Does Snoop Dogg have the greatest greatest rap album of All Time?

It’s almost time!!!

As we come near completing our top Gangster rap albums of all time, we all unanimously agree that Snoops “ Doggystyle” is worthy of #1 consideration and Eiht discusses the reality that is the music industry and how a lying exec caused him a multi million dollar deal much much more!

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Episode Transcript

Speaker 1 (00:00):
But all right, job.

Speaker 2 (00:03):
All across the USC Compton, Watts Bay to LA. Come
on to California day from Owy the Valley. We represent
that Keller County. So if you're keeping it real on
your side of your town, you tune into Gainst the
Chronicles the Coronic Goals.

Speaker 1 (00:21):
We gonna tell you how are we goals?

Speaker 3 (00:24):
If I lie my notes will girl like Pinocchio. We're
gonna tell you the truth and nothing but the truth.
Gangs the Chronic Goals.

Speaker 1 (00:30):
This is not your average shows.

Speaker 2 (00:33):
You're now tuned into the rail mc ain't, Big Change
and Big Steals the streets.

Speaker 3 (00:40):
Hello, Welcome to the Gangst the Chronicles podcast, the production
of iHeartRadio and Black Effect podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles.
For my Apple users, hit the Purple Michael on your
front screen. Subscribed to Against the Chronicles, leave a start

(01:00):
rating the comment. We like to welcome every one to
another episode Against the Chronicles podcast. I with my guy. Yeah,
and you know we got our guy Sowmre and Baker,
you know journalists exporting there.

Speaker 1 (01:13):
I'm back. I'm here, hip hop expert. Thanks for having me.
I appreciate it.

Speaker 3 (01:17):
What would they call that in the university now, man,
you I don't know hipologists, hip hopologists.

Speaker 1 (01:26):
I don't know what. I have to figure that out.

Speaker 3 (01:28):
We had to figure that out because hip hop is
fifty years old, and staying in tune with that, we
are going start wrapping up this Top fifty Gangster Rap
Albums of All Time. I got a few emails last week.
I got an email from a couple of guys over
in Italy, a couple of people from Spain, couple people
from Germany. It's amazing how people overseas just so much
more in the hip hop, just so much more in

(01:48):
the culture than they are here in the States. Because
they was really into it. They were saying, could we
get a more finalized list because we know you guys
have been talking about and I said, you know, we
do have another list coming. We just have over these
conversations right now. So staying in tune with what I
promise to people in those emails, were gonna start getting
busy with the bigger reveal coming next week for the

(02:09):
actual top fifty, the final Top fifty, because everything you've
heard thus far has just been our thoughts, right, so
we get that going and you know, we was having
the debate earlier, and y'all be killing me, man, because
y'all say a lot of my favorite songs ain't gainst
the rapper. Like, I can't believe y'all don't think Rick
Ross is against the rapper. I can't believe y'all don't
think Biggie is against the rapper. Y'all killing me.

Speaker 1 (02:32):
But they're not. Though.

Speaker 3 (02:33):
Still Biggie small as he was against the rapper. Nah,
what ain't gangster bottom? What is he? Then? I know
y'all can say he a hustler rapper. To me, Biggie
is kind of like the precursor to Rick Ross. I
can see a lot of Rick Ross and Biggie, you

(02:53):
know from the style the big Man Flepper. Ross don't
lost a gang of.

Speaker 1 (02:56):
Weight, now, yeah, I mean I could see it, but.

Speaker 3 (03:02):
It sounded like Ross definitely got his own ship.

Speaker 1 (03:06):
Yeah, but I just think that Biggie was different in
the sense of his uh, his storytelling and stuff. I
think is different because Ross, while similar in some ways, Yeah,
I just I don't see it.

Speaker 3 (03:22):
No, they don't sound like I'm just talking about as
far as aesthetics, you know, from the dress and everything,
Big even wear the coogie sweaters and the ship. He
was the first big dude to kind of get fresh.

Speaker 1 (03:34):
The Fat Boys too, Let's not people always forget the
Fat Boys.

Speaker 3 (03:37):
Fat Boys actually had some jam and as beats too.
They had ship that.

Speaker 1 (03:41):
Not Shout and Prince market d and Buffett. People sleep
on the Fat Boys, man, but they're very important.

Speaker 3 (03:49):
You can't very important hip hops with Some of hip
hop's first superstars had mega movies, had endorsement deals at
the time. Wouldn't happen Remember when you had endorsement deals
back in the day. People with dish. Yeah, Chris Marky
d used to produce some good records.

Speaker 1 (04:03):
Yes, he did a lot of R and B.

Speaker 4 (04:05):
The little album he did after you Know, down the
Road that motherfucker was banging. I used to bang that ship.

Speaker 3 (04:12):
Yeah.

Speaker 1 (04:12):
They I remember too when they had that movie Disorderlies,
and I talked to Kourokski about this in particular, but
I just remember that was one of those early moments
where my dad actually liked something that was wrapped that
was a little outside the normal realm.

Speaker 3 (04:30):
And I just remember that that was that was on
some ay commercials. Yeah exactly, that was opening the door
to that. You know that uh, that other side of hip.

Speaker 1 (04:40):
Hop fi side of the business.

Speaker 3 (04:43):
Motherfuckers, dude.

Speaker 4 (04:44):
You know, that's that's when other people come in, get
to making taco bell commercials and ship like that. People,
you know, people kind of oh, I like that. You know,
he made a rap about tacos and.

Speaker 3 (04:56):
Ship you know, So that's how that aspect came.

Speaker 1 (05:00):
And they had to wipe out song they had.

Speaker 4 (05:05):
Yeah, yeah, they was doing They was doing that uh
that tone Loak route, you know, that wild.

Speaker 1 (05:12):
Thing Route Machine Jail.

Speaker 4 (05:15):
Let's try to rework you know, because uh, hip hop
was you know, trying to find you know, that identity
as far as they was concerned, coming from the early stages,
and then you know.

Speaker 3 (05:30):
To me, that was the hottest project was their first project.
Well you can tell when they got with the major label,
they start trying to turn them into a novelty. That
kind of they was trying to rise off the popularity
because at the time they didn't even know if hip
hop was gonna still be around. So it's one of
the things like let's make as much money as we can.

Speaker 4 (05:47):
It's like one of those one of those yeah, those
that that beginning thing, you know, let's let's let's snatch
and grab that ship, you know, because they didn't know,
like you said. Then when Crush Groove and the success
of of the jail House Rap and All you Can
Eat and All in the Stick Them and all that shit,

(06:07):
you know, like you said, they got picked up by
a major, and then the majors was like, we don't
know what the fuck to do with this type of music,
So basically, let's do like some more parody bullshit, you know,
Let's have them, let's have them rapping to wipe out,
and let's have them wrapping the sex machine and let's
just work to.

Speaker 3 (06:27):
A certain degree because they sold a gang of records.

Speaker 4 (06:29):
Yeah, but to me, they started losing their credibility of
real hip hop and shit because you know, a motherfucker
like me who loved jailhouse raping, can you feel it?
And shit like that around and now you want me
to bust. Now you want me to bang wipe out
like really like nigga, I'm on the block and content

(06:53):
I can't bang white out purists.

Speaker 3 (06:56):
I could picture a record company coming to him now
with beats from Timberland and all these people. We want
you to rap on this and with his shiny suit.

Speaker 4 (07:05):
I had to go through that ship. When I left
Sony and I went over the Big Beat Atlantic, and
they no longer wanted to funk with our type of music.
So yeah, they started, uh getting me to listen to beats,
you know, timbling with make era, you know all that.
You know that that era that came with you know, Uh,

(07:29):
I call it that Jahru era, that that era around
me there, I had an N O t R deal.
I had a production deal with Big Beat Atlantic through
Craig Cowman, and you know, I'd signed a deal before
I went over left Epic, and so after my last record,

(07:50):
I went over there. You know, I thought I had
a nine album production deal and uh we produced a
record on N O t R.

Speaker 3 (07:59):
And it got shelved because.

Speaker 4 (08:03):
They basically know they were going through that cop killer
death row transition, trying to distance themselves from niggas like us.
So it was like, Okay, damn, we just signed this
deal with this dude. And the crazy shit about it
was before I had turned in my last record with Sony,

(08:30):
they tried to offer me a.

