Fat Joe Needs To Apologize, Redmans Album.. Pt 2

We continue our conversation about Fat Joe's comments, the homie Glasses Malone chimes in 

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
It like. I think he was trying to clean up
Snoop as much as possible, but it might be it
ain't coming out in the rents. Does Snoop need to
be cleaned up? I mean, I think Drake, I think
Dray would prefer it. You know what I'm saying. I
think by there they're trying to clean it up.

Speaker 2 (00:16):
This is what I feel about Snoop. I feel that
Snoop is the Coca Cola of hip hop. He's the
biggest brand in hip hop, the most recognizable brand. Snoop
is proving time and time again that Snoop Doggie dog
can do whatever the hell he wanted to do. I
think we just need to look Snoop Doggie dog keep
kicking that good old fashioned gangster shit dog. And that's

(00:36):
what it cause that's what his brand was built on. Dog.
Snoop can do whatever he wanted to do dog, That's
what got him to the Olympics. I got but I
got it.

Speaker 3 (00:44):
But I see what Dred is trying to do.

Speaker 1 (00:46):
I mean, obviously I like my Snoop dogg the way
I like my Snoop dog even produced by Doctor Dre.
So I have my preference on what I would you know, like,
but again taking the offering, that's probably about a good
six seven songs that I enjoy. I'm saying it's different.
What's crazy is to watch him do so much with sonics.

Speaker 4 (01:04):
You know, we know he's we know he's a scientist
when it comes to that, we know he's scientists. But
music is supposed to be I mean, well, according to Q,
you know this, this is what the fans wanted. So
according to this record sales and all of that, is
that what the fans wanted?

Speaker 3 (01:21):
We maybe, I mean, what was he supposed to sell?

Speaker 2 (01:25):
I don't know. I'm asking you. I don't even keep
up with that.

Speaker 1 (01:28):
Forty thousand is not bad. I think they was trying
to sell liquor anyway, personally, but I.

Speaker 3 (01:35):
Don't know, like it.

Speaker 2 (01:36):
It's tough.

Speaker 1 (01:36):
I think their journey is a lot different. Q, specifically,
listening to his his the production was a lot different.

Speaker 3 (01:44):
It's weird to see them not then what then his standard?

Speaker 2 (01:48):
Was it better or worse?

Speaker 3 (01:52):
It's different?

Speaker 2 (01:54):
That's that politically correct.

Speaker 1 (01:57):
It's not because it's not politically it's not like it's underproduced,
you know what I'm saying. It ain't like it's whack
like I don't like the person who's making the music
is not it's just different for what I'm used to.

Speaker 2 (02:05):
Hear for you know what the thing he is with
that album? Man, Yeah, I don't think the music would
necessarily bad. Camera just don't fit. It just wasn't stupid,
That's what I think. I think that's called bad. That's
called bad. That's called a this much something sounds bad
and it was not good track to give somebody else
bro that was in that been big.

Speaker 4 (02:28):
Okay, well let me let me say that because I'm
not politically correct and I already know whatever it is
whatever with with me and Cube and whatever.

Speaker 2 (02:35):
I don't but I don't want to go on record.

Speaker 1 (02:37):
This ain't my political This ain't I could do way
better if he's being politically correct.

Speaker 4 (02:41):
No, but what I'm saying here, I'm saying Cube from
what I heard, like Ski, I know he a hit maker.
Like so, Cube's beats is up to par his raps
is whack. So his his raps make the beat whack.

Speaker 3 (02:57):
To me, And you know it's funny.

Speaker 4 (02:59):
I think it's the other I think it's the other way.
I think it's the other way with Snoop and dra record.
I think that Snoop Snoop Raps is better than the beats.

Speaker 3 (03:11):
They're different than the beats. Well you know what I
got you.

Speaker 1 (03:15):
You know what I call Snoop and Dra record a
fried chicken salad with balsamic vinegar rette dresses.

Speaker 2 (03:23):
That's not bad.

Speaker 1 (03:25):
You look up like if you think of like Doggystyle
as a plate of soul tacos, I call them soul.
You know Nigga taco soul tacos where you Friday shell
You know that that that that you remember them hardy
tacos when he was younger. First time black people start
frying them shells brown bead. You know, that's what you
used to do. And the same thing with the soul

(03:46):
anch a lot is how black folk make it versus
this where Dre has really cleaned up his act musically,
you know what I mean. And hip hop is supposed
to have a dirtiness to it in my belief, but
I mean to.

Speaker 2 (04:00):
Our Phil the gene but you was such deadly MC.
And that's before we go to before we go a cube,
Let's focus on Snoop and Dra.

Speaker 1 (04:10):
Let's do that first. Let me get that out so again,
it's like I think that Dre has cleaned up his
act so he's more of a musician now, like he
could play the piano. Now it's more musical stuff. So
again he's trying to evolve into this space. So I mean,
I don't again, I don't think it's bad. I don't
think it's going to.

Speaker 2 (04:28):
Go exercise all that on, to go do your yo
stadium tour fantasies on. You know, he's making music that
he what's next, He gonna play the piano and the
come and see him something maybe.

Speaker 1 (04:41):
I mean, he was playing the piano at the super Bowl,
so it's like moment, yeah, but that's the moment where
he's at. So Snoop and Dre, that's where they're at.
Cube thing is different. Like I've had this conversation about
Cube a couple of times. The first version I remember
of Q being like nine and ten years old, excuse me,
even n w A. It was like the standard quintessential

(05:02):
sy right where he was writing everything powerful, you know,
inspired by everything powerful, and everything was more about powerful lines.

Speaker 3 (05:11):
But I've always said this, I thought the birth of Snoop.

Speaker 1 (05:13):
Dogg, I thought the arrival of Tupac, I thought Warren
g different things put him in a bind to where
he needed to become a better songwriter, write a better
record maker versus the you know, the obviously about becoming
the better record hold on, hold up still versus being

(05:34):
straight out of Compton, versus being America's most killing will
dethsertivy kid predator in Lethal.

Speaker 3 (05:42):
I think he became a better record writer. So it's
not a.

