July 31, 2025 • 55 mins
MC Eiht and Steele talk about the disrespectful top Bay Area rapper list Thizzler dropped and discuss the best West Coast producers of all time
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Speaker 1 (00:00):
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Speaker 2 (00:04):
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Speaker 3 (00:17):
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Speaker 1 (00:31):
Comment, Sure, old shoe, what's cragging? Oh man? Shoot the
same old, same old oh show? How many of these producers?
You think? I got other people making their beats as
far as what you law.
Speaker 3 (00:51):
They may have a bunch of producers in there with him,
a bunch of young producers with him, and the stamping
their name on the ship. Man.
Speaker 1 (01:02):
There's probably a lot of niggas doing that. You give me.
Speaker 4 (01:05):
I've never ran across that, but shit, you know you
have to be weary of that.
Speaker 3 (01:10):
I guess yeah, I've seen that. At the first hand,
I ain't gonna put it. Ain't enough to me to
put people's business out there, though. But I've been looking
at all these lists, all these lists, they do always
comprise the rappers. Ain't nobody ever really did no listen
to producers necessarily.
Speaker 4 (01:28):
I guess when they kind of the producer, we're always
forever given credit. There's only a small list. I guess
you can cop, you know, composing of great producers.
Speaker 1 (01:39):
I mean to me, I don't know, if you.
Speaker 4 (01:43):
Want to crack off a list of fifty producers.
Speaker 1 (01:47):
I'd probably go thirty. I wouldn't go fifty. I would
probably go thirty, all right, I would probably go twenty
twenty five.
Speaker 3 (01:54):
Yeah, I do know that everybody that, like, you know,
somebody come up with a list of the best westcot
those producers almost unanimously. You have everybody seeing, oh, doctor
Dre is number one, right right, but really he is
doctor Dray.
Speaker 4 (02:08):
I mean it don't take credit away from no other producer.
And then especially you know today we have a lot
of you know, new producers that have contributed to the
new sounds of what you know, they feel, you know,
their version of West Coast music is. But I don't know,
if you want to look at longevity and the contribution.
(02:32):
Dre has been around for a while. Drey has been around,
you know, from the era of me making music and
probably before that. He's dealt with a lot of significant
artists of outside of just hip hop.
Speaker 1 (02:45):
You get me the.
Speaker 4 (02:46):
Transformation of contributions to music from the Wrecking Crew.
Speaker 5 (02:51):
Days to the King te days and the Easy days
and you know, to to the Snoop in the two.
Speaker 4 (03:01):
Part days and then being able to touch people like
Mary J and Nives and them and fuck with jay
Z and then being able to transition over to this
era today. And then a lot of that might come from,
like you said, a lot of people lending their.
Speaker 1 (03:23):
Contributions along that journey as well.
Speaker 3 (03:27):
You feel me, and you know what, Dre he definitely
heals man. You can't say nothing. You can't say nothing
bad about dra for sure. He's definitely, like you said,
a pioneer, right. But I always say, as far as output,
when you think about the amount of music for has
put out over the span of that time, He's putting
(03:47):
a lot of music, but not really like he kind
of comes with an album every a few years. You
feel what I'm saying, But it's the quality of those.
Speaker 4 (03:54):
Works when you do come with his picky and when
you get in that position, you get that recognition and
that position of being a great producer. You get to
pick and jeans and you want to work with, right,
I mean, because every day is not about a chef.
When you get to that platform, of course, I could
(04:14):
charge any nigga two hundred and fifty thousand dollars or
one hundred thousand dollars for a track or whatever. But
do I want my name connected with just any and everybody.
So when you get to that established you get the
picking choos who work and not. Let's let's not mistake
(04:34):
that we all know that niggas have motherfucking.
Speaker 1 (04:40):
Teammates, right.
Speaker 4 (04:43):
You might be you might be the Michael Jordan and
the face of the team and the and the label
and the branding or whatever, but you still got role players, right,
And these are niggas who might assist in bringing up
samples or different sounds or drum kicks or drum patterns
or whatever whatever. So you have to give credit to
(05:06):
those niggas too, you feel me, because without those niggas,
some of those records probably wouldn't have even made it
to the light of day.
Speaker 1 (05:15):
So you have to give those niggas credit to.
Speaker 4 (05:18):
The teammates who assisted along the way of Dre being
able to become, you know, one of those great producers.
You know, my nigga DJ Slip used to, you know,
produce his ass off.
Speaker 1 (05:34):
You know, DJ Pools the motherfucking you.
Speaker 4 (05:38):
Know, there's a game of niggas who contributed to this
West Coast sound, but don't recognition that they get you feel.
Speaker 3 (05:47):
Me, Let's stop at Pool real quick because Boo Fivecat
and the other homie Muffler they had to pull me right,
real dope production team. Man, you know, did cubes want
to choose best albums? The America's Most Wanted album? Was
it America's most wanted? No, even they didn't do America's
(06:08):
Most wanted? They did Death Certificate, right, Death Certificate.
Speaker 4 (06:12):
There was Bomb Squad of the Yeah, America's North Warner.
Speaker 3 (06:17):
Yeah, Balm Squad did you know, ain't shocking? And them
did America's Most Wanted. But you think about Bob Cat
pulling all them dudes. Man, them dudes real dope, and
they kind of don't really get mentioned like these shit.
And that's because I noticed in hip hop hip hop
we don't really have But it's not like rock and roll.
If you ask any knew every metal dude about Motley Crew,
(06:38):
they gonna say, oh man, they was major influence on me, right,
you know, a dude eighteen nineteen years old, they knew
about that. I noticed this era of hip hop, they
have a tendency to forget about kind of like masterminds
of what they're doing.
Speaker 1 (06:51):
You feel me.
Speaker 4 (06:52):
But when you feel like because a lot of you know,
are like it was just name right. You know a
lot of dudes even, do you feel that they have
made themselves available to tell their stories? You know, so
that you know, do you feel that they feel like,
(07:16):
you know, fuck it, it is what it is. And
niggas who don't mean all meet and those who don't fucking.
Speaker 1 (07:23):
You know what I'm saying.
Speaker 3 (07:25):
I think, man, a lot of the hommies, man, you know,
you gotta remember.
Speaker 1 (07:30):
Pools men came Pool.
Speaker 3 (07:31):
Bob Cat and all those dudes come from the era
of music, man, where producers was actually making a lot
of money.
Speaker 1 (07:38):
They kind of came from that era.
Speaker 3 (07:40):
They can't on to tell len the dudes not getting
no money, the dudes getting a lot of money for
a beat, right.
Speaker 1 (07:46):
So a lot of those guys are are a little
bit more.
Speaker 3 (07:50):
I wouldn't say financially stable, but they don't come outside
like that, like I know what Bob Bob don't really
come up me and Bob.
Speaker 1 (07:59):
He may go do it. He may go DJ a
party for Hennessy.
Speaker 3 (08:02):
Right, he may go pick up fifty sixty thousand dollars
just just a DJ that night. Right, So he ain't
not necessarily doing a lot of stuff. Right, Like Bob
is a good friend of mine. I'm actually see Bob
is weekend. But he don't come out. And I tell
those dudes like we were able to convince godd to
come out. I say, man, y'all gotta come tell these
(08:23):
stories because a lot of these kids wasn't even born. Man,
we fifty years kind of man, we fifty years in
the game. No, ye, A lot of people don't know.
I remember, man, you know you had to remind me
one day. I called somebody with sixty Oh you said,
still he knocking on the door, you know, right, he
knocking on the door of sixty.
Speaker 1 (08:40):
Man.
Speaker 3 (08:41):
So I can't get mad man at a kid that's
twenty two, twenty three that don't know about them.
Speaker 4 (08:48):
Right, yeah, no, we we we have to learn how
to and then and then there's those cats who probably
don't want to learn or know about they gets three
of great producers, you know that are unnamed or who
are left out, or certain who are left out of
(09:08):
those discussions. But you know, we remember the sound, We
remember the significance of what was done on those records,
and even those artists who don't get mentioned a lot
in those circles. But it's more than just what they
hear with the dre's and or whatever whatever. So it's
there's a few producers, like you said, we need to
(09:31):
get those stories told, you know, just of what was done.
Speaker 1 (09:35):
What hand they had in forming West Coast hip hop
and whatever.
Speaker 3 (09:42):
You know, a lot of people don't realize, well they
think of alchemists. They may think of an East Coast
producer because you know Mob Deep and all that other stuff.
Alchemists from out here, right, the West Coast producer, you know, alchimists,
the West Coast producer. I think people like you're talking
about the role players. I think fred Rick was pretty
(10:02):
consistent with what he did for a minute. I like
Tim as far as the funk, the only battle Cat,
battle Cat is always you know, that's like it ain't
been too many Snoop Dogg albums. He ain't been a
part of you feel.
Speaker 4 (10:13):
Me right, and battle Cat is one of those dudes
who are still actively producing. You know that he is
still having his hand and a lot of production, you know,
and like you said, a lot of those cats we
don't hear about, like you said, bibcatch or maybe that
(10:34):
you know, the DJ fool's got to say that they're
not working and doing other significantly great ship.
Speaker 1 (10:41):
You know, this fool cook me up with the rock
Star ship. That's how was.
Speaker 4 (10:45):
They get through the whole on the Grand Death on
the Kick because of Pool. But like I said, this
might have their hands and other business now outside of production,
so you don't hear about that shit. But yeah, movie,
that's how I was able to get in good graces
with rock Star and I had a couple of turns
(11:06):
with rock Stars. First month music was on the radio station,
and then the following year I was able to voice
a character hitting the game, and the following year I
was able to do a song produced by Alchemists with
Freddie Gibbs and Cocaine. So I had a great prom
(11:26):
because of DJ who the connected me with Rockstar games,
pating this other shit that mebans might be into. You
know nowadays that you know, you all hear their name significantly,
like you know with production or who was the greatest
(11:47):
producers or who was those people that created that sound
that y'all.
Speaker 1 (11:53):
You know, you know that job led for you. Phel
me plain thing.
Speaker 3 (11:58):
Even in the Bay you got to It's like tone Capone,
the tone Capone made, I got five on a bunch
of other stuff. Studio tone you know did all he
early on.
Speaker 4 (12:08):
Had Banks and Ship's Banks and Banks was all you
know him Banks and Ship. That's one of my people, great, great,
great Bay for gooser significant.
Speaker 3 (12:19):
You know, we need to get Banks on the show
because him in Too Short in the early days was
synonymous with each other.
Speaker 1 (12:26):
He was given too short of all the bankers.
Speaker 4 (12:28):
You know, and then and was able to you know,
the gee for a lot of Bay Area the time
martist and even put out a project into himself as
a gasher rapper show, you know, shorter like with DJ
Quick and the long share. Quick produces his own spoff
(12:49):
and then he was able to perform him on it
as well. So that was you know, that was that
baks up in the bank.
Speaker 3 (12:55):
You feel me, yeah, you know, speaking of DJ Quick,
you know DJ Quick, he gotta get his uh. I
think the deaths been kids Quick skiff and curse because
he do so many records for himself. He don't really
venture right side and do a lot of stuff for
a lot of other people.
Speaker 1 (13:13):
You feel me, Well, he's had his hand and a
few things. You know. Well, I'll take you this for sure.
Speaker 3 (13:21):
He had a big hand and a fifty cent record
in the club, you know, with that right there, and
there was Quick drum all right.
Speaker 4 (13:28):
With the truth Hurts record and then with the stuff.
So he's worked with a few, you know, and then
you though he was fucking with the ow the barge
for a minute, you.
Speaker 3 (13:41):
Know, jays just to fund my thought stuff. You know,
you know Quick don't have some stuff. But I just
think that he's done.
Speaker 4 (13:48):
Some ship you know on the Tuatpot record, he you know, okay,
sure and mix it in a couple of tracks or whatever.
Speaker 1 (13:55):
So I said, it's you're doing.
Speaker 4 (13:59):
Then they you there with this past week, you know,
there was a comment put out about you know that's
saying that doctor Dre, that DJ Quick is who people
think is who really who doctor Dre is?
Speaker 1 (14:13):
You know did you see that? Yeah?
