flowing.
It's like I'm just saying I'm happy and I'm feeling good.
It wasn't really like a rapper flow, and then that
shit turned out to be really fucking popular.
Speaker 1 (42:55):
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(43:16):
We're very selective about who we connect with. And Raffi
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(43:39):
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to wish a big happy birthday to Raffi's just celebrated
his fortieth birthday. We had a good time in Vegas.
(44:00):
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was there. E c Rock was there. It was a
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just hanging out. Man. Look shout out to Brandon Raffi.
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they'll take care you immediately. Call Raffi. Baby, let's get
(44:22):
back to the podcast. I know you and Messi Marv
had your issues back in the day. It seems like
he's not doing too good. I've been seeing him kind
of go viral for for kind of how he's doing.
Is that something that comes across your timeline or I.
Speaker 2 (44:35):
Know all about it, man, I don't know how it
came to be. I know that all the things that
he was doing at a certain time in his career,
trying to pick everybody one by one and assassinate you
as a lyrical MC and a street threat and all that.
It was never it was never really real life. It
(44:58):
was some EMC Twitter days.
Speaker 1 (45:01):
It felt like some fifty cent how to rob type shit.
Speaker 2 (45:03):
Send it, send out a couple of tweets saying I'm
about to have somebody pull up on you and knock
you down. It was just it was I think it was.
I really think that it was some early signs of
what was to come. And I guess he's just an
extremist man and didn't have the right people to while
it was happening to say to make him stop, or
(45:27):
now where it's at right now, to get in and
make it stop. I would love to think that I
have the closest of friends and relatives.
Speaker 1 (45:36):
That would not let the wall, yeah, like you know,
have an intervention.
Speaker 2 (45:41):
And if I hit it all the way, they would
be like, you know, bring that ship back in a
relentless kind of way. And I know that he got
people that love him out there like that. And I
can't speak on it because if I, if I was,
if that was me and he wanted to have a
conversation about it without without Oakland's approval, that would be
(46:01):
like that ain't your business, that's town business. And you know,
I'm like, that's either Fresco business, film mode binished. And
he's he's one of the greats. We always gonna say
he's one of the greats, one of the Bay Area's
greatest to do it. But at this point, somebody gotta
do some uplifting and and somebody gotta change the story.
Speaker 1 (46:23):
I have a Jewish homie who wanted me to ask
you about your honka song, which I don't think people realize.
There is a too short.
Speaker 2 (46:30):
Honk a song and that's the title of it.
Speaker 1 (46:32):
It is literally called made you make a song?
Speaker 2 (46:36):
That's a TMZ story man. You know Harvey, Yeah, Harvey,
I don't I think he might have asked for it
or something something. Somehow. You gotta let my boy, Kevin
Black Tay Kbill tell you the story. So KB, who's Jewish.
I don't know how we get this. It was a
(46:57):
Harvey request or was it something that we thought of
that Harvey would put on TMC. I don't know how
it worked out. But KB gives me all the talking
points of what you would say in a hanaka song
and he explains to me, this is what this means
this is that And I just wrote a song. He
was even trying to, you know, even like help write
write it with me, give me like some some little do.
Speaker 1 (47:19):
You get like like that has to be shit that
gets like played randomly at like bar Mitzvah's that you're
even like.
Speaker 2 (47:25):
It comes up every year during the holidays. Yeah, somebody
get a spike, somebody mentions it. I've had endless Jewish
people tell me they know of it, So it's somebody
is sending it around. I think it's a it's probably
like an attachment kind of thing social media. Use it
(47:45):
for the music, for something funny you do during the holidays.
Speaker 1 (47:48):
I assume the number nineteen nine and ninety nine was hyperbole.
Speaker 2 (47:53):
It was a jab at the Wilt Chamberlain right.
Speaker 1 (47:56):
Wilt had his thing.
Speaker 2 (47:57):
Wilt wrote a book. According to book, he said he
had sex with twenty thousand women and me with my calculator,
I put it on the calculator to see what that was,
and it comes up to something crazy, and they we're like,
you gotta.
Speaker 1 (48:11):
Have a your whole life's fucking.
Speaker 2 (48:12):
You gotta have like a threesome every day for like
twenty thirty years insane.
Speaker 1 (48:17):
Do you remember, because I think like as young men,
we always will keep a body count back in the days,
you know. Yeah, but then there was like a point
in time, like not to make myself sound like a whore,
but there was a point in time where I just
stopped counting and.
Speaker 2 (48:30):
I stop, you gotta cut that shit out.
Speaker 1 (48:31):
Do you remember the number from when you last knew
your number?
Speaker 2 (48:37):
Crazy? Man? I'll tell you like this, I did not
write that song that was you know, when I was
working on the Pimp album, I brought mister Fab in
shot to Fab. We had a technique we were doing
for the Pimp album, Fab with because he totally motivated
(48:57):
that album. I was not thinking about making an out.
I was enjoying my life. This was, you know, twenty fifteen.
I was out having a ball, oh, running it up,
and He's like, got to make an album, man, a
star studied album with a bunch of features. We went
through this whole process of how we got all these
features and all this stuff. And Fab had a technique
(49:17):
where I was like, just go in there and freestyle one,
take freestyle whatever you freestyle, and take the freestyle, and
I'm going to write a verse from it, and we
did that shit for a lot of songs, and he
came up with that nineteen thousand ninety nine bitches, I'm
all you will, and it was just it was funny, man.
We got to get laugh off that shit.
Speaker 1 (49:36):
No, I think.
Speaker 2 (49:36):
I think.
Speaker 1 (49:37):
I think from like a perception of like a little
kid who grew up listening to your music. I just
assumed that you had had more sex than anyone in
the world because you're fucking too short. Is that like
it's like that in the Pimp and shit. I feel
like just fans got to be like, yo, if you
listen to Two Shorts music, you have like a perception
of him, especially.
Speaker 2 (49:56):
So if you've been listening to one end, you got
the the lure of the legend, yes that it could
be told in the story, right, But then on the
other end, early on you would have probably said, well,
I used to see him all the time. It was
with like eight bitches, just walking by myself. And you know,
(50:18):
then you got photo shoots and videos to sell the dream.
There's a lot of stuff out there in the in
the universal files of Two Shorts, bitches, but I could
never tell because you know, we're talking about people's mothers
(50:39):
and aunties. Now somebody's wife like like like if I
started talking and ship, that's.
Speaker 1 (50:47):
Just stigma, Like you are kind of the guy who
coined the player ship for real? Did that stigma ever
hurt you with like a girl who you were like
really trying to like do like being a serious situation with.
Speaker 2 (51:01):
Yeah, I clash with about a handful just on subject
matter image a present day song that just like like whoa,
why would you say that? And it's like, you know,
some some of that shit sounds so precise that it's like,
you know, like a recent ex girlfriend called after an
album drops and goes, what the fuck, bro, you can
(51:22):
talk about me. I'm like, I didn't say anything about you,
and they're like, bullshit, so you did that to me?
And it has always been an over exaggerated truth. Too
short shit is meant to be extra player and it's
(51:43):
meant to be hilarious, laugh at it, and then these
stories are just you know, this is another thing I said.
If I wasn't too short the rapper, I could have
been the guy who directed a series of movies with
a character too short.
Speaker 1 (51:58):
What I'm saying, bro, Like I'm telling you you already
got Simba to play you, you can put some ship together.
Speaker 2 (52:04):
If I if I did too short the TV series
and it was sort of like pretend to be true
to the music character and not to flick, you know,
too short to be a motherfucker develop it.
Speaker 1 (52:16):
But by the way, how cool was it to see
because Sima did such a good job playing you, And
like Simba, he's a good friend and he's just such
an amazing talented guy. But like when you first saw
him and.
Speaker 2 (52:29):
I got a steal photo and I was like, dope.
They pulled it off. They figured it out, and then
I started acting and I told him, I told him, brother,
I haven't talked about this in a while, but I
told him, I said, you nailed it on the head,
everything except eating pussy before a show. Like in one
scene and I think it's his opening scene when he
(52:50):
the first time he's on camera. He he's getting ready
to do a show and he's got his face in
between the girl's legs and then come up and like,
oh it's time to get on stage. Something. I'm like,
never ever with that, ever ever happened.
Speaker 1 (53:06):
Ever, Let's be clear, I might get my dicks up
before the concert, but I'm not before. Come on, that's insane.
Speaker 2 (53:13):
But you know what, so the entertainer in me. I
saw a couple of screenings, and I saw it after
it came out, and every time I seen Popped, the
people laughed. I'm like entertainment.
Speaker 1 (53:25):
Who walks on the new album that's dropping Friday?
Speaker 2 (53:28):
Damn, you're gonna make me have to go to this well.
It's produced by Little John, so he's he pops up
on the album. Sugar Freeze on there, Sweeties on there.