Speaker 1 (05:45):
Compromise of lyrics still, Like you always say that, like
you think MCing is some pinnacle thing in hip hop,
that's just not what was the beginning of it. It
was about records. It was about making people enjoy the party.
I think again, the second generation of him seeing is
where you keep talking talking about, where it became more
about hey, you know what, let me just say something
prolific and be this prolific poet. But before that, when

(06:07):
Sylvia Robinson was making the music and Larry Smith was
making the music and Too Short was making the music,
and they were making really great records. So it's not
like one or the other. It's more hip hop. I
think as far as far as Cub I feel like
as a record writer, I think he started to develop
more into a record writer. You know, I mean where
things started being more catchy, and I think it never

(06:31):
went back to the m singing part. And as he
stayed that, he stayed in this pocket of record writing
and again it becomes a flow thing.

Speaker 3 (06:38):
So I can understand, you know.

Speaker 2 (06:41):
Yeah, Cube, to me, don't have no flows left.

Speaker 4 (06:45):
He used to be real aggressive, the same with h
shouts out MC eight like you know m c A.

Speaker 2 (06:51):
You know, kind of fell into a slow flow, you know,
kind of pocket.

Speaker 4 (06:58):
When when when he first was coming out like he
he had unlimited bars, it was unpredictable about what his flow,
what he was going to say. He has so much
hood lingo and so much shit to get off his
chest that it just was like damn, like you know
what I'm saying.

Speaker 2 (07:13):
And that's how Cube used to be.

Speaker 4 (07:15):
But to me, now Q is this flow is gimmicky,
is just slow, it's just whack like, it's just it's
not inspired, it's not energetic, it's not electric like you
know what I'm saying. It's controversial because he was really
all of that. Because he was controversial. He was saying
shit that get him in trouble.

Speaker 1 (07:35):
Sure, I agree, but that that's the that's the outrageousness
that formed gangster rapp and made it the genre that
it is.

Speaker 3 (07:43):
They market the outrageousness.

Speaker 2 (07:44):
You know, we was talking about lyrics and we read
some lyrics on from Qu's album.

Speaker 1 (07:49):
Right still, I'm about to ban you from LILYCS.

Speaker 2 (07:53):
Hold on, this is another one on this.

Speaker 3 (07:55):
I do want to hear.

Speaker 2 (07:58):
You on my show. Up when I'm on your show,
I do this.

Speaker 4 (08:01):
Big gunn got nothing to do with the show about
acting like my lyrics.

Speaker 2 (08:07):
That's mean for me to come. I didn't ask for
you to come.

Speaker 1 (08:10):
I don't want to talk about a.

Speaker 2 (08:12):
No lyricism and all that.

Speaker 1 (08:14):
She'd hop ship you to.

Speaker 2 (08:17):
Do the same thing. Come on and just this happiness
show out. Bring the pastor grits, a bag of bits,
I got a bag of tricks. Looks like you got
hit with a bag of dicks. This right here is
the master mix the plugs and crips. So don't resist.
Smack your ass like will did Chris give a demonstration

(08:37):
in front of the nation.

Speaker 1 (08:40):
I don't know you said that like that's whack. No,
I think the pocket is standard. I don't think it's whack.
You act like people lyrics? Yeah, but you, but you,
but but again, the lyrics are not bad. He's not
saying nothing bad.

Speaker 2 (09:00):
Is the is the delivery. It's the flow that's whack.

Speaker 1 (09:03):
I keep telling still this we we've been having his argument, right.

Speaker 3 (09:06):
He was giving me his critigue on Red Man's album.

Speaker 1 (09:09):
I keep telling him. The things about rap is it's
not about the writer. The writer has always been overrated
in the grand scheme of things. That's why some of
the biggest artists in the world don't write down the stuff.
I keep telling still that. I'm like, the flow is
most of hip hop, you know. I mean, the flow
is really the cornerstone of hip hop.

Speaker 2 (09:28):
But but they're not married.

Speaker 1 (09:32):
That's why somebody like Dog could freestyle his way into
a career. He's freestyle his weigh into That's why people
uted a freestyted to us what might be? Because I
swear he's the league's going. You also used to add ourtat.
We also used to add a fool snickings too. Don't

(09:54):
forget them. Oh you're gonna steal them, sticky bump stiky
bump bump. But it's the flow, bro, This is what
this is about.

Speaker 2 (10:02):
Again.

Speaker 3 (10:03):
It's great.

Speaker 2 (10:03):
Look, lyrics are about writers. That's dope.

Speaker 1 (10:08):
No, not knocking, especially if you could put it into
a great record. But it's still a record game, you
know what I mean at this level. So I'm not
saying we shouldn't give kudos to writers, but I'm saying
you also got to understand the flow is the key.
So I think the critigue of Q would be the flow.
I think his flow like I think Camp. That's a
fair assessment, Camp saying it is not necessarily inspired, but

(10:28):
it's also maybe he needs to get around some people
that inspired.

Speaker 2 (10:33):
Yep, it could be not inspired.

Speaker 1 (10:34):
It could be Again, this is a man that's been
doing this, I don't know, forty years.

Speaker 3 (10:39):
You know what I'm saying.

Speaker 1 (10:42):
I mean to me, he's always been a product of
what he was inspired by, whether it's him and Easy
E together, he's writing for that, and he's writing for
this attitude, and he's inspired by everything that's going on
at that time. And then Chuck Deed becomes his inspiration,
and he goes to the bomb squad and he kind
of gives his own tradition. Then Can comes around and
now you know they're putting him through the through the

(11:03):
through the brother treatment, you know, the Nation of Islam treatment.
He was inspired, saying with Mac Tin, he became inspired
by different things. You know, he's been a successful artist
since he was a kid, so therefore he's only aspired
by the things he's around. So if he's not around anybody,
it's pretty much gonna sound like somebody who's been making
films for thirty years, forty years, no making an album.

(11:26):
So I think if if I mean, obviously, if he
was around glasses, look like I'm gonna take him on
the boulevard.

Speaker 3 (11:31):
We're gonna he gonna be popping it.