Speaker 3 (14:16):
Saw me kind of seeing both of them dudes. Get on, man,
I would never disrespect Dre dog, but it's not too
far off. Dog Quick is very amazing dog. What he does,
man like on the sonic level, like not only does
he make a maculate not only does he make a
magular beats and everything Quick do he do by hisself.
And they know he may have a guitarist or a
(14:37):
bass player in there, but quit very much making his
own beats and he not having nobody else do nothing.
Speaker 1 (14:43):
He don't got a team, is what you said. Yeah,
he don't got a team. He just got a guitar player.
Speaker 3 (14:47):
Now he us musicians right, like he may use a
I know he used to add homie Jesus and they're
playing guitar form and stuff. Quick At go go in there
players own tambourines. He's gonna go in there and play
his own the pongos and congos and stuff like that.
And he's gonna do his own thing. And he's gonna
go in there mixes record too. He's gonna go on
there engineer his record too.
Speaker 1 (15:08):
You know.
Speaker 3 (15:09):
Right, He's gonna kind of do everything. Man, He's kind
of like and he's not a and he is not
a classically trained guy like Tree, not a classically trained dude.
You know them dudes is not a play. You know,
I can see why somebody would say that portrayers very
much who he is for a reason. You can't just
don't disrespect his name and just say, well, he ain't shit.
(15:30):
You know, Trey is dead. Ray don't done a lot
of stuff, ass has Quick. I think quicks problem has
always been probably some of the shenanigans, And that's not
a knock against him, but just other stuff that kind
of distracts from the music.
Speaker 1 (15:45):
You feel what I'm saying. Because he's a dope produce,
you make.
Speaker 4 (15:48):
Some significant distractions as far as extracurricular activities outside of music,
Oh for sure. But do you think it was just
the timing of when Dra stepped into music as opposed
to when Quick stepped in. Like you said, they're two
great producers, you know, release some some terrific music. Give
(16:11):
you feel that Dre's climb came with more significance than Quick.
Speaker 3 (16:19):
You know what I would say this, I think Drea's
definitely at his hand and more hit records like I do.
Know that just come for me being the insider to
know that Quick has something to do with in the
club right and if I can't do it on you
can't be done. But the world don't know that. You know,
the world know that that's doctor Dre. You feel what
(16:40):
I'm saying quick very much had a hand and all
that shit, you know.
Speaker 4 (16:44):
Because a lot of time, you know, you don't get
credit for the simplicity shit.
Speaker 1 (16:51):
You feel me, I might come to the studio and
give a nigga.
Speaker 4 (16:55):
A copy of my claps and my snares and shit,
and you know, nobody's gonna turn around and credit on
a record, right, nobody's gonna credit snares and plaques on
this beat are provided by whatever.
Speaker 1 (17:11):
You know.
Speaker 4 (17:12):
Niggas look at that as pettiness. So yeah, you know,
fans and consumers don't know. Niggas don't know. There's only
a chosen few that are really into that and articulate
with sound.
Speaker 1 (17:26):
Who would pick that up like, oh, those are.
Speaker 4 (17:28):
The drums that so and so used on sow and
so and whatever whatever. So you write, you know, a
lot of just regular fans or consumers of music or whatever,
they're not gonna know that.
Speaker 1 (17:42):
You know.
Speaker 4 (17:43):
All they gonna see is it's credited to whoever produced it.
But like you said, some people can do that by
themselves and then some people have, you know, and I
wonder do you look at that as as being the
person that Dre.
Speaker 1 (18:00):
Years like I need the team.
Speaker 4 (18:03):
Because there's a billion other things that I got going.
Speaker 1 (18:08):
So do I have the time.
Speaker 4 (18:11):
To sit up in the studio like a Quick or
an alchemist? Would be you get me as opposed to
what I'm feeling. I'm billion dollar doctor, Dre, you feel me?
So do I have time to as opposed to like
other producers?
Speaker 1 (18:32):
Would you give me? Like you know, I'm ana beat there?
Speaker 4 (18:35):
Quick is gonna be there or in from the time
I start with that until it's time to start tweaking
it and engineering it.
Speaker 1 (18:44):
It's Dre gonna be there that whole time. Oh hear,
That's what I'm saying. Bro.
Speaker 3 (18:49):
I think, like, you know, let me put this out
there first and foremost, because you know, everybody, like the
Flips Drain very much capable of going to the studio and
doing everything from up on his own. The thing with
Trey Dog is Dre is probably trying to make the
best record possible, right, And he's the type that's gonna
get the best person if it's a person he feels
the best at shopping samples He's gonna have him shop
(19:11):
the samples and the loops and shit, you know what
I mean. Now, Dre may come in, he may get
a keyboard player to come in and play one hundred
different riffs, but Drey has that here to pick the
right one. You feel what I'm saying. So what he
doesn't differentely, it's something that everybody can't do. Bro, That's
why he doctor Dre. You know, you can't sleep on that.
I think Quick is probably more of a mad scientist
(19:31):
to where Quick is just fucking good at everything though,
and that's just how it heals.
Speaker 4 (19:37):
You know.
Speaker 3 (19:37):
It's like, I'm gonna tell you this. I know that
DJ Mustard is dope. I wouldn't never say that Munstery
is what DJ musterd. Thats definitely kept the west Coat
thrown for about probably the last ten sub ten summers,
you know.
Speaker 1 (19:53):
You know stuff he.
Speaker 3 (19:54):
Did for I mean my head, that's my head in
my hear that was a jam, you know I'm saying
the right. I really wish my Wise she would have
kept that going doing, you know, because I think that
there were strong projects, right, But you can't sleep and
I forget this thing. LV got his son as hard
as a motherfucker. I know LV is over there making
(20:16):
a lot of that ship with Mustard. You know l
V's son is over there making a lot of stuff
with Mustard. I forget his name because but the last
has actually had him first. I forget his name, man,
But that little dude is hard lv Son. You know,
real dope dog. He's he's real dope, super dope, like
he's super sick. I was actually looking for him to
(20:38):
get you some stuff for this, you know what I'm saying.
Like he's real dope. Like he's probably like el lvs Son.
I'mnad to get the name glasses. He actually got slappers,
that little dude that's vicious. He did He's the one
that did the stuff on Killer's new album, the Mustard
and all that stuff. Like he's the one that did
(20:58):
all this. We have a gang of like shit. If
you look up today, man, there's a gang of producers.
You know that you don't have done shit, but just
don't get the recognition.
Speaker 4 (21:17):
You know, crazy tool dressing piece, you used to produce
shit the tuns or my nigga rob ch producers ship
my nigga, Why no, who used to do coolio shit?
It's significant producers that just you know, unfortunately when it
(21:37):
comes when it comes to the West Coast, you know,
it's it's drake now.
Speaker 1 (21:45):
You know.
Speaker 4 (21:45):
In this era, like you said, you have the mustards,
you have the sound waves. You know, we got alchemists,
you know, and Alchemist has been around for as long
as we could remember. But with the new age of
him pop and the new artist, he's becoming this you know,
top notch well, you know, well in the game producer.
(22:08):
He has been producing significant Ship. He just did the
project with Hirika Badu. He just did the project with
Freddie Gibbs. He's doing you know, he's did the project
with fucking two Chains and Larry June. You know, so
Alchemist is your music?
Speaker 3 (22:25):
Yeah, man, I asked, you know what, I actually like
two Chains and lyric June and Alchemist stuff more than
I thought I was. I thought that combination, but it
was really dupe.
Speaker 4 (22:37):
I mean, you know, it's the new sound, you know,
and a lot of niggas, you know, do that sound
nowadays where you don't you might not hear drums up
on the peak. You might just hear a nigga wrapping
over the sample and ship you get Me west Side Gun.
Speaker 1 (22:53):
Does that a lot.
Speaker 3 (22:55):
Different from what's the honey we have in the show
Who's the honey we had on the show? Man, I'm
having brainfall today, bro, But a lot of that came
from him with the homies name theale Forget me Man.
Speaker 1 (23:07):
He probably hear this shit and playing talking about it.
You're talking about rock, Yeah, rock, Marcian rock, Marcia. You
gotta get a rock in his product.
Speaker 3 (23:16):
That was rock was probably he was the first one
to start doing that, and that sound kind of came
from him and everybody kind of got and you always
gonna have that hip hop men work.
Speaker 1 (23:26):
I don't consider that biting.
Speaker 3 (23:27):
I just think when dope shit make its way into
the universe, people start like, you know what, that's hard,
let me try that.
Speaker 4 (23:32):
You know, well, you know, unfortunately, back in the days
of beginning of hip hop, you know, it was considered
bite me if you bet someone's style, or if you hit.
Speaker 1 (23:44):
Some drafts or whatever or whatever.
Speaker 4 (23:47):
But I guess today, you know, you have to be
able to adapt.
Speaker 1 (23:52):
You have to be able to adapt with the times
of shit. You know.
Speaker 4 (23:56):
That's just like if a nigga run a good play
on me score in football, I might take that player
use it on another team.
Speaker 1 (24:05):
You feel me. That's what I'm saying.
Speaker 4 (24:07):
If I think it's a great play, it ain't the
fact that you know, or I'm steal in the playbook.
But you know, shit, I saw that ship in the
game the nigga ran it off. I thought it was tight.
Speaker 1 (24:18):
Nigga. The following week, I'm going back to practice.
Speaker 4 (24:21):
We're gonna try to run that shit, because if I
can run that shit on somebody and we can score
and win the game, then that's what's gonna happen.
Speaker 1 (24:29):
You get me.
Speaker 4 (24:30):
Everybody running the same routes, you get me. The route
tree is the same, right, Still, whide receivers running that.
Speaker 1 (24:38):
Route tree, it's the same route.
Speaker 4 (24:40):
You might try to flip it or call it something different,
but the slant is a slat, right.
Speaker 1 (24:46):
Everybody eats a slight, you.
Speaker 4 (24:48):
Know, So it's not consider you know, probably back in
the days when it originated, it was this one particular playbook,
but everybody has adaptor today, right, So that's all I
look at it, as you know, because a lot of
(25:09):
niggas use that sound, and you know, it's very popular
with a lot of motherfucking fans. So if you can
perfect it, and you can perfect it to the point
of where you having your own type of delivery and
feel and you making it your own and your subject
matter is, you know, different than what another nigga talking about,
(25:31):
then that's that's what goes down.
Speaker 3 (25:35):
I would say, you know what too, and I would
say probably one of the most. And this dude don't
have a lot of hit record though I'm gonna be
remiss to say, dog, he probably got just as many
radio hissor trade, if not more.
Speaker 1 (25:47):
A little fingers okay, and he may.
Speaker 3 (25:51):
Not get the recognition I'm saying that he's better than
treated nothing like that, but he's had a lot of
significant radio records and he has the platinum.
Speaker 1 (26:00):
In gold singles, right, you know fingers uh.
Speaker 3 (26:03):
And I think because most of his stuff came from
the independence side, like he fucked with a lot of
the Chicano records, like the Little Rob You did the
Summer Nights with Little Rob, which, like I think a
gold single, right, and it was a big record on
the radio. While here you know you you heard that
record like every yar on an hour just sitting in
the runs when the sun goes down party, That record
(26:26):
was dope though. You know it was a dope record, right.
That was a big record he had to lean like
the Cholo record, which leaning like a cholo wasn't exactly
my cup of tea. I like hip hop stuff, but
I got it. You feel what I'm saying. I said,
you know what I knew when I heard it, I said,
just go blow up. That's a catchy record, right down
on me, down.
Speaker 1 (26:47):
A little catchy, gimmicky record. You feel me?
Speaker 3 (26:50):
You know it was a dope record though. It was
like you know when you heard it, like, Okay, this
gonna work right here.
Speaker 1 (26:54):
Right.
Speaker 3 (26:55):
He had a lot of records, man, He had, especially
messing with Little Rob, messing with the Chicano cast. Man
Fingers had a lot of records.
Speaker 4 (27:03):
Man, So as somebody who knows him and has dealt
with his work, why do you feel the recognition hasn't
been or do you feel he's got his just good?