I'm gonna forget somebody of course. Uh of course, Tiger
Snow the products on there. Mount west Moore is on there.
Speaker 1 (53:48):
So there's a Mount wes Moore track, Everybody Together on one.
Speaker 2 (53:52):
I literally took it off the Mount Westmore album, the
unreleased album. I picked the I picked the most likely
song that wouldn't have made the album, but it's dope
as hell. Yeah, and that's the one that made it.
Who am I Missing Somebody? That I was just about
to say and I forgot. I got a little skit
with me and god Free, the comedian who am I missing?
(54:15):
Yelling out? If you know? And King George in South Yeah,
that's my guy.
Speaker 1 (54:22):
One monkey, don't stop the show. Yeah, that's my ship
some player ship too. That's some too short ship for real.
Speaker 2 (54:28):
We did a player song together.
Speaker 1 (54:29):
That's is it like in that vein of that like
it's his style.
Speaker 2 (54:32):
Little John wanted that.
Speaker 1 (54:34):
That's gonna go crazy.
Speaker 2 (54:35):
Little John wanted that that's I don't know if you
call it southern something. Yeah. Uh.
Speaker 1 (54:44):
You got to know the product on the album minutes
before having to turn it in.
Speaker 2 (54:49):
Yeah, so we had to literally like turn the album
in at ten am, and at one in the morning
we were still working on.
Speaker 1 (54:58):
It and this was you go you at her house.
She does a live stream.
Speaker 2 (55:02):
Yep, you know she's gonna stream everything.
Speaker 1 (55:04):
So you guys did the record on her stream the
whole time.
Speaker 2 (55:08):
That's fire And we had people like commenting on what
direction the song should go in and that's hard what
to say and that kind of stuff.
Speaker 1 (55:16):
That is fire man. Well, listen, the album is dropping.
You are, so there's two more volumes coming, right, Yeah,
can you explain just remind everybody Volume three, Volume four
we know. Volume two is the joint album with John.
Speaker 2 (55:28):
Volume one was the throwback. Yes, we go listen to
it right now. It was intentionally freaky tales. Yeah, That's
why the SAR two short Volume one, it's really supposed
to feel a little unpolished. Yeah, and then we follow
up because I didn't want to just drop the Little
John first. Everybody, you gotta put a Little John out first.
I'm like, no, let's build up to it a little bit.
(55:50):
So then the one that follows up Little John is
sort of the same energy, because you know, I worked
that vibe that that one hundred with other producers and
stuff some Little John on there. Of course, then and
Banks reappears, and Banks is all over the first volume,
so he popps back up on volume three. It's you know,
I got a producer out of Bakersfield named Decades who
(56:15):
works with forty and this stuff with cubes, a lot
of people. A lot of his energy is on the
Little John songs because we're working on a lot of songs.
And when Little John gave me the beats, I took
some of the stuff I was working on Decades when
I applied it to the Little Johnt beats because Decades
got all these dope ass high energy hooks and shit.
So Decades is weaving through all the all the tracks.
(56:41):
When you get the volume three, it's got good energy.
It's gonna give you a little bit of an intro
to Volume four, which is more like us the serious
too short that isn't going to appear on any of
these volumes. To the end, you know, it sounds like
the Ghetto and the Reks too shit or of course
getting it. That vibe is.
Speaker 1 (57:02):
All Volume four.
Speaker 2 (57:03):
Volume four fire Man, after everybody goes this old ass
motherfucking child is right about this ship pep and shit
and blah blah blah. Did I hit him with the
grown man shit last? That's fire Man.
Speaker 1 (57:14):
Well, listen, I hope you can convince your band members
to put out the album that you talked about earlier. Uh,
and I'm looking forward to hearing the Little John Project
in its entirety. Yeah, is there anybody because I think
of like, because you were you'll do a joint album?
You forty got joint albums. Is there anybody who you
(57:36):
haven't done a joint album? You talked about sugar Freeze
on that flight you're a sugar free go crazy for ten.
Speaker 2 (57:40):
That would probably be the one, Yeah, you were sugar free.
That would just probably be like the one that so
many people at this age ogs they will love us
to just like like be Bb King and Bobby Blue Bland,
you know what I mean.
Speaker 1 (57:53):
Yeah, nah, even like I even think like a guy
like you know, someone like Plow or even Sweetie. You're
Sweety doing a joint project Ago Crazy, you know what
I'm saying. So she talked that, Yeah, she she talked
that shit.
Speaker 2 (58:03):
For sure.
Speaker 1 (58:03):
She got pretty privilege. They say, do you think that's
a thing. There's this pretty privilege shit going on right now.
The girl got pulled up on the on stage.
Speaker 2 (58:12):
I know, but I just don't know if it's negative
or positive? Like what is it?
Speaker 1 (58:17):
I guess that the girl said she got there was
the girl who got.
Speaker 2 (58:20):
Pulled up on But is it positive or negative?
Speaker 1 (58:22):
I think it's supposed to be positive. But then if
something goes wrong, they'll say, oh, you just hate on
me because I'm pretty.
Speaker 2 (58:28):
Oh damn. So the pretty girl's the victim. I thought
it was there's a privilege because I thought he were complaining.
Speaker 1 (58:35):
No, it's the pretty women that made up this word.
Sweety talked about having pretty privilege and yeah, do you
feel like the the like hard sevens are always kind
of like the safe bet when it comes to it.
Speaker 2 (58:47):
Well, that's a that's a barbershop conversation hard seven soft eights.
I do know that I'm not really following this pretty privilege, yeah,
but I do know that there's a gang of pretty problems.
Speaker 1 (59:02):
There are a pretty problems.
Speaker 2 (59:03):
Yeah, so say you know the pretty problems that somebody
else wouldn't have and take it a leave it.
Speaker 1 (59:11):
Short, My guy Man, Volume two comes out Friday by
the time you but this, this would be dropping Friday,
so it'll be out now, So go go support go
stream uh you Fully produced by Little John Executive produced
by Little John. Volume three. I'm assuming before the end
of the year, it better be better be there. You go,
man too short. Appreciate you brother. What if y'all were
(59:31):
here at Ease you already know. If you're in La
Southern cal Man, tap in, go to the website right now,
use that promo code bootlegger and to get thirty percent
off Flower Concentrates. Whatever you're into, they got it thirty
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get delivered right to your door. Or if you're in
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(59:53):
messhout out to Ease. Assass
M Boog Black Cap Podcast, BOUG black Caps Show special
guests in here. He's back the Legend. We talked about
this album coming out last time he was here is
finally dropping Friday two, shortest in the building.
Speaker 2 (00:15):
What up man, what up man?
Speaker 1 (00:16):
Just it feels good to get this uh Little John
album out.
Speaker 2 (00:18):
Man. Oh yeah, you know volume two it's it is
uh long been you know, on the plate as far
as ready to go mix and mastered. You know, he
had what happened with his son, We.
Speaker 1 (00:34):
Kind of yeah, yeah, yeah, I mean that was a
very tragerous situation.
Speaker 2 (00:37):
Yeah, we kind of just held back for a minute
and you know, just took our time and and got
everything ready to proper way.
Speaker 1 (00:44):
Right when something like that happens. Cause obviously Y you
recently uh suffered a loss as well with your brother
d Y. You reach out, you make sure like he's good,
and you know, I.
Speaker 2 (00:53):
Mean, yeah, man, you gotta give r leave room for
however a person might be grieving. I know, you know,
when when that happened to me, it took me a
few days to even respond. So so you know, everything
has to happen when it's supposed to happen. It definitely
got to reach out to make sure you people are
okay though.
Speaker 1 (01:12):
For sure. So this album, you previewed a record with
Fat Joe and Kiss in New York, and it reminded
me of like pre kings of Crunk Too Short and
Little John. Shit. What is kind of because I'm sure
you guys had worked on different parts of this album
over the years, can you kind of give me like
(01:33):
the range of like, I guess what's the oldest record?
Speaker 2 (01:37):
Well, no, it was this.
Speaker 1 (01:39):
All new shit.
Speaker 2 (01:40):
This is.
Speaker 1 (01:42):
Six okay, so that was all. This is all this year.
Speaker 2 (01:44):
We just did it. We were actually gonna we recorded
it so fast, we were gonna just put it out
right when the thing happened with his son Man, he
lost his son man, Rest in peace, young slave. But
it was ready, it was. It happened fast, like literally,
we were gonna work on a song, yeah, a song
that we had previously recorded years earlier. We thought about
(02:07):
updating it, and he sent me just some beats when.
Speaker 1 (02:12):
You guys like get in because I feel like right now,
like hip hop is in a very very rough place commercially,
like it's hard. Like if you notice a lot of
radio stations are going old school.
Speaker 2 (02:22):
Yeah, well, it's not even really a lot of albums
coming out doing big.