Speaker 2 (11:35):
Well, from what I hear with Cube Man, Cube has
always been a dude that was a concept dude. Anyway,
when he live golf, he was inspired by other people.
So he, like you said, he maybe who he just
hanging out with. Now, if you hanging up with Jimmy
Kimmel in them all day, that's what you gonna get.
I don't think. I think.

Speaker 1 (11:53):
I think now he's just kind of his own thing,
and it's like that's a limitation, you know what I mean.
Culturally he becomes just his own representation. When I always
tell you this culture is the is the is the
is the burden of we, not the burden of meat.
So it depends on if his WE is correct, if
his WI is right. So I think I think Cuba
is capable because I think he desires to still be dope,

(12:15):
but he also needs to be inspired by the movement
of WE. If he not inspired by the movement of WE,
then it's just him by itself. And you know you
could be So.

Speaker 2 (12:24):
Would you say that probably him limiting his access to
come around certain people is probably like hindrance to him.

Speaker 1 (12:32):
Yeah, one hundred and seventeen percent. Bro, It's no way
you could represent WE if you don't have a post
on WE. Hip hop is weak, you know what I mean?
Hip hop artists are elected delegates of of of communities.
There are more communities, Twitter communities and SoundCloud communities, but
there's still communities. You're the electric delegate of WE, you

(12:53):
feel me. So he just needs to probably be more
about WE and figuring out what's up with WE and
what do we care about? But Cuba is also in
the weird place where he got money, you know what
I mean, He's he's been having money for a long time.
He's fighting different battles, it's different things. So WE is
not as prominent, like I think very much he your brother,

(13:14):
but hip hop is street urbst so it is the
fight of the streets street ship, and I don't think
that he's rapping.

Speaker 2 (13:21):
He's not rapping up. He's not rapping up about the enemies.

Speaker 4 (13:25):
That whatever enemies he dealing with is not street ship,
and we can't relate to it, you know what I'm saying.
It's like even and on another note with with with Snoop,
he was talking about Snoop, you know, missionary album and Dre.
To me, I was telling Steve, it seemed like Snoop
was that whole album. He was too busy trying to
impress Dre. He was trying to make he was trying

(13:48):
to get Dre's approval on on.

Speaker 2 (13:51):
His on his flows or whatever. Like that's the energy.
I got it.

Speaker 4 (13:55):
He wasn't saying that necessarily with his lyrics, but I
could tell, like it didn't seem like he was having fun,
and it seemed like that was really maybe Dre had
him doing doing a thousand taps.

Speaker 3 (14:07):
For sure, draper, for sure, Dre produced act.

Speaker 1 (14:10):
That's the one thing like this wasn't a Melon's I
could tell just listening to the record and even getting
the energy when I heard Snoop talking about the record.

Speaker 2 (14:18):
To me, I didn't.

Speaker 1 (14:19):
Get oh, you know what, I went in and we
made a record. I got doctor Dre produced my record
like I felt like a brand new artist. Like we
pretty much agreed on the pockets, the flows, the ideas.

Speaker 3 (14:32):
They came to a conclusion.

Speaker 1 (14:33):
It wasn't like, you know this this first ballot Hall
of Fame. It really got to say something to this coast.
The coach said, Nah, this is how I wanted to play.
I don't care about how you want to play the game.
I don't think that was important for him. It was like,
this is, hey, I want you to play in the post.
I don't care if you good at shooting threes. I
want you to be in a post you feel me.
So it is Dre's baby to produce. So it's like,

(14:56):
you know what I mean, And Dreke's in a place where,
to me, his music is really more musical.

Speaker 3 (15:01):
Than necessarily like thing.

Speaker 1 (15:02):
Then we could say culture like it's not the making
something out of nothing that hip hop used to be
or eating brave used you know what I mean. Now,
it's like the world is at my dispense, Like they
told a story that made me laugh because it's kind
of the antisis of hip hop, right, It's like the
opposite of it where they was working on a song
and that was like, yeah, you know what, I like

(15:24):
this last dance. It was like a Wei sung And
they were saying like how they were able to call
Tom Petty and Tom Petty sent him all the sessions.

Speaker 2 (15:35):
You know what I'm saying, Like that is crazy.

Speaker 1 (15:38):
You know what I'm saying, like, yeah, I want to
flip this Tom Petty song and somebody, let's get Tom
on the phone and Tom send you all the parts.
Your talk is more about like taking the vinyl and
making the most Tom Petty sending you the pro Tools session.
That means somebody took that shit from real and put
it on Pro Tools. You know again, hip hop is
soul food. It's hard to make it healthy. It's not

(16:00):
it's not supposed to.

Speaker 3 (16:02):
Being any healthy.

Speaker 1 (16:04):
You know, you're not supposed to, you know, cook spinach
the way you cook greens. So again, we just have
to accept the fact that this is not the sole
food dish that we was looking for and also realize
the chefs that we come to love ain't cooking for
just us. No more should they be. That's a whole
different debate. We're definitely not just cooking for us anymore.

Speaker 2 (16:24):
That's that's my whole point.

Speaker 4 (16:26):
My whole point is is that it seemed like I said,
it seemed like Snoop was rapping for Dre, and it
seemed like he was rapping for for Dre's resources or
for his You know, if if Dre is a billionaire,
I'm trying to get the billionaire status. So I'm not
really concerned about what the fans think. I want to
I want to make I want to please Dre. So

(16:47):
Drake can turn me onto this is just my personal opinion, speculation, whatever,
So Drake can turn me onto his billionaire plug so
I can get to that billionaire boys club.

Speaker 2 (16:56):
That's that's what it seemed like to me. I don't
want to cut you all. Love talked about the missionary
last secons, so and I don't want to keep boring.

Speaker 3 (17:03):
We could keep talking.

Speaker 2 (17:04):
It's the West. We know all you talking about talking
all that he about the way he's calling on here
for some specific remember what year was that when we
started doing your shit over at Department two thousand and
sixteen sixty man, we'll been podcasting ten, probably a year

(17:27):
before that, fifty twenty fifteen.

Speaker 1 (17:30):
Probably fifteen sixteen, because I think the first one we
did was at the k SWOSO sixteen in mack Been fifteen.