Speaker 3 (08:31):
New deal Sony and I had already signed the deal
with Big Beat. So when my last record.

Speaker 4 (08:40):
I was supposed to go over there, but Sony came
back to me and said, well, fuck it, let's do
three more records. So I hadn't taken a dime from
Big Beat Atlantic. I hadn't taken a dimond.

Speaker 3 (08:53):
Now.

Speaker 4 (08:53):
I think I did a publishing deal with them, and
I took some money from a publishing deal for my
previous works, but I hadn't took a dime for any
of the projects yet. And I went back over there,
and I was like, fuck it, I'm gonna go back
to Sony because they had like they had like almost
two meal on the table for me to resign. And

(09:16):
uh So I went back to Big beating him and
I was like, well, you know, Sony done offered me
some bread, and since I haven't even walked in the
door over here, let's just tear the deal up and
I'm gonna stay over here. The motherfucker said, no, give
me half a million and I'll let you go.

Speaker 3 (09:33):
Wow. Who was that, Craig Cam. Craig Cam and gotta
be one of the most files niggas in mute.

Speaker 4 (09:38):
He said, they said, give me a half a million
and we'll let you out the deal. And I said
I ain't even started the deal yet.

Speaker 3 (09:46):
Like, I can see if you had got some money
from me.

Speaker 4 (09:48):
I hadn't took yet, so and then so they wouldn't
let me out the deal. So I had to renig
on the Sony deal, pass up on the two meal
So but I'm like, fuck it. I got a nine
album production deal over there, so fuck it. As soon
as I get over there, they was like, pump your breaks.

(10:09):
We don't know what we want to do.

Speaker 3 (10:11):
Wow, are you serious? Yeah, that's what they said.

Speaker 4 (10:15):
Pump your breaks, we don't know what we want to do.
I said, oh, I don't give fuck. I gotta sign contract.
So where's my production deal money? They was like, hold up,
we don't know what direction. So they go, okay, well,
because you know how me and Slip was producing all
my shit, you know. But they come back and they go, well,

(10:38):
we're taking a different direction blah blah blah. So basically,
anything I turned the in from my camp they didn't
want it. So then they started going, well, we want
to send you a beat from this dude. We want
send you a beat from this dude. We want to
send you a beat from this dude. And it was
all that transition shit and no, we don't want you
to talk about this.

Speaker 3 (11:00):
They all happened to be signed to Craig Caumera. I
don't know where they was from. You know, you know
what he started doing after a while, you know where
he made a lot of money from. He had went
and got Feen, you know, Fin there was no limit,
and he took him down. They had him writing for
a bunch of people and was pretty much using Fiend
as a and R. So Fien went out and found
a whole lot of people, like a whole lot of

(11:20):
people actually blew up in the South got signed by Fien.
And what was crazy was Fien was telling me that
pretty much Craig Camera and that sold all his publishing
and cashed out like and got millions of dollars, something
like eighty five million dollars. And he had to find
out about it from reading one of the journals. And
the trade magazines didn't tell him nothing, didn't give him

(11:41):
a dime, didn't send him a million and say good
looking out for helping me build this and nothing, so
I could believe that he probably wanted to get in
on your production and all that shit too.

Speaker 4 (11:50):
I don't know what but now they was just the
They basically was like, we don't want none of that.
We don't want none of that old he ate c
M dub Ship. Well, I had to threaten to take
him to court and sue him because they didn't want
to give me the budget. And they told me that
I was free to go seek another deal if I wanted.

Speaker 3 (12:14):
You could have went them together two millions.

Speaker 4 (12:17):
But yeah, but tearing up Ship, well, you know, we
went back in for for a minute and then uh,
you know, shit started getting ugly and whatever. So we
settled and they paid me something and I went away.

Speaker 1 (12:35):
Wow.

Speaker 3 (12:35):
And then that's when you wouldn't did a thing with Matt. Yeah,
that ain't no telling what kind of records we had
to get off that motherfucker. Sony already knew what to
do with you. They already had you.

Speaker 4 (12:47):
Sony really didn't know shit to do with me. That
was the problem all my time with Won't. That was
the reason for me exactly, And I don't know how
to fuck I'm oh, that's how I met Craig because
of my niggas from DFC, my nigga, my Breed's cousin,

(13:10):
Breed's cousins. They got a deal through Craig and they
hollered at us to do some some work. They project
me and Slip did Caps Get Peeled? And I think
Slip mixed half Day album?

Speaker 3 (13:29):
Y'all did that? Yeah? Well Caps, Yeah, Caps get pilled? Yeah,
that was me and Slip. I didn't know that. That's hard.
I told y'all, Produce is a cold motherfucker behind on Courtland.
So that's how we hooked up with Craig.

Speaker 4 (13:42):
And then from that, you know, just the successive minutes
to Society and Me and Slip, you know, doing we
Come Strapped and all that. He offered me a production deal.
So I was gonna do Niggas on the Run in OTR.
I was gonna do the homies, little Hawking Bird, and
then I was gonna do me.

Speaker 3 (14:02):
I was always wondering who there was because she was
promoting the hill out of them when he'd be on
that chair, a little Hawk and Bird, neighborhood Niggas on
the Run. I was looking forward to that ship.

Speaker 1 (14:10):
I was too.

Speaker 4 (14:11):
And then yeah, we worked on the n OTR album,
our album. We did the whole album, mixed it, everything,
turned it in and it never came out.

Speaker 3 (14:21):
It got shelved and so after that, I just knew
ship was finna go.

Speaker 1 (14:28):
You know, it's the music business.

Speaker 3 (14:31):
You know what, let me take that bet. I can't say,
Craig camera and this file.

Speaker 4 (14:35):
Businesses, you know do business business. It's shrewd business, and
I think it's fucked up, but it's freud business. Like
when you in that when you're in that position to
where you're kind of like sitting at the head of
the table. I mean, you know, he he got a
big position with with his with Big Beat, and then

(14:56):
you know, because once we came over there, he was
like running Atlantic or one of the big dudes over there.
He wasn't even on no Big Beat shit, that was
his label. But when I when I hooked up with Craig,
he was Atlantic like he was Atlantic. Nigga took us,
he took everybody. He took us all the dinner and

(15:17):
bought us Christmas gifts.

Speaker 3 (15:19):
Nigga.

Speaker 4 (15:19):
When we signed the deal, we got a fancy dinner.

Speaker 3 (15:23):
Nigga.

Speaker 4 (15:23):
He bought Christmas gifts for all the crew. Everything that
Nigga was like, he was cool, but like I said,
shrewd business.

Speaker 3 (15:32):
What can you do?

Speaker 4 (15:33):
And and a Nigga ship nigga gave me by what
two two and a quarter on a fucking publishing deal.

Speaker 3 (15:40):
Like I was, like, fuck it. He was pretty cool.

Speaker 4 (15:44):
But like I said, when it comes to business, and
like I said, the transition of hip hop at the.

Speaker 3 (15:49):
Time, it was going through a rough. It was going
through a rough. You had this ship with Ice Teeth,
You had the cop killer shit, you.

Speaker 4 (15:57):
Know, the Reverends and Dolores Tuckers was out there. Ye
I'm niggas is mentioning us on political campaigns and shit,
and I had a double sticker on my album and
shit because of shit like that, Nigga.

Speaker 3 (16:11):
That album wasn't even that bad. That's the crazy part
about it.

Speaker 4 (16:14):
We come strap out a double sticker because the labels
were getting a lot of they were getting a lot
of motherfucking hard hit from just activists and community motherfuckers
about Like, man, these niggas is with the bitch and
the whole shit, and niggas were with the drive bys

(16:36):
and with the police shit and all that. They didn't
like it. So we got a hard time. As far
as when West Coast rap got real popular, you know
what I'm saying. East Coast was the forefront if you
want to say, but a lot of them, you know,

(16:57):
Chuck D looking public enemy, you know, devil this and
fuck this and fuck that. They didn't have it hardest
niggas over here, as far as y'all nigga said, fuck
the police, and y'all nigga said, y'all getting jacked in
his drive by shooting. What year was this, man? This
was like shit between like the mid nineties, like ninety three,

(17:20):
ninety four, ninety five.

Speaker 3 (17:21):
You know what happened during that time. If you remember
the Ghetto Boys first major album, when they went and
kind of redid the previous.

Speaker 1 (17:31):
One that's in my top ten, Yeah, we can't be
stopped called No No No Call. On the other level, No,
it's the Ghetto Boys album. It's the one with the
mug shots.

Speaker 3 (17:41):
When they got with when they got with American, they
got with Rick Rubina America pretty much when I was
in Death America. Not that he tried America with the
spin on it. Yeah, but what they did was they
had kind of redd the earlier. It was kind of
like like it though.

Speaker 1 (17:57):
Grip It on that other level was basically remade into
the Boys.

Speaker 4 (18:01):
And I didn't like the Ghetto Boys I liked it
gripping on that other level. It was raw, it was raunchy,
it was real. I didn't like the way they polished it.

Speaker 3 (18:12):
Yeah. Yeah. And then the distributor, I think Giffen, refused
to distribute the record. So you was going through a
whole lot of ship at that time.

Speaker 1 (18:22):
Well, I have all that in my book, The History
against the Rap if you haven't. But the thing is,
it was the that one was back when they used
to manufacture CDs. The company in Indiana that manufactured their
CDs refused to press the CD because they didn't approve

(18:43):
of the content. So it's wild that we think about
now all the wild stuff that we see on TV
and in these songs and stuff that back then people
actually refused to make an album, which then got Rick
Rube to lose his deal and all this other stuff.

Speaker 3 (19:02):
Definitely, it was big.

Speaker 1 (19:04):
It was a big deal, and I think now we went.

Speaker 4 (19:06):
Through a lot of of of we went through a
lot of backlash trying to it was problem establish our
identity and hip hop because you know, uh we you
like I said, we had the forefront of hip hop,
came out of East Coast, you know, and like I

(19:28):
was just talking about you know, we had the Fat Boys,
and we had run DMC and Curtis Blow and you know,
Utfo and Houdini and a lot of you know, the
audio tools with a little MC light and then you
had you know the little tifuzz that come out of
there and all that type of you know, so it
was trying to it was hard to establish our identity

(19:53):
as far as West Coast, and then when we did,
we caught a lot of backlash four our identity of
you know, who we were.

Speaker 3 (20:03):
It was just so different at the time. Man, I
think a lot of people were scared.

Speaker 1 (20:08):
I think that's a big part of it. Everybody was scared.
It wasn't just the music industry one white people. I
think it was everybody was like, Yo, what is this
and why is everybody love it so much? And I
think that that scared a lot.

Speaker 3 (20:24):
And why do you think that is? Though?

Speaker 4 (20:26):
Why do you think do you think it was just
a fascination of listening to this new form of music,
you know, as far as hip hop is concerned, because
you know, motherfuckers was listening to hip hop.

Speaker 1 (20:39):
I think it's I think it's to me what I
noticed and what I saw and actually on Ice Tea's
home invasion in cubes lethal injection. It was the fact
of to me, it was the white kids listening to
this reality that people weren't getting exposed to before. That's
going to change their minds, Like, wait a minute, what

(21:00):
we've been taught in school is wrong. What we know
to be true is not true because look at this
other reality that is reality. I agree with you, because
that's crazy.

Speaker 3 (21:10):
You know. Obviously you're white, right, and you come from
a different environment than me and eight right, you know,
but you're very much into the culture right, have been
since the beginning. And I think that when people see
what they see in the mirror, sometimes they don't like
what They still don't like the reflection, you know. And
I think, once, because the people that blew this shit up,

(21:31):
let's keep it real. It wasn't neighborhoods that blew it up.
It was the It's like you would cross the country
in the suburbs. It started getting like, hey, is this
really going on over there?

Speaker 1 (21:41):
Yeah, because the thing I just remember when I was
first hearing PSK or six in the Morning or Boys
in the Hood, it matched what I was seeing on
TV or reading the newspaper or when I would go
on to Baltimore or DC what I would see, But
it was being told by the people that were living
in which I had never seen, ever heard other than

(22:01):
you know, if I knew people or my friends knew
people or relatives, my friends or whatever that were in Baltimore,
in DC in the hoods, then I knew it. But
I had never heard it told from Philadelphia, from New York,
from LA from Compton. Like that made it so different
than it added a real element to it. And I

(22:22):
think that's what shocked everybody that not only are these
dudes making this amazing music, but they're incredibly intelligent. They
can articulate their views and they're really telling what's going
on in a way that we had never heard before.

Speaker 3 (22:38):
Well, I guess what that being said. I guess we'd
let you kick it off soon. I guess we're doing
fifteenth to one.

Speaker 1 (22:45):
Well I did mine, so we just doing the top
ten because I did up to number eleven last time.
So y'all got to do fourteen or still, especially you
got to do fourteen to eleven. Fourteen to eleven, yeah,
or fifteen or eleven excuse.

Speaker 3 (23:02):
Me, fifteen to eleven. Man, Damn, I've been kind of
struggling with that. Man, I've been really struggling with it
because there every time I think I have a list compiled,
I start thinking, I go back to listening to stuff
and I say, no, I can't put that that low,
and I gotta put it here because you know what,

(23:23):
to me, I take this serious. Man. You know it's
some dope ass art out there. Man, Yeah, you know
it's a dope ass art even kind of coming to
the final five. Man, it's like, Damn, I really put
that down there. I really put that. You know. It's
tough because there was and I would say between nineteen
ninety one and probably nineteen ninety nine, there was so

(23:48):
much incredible music, man, man, like really incredible music. And
the thing that was dope about back then is nobody
sounded like You would get slaughter for coming out sounding
like somebody else, Like. It wasn't nobody else to sound
like MCA. It wasn't nobody else to sounded like Snoop.
It wasn't nobody else to sound like Easy. You feel
what I'm.

Speaker 1 (24:06):
Saying, Well, I think they did. They just were so
less popular because people looked at them and it's biting.

Speaker 3 (24:12):
Yeah, you couldn't bite, no biting.

Speaker 1 (24:14):
I were people that were out that sounded alike, but
they didn't like the.

Speaker 3 (24:18):
Second Motherfuckers because didn't nobody want to hear cheap imitation.
It's like this.

Speaker 1 (24:22):
They were there, though.

Speaker 3 (24:23):
I wouldn't go said they was there. They were there imitation.
You probably got some dope ass, you know, imitation Jordan's somewhere,
but I wouldn't know about them. I'm not even wearing
a motherfuckers no.

Speaker 1 (24:33):
Because remember, even though I never agreed with this, there
were people that said that EPMD was sounded like rock him.
You gotta remember that that was a thing, and they
both each rapped about it on their albums. So it
was a thing.

Speaker 3 (24:48):
And you don't get how they think Eric Sermon sounded
anything like rock Kim.

Speaker 1 (24:52):
I think it was more PMDD, but they definitely sound
around talking this.

Speaker 3 (24:59):
And said I sounded like Rockym.

Speaker 4 (25:01):
That's why you didn't want to fuck with me on
Ruthless because I sounded too much like rockim.

Speaker 1 (25:07):
Remember on so what you're saying, Remember on so what
you're saying, people around town talking this and that, how
we sound like the r at Our music was.

Speaker 3 (25:14):
A whack dropped the album.

Speaker 1 (25:18):
Thought it was thirty days later people and gold to
what you're saying, So there was always that element to it.
But they no one I've been never heard anyone, nor
are they. But nobody looked at EPMD whack. But I
also never looked at them as rock Kim even though
some people did, because I never did.

Speaker 3 (25:38):
But they never got that resemblance of sounding like rock.

Speaker 1 (25:43):
Because when I heard so what you're saying and Parish
was saying that, I was like, Who's who's comparing them
to rockym Like I'd never heard that until they said it.
But then I asked people around, and then when I
would meet people in New York later, They're like, oh yeah,
a lot of people thought that because I guess it's
because they had a slow flow and they were laid back,
and they weren't.

Speaker 4 (26:03):
I can see them trying to say, you know PMD
because you know he has that slow flow to a
withdrawal of his speech.

Speaker 1 (26:13):
So but never, I never never would have thought it.

Speaker 4 (26:17):
Yeah, not in a million years. And I was fans
of both. You know, I grew up on Rocky M
and EPM.

Speaker 3 (26:23):
D me too, So.

Speaker 1 (26:27):
I would have never thought that nah never, but you.

Speaker 4 (26:30):
A lot of that just comes from somebody being the
first yep. And whether it be friends or homies or
just fans. Anytime somebody comes out new trailing, it's always
you gonna get that. Oh man, you're trying to be
so and so. You're trying to be so and so

(26:52):
until you make your significant point or you or you
make your presence known that nah, nigga, this is me,
you know, but a lot of people would would get that.
Or who y'all trying to be exactly the same ship
with us, y'all trying to be in w A which
y'all see them w You know, you get that until
you have to.

Speaker 1 (27:13):
Make There was a rap group America's Most Wanted. There
was a rap group Detroit's most Wanted. There was all
kinds of.

Speaker 3 (27:19):
The most wanted. Have to see him Dub get in line, sucker,
That's what I'm saying.

Speaker 1 (27:28):
They were always there. It was just that they were.

Speaker 4 (27:30):
It lied sucker, not some y'all was original though Nigga
was original.

Speaker 3 (27:36):
Nigga see him Dub Nigga Compton, don't play.

Speaker 1 (27:42):
Man. It's crazy, But yeah, they always had somebody come
and sounded like somebody else, that's for sure, man. And
the best example, the most egregious example is effects. So
many people bit them in one of.

Speaker 4 (27:56):
The everybody a lot of a lot of motherfuckers wanted
to everywhere chicky, chickeny and everything and.

Speaker 3 (28:02):
Then fuck that ship, dude.

Speaker 1 (28:05):
Effects were the most bit ever because career a little bit.
Everybody biting them hurt them.

Speaker 4 (28:12):
They style was some motherfucking just ridiculous. I loves effects.

Speaker 3 (28:17):
It was original. I was, like you.

Speaker 4 (28:19):
Said, because because of the fascination with their style. Nigga,
you heard a gang of niggas chickeny, chickeny.

Speaker 1 (28:28):
Yeah, this ship diniz.

Speaker 4 (28:33):
All that a gag and niggas bit by niggas from
the y'all got effects. Nigga, we got that ship too.

Speaker 3 (28:39):
Nigg Chiggity chickeny nigga boy, striggy striggity nigga. Man.

Speaker 1 (28:45):
I just remember that was that was one of the
main tapes that my boys loved in Maryland. That's effects, man,
dead serious effects was their beats on there.

Speaker 4 (28:58):
Oh my god, they kind of flipped the game, right,
I mean when they come from New.

Speaker 1 (29:02):
York, well once from New York. Uh dre's from Jersey.

Speaker 3 (29:08):
And some hard ship. Man. They beats was just like
damn man, Yeah, each niggas doing day damn yeah exactly.

Speaker 1 (29:17):
And their other albums are great too, they're just very different.

Speaker 3 (29:21):
That first album just it was just out.

Speaker 4 (29:23):
But you know, sometime when motherfuckers come out in that
first project, man, it's just how it's like, you can't
you can't touch that again.

Speaker 1 (29:31):
Yeah, man, you can't touch.

Speaker 4 (29:32):
I don't give fuck your other ship was good, but
you can't. You can't touch that ever again, man.

Speaker 1 (29:38):
Because it's magic. It had never been done before and
it could never be done again because of that.

Speaker 4 (29:44):
Come on that bump, skickily bump man, y'all better stop playing.
We got some good ship man, in our days. You know,
people a lot of people, uh, you know, we gott
We get a lot of motherfucking flak nowadays for old
school hip hop. You know, I'm saying a lot of
motherfuckers don't like to give us all recognition and props
and ship. But we have some shit man back in

(30:07):
the day, for sure, real talk, we have some shit.

Speaker 1 (30:13):
So still you got yours, man, We have to go first, man,
all right, Well, if we're going into top ten, these
are somewhat in no particular order, but in somewhat the order.
Speaking of albums that really changed a lot of sound,
I gotta go with the first Cypress Hill, the self
titled Cypress Hill album. That Man, that album inspired so much,

(30:36):
I think, especially sonically with what Mugs did on there. No,
that's that's looking like number ten be real and send
dog too, and really taking the different approach that one.
You know, I always think about why doesn't that album

(30:58):
get more recognition and more, And then one of my
boys told me he thinks it's because the Chronic came
out the following year. I was like, yeah, maybe that
has something to do with it. But hand on the pump,
how I could just kill a man, Pigs, Latin Lingo,
Funky Field one. There's just so many songs on that album, man,

(31:18):
it's amazing. I'd also obviously Doggy Styles in the top
ten for obvious reasons. I would say, mister don't play
Everything's Working by Project Pat is in there. That's one
of my favorite albums ever. Yeah, for sure, and he
like eight. Like all the great gangster rappers, Project Pat

(31:42):
shows you the downfalls of the game. It's not a glorification,
it's an education or edutainment or faction, so I gotta
go with that. I would always go with the Ghetto
Boys grip It on that other level, slash the Ghetto
Boys album because they're essentially the same, even though they
have significant differences. But both of those albums I combined

(32:06):
into one album because they're essentially the same. That album
is the only time I ever remember hearing a song
and it was Mine of a Lunatic that I actually
the first time I heard it, I was scared I
was talking about I was really I was floored by

(32:27):
that that album Mind of a Lunatic because I could
really see him doing it, like they wrote it so
well and delivered it so well, and the production was
so there. And I just remember coming off of the
car Freak Skettle Boys, I was like, what what happened?
This is crazy? I got the infamous mob deep up here.

(32:50):
I think that one, just that whole album is pretty
flawless in my opinion. Got the both and the only
two NWA's albums, Brothers for Life straight out Compton. I
get both those, the Chronic and Glasses, and I share

(33:13):
an affinity for this album, probably more than most people.
But easy does it. I also think it's top ten album.
And then my number one album, which I think is
one of the best albums period in rap history, which
is my number one album for gangster rap, is Death
Certificate by Ice Cube, and I think that's the most
brilliant examination of it from so many different levels, from

(33:39):
you know, alive on arrival, looking at the healthcare system,
from I want to kill Sam to us to color Blind.
It's really just looking at my summer vacation. Is one
of the best stories I think ever in rap history
and really explain the migration of gangs from the West
to the Midwest especially, and I just and it blended

(34:04):
in the political commentary, social commentary. Obviously there's a big
heavy influence with the Nation of Islam on the album
and Knowledge Yourself and all that stuff. But I just
think that Certificate, man, you know, shout out Sir Jans
and DJ Pooh, bobcat Rashad, everybody that did it. And

(34:24):
again color Blind one of the best examinations too of everything.
Just phenomenal. So that's my top ten.

Speaker 3 (34:32):
Yes, phenomenal, that's a phenomenal list I have mine. I
was able to put a top ten together even when
I was able to put the other ones in because it.

Speaker 1 (34:44):
Was so so many albums. There's so many.

Speaker 3 (34:51):
This is in no particular order, but it kind of yields.
It's still kind of all over the place. Yo, wall like,
disagree with you on some of these right here, but
this is just my my thing, right it's my list
right here. It's yours. Yep, it's yours right now. I

(35:12):
don't know if you guys would consider the gangst the
Rap album, but my number ten, I got fifty cent get.

Speaker 1 (35:16):
Rich of that Trying, Yeah, that was on my list,
just a little higher, but yeah.

Speaker 3 (35:20):
Number ten, it's got that Trying the game, the documentary
The Ghetto Boys, Gripping on the other level.

Speaker 1 (35:29):
There you go.

Speaker 3 (35:30):
Number seven, scar Face to Fix. Number six, we comes trapped,
m Fire, The Ghetto Boys, We Can't be stopped. Ice
Cube death Certificate. It's still laughing al Drad the Chronic
ice Cube Lethal Injection Number one Snoop Dog Doggie.

Speaker 1 (35:49):
Style lethal injection.

Speaker 3 (35:52):
Oh no man, yeah, I can't, I got I can't.

Speaker 1 (35:55):
I can't ride with that one.

Speaker 3 (35:57):
Yeah, I can't. Man leth and Action.

Speaker 4 (36:01):
No man, no man, well you know what, hold on yeah, man,
come on man, you I'm about to do you like
Steven A's list, Man, you're about to get a d
around this month.

Speaker 3 (36:10):
Hold on, what's wrong with Leithan Jackson with death certificate?
What over Umbo?

Speaker 1 (36:19):
Still Mann?

Speaker 4 (36:22):
No, there's there's there's twenty other gangster rap album Nigga.
I picked, man, I picked. I picked motherfucking above the law,
living like hustlers over my fucking leitho Injection real talk, good,
real talk leth injections. What's on leith Injection that's gangster

(36:42):
to you? Tell me what name one song right now?
Injection is the ship Man. You can't even name a
song on that motherfucker. Go to that motherfucker album right
now and tell me what's the gangster gangster ship on there?

Speaker 1 (36:57):
He said, you know what, what wicked on? That's not
on that album? That's not on that album. That's on
the Predator, that's on the Predator.

Speaker 3 (37:09):
I made a mistake.

Speaker 1 (37:11):
Predator is way better.

Speaker 3 (37:12):
Because I'm looking at Leithling Jackson right now.

Speaker 1 (37:14):
On Yes, yes you did, hold on, allow me. Ghetto
Birds a great song though. That baseline on Ghetto Bird
is incredible. Shout out to KDS on.

Speaker 3 (37:29):
Hold On made a massive era. Okay, I made a
massive that I don't know what America's most wanted.

Speaker 1 (37:38):
Oh, okay, America's most wanting.

Speaker 3 (37:40):
I don't know why the fuck I was thinking about
Leithing Jackson, But America's most wanting. Yes, not the ship
with the bop gun on their America's most wanted.

Speaker 1 (37:47):
Okay, Still I think I still arrive with that certificate.
But at least America's most wanted I can understand.

Speaker 3 (37:55):
But well, I have here actually written certificate number.

Speaker 1 (37:59):
Two, and the only one is better than is what
dog Style Doggy Style?

Speaker 3 (38:05):
And that's kind of debate that was up for debate.
That's why it was so hard for me to put this.

Speaker 1 (38:10):
For me, as brilliant as Doggie Style is story wise,
conceptual wise, that certificate is just it's just a different
It's just a different comparison. It's not even a comparable.

Speaker 3 (38:24):
Well, that's why I said this ain't the final list,
and that's why I struggled with going back and forth.
I just think at the time when Snoop came out
with Doggy Style, because you gotta remember it from the
way it came in rage on that motherfucker Busting, It's
just wasn't a Snoop Dogg album. It was like it
was just an introduction to the whole motherfucking coast, you
know what I mean that first Yeah, but not the

(38:48):
way that you know, Doggy style was just like a movement. Man.
It was just like when it first came in. Man,
it's like, all of these albums are great. I don't
know how to fuck I fucked. I don't know what
the fuck I was thinking about, man, But you know,
you think about it right here, all these right here,
like even with even when you talk about the Ghetto

(39:08):
Boys albums like we Can't be stopped. In some ways,
I like that album better than I do The Chronic.

Speaker 1 (39:15):
Really, I can't ride with you on that.

Speaker 4 (39:18):
I'm gonna say I ain't listen to Leith injection really.

Speaker 3 (39:27):
Well, No, Jason was a mistake that was gonna get.

Speaker 4 (39:30):
It's most want I got in no particular order. I
just got uh Spice one one a seven, he wrote.
I got the Chronic, I got NWA first.

Speaker 1 (39:44):
Album straight out of count.

Speaker 4 (39:47):
I got music to Drive by, I got Short Dogs
in the House.

Speaker 1 (39:53):
Wait, hey, you're thinking that's a gangster.

Speaker 3 (39:55):
The ghetto and all of that against album. Yeah, A
fifteen just just that's a great album. Yeah, it's probably
it ain't nothing but a word to me. That that's
that's hood ship.

Speaker 4 (40:12):
I got. Uh, we can't be stopped. I got gripping
on the other level, I got death certificate, Doggy Style,
the chronic and we come strapped.

Speaker 1 (40:22):
We got almost the seamless.

Speaker 3 (40:24):
We got pretty much. I don't know how that, man.
It's all right, it's alright, you like it. No, that's good.
That's not what I want.

Speaker 4 (40:33):
That's what we're gonna put your We're gonna pat your
face and put the little top hat on you.

Speaker 3 (40:38):
You're gonna get around this motherfucker. I wicked. I wicked.
You know how you're going through a thing. I was
trying to find a list I wrote down here, but
I got like a million fucking notes in this motherfucker,
and I was thinking, Okay, I don't know how the
fuck I thought of that. Man.

Speaker 1 (40:53):
It's all good. Still, it's all good.

Speaker 3 (40:55):
Because that was a bad mistake, yo. Now, because that's
a soundtrack.

Speaker 4 (41:03):
Sound Yeah, I got that. We can do soundtracks. But yeah,
I got a short dog in the house nigga. That
bad a hood nigga. I got the eleven through fifteen,
y'all was the hood man. That banged all through the hood.

Speaker 1 (41:17):
I think that's Short's best album. That and Life is
Too Short. I always yeah, yeah, yeah, yeah those two
because dude, cuss words. Oh my god, man, don't fight
the feeling. It's a hard Those two are hard.

Speaker 3 (41:31):
But I think I like boring to Mac Nigga.

Speaker 1 (41:35):
Dude all he if he just put it, he just
put an album eight that just had dope fiend beat
and freaky tails on it.

Speaker 3 (41:44):
Man, man, come on, come.

Speaker 1 (41:45):
On, dude, just those two songs alone. But party Time
that was great. Yeah, there's a lot of.

Speaker 4 (41:53):
Born Mac was was. It was a nice time, man,
Short Dogs in the House was cracking, and and Life
is Too Short, doping no more, motherfucking town. Don't fight.
Everybody in the hood banged, don't.

Speaker 1 (42:10):
He said, Well the danger so danger Zone said, do
they call you too short because you're hot? You're with
this sucker behind your boss from a clip like.

Speaker 3 (42:22):
What these girls was banging? That was banging.

Speaker 1 (42:26):
That was also one of the first whispery flows too.

Speaker 3 (42:30):
Hold on, you want to make sure we got all
the other stuffore we go, so we keep going right there.
City Adupe was cracking. It was my nobody does it
better was Cracking fifteen through eleven in no particular order,
Easy Easy does it Brother link Shome sees An the

(42:53):
sickness music to drive by one of these seven he wrote,
and Short Dogs Mouse.

Speaker 1 (43:05):
Yeah, that's a that's a thorough throw list right there.

Speaker 3 (43:10):
Short Dogs House. I fucked live by saying some ship
like Leathan Ejection, even though Leithan Ejection had some cuts,
biggest records ever on that motherfucker. What was on them?
Let Me See let Me was.

Speaker 1 (43:20):
The only really big song.

Speaker 3 (43:22):
Yeah, because I'm about to go here right now and
that's my nigg.

Speaker 1 (43:26):
That was on the Predator.

Speaker 3 (43:27):
That was on the Predator.

Speaker 4 (43:29):
I like, Okay, let me tell you what was on
He got some cool songs.

Speaker 1 (43:36):
Ghatt Bird is one of the best songs on there.

Speaker 3 (43:38):
He had Ghetto Borrow Ye wasn't the wapp Midway. He
had you know how We Do It? Okay? He had
Bob Gun, He had the motherfucker to that, How you
like me now? How You're not doing? What can I
do now? I liked it. I think the remixed though

(44:00):
he had little ass g on that motherfucker. But it's
not it's not deaf certificate. It's not deaf Certificate on
America's Most Wanted.

Speaker 4 (44:12):
I think because I was, I don't know, you know,
Cube was, you know, my nigga's big time. My nigga's
on Hollywood sets and ship and write movies and shit.
So you know, sometimes people might say your influence for
the penmanship, which Cube has always been prolific when they

(44:34):
came to penmanship.

Speaker 3 (44:35):
So but I think when you.

Speaker 4 (44:39):
Listen to records like you know, America's Most Wanted and
Death Certificate, and hearing songs like fucking Once upon a
time in the Projects or or fucking Steady Mobbing or
my summer vacation, you know, you turn around and hear
bop Gun, it kind of like throw was your flavor

(45:01):
off a little bit because we wanted Cube to stay,
you know, in the neighborhood. We wanted Cube to stay
one eleven n w A straight out of Compton Qube.
And sometimes niggas be feeling like, you know, I gotta
say something different. You know, I've been there, done that.
I'm transitioning. I'm older, family kids, so I need to

(45:25):
make more you know music. You know, maybe maybe a
little tone it down a.

Speaker 1 (45:29):
Little the beats too. The bop Gun, for instance, just
it was, you know how we do it. They were
both so smooth. They had they had the funk, but
they were so smooth as opposed to America's most wanted
alid will death certificate. They had that nigga to admit.

Speaker 3 (45:45):
Though their certificate lething exection. It's easy to see how
you get the nah not at all. But when you
think about titles and shit. And I was just because
I was spitting my list off the top of my head.

Speaker 1 (45:54):
And still, man, we gave you the past. Man, don't,
don't try to.

Speaker 3 (45:58):
Don't when you think about when you think about though,
man like death certificate though, Man, just from the beats
and just the whole thing, it sounded like a movie
kind of.

Speaker 1 (46:08):
It's phenomenal.

Speaker 3 (46:09):
It sounded like a movie, man, you know, just even
like stuff like giving up the nappy dugout. And I
think that was Bobcat's last great work. Like I think
he was just awesome on it. I think him, who
would all of them? I think I would have liked
to see the Boogieymn do more work, you know what
I mean?

Speaker 1 (46:24):
For sure, I would have.

Speaker 3 (46:25):
Liked to see them do more work, Like I would
have loved to see the boogie Man hook up with
MC eight, Like you got all of these you know
what I'm saying, Just like all of these people like
like even now, like howda fucked me some Bomb Squad
beats up? Yeah, yeah, I think you would have been
dope over the motherfuckers. I think you'd have been dope
over them and and the Boogieyman. I think that was
the West Coast answer to the Bomb Squad kind of

(46:47):
gets with those stick beefy ass baselines. His Bobcat got
some of the beefiest base lines just in hip hop,
just all that.

Speaker 1 (46:56):
Yeah, bobcasts a monster, very underrated.

Speaker 3 (47:00):
Bob got some beats now, man, that I know, if
I know for a fact some of them beats he
played me eight, maybe ten, fifteen years old, but banging
like a motherfucker. He's like, I got to change the
drums up. I'm like, no, you don't need to change
shit in the motherfucker.

Speaker 4 (47:12):
And Bobcat do backyard boogie. Yes, he did motherfucker bang too.
That's he's my favorite. That's your backyard. As a matter
of fact, I don't know. Let me see, I get
Bob Cat on the phone.

Speaker 1 (47:27):
You should hold on.

Speaker 3 (47:28):
Let me see if I get DJ Bob call on
the phone. That's my big bro right there.

Speaker 1 (47:33):
Yeah's amazing the phone. He did a lot of great
work with Park.

Speaker 4 (47:38):
Obviously, bobcat like nigga hit me next week. He hit
the phone down.

Speaker 3 (47:44):
No, I talked to Bob man. You know what it
is with Bob. Bob is probably sleep right now. Bob
stays up at night. When I usually talk to Bob,
it's at nighttime. Okay, it's at nighttime. He says. Still,
I'll call you back. And I talked to him like
at one o'clock in the morning and some shit like that.

Speaker 1 (47:58):
Gotcha. Yeah, he's He's an all time great. That doesn't
get enough.

Speaker 3 (48:02):
Bob is a phenomenal fucking producer. And that's why I
get mad at him. Yeah, that's why I get mad
at him. You know, he got a lot of the problems.
A lot of the old school cats got there to
where they think it's like back in the day, to
where they hold on and shit and just wait for
that perfect moment. Well I gotta have this. I'm like, dude,
them six months rollouts ain't happening no more like remember
the nine of Day roll out eight you would be

(48:24):
doing this and that you need the street single to
set this up and all that and all that you're
not doing that used to put that ship out now, Yeah,
the the the workings of.

Speaker 4 (48:37):
Putting out a record and the whole transition of the
setup and you know, the promo tours and going around
the country and hitting the end stores and you know,
those days are gone. You know a lot of records,
a lot of mom and pops are closed. You know
a lot of one stops are closed. Motherfuckers rely on

(48:59):
you know what they what they stuck to most of
now and that's your phone.

Speaker 3 (49:03):
You get me, So it's it's it's easier for motherfucking nowadays.
You get me. I can make a.

Speaker 4 (49:13):
Song in my living room and then upload it somewhere
and you know the record stores now or the streaming sites.

Speaker 3 (49:23):
You get me. And how do you how do you
how do you get that? How do you promote that?

Speaker 4 (49:29):
Well, you buy spots and you buy this, and you
know you buy that, or you know, we can we
can double your page with fans. You pay for this
and you pay for that. You know, that's the that's
the successes of the record business nowadays. You know, I
miss the days of where you know, you would have
to go and connect with the fans and in stores

(49:52):
and you know, even even the corporate fucking bullshit where
you have to go to the towns and go up
to the fucking the court the label in Tennessee, or
go up to the label in Atlanta, or you know.

Speaker 3 (50:07):
It was just you got to see you got to
see the.

Speaker 4 (50:10):
Grind of your work. And especially for somebody like me
who grew up in the hood, you know, who didn't
venture out of the hood too much. You know, it
gave you a chance for a person who didn't have
those opportunities to go away to college or you know,
do whatever.

Speaker 1 (50:31):
So what was one of your biggest markets that you
didn't realize till you actually went there?

Speaker 3 (50:36):
Man?

Speaker 4 (50:37):
Shit, it was a few of those places, depending on
you know, during that run of between straight checking them
and we come strapped. I could go just about shit,
any place outside of La you get me. I could

(50:59):
go up north the Frisco. It'd be a thousand people
waiting outside for sign autographs. I could go down to Texas, Dallas, Houston,
it'd be people around the block waiting to get autographs
and buy the new CD that just came out.

Speaker 3 (51:18):
Chicago was always Yeah, Midwest always been big on West
Coast games. Detroit. I mean we used to hit like
I would go from here.

Speaker 4 (51:29):
We would pop up the Frisco, then we would pop
up the Seattle. Then we would bounce down the Arizona,
then go across the Dallas, Houston, shoot up the motherfucking Denver,
jump across somewhere to like Saint Louis, then bounce up
the motherfucking Cleveland, Chicago, Detroit, fucking you know all of

(51:57):
those spots, jump over the motherfucking Washington to Philly, then
come down to New Jersey and then roll on into
New York. That was a standard promo tour for me.

Speaker 3 (52:07):
You know what's funny, man, I always notice, Man, it's
like the DMV, the DMV from the DMV on up
to like that Ohio, Detroit. Yeah, that was my run.
Didn't much Detroit.

Speaker 4 (52:22):
We didn't much do down south like we would get
to like we would get to maybe as far as
sometime New Orleans and then we would cut up. We
wouldn't go across like the Georgia's, the Mississippi, Texas. I
did all I did, Houston, I did Austin, I did Dallas,

(52:44):
I did even we would even do Galveston.

Speaker 3 (52:47):
Yeah, but Texas has always listened to like West Coast
gangster rapt and you could tell kind of their music
because even on the school tapes he was threw like, yeah,
he would use a lot of our music. See like
you know what I'm saying, his favorite artists. Yeah, that's
what I'm saying. So it was always like that. Like
even when you think about the Ghetto Boys, it's almost
like they was Jay Prince's answer to the n w A,

(53:09):
because they damned it came out, you know, almost the
same time when you think about the original incarnation maybe
a few years later, four years later, the same time.

Speaker 1 (53:19):
I remember car Freaks is even before them, but it
was different. They were very different.

Speaker 3 (53:24):
Jay Prince want a gangster ship.

Speaker 1 (53:26):
He wanted to remember, he was trying to have. He
wanted Raheem to be his LL cool J. Remember the
Vigilanni right, I remember, Yeah, that was his LL cool J.
He even had the red Kango on the cover, if
you'll remember that. Back in the day, m h the
Vigilanti ra Vigelini.

Speaker 3 (53:44):
You know, I was talking to Willie D right, and
I was talking to Homie Willy D. And I asked him.
I said, hey, man, when we do the Top fifty show,
because I want I'm gonna have people call in, and
I want to have people call in, you know, different rappers.
And he said, well, where are we at in the
list now? He said we number one? I said, man,
I don't know y'all number one when in my book?
He said, if we ain't number one, I don't want
no second place. I don't want no third place for it.

(54:05):
I said, Dog, it's the top fifty hip hop albums
all the time. I don't give a fuck we ain't
number one. I don't want to deal on it. He said,
I'll do the show, but we can't call it nothing
for that. Willis shout out to my homeboy. Will did
Willie did a good due him and Brad both Yes, Sir,
Willie Die is the hummy though Willie D is probably
when you talk about underrated people, Willie D don't have

(54:27):
some of the coldest raps. Dog, and he's never he
ain't never mentioned on the shit. Think about reading these nikes. Dog,
Here we go again, another brawl the conflict. Somebody finna
get the ass kick If you ain't down with the
ghetto boys, get your happy gas out of dogs. The
rumors you heard ain't slander Willie D. Don't give a
fuck about the goddamn by a standard so we can

(54:49):
see if he clinched my fists. Get out the way,
get trolle, bitch. That motherfucker was hard dog.

Speaker 1 (54:56):
Yes he is.

Speaker 3 (54:57):
He was hard man a different flame versus man.

Speaker 4 (55:00):
That's all you people have their favorite tis a month
who you know when it comes to the ghetto boys,
all three was cool to me and homies. I build
a better relationship with Scarface, but they were all cool
to me. Motherfuckers have their preferences, you get me.

Speaker 1 (55:20):
I think the Controversy is one of the best album
covers too.

Speaker 3 (55:23):
Ever, yeah it was man controversy album covers back in
the day. You know what. Speaking the back of the day,
I wanted to ask, man, if you notice in the nineties,
from the nineties, for a long time, we always had
a summertime anthem. It ain't been one of those in
hip hop in a minute, man, like you know, just
think about it. Even when you had will Smith the summertime,

(55:44):
you know, summertime you had all these big records, like
what was your record all for the money? That came
out that was a big summer record. All of the money.
You just had songs that just played through the summer. Man,
it's like, I wonder sometimes what's happening with hip hop?

Speaker 4 (55:59):
Man?

Speaker 3 (55:59):
Like I get work sometimes, Well.

Speaker 4 (56:02):
There's too much variety and it's too much. It's too much.
Whatever you've done for me lately. You put out a
song today, nigga hit me. I can put out a
song today, A nigga gonna hit me and be like
that motherfucker was hard. Two days from now, nigga gonna

(56:24):
be like what else you got?

Speaker 3 (56:26):
Yeah, the music cycle is too short. Then what happened?
And that that's I feel. That's because.

Speaker 4 (56:34):
It's a billion niggas now and when you got shipped
like streaming sights to where Okay, they play this song
one second and then now you're on this artist this second,
Then you're on this artist this second. Motherfucker's attention span is.

Speaker 3 (56:48):
That's what artists. I noticed the way artists release albums now,
especially the Newcats. They release the album right then they'll
drop a single, then they drop another single, then they
drop another single, they'll drop another album. So you look
up the year they don't drop like ten to fifteen
fucking album to where the whole course of your career,
if you was lucky, you got to get three Yeah, lucky,
if you were lucky. Yeah, if you was lucky, you

(57:11):
got to get three albums.

Speaker 4 (57:12):
The power of that's the power of self promotion and
self you know doing right now? Yeah, because yeah, nigga,
I'm gonna do fifteen songs and then two days later,
I'm gonna go just running the studio and do another song,
and I'm gonna drop that motherfucking tomorrow as a single.
And then two days from now, I'm gonna run to

(57:33):
the studio and do another song, and then tomorrow I'm
gonna drop that motherfucking single.

Speaker 3 (57:37):
You know what. I was talking to one of the
little homies, right, not little homie very much grown man,
but Jeeperica, right, And I was talking to him. He
was like, yeah, I'm gonna go get back and recording
his album, right, And I was like, damn, you just
dropped the album, but he's putting out another one. I
guess in the way to climbing the else today with
that streaming, because motherfucker's attention span, like I.

Speaker 4 (57:57):
Said, so fast, It's like you got the album today
and by next week, a nigga want you to drop
another album causeiggs turned your content, just.

Speaker 3 (58:06):
Like how we do this podcast, Albums have turned into
fucking content, man, where motherfucker's just okay, I'm gonna go
record an album and before you know, I know when
I was recording, I always want to have a theme,
like a story to my shit.

Speaker 4 (58:19):
I just didn't go ahead and get recorded a bunch
of songs, right, That's me. I like to have a
tight or a subject, a theme or something. I don't
just like to he put the beat on and I'm
just gonna start rapping about anything. I hate doing that shit.
So I like the vibe to the music and come
up with some kind of concept first, and then once

(58:40):
I do that, the shit kind of easy for me.
Once I come up with that first five words and
shit of whatever that concept or that story is gonna be,
usually it just flows after that. But I don't like
just getting in there and they put the beat on
and the next thing you know, I'm I'm just rapping
about any dang and shit.

Speaker 1 (59:00):
But that's a lot of just rapping the rep that's.

Speaker 3 (59:03):
What they call it.

Speaker 4 (59:04):
They call it freestyling today you know, back in our days,
freestyling was you know, but today you can have a
whole song and they could talk about nothing, just a
gun bunch of shit.

Speaker 3 (59:17):
And that's free styling today, Yeah it is. And you
know what, man, I think was hurting the key today,
not the sounds like the Olderman old head. But you
gotta remember, some of the greatest hip hop albums had
producer clicks, or it was just like one person over
see it, or they had situations to where it might
have been three or four cats, but they was all
working in concert with each other like ten albums. Yeah,

(59:39):
I think that's what made three six Mafia so great
because to me, Juicy J and DJ paul are probably
one of, if not the greatest production tandem of all time.
They gotta be damned to mention in the top three.
Them dudes are phenomenal fucking producers. And I don't never
hear them get their credit because they kind of invented
the mephis sound.

Speaker 1 (59:59):
Well they uh stamped it.

Speaker 3 (01:00:02):
They definitely stamped it. And I know, you know, you
hear a lot of artists like I hear Crunchy Black
talking about paul O him money, but without them beats
and out Crunchy Black. You my god, man, I love
you to death. But without them DJ Paul and Juicy
j beats, I don't know if the stuff would have
been hidden like that. I mean, and I like Crunchy Black.
Crunchy Black is the homie you don't be on the

(01:00:23):
show and everything else, but.

Speaker 1 (01:00:25):
You gotta have the beats, man.

Speaker 3 (01:00:27):
The producers are very important, and a lot of them.
You know, three six Mafia went through a lot of members, right,
they went through a whole lot of members. But the
one thing that remained the same, what made that group
what it was wered DJ Paul and Juicy Jay's beats.
Them motherfuckers are incredible, man, and me being a producer,
dude to make beats, some of them samples, and the
way they flipped them, like even their riding spinners, the

(01:00:49):
way they chopped that ship up because they had to
be shopped, because that original groove don't go like they
made that group that du du du du dum dumb
dumb dump dump dum dumb. Just with they do is
it's not easy, not at all.

Speaker 1 (01:01:02):
It's not easy, and they did it hundreds of times.

Speaker 3 (01:01:05):
That's what I'm saying, Man, you know, and they've taken
the same sample and made multiple hit records out of it,
and all the motherfuckers sound different.

Speaker 1 (01:01:15):
They've done that multiple times too. They flipped it, they
flipped chop strip, blend, all kinds of different things.

Speaker 3 (01:01:23):
Yeah, they're good song writers. Too many had they had
it going on, man, they had this ship. They definitely
some of my favorites. Man, I know in this top
fifty list, they gotta they gonna wind up probably with
more than one representation on there.

Speaker 1 (01:01:35):
Project Pad mister don't play. That's that's the one.

Speaker 3 (01:01:39):
Yeah, And you know what, he's one of them dudes.
Like we mentioned Rick Ross earlier off the thing, He's
one of them dudes that just seemed like he just
get fucking better. Man. I heard him on some shit,
even on the Drake shit he'spassed on there, besyrup like
his lick up catching up the guy quicker.

Speaker 1 (01:01:57):
Yeah, No, he's he's uh, he is a true master
of the game. Project pat Height.

Speaker 3 (01:02:02):
You know what, this is something I always wanted to
ask you, my nigga, And it's a tripping because I
can actually ask you now. You had a very distinct
sound like your shit was almost like you almost like
the Clive Barkway rap. All your shit was always ominous,
like like like a motherfucker creeping Like I forget what
song was that. Man, they had this like horn in

(01:02:25):
there like in the background. It was like and then
it went to it like this piano break toward the end.
I forget which albue was on and when the piano
and it sounded real cinematic and had the strings coming
in and shit, man ate shit always sounded like a
movie like motherfucker's creeping. Your music always sounded like one
big ass drive by, Like I just pictured motherfucker's load nay,

(01:02:47):
motherfucking magazines up and shit and just creeping on the motherfucker.
Was that an intentional Yeah? I never tried to. I
left the.

Speaker 4 (01:02:58):
Uptempo party and rapping to everybody else. I want to
just tell stories with my shit, And I thought the
best way to paint the picture of the lifestyle of
what I was going through was by like scoring fucking

(01:03:25):
movies and those shows. You know, you always get to
a certain part of the movie or the show where
that sinister music comes in and they're showing you, you know,
the killer or the motherfucker's getting ready to rob the
bank or you know what's taking them to that desperate
situation of what they have to do, whatever it is.

(01:03:48):
And that's how I tried to describe my music was
growing up in the neighborhood. You know, niggas kicked it
and you know, neighborhood good parties and shit like that.
But it was always sinister to me. You know, y'all
look over your back and the lights go out. You

(01:04:09):
don't know who creeping down the street. Who's gonna die today?
You know what we gotta do to make some money.
You know, life ain't always good at home and shit
when you're growing up in Compton and poverty and not
even on movie shit just looking at you know, just

(01:04:29):
everyday scene of you know, shoot.

Speaker 3 (01:04:32):
Nigga made it home today. You get me.

Speaker 4 (01:04:36):
That's what you went through on a daily thirteen fourteen
years old. So when it was time for me to
and I was always a fan of movies, you know,
gangster movies, killer movie, whatever it be, whatever. I was
always a fan of that part where the police chase
get ready to start, or the killers bust into the

(01:04:59):
room and shootout starting. You always hear that music, you know,
that build up, so I always wanted my music to
be you know, my soundtrack to the streets, and I
always just felt like, ain't nothing fun over here. You know,

(01:05:20):
niggas made fun records, you know, party records.

Speaker 3 (01:05:24):
You know.

Speaker 4 (01:05:27):
My nigga Snoop had us grooving like a motherfucker. You know,
Cube had Cube had us grooving on a couple of songs.
My nigga Mac had us grooving on songs. Get me,
I didn't want to groove you get me. I didn't
want to groove because I didn't feel I didn't feel

(01:05:49):
groove like. I didn't feel that like it was hell
growing up. And that's how I felt in my music. Yeah,
we're making at money and shit like that, but I
didn't start I didn't start enjoying that until I got
out of content because my first three records, I was
still there. So all my music was like, nigga, niggas,

(01:06:14):
is y'all having fun?

Speaker 3 (01:06:16):
Cool?

Speaker 4 (01:06:17):
Homie got shot at last night or I still got
pulled over and nigga I got two records out, Nigga,
I'm handcuffed in the back of a sheriff car right now.
That's how that was still going on for me. So
every time it was time for me to make music.
I wanted to make that hard hitting point music like
Nigga the Homie high on sharm On Stick Jo made

(01:06:41):
a cool song about sharm Stick. But I'm telling you,
fuck this shit. The homie shurm doubt and we don't
know who Finna come blasts on us and the police
done pulled up. It's like nothing was fun for me
growing up gang banging and being in the hood. It
wasn't you know at the days of yeah, we kicking it,

(01:07:02):
niggas is barbecuing and we at the park and shit,
but it was always on high alert. Nigga come through
here at any time to shoot this motherfuck up. That's
what I always thought about. So let me go home
and write a song about that. You get me, or
I didn't go home and write a song about Yeah.
We was at the picnic today and niggas was kicking

(01:07:24):
it and the bitches was good.

Speaker 3 (01:07:25):
Nigga.

Speaker 4 (01:07:25):
I went like, yeah, Nigga, we had a pic nick
Nigga and the enemy came through and then the one
times this and Nigga, Nigga the homie got shot. Now
we finish attend the funeral. Fucked that fucking barbecue we
was at. That's what I wrote about because I've seen
that shit on. It was on a daily and if
it wasn't happening over here, a damn show was happening

(01:07:47):
around the corner in the homies hood.

Speaker 3 (01:07:49):
Exactly what that song sound like, because it sounds like
a sound was sinister, man, and it's sinistor like this
one like horn comes in like.

Speaker 4 (01:08:01):
And then I used to you know, just I used
to listen to that that groovy type of shit, you know, uh,
sugar free fucking you know, I used to listen to
all type of groovy ass motherfucking those sinister songs like.

Speaker 3 (01:08:19):
I didn't listen to shit like a very dark individual. Dog. Yeah, man,
I was is dark here. You don't like the joke.
You don't like that ship? You want a joke? Man,
Fuck that ship. Nigga.

Speaker 4 (01:08:32):
I'm like the nigga that walk in and everybody partying
and chilling and eating, and then you look over in
the corner and I'm standing over there like and they.

Speaker 3 (01:08:41):
Like, baby, get you something to eat?

Speaker 4 (01:08:43):
You don't want I'm standing up looking at everybody like, no,
I'm good, I'm good.

Speaker 3 (01:08:49):
It was like that ship.

Speaker 4 (01:08:50):
You could be your own family members, your cousins and everything.
They like, Hey, hey, what's that? What's up with the movies?

Speaker 3 (01:08:57):
Since since we're doing movies in two thousand t twenty four, Man,
I can't come to you with no comedies then, I mean, shit,
that's motherfucking you know.

Speaker 4 (01:09:06):
Times have changed, man, I'm I'm I'm a little more open,
I'm a little more relaxed, and shit, I ain't worried about.
You know, you go through different shits when you when
you and your motherfucking twenties and teens and as a
parent as opposed to you know, going through life and
seeing that you know, you can take yourself out of

(01:09:27):
those negative equations and shit, you know, So that's what
you learn to do. That's what I learned to do.
So you know, I can make whatever kind of music
right now. But like I said, growing up, I saw
a different light. I saw a different aspect as far
as you know, the streets is concerned.

Speaker 3 (01:09:44):
My shit was.

Speaker 4 (01:09:45):
My shit was gory, Brother Lynch hung every day you
feel me like that, That's that's what my life was.
It wasn't And like I said, we had fun. We
got to go to Magic Mountain and Disneyland, and shit
like that sometimes when we forward the ship. But yeah,
we would it would fight that Magic Mountain and shit
like that, you know. But I remember one time we

(01:10:08):
went up there and the police wouldn't let us, you know,
they knew we was crips, and they said it was
blood day at Magic Mountain. Wow, And they wouldn't let
us even go in. No bullshit, really, no bullshit. Me
and a gang of the homies or something and the
ladies went up to Magic Mountain and the motherfucking sheriffs

(01:10:28):
they used to have to share something.

Speaker 3 (01:10:29):
Sheriff said, it's blood that y'all can't come in here. No,
they probably saved yo.

Speaker 4 (01:10:33):
They go, my mama, they did, They told us, you know.
And that was back when niggas was like nineteen and twenty.
Niggas was knuckleheads and ship.

Speaker 3 (01:10:42):
Yeah, you know, before we get up out of here,
we go actually drop this top fifty list next week,
and it's gonna be a little bit different. We go
do it big.

Speaker 1 (01:10:50):
I got some calls set up, man, I'm looking forward
to that.

Speaker 3 (01:10:54):
I got some, you know, some surprises, man, some surprise,
got surprises, some surprise calls, A few of them, A
few tricks up my sleeve. Before we get up out
of here, man, I want to give a shout out
to the spot we record at the Coin Academy, Man,
the Homy maker, go mac all them dudes, man, good
cats Man, for sure coin got some good shit going on.

(01:11:14):
Rest in peace, my nigga, layload man, Yeah exactly, legend
shout man show and we out of here. Well. That
concludes another episode of the Gainst the Chronicles podcast. Be
sure to download the iHeart app and subscribe to The
Gangster Chronicles podcast For Apple users, find a purple micae
on the front of your screen, subscribe to the show,
leave a comment and rating. Executive producers for The Gangster

(01:11:36):
Chronicles podcasts of Norman Stelled, Aaron M. C a Tyler.
Our visual media director is Brian Whatt, and the audio
editors tell It Hayes. The Gangster Chronicles is a production
of iHeart Media Network and The Black Effect Podcast Network.
For more podcasts from iHeart Radio, visit the iHeart Radio
app Apple podcasts wherever you're listening to your podcasts