Speaker 1 (02:26):
Yeah, there's not like hit records anymore. So when you
guys are going into this, like are you because I
think of a record like, you know, you've kind of
found the fountain of youth because no matter what you do,
it's relevant. I think of the Drink and Smoke record
with Tiger forty that just you know was on the radio.
But when it comes to the John album, you guys
(02:46):
have such just legacy and sound like you guys have
your sound and then you have your sound together. Is
there like an objective like nah, we like we know
what's missing right now, let's go on here and delivered.
Speaker 2 (03:00):
Is it just like I never made music like that.
I've just you know whatever when you would working with
talented people. The way I see it is try to
make the best music you can make. Like and even
when I was me by myself, you know, the driving
force of whatever song I might be working on, I'm
really just thinking, make some good music because it's no
I've never seen in my entire career where it was
(03:24):
where it was gonna benefit me to look at a
group of people and go, this is gonna be my
dance hit for the clubs, or yeah, this is the
one they gonna bump in the streets. I never thought
like that.
Speaker 1 (03:34):
I'm like, yo, what's the beat making me feel?
Speaker 2 (03:37):
We make songs, we listen back to them and we
go ooh, this is one of those ones, and it's
just how you do it. So I don't know, man,
Little John gave me a gang of beats and I
just wrapped on all of them.
Speaker 1 (03:49):
What's the difference for you, because like you've had producers
that you've been locked in with, like obviously guys like
Aunt Banks and you got John. Is like the process
of like locking in for in it? Because this is
obviously you and Little John have classics together for a
lot of people, don't. We talked about it before. I mean,
he produced Blow the Whistle, biggest song ever, and Shake
that Monkey and Shake that Monkey all that. But I'm curious, like,
(04:13):
is the process working with him? Is it a lot
more meticulous to maybe working with some of the other
producers you might usually work with. Is it different? Is
it natural? Is it like, what's what's kind of the
process of the Little John studio session compared to maybe
somebody else.
Speaker 2 (04:26):
Well, I've aligned myself with a few guys who really produce. Yeah,
and when I say produced, I mean they actually work
on the concept of the song with you. Sometimes they
bring excins and they bring the beat with a hook
already on it, which is pretty much the concept where
the songs.
Speaker 1 (04:45):
I had an idea, you know.
Speaker 2 (04:46):
And it's like, you know, guys like that Jazzy Fay
and Banks, Little John definitely does it. Get some beats
from somebody like Rick Rock or somebody, and there's a
bunch of these. Use is that when they give you
just a beat and see if you want to pick
a beat, it sounds like a real record, right. It's
mixed good, everything's at the right level. The hook is amazing.
(05:09):
All you gotta do is to step in and make
it a song. And then I've aligned myself with the
likes of producers like that, who I can keep circling
back to and go, I need one and I don't.
A lot of songs are great that you have to
you gotta work on them, and you gotta work the sounds,
and you gotta tweak with it, and you gotta, you know,
(05:30):
get into the plug ins and make it happen and
make it bigger and make it better, and then these
other songs, like the guys who I name, they give
it to you and it's ready to go.
Speaker 1 (05:39):
Yeah, you'll get some like sometimes you'll be in a
session with somebody and they'll be like, I like to beat,
but you got the stamps because the beat kind of
sound like it's unmixed.
Speaker 2 (05:46):
Yeah, and you gotta just you gotta doctor it up,
which is okay, right, But these guys that I align
myself with, they pretty much come in the studio with
all that all that work has already done.
Speaker 1 (05:57):
Is there a shade or version of storytelling short on
the new album.
Speaker 2 (06:05):
The Little John Songs. Let me look at it. Let
me look at the titles.
Speaker 1 (06:08):
People who don't realize this is one of the greatest
storytellers you know history.
Speaker 2 (06:11):
This is a four part series, so a lot of
stories to come in volume three and four. Let me
just look at the title because I don't really know
off handed me. Let me see, Yep, we got a
little story telling there, a little bit there somewhat on
(06:34):
that one. Definitely, that's a whole storytelling song. A couple
of that's good to hear. Yeah, So it's it's it's
it's on there, it's approach.
Speaker 1 (06:41):
Like because like again we're talking about freaky tales, Blowjop, Betty,
on and on and on. When you approach the storytelling aspect,
I'm sure you've got so many gems you haven't shared,
but I'm sure you also maybe see something or might
experience a third party where you're like, oh, that would
be fly? Can I tell Like, can I tell that
(07:02):
story on a record? What is the motivation where you're like,
I need to put this.
Speaker 2 (07:06):
It's crazy because I don't even think like, let me
tell a story in this song. I'm thinking of a
subject and it's different ways to rap about it, and
a lot of times the way I rap about the subject,
I'm trying to get to a point. I'm trying to
either show you how the game works. You know what
this game is like somebody like you know the player,
(07:26):
you come out flawless, you know the game works for you,
or I'm showing you like the the hazards and I'm
like telling you in the story you could do it
like this or you can do it like that. And basically,
if I give you an example, then I think you
hear the lesson in a different way than if I
just preached at you. So I'll tell a story about
(07:49):
somebody that's fucking up. Right. It's not me, it's not you, right,
but somebody, but somebody's sucking up And we look into this,
we listen to the story, and we go, shit, I'm
not gonna do what he did. That was corny, that's
that's dumb. So then another scenario, I'll give you a
story of maybe too short the character, and he's coming
out like a hero. In this scenario, I'm talking about
(08:09):
this story I'm telling too Shorts doing everything right. You
like dad, I want to be like that guy. So
the storytelling helps get the point across. But other rappers
might do it in a slick metaphor or something boldly
in your face a statement. I do it in these
little slick stories about playersm in life, in the game,
and then you end up learning.
Speaker 1 (08:30):
I always wonder when you do a song like cuss
words at that time, like obviously hip hop wasn't in
such a like we're like being vulgar was like such
a normal thing. Did you face any blowback from that
record or being the guy who was like.
Speaker 2 (08:46):
I was told by people who came before me, you
can't curse on records. If you curse on records, that
makes it like comedy records or something. It's not a
real song shit like that. But you know, and I
didn't really listen too much to it. I was fashioning
my style between behind like storytellers in the fashion of
(09:09):
Jimmy Spicer, like he does on super Rhymes and what
do you do the bubble Bunch and Dollar Bill y'all, yep,
as well as Spoony G who would his song might
not be a story from front to back, but within
his bragging rhymes, he'll tell you a little story, then
(09:32):
he go back to bragging. And I kind of like,
you know, just that was the style I gravitated towards.
Was you talk a little shit, tell a story, back
it up, and you just weave in and out of it.
You don't necessarily have to just do all shit talking
or all storytelling.
Speaker 1 (09:50):
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(10:37):
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(10:59):
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(11:20):
thank me later, yeah, because I can only imagine like
you when you're the guy who kind of comes out
obviously that's you know when you think about like eighties
hip hop rock, Kim Kars, boogie down productions, even like
ll shit, if those.
Speaker 2 (11:33):
Are the guys that came up with I'm talking about
the guys who inspired me, right right, right.
Speaker 1 (11:36):
Right, But you're the guy who's like bitches hoes, And that.
Speaker 2 (11:42):
Was my lane when everybody, when everybody was doing something original,
nobody could be like anybody else. The gang was my lane.
Speaker 1 (11:50):
I kind of feel like you, like were you made
it okay? Though, like the parents' advisory sticker wouldn't might
not existed for warm.
Speaker 2 (11:56):
For that's funny. That's funny because the first time we
did that, we did it on our own with graphics.
We didn't have a sticker. We just put parental advisory
on it.
Speaker 1 (12:05):
So like you added it.
Speaker 2 (12:06):
It wasn't on the Bourn the Maac album. We wanted
you to know it was a dirty album. But if
you listened to, like Melly Mail, anything he did when
he's in storytelling form. When he's in storytelling mode, Grandma's
the flash songs, the message new York, New York, just
he did so many of them. Yeah, of course, But
when Mellie Mail is telling the story, you can actually
(12:30):
see it. Like other rappers can tell you a story
and you follow the story, but literally Melly Mail gives
you details about what's what he's seeing, and then you,
in return, are listening to a song that has a
visual through the words. I try to write like that
with the pimp shit and the game shit, and I'm like,
(12:50):
I want you to actually be in the moment, so
you know.
Speaker 1 (12:53):
I could close my eyes and picture a line of
men lined up to get their dick suck in the
bathroom by blowjob.
Speaker 2 (12:58):
Blow job better. Yes, she's just a little supposed to
be a whole, but she's just a little comfort who
just who's for free. She's just doing it because she's
like sport.
Speaker 1 (13:10):
Nah for sure. For you man like U. When you
think about the greatest storytellers of all time, you're in
that conversation, who do you you talked about?