Speaker 2 (17:37):
Weill been doing this shit for almost ten years though.
I was just gonna think about that and I trip out.
Man when I thought about it, I said, damn, this
is the last episode of twenty twenty four. And it
was crazy. Man, It's just crazy how fast time goes.
And that's what I was thinking twenty sixteen, twenty fifteen,

(17:58):
but I wasn't sure. Damn, man, man, we're best.

Speaker 1 (18:05):
Less the word.

Speaker 2 (18:07):
I wouldn't never imagine cam doing this ship dog that.
It was kind of coming this far dog.

Speaker 3 (18:13):
Back Commissionary.

Speaker 2 (18:14):
So see Teezy for prout like an hour already. Know,
so it's bro, you know what I want?

Speaker 1 (18:23):
You know what since his twenty twenty four and you
make a great point in it. This is the last
episode against the rare chronicles for this for the year.
I really want to give a kudos to the ll
cool j Q tip record.

Speaker 2 (18:35):
Yeah, that's why I told cam El was busting on that.

Speaker 1 (18:37):
To me, it's not just about busting And I can't
get still to understand it.

Speaker 2 (18:42):
It's fully got with, but still is a ny seed.

Speaker 3 (18:45):
Bro Still is such MC that he really think he mattered.

Speaker 1 (18:49):
If Still could get it off Cam, he wouldn't even have.

Speaker 3 (18:51):
Beats on the motherfuck it be just him.

Speaker 1 (18:55):
He'd just be kicking raps this ship with no beats music.
That means Q Tip had to do an incredible job
to make it work. Like it's a great project again,
I think, like I said, it just making the album.
We've been spoiled for years, you know what I mean.

(19:16):
Everything don't gotta work out. Everything don't gotta be something
everybody likes, like even Stoop and dra like they've spent
their whole career. Yo, seven out of ten things, everybody
like eight out of ten things, everybody like. Well, sometimes
everybody ain't gonna like.

Speaker 3 (19:30):
It, you know what I mean.

Speaker 1 (19:32):
So I hope, God willing, they don't just stop doing
it and they go back in the studio. I don't
want Q to stop rapping. I want Q to get inspired,
get with a producer and go get to it. I
want Stoop and Dray to double back. I want them
to say, Okay, let's look at what we liked about.
How people responded if that matters to them, Hey, how

(19:53):
do people respond?

Speaker 2 (19:54):
What do they like?

Speaker 1 (19:55):
What's working, what's not working? And double back again, just
like them Legends and rocking road to it. I think
that's the task that they're on, and they on a
challenging task, you know what I mean? To take hip hop,
take something like hip hop into pop spaces in a
pop level like Aerosmith had to do. Right, it's a
different challenge. You'd be uniquely the first person. And for Q,

(20:18):
it's just about getting inspired. To me again, he's a
He's a prolific writer. The nigga could write his ass off.
But now you need to get back to what's going
to inspire you to be that that nigga that America
loved to.

Speaker 4 (20:30):
Hate, and it was it was what he wrote about.
He already gifted, but he had the nuts, He had
the testicles to write about certain things, even shit that
I don't agree with, even the West Side Connection shit
that came after the Death Certificate album when he was conscious,
but West Side Connection album was fired.

Speaker 2 (20:50):
That shit was banged.

Speaker 3 (20:51):
The shout out to shout out to butter, shout out
to him on a production.

Speaker 2 (20:54):
But again, like he was inspired by.

Speaker 1 (20:58):
The West kind of coming into its own fully, you
know what I mean, being not credited correctly by by
the New York.

Speaker 3 (21:05):
The movement of the West was happening, so I think
it's up to him to get inspired.

Speaker 2 (21:10):
But well, you we don't understand though he keeps some
I don't heard Drake say a couple of times that
he scrapped Detox because it wasn't good. It wasn't good enough.

Speaker 1 (21:22):
Yeah, but that's cool, but.

Speaker 2 (21:24):
It might have been good because I heard that the
single with Acon, how did that do? How did that fear?
Commercially maybed okay, But if Drayce said it wasn't good enough,
I believe that shit was hard. Though I liked that.
I liked that record. Ye they kind to me that
sounded like the shit he was supposed to be doing.

Speaker 4 (21:40):
Said it wasn't good enough. I just know for me
like rap, because I don't really even do hip hop.
I don't really claim I don't. You know, hip hop
is a term that was you know, created, I rap,
I rap.

Speaker 2 (21:53):
I love rap. You know, if that's a part of
hip hop, been great, but uh, you cam gets to
be hip hop is the iggity, biggoity. Oh yeah, I
don't know, man, I don't know the lyrical miracle. That's
not improbably curious. It's diffic but well wrap, well, rap
is a chore.

Speaker 4 (22:13):
If rap seems like it's a job, and I gotta
do a thousand takes in the studio and I got
to impress another dude instead of impressing me and how
I feel, then it ain't worth doing no more. Like,
I don't care how much props or money or fame
or whatever. Like, I gotta do my own record. I
gotta do my own stuff. And nobody tell me.

Speaker 2 (22:33):
Shit over you you wouldn't do it, huh if you
was doing if you was in there right doing some
work with Drake, and y'all gonna do it five takes
already in drell. No, I'm not doing more than that. Hey, man,
I need you to do one more. Nah, I ain't
doing that.

Speaker 4 (22:49):
I'm gonna say, okay, out of the out of the five, i'may,
I'm gonna say, save it, don't don't eraise none of
my ship, save them five takes. And out of them
five takes, because I wrote it, I live. Did I
know what this shits supposed to sound like?

Speaker 2 (23:01):
To me? It's not supposed to sound like you wanted
to sound.

Speaker 4 (23:05):
You know, if I'm too close to the mic and
I'm spitting something back up, but it's some ship like
you can't tell me how to deliver my life.

Speaker 1 (23:12):
He's in. It just depends on what the task is. Right,
If somebody's producing you right, then they're using so you.
They're taking your lyrical experience right and your story, but
then they're trying to mess it with sound. It depends
on like if Pool, Like if Pool gets you in
there and you say, man, it's ten times and he
trying to perfect your voice as a sound, not as

(23:36):
the way as.

Speaker 2 (23:36):
Again an instruments.

Speaker 3 (23:38):
And I think that's what Dre is doing.

Speaker 1 (23:42):
Obviously, when I recorded with him or when he records
with somebody else, I could tell he's looking for a sonic.
He's looking for somewhere that he feels like it is
going to compliment the music. And that's why he you know,
he's one of the best. That's why he's the greatest
to do it because he figured that out. But like I,
you know what's funny, Big Bro. Really feel like I
appreciate Snoop still being able to learn at this level.

(24:04):
Now the motivation to learn could be like you said,
he turning me on a billion dollar plug. Obviously I
would imagine that could be true. But I also think
there's something inside the dog. It's one of the things
that make him the greatest hip hop artist evers because
he's always like a constant student. He's always a consummate
learner when it comes to what needs to be done

(24:25):
and raising his game.

Speaker 3 (24:26):
So I appreciate the challenge of it all.

Speaker 1 (24:29):
And it's the same thing for Dre, like even talking
to him honestly, like I remember him telling me like
Snoop wasn't something he chose, that was more Warren it Shug,
Like Warren pushed him off onto Dog and I mean
Dre and Dra and Shug was like okay. And then

(24:50):
Dre told me the story of fifty cent me excuse
me of Eminem. That wasn't his name, that was Jimmy
Ivan thing you. I mean, Jimmy was like, I think
this the work, and he passed it to Dre and
was like, man, do this, and Dre was like, I
don't know, and he did it listening to him and
guess what here is you know, your most successful artist,
I mean, And then fast forward to fifty cent. That

(25:11):
was an eminem thing. Hey, you know what you know,
m wanted Dre to do fifty cent. He's like, man,
do it with me, and they did it together. So
I think a lot of the greatest things happen when
you take on a task that people you trust passed
to you.

Speaker 4 (25:27):
Yeah, I think it's also I agree, I agree, And
I think it's also what we see as success. What
is our idea of success at that stage, you know,
because they are already successful in fame and money and
all of that, So now their standard of success is
probably something we don't know nothing about, you know, Cam,
I want to go.

Speaker 2 (25:46):
Back to this because I'm laughing. So, but are you
doing this regular? Let's say Dre is doing detox. He's
gonna give detax another row and you on there. He
wants you to do the entro. He wants you to
sound a certain way. Niggas said, no, be a fire
to Nah. That's is how absolutely absolutely.

Speaker 4 (26:07):
Like, Nah, I did it my way. This is this
is Cam, this is what you this is what you
want it. You know what I'm saying, Maybe if you
could try to tell me, but that that's like, that's
like Hollywood shuffle. Can you give me more more jove
ass more somebody else, like Nigga, this is me, This
is all you're gonna get.

Speaker 2 (26:22):
Cam is cam like, this is what you're gonna get.
Maybe you need somebody the other tape, Glass is definitely
do the other tape. I already did it. I think
I'm gonna dot jurkick writ the first time. So he
takes together, Uh not none of the hundreds or twenties
day you talking about. But I probably did something in
seven times, but there was other times he took it

(26:43):
on the first tape, but more than seven times at
your house.

Speaker 1 (26:47):
Oh that's a fact, you But but you choosing versus
me telling you, right because I believe now I need
to do that again, right because I believe I.

Speaker 2 (26:56):
Know how I want to sound, not how you want
me to sound. But I'm all so not producing you.

Speaker 1 (27:02):
So it's like it's different like if I'm gonna work
with obviously when I if I'm working with Doc, then
I'm gonna let Doc produce me, because that's why I
went down there to mess with you, you know what
I'm saying. So like, but if I am producing somebody
like I do, I'm obviously not got to dre but shit,
I didn't made Joey and Duce go in there and
rewrite something and hey, flip this, change this, do this
because I'm making a record.

Speaker 2 (27:23):
So I think you have to. And I'm thinking that
for these guys, says that that's what the music turn out.
The way you do.

Speaker 4 (27:31):
That's something different. I'm not talking about changing lyrics. I'm
open to changing lyrics.

Speaker 2 (27:35):
No, I'm not even talking about the change lyrics.

Speaker 1 (27:37):
I'm talking about have had them rewrap something because like sonically,
I feel.

Speaker 3 (27:41):
Like it loses energy.

Speaker 1 (27:44):
I mean, as I become more of a producer, like
I notice things like like small things like oh you
know what you laid this verse, but okay, I need
you to say the hook, you know, coming in and
going out, or hey repeat this kind of match this
energy right here, this that and the third you know
what I mean. So I could get where his methodical
mind would go, you know what I mean, really pursuing

(28:04):
something that he feels is capable. He could hear the sonic.
So I don't think he does it to be like
disingenuous though, you know what I mean. I don't think
he's like, oh I'm just doctor Dre, let me throw
my weight around as much as he's really pursuing something
that he hears in his mind.

Speaker 4 (28:18):
Anyway, pretty excellent. I'm already excellently me. So if I'm
already me. You know how many people you know stutter
or got a list or off beat or whatever. That's
just them, that's who they are. Just just just make
my my fuck ups sound good. That just just just
eq it in a way that that's cam he wraps

(28:40):
off bead or he his voice is cracking, or you know,
that's what I mean.

Speaker 2 (28:45):
It just depends.

Speaker 1 (28:46):
It depends if you want to be produced. I mean,
you've been in the business long enough, big bro, to
where you probably know where and how you want it.
But again, if if you wouldn't work with for real timbling,
like especially for real Forrella, give you a flow, hey,
wrap this flow, I mean, or Dre will be like
he'd be looking to me where he's really Again I
never asked him what the thought is, but I would

(29:08):
imagine now with my knowledge and information, even though I'm
nowhere near with cousins at my mind is like he's
chasing a specific sonic to where when it's time to mix,
like it's right where he wants it a lot closer
even listening to a Missionary, which everybody should go stream.
I think it's a great record, and I think it
gets better if you listen to it. It's getting better.