Speaker 3 (27:18):
I think Man, as far as like having the big
radio records, I think Man Fingers, by him messing with
independent rappers, that was like his gift and his curse
kind of because he was able to take dudes that
didn't really have no budget and prepare them to where
they was getting. You know, Fingers had a lot of
number ones out here, you know, a whole lot of
number ones. I think by those artists not really being
(27:41):
bigger than the songs they had. I think outside a
little rap, a lot of those artists wasn't as big
as the songs that they had. You feel what I'm saying.
Speaker 1 (27:49):
And do you look at those as territorial records?
Speaker 3 (27:53):
I think, you know what, really, I think, man, those
records man passed the Southwest. They may have got a
little love in the Hispanic like Chicago got a huge
Hispanic market, right, probably wasn't going past Chicot.
Speaker 1 (28:07):
Or past Texas. You feel what I'm saying.
Speaker 3 (28:09):
Those are records, like you said, a lot of them
were regional records, but they were big ass records though,
you know, right, there was big ass records. And I
think that if Fingers, I think if the Fingers produced
more for MC eights and the Snoops of the world,
I think that would help him probably.
Speaker 4 (28:29):
And why do you think that, you know what, like
you said, was he just in his lane dealing with
who he was dealing? I would say that, man, you
know Fingers, man, do you think he was presented with
the opportunities to work with you know, the MC eight's
(28:49):
and the quicks in the games and the ques and
the whatever. Probably you know what, probably not bros. I
think a lot of people just didn't know. They didn't
make that connection, right.
Speaker 3 (28:58):
I think it was the management their Fingers had at
the time, because his manager at that time was just
cared about the money. He like, man, whoever got the
money to come here and buy these beats, I'm not
interested in trying to make him a household name. So
I'm not gonna go try to put him in the
studio with the MC eight. I'm not gonna try to
go put him in the studio with a MAC ten.
I'm used to go fuck with the count homies just
(29:20):
coming over here. They got a bag of money because
you know, he's a count of home, he's rick. You know,
they got bread. You know, they come just fired ten
thousand on a beat, which you know what I'm saying.
So I remember man Fingers used to have sessions man
back to back to back and everybody.
Speaker 1 (29:34):
He might have ten sessions that day.
Speaker 3 (29:35):
And everybody was coming in here with eight to ten
thousand dollars, you know, So they was making their breads.
You know, so you figured you got ten sessions and
ten brand apart, you don't made one hundred thousand dollars
that day, plus your publish them and all that other stuff.
Speaker 1 (29:47):
It was a lot of money being made, so I
don't even know.
Speaker 3 (29:50):
I know, probably being real with you, I probably wouldn't
have gave a flup, you know, trying to keep my
cousin out. I wouldn't have gave it. Damn about for
nobody else. I've been getting that bred too.
Speaker 4 (30:03):
Oh yeah, if you're making significant income, you know, shit,
that's like motherfucker's always say, if it ain't broke, don't
fix it. So I'm not gonna go chase, you know.
They they got to saying, don't go chase some motherfucking
don't go chase some motherfucking pussy when you got guaranteed pussy.
(30:25):
You feel me, that's the dumb shit you feel me. Oh,
that's what a nigga said, don't go chasing shit. And
then all money ain't good money, and they're fucking with everybody.
Ain't always the right time, but nat shit, you feel me,
So shit, my nigga probably felt comfortable doing. I'm in
(30:45):
my own like I always say about myself, I stay
in my own lane. I've never felt like I had
to reach a certain plateau or fuck with a certain
motherfucker you know, or that you ever would dre or
did you ever fuck with this person or this person?
Speaker 1 (31:03):
You know?
Speaker 4 (31:04):
So if you comfortable in your own skin, you feel me,
and as a producer or an artist, if you comfortable
with your own ship and who you fuck with, then
that's it. Like I'm not gonna wait around to see
if I can fuck with this nigga or this nigga.
Speaker 1 (31:22):
I'm gonna go, ready to go. That's it. You ready
to go? That's it?
Speaker 4 (31:27):
And and if it's significant enough to where I'm cool
with it, you feel me.
Speaker 1 (31:34):
As far as financially, shit, I don't. I don't. I
don't need to go chase nothing that you ain't got
to go chase nobody.
Speaker 4 (31:40):
You know you got guaranteed right here. Why I need
to go chase something for real?
Speaker 1 (31:46):
You know? Shut out to the homie's fingers, Huh, you
know what we're talking about? List? Did you see that
big area list that this looking out crazy to me? Man?
How do you have any lists? Dog?
Speaker 3 (31:58):
You wi mis spice one off of there? Yeah, you
don't have that ship was crazy as fuck.
Speaker 1 (32:04):
I don't know. Maybe they and then I don't know.
Can you say that? Let me let me pull up
that list. Hold on, bro, can you can you? Can
you say that? Nigga? What for god?
Speaker 4 (32:17):
Because how can you say you forgot spice one? You
steelln't need like spice spies one. As far as the
Bay concern is top ten, I'm not gonna put em
in a in a motherfuck there slot, but on my
on my list east top ten for the back, oh
(32:40):
for sure.
Speaker 3 (32:40):
So I'm gonna kick the whole list off. Then we
gonna talk about it, right, or we can talk about.
Speaker 1 (32:47):
It as we go.
Speaker 3 (32:47):
Yeah, number one mag Drake, I'm not mad at that,
but on any lift dog it should have been too short.
And forties the top two right because they did a
lot for the bank. Mac Dred's catalog wasn't like that.
But you can't knuck raising Macdred's influence. Maketreds definitely the
top five top team guy right, and to me, that's
where I would have put it.
Speaker 4 (33:08):
I'm not with I'm not given him a number, but
I would have put him. I would have put him
top three to ten, number one and two spots you
have to give to E forty or too Short. You
have to because ain't no bait on a worldwide scale.
(33:32):
The Bay is known because no disrespect to nobody. But
you get me. I knew about the Bay because I
was Bay and motherfucking too short freaky tail ship and
I know too Short tame from LA and moved up
to the Bay Area when he's young. His cousins used
to fuck. I know his cousins. They used to be
(33:55):
in our crew. Last advanced to two great DJs from
LA right now, I know he were. But but where
it came to Oakland and the Bay Area, too Short
was before E forty, you feel me. Freaky Tale, seventy
five girls, all of that shit that's that was too
(34:19):
short to me.
Speaker 1 (34:20):
So too Short kicked off the Bay Area shit.
Speaker 3 (34:24):
And then.
Speaker 4 (34:26):
After that nig I know, eat forty motherfucking spice one
motherfucking bad Banks, Richie rich Those are niggas who I
be legit the shot to click, you know, Sugar Tea,
the Loneyes drew down, you feel me? Those are motherfuckers
I listened to as as far as me coming up
(34:49):
as an artist. So those people that I just Lynching
should be anywhere in the top twenty and thing he
was broke.
Speaker 3 (35:01):
I'm not mad at the rappers they got on there,
because I guarantee you a young dude wrote this list right,
and he's just going off of what he knows, right.
But to not have a Spice one on there, to
not have a Sea Bowl on there, man, it's kind
of like, man, come on.
Speaker 4 (35:15):
Bro and that that did. I see Brother Lynch hung
on there. Brother Lynch Hole is on there. But I
don't know if they I don't know if they're considered
the Bay area Brother Lynch and Seaboat.
Speaker 1 (35:29):
Yeah that's second, you know that, but.
Speaker 4 (35:32):
In the Bay area. But definitely Spice one at Banks.
Like I said, the Loneyes drew down, be legit, d
shot Richie Rich.
Speaker 3 (35:45):
Number one, mag Drake two Short three forty for the Jacking, five,
Keep the Sneak six, mister Fab seven, Mazie, Hey, it's
so beat by r b E nine MESSI seeing the
hieroglyphics eleven, Andre Nicotina twelve, The Loonies thirteen, I Am
(36:06):
Sue fourteen, britst fifteen, Mike Sharon sixteen, g Easy seventeen
Lil Yasse eighteen, YadA nineteen, Larry June twenty e, bkj
Bo twenty one, Young Sloviy twenty two, Style Jay Styling
twenty two, Little B twenty four, Sex the gentmin Now
(36:29):
twenty five, Burner twenty six, San Queen twenty seven, RBL
Posse twenty eight, d Lo twenty nine, Hustler thirty, Pila
thirty one, Young Kirk thirty two, Deputy General thirty three,
CMIL thirty four, Brother Lynx thirty five, Digital Underground thirty six,
(36:51):
Rapping forts A thirty seven, Down thirty eight, Woody thirty nine,
m C Hammer forty, The Pack forty one, Kark Kly
Carson forty two, Left the Pharaoh forty three, Kamaya forty four,
e BK Young Jack forty five, dB boodle Bag forty six,
(37:12):
Little Kayler forty seven, Big Tone forty eighth, Little Pete
forty nine, Stunner Girl and Number fifty. L.
Speaker 1 (37:20):
Russell.
Speaker 3 (37:23):
I'm not mad at this list, man, but some of
them guys on their men aren't known outside the big.
Speaker 1 (37:30):
Right.
Speaker 4 (37:31):
A lot of those guys aren't known outside the Bay.
And a few of those names I know, you know
the Sam Quinn's the MESSI Mars's the Jackals, the Mister Faves,
even the Stunner girl you feel neat and shout you know,
the rest of peace. Rich She was on one of
(37:53):
those shows that he used to love. That's where I
know that from, because he used to speak on her
her shit. But like I said, a lot of those
names I'm familiar with by just getting day music.
Speaker 1 (38:07):
When you you tour.
Speaker 4 (38:09):
A lot, I used to get a lot of music,
So I'm familiar with a lot of that music, like
I said, But again the point you was making, are
they known in those markets? You get me like, I
could pull up in a I could pull up in
(38:31):
an Arizona, I could pull up in Albutquerque, New Mexico.
Speaker 1 (38:36):
I could pull up in the Dallas, Houston, Fort Worth.
Speaker 4 (38:40):
As far as my music is concerned, when I was
on my run, you feel me, Oh.
Speaker 1 (38:46):
I could hit New Orleans and louis So you.
Speaker 3 (38:49):
Gotta kind of judge it, you know, don't get me wrong.
That's hip hop, man. Hip hop ain't nothing wrong with
the local.
Speaker 4 (38:55):
There were certain places that my music might have not resignated, right,
the Dakotas, the motherfucking Carolinas. But before in North Carolina before,
So I can't say that, you know, but there are
spots and then a lot of my people that you named,
(39:16):
how many of those guys were truly independent? You give
me A lot of those guys weren't signed to major ladies,
very few. A lot of those guys took the independent
distribution route, right or or you know, went through the
Bay sides and shit like that.
Speaker 1 (39:37):
Right, So.
Speaker 4 (39:41):
You don't know how much power that you know, those
records had going crossing state lines.
Speaker 1 (39:49):
You feel me? Yeah, you know what I.
Speaker 3 (39:55):
Would say, Like Spice is probably one of the most
unique rappers of the game. To those Spice got so
many flows. Dogs Spices over to.
Speaker 4 (40:05):
Disrespect Spice and leads him, and like I said, I
don't know if a nigga just forgot maybe they forgot
or whatever.
Speaker 3 (40:12):
No, that you're don't forgetting nothing like this. Spice is
kind of forgetable dog. But to to to not have
Spice one in the top.
Speaker 4 (40:20):
Ten, it's ridiculous. Spice significantly represented the Bay Area. I've
been knowing Spice since his career started, like mine, he
came out maybe a year or two after I did.
(40:43):
I toured with Spice ridiculously over a few decades. We
both had songs on and then the soundtrack like he's
one of my true friends as far as hip hop conserved,
and he is significantly represented the Bay Area.
Speaker 1 (41:01):
Shit.
Speaker 4 (41:01):
One of his hits was East Bade Gangster, They Feel
Me Murder show dumping them in ditches fucking one eighty seven,
he wrote, I mean fucking his first single, had the
whole fucking country gone off the drink? You get one
eighty seven proofs they's sucking young and in my neighborhood,
(41:22):
and you get peace to you know, peace to my
nine and shit like you know. So to leave Spice
off the list is crazy. Like I said, I'm gonna
say Homeboy was high or drunk. It just forgot like
he thought he put Spice on the list and forgot
about it. Because that is that's just dumb as fuck.