Speaker 2 (13:18):
Melloy mel I think God, I like that I'm really
not in that conversation. You are in that conversation, but
I'm in that category and the no, but you're in
the combo. I haven't heard it. But at the same time, but.
Speaker 1 (13:30):
It's because it's because I just feel like, I feel
like you don't get the love that you when it
comes to these combos. You gotta get it.
Speaker 2 (13:36):
So look, I take pride in never being considered top
anything because I don't have to look in the mirror
and light in myself and go, you're better than all
of them. You know what. I got stats. You gotta
have numbers, and it's like, it's so cool to me
that of all the people they always put up on
(13:58):
the pedestal, you know what I'm saying, I'm either right
there with him or or I'm ahead of them. And
it's like it's like I'm when you talk the numbers,
let's talk just numbers of every rapper whoever rapped ever. Yeah,
I'm up there in the stats, bro, Like I'm up
there like six platinum for gold, you know, just the
(14:19):
platinum and gold features, the amount of the amount of
units sold, you know, the longevity of the career, the
lasting power of songs like shake that Monkey, blow the Whistle,
as well as.
Speaker 1 (14:32):
That's your and that's your, and that's your like second seven.
Speaker 2 (14:34):
Yeah, that's the second one. Yeah, and the classics that stuck. Yeah,
I'm sorry. I really don't need the storytelling. Stat I
don't need the platinum stat I don't need the top
five anything. Stat. I did what I did, and no
one can dispute it because it's in math.
Speaker 1 (14:54):
I always wanted album number ten. Getting it comes out,
we all think we're losing you. It's over. I feel
like you might've been the first rapper to pump fake
the retirement. Jay Z came after you drop Can't Stay Away,
which is a great album. I think you had more
Freaky Tails on Can't Stay Away.
Speaker 2 (15:12):
It might have been I always kept I kept the
freaky Tails going forever.
Speaker 1 (15:17):
What was like, what like, was there ever like a
second where you were like, I'm really retiring or was
it always kind of like.
Speaker 2 (15:25):
No, that didn't that did not really happen in real life.
That was that was like, yeah, it's album number ten.
On to everybody's the last that was it was organic
in a way because it was my tenth album. YEP,
I turned thirty that year. It was always the talk
of thirty year old rappers though, like Granddaddy's.
Speaker 1 (15:46):
Like, I mean, look, this is the genre is young.
Speaker 2 (15:49):
Yeah, so they were like you're thirty and you rapped,
Like what the fuck? Like old ass has been rapping
at thirty. So all this, all this stuff was was
in the air in my in my mind, I should
say about turning thirty tenth album, and I said it
on the song the song Getting It was definitely gonna
be once we recorded it, we were gonna definitely name
(16:11):
the album Getting It. I had always had a working
title called album number ten, and I thought that was
a dope title. Then we made Getting It and I
subtitled it Getting It. Album number ten was right, a
little small on air because I wanted to brag not
a lot of album I think any rapper really had
ten albums at that time. Yeah, that had came out
(16:33):
on that level and did what my ten albums did.
So I was popping my collar on that situation. And
it just I don't know, it just it just was
it was. It was it was organic that I said
on the song, But then it was manufactured. How we
how we use it for a PR stunt?
Speaker 1 (16:55):
Have you ever thought about turning like any of the
Freaky Tail shit in the like a mini series or
like a TV show, Well.
Speaker 2 (17:02):
A movie name Freaky Tails did pretty damn good. If
you didn't see that, I.
Speaker 1 (17:05):
Didn't see that. Now you need to go look it up.
Speaker 2 (17:07):
It's always at the DVD. It's all the way through. No,
this is new ship, it's brand new, Like, oh, wait,
are you talking about the movie from last Yeah? Yeah,
yeah about fat Yeah yeah, I bought her Amazon. So
freaky Tells is just the continuance of how that name fantastic? Yeah?
How I put those? You know, we've all grown up
(17:30):
on fairy tales, books and shipp and movies. But Freaky
Tales was my two short early days spin on fairy tales.
Freaky tales. But the words freaky tales have been around
so long because the song, the first, the original song,
is the best of all of them. But then Cocktails
is just Freaky Tails, another version, great album, And.
Speaker 1 (17:55):
I feel like you could do like a like a
twelve part mini series.
Speaker 2 (17:59):
I thought a Freaky Tail I was that most people
never even heard. It's like the rarest version of fine.
It's called Freaky Tails Part two and it was never
on a two short album and it's literally the same
beat as the first one, but it's just all different women.
It's only on vinyl, and I'm sure you can type
it in on YouTube.
Speaker 1 (18:19):
And someone said, I wonder if someone uploaded it on YouTube.
Speaker 2 (18:23):
It's gotta bet. I remember. It was so rare even
to me that I traded a guy who had it
a copy of it. I gave him something he wanted.
He gave me his just to get the vinyl. That's crazy,
just so I would have it in my collection. You know,
that's crazy. That was that such a special time or like?
But then I got these are details I got more
(18:44):
Freaky Tail. I don't know how many man I kept
doing it.
Speaker 1 (18:46):
Yeah, No, Cocktails is a great album too. Man, tell
me when you have a guy like Drake who has
I just want to know your take. Drake's kind of
been very active and paying homage to the Bay for
the past eleven twelve years. Obviously started with the model
he sampled for free, he sampled Blow the Whistle on
(19:07):
for free, and then there's this new uh, this new
too Hard for the radio where he pretty much does
the Mac Drake thing. What is you know your relationship
with Drake in general, and how do you kind of
feel about his relationship with the Bank.
Speaker 2 (19:21):
Well, I'm a fan, yeah, been been a fan since
I know somewhere in the two thousand's twenty ten is shit,
Like that's when I started. Yeah, a bunch of little
cute females are like, this is my favorite artists, right,
and you're like, okay, you got turned on to it
that kind of That's how I got turned on to
it by a little bad bitches. But but yeah, he
(19:45):
came in the game, you know, slightly humble when he
saw some of the OG's and and showed love. He
definitely was was an admirer of some Bay rappers as
well as probably some Texas rappers.
Speaker 1 (20:02):
Right, those are the two places I feel like he
always is.
Speaker 2 (20:06):
And he's always fucking with somebody, So he's you know,
he's he's he irritates some people love over here, don't
love him over there. Got a whole legion of people
that like, they don't like him. This is how they talk.
I don't like that soft as ship. You know those
those people, Yeah, you got those people. Then you got
(20:30):
the people that go to all his sold out shows
and keep making the ship number one that love the
funk out of it. Uh, you fast forward to the
whatever you want to call it, the West Coast fiasco
he went through. And now we got these emotions involved
with who's going to forgive and forget, who's going to
(20:55):
hold a grudge, Who's going to ride or die with
one side or the other? Like East Coast, West Coast,
Cripson blood some ship. And that part right now is
I wouldn't say it's a gray area. It's like a
dark gray area.
Speaker 1 (21:10):
It's dark like I saw, you know, a friend of
mine both I'm friends with both these guys and they're
friends with each other. But I saw GM alone was
mad at Pelo for making the be.
Speaker 2 (21:20):
But I'm like, you guess Pilo don't know Kendrick Dog Like, yeah,
glasses is like till the wheels fall off you start.
You started this West Coast, you started, it never ends.
If I've been in a conversation, and you know, it's
sort of like it's a time thing. Man. How many
(21:40):
people swore up and down that the world would never
forgive Chris Brown. And where's Chris Brown at right now? Today?
Speaker 1 (21:48):
Stadiums, you know, and the second second stadium tour in
two years.
Speaker 2 (21:52):
It's like time will tell. I don't know how that
story is supposed to go. Me personally, I was never
East Coast versus West Coast, nor was I Drake versus Kendrick.
I did not see that as a fight in the schoolyard.
I definitely saw that as a country club fight.
Speaker 1 (22:11):
And you've always been as much as you are Oakland,
mister Oakland, you're also the guy who was in Atlanta
and who had the relationship with Texas and then was
on all the jay Z shit and the biggie shit.
Speaker 2 (22:23):
And in order for Drake and Kendrick to really have
a fight, you'd have to go to like the swinkiest
gated community, like on the actual eighteenth Hole or some shit,
you know what I mean. Can't get there unless you
remember they're too rich man rich.
Speaker 1 (22:41):
When you first heard for Free and how he flipp
blowed the whistle, what were.
Speaker 2 (22:44):
Your thoughts on it? I was like, that's dope. Drake
just said my words were for word and forever I
will get a check.
Speaker 1 (22:52):
You will get that check.
Speaker 2 (22:54):
That's how I think about all samples. Man. I'm like,
that's great, because I've sampled so many songs in my career,
and I know that at times, not only has me
sampling that put a lot of money in somebody's pocket,
at times they might have needed that money, right And
you know, I'm still hustling, but I promise you the
(23:16):
income that comes from people sampling too Short is important
to me.
Speaker 1 (23:20):
One hundred percent. I mean, the SWEETI record is huge.
Speaker 2 (23:23):
And it adds a value to my catalog that I'm
thinking as I sit here, that's probably the most valuable
thing that I have is the catalog. Two short catalog.
Speaker 1 (23:34):
Shout out to our brothers, a hard Dean man outs family.
Of course, they've been sponsoring the podcast for years now.
You've been seeing the mic flag for years now. Want
to give a shout out to our brothers. I just
was in Vegas. I had to pull up all right. Look,
it's the number one dispensary in the world. When I
tell you, walk in that thing and the butt tenders
are great. They take care of you immediately. The selection
(23:54):
is great. So when you go to Vegas, you get
into that cab, you get into that uber immediately, say
take me to Harding. The don't know what they're doing,
all right, they go get you right, all right, the
number one premium cannabis dispensary in the world. They just
got me right. I was just in town for a
raffie's birthday. Had to pull up, get right this nice
little one on one Hardean jersey. These are not available,
(24:15):
all right. Shout to them man, all right, salute to
the family. Follow him on Instagram. Hardean Underscore Las Vegas. Sorry,
let's get back to the podcast. Your man Hove does
the three shows at Yankee Stadium. To me, out of
all the songs he performed, the coolest shit I saw
him perform was to blow the whistle freestyle Lebron being
in the crowd. For people who don't know, there was
an s Dot Carter mixtape and at that time the
(24:38):
Wizards and the Cavaliers had a rivalry going. There was
a player named DeShawn Stevenson was taking shot to Lebron. Yep,
jay Z comes out of nowhere.
Speaker 2 (24:48):
Don't forget that the jay Z was going to all
the Cavs games, yes, hoping that Lebron would come to
the to the Brooklyn.
Speaker 1 (24:55):
Right, So jay Z drops a blow the Whistle freestyle
paying homage to Lebron taking shots at the wizards. It's legendary.
You see him perform this freestyle, but the fact he
remembered because he was doing so much random shit. I
was just impressed he knew all the lyrics.
Speaker 2 (25:10):
Yeah, he did some rehearsal. He's the photogenic memory motherfucker
something something.
Speaker 1 (25:15):
But you see him doing that freestyle, it's gotta feel
good to see, like all these years later, Like damn,
like oh man, Like.
Speaker 2 (25:21):
Yeah, all I could think about when I saw was
I was like, does he just have the brain capacity
to just retain rhymes right? Or this motherfuckers just do
a whole lot of rehearsing, right, Because it's gotta be
one or the Other's no in between, there's no other option. Yeah.
Speaker 1 (25:41):
I feel like when you have a catalog like yours
or his, like it's only natural that you know you
can't remember like random freestyle.
Speaker 2 (25:48):
Guys like mister Fab can do a flawless freestyle at
any given time, with music or without music. And I've
seen Fab do it on so many occasion. Is where
he literally is telling a in real time story of
what's going on in the room, what is happening right now?
Or I saw him one day look at the people
(26:10):
in the room and he just told the story of
Oakland based on who was at this one show.
Speaker 1 (26:15):
Play with when he battled Royster five nine.
Speaker 2 (26:17):
Mm and got out. It's kind of crazy, But I
think the best thing I ever seen him do was
was Sway in the morning. He's rapping and sways yelling
in his ear things a rap about, and he's finishing
what he's saying, taking in what he's getting yelled at,
and throwing that in there. I've seen him rap like
(26:40):
like fucking sports stats and kind of ship. But I'm
just I'm saying that because I've questioned him and he
has somewhat of a photogenic memory. I've seen him exercise
that in the studio where he freestyles a rap literally
freestyle and then you're come, my hope about Fab. I'm thinking,
(27:02):
how did these people function? Like jay Z doing that freestyle?
But Fab could do a freestyle and then say take
me back to the beginning and then wrap the same
words you.
Speaker 1 (27:13):
Just remembered it. That's crazy.
Speaker 2 (27:14):
So that that is rare out there, and jay Z,
I don't know that was that ship was. It was
a lot of detail and a lot of personal personal
ship that he was trying to get off his chest
in that fucking.
Speaker 1 (27:28):
Was it was all good? Just a week ago? The
first song you worked with hove on or was it
the second?
Speaker 2 (27:33):
Here we Go? Was the first? Real gangsters do real things? Yes,
fucking I forget the name of it.
Speaker 1 (27:44):
Yeah, yeah, yeah. What was like if you kind of
look back to like some of your like working relationships
with artists, like I think the jay z one is
one that like lasted some years. You guys have joints together.
Speaker 2 (27:59):
About three three songs.
Speaker 1 (28:00):
With the three songs, what was like your guys' chemistry
and what was it about you guys that like clicked
to where you were able to just have the stoke.
Speaker 2 (28:08):
I think him being from Brooklyn, he could respect and
relate to cities like Oakland and these tough cities that
are outside of New York, whereas a lot of New
Yorkers would just be like, I'm from New York. It's
the greatest shit. Well from New York. You just can't
(28:30):
even your mind won't even allow you to think that
another city is great and tough and gagsting right and
gamed up and slick. You're just like, I'm from New York, Son,
It's just there's nothing up.
Speaker 1 (28:42):
It's just they got blinders on.
Speaker 2 (28:44):
But Jay musically, he knew the importance of a feature
with two short scarface U GK. You know what I'm saying.
He knew what that would do for his audience as
well as venile, as well as what it would do
for us. So he's giving me a good New York look,
and then I'm stamping him like all over the little
(29:05):
Nixon crannies and where two short fans are like, oh shit,
fucking with jay Z. So those collapse, man, that's what
they do.
Speaker 1 (29:11):
Do you remember the first time you met jay Z?
Speaker 2 (29:15):
Probably had a concert doing on the same show.
Speaker 1 (29:18):
Or maybe the first studio session.
Speaker 2 (29:21):
Man, Yeah, I'm too cool for all the moments. Everybody
tell you the story. But the first time I met
Jay like first time I remember. The first thing I
remember of jay Z is being on the same shows together.
He would be with these dudes who appeared to have
a lot of money because they would be carrying it
(29:42):
real big, and they'd be in their little crew gambling
and talking loud and doing shit and letting you know,
with some money guys. Yeah, Like we're those guys, and
you know, we get it. What's up and leave it at.
Speaker 1 (29:54):
That, you had a great working relationship with Puff.
Speaker 2 (30:00):
Uh.
Speaker 1 (30:00):
I would say this was probably like late nineties, early
two thousands. I think, like obviously all the crazy stories
about Puffer, it is what it is. But I think
that like sometimes we lose sight of like the cultural
significance and creative power that Puff was.
Speaker 2 (30:16):
I mean, it's our our people who have you know,
what do you want to call it stains on their names?
R Kelly's and the p diddies who who literally.
Speaker 1 (30:28):
By the way, I don't want to I don't even
want to relate those two because what r Kelly did
is way different than what did he did, but he
got found guilty of buying a pussy.
Speaker 2 (30:36):
Yeah I'm not I'm not even talking about character. I'm
talking about music. Like they both did some genius ship
in music.
Speaker 1 (30:43):
R Kelly's my Listen, I say this all the time.
R Kelly's my He might be my favorite artist ever.
Speaker 2 (30:49):
He's the goat. King of R and B is what
it is King of R and B to this day.
But yeah, my connection with Puff always was like a
family connection through friends, close friends who the kids play together.
The wives are really good friends and it was like
(31:10):
when I would be around them, it would be the
family function. They definitely definitely went to the parties. But
people have a misconception of a p Diddy party because
the parties that I know of, there was a person
out front with a clipboard, gotta be on the guest list.
Everybody and they Mama, I don't care who you're talking about,
(31:30):
bragging about. They never went to a Diddy Everybody they
Mama's out there begging to get in, trying to get in.
When you get in, it'd be like the most fun
you ever had is a party. Everybody, everybody just out,
whatever the setting is. I might have seen one pair
of titties at a puff Daddy party, some famous titties.
Speaker 1 (31:49):
They were famous tits.
Speaker 2 (31:49):
She would head on the seat.
Speaker 1 (31:50):
Through shirt nice.
Speaker 2 (31:51):
She was just vibing that day. And I always remember,
I don't want to say, man, I.
Speaker 1 (31:56):
Mean, if she had a seat through shirt on, I'm
sure you know I.
Speaker 2 (31:58):
Can say this. But she's done quite a few photo
shoots with their titties, so good for her. So I'm
just I'm not a name dropper, but I saw thitties,
and then I think the stuff that we heard about
in his personal you know.
Speaker 1 (32:15):
The freak off ship. It is not this, I would say,
I don't.
Speaker 2 (32:18):
Think we were all invited to that was his party, yes,
some other ship. Like, no, it's not the party. I mean,
like and call all my homies too, you know, and
watch me do this.
Speaker 1 (32:26):
It's not I tell everybody was no orgies and shit.
More people in the music industry have been to ditty parties,
and everybody would have jumped at a chance to go
to a ditty party because they're legendary parties and they
were very everybody had cameras out. It wasn't like it
was some like shit like I'm like.
Speaker 2 (32:43):
You turn into a joke. I've never been to his party, right, and.
Speaker 1 (32:47):
Now it's like a meme and it's like, man, you
would have been fucking in that motherfucker chilling.
Speaker 2 (32:51):
And I'm like a lot of people who are saying
I've never been, couldn't get on the list, couldn't even
get in, And a lot of people who could that
didn't go. They probably not even party people in general.
So what the fuck? You know?
Speaker 1 (33:02):
I see I was gonna say I see you when
uh uh Mount wes Moore have some shows coming up.
Speaker 2 (33:08):
Yeah, we're gonna spark it back up for a minute.
Speaker 1 (33:10):
Well, that's what I was gonna ask, man, because obviously
everybody's so busy. Forty's dropping a quadruple album, you're dropping
volume two out of four projects.
Speaker 2 (33:18):
Snoop is like an R and B Mogo label.
Speaker 1 (33:20):
Mogo Snoop is just doing it every fucking thing. And
then ice Cube has got Big three going on, Like,
is there a world in which obviously the live show thing.
Speaker 2 (33:30):
Don't forget Friday's coming back too, That's right, but.
Speaker 1 (33:33):
The live show thing will always be there for Mount Wesmore,
that's always a bag if you guys want it. But
but will there be another album?
Speaker 2 (33:39):
The problem I have with it because I love everything
we just you just said that everybody's active and we
OG's and you know this, grandkids in the pictures, all
kinds of stuff, right. I think that the one the
part that bothers me is the music that never got
(33:59):
Really it was a two projects and it could even
been stretched at three because we made that many songs.
But it was definitely there was a really good album
that's unreleased. And when you got four experts, what happens is,
let's say we play these songs. Then somebody's like, man,
(34:21):
we made that in twenty twenty one. Man, we got
to updated. We gotta. But if I played it for
you right now, just me and you, you were like,
I want this shit just like this.
Speaker 1 (34:29):
We call that demoitis.
Speaker 2 (34:31):
Yeah. Yeah, but in this case, it's not that they
don't love the songs. They're just like, we gotta just
make new shit. We gonna put our new shit. It
got me new shit. And I'm like, I think sometimes
people just want to hear the actual shit. They don't
care if it was made.
Speaker 1 (34:45):
Yeah, like the original thought when y'all did this that
get was any adaptive stuff that came out through the
like Crypto side.
Speaker 2 (34:53):
No, No, I'm talking about none of the little songs
that got through the cracks that weren't on the actual album. Yeah,
because there might have been five songs that went into
different spaces. NBA got a song, you know, Crypto got
a couple of songs, and it was all kind of
activity going on. No, there's a batch of songs and
(35:14):
it's about fifteen sixteen songs that are really good, and
I just I'm like the Mount Westmore fan. I listened
to him in my car and just whoever's rye with
me gets the privilege of hearing it that day.
Speaker 1 (35:27):
But that's fire.
Speaker 2 (35:28):
But I don't it frustrates me that I can't convince them.
Let's just put the songs out bron and then like,
gotta be perfect, gotta be the perfect song, got to be.
Speaker 1 (35:39):
Who's the hardest guy to convince?
Speaker 2 (35:40):
Is it?
Speaker 1 (35:40):
Snoop?
Speaker 2 (35:43):
They all say something different. Ice Cube would say he
likes some of the songs, some of you don't like anymore.
He kind of don't feel like it's mentally moved on.
Probably Snoop would be like, you know, he would probably say,
y'all figure that shit out. When you figured out, let
(36:04):
me know. And then E forty was say, man, we
got to get rid of all these slower songs, man,
and put we need we need some it need that energy.
May y'all tell y'all don't listen to me. I'm the
best beat I'm the best beat picker in the crew.
Trust me. Let me pick beats and let's make some.
So he want to do new ship and I'm like,
I'm like, it's done. This is the ship that we
(36:25):
did give it to him, Like fuck fuck, well, we
could make it better. And we could because that's how
I always did my ship. I'm like, these are the
songs I got. You like him when you don't.
Speaker 1 (36:36):
What are your thoughts? Man? Like, just watching a guy
like Larry June have so much success coming out of
San Francisco.
Speaker 2 (36:42):
I'm thinking, Uh, the confidence is got to be part
of the success because he he just he doesn't do
a lot of movement, but it's it just yells out
like like he's he's very confident in what he's doing,
the music, the flow, the subject matter, the fucking Instagram
(37:09):
style like everything.
Speaker 1 (37:10):
Yeah, he got it. Know, you got the brand he got,
he got the aura.
Speaker 2 (37:13):
He's and then in his case, he's not even stringing
a bunch of big ass hit records together, but he's
got a solid fan base and a lot of people
are like, I funk with that, dude.
Speaker 1 (37:26):
I was wondering what happened if he like, let forty
like or you or somebody like just an r an
album and be like the.
Speaker 2 (37:34):
Album with Alchemists was an Alchemist.
Speaker 1 (37:36):
The Alchemist album was hard. That was the Alchemist to
Chains album. But yes, yes he has a solo album
with aut and then the album two. I mean that
album is incredible. It's one of my favorite ABMs of
the year.
Speaker 2 (37:46):
Yeah.
Speaker 1 (37:46):
So, but like he when he jumps on a plow
beat or some ship, You'll be like, oh, I wonder
what ten of those would sound like from Larry.
Speaker 2 (37:54):
Like, yeah, I'm'm pretty sure he's got it too. I
think he's a serial record where it just makes a
lot of songs.
Speaker 1 (38:02):
Are you still pretty like sero recorder?
Speaker 2 (38:05):
Like yeah, but I've always worked in increments, like.
Speaker 1 (38:09):
You're like, Okay, for this month, we're just getting a
lot of Dutch, you know.
Speaker 2 (38:12):
I would be like this season got so I'm like,
when it's cold and ugly outside, let's go in the studio.
And then otherwise the off season in summertime, I'm like,
I don't know, bro, I'm not gonna be around, Like
I get going and I I work when when it's
born outside.
Speaker 1 (38:32):
You have this like string of second Era two short
songs that aren't necessarily like blow the Whistle level, but
are like, no matter where you go, you might hear
my gangsters and strippers just slide down the bar a
bird Robert, Like you got all these records? Can you
just speak to Like, because I think about your career
(38:55):
and Little John E forty and somehow how you guys
are just kind of intertwined with each other the last
seventeen No, I mean, if you think about Little John,
it's longer than that.
Speaker 2 (39:07):
But the connection is the bpms.
Speaker 1 (39:13):
It's like that one hundred to like one oh seven,
just call it one hundred, yeah, one hundred bpms.
Speaker 2 (39:19):
Man, that is something in that tempo just cooks up.
I don't know music that we love, it's just that
that's the magic number. And these are things you could
tell people that would only make the world better. Like
it's not like, don't tell them the secret, but it's
the BPM. And we just found through everything we did separately,
(39:43):
we just found this kindred spirit. And you know, Little
John gave it to a lot of people. Yeah, he
gave that tempo to a lot of people, and a
lot of people caught on either through subconsciously, like it
was loud and clear hypee movement about one ten, just Hyphie,
(40:04):
make it go and we're talking about BPM beats PERMITTI
And then somewhere when it spread out a little bit,
I can I got a playlist, like I proved this conversation.
I prove my point to people and it's like I
can play you down South artists, East Coast, all around,
(40:29):
you know, nower cal, So cal, just people from everywhere
playing that tempo. But they're not just playing that tempo.
Sounds very hyphee, is very Bay is, very West Coast.
And then when it becomes a full fledged West Coast thing,
(40:49):
you know, feel like DJ Muster's version of one hundred bpm,
then it takes on a whole new life of.
Speaker 1 (40:59):
I mean the ones when I think of like the
Tiger Rax City moment, it's just I want to that's
some base shit too. You know, that was like Tiger
was in Vegas.
Speaker 2 (41:07):
But I'm saying when it when it becomes more of
the tempo and not the.
Speaker 1 (41:11):
Hyphie one hundred percent, it's just West Coast. I mean,
I think, like, what do you think about this? Because
I think obviously you and forty and blow the whistle
on all that. And then I feel like the Pack
kind of did their own version of it that turned
into like the Mustard thing, because I feel like the
Pack doesn't get enough love.
Speaker 2 (41:27):
I think the Pack is important because of who they
influenced and who they did, what they what they did
before they and who they did it before. Yep, and
like you can't, you can't really like you don't take
just this one project and a couple of mixtapes they
put out and go, this was the Pack. It was great.
Like it's not enough for people to argue the point,
(41:47):
but the timing of it, if you were there, they
did what they did before a lot of people. And
then god knows who who the base God Little Beat.
Speaker 1 (41:57):
Influenced because it's such an important figure.
Speaker 2 (42:00):
They say it all day. The bass guy liberated me
and he did something.
Speaker 1 (42:05):
This guy had a whole entire wave of people on
Twitter asking him to fuck their bitch.
Speaker 2 (42:11):
But guess what else the songs that the Pack recorded,
bass guy wrote the hook.
Speaker 1 (42:17):
Yeah, nah, he's he's a prolific guy.
Speaker 2 (42:20):
So they were, they were. I think another thing that
that they did they played the party in is you
know how you know how when rappers are rapped and
you go, I don't think this guy really raps that good.
But the song is still like my favorite.
Speaker 1 (42:38):
It's still hard.
Speaker 2 (42:39):
Yeah. I think they were early on that too, because
all three of them, Little you know, stun It and
Little Be they had this little kid kind of flowing.
It's like I'm just saying I'm happy and I'm feeling good.
It wasn't really like a rapper flow, and then that
shit turned out to be really fucking popular.
Speaker 1 (42:55):
Shout out to Raffi Log Group our family. Yes, it's
been so dope to partner with, you know, such a
name and brand and somebody who I actually am a
customer of. Shout out to Raffi Law Group, man Arizona's
premier personal injury law firm. And I don't just put
my name on anybody when we do this stuff on
the Bootleg cap podcast and you see us partnering with brands,
(43:16):
We're very selective about who we connect with. And Raffi
is someone who's actually helped my family, helped my wife
get a settlement, all right, has helped over seventy thousand
people in Arizona. No matter what happens, Man, car accident, crash, injury,
you maybe get bit by a dog, I don't know,
whatever it is, Raffi Law Group makes the process less stressful.
(43:39):
They put money in your pocket. Yes, the name you
can trust, you already know Man Raffi Law Group. Save
the number just in case, because hey, you get into
a car accident tomorrow. You gotta call Raffi six two
three three eight eight four three three three and want
to wish a big happy birthday to Raffi's just celebrated
his fortieth birthday. We had a good time in Vegas.
(44:00):
He sent was there, Pauli d was there, mad Rich
was there. E c Rock was there. It was a
movie all right, Secretary of State was there. We were
just hanging out. Man. Look shout out to Brandon Raffi.
Don't forget Raffie Law Group. The only calling you to
make if you're an AZ and you get into an
accident or you get into any sort of injury situation,
they'll take care you immediately. Call Raffi. Baby, let's get
(44:22):
back to the podcast. I know you and Messi Marv
had your issues back in the day. It seems like
he's not doing too good. I've been seeing him kind
of go viral for for kind of how he's doing.
Is that something that comes across your timeline or I.
Speaker 2 (44:35):
Know all about it, man, I don't know how it
came to be. I know that all the things that
he was doing at a certain time in his career,
trying to pick everybody one by one and assassinate you
as a lyrical MC and a street threat and all that.
It was never it was never really real life. It
(44:58):
was some EMC Twitter days.
Speaker 1 (45:01):
It felt like some fifty cent how to rob type shit.
Speaker 2 (45:03):
Send it, send out a couple of tweets saying I'm
about to have somebody pull up on you and knock
you down. It was just it was I think it was.
I really think that it was some early signs of
what was to come. And I guess he's just an
extremist man and didn't have the right people to while
it was happening to say to make him stop, or
(45:27):
now where it's at right now, to get in and
make it stop. I would love to think that I
have the closest of friends and relatives.
Speaker 1 (45:36):
That would not let the wall, yeah, like you know,
have an intervention.
Speaker 2 (45:41):
And if I hit it all the way, they would
be like, you know, bring that ship back in a
relentless kind of way. And I know that he got
people that love him out there like that. And I
can't speak on it because if I, if I was,
if that was me and he wanted to have a
conversation about it without without Oakland's approval, that would be
(46:01):
like that ain't your business, that's town business. And you know,
I'm like, that's either Fresco business, film mode binished. And
he's he's one of the greats. We always gonna say
he's one of the greats, one of the Bay Area's
greatest to do it. But at this point, somebody gotta
do some uplifting and and somebody gotta change the story.
Speaker 1 (46:23):
I have a Jewish homie who wanted me to ask
you about your honka song, which I don't think people realize.
There is a too short.
Speaker 2 (46:30):
Honk a song and that's the title of it.
Speaker 1 (46:32):
It is literally called made you make a song?
Speaker 2 (46:36):
That's a TMZ story man. You know Harvey, Yeah, Harvey,
I don't I think he might have asked for it
or something something. Somehow. You gotta let my boy, Kevin
Black Tay Kbill tell you the story. So KB, who's Jewish.
I don't know how we get this. It was a
(46:57):
Harvey request or was it something that we thought of
that Harvey would put on TMC. I don't know how
it worked out. But KB gives me all the talking
points of what you would say in a hanaka song
and he explains to me, this is what this means
this is that And I just wrote a song. He
was even trying to, you know, even like help write
write it with me, give me like some some little do.
Speaker 1 (47:19):
You get like like that has to be shit that
gets like played randomly at like bar Mitzvah's that you're
even like.
Speaker 2 (47:25):
It comes up every year during the holidays. Yeah, somebody
get a spike, somebody mentions it. I've had endless Jewish
people tell me they know of it, So it's somebody
is sending it around. I think it's a it's probably
like an attachment kind of thing social media. Use it
(47:45):
for the music, for something funny you do during the holidays.
Speaker 1 (47:48):
I assume the number nineteen nine and ninety nine was hyperbole.
Speaker 2 (47:53):
It was a jab at the Wilt Chamberlain right.
Speaker 1 (47:56):
Wilt had his thing.
Speaker 2 (47:57):
Wilt wrote a book. According to book, he said he
had sex with twenty thousand women and me with my calculator,
I put it on the calculator to see what that was,
and it comes up to something crazy, and they we're like,
you gotta.
Speaker 1 (48:11):
Have a your whole life's fucking.
Speaker 2 (48:12):
You gotta have like a threesome every day for like
twenty thirty years insane.
Speaker 1 (48:17):
Do you remember, because I think like as young men,
we always will keep a body count back in the days,
you know. Yeah, but then there was like a point
in time, like not to make myself sound like a whore,
but there was a point in time where I just
stopped counting and.
Speaker 2 (48:30):
I stop, you gotta cut that shit out.
Speaker 1 (48:31):
Do you remember the number from when you last knew
your number?
Speaker 2 (48:37):
Crazy? Man? I'll tell you like this, I did not
write that song that was you know, when I was
working on the Pimp album, I brought mister Fab in
shot to Fab. We had a technique we were doing
for the Pimp album, Fab with because he totally motivated
(48:57):
that album. I was not thinking about making an out.
I was enjoying my life. This was, you know, twenty fifteen.
I was out having a ball, oh, running it up,
and He's like, got to make an album, man, a
star studied album with a bunch of features. We went
through this whole process of how we got all these
features and all this stuff. And Fab had a technique
(49:17):
where I was like, just go in there and freestyle one,
take freestyle whatever you freestyle, and take the freestyle, and
I'm going to write a verse from it, and we
did that shit for a lot of songs, and he
came up with that nineteen thousand ninety nine bitches, I'm
all you will, and it was just it was funny, man.
We got to get laugh off that shit.
Speaker 1 (49:36):
No, I think.
Speaker 2 (49:36):
I think.
Speaker 1 (49:37):
I think from like a perception of like a little
kid who grew up listening to your music. I just
assumed that you had had more sex than anyone in
the world because you're fucking too short. Is that like
it's like that in the Pimp and shit. I feel
like just fans got to be like, yo, if you
listen to Two Shorts music, you have like a perception
of him, especially.
Speaker 2 (49:56):
So if you've been listening to one end, you got
the the lure of the legend, yes that it could
be told in the story, right, But then on the
other end, early on you would have probably said, well,
I used to see him all the time. It was
with like eight bitches, just walking by myself. And you know,
(50:18):
then you got photo shoots and videos to sell the dream.
There's a lot of stuff out there in the in
the universal files of Two Shorts, bitches, but I could
never tell because you know, we're talking about people's mothers
(50:39):
and aunties. Now somebody's wife like like like if I
started talking and ship, that's.
Speaker 1 (50:47):
Just stigma, Like you are kind of the guy who
coined the player ship for real? Did that stigma ever
hurt you with like a girl who you were like
really trying to like do like being a serious situation with.
Speaker 2 (51:01):
Yeah, I clash with about a handful just on subject
matter image a present day song that just like like whoa,
why would you say that? And it's like, you know,
some some of that shit sounds so precise that it's like,
you know, like a recent ex girlfriend called after an
album drops and goes, what the fuck, bro, you can
(51:22):
talk about me. I'm like, I didn't say anything about you,
and they're like, bullshit, so you did that to me?
And it has always been an over exaggerated truth. Too
short shit is meant to be extra player and it's
(51:43):
meant to be hilarious, laugh at it, and then these
stories are just you know, this is another thing I said.
If I wasn't too short the rapper, I could have
been the guy who directed a series of movies with
a character too short.
Speaker 1 (51:58):
What I'm saying, bro, Like I'm telling you you already
got Simba to play you, you can put some ship together.
Speaker 2 (52:04):
If I if I did too short the TV series
and it was sort of like pretend to be true
to the music character and not to flick, you know,
too short to be a motherfucker develop it.
Speaker 1 (52:16):
But by the way, how cool was it to see
because Sima did such a good job playing you, And
like Simba, he's a good friend and he's just such
an amazing talented guy. But like when you first saw
him and.
Speaker 2 (52:29):
I got a steal photo and I was like, dope.
They pulled it off. They figured it out, and then
I started acting and I told him, I told him, brother,
I haven't talked about this in a while, but I
told him, I said, you nailed it on the head,
everything except eating pussy before a show. Like in one
scene and I think it's his opening scene when he
(52:50):
the first time he's on camera. He he's getting ready
to do a show and he's got his face in
between the girl's legs and then come up and like,
oh it's time to get on stage. Something. I'm like,
never ever with that, ever ever happened.
Speaker 1 (53:06):
Ever, Let's be clear, I might get my dicks up
before the concert, but I'm not before. Come on, that's insane.
Speaker 2 (53:13):
But you know what, so the entertainer in me. I
saw a couple of screenings, and I saw it after
it came out, and every time I seen Popped, the
people laughed. I'm like entertainment.
Speaker 1 (53:25):
Who walks on the new album that's dropping Friday?
Speaker 2 (53:28):
Damn, you're gonna make me have to go to this well.
It's produced by Little John, so he's he pops up
on the album. Sugar Freeze on there, Sweeties on there.
I'm gonna forget somebody of course. Uh of course, Tiger
Snow the products on there. Mount west Moore is on there.
Speaker 1 (53:48):
So there's a Mount wes Moore track, Everybody Together on one.
Speaker 2 (53:52):
I literally took it off the Mount Westmore album, the
unreleased album. I picked the I picked the most likely
song that wouldn't have made the album, but it's dope
as hell. Yeah, and that's the one that made it.
Who am I Missing Somebody? That I was just about
to say and I forgot. I got a little skit
with me and god Free, the comedian who am I missing?
(54:15):
Yelling out? If you know? And King George in South Yeah,
that's my guy.
Speaker 1 (54:22):
One monkey, don't stop the show. Yeah, that's my ship
some player ship too. That's some too short ship for real.
Speaker 2 (54:28):
We did a player song together.
Speaker 1 (54:29):
That's is it like in that vein of that like
it's his style.
Speaker 2 (54:32):
Little John wanted that.
Speaker 1 (54:34):
That's gonna go crazy.
Speaker 2 (54:35):
Little John wanted that that's I don't know if you
call it southern something. Yeah. Uh.
Speaker 1 (54:44):
You got to know the product on the album minutes
before having to turn it in.
Speaker 2 (54:49):
Yeah, so we had to literally like turn the album
in at ten am, and at one in the morning
we were still working on.
Speaker 1 (54:58):
It and this was you go you at her house.
She does a live stream.
Speaker 2 (55:02):
Yep, you know she's gonna stream everything.
Speaker 1 (55:04):
So you guys did the record on her stream the
whole time.
Speaker 2 (55:08):
That's fire And we had people like commenting on what
direction the song should go in and that's hard what
to say and that kind of stuff.
Speaker 1 (55:16):
That is fire man. Well, listen, the album is dropping.
You are, so there's two more volumes coming, right, Yeah,
can you explain just remind everybody Volume three, Volume four
we know. Volume two is the joint album with John.
Speaker 2 (55:28):
Volume one was the throwback. Yes, we go listen to
it right now. It was intentionally freaky tales. Yeah, That's
why the SAR two short Volume one, it's really supposed
to feel a little unpolished. Yeah, and then we follow
up because I didn't want to just drop the Little
John first. Everybody, you gotta put a Little John out first.
I'm like, no, let's build up to it a little bit.
(55:50):
So then the one that follows up Little John is
sort of the same energy, because you know, I worked
that vibe that that one hundred with other producers and
stuff some Little John on there. Of course, then and
Banks reappears, and Banks is all over the first volume,
so he popps back up on volume three. It's you know,
I got a producer out of Bakersfield named Decades who
(56:15):
works with forty and this stuff with cubes, a lot
of people. A lot of his energy is on the
Little John songs because we're working on a lot of songs.
And when Little John gave me the beats, I took
some of the stuff I was working on Decades when
I applied it to the Little Johnt beats because Decades
got all these dope ass high energy hooks and shit.
So Decades is weaving through all the all the tracks.
(56:41):
When you get the volume three, it's got good energy.
It's gonna give you a little bit of an intro
to Volume four, which is more like us the serious
too short that isn't going to appear on any of
these volumes. To the end, you know, it sounds like
the Ghetto and the Reks too shit or of course
getting it. That vibe is.
Speaker 1 (57:02):
All Volume four.
Speaker 2 (57:03):
Volume four fire Man, after everybody goes this old ass
motherfucking child is right about this ship pep and shit
and blah blah blah. Did I hit him with the
grown man shit last? That's fire Man.
Speaker 1 (57:14):
Well, listen, I hope you can convince your band members
to put out the album that you talked about earlier. Uh,
and I'm looking forward to hearing the Little John Project
in its entirety. Yeah, is there anybody because I think
of like, because you were you'll do a joint album?
You forty got joint albums. Is there anybody who you
(57:36):
haven't done a joint album? You talked about sugar Freeze
on that flight you're a sugar free go crazy for ten.
Speaker 2 (57:40):
That would probably be the one, Yeah, you were sugar free.
That would just probably be like the one that so
many people at this age ogs they will love us
to just like like be Bb King and Bobby Blue Bland,
you know what I mean.
Speaker 1 (57:53):
Yeah, nah, even like I even think like a guy
like you know, someone like Plow or even Sweetie. You're
Sweety doing a joint project Ago Crazy, you know what
I'm saying. So she talked that, Yeah, she she talked
that shit.
Speaker 2 (58:03):
For sure.
Speaker 1 (58:03):
She got pretty privilege. They say, do you think that's
a thing. There's this pretty privilege shit going on right now.
The girl got pulled up on the on stage.
Speaker 2 (58:12):
I know, but I just don't know if it's negative
or positive? Like what is it?
Speaker 1 (58:17):
I guess that the girl said she got there was
the girl who got.
Speaker 2 (58:20):
Pulled up on But is it positive or negative?
Speaker 1 (58:22):
I think it's supposed to be positive. But then if
something goes wrong, they'll say, oh, you just hate on
me because I'm pretty.
Speaker 2 (58:28):
Oh damn. So the pretty girl's the victim. I thought
it was there's a privilege because I thought he were complaining.
Speaker 1 (58:35):
No, it's the pretty women that made up this word.
Sweety talked about having pretty privilege and yeah, do you
feel like the the like hard sevens are always kind
of like the safe bet when it comes to it.
Speaker 2 (58:47):
Well, that's a that's a barbershop conversation hard seven soft eights.
I do know that I'm not really following this pretty privilege, yeah,
but I do know that there's a gang of pretty problems.
Speaker 1 (59:02):
There are a pretty problems.
Speaker 2 (59:03):
Yeah, so say you know the pretty problems that somebody
else wouldn't have and take it a leave it.
Speaker 1 (59:11):
Short, My guy Man, Volume two comes out Friday by
the time you but this, this would be dropping Friday,
so it'll be out now, So go go support go
stream uh you Fully produced by Little John Executive produced
by Little John. Volume three. I'm assuming before the end
of the year, it better be better be there. You go,
man too short. Appreciate you brother. What if y'all were
(59:31):
here at Ease you already know. If you're in La
Southern cal Man, tap in, go to the website right now,
use that promo code bootlegger and to get thirty percent
off Flower Concentrates. Whatever you're into, they got it thirty
percent off. Go to ease dot com right now. It'll
get delivered right to your door. Or if you're in
LA pull up because we're here right now. Come on,
(59:53):
messhout out to Ease. Assass
Hosts And Creators
James Andre Jefferson Jr.
Bootleg Kev
Brian Baumgartner
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