(29:30):
It's a good album for where they at, but it
gets better. But it's really busy, like it does a lot.
It's a lot to pick up, right, you know what
I mean? You have to walk If you walk into
it thinking you're gonna get snooping dre from nineteen ninety two,
you are going to come out very not getting what
you look for.

Speaker 4 (29:50):
So the Cam and Cat Cam and Battlecat album that
was inspired by Glasses, Glasses the one putting me in
battle Cat together like just for the world. You know,
all any records that you hear and the album that's
the songs that still not release.

Speaker 2 (30:05):
You know, Glasses the one.

Speaker 4 (30:07):
You know, I give him this public credit and there's
no secret he the one that put that together right
and Battlecat knew you know what I'm saying. You know
he knows what he wants to hear too. But then
you know he knows the respect. You know, we Cam,
this is what you want to hear, and maybe you
can say, try to say this like this and this
like that, but he gonna you know, it's it's like

(30:32):
he gonna he gonna bring his expertise to the table
and even if I disagree with it, I'm gonna trust
his what he do, and he gonna trust what I do.

Speaker 2 (30:43):
So it's not a chore. It feels good.

Speaker 4 (30:45):
It's fun to me if you tell me to do
something over and over and over again, like it's not fun.
No more like Nigga, I don't feel like doing that now.
Music is a vibe. It's a spirit. Now my spirit
is on some other ship like Nigga. Like I'm not
say I already said it, like you know what I'm saying.

Speaker 2 (31:03):
See that.

Speaker 1 (31:05):
You know what's funny? Still tell me what's crazy? Tell
me some of the stories where he was working with Bob.

Speaker 2 (31:10):
What was that like? Man? You know what those dudes
are definitely perfectionist what it was with Bob? Shout out
to DJ Bobcat.

Speaker 1 (31:19):
DJ Bobcat did to anybody who listens to gangst Rap chronicles.

Speaker 3 (31:22):
Obviously you heard I'm Bad ll Cooj the Bad album.

Speaker 1 (31:26):
You heard back ten Backyard Boogie, you heard Tupac Strictly
DJ Bobcat is one of those very you know, not
spoken about, but prolific producers look him up and still
used to work with DJ Bobcat when he was a
fresh rapper, and Bobcat told me stories of how he
almost traumatized still in the studio.

Speaker 2 (31:47):
Yeah, you know what, man, I used to go outside
and smash forty bottles sometimes, being so mad at Bob
because first he had you do a Megan Jason. You
don't even know if you gonna be on the song
because it would be like four birth slots and you
have ras casts coming through there. They have exhibited coming
through the east. When he's catch was like, oh everybody

(32:11):
on there. You might spend all night writing the verse
he you think you sung because he don't give you
a little snipper of the beat on the tape. And
you go do it, man, you go doing it. You're
doing all this hard work and you going in and
bus if you think it's perfect. Next thing, you know,
they could pan on them and you might make the
first cut, but then they may move you around a
little bit then say well I don't like the way

(32:32):
you do right there. You know you had to do stuff.
They had to be perfect Dog. It was different Ladiator School,
so yeah, well they weren't.

Speaker 1 (32:43):
I always liked the challenge of it, but I think
also because I didn't grow up wanting to be a rapper,
So it was dope to have somebody take an interest
even to this day, Like I love when, like you know,
like when I could get somebody else's critigue on a record,
especially somebody who you know, like who's been around, like
iced T and too Short of some of my favorite
to let hear what I'm doing, you know what I mean,

(33:05):
Because I feel like they culturally represent they almost like
they're like me where they're you know, like it's only
so many rappers there who they are on and off
the mic, you know what I mean. Like it's no different.
So I like it, you know what I mean. But
like I think it depends on what you like it.
But back to the ll C JQ Tip record that
was before GNX came out. That was my favorite album

(33:28):
this year.

Speaker 2 (33:30):
Yeah, I ain't hurt. I gotta check that out. It's dope,
you know what I mean.

Speaker 3 (33:33):
It's it's dope.

Speaker 1 (33:34):
I thought LLL went to Town and it's it's dope
to watch somebody who came out of nineteen eighty four,
dropping an album in twenty twenty four, and they still
handling you feel me, They still getting cracking, They still
making it work.

Speaker 2 (33:47):
I really like that a lot.

Speaker 4 (33:50):
I like, I like just to circle back on the
missionary and we can get off of that. I like
Snoop is busting. Snoop Snoop Rapper, he bust, He wrapping
his ass off, right, you know what I'm saying. And
I'm talking about like like like high energy. You know
what I'm saying. You know, busical however you want to

(34:11):
he giving you all kind of different flavors and styles.
It's just like I said, it's just to me. Yeah,
the music didn't live.

Speaker 2 (34:17):
One is I was.

Speaker 1 (34:18):
I was arguing with some homies problem in them, and
I'm like, see, they want me to say the music
is that.

Speaker 3 (34:25):
I'm like, no, the music is not bad. The music
is actually good. But that is the problem is that
Tom Petty song sound like something Tom Petty could sing
on today. You know what I mean.

Speaker 1 (34:36):
The Sting songs sound like something Sting could sing on today.

Speaker 2 (34:40):
And it's that's weird. For a dog.

Speaker 1 (34:42):
There was always especially the dre and Dog, even when
they would flip classical ideas like you know, uh axle ride,
you know the edge, you know what I mean.

Speaker 3 (34:53):
They would flip you know, no doubt to.

Speaker 2 (34:56):
Make that dum.

Speaker 1 (34:59):
Don't uh, don't forget about Dre right, no doubt the cline,
you know what I'm saying. And to have Snoop like
it was dope, they would still put he would still
put this level of grittiness to it, and and this
this unh in it, and that unh is different now
because this motherfucker could.

Speaker 3 (35:16):
Play the piano.

Speaker 1 (35:18):
He like, it's like, no, fuck that, let's get sting
up in here to play hold up, you know what
I mean. Like, so again people want me to be
harshly critical over what Dre is doing. Is like I'd
probably be doing the same thing if I had access
to Michael Jackson.

Speaker 3 (35:36):
It might come sing this sok.

Speaker 2 (35:38):
But it ain't street.

Speaker 1 (35:39):
It's not that's but that's the point. Yeah it's not street.
But again, yeah it's not streeted all. But Snoop is
saying street ship. Snoop is saying street ship, but the
music ain't street.

Speaker 2 (35:49):
And that's what I agree now to.

Speaker 1 (35:51):
Me, that's the you know, that's where it's kind of different.
You know what I mean, It's like, yeah, it's like
and Snoop was on the sting song. I don't know
if I really you know what I mean?

Speaker 4 (36:01):
After it sound like it's not like a gang of
features of him being on other artists and shit like
that might be on a different genre.

Speaker 1 (36:08):
But to be honest, the more I listen to it,
it's growing on me and maybe I'm giving it more
chances because it is Sloop and dre Cube to me
back to man down, It's just really, I really didn't
care about the production, Like this is kind of one
of the first times I don't think I cared about
a que produce, a produced like a record that that
Q did with the beats like normally, like you know,

(36:31):
even you know the policies and the you know, the
last era of Q records. It was like, I still
like the music, even if I wanted to be critical
over where he was writing at or how inspired he
was as a writer. But this is the first war
of production. I'm like, I don't really care about the production,
and that is kind of what made me be like,
ye ain't trip and I'll come back to it when
I get some time.

Speaker 2 (36:51):
So I bet you if he said.

Speaker 3 (36:53):
In the studio with me, I pushed his ass, he'd
be saying some shit.

Speaker 2 (36:57):
I mean, if it was a fear of where I'll
be drunk too. Shit. You think that's going on? Man?
When I used to have them session, when we do
that stuff for Bobcat, Jay Stink and all of them
dudes in the studio, Man, it was different, Dog, You
actually had to have your shit tight. Dog. It was perfection,

(37:18):
even you know, certain breathing on them like camp. You
know what I'm told about, Like on a word, you
might have to say a word fifty times and there
wasn't no punching back then. They wanted that one word
to be perfect. Yep. It had to be perfect. And
it wasn't no thing like to day to where you
go to have a track when you go do the

(37:38):
stuff live, to where you got the track playing in
the background. You had to sound on stage like you
dial the record. Man, I don't know what the hell
like I saw T Grizzly kind of when he had
this coming out moment remembering that song got real big
and he starts, you could tell he had never did
shows because he was just on stage standing around Dog
and the music was just playing. He was just up
there kind of had a bop, just up there, did

(37:59):
he bob? And I'm like, is he a rapper? Is
he just up there walking around? I blame I blame myself.

Speaker 1 (38:07):
I'm definitely the first generations of people who didn't grow
up wanting to be a rapper, studying rappers fucking it up,
you know what I mean. So I do take accountability.
I had no really understanding about hip hop or desire
about it or nothing, you know what I mean. Now
I look back, I'm like, Damn, this shit gave me
way too much for me not to know to not

(38:28):
have more respect for what was happening. I mean versus
if you see a rap, like, if you grew up
wanting to be a rapper, you're looking at rappers to
understand certain ways to carry yourself, certain ways to present yourself,
a million other things. I didn't have that. I was
really a product of me and cam section. It was
just like, yeah, this is yeah, this is really the culture.
This ain't the artistic version of it.

Speaker 2 (38:50):
Hip hop. Hip hop kind of shoeses the rappers. Rappers
don't choose to get like I really think rap shoes
people though, because I've known people that great at what
they do. It never came nowhere close to releasing the record.
Bro talk about dudes who were very very too dope
man like had everything, man, but they just diver got

(39:11):
that shuf.

Speaker 3 (39:11):
I'm really mad. I really want Kad to release that camera,
that that cat and camera, because that record is great.

Speaker 2 (39:18):
I think.

Speaker 3 (39:20):
You know what's funny, man.

Speaker 2 (39:23):
Got it?

Speaker 1 (39:24):
You gotta get back to just wanting to put out
something so people can hear it.

Speaker 2 (39:28):
Dope starting to cut you off. Glasses still feels political
as hell. You think he might have been mad for
some You think it might be some of the things
you said about snoop cam that might be making an
old onto it a little bit.

Speaker 4 (39:43):
Nah Nah, I mean, I don't know what they what
they're doing now. But ain't nobody really holding on to
it like that? Because I could put it out if
I want. I just don't want to waste it. I
don't want to waste and I don't even know how
to put it out like that, Like Glasses be trying
to show me or whatever, But uh, I just didn't,
you know, because the stuff already leaked out.

Speaker 3 (40:02):
You know what I'm saying, Glasses, we got it, I
would be honest, you know what I mean.

Speaker 1 (40:08):
My goal with them was for them to do three
records over three different albums, you know what I mean, Like,
I feel like we should have a people to me
who battle Cats sound marked kind of their era in
my life, Cam is one of the earliest, right, Corrupt
is one of the next. And uh, it was somebody
else that I had in mind. But I wanted him
to put out a series with these guys just show

(40:31):
because battle Cats still unbelieved. This nigga is still unvol like,
he's still just the culture uncut raw. He'd get in
front of that ship and go. So I put him
take care.

Speaker 2 (40:45):
But as far as to me, Dre should be fucking
with him more.

Speaker 3 (40:50):
Yeah, but Dre is on a different wine.

Speaker 1 (40:52):
Bro J got a lot of money and he escaped
a lot of shit.

Speaker 2 (40:57):
He escaped a lot of shit that.

Speaker 3 (41:00):
He could have been held account before.

Speaker 1 (41:01):
And it didn't that Nigga told me like, man, don't
get me in no shit though I'm like, Nigga, of
course I will get you and some shit. That's why
I'm not up that if he don't fuckle with me,
like if he don't come like have me in the
studio or have me or I get why I'm not
upset at that.

Speaker 2 (41:18):
I'm like cause one thing I am is the culture.
No matter what level of intellect and whatever.

Speaker 1 (41:24):
Yeah, I'm still this little wise counter, little nigga that
ain't gonna change you. Feel me so like I have
found a pride in it, in a sense of responsible
and belonging that could frighten, could make Dre me look
like this, that could make me lose it all, even
though to me that's crazy. But I get why he
thinks that. But I think Dre is moving away from

(41:46):
this and moving to wherever he wants to go. And
I'm not trying to hold him back. I'm not trying
to pull him back. Hey, bro, if you've been doing
this for forty years, this is what I was arguing
with problem in the homies about they talking about he
didn't put this new artist. Man, I don't give a
fuck who Drey got rabbit for him.

Speaker 2 (42:04):
That shit over.

Speaker 1 (42:05):
Let this man set sell that nigga can start making
yacht rock if he want. It's up to us now
to finish the job, to keep it going. It's up
to the Kendrick Lamars to put new artists on. It's
up to the till of the creators. It's up to
the glasses and lungs, the problems, the rembles, the mustards.
Why geez, this our job? Now this are you still

(42:25):
want the older homie to get in the car and
go put in work. Get your ass out of here.
Bro Oh, Denny's go do something else, you know. I
mean I would never want go call my older homies
to go do nothing no more.

Speaker 2 (42:37):
You know what, though, I see I used to always
wonder why guy is greatest and hundred three thousand wasn't
a record no more. But I feel what he said.
He says, Man, what am I'm gonna talk about? Like?
What am I going to do?

Speaker 1 (42:50):
It's like I used to always tell you the day
you lose your thorns, it's over. Andre said, the South
has something to say. He was trying to save me
there to say. Now everybody listen, He's like, job is done.

Speaker 2 (43:00):
But somebody like Cam the motherfuckers is still pointing out
you grab whole help. Yeah, it ain't never it ain't
never over with me. I got a question for y'all, like,
because the quality of certain.

Speaker 4 (43:12):
Lyrics like we was talking about earlier, red Man or
or this and that or qube or whatever.

Speaker 2 (43:18):
One thing that when when I was coming up, I didn't.

Speaker 4 (43:21):
I didn't never used to write rhymes in the studio
with niggas, Like I would write rhymes at home and
I had a beat or whatever and I'm able to
think about it or whatever. But do you think that
takes away from the potential quality if you're under pressure
to come up with something right there because it's posing
cons of writing in the studio with with other dudes

(43:42):
or whatever, because it's gonna it's gonna make you step
your game up, but it's gonna rush you.

Speaker 1 (43:46):
At the same time, craft develop as a writer, learn
more about record riding in general.

Speaker 3 (43:52):
You know what makes it special.

Speaker 1 (43:54):
So now it's like basketball, Like yeah, when you fresh
on the court, you feel me you could jump out
the gym, you could dunk on a nigga reseas and
all that. But I'm one of them niggas, man, I
ain't got so many different skills over the time that
it don't matter if I'm in the studio, I take
it home. I gotta go to game that you can
put me writing a post. I'm one of them last
niggas like Kareem, I give a nigga this hook shot

(44:15):
all night. This thing ain't gonna never dry up. Feel me,
I got enough plays to where as a writer like
I'll figure out a way.

Speaker 2 (44:23):
To approach it.

Speaker 1 (44:24):
Open clothes, climax, every verse, just skill set, so I
don't need to feel. The feeling is when I'm starting
to talk about what I'm talking about, and I always.

Speaker 2 (44:33):
Stay invested in the culture. So what do I like?

Speaker 1 (44:37):
I used to like going home, but now it's more
like whatever the job is. If the job is like
Tupac months died, Like when I came up with that,
Like I was in the studio, I was trying to
come up with it and happened. I was in the
shower two days later and I just came up with
the whole thing in the dollar.

Speaker 2 (44:51):
That's when the inspirational issues sometimes to teach you in
the hottest places. I remember I was thinking about this
one song I was working on. The beat was so knocking, man,
I want to do the record, but couldn't think of
what to do on it. I was getting on the
plane to go to London, man, and everything just kind
of hit me. When I was an airport, didn't know
where it came from, just kind of hit me, and
I said on the plane ride it kind of wrote

(45:14):
that song down. Man, jotted it down on the back
of the you know how to get the little instruction
books a little stretch, so how to you know, handle
of the flotation device and all that stuff. I wrote
the whole rap. It was in pieces on the back
of that car, and I took that and finished it up. Yeah.

Speaker 1 (45:30):
So me, it's like, you know, I don't really have
a preference, but I'll tell you one thing. If we
need a bucket, you just put me in a post.
I'm gonna hook that drop that up right there. I
got a hoodshot for the nigga. It don't matter how
tired I am, So I guess whatever you take.

Speaker 3 (45:44):
You know what I mean.

Speaker 1 (45:44):
When it's my record, I'll come up with a right
on the spot. Sometimes shit, I'll just wait till I
got something better.

Speaker 4 (45:50):
But it would depend on who's in the studio, Like
if it's if it's name Gran his big names in
the studio.

Speaker 2 (45:56):
Are you trying to break the back border?

Speaker 3 (45:58):
What that nigga?

Speaker 2 (45:59):
Just say that.

Speaker 1 (46:00):
That's to be where I carved out what I do
culturally as a hip hop watters. Now, I don't know
exactly how to say certain things that make people be like,
who is that guy?

Speaker 2 (46:09):
Yeah, I definitely think it's important, though, Cam sometimes to
dump on some niggas and remind niggas break the backboard
in the ass fan. It's then when they ask real quick,
but she's two hours, man, I don't like doing that.
The goals for the New Year? What's that New Year's resolutions?
That should always thought that shit was kind of like
if you go do something, just to do it, you know.

(46:32):
I just want y'all always to stay safe out there,
be responsible.

Speaker 3 (46:37):
When is this?

Speaker 2 (46:38):
When does this come out? This come out tomorrow? Dogs
come out the real times. We got three o'clock this morning,
Sab you need to drop a New Year's one, you
slip you know what?

Speaker 1 (46:47):
We all need to do a digital soap box live.

Speaker 2 (46:49):
Yeah, let's do it. I'm doing when we could do that,
but hey, we go playing those off the record. Man,
y'all have a happy New Year. We got there. We
go do it. We go do a digital byes live though,
see that you know, information coming in and we out
of here.

Speaker 3 (47:03):
Please m