(41:44):
I'm just take straight up if whoever mis fuck because
if you didn't put Spice one on there, your list
is not valid.
Speaker 1 (41:53):
It's fraudulent, bro, you know what?
Speaker 3 (41:55):
To me, that's about It's a significant as a mistake
because us do you want to top West Coast Producers list?
Not putting Doctor Tree on there?
Speaker 1 (42:05):
Nigga. That's like doing the top.
Speaker 4 (42:10):
That's like doing a top down South Texas list and
not putting scar face on it.
Speaker 3 (42:16):
That's what I'm saying, Mans, Him to the Bay is significant,
is that you feel me like you do a down
South list and don't put scarface on it?
Speaker 4 (42:29):
Like uhuh, Like are you kidding? You got you gotta
do that? And the years he's top on you, he's
top ten for the Bay.
Speaker 3 (42:40):
All yourself and if you call yourself, you know, I'd
like to look at this loss kind of like a
major bait, you know, major Blade Media company. You know,
if they're doing that, man, they kind of slipping though.
They gotta get on top of the ship.
Speaker 4 (42:54):
Yeah, That's why I said something has to I don't
know if it's some personal beef or with the writer
or the magazine or whoever put it out, or a
nigga just playing forgotten thought that they that they had
put it more there.
Speaker 1 (43:11):
But you get me, because I was even shot when.
Speaker 4 (43:15):
You out went through the whole list and was like
the spice one only Oh they must have forgotten, right
they actually they had Eve on the list and whoever
they forgot because.
Speaker 1 (43:26):
But the thing is, bro how you can't forget nothing
like that.
Speaker 3 (43:30):
You're putting the list together with the greatest you know
they rappers of all time at the top, you know,
Nord Carol rappers and you donna have balt Slini on it.
Speaker 4 (43:38):
Motherfucker tall niggas are dumb and they forget you give me.
Speaker 1 (43:44):
Chicken on the man. Come on, man, it is a
dumb and just forget.
Speaker 4 (43:48):
Like I said, maybe you had a brain freeze or
something that day. Like again, that's why you know what,
That's one of those things where you need to repress
it because when it first came out, my nigga Spie
posted all his plaques and shit, and he had the
week come strap flat right on the floor, all his
plaques and all his awards, and he's like, I just
(44:12):
want to remind niggas you know, of the workout put
in and it's it's his heart. It's it's fucking heartbreaking
to know that with all the work that you've done
to represent and shit, and motherfuckers don't even consider you
when it comes to, you know, a fraudulent list because
(44:33):
it means nothing. You feel me, And I'm glad my
nigga Spie took it on the chin like you know, well,
let me just remind niggas. You know that because you, nigga,
don't even consider me a top fifty Bay artist when nigga,
I've sold millions of records and represented the Bay and
(44:54):
done shit that half the niggas on the list will never.
Speaker 1 (44:58):
Be able to do.
Speaker 4 (45:01):
There's yeah, they need to they need to do a reaper,
you know, motherfucker's door, a retraction and you gotta go
a reprint the next day and apologize. That's what they
should be going. That's your little jib niggas. That's one
of the things I know. When we do the list,
we go over it, right. We don't like when I
(45:23):
said we're gonna talk about the top producers. We're not
making the list right now.
Speaker 3 (45:26):
But if we were, first of all, it would be
just me and you, we would have some other respective
people with us, right, so we have more opinions.
Speaker 1 (45:33):
Right.
Speaker 3 (45:34):
Definitely, before you go to print with that, you definitely
gotta go up and look and say, okay, am I
missing Anyboddy right? And then of course and then on
ship like that, we would do researchers as far back
to when Toddy Tia that was making me sure, you
get me, We gonna we're gonna spread the board out
(45:56):
to where we're not just gonna think of just so
one era and time of music. We gonna go back
and go, okay, top the top twenty all time West
Coast producers, and then we gonna go from the time
hip hop started for us who was significantly doing shit,
to niggas who doing shit today. You getting me, We
(46:19):
ain't gonna leave out the new niggas, but we damn
show ain't gonna leave out the motherfucking veterans. That's the thing, bro.
I think it's like this to eight. I think a
lot of cats what they do, Man, they get so
caught up and just can't standing where they're comfortable that
they don't go out their comfort zone. They say, Okay,
let's say the dude that wrote that listed twenty five right,
(46:43):
he's not going back and doing his homework and saying,
you know what, let me look back and see the
forefathers before this, who did this. I know I'm always
cautious to that for me not to admit nobody right,
for me not to go back and say, because the
thing is, if you forget a DJ, who are a DJ?
Bob somebody like that. That's significant. Oh, definitely, that's significant
(47:05):
because it is ever be dumb.
Speaker 4 (47:09):
And then motherfuckers were criticized because you you ain't even
you ain't even checking their history books and shit. And
that's the first thing you gotta do. You gotta check
the history of the shit first before you get the
name in all time greats and shit. Nigga, you gotta
check history too, because without the history, motherfucker.
Speaker 1 (47:31):
There is nothing else. There's nothing there.
Speaker 4 (47:34):
All these other motherfuckers you name it, they don't come
if you don't check the history because without the history,
there is no there is no there is no today
without the history.
Speaker 1 (47:46):
So you know, nigga's doing these lists and shit.
Speaker 4 (47:50):
I know it's your opinion and it's what you feel
and what you think and whatever whatever, and like I said,
but check your history first, you know, is done the
lead off of niggas who have motherfucking contributed it greatly,
and especially a motherfucker likes Spice, who I've known since
the beginning of his career, and he ain't done nothing.
(48:13):
Bucket represent the bay here. You feel met and a
lot of a lot of niggas. Donet moved away and
relocated and whatever whatever you feel me. But he's one
of those niggas. From the beginning of his career. Let
you know, nigga, he was representing the Bay Area. He's
(48:35):
a big gangster, and his and his and his motherfucking
his work traveled past Oakland, past California, past bagas you
give me.
Speaker 1 (48:45):
Niggas was bumping spice.
Speaker 4 (48:47):
In New York, Florida, Chicago, Cleveland, everywhere I went his
music was.
Speaker 1 (48:55):
Oh yeah for shoe and Cleveland. Man, he lives pace
in Cleveland.
Speaker 4 (48:58):
I was in a record store in Cleveland, there was
his tape. If I was in the record store of Detroit, Chicago,
motherfucking there was his tape. If I went on the
promo run in Dallas or Houston, there was his tape. Louisiana,
there was his tathe Kansas, there was his tape.
Speaker 1 (49:18):
So I don't get not just one.
Speaker 4 (49:22):
You get me all of his motherfucking projects, you know,
back in that era, all of them ship.
Speaker 3 (49:29):
Now would you say, as far as flows, man, fi,
this is under contention man for probably ever the best
flow of a baby too.
Speaker 1 (49:40):
Twist is harddog twis is due. Man.
Speaker 4 (49:43):
Like I said, you just check your history man, nigga
he got and that's what they got.
Speaker 1 (49:49):
Some, he got some, he got some authentic music.
Speaker 4 (49:52):
But that ain't that ain't something we gotta tell motherfucker's
true hip hop motherfuckers and true niggers no music and
people who are around in that era and who are
still around today and appreciate that era of hip hop.
You you, you know, Spice One, that's just a dumb
con you know, that's just a dumb analysis to think that,
(50:15):
you know, because he was just as well known as
I was.
Speaker 1 (50:19):
The star fakes was his c feel me he was.
He was part of the crew. You feel me. I
would tell you this man, you for sure.
Speaker 3 (50:31):
That that that kind of makes me that kind of
furtheres my claim that too Short probably should have been
number one, because you know who discovered spice was too short?
Speaker 1 (50:41):
Right? Like yeah, too short foul stoupe one.
Speaker 4 (50:45):
Right, he used to go, he used to fuck with them,
so ship, uh, like I said, he's part of the crew.
He's part of that too, ship that too short Ice
Cube c m W n W A fucking Spice one,
fucking DJ quick fucking.
Speaker 1 (51:02):
You know it was that era.
Speaker 3 (51:04):
You know, when you get to talking about anything that's
the greatest of all time.
Speaker 1 (51:08):
Man.
Speaker 3 (51:10):
You have to include old Jeans man because it's like
the thing is, man, the son don't come before the father.
Father come before the son. You know a lot of
these people, man, were so influential and too short and
e forty man. Really, to me, the Bay is known
for their independence, right, They're known for having independent rappers
man to put out a lot of things.
Speaker 1 (51:30):
I think the Russell carries that torch really good.
Speaker 3 (51:33):
I kind of like what l Russell do because he's
a young dude that don't forget about the old jeez.
He threw a lot of stuff, you know. When he
do them shows, right, he's gonna have a Richie Ricks
out there. He's gonna have a Spice one out there
with him because he understands the importance of what they
did on their influence, right. And shame on thisler man,
you know thisler they got a popping ass platform dog.
(51:56):
That's just kind of to me, that's kind of like
almost like embarrassing dog to keep twice the listen and
not there.
Speaker 4 (52:01):
Richie Rich's on that too. Richie Rich's the legend too. Definitely,
Like I said, those are niggas. I listened to. When
I listened to you know, bay Area of music, those
were some of the nigga Some of those were the
niggas I listened to.
Speaker 3 (52:17):
Wasn't no son, That's what I want to ask you
this because some of them, like you got poor Man,
he wasn't on there. I don't know if poor Man was.
Speaker 1 (52:25):
You consider him a legend. I knew pool Man.
Speaker 4 (52:29):
I fucked with pool Man because of the Menis movie
and the soundtrack, and after that we became cool.
Speaker 1 (52:36):
And when I.
Speaker 4 (52:37):
You know, took a few trips to the Bay Area
and did you know, uh bed Worth wo Man came
out a few times. I would consider him someone whom
seating it for sure. I would say he was someone
significant for the Bay Area because in my area he was.
Speaker 1 (52:58):
He was an artist who was all was was was
getting it in.
Speaker 3 (53:04):
You get this too, they got on there, they got
black seeking them right.
Speaker 1 (53:11):
You definitely gotta put j T the bigger figure on
this list too.
Speaker 4 (53:16):
Yeah, Like I said, like I said, they forgot about
a lot of niggas because I don't know how they
would say that certain niggas were significant for the Bay Area.
And what are we saying is the Bay Area because
JT the bigger figure represented today.
Speaker 1 (53:34):
That's why I knew he was from. I didn't look
their friend.
Speaker 4 (53:38):
Uh. I think you know the rapid Foete represented San
Fran right pill Moo and all of that ship, soig
on their I don't.
Speaker 1 (53:47):
I don't know how.
Speaker 4 (53:49):
I don't know how you consider niggas not, you know,
being official and represented.
Speaker 1 (53:54):
Because j T was in that era.
Speaker 4 (53:57):
Of of of a lot of area artists and the independence.
Speaker 1 (54:02):
You know that mess Mars the Sad Queen.
Speaker 3 (54:06):
I think he might have put that record thog if
I'm not somebody, man, let me know if I'm mistaken.
I believe that j T might have put j T
might have put their records out.
Speaker 1 (54:17):
Dog.
Speaker 3 (54:17):
I'm not for sure. I need to call should call
JT real quick man to find out. But you know,
we we do that next one. We definitely gonna have
a more in depth episode. Man, the next one. Man
about this? Uh, y'all gone, man, let us know in
the comments, Man, what y'all think? Man about all this?
Speaker 1 (54:33):
Man? We holler at y'all next week. Yeah.
Speaker 3 (54:37):
Well, that concludes another episode of the Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
the Gangst the Chronicles podcast, but Apple users find a
purple Michael on the front of your screen, subscribe to
the show, leave a comment and rating. Executive producers for
The Gangst Chronicles podcast Norman Steell, Aaron m c a.
Speaker 1 (54:54):
Tyler.
Speaker 3 (54:54):
Our visual media director is Brian Wyatt, and audio editors
tell It Hayes. The Gainst Chronicles is a product of
iHeartMedia Network and the Black Effect Podcast Network. For more
podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts wherever
you're listening to your podcasts
Thanks to chronic goals. This is not your average shows.
Speaker 2 (00:04):
You're now tuned into the rail spells the Streets.
Speaker 3 (00:17):
Welcome to the gainst the Chronicles podcast, the production of
iHeart Radio 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 five
star rating and.
Speaker 1 (00:31):
Comment, Sure, old shoe, what's cragging? Oh man? Shoot the
same old, same old oh show? How many of these producers?
You think? I got other people making their beats as
far as what you law.
Speaker 3 (00:51):
They may have a bunch of producers in there with him,
a bunch of young producers with him, and the stamping
their name on the ship. Man.
Speaker 1 (01:02):
There's probably a lot of niggas doing that. You give me.
Speaker 4 (01:05):
I've never ran across that, but shit, you know you
have to be weary of that.
Speaker 3 (01:10):
I guess yeah, I've seen that. At the first hand,
I ain't gonna put it. Ain't enough to me to
put people's business out there, though. But I've been looking
at all these lists, all these lists, they do always
comprise the rappers. Ain't nobody ever really did no listen
to producers necessarily.
Speaker 4 (01:28):
I guess when they kind of the producer, we're always
forever given credit. There's only a small list. I guess
you can cop, you know, composing of great producers.
Speaker 1 (01:39):
I mean to me, I don't know, if you.
Speaker 4 (01:43):
Want to crack off a list of fifty producers.
Speaker 1 (01:47):
I'd probably go thirty. I wouldn't go fifty. I would
probably go thirty, all right, I would probably go twenty
twenty five.
Speaker 3 (01:54):
Yeah, I do know that everybody that, like, you know,
somebody come up with a list of the best westcot
those producers almost unanimously. You have everybody seeing, oh, doctor
Dre is number one, right right, but really he is
doctor Dray.
Speaker 4 (02:08):
I mean it don't take credit away from no other producer.
And then especially you know today we have a lot
of you know, new producers that have contributed to the
new sounds of what you know, they feel, you know,
their version of West Coast music is. But I don't know,
if you want to look at longevity and the contribution.
(02:32):
Dre has been around for a while. Drey has been around,
you know, from the era of me making music and
probably before that. He's dealt with a lot of significant
artists of outside of just hip hop.
Speaker 1 (02:45):
You get me the.
Speaker 4 (02:46):
Transformation of contributions to music from the Wrecking Crew.
Speaker 5 (02:51):
Days to the King te days and the Easy days
and you know, to to the Snoop in the two.
Speaker 4 (03:01):
Part days and then being able to touch people like
Mary J and Nives and them and fuck with jay
Z and then being able to transition over to this
era today. And then a lot of that might come from,
like you said, a lot of people lending their.
Speaker 1 (03:23):
Contributions along that journey as well.
Speaker 3 (03:27):
You feel me, and you know what, Dre he definitely
heals man. You can't say nothing. You can't say nothing
bad about dra for sure. He's definitely, like you said,
a pioneer, right. But I always say, as far as output,
when you think about the amount of music for has
put out over the span of that time, He's putting
(03:47):
a lot of music, but not really like he kind
of comes with an album every a few years. You
feel what I'm saying, But it's the quality of those.
Speaker 4 (03:54):
Works when you do come with his picky and when
you get in that position, you get that recognition and
that position of being a great producer. You get to
pick and jeans and you want to work with, right,
I mean, because every day is not about a chef.
When you get to that platform, of course, I could
(04:14):
charge any nigga two hundred and fifty thousand dollars or
one hundred thousand dollars for a track or whatever. But
do I want my name connected with just any and everybody.
So when you get to that established you get the
picking choos who work and not. Let's let's not mistake
(04:34):
that we all know that niggas have motherfucking.
Speaker 1 (04:40):
Teammates, right.
Speaker 4 (04:43):
You might be you might be the Michael Jordan and
the face of the team and the and the label
and the branding or whatever, but you still got role players, right,
And these are niggas who might assist in bringing up
samples or different sounds or drum kicks or drum patterns
or whatever whatever. So you have to give credit to
(05:06):
those niggas too, you feel me, because without those niggas,
some of those records probably wouldn't have even made it
to the light of day.
Speaker 1 (05:15):
So you have to give those niggas credit to.
Speaker 4 (05:18):
The teammates who assisted along the way of Dre being
able to become, you know, one of those great producers.
You know, my nigga DJ Slip used to, you know,
produce his ass off.
Speaker 1 (05:34):
You know, DJ Pools the motherfucking you.
Speaker 4 (05:38):
Know, there's a game of niggas who contributed to this
West Coast sound, but don't recognition that they get you feel.
Speaker 3 (05:47):
Me, Let's stop at Pool real quick because Boo Fivecat
and the other homie Muffler they had to pull me right,
real dope production team. Man, you know, did cubes want
to choose best albums? The America's Most Wanted album? Was
it America's most wanted? No, even they didn't do America's
(06:08):
Most wanted? They did Death Certificate, right, Death Certificate.
Speaker 4 (06:12):
There was Bomb Squad of the Yeah, America's North Warner.
Speaker 3 (06:17):
Yeah, Balm Squad did you know, ain't shocking? And them
did America's Most Wanted. But you think about Bob Cat
pulling all them dudes. Man, them dudes real dope, and
they kind of don't really get mentioned like these shit.
And that's because I noticed in hip hop hip hop
we don't really have But it's not like rock and roll.
If you ask any knew every metal dude about Motley Crew,
(06:38):
they gonna say, oh man, they was major influence on me, right,
you know, a dude eighteen nineteen years old, they knew
about that. I noticed this era of hip hop, they
have a tendency to forget about kind of like masterminds
of what they're doing.
Speaker 1 (06:51):
You feel me.
Speaker 4 (06:52):
But when you feel like because a lot of you know,
are like it was just name right. You know a
lot of dudes even, do you feel that they have
made themselves available to tell their stories? You know, so
that you know, do you feel that they feel like,
(07:16):
you know, fuck it, it is what it is. And
niggas who don't mean all meet and those who don't fucking.
Speaker 1 (07:23):
You know what I'm saying.
Speaker 3 (07:25):
I think, man, a lot of the hommies, man, you know,
you gotta remember.
Speaker 1 (07:30):
Pools men came Pool.
Speaker 3 (07:31):
Bob Cat and all those dudes come from the era
of music, man, where producers was actually making a lot
of money.
Speaker 1 (07:38):
They kind of came from that era.
Speaker 3 (07:40):
They can't on to tell len the dudes not getting
no money, the dudes getting a lot of money for
a beat, right.
Speaker 1 (07:46):
So a lot of those guys are are a little
bit more.
Speaker 3 (07:50):
I wouldn't say financially stable, but they don't come outside
like that, like I know what Bob Bob don't really
come up me and Bob.
Speaker 1 (07:59):
He may go do it. He may go DJ a
party for Hennessy.
Speaker 3 (08:02):
Right, he may go pick up fifty sixty thousand dollars
just just a DJ that night. Right, So he ain't
not necessarily doing a lot of stuff. Right, Like Bob
is a good friend of mine. I'm actually see Bob
is weekend. But he don't come out. And I tell
those dudes like we were able to convince godd to
come out. I say, man, y'all gotta come tell these
(08:23):
stories because a lot of these kids wasn't even born. Man,
we fifty years kind of man, we fifty years in
the game. No, ye, A lot of people don't know.
I remember, man, you know you had to remind me
one day. I called somebody with sixty Oh you said,
still he knocking on the door, you know, right, he
knocking on the door of sixty.
Speaker 1 (08:40):
Man.
Speaker 3 (08:41):
So I can't get mad man at a kid that's
twenty two, twenty three that don't know about them.
Speaker 4 (08:48):
Right, yeah, no, we we we have to learn how
to and then and then there's those cats who probably
don't want to learn or know about they gets three
of great producers, you know that are unnamed or who
are left out, or certain who are left out of
(09:08):
those discussions. But you know, we remember the sound, We
remember the significance of what was done on those records,
and even those artists who don't get mentioned a lot
in those circles. But it's more than just what they
hear with the dre's and or whatever whatever. So it's
there's a few producers, like you said, we need to
(09:31):
get those stories told, you know, just of what was done.
Speaker 1 (09:35):
What hand they had in forming West Coast hip hop
and whatever.
Speaker 3 (09:42):
You know, a lot of people don't realize, well they
think of alchemists. They may think of an East Coast
producer because you know Mob Deep and all that other stuff.
Alchemists from out here, right, the West Coast producer, you know, alchimists,
the West Coast producer. I think people like you're talking
about the role players. I think fred Rick was pretty
(10:02):
consistent with what he did for a minute. I like
Tim as far as the funk, the only battle Cat,
battle Cat is always you know, that's like it ain't
been too many Snoop Dogg albums. He ain't been a
part of you feel.
Speaker 4 (10:13):
Me right, and battle Cat is one of those dudes
who are still actively producing. You know that he is
still having his hand and a lot of production, you know,
and like you said, a lot of those cats we
don't hear about, like you said, bibcatch or maybe that
(10:34):
you know, the DJ fool's got to say that they're
not working and doing other significantly great ship.
Speaker 1 (10:41):
You know, this fool cook me up with the rock
Star ship. That's how was.
Speaker 4 (10:45):
They get through the whole on the Grand Death on
the Kick because of Pool. But like I said, this
might have their hands and other business now outside of production,
so you don't hear about that shit. But yeah, movie,
that's how I was able to get in good graces
with rock Star and I had a couple of turns
(11:06):
with rock Stars. First month music was on the radio station,
and then the following year I was able to voice
a character hitting the game, and the following year I
was able to do a song produced by Alchemists with
Freddie Gibbs and Cocaine. So I had a great prom
(11:26):
because of DJ who the connected me with Rockstar games,
pating this other shit that mebans might be into. You
know nowadays that you know, you all hear their name significantly,
like you know with production or who was the greatest
(11:47):
producers or who was those people that created that sound
that y'all.
Speaker 1 (11:53):
You know, you know that job led for you. Phel
me plain thing.
Speaker 3 (11:58):
Even in the Bay you got to It's like tone Capone,
the tone Capone made, I got five on a bunch
of other stuff. Studio tone you know did all he
early on.
Speaker 4 (12:08):
Had Banks and Ship's Banks and Banks was all you
know him Banks and Ship. That's one of my people, great, great,
great Bay for gooser significant.
Speaker 3 (12:19):
You know, we need to get Banks on the show
because him in Too Short in the early days was
synonymous with each other.
Speaker 1 (12:26):
He was given too short of all the bankers.
Speaker 4 (12:28):
You know, and then and was able to you know,
the gee for a lot of Bay Area the time
martist and even put out a project into himself as
a gasher rapper show, you know, shorter like with DJ
Quick and the long share. Quick produces his own spoff
(12:49):
and then he was able to perform him on it
as well. So that was you know, that was that
baks up in the bank.
Speaker 3 (12:55):
You feel me, yeah, you know, speaking of DJ Quick,
you know DJ Quick, he gotta get his uh. I
think the deaths been kids Quick skiff and curse because
he do so many records for himself. He don't really
venture right side and do a lot of stuff for
a lot of other people.
Speaker 1 (13:13):
You feel me, Well, he's had his hand and a
few things. You know. Well, I'll take you this for sure.
Speaker 3 (13:21):
He had a big hand and a fifty cent record
in the club, you know, with that right there, and
there was Quick drum all right.
Speaker 4 (13:28):
With the truth Hurts record and then with the stuff.
So he's worked with a few, you know, and then
you though he was fucking with the ow the barge
for a minute, you.
Speaker 3 (13:41):
Know, jays just to fund my thought stuff. You know,
you know Quick don't have some stuff. But I just
think that he's done.
Speaker 4 (13:48):
Some ship you know on the Tuatpot record, he you know, okay,
sure and mix it in a couple of tracks or whatever.
Speaker 1 (13:55):
So I said, it's you're doing.
Speaker 4 (13:59):
Then they you there with this past week, you know,
there was a comment put out about you know that's
saying that doctor Dre, that DJ Quick is who people
think is who really who doctor Dre is?
Speaker 1 (14:13):
You know did you see that? Yeah?
Speaker 3 (14:16):
Saw me kind of seeing both of them dudes. Get on, man,
I would never disrespect Dre dog, but it's not too
far off. Dog Quick is very amazing dog. What he does,
man like on the sonic level, like not only does
he make a maculate not only does he make a
magular beats and everything Quick do he do by hisself.
And they know he may have a guitarist or a
(14:37):
bass player in there, but quit very much making his
own beats and he not having nobody else do nothing.
Speaker 1 (14:43):
He don't got a team, is what you said. Yeah,
he don't got a team. He just got a guitar player.
Speaker 3 (14:47):
Now he us musicians right, like he may use a
I know he used to add homie Jesus and they're
playing guitar form and stuff. Quick At go go in there
players own tambourines. He's gonna go in there and play
his own the pongos and congos and stuff like that.
And he's gonna do his own thing. And he's gonna
go in there mixes record too. He's gonna go on
there engineer his record too.
Speaker 1 (15:08):
You know.
Speaker 3 (15:09):
Right, He's gonna kind of do everything. Man, He's kind
of like and he's not a and he is not
a classically trained guy like Tree, not a classically trained dude.
You know them dudes is not a play. You know,
I can see why somebody would say that portrayers very
much who he is for a reason. You can't just
don't disrespect his name and just say, well, he ain't shit.
(15:30):
You know, Trey is dead. Ray don't done a lot
of stuff, ass has Quick. I think quicks problem has
always been probably some of the shenanigans, And that's not
a knock against him, but just other stuff that kind
of distracts from the music.
Speaker 1 (15:45):
You feel what I'm saying. Because he's a dope produce,
you make.
Speaker 4 (15:48):
Some significant distractions as far as extracurricular activities outside of music,
Oh for sure. But do you think it was just
the timing of when Dra stepped into music as opposed
to when Quick stepped in. Like you said, they're two
great producers, you know, release some some terrific music. Give
(16:11):
you feel that Dre's climb came with more significance than Quick.
Speaker 3 (16:19):
You know what I would say this, I think Drea's
definitely at his hand and more hit records like I do.
Know that just come for me being the insider to
know that Quick has something to do with in the
club right and if I can't do it on you
can't be done. But the world don't know that. You know,
the world know that that's doctor Dre. You feel what
(16:40):
I'm saying quick very much had a hand and all
that shit, you know.
Speaker 4 (16:44):
Because a lot of time, you know, you don't get
credit for the simplicity shit.
Speaker 1 (16:51):
You feel me, I might come to the studio and
give a nigga.
Speaker 4 (16:55):
A copy of my claps and my snares and shit,
and you know, nobody's gonna turn around and credit on
a record, right, nobody's gonna credit snares and plaques on
this beat are provided by whatever.
Speaker 1 (17:11):
You know.
Speaker 4 (17:12):
Niggas look at that as pettiness. So yeah, you know,
fans and consumers don't know. Niggas don't know. There's only
a chosen few that are really into that and articulate
with sound.
Speaker 1 (17:26):
Who would pick that up like, oh, those are.
Speaker 4 (17:28):
The drums that so and so used on sow and
so and whatever whatever. So you write, you know, a
lot of just regular fans or consumers of music or whatever,
they're not gonna know that.
Speaker 1 (17:42):
You know.
Speaker 4 (17:43):
All they gonna see is it's credited to whoever produced it.
But like you said, some people can do that by
themselves and then some people have, you know, and I
wonder do you look at that as as being the
person that Dre.
Speaker 1 (18:00):
Years like I need the team.
Speaker 4 (18:03):
Because there's a billion other things that I got going.
Speaker 1 (18:08):
So do I have the time.
Speaker 4 (18:11):
To sit up in the studio like a Quick or
an alchemist? Would be you get me as opposed to
what I'm feeling. I'm billion dollar doctor, Dre, you feel me?
So do I have time to as opposed to like
other producers?
Speaker 1 (18:32):
Would you give me? Like you know, I'm ana beat there?
Speaker 4 (18:35):
Quick is gonna be there or in from the time
I start with that until it's time to start tweaking
it and engineering it.
Speaker 1 (18:44):
It's Dre gonna be there that whole time. Oh hear,
That's what I'm saying. Bro.
Speaker 3 (18:49):
I think, like, you know, let me put this out
there first and foremost, because you know, everybody, like the
Flips Drain very much capable of going to the studio and
doing everything from up on his own. The thing with
Trey Dog is Dre is probably trying to make the
best record possible, right, And he's the type that's gonna
get the best person if it's a person he feels
the best at shopping samples He's gonna have him shop
(19:11):
the samples and the loops and shit, you know what
I mean. Now, Dre may come in, he may get
a keyboard player to come in and play one hundred
different riffs, but Drey has that here to pick the
right one. You feel what I'm saying. So what he
doesn't differentely, it's something that everybody can't do. Bro, That's
why he doctor Dre. You know, you can't sleep on that.
I think Quick is probably more of a mad scientist
(19:31):
to where Quick is just fucking good at everything though,
and that's just how it heals.
Speaker 4 (19:37):
You know.
Speaker 3 (19:37):
It's like, I'm gonna tell you this. I know that
DJ Mustard is dope. I wouldn't never say that Munstery
is what DJ musterd. Thats definitely kept the west Coat
thrown for about probably the last ten sub ten summers,
you know.
Speaker 1 (19:53):
You know stuff he.
Speaker 3 (19:54):
Did for I mean my head, that's my head in
my hear that was a jam, you know I'm saying
the right. I really wish my Wise she would have
kept that going doing, you know, because I think that
there were strong projects, right, But you can't sleep and
I forget this thing. LV got his son as hard
as a motherfucker. I know LV is over there making
(20:16):
a lot of that ship with Mustard. You know l
V's son is over there making a lot of stuff
with Mustard. I forget his name because but the last
has actually had him first. I forget his name, man,
But that little dude is hard lv Son. You know,
real dope dog. He's he's real dope, super dope, like
he's super sick. I was actually looking for him to
(20:38):
get you some stuff for this, you know what I'm saying.
Like he's real dope. Like he's probably like el lvs Son.
I'mnad to get the name glasses. He actually got slappers,
that little dude that's vicious. He did He's the one
that did the stuff on Killer's new album, the Mustard
and all that stuff. Like he's the one that did
(20:58):
all this. We have a gang of like shit. If
you look up today, man, there's a gang of producers.
You know that you don't have done shit, but just
don't get the recognition.
Speaker 4 (21:17):
You know, crazy tool dressing piece, you used to produce
shit the tuns or my nigga rob ch producers ship
my nigga, Why no, who used to do coolio shit?
It's significant producers that just you know, unfortunately when it
(21:37):
comes when it comes to the West Coast, you know,
it's it's drake now.
Speaker 1 (21:45):
You know.
Speaker 4 (21:45):
In this era, like you said, you have the mustards,
you have the sound waves. You know, we got alchemists,
you know, and Alchemist has been around for as long
as we could remember. But with the new age of
him pop and the new artist, he's becoming this you know,
top notch well, you know, well in the game producer.
(22:08):
He has been producing significant Ship. He just did the
project with Hirika Badu. He just did the project with
Freddie Gibbs. He's doing you know, he's did the project
with fucking two Chains and Larry June. You know, so
Alchemist is your music?
Speaker 3 (22:25):
Yeah, man, I asked, you know what, I actually like
two Chains and lyric June and Alchemist stuff more than
I thought I was. I thought that combination, but it
was really dupe.
Speaker 4 (22:37):
I mean, you know, it's the new sound, you know,
and a lot of niggas, you know, do that sound
nowadays where you don't you might not hear drums up
on the peak. You might just hear a nigga wrapping
over the sample and ship you get Me west Side Gun.
Speaker 1 (22:53):
Does that a lot.
Speaker 3 (22:55):
Different from what's the honey we have in the show
Who's the honey we had on the show? Man, I'm
having brainfall today, bro, But a lot of that came
from him with the homies name theale Forget me Man.
Speaker 1 (23:07):
He probably hear this shit and playing talking about it.
You're talking about rock, Yeah, rock, Marcian rock, Marcia. You
gotta get a rock in his product.
Speaker 3 (23:16):
That was rock was probably he was the first one
to start doing that, and that sound kind of came
from him and everybody kind of got and you always
gonna have that hip hop men work.
Speaker 1 (23:26):
I don't consider that biting.
Speaker 3 (23:27):
I just think when dope shit make its way into
the universe, people start like, you know what, that's hard,
let me try that.
Speaker 4 (23:32):
You know, well, you know, unfortunately, back in the days
of beginning of hip hop, you know, it was considered
bite me if you bet someone's style, or if you hit.
Speaker 1 (23:44):
Some drafts or whatever or whatever.
Speaker 4 (23:47):
But I guess today, you know, you have to be
able to adapt.
Speaker 1 (23:52):
You have to be able to adapt with the times
of shit. You know.
Speaker 4 (23:56):
That's just like if a nigga run a good play
on me score in football, I might take that player
use it on another team.
Speaker 1 (24:05):
You feel me. That's what I'm saying.
Speaker 4 (24:07):
If I think it's a great play, it ain't the
fact that you know, or I'm steal in the playbook.
But you know, shit, I saw that ship in the
game the nigga ran it off. I thought it was tight.
Speaker 1 (24:18):
Nigga. The following week, I'm going back to practice.
Speaker 4 (24:21):
We're gonna try to run that shit, because if I
can run that shit on somebody and we can score
and win the game, then that's what's gonna happen.
Speaker 1 (24:29):
You get me.
Speaker 4 (24:30):
Everybody running the same routes, you get me. The route
tree is the same, right, Still, whide receivers running that.
Speaker 1 (24:38):
Route tree, it's the same route.
Speaker 4 (24:40):
You might try to flip it or call it something different,
but the slant is a slat, right.
Speaker 1 (24:46):
Everybody eats a slight, you.
Speaker 4 (24:48):
Know, So it's not consider you know, probably back in
the days when it originated, it was this one particular playbook,
but everybody has adaptor today, right, So that's all I
look at it, as you know, because a lot of
(25:09):
niggas use that sound, and you know, it's very popular
with a lot of motherfucking fans. So if you can
perfect it, and you can perfect it to the point
of where you having your own type of delivery and
feel and you making it your own and your subject
matter is, you know, different than what another nigga talking about,
(25:31):
then that's that's what goes down.
Speaker 3 (25:35):
I would say, you know what too, and I would
say probably one of the most. And this dude don't
have a lot of hit record though I'm gonna be
remiss to say, dog, he probably got just as many
radio hissor trade, if not more.
Speaker 1 (25:47):
A little fingers okay, and he may.
Speaker 3 (25:51):
Not get the recognition I'm saying that he's better than
treated nothing like that, but he's had a lot of
significant radio records and he has the platinum.
Speaker 1 (26:00):
In gold singles, right, you know fingers uh.
Speaker 3 (26:03):
And I think because most of his stuff came from
the independence side, like he fucked with a lot of
the Chicano records, like the Little Rob You did the
Summer Nights with Little Rob, which, like I think a
gold single, right, and it was a big record on
the radio. While here you know you you heard that
record like every yar on an hour just sitting in
the runs when the sun goes down party, That record
(26:26):
was dope though. You know it was a dope record, right.
That was a big record he had to lean like
the Cholo record, which leaning like a cholo wasn't exactly
my cup of tea. I like hip hop stuff, but
I got it. You feel what I'm saying. I said,
you know what I knew when I heard it, I said,
just go blow up. That's a catchy record, right down
on me, down.
Speaker 1 (26:47):
A little catchy, gimmicky record. You feel me?
Speaker 3 (26:50):
You know it was a dope record though. It was
like you know when you heard it, like, Okay, this
gonna work right here.
Speaker 1 (26:54):
Right.
Speaker 3 (26:55):
He had a lot of records, man, He had, especially
messing with Little Rob, messing with the Chicano cast. Man
Fingers had a lot of records.
Speaker 4 (27:03):
Man, So as somebody who knows him and has dealt
with his work, why do you feel the recognition hasn't
been or do you feel he's got his just good?
Speaker 3 (27:18):
I think Man, as far as like having the big
radio records, I think Man Fingers, by him messing with
independent rappers, that was like his gift and his curse
kind of because he was able to take dudes that
didn't really have no budget and prepare them to where
they was getting. You know, Fingers had a lot of
number ones out here, you know, a whole lot of
number ones. I think by those artists not really being
(27:41):
bigger than the songs they had. I think outside a
little rap, a lot of those artists wasn't as big
as the songs that they had. You feel what I'm saying.
Speaker 1 (27:49):
And do you look at those as territorial records?
Speaker 3 (27:53):
I think, you know what, really, I think, man, those
records man passed the Southwest. They may have got a
little love in the Hispanic like Chicago got a huge
Hispanic market, right, probably wasn't going past Chicot.
Speaker 1 (28:07):
Or past Texas. You feel what I'm saying.
Speaker 3 (28:09):
Those are records, like you said, a lot of them
were regional records, but they were big ass records though,
you know, right, there was big ass records. And I
think that if Fingers, I think if the Fingers produced
more for MC eights and the Snoops of the world,
I think that would help him probably.
Speaker 4 (28:29):
And why do you think that, you know what, like
you said, was he just in his lane dealing with
who he was dealing? I would say that, man, you
know Fingers, man, do you think he was presented with
the opportunities to work with you know, the MC eight's
(28:49):
and the quicks in the games and the ques and
the whatever. Probably you know what, probably not bros. I
think a lot of people just didn't know. They didn't
make that connection, right.
Speaker 3 (28:58):
I think it was the management their Fingers had at
the time, because his manager at that time was just
cared about the money. He like, man, whoever got the
money to come here and buy these beats, I'm not
interested in trying to make him a household name. So
I'm not gonna go try to put him in the
studio with the MC eight. I'm not gonna try to
go put him in the studio with a MAC ten.
I'm used to go fuck with the count homies just
(29:20):
coming over here. They got a bag of money because
you know, he's a count of home, he's rick. You know,
they got bread. You know, they come just fired ten
thousand on a beat, which you know what I'm saying.
So I remember man Fingers used to have sessions man
back to back to back and everybody.
Speaker 1 (29:34):
He might have ten sessions that day.
Speaker 3 (29:35):
And everybody was coming in here with eight to ten
thousand dollars, you know, So they was making their breads.
You know, so you figured you got ten sessions and
ten brand apart, you don't made one hundred thousand dollars
that day, plus your publish them and all that other stuff.
Speaker 1 (29:47):
It was a lot of money being made, so I
don't even know.
Speaker 3 (29:50):
I know, probably being real with you, I probably wouldn't
have gave a flup, you know, trying to keep my
cousin out. I wouldn't have gave it. Damn about for
nobody else. I've been getting that bred too.
Speaker 4 (30:03):
Oh yeah, if you're making significant income, you know, shit,
that's like motherfucker's always say, if it ain't broke, don't
fix it. So I'm not gonna go chase, you know.
They they got to saying, don't go chase some motherfucking
don't go chase some motherfucking pussy when you got guaranteed pussy.
(30:25):
You feel me, that's the dumb shit you feel me. Oh,
that's what a nigga said, don't go chasing shit. And
then all money ain't good money, and they're fucking with everybody.
Ain't always the right time, but nat shit, you feel me,
So shit, my nigga probably felt comfortable doing. I'm in
(30:45):
my own like I always say about myself, I stay
in my own lane. I've never felt like I had
to reach a certain plateau or fuck with a certain
motherfucker you know, or that you ever would dre or
did you ever fuck with this person or this person?
Speaker 1 (31:03):
You know?
Speaker 4 (31:04):
So if you comfortable in your own skin, you feel me,
and as a producer or an artist, if you comfortable
with your own ship and who you fuck with, then
that's it. Like I'm not gonna wait around to see
if I can fuck with this nigga or this nigga.
Speaker 1 (31:22):
I'm gonna go, ready to go. That's it. You ready
to go? That's it?
Speaker 4 (31:27):
And and if it's significant enough to where I'm cool
with it, you feel me.
Speaker 1 (31:34):
As far as financially, shit, I don't. I don't. I
don't need to go chase nothing that you ain't got
to go chase nobody.
Speaker 4 (31:40):
You know you got guaranteed right here. Why I need
to go chase something for real?
Speaker 1 (31:46):
You know? Shut out to the homie's fingers, Huh, you
know what we're talking about? List? Did you see that
big area list that this looking out crazy to me? Man?
How do you have any lists? Dog?
Speaker 3 (31:58):
You wi mis spice one off of there? Yeah, you
don't have that ship was crazy as fuck.
Speaker 1 (32:04):
I don't know. Maybe they and then I don't know.
Can you say that? Let me let me pull up
that list. Hold on, bro, can you can you? Can
you say that? Nigga? What for god?
Speaker 4 (32:17):
Because how can you say you forgot spice one? You
steelln't need like spice spies one. As far as the
Bay concern is top ten, I'm not gonna put em
in a in a motherfuck there slot, but on my
on my list east top ten for the back, oh
(32:40):
for sure.
Speaker 3 (32:40):
So I'm gonna kick the whole list off. Then we
gonna talk about it, right, or we can talk about.
Speaker 1 (32:47):
It as we go.
Speaker 3 (32:47):
Yeah, number one mag Drake, I'm not mad at that,
but on any lift dog it should have been too short.
And forties the top two right because they did a
lot for the bank. Mac Dred's catalog wasn't like that.
But you can't knuck raising Macdred's influence. Maketreds definitely the
top five top team guy right, and to me, that's
where I would have put it.
Speaker 4 (33:08):
I'm not with I'm not given him a number, but
I would have put him. I would have put him
top three to ten, number one and two spots you
have to give to E forty or too Short. You
have to because ain't no bait on a worldwide scale.
(33:32):
The Bay is known because no disrespect to nobody. But
you get me. I knew about the Bay because I
was Bay and motherfucking too short freaky tail ship and
I know too Short tame from LA and moved up
to the Bay Area when he's young. His cousins used
to fuck. I know his cousins. They used to be
(33:55):
in our crew. Last advanced to two great DJs from
LA right now, I know he were. But but where
it came to Oakland and the Bay Area, too Short
was before E forty, you feel me. Freaky Tale, seventy
five girls, all of that shit that's that was too
(34:19):
short to me.
Speaker 1 (34:20):
So too Short kicked off the Bay Area shit.
Speaker 3 (34:24):
And then.
Speaker 4 (34:26):
After that nig I know, eat forty motherfucking spice one
motherfucking bad Banks, Richie rich Those are niggas who I
be legit the shot to click, you know, Sugar Tea,
the Loneyes drew down, you feel me? Those are motherfuckers
I listened to as as far as me coming up
(34:49):
as an artist. So those people that I just Lynching
should be anywhere in the top twenty and thing he
was broke.
Speaker 3 (35:01):
I'm not mad at the rappers they got on there,
because I guarantee you a young dude wrote this list right,
and he's just going off of what he knows, right.
But to not have a Spice one on there, to
not have a Sea Bowl on there, man, it's kind
of like, man, come on.
Speaker 4 (35:15):
Bro and that that did. I see Brother Lynch hung
on there. Brother Lynch Hole is on there. But I
don't know if they I don't know if they're considered
the Bay area Brother Lynch and Seaboat.
Speaker 1 (35:29):
Yeah that's second, you know that, but.
Speaker 4 (35:32):
In the Bay area. But definitely Spice one at Banks.
Like I said, the Loneyes drew down, be legit, d
shot Richie Rich.
Speaker 3 (35:45):
Number one, mag Drake two Short three forty for the Jacking, five,
Keep the Sneak six, mister Fab seven, Mazie, Hey, it's
so beat by r b E nine MESSI seeing the
hieroglyphics eleven, Andre Nicotina twelve, The Loonies thirteen, I Am
(36:06):
Sue fourteen, britst fifteen, Mike Sharon sixteen, g Easy seventeen
Lil Yasse eighteen, YadA nineteen, Larry June twenty e, bkj
Bo twenty one, Young Sloviy twenty two, Style Jay Styling
twenty two, Little B twenty four, Sex the gentmin Now
(36:29):
twenty five, Burner twenty six, San Queen twenty seven, RBL
Posse twenty eight, d Lo twenty nine, Hustler thirty, Pila
thirty one, Young Kirk thirty two, Deputy General thirty three,
CMIL thirty four, Brother Lynx thirty five, Digital Underground thirty six,
(36:51):
Rapping forts A thirty seven, Down thirty eight, Woody thirty nine,
m C Hammer forty, The Pack forty one, Kark Kly
Carson forty two, Left the Pharaoh forty three, Kamaya forty four,
e BK Young Jack forty five, dB boodle Bag forty six,
(37:12):
Little Kayler forty seven, Big Tone forty eighth, Little Pete
forty nine, Stunner Girl and Number fifty. L.
Speaker 1 (37:20):
Russell.
Speaker 3 (37:23):
I'm not mad at this list, man, but some of
them guys on their men aren't known outside the big.
Speaker 1 (37:30):
Right.
Speaker 4 (37:31):
A lot of those guys aren't known outside the Bay.
And a few of those names I know, you know
the Sam Quinn's the MESSI Mars's the Jackals, the Mister Faves,
even the Stunner girl you feel neat and shout you know,
the rest of peace. Rich She was on one of
(37:53):
those shows that he used to love. That's where I
know that from, because he used to speak on her
her shit. But like I said, a lot of those
names I'm familiar with by just getting day music.
Speaker 1 (38:07):
When you you tour.
Speaker 4 (38:09):
A lot, I used to get a lot of music,
So I'm familiar with a lot of that music, like
I said, But again the point you was making, are
they known in those markets? You get me like, I
could pull up in a I could pull up in
(38:31):
an Arizona, I could pull up in Albutquerque, New Mexico.
Speaker 1 (38:36):
I could pull up in the Dallas, Houston, Fort Worth.
Speaker 4 (38:40):
As far as my music is concerned, when I was
on my run, you feel me, Oh.
Speaker 1 (38:46):
I could hit New Orleans and louis So you.
Speaker 3 (38:49):
Gotta kind of judge it, you know, don't get me wrong.
That's hip hop, man. Hip hop ain't nothing wrong with
the local.
Speaker 4 (38:55):
There were certain places that my music might have not resignated, right,
the Dakotas, the motherfucking Carolinas. But before in North Carolina before,
So I can't say that, you know, but there are
spots and then a lot of my people that you named,
(39:16):
how many of those guys were truly independent? You give
me A lot of those guys weren't signed to major ladies,
very few. A lot of those guys took the independent
distribution route, right or or you know, went through the
Bay sides and shit like that.
Speaker 1 (39:37):
Right, So.
Speaker 4 (39:41):
You don't know how much power that you know, those
records had going crossing state lines.
Speaker 1 (39:49):
You feel me? Yeah, you know what I.
Speaker 3 (39:55):
Would say, Like Spice is probably one of the most
unique rappers of the game. To those Spice got so
many flows. Dogs Spices over to.
Speaker 4 (40:05):
Disrespect Spice and leads him, and like I said, I
don't know if a nigga just forgot maybe they forgot
or whatever.
Speaker 3 (40:12):
No, that you're don't forgetting nothing like this. Spice is
kind of forgetable dog. But to to to not have
Spice one in the top.
Speaker 4 (40:20):
Ten, it's ridiculous. Spice significantly represented the Bay Area. I've
been knowing Spice since his career started, like mine, he
came out maybe a year or two after I did.
(40:43):
I toured with Spice ridiculously over a few decades. We
both had songs on and then the soundtrack like he's
one of my true friends as far as hip hop conserved,
and he is significantly represented the Bay Area.
Speaker 1 (41:01):
Shit.
Speaker 4 (41:01):
One of his hits was East Bade Gangster, They Feel
Me Murder show dumping them in ditches fucking one eighty seven,
he wrote, I mean fucking his first single, had the
whole fucking country gone off the drink? You get one
eighty seven proofs they's sucking young and in my neighborhood,
(41:22):
and you get peace to you know, peace to my
nine and shit like you know. So to leave Spice
off the list is crazy. Like I said, I'm gonna
say Homeboy was high or drunk. It just forgot like
he thought he put Spice on the list and forgot
about it. Because that is that's just dumb as fuck.
(41:44):
I'm just take straight up if whoever mis fuck because
if you didn't put Spice one on there, your list
is not valid.
Speaker 1 (41:53):
It's fraudulent, bro, you know what?
Speaker 3 (41:55):
To me, that's about It's a significant as a mistake
because us do you want to top West Coast Producers list?
Not putting Doctor Tree on there?
Speaker 1 (42:05):
Nigga. That's like doing the top.
Speaker 4 (42:10):
That's like doing a top down South Texas list and
not putting scar face on it.
Speaker 3 (42:16):
That's what I'm saying, Mans, Him to the Bay is significant,
is that you feel me like you do a down
South list and don't put scarface on it?
Speaker 4 (42:29):
Like uhuh, Like are you kidding? You got you gotta
do that? And the years he's top on you, he's
top ten for the Bay.
Speaker 3 (42:40):
All yourself and if you call yourself, you know, I'd
like to look at this loss kind of like a
major bait, you know, major Blade Media company. You know,
if they're doing that, man, they kind of slipping though.
They gotta get on top of the ship.
Speaker 4 (42:54):
Yeah, That's why I said something has to I don't
know if it's some personal beef or with the writer
or the magazine or whoever put it out, or a
nigga just playing forgotten thought that they that they had
put it more there.
Speaker 1 (43:11):
But you get me, because I was even shot when.
Speaker 4 (43:15):
You out went through the whole list and was like
the spice one only Oh they must have forgotten, right
they actually they had Eve on the list and whoever
they forgot because.
Speaker 1 (43:26):
But the thing is, bro how you can't forget nothing
like that.
Speaker 3 (43:30):
You're putting the list together with the greatest you know
they rappers of all time at the top, you know,
Nord Carol rappers and you donna have balt Slini on it.
Speaker 4 (43:38):
Motherfucker tall niggas are dumb and they forget you give me.
Speaker 1 (43:44):
Chicken on the man. Come on, man, it is a
dumb and just forget.
Speaker 4 (43:48):
Like I said, maybe you had a brain freeze or
something that day. Like again, that's why you know what,
That's one of those things where you need to repress
it because when it first came out, my nigga Spie
posted all his plaques and shit, and he had the
week come strap flat right on the floor, all his
plaques and all his awards, and he's like, I just
(44:12):
want to remind niggas you know, of the workout put
in and it's it's his heart. It's it's fucking heartbreaking
to know that with all the work that you've done
to represent and shit, and motherfuckers don't even consider you
when it comes to, you know, a fraudulent list because
(44:33):
it means nothing. You feel me, And I'm glad my
nigga Spie took it on the chin like you know, well,
let me just remind niggas. You know that because you, nigga,
don't even consider me a top fifty Bay artist when nigga,
I've sold millions of records and represented the Bay and
(44:54):
done shit that half the niggas on the list will never.
Speaker 1 (44:58):
Be able to do.
Speaker 4 (45:01):
There's yeah, they need to they need to do a reaper,
you know, motherfucker's door, a retraction and you gotta go
a reprint the next day and apologize. That's what they
should be going. That's your little jib niggas. That's one
of the things I know. When we do the list,
we go over it, right. We don't like when I
(45:23):
said we're gonna talk about the top producers. We're not
making the list right now.
Speaker 3 (45:26):
But if we were, first of all, it would be
just me and you, we would have some other respective
people with us, right, so we have more opinions.
Speaker 1 (45:33):
Right.
Speaker 3 (45:34):
Definitely, before you go to print with that, you definitely
gotta go up and look and say, okay, am I
missing Anyboddy right? And then of course and then on
ship like that, we would do researchers as far back
to when Toddy Tia that was making me sure, you
get me, We gonna we're gonna spread the board out
(45:56):
to where we're not just gonna think of just so
one era and time of music. We gonna go back
and go, okay, top the top twenty all time West
Coast producers, and then we gonna go from the time
hip hop started for us who was significantly doing shit,
to niggas who doing shit today. You getting me, We
(46:19):
ain't gonna leave out the new niggas, but we damn
show ain't gonna leave out the motherfucking veterans. That's the thing, bro.
I think it's like this to eight. I think a
lot of cats what they do, Man, they get so
caught up and just can't standing where they're comfortable that
they don't go out their comfort zone. They say, Okay,
let's say the dude that wrote that listed twenty five right,
(46:43):
he's not going back and doing his homework and saying,
you know what, let me look back and see the
forefathers before this, who did this. I know I'm always
cautious to that for me not to admit nobody right,
for me not to go back and say, because the
thing is, if you forget a DJ, who are a DJ?
Bob somebody like that. That's significant. Oh, definitely, that's significant
(47:05):
because it is ever be dumb.
Speaker 4 (47:09):
And then motherfuckers were criticized because you you ain't even
you ain't even checking their history books and shit. And
that's the first thing you gotta do. You gotta check
the history of the shit first before you get the
name in all time greats and shit. Nigga, you gotta
check history too, because without the history, motherfucker.
Speaker 1 (47:31):
There is nothing else. There's nothing there.
Speaker 4 (47:34):
All these other motherfuckers you name it, they don't come
if you don't check the history because without the history,
there is no there is no there is no today
without the history.
Speaker 1 (47:46):
So you know, nigga's doing these lists and shit.
Speaker 4 (47:50):
I know it's your opinion and it's what you feel
and what you think and whatever whatever, and like I said,
but check your history first, you know, is done the
lead off of niggas who have motherfucking contributed it greatly,
and especially a motherfucker likes Spice, who I've known since
the beginning of his career, and he ain't done nothing.
(48:13):
Bucket represent the bay here. You feel met and a
lot of a lot of niggas. Donet moved away and
relocated and whatever whatever you feel me. But he's one
of those niggas. From the beginning of his career. Let
you know, nigga, he was representing the Bay Area. He's
(48:35):
a big gangster, and his and his and his motherfucking
his work traveled past Oakland, past California, past bagas you
give me.
Speaker 1 (48:45):
Niggas was bumping spice.
Speaker 4 (48:47):
In New York, Florida, Chicago, Cleveland, everywhere I went his
music was.
Speaker 1 (48:55):
Oh yeah for shoe and Cleveland. Man, he lives pace
in Cleveland.
Speaker 4 (48:58):
I was in a record store in Cleveland, there was
his tape. If I was in the record store of Detroit, Chicago,
motherfucking there was his tape. If I went on the
promo run in Dallas or Houston, there was his tape. Louisiana,
there was his tathe Kansas, there was his tape.
Speaker 1 (49:18):
So I don't get not just one.
Speaker 4 (49:22):
You get me all of his motherfucking projects, you know,
back in that era, all of them ship.
Speaker 3 (49:29):
Now would you say, as far as flows, man, fi,
this is under contention man for probably ever the best
flow of a baby too.
Speaker 1 (49:40):
Twist is harddog twis is due. Man.
Speaker 4 (49:43):
Like I said, you just check your history man, nigga
he got and that's what they got.
Speaker 1 (49:49):
Some, he got some, he got some authentic music.
Speaker 4 (49:52):
But that ain't that ain't something we gotta tell motherfucker's
true hip hop motherfuckers and true niggers no music and
people who are around in that era and who are
still around today and appreciate that era of hip hop.
You you, you know, Spice One, that's just a dumb
con you know, that's just a dumb analysis to think that,
(50:15):
you know, because he was just as well known as
I was.
Speaker 1 (50:19):
The star fakes was his c feel me he was.
He was part of the crew. You feel me. I
would tell you this man, you for sure.
Speaker 3 (50:31):
That that that kind of makes me that kind of
furtheres my claim that too Short probably should have been
number one, because you know who discovered spice was too short?
Speaker 1 (50:41):
Right? Like yeah, too short foul stoupe one.
Speaker 4 (50:45):
Right, he used to go, he used to fuck with them,
so ship, uh, like I said, he's part of the crew.
He's part of that too, ship that too short Ice
Cube c m W n W A fucking Spice one,
fucking DJ quick fucking.
Speaker 1 (51:02):
You know it was that era.
Speaker 3 (51:04):
You know, when you get to talking about anything that's
the greatest of all time.
Speaker 1 (51:08):
Man.
Speaker 3 (51:10):
You have to include old Jeans man because it's like
the thing is, man, the son don't come before the father.
Father come before the son. You know a lot of
these people, man, were so influential and too short and
e forty man. Really, to me, the Bay is known
for their independence, right, They're known for having independent rappers
man to put out a lot of things.
Speaker 1 (51:30):
I think the Russell carries that torch really good.
Speaker 3 (51:33):
I kind of like what l Russell do because he's
a young dude that don't forget about the old jeez.
He threw a lot of stuff, you know. When he
do them shows, right, he's gonna have a Richie Ricks
out there. He's gonna have a Spice one out there
with him because he understands the importance of what they
did on their influence, right. And shame on thisler man,
you know thisler they got a popping ass platform dog.
(51:56):
That's just kind of to me, that's kind of like
almost like embarrassing dog to keep twice the listen and
not there.
Speaker 4 (52:01):
Richie Rich's on that too. Richie Rich's the legend too. Definitely,
Like I said, those are niggas. I listened to. When
I listened to you know, bay Area of music, those
were some of the nigga Some of those were the
niggas I listened to.
Speaker 3 (52:17):
Wasn't no son, That's what I want to ask you
this because some of them, like you got poor Man,
he wasn't on there. I don't know if poor Man was.
Speaker 1 (52:25):
You consider him a legend. I knew pool Man.
Speaker 4 (52:29):
I fucked with pool Man because of the Menis movie
and the soundtrack, and after that we became cool.
Speaker 1 (52:36):
And when I.
Speaker 4 (52:37):
You know, took a few trips to the Bay Area
and did you know, uh bed Worth wo Man came
out a few times. I would consider him someone whom
seating it for sure. I would say he was someone
significant for the Bay Area because in my area he was.
Speaker 1 (52:58):
He was an artist who was all was was was
getting it in.
Speaker 3 (53:04):
You get this too, they got on there, they got
black seeking them right.
Speaker 1 (53:11):
You definitely gotta put j T the bigger figure on
this list too.
Speaker 4 (53:16):
Yeah, Like I said, like I said, they forgot about
a lot of niggas because I don't know how they
would say that certain niggas were significant for the Bay Area.
And what are we saying is the Bay Area because
JT the bigger figure represented today.
Speaker 1 (53:34):
That's why I knew he was from. I didn't look
their friend.
Speaker 4 (53:38):
Uh. I think you know the rapid Foete represented San
Fran right pill Moo and all of that ship, soig
on their I don't.
Speaker 1 (53:47):
I don't know how.
Speaker 4 (53:49):
I don't know how you consider niggas not, you know,
being official and represented.
Speaker 1 (53:54):
Because j T was in that era.
Speaker 4 (53:57):
Of of of a lot of area artists and the independence.
Speaker 1 (54:02):
You know that mess Mars the Sad Queen.
Speaker 3 (54:06):
I think he might have put that record thog if
I'm not somebody, man, let me know if I'm mistaken.
I believe that j T might have put j T
might have put their records out.
Speaker 1 (54:17):
Dog.
Speaker 3 (54:17):
I'm not for sure. I need to call should call
JT real quick man to find out. But you know,
we we do that next one. We definitely gonna have
a more in depth episode. Man, the next one. Man
about this? Uh, y'all gone, man, let us know in
the comments, Man, what y'all think? Man about all this?
Speaker 1 (54:33):
Man? We holler at y'all next week. Yeah.
Speaker 3 (54:37):
Well, that concludes another episode of the Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
the Gangst the Chronicles podcast, but Apple users find a
purple Michael on the front of your screen, subscribe to
the show, leave a comment and rating. Executive producers for
The Gangst Chronicles podcast Norman Steell, Aaron m c a.
Speaker 1 (54:54):
Tyler.
Speaker 3 (54:54):
Our visual media director is Brian Wyatt, and audio editors
tell It Hayes. The Gainst Chronicles is a product of
iHeartMedia Network and the Black Effect Podcast Network. For more
podcasts from iHeartRadio, visit the iHeartRadio app Apple Podcasts wherever
you're listening to your podcasts
Hosts And Creators
Norman Steele
MC Eiht
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