Drake/PARTYNEXTDOOR, Westside Gunn Albums, IAMGAWD Interview, Pusha T, Jay, and MORE!

Episode Transcript
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Speaker 1 (00:00):
Outro Music.

(00:41):
Good evening.
Welcome to Hip Hop Talks.
God Flow Podcast.
Hey G, what's going on?
What it doing?
Click like, subscribe and shareto the tribe.
How's the week been, fellas?
What's going on?
Talk to me, Tell me somethinggood.

Speaker 2 (01:01):
Man, I was in your neck of the woods this week,
coop.
I was in the Queen City,charlotte.
Yeah, man, I was like yo y'allknow, coop, I'm like who?
Absolutely.

Speaker 1 (01:15):
It should be that way .
I haven't lived in Charlotteregularly since 1999.

Speaker 2 (01:19):
He left us, he abandoned us.
He ran to Atlanta for us.

Speaker 1 (01:23):
Abandon us.
Such a strong person, it's sucha strong word he ran to.

Speaker 2 (01:27):
Atlanta, atlanta, like a mace.

Speaker 1 (01:31):
I'm going to tell you what.
I'm going to tell you what.
Here's something I'm not goingto play with you about.
Did not leave Greensboro, northCarolina.
On the best terms, it's notokay.
One of the homies just pulledme to the side.
He was like hey, so we justwant you to go before something
happens to you, so you should go.
And I was like oh, he's like,yeah, he's like people are

(01:54):
talking about you.
He's like people we don't knowwe're talking about you.
He's like it's time for you togo.

Speaker 4 (01:59):
Well, it's okay.
One of my best friends lives inGreensboro, so I'll make sure
that he makes it all right foryou to pull back up in
Greensboro again.
I hope so.
It's always going to be like apass.

Speaker 2 (02:11):
You were talking to me earlier this week.
Before you come to WestVirginia, let me know, I give
you a pass.
No one needs a pass to get toWest Virginia.
You got to check in, you do not?

Speaker 4 (02:21):
I got the key to the city.

Speaker 1 (02:22):
No, no, you got to check in in Greensboro, you got
to check in in Greensboro.
Greensboro doesn't check in.
Trust me, I found out the wrongway you got to check in.
I found out the wrong way yougot to check in in Greensboro.
Okay, Not do what you want.
All right, we got a great showlined up today.

(02:43):
Fellas, I'm going to kind ofjust jump right in.
I know Andrew had already kindof put this together before, so
we're kind of going to work theanniversaries in order.
You know, Tupac's Strictly, Formy Niggas came out February
16th 1993.
Ag, you and I had some dialoguein our personal thread this
morning about the classic natureof the album.

(03:07):
If I could start off, I kind ofwant to share with you that I
think, more than anybody elsethat I've met since I've been in
this space, you and I sharesimilar musical sentiments and
ethos, and so I can understandwhy you would question the
classic nature of this album ona musical level.

(03:33):
But the icon that he is like andthe potential that comes to
fruition, like all of it, existson this project, and so while
musically it may not be aclassic from end to end, I think
that's more of a productionthing and if you want to knock
him, formbol and even thePlatinum Status.

(03:53):
They all exist on this project,and so I did just find some.
When I realized that that andVictory Lacks shared the same

(04:16):
anniversary, it did make methink about the project and
think.
Well, if an album like thisdropped today, a lot of people
would call it a classic.
In my opinion, because of theclassic nature of the artist and
because of the big records onthere.
You know what I'm saying, andso what do you say when I say
all of that?

Speaker 4 (04:36):
I personally don't think it's a classic.
Nor have I ever met anybodyuntil now and you that called it
a classic because you know it'sa lot, of, a lot of different
contingencies that you threw outthere that would like make it a
classic.
But in real time, you know,don't get me wrong and I don't
want people in the chat to takethis the wrong way Tupac is an
extraordinary rapper.

(04:57):
He's in my top five.
But in real time, when thisalbum was out, we were more
enamored with the big singlesversus the album in and of
itself.
And I would even argue somebodythat during this time he was
more iconic as an actor than hewas as a rapper.
And even it was close.
It was close, I'll just saythat.

(05:18):
And even post-death this albumis not revered as much as All
Eyes on Me, Me Against againstthe world, machiavelli.
Nobody even really talks aboutthis album like that.
His first two, to be exact.
You know, topocalypse now andthen strictly so.
I think it's more so like aretroactive thing because of who
pock is where you would go backand say, oh, it's a classic.

(05:41):
But I think the only thing thatstands out is the major classic
songs on the album as singles,but that doesn't necessarily
make the whole body of work aclassic.

Speaker 1 (05:54):
What do you feel about?
Ok, so let me ask you somethingoutside of the production.
What keeps this album frombeing a classic in your opinion?
Because it's easy to go to theproduction and say, well, it's
the production.
Because my thing is is, if youtell me that the production is
the only thing about it, that'snot a classic.
It's like, well, there are alot of albums that are missing,
like certain things, like Icould tell you, like there are
certain albums that we hold likein classic nature and lyricism

(06:16):
level, like isn't like high atall, like I can give you thug
motivation one-on-one, which Ithink is a classic bar-wise,
it's like there's no bars onthere.
It's going to make our barseminar, necessarily, is there
Right?
Is there a bar seminar on 101?
Maybe?

Speaker 4 (06:31):
TI, jv, jv, don't go crazy.

Speaker 1 (06:34):
I was thinking TI on Bang Bang.
See, they're like right.

Speaker 4 (06:38):
What I will say I'll use in rebuttal.
I'll use your own terms.
This is not a great end-to-endplayer and, um, like we talked
about uh, maybe it was a week wewas talking about a week or so
ago how to cal in real time.
People really enjoyed and likedthat album, but it was a victim

(07:00):
of what came after it, right sofor tupac to follow that up,
you know.
And one thing that's reallyslept on is the Thug Life
compilation.
I think I like that better thanStrictly, if I'm being honest,
the production's much better.
The beats are better, yeah, butas far as, like you know, me
Against the World, all Eyes onMe and Machiavelli to follow it,

(07:22):
that just got, you knowstrictly, just kind of got
pushed to the back.
You know what I mean.
So it's a victim to the heistthat he was able to achieve
after that, and in real time.
You know when I lived it, youknow everybody I was around, or
even you know music publicationsand stuff like that.
Nobody was saying it was aclassic.
The man himself was, you know,a big time artist, but I think

(07:45):
the singles were more classicthan the album itself.

Speaker 1 (07:49):
Sean, I want you to jump in.
Can I just jump in for like,like, like, real, real quick.
Ag, I understand what you'resaying, so I think a lot of it
is about context.
So let me give you some contextto what I was receiving.
Strictly actually came out theyear that I moved back from
Atlanta to Charlotte, and sowhen I moved back, my cousin Six
actually had a copy of Strictly.
But what really struck a chordwith me about the project and

(08:12):
this is what I mean about himand the nature of the album no,
I had homegirls that I hadclasses with in middle school
that had the album too, and hewas the first rapper that I ever
saw women by the project, andthat was different for me.
Like he was like, like, no, Imean, see, that's what I mean

(08:34):
about seeing it in real time,like when LL is doing that in 87
, 88, I don't know, like Ididn't.
I seen that.
But Pac was the first rapperthat women also put me on to,
that Like they were hip too,like they bought his album as
well.
And that's what I mean aboutthe classic nature of that album
, and that is saying something,because it is the first project
that I could think of like that,where it's like oh no, the

(08:54):
chick's at it too, because hehad I get around and keep your
head up and they liked both ofthose records and he was a good
looking brother and he was youngand in shape and had been in
movies.
He was a sex symbol and sothere was a nature and a bravado
to the album.
And you make a very, very goodpoint about the movie acting
thing, ag, because you couldargue, and I would actually tell

(09:15):
you at the time, he's probablya bigger movie actor, he might
be a better movie actor thanrapper at that point.
But I think what gets lost aboutthis album is actually the
three albums that followed it,because I think the three albums
that followed it is one of thebetter three album runs in rap
history.
Like that's one of the top fiveto ten three album rap runs
runs in rap history, correct?
Yes, so it's easy to say thatthis album doesn't sound that

(09:38):
great.
He just went on one of thegreatest runs of all time, like
like tupac's three album run.
That's like the celtics or thelakers or the bulls or the
warriors or the heat, like it's.
It's one of those like.
Like that's what his threealbum run is.
It's one of those all-timegreat runs, and so it's easy to
look at a project like this andbe like nah, but when you look

(10:01):
at all the things that he became, oh, it all exists on this
project, so it's just theproduction side is good I'll
rebuttal your point, but I wantsean to go.

Speaker 2 (10:11):
Yeah, yeah those are all great points.
Um, strictly, is this beforethe legend of pop began.
This is when pop was ramping up.
This was before you know the.
This was before the death rowstuff.
This was before all of that.
So this is like pre you knowpop legend.
So it's hard to really sometimesyou have to compartmentalize

(10:31):
Strictly versus that three albumrun versus where he was in his
actual career as an artistBecause pop was rapping, rapping
on.
Strictly, the energy was there.
You start off a holler if youhear it.
You know what I'm saying.
It doesn't get and that's.
That's more new york-esque thanit is west coast.
Don't holler if you hear me,because he's going with that

(10:51):
right attack flow and you canhear the influence that he has
from the jersey where he washanging around jersey a lot
during that time as well.
You know, with the tretch andnaughty, all of those guys and
stretching all those guys.
So you're getting getting thegrimiest of grimy of pop.
You're getting the echo of popin that, the singles guys you're
talking about Get Around.

(11:11):
He's becoming a sex symbolright in front of our face when
Get Around comes out, based onthe video alone, coop.
So I can understand whereyou're coming from with that,
even when you think about Keepyour.

Speaker 4 (11:22):
Head.

Speaker 2 (11:23):
Up.
Now he's catering to a wholedifferent audience.
So now he's starting to bringin different audiences at the
same exact time, before hislegend even begins.
So I hold this album very high.
I don't hold it as a classic, Ijust hold it as one of those
catapult moments that Pac neededto get him into the
stratosphere.
After the three albums thatcame after this one.

Speaker 1 (11:45):
Hold on real quick and I'm going to let AG finish
so we can slide to the nextalbum.
To Cal or Strictly.

Speaker 2 (11:52):
For me, I'm going to Cal.
I'm going to Cal just becauseof the I'm going Strictly.

Speaker 1 (11:57):
I'm going Strictly because Keep your Head Up is
like it's hot.
It's hot Because the Meth andMary version of I'll Be there
For you isn't on the real album.

Speaker 4 (12:09):
It's not on the album Bring.

Speaker 1 (12:10):
The Pain is tough, though, but to be fair, bring
the Pain is tough.
I'm going to take Strictly overto Cal, though I am.

Speaker 4 (12:17):
Pac has more range but the production gets Meth
over.
But what I will say, they're,both are four for my albums, for
me, um, my cousin, my, you know.
So I don't want to seem likeI'm hating on it, but it's just
not a classic.
Uh, my cousin put me up onstrictly and for me pocket as an
mc, like I don't thinktupacalypse now is like really

(12:39):
that good at all.
Um, I don't think it's a goodalbum, I would give it maybe a 3
, 3.5.
But Pac's trajectory for mewent straight like this From
Tupacalypse to Strictly ThugLife.
Then you got Me Against theWorld, all Eyes on Me, and I
think with Machiavelli is hisbest form as an MC.

(13:01):
If you say All Eyes on Me is abetter album, okay.
If you say all eyes on me is abetter album, okay.
If you see, if you say meagainst the world's a better
album, okay.
But I think pock as an emceewas his best and his sharpest on
macaveli.
So his trajectory as an emceewas like this for me, right and
um.
I do want to give credence toyour point coop about the whole

(13:24):
sex symbol thing and womenbuying into Pac, because when
Pac got mad at Biggie quoteunquote, like taking his formula
, taking his style, that wasderived from this album from
Strictly.

Speaker 1 (13:37):
Yes, the making a song, yes, the back and forth,
yes.

Speaker 4 (13:41):
So, yeah, I'll give credit to you on that point, but
I still doesn't.
I don't think that that makesit a classic.
I think that he was on.
You could tell that he wasputting it together in real time
.
He was on the verge of figuringit out.

Speaker 1 (13:54):
It's got a lot of.
It's got a lot of classicelements and it's got a lot of
better songs than albums that wecall classics, and that's why I
was really forging theconversation.
If you're telling me it's not aclassic, I can agree, but there
are a lot of projects and I'mnot going to say any names like
cause.
I don't want to, like you know,try to defame those projects
but there are a lot of projectsthat we call classics.

(14:15):
It's really not as good asstrictly.

Speaker 4 (14:18):
Because of the, because of one time region and
cause I've had this argument on.
You know because I joke about.
You know on Stationhead how wehad a conversation with Lowe
like if Thug Motivation youbrought it up, if it's not the
regional major classic it was,it doesn't permeate and break
through all the way through themainstream.
You know what I'm saying as anoverall classic, you know what I

(14:41):
mean.
A lot of it's timing too, andyou got to look at everything
else that was coming out aroundstrictly, what a lot of these
guys was doing lyrically.
It was a lot that pop wasn't.
Oh yeah, okay so.

Speaker 1 (14:56):
So I think some of this too is is that?
Well, if you look at the timeof this, well, the east coast
resurgence is also like startingto like happen.
And so, even though he has theEast Coast aesthetic on this
album, he is not a big L or Nason the mic with the metaphors
and things of that nature interms of like being that type of

(15:17):
MC, and I will give you that.
But we got to go to the nextone real quick and I'm just
going to ask a quick questionand we could just kind of slide.
Safe and sound by DJ quickComes out February 21st 1995,
classic or no.
Safe and sound DJ quick Not forme, no, not for me.
But I love it and Sam loves it.

(15:38):
I love it.
You don't love safe and sound,see, that's what I mean.
Mean, that's one of the like.
So how about this?
There are a lot of guys to tellyou like they'll swear by safe
and sound on the west coast,like that's.
That is a classic in my opinion.
Do you know who exactly?

Speaker 4 (15:57):
over.
Quick is the name.

Speaker 1 (15:58):
You got that over there I think the production is
better.
I think the production isbetter than quick, is the name
actually that's, that's.

Speaker 4 (16:05):
That's the only classic that I consider for
Quick.

Speaker 1 (16:08):
No, I feel you on.
Quick is the name, but I can'tfront the production.
You want to know what?
It's one of those things I'mtrying to think.
Okay, it's one of those things.
Do you prefer Ye's productionon College Dropout or do you
prefer his production on LateRegistration?
Because what I would tell youwe lost Coop for a second.

Speaker 2 (16:38):
If Michael Brown is saying it's a classic, it's a
classic.
Shout out to Michael Brown.
If Michael Brown says WestCoast Driven, I'm rolling with
it.
If I don't know, I'm rollingwith it.
Yeah, there you go.

Speaker 3 (16:56):
Mute it.

Speaker 4 (17:01):
You might have to hop back in.

Speaker 2 (17:03):
Coop was referring to the production, but I think
quick is rapping better on quickas the name personally yeah,
yeah for me, he was for me, butagain I'm not a west coast guy,
so you know my ears on that isbased on just kind of really
down down the middle.
So I still, I've always feltthat quick, as the name was the
one to me.
It was because I felt itappealed to a universal crowd as

(17:25):
opposed to just the one WestCoast crowd.
Because DJ Quick is true WestCoast, his sound is definite
West Coast, there is no tweaking.

Speaker 4 (17:33):
He shaped the coast and doesn't get enough credit
for it.
He helped shape that.

Speaker 1 (17:37):
Doesn't get enough credit, very underrated so just
real quick, I was about to sayso.
People always talk about sugeknight but people don't
understand how influential he is.
You know, suge knight executiveproduced safe and sound by dj.
I didn't know that.
Yeah, suge is the executiveproducer of safe and sound.

(17:58):
So, like that, like heliterally is behind a lot of the
classic sounds that we considerto be the West Coast sound.
Whether we like it or not, it'sDre, but she's got a lot to do
with it too.
He is the executive producer ofSafe and Sound.
Y'all gotten a victory lap yetby Nip.

Speaker 4 (18:13):
No, stop that time.
Yeah, this is West Coast.

Speaker 1 (18:20):
West West.
It's a West West anniversary OnFebruary 16th 2018, nipsey
Hussle relics Victory Lap, whichI do consider to be a classic
rap album.
Guys, we are all in agreementthat Victory Lap is a classic.
Okay, okay, just so we're clear.

(18:41):
Victory Lap's better than Safeand Sound and Strictly for my
Niggas apparently To you twoniggas, oh, yeah, okay.
So, guys, I actually didsomething and I want to ask you
the same question.
After I did this, I thoughtabout the 10 best rap albums
post-2017, because I call thatthe real Kendrick, drake and J

(19:01):
Cole era.
It's like from 2009 to 2017.
I listed the best 10 albums Ithought came out in that time.
I have King's Disease 3 atnumber one.
I have Pray for Paris by WestSide Gun at number two.
I have Magic by Nas at numberthree.
Again, I have Daytona at numberfour.

(19:22):
But when I look at it, I'mlooking at Victory Lap and
Alfredo, guys, and if I'm beingobjective, even though I listen
to Alfredo more than I listen toVictory Lap, when I listen to
Victory Lap today, I kind of gotthe impression that Victory Lap
might be better, which meansit's 2025, guys, it might be one

(19:43):
of the best five rap albums ofthe last eight years, which
definitely makes it a rapclassic in my opinion.
What do you think?

Speaker 4 (19:50):
Let me ask you this real quick Coop, Do you have it
over damn?

Speaker 1 (19:55):
I said post-2017, but I can't front.

Speaker 4 (19:58):
Okay, so you're not counting 2017 itself?
Okay.

Speaker 1 (20:01):
No, but I do.
Okay.
So if we're putting Damn inthat mix somewhere, I would tell
you that, objectively, I mightput Damn ahead of Victory Lap
and Alfredo.
It's close, it's close, but I'mgoing to listen to Victory Lap
more than I'm going to listen toDamn, and so I'm going to tell

(20:22):
you Victory Lap is the betteralbum, because everybody that
knows me knows I love someAlfredo, but when I listen to
Victory Lap again today, it'slike no, I can't in clear
conscience tell you that Alfredois better than Victory Lap and
that is saying a lot about howgreat Victory Lap is and so I
cannot tell you that Damn isbetter than Victory Lap in clear
conscience.
And so I'm cool with it beingat number five conscience, and

(20:45):
so, like, I'm cool with it beingat number five, even if we're
throwing 2017 into the mix whichis saying a lot.

Speaker 2 (20:48):
That means in the last 10 years.

Speaker 1 (20:49):
That means in the last 10 years he made one of the
best five rap albums of thelast 10 years, and even the fact
that he's in that conversationsays a lot about the classic
nature of this album I agree.

Speaker 2 (21:00):
I agree.
I think victory lap to me isthat universal album.
But you're from a coast,especially in AG.
We talked about this beforewith Jeezy when he made 10-101.
You don't have to be from theSouth to recognize how important
and how special that album was.
To me was like that.

(21:22):
You don't have to be from theWest Coast to appreciate and
understand how important it was,because the way it sounded, the
way it started off, the way heended it, the way he flowed in
everything that he was going tobe you saw it in Victory Lap.
It's a universal record.
To me, it's a universal classicbecause you can vibe out to it,
no matter where you're from.

Speaker 1 (21:44):
How about this daytona and victory lap came out
the same year and I said thatyear if you told me that you
picked victory lap over daytona,I wouldn't argue with you much
because the length of it is sogreat for longer than daytona is
like.
Daytona is greater to me, butit is much shorter Degree of
difficulty comes into play.

Speaker 4 (22:06):
It does.

Speaker 1 (22:07):
Stuff like endurance, degree of difficulty when you
keep on making bangers, likewhen you on record 15 and you
still making bangers.
You know what I'm saying, yeah,this album.

Speaker 4 (22:18):
the production is so stellar on this album and Nip is
doing his thing.
He reached the peak of his formand it's just sad that he was
taken away from us when he was.
And that's what I don't likeabout this album, because if you
do call this album classic,people are quick to say like, oh
, it's retroactively because ofhis death.

(22:39):
But I was calling this a classicin real time.
I remember a barber not mypersonal barber, but a barber in
the barbershop.
I get my hair cut at.
You know we was talking aboutlike how classic this album was
when it first dropped man, andyou know I was first introduced
to Nip in, you know, during theMarathon mixtape back in 2013.

(23:00):
Like, I really messed with theKeys to the City track and then
when Ocean views came out, thatwas like 20, I want to say 16 or
17.
That was like that's probablymy favorite song of his Right,
but I still hadn't bought in tohim totally.
You know, at that point, youknow I would check for his stuff
here and there but then by thetime you get around to victory

(23:23):
lap, I was fully on board andthen, just like that, he was
taken from us and I was justlike man.
This is crazy because three ofmy top five songs that he's ever
done come off this album likeblue laces, two, um right hand
to god and grind um the uhgrinding on my life joint.
So I think he reached the peakof it.

(23:46):
You know he was actuallygetting better.
You know, kind of like big.
We got progressively better,yes, over time.
Like I said, from when I wasfirst introduced to him to the
time he dropped this album, hewas in a straight progression
and, um, I think, I think hewould have been even greater,
you know, had he, uh, still beenhere with but this is
undoubtedly a classic album.

Speaker 1 (24:06):
So listen to what I'm saying, then it might be time
to check up on our man I Am Godto see if he's like he's in the
back right now.
Oh, he is Okay cool, we can goahead and start the pull-up.
Listen, my brother's peopleknew Jeezy's people.
Like I remember when mybrothers were showing me the
footage when I would come to thecrib of Jeezy on stage.

(24:27):
This is before the Deal, thisis before Def Jam.
This is all some Atlanta shitwhen people was literally
recording Jeezy shows.
You understand, niggas downhere used to record Jeezy shows.
It was like that when it's likeyou had to go record his shows
with the little handheld shitback in the day and shit.
When shows like with the littlehandheld shit, like back in the
day and shit.
And it's like when I look atNip, to me he's everything that

(24:50):
Jeezy was here out in Cali.
Where in Cali, the following isso loyal and so big in all
respect to Jeezy, and he was abetter rapper too, and he got
progressively better at rapping.
The same way Jeezy gotprogressively better at rapping.
The same way Jeezy gotprogressively better at rapping
Victory lap.
You know what Victory lap isn'ta victory lap.

(25:12):
It's almost like the openingceremonies.
It was supposed to be thecoronation.
He's the one that's supposed tobe running the West right now.
Yeah, that's what victory lapwas.
It's like, oh, he got nextBecause you got to understand
that.
It's like after Kendrick diddrop, damn in 2017, and I keep
on saying this, and I'm notsaying this disrespectfully it's

(25:33):
like, oh no, but Damn ain't noWest Coast shit.
Victory Lap is some classicWest Coast shit.

Speaker 4 (25:39):
And Kendrick is on.
I mean Kendrick's on the album.
He was a part of this classic.
He was seeing the movement inreal time as well.

Speaker 1 (25:46):
Yeah, some classic West Coast.
Yeah, that's different, thathit different.
When you do that, we can goahead and bring the man, let's
bring him in Yo.

Speaker 2 (25:59):
Hello bro, how was y'all?

Speaker 3 (26:07):
I am what up homieie?
I'm chilling, bro.
Happy to be here.
Appreciate y'all having me onthe platform again no doubt, bro
, no doubt peace, brother.

Speaker 1 (26:15):
So tell us, here we are again.
City of gods I am.
I am going to get into somethings.
You know that I want to ask you, but let's talk about your
production of choice.
Let's go around with Ill City,because I love your production
choices, because I feel likethat you choose producers that

(26:40):
are reflecting where you'retrying to go as an artist.
Am I correct when I'm thinkingthat?
So tell me you know about theproduction choice with ill city
and who he is, what he brings tothe table, what the
relationship is like, why, andall of that.

Speaker 3 (26:53):
Absolutely Shout out the bro.
He was city man.
Um, I actually got put up onill city, uh music from the
homie Rufus Sims you know whatI'm saying, rufus and Jay Hayes,
the Lil Peoples.
So he was you know what I'msaying working with them back
when I first got put on TodayMusic a lot like Coke Raps 1,
you know what I'm saying.
So this was like 2022, I wannasay yeah, 2022.

(27:16):
So I'm just like man, bro, whowas that?
You know what I'm saying, cause, like you know, I'm saying it's
like you know I'm a boom bap.
You know I'm saying like grimy.
You know I'm saying hardcorerap, shit.
You know I'm saying.
So I'm like who was that, bro?
He's like, oh, that's the homieill city.
You know I'm saying he wrote.
You know I'm saying so weactually started uh city of god
back in 2022.

(27:36):
You know I'm saying like thefirst joint that I pinned for
that project was a devil in hiseyes.
You know I what I'm saying.
So we started this back in 2022.
And you know shit you know whatI'm saying happens.
Things get put on the backburner, other things take
priority, but you know what I'msaying.
I made it a point of emphasis,the end of last year, like, nah,
I'm ready to drop this, youknow what I'm saying.

(27:57):
So went ahead, and you knowwhat I'm saying.
Wrapped it up, going ahead andknocked it out and shit, we out
of day.
City of God, streaming the air.

Speaker 1 (28:04):
Well, so I'm assuming Ill City's from the Chi Chi,
absolutely yep, yep.
So you making sure you'rekeeping it Chi with all of your,
your choices.

Speaker 3 (28:18):
Oh yeah, we definitely trying to.
You know it's a, it's a wholeconglomerate, a whole citywide
effort.
I haven't said this many times,you know I'm saying like we
definitely trying to, you know,uh, shine a new, a different
light on the city.
You know I'm saying we comingout of the drill era.
You know I'm saying and we, Ifeel like chicago is wide open
now.
Chicago is one of them cities towhere, like market-wide chicago

(28:43):
chase was popular.
You know I'm saying so, thetrap or whatever you want to
call it, that sound, it'llalways be prevalent here.
You know I'm saying there ain'tnothing wrong with that, but we
just trying to, you know, uh,reopen a door as far as the real
mcs and the spitters isconcerned, because we was always
known for that.
There ain't no new thing withchicago having spitters or

(29:04):
nothing like that.
That's in our history, that'sin our DNA.
But we just want to put thatback to the forefront.
Everything comes in cycles.
What goes up comes down,everything comes in full circles
.
So we just trying toreestablish the city as far as
real splitters is concerned,okay, ag.

Speaker 4 (29:31):
Yo, peace, bro.
Bro, thanks for pulling upagain and also a big thank you
to sending us the project earlyso we could tap into it.
Man, I was excited foreverybody else to really get to
tap into it.
Finally, and here is somethingthat we've been listening to for
the past few weeks um, so weappreciate that.
Um, let's stay right here.
Since uh coop mentionedproduction, uh, by ill city and
you mentioned uh devil in hiseyes, that's actually my
favorite track on the album andthe beat for that is real

(29:55):
unorthodox, right, and it's it'sa crazy pocket.
You know, to your flow, thatyou're in and we're in the
current era where one mc taps inwith one producer and you chose
ill city for this project.
But throughout this project,the eight tracks, he's giving
you different looks as far asthe beats, the tempos and, uh,

(30:16):
different things.
You know different, um, youknow different kind of bags for
you to go in, right.
So, um, with that said, like,how did you select a lot of
these beats, for instance devilin my eyes, that you said that's
the first joint you did, it's areal unorthodox track, but then
how'd you pick other vibes forthe album to, you know, complete
the project you know, wheneverI go into a project I'm always

(30:40):
first and foremost just pickingwhatever speak to.

Speaker 3 (30:43):
You know I'm saying like I literally just do what
the beats say.
I do what the music tell me todo and whatever the music evoke
and bring out of me.
You know I'm saying that's whaty'all get as far as the finish,
uh, the finished product.
You know.
So it's just.
You know the things thatsomething might be dope and I
might not like it, but if itain't grabbing my attention or

(31:03):
holding my attention enough, youknow it won't be as high as on
the priority list of beats thatI'm trying to write to.
I like for beats that like speakto me right at that moment and
make me want to pick up thephone and, you know, type it out
or whatever the case may be.
So it's like all the jointsthat you hear now is like it
made me feel a way in a momentwhen I was listening to it, to

(31:24):
the point to where it was like,oh no, I gotta write to this
right now.
The only thing that I probablyknew I was gonna write to, that
I sat on for a minute uh wasprobably, um, the intro way too
easy, so I probably had thatbeat for like maybe, maybe a
month before I actually wrote toit.
But that's because I wasalready writing to other joints
on a project, so that was aboutthe only one that I had that I

(31:46):
didn't do nothing to immediatelyGot it yeah.
So, I am.

Speaker 2 (31:55):
I'm big on setting the tone for an album.
When you set the tone out thegate with intro way too easy and
the energy around that, justthe way you was able to put your
foot on the gas and never takeyour foot off the gas, to me it
felt like you were trying tomake a statement and you
succeeded at making thatstatement about chicago hip-hop

(32:15):
right, and not so much as thedrill side but the lyrical side,
was that your goal to kind ofset that tone so it can permeate
throughout the entire projectabsolutely.

Speaker 3 (32:25):
Um, even though y'all know me, I got a core base of
listeners that have beenfollowing the music since I came
back to rap in 2020.
I'm still at such a lower levelin the underground hip-hop
space to where every project,every time I'm out with somebody
first time, in Every impression, is a first impression for me,

(32:46):
and I've said this many timesbefore.
So I'm always trying to firstand foremost establish that
thought in your mind.
So, like you're going to hit aChicago but you're not going to
hear what I think 95, 99% ofpeople is expecting to hear from
Chicago unless you're kind oflike from a different era you
know what I'm saying than tohear from Chicago, unless you
kind of like from a differentera you know what I'm saying.

(33:07):
Like, if you from a differentera, then you know what we gave
to the game.
But if you only getting tappedin with Chicago from like 2010
or 2012, when the Internetreally started booming and I
mean social media really startedbooming and drill was taking
off, then you would be surprised.
But you know, I definitelyalways want to first and
foremost establish that thisain't that you know what I'm
saying.
Like, this is a totallydifferent side of Chicago music.

(33:28):
Content wise is similar.
You know what I'm saying, butat the same time, it's it's,
it's a much different style.

Speaker 1 (33:39):
Taking it back to the essence, of what this shit is
really built off of world.
So so when I hear your musicsometimes I feel like like that
you are traditionally lookingbeat wise for producers that are
in the Dilla, Primo and Kanyemode in terms of the boom bap

(33:59):
with the drums, I think you likeeerie samples, you like snares
that make a lot of noise so thatyou can pick something
different to catch your timingon Correct.

Speaker 3 (34:11):
Facts.
No, that's facts.

Speaker 1 (34:13):
I'm correct about all of those things.
And so when you talk about yourcomfort level and where you
feel like in this space, well,let me ask you, what does your
comfort level feel like?
Do you feel like for where youare in this space?
Do you feel like you're thebest in this space and what are
your expectations in this space?
Because you spoke to somethings and it made me think

(34:34):
about a question that I actuallyhad and I was going to ask it
later now.
Like, how do you feel about you?
Like, a lot of people like mefeel like you might be the best
independent MC out here.
Are you the best independent MCout here?
Are those what yourexpectations are for yourself?
Do you expect to go further?
If it doesn't go further, areyou okay with being just the

(34:56):
best independent artist in thisspace?
How long are you okay with that?
What is, what does that looklike for you?
All of those things?

Speaker 3 (35:05):
so, as far as am I the best, I'll let the people
tell it.
When it comes to that, you knowhow I feel about it, based off
the music, you know what I'msaying.
Like my opinion is strong.
Throughout the music I'vedamned every verse, every line.
So so I let the people tell it.
You know I'm saying, but as faras comfortability, I'm not

(35:27):
comfortable because I know Ihave so much more to do and so
much further to go, and I knowthe expectations I have for
myself.
Like I do absolutely want to bethe best.
Like no questions asked, nodebate about it.
You know I'm saying no doubt,no, none of that shit.
Like I want it to be aconsensus, a popular consensus.
Like Like, nah, right now, thisnigga, I am God he got it,

(35:47):
ain't nobody fucking with him.
Those my expectations formyself.
I want to crack your top fiveif possible, and I'm talking
about top five all time.
If I fall short of that, I'mcomfortable with doing what I'm
doing for this era.
But if I gotta have my, my wayto be 100 honest, I want to
crack your all-time top five.

(36:07):
You know I'm saying, with thatbeing said like I'm still
growing as an artist every day,every verse, every line, every
bar, every project.
You know I'm saying like if youpay attention to the music,
like you will hear that I'malways going back and forth and
circling between things like Idon't think I've ever put out
since 2020, I don't think I putout a project or back-to-back

(36:28):
projects.
That was basically the same.
I think the closest I got tothat was 2021, when I put out
the Eternal Reflection andHell's Angels and Heaven's
Demons.
I think those projects was verysimilar mood-wise, content-wise
, because the latter Hell'sAngels and Heaven's Demons was
kind of like residual leftoverfrom the eternal reflection.

(36:49):
So that's why they kind of kindof coincide and go together.
But after that I don't feellike I gave you the same look
twice and I'm watchingeverything and I'm watching
everybody, and no disrespectintended.
But I feel like a lot of dudeslike give you the same song and
dance over and over and overwhen they drop and that's not
something that I want to getcaught up in.

(37:10):
I have more higher expectationsfor myself than that as an
artist.
You know, I'm not trying to gotoo far left, but I know my
capabilities.
My thing is like ain't nothingnew under the sun.
So I ain't necessarily sayingI'm introducing anything new,
but I'm blowing the dust offshit that ain't really prevalent
in today's era and trying tobring that to the underground.
Because who's to say this isunderground hip hop?

(37:32):
To me, that symbolizes freedom,and you know what I'm saying.
Lack of constraint.
You're not a pigeonhole to doany one or two things.
So who's to say you can't talkto the ladies?
Through underground hip-hop,who's to say you can't get
melodic?
Speaking of underground hip-hop, you know what I'm saying.

(37:54):
Who's to say that everythinggot to be drumless or everything
got to be a 40-bar verse?
No hook.
Like, my thing is I'm a, I'm anartist.
You know.
I'm saying and I think I'veproven that throughout the years
like, if you listen to thecatalog, so my thing is further
expanding my, um, my artistryand the craft and, just like you

(38:14):
know, being the best that I canbe within the scope of where
I'm trying to see myself that'sdope man.

Speaker 4 (38:23):
Go ahead and claim it , like you do on the album
v-o-t-e.

Speaker 3 (38:26):
Go to this era oh yeah, greatest of this era.
Yeah, like, that's definitelywhere my sights is at.
You know, I'm saying that,regardless if you agree,
disagree or different.
That's cool because Iunderstand.
Like, if you want, like ifsomebody wanted to say I'm
delusional, you know, I'm sayingthat's fine because I feel like
the ones who really hit thatmark, you have to have some sort
of disillusion.
You know what I'm saying yes,continuous yes, take on this

(38:50):
fucking.
This journey, like this is aprocess, this is a journey to be
yeah.
Yes, it's really a marathon Likenone of this is overnight.

Speaker 4 (38:59):
To be great, you got to have a rational confidence.

Speaker 3 (39:01):
Absolutely, absolutely.
Ain't nobody tickle me that Iain't up there Like I don't care
who you talking about, whetheryou talk about the Conways, the
Ransoms, the Stove Guys, theBinnies.
Like the Black Thoughts, theL's Eyes.
Like I don't care who youtalking about.
If you asking me, I'm rightthere with all of it has nothing
to do with being cocky.

(39:22):
It has everything to do withknowing that I put in my 20,000
hours.

Speaker 1 (39:27):
Like I've been doing this for more than 20 years.
You took your shots.
You took your shots.

Speaker 3 (39:31):
You can't tell me that I ain't putting in my reps,
and you know what I'm saying.
I ain't putting in the work.
You can't tell me that.
It's evident.
You can hear it in the music.

Speaker 4 (39:38):
It might not be your cup of tea but you never finna
tell me that, like I'm at alower level, like I refuse to
believe that, right, well, let'sstay right there for my next
question.
Because if you remember, whenyou hit me up a few weeks ago to
let me sample the album and youknow we had a little back and
forth conversation since thelast project you were hitting
you know different flow pocketswith the sniping and you sound

(40:08):
more polished.
You know, on every track thatyou were on compared to um,
bloodstained suede and moresuede and things like that.
You remember we had thatconversation and um, so you
mentioned, you know, typing thelyrics out on your phone and
then Sean brought up the intro.
So, uh, the way too easy.
So out of the gate gate, I heardsomething different than on
your previous projects.
I'm like yo bro is in a pocketright now that he was sharp

(40:32):
before, but his sword isdefinitely sharper now than it
was back then.
So take us into the booth withyou and do you?
Because?
Because I know like when youmemorize your lyrics after you
write them, you're a little bitsharper with the flow versus
reading off something whenyou're in the booth.
So was your approach a littlebit different from this project
when you went in, or did youkeep your same approach, because

(40:54):
I can hear something differentin the music.

Speaker 3 (40:57):
The approach is definitely the same.
I don't really too much deviateaway from my approach because
that's kind of like that's thecomfortability that I won't
jeopardize and mess with tryingto change.

Speaker 2 (41:09):
Now, I'm not saying that.

Speaker 3 (41:10):
I'm not willing to change it up if I find something
.

Speaker 2 (41:12):
I feel like works better.

Speaker 3 (41:14):
But as of right now, I'm kind of on some if it ain't
broke, don't fix it, type shit.
As far as the approach, youknow now, when it comes to, when
it comes to the music and justdelivering these projects, like
y'all know, I'm as transparentas it gets.
I'll be 39 this year.
I know my time is very limited.
You know what I'm saying, eventhough if you want to say oh,
there's no age on this, you doit until you feel like you don't

(41:35):
want to do it no more.
You know that's cool, but Ican't see myself chasing it
forever.
You know what I'm saying,without seeing some notable type
of rise.
And you know success, what Iconsider success, because
success look different foreverybody.
So I know my time is limited.
I'm not saying that this is mylast go around or nothing like
that, but I'm just saying like Iknow what I want for me.

(41:57):
You know I got, I got kids toraise.
And if this is something as asgood as I am at it, like this is
like my trade, as good as I amat this, you've got to know when
to walk away from everything.
But that's for you to say, it'snot for nobody else to say so.
It's not necessarily anythingoutside coming in as influencing
, influencing my train ofthought.

(42:19):
It's all about what I want forme, but I feel like I'm closer
than I ever been.
I feel like that right there isputting a battery in my back,
so to speak.
It's giving me that passion andthat hunger back, because when
I see, okay, it's new peopletapping in all the time and they
hit me up and let me know thatwhat I'm doing is actually
needed out here, then I'mstarting to be recognized by

(42:40):
people that I respect.
That came before me, whether itbe from my city or or otherwise
.
It's like I you know what I'msaying.
That's kind of like letting meknow that I'm on the right path.
But you know it's scary hoursright now.
So I'm rapping like my life onthe line and I'm rapping like
the rent dude, but that could bea detriment.
I know the era we in, I know thethe masses don't want to hear

(43:01):
that shit, but I'm of themindset to where you would have
to learn how to turn yourdeficiencies or detriments or
whatever flaws you would say,into a positive.
So if, if somebody is annoyedby rapping at a high level.
I'm gonna annoy the shit outyou because I'm gonna do that.
You know I'm saying like yougot a gun in my head every time.

(43:22):
That's just, that's just thecloth I'm cut from.
That's the school that I wasraised in.
When it come to this rap shit,like everybody wanted to be the
best, it was the king of this,the king of that.
That's what I'm cut from, likethat's that's my own, that's my
upbringing, that's in my dna.
I've conditioned myself.
You know I'm saying to be thatway and I'm not uh, I'm not mad

(43:42):
at it, like I'm not regretful oranything.
So I'm gonna rap like it's mylast breath every fucking time
you hit me.

Speaker 4 (43:48):
You know what I'm saying or yeah, what I will say
real quick to that for sean uh,ask this question is you know?
I just wanted to point that outyou sound very comfortable on
all these tracks, like somebodyyou're breaking through now, but
you sounded like a seasoned veton these tracks, real
comfortable, you have a level ofcomfortability that I wasn't

(44:08):
hearing on the other albums thatI hear now.
It's just, it's just different.
Man, for real gratitude.

Speaker 3 (44:14):
I appreciate that.
I appreciate y'all listening todetail and that's why y'all get
the advanced listens and shitlike that.
Because I don't know if it wasyou or Coop.
I was telling too like I lookat y'all as what the source in
XXL was.
Those avenues and thoseplatforms are no disrespect, but
they obsolete now.
They heavily void.

(44:34):
Nobody pays attention to them,no more.
They don't hold the weight theyonce held.
That's where y'all come in at.
Y'all are the new sources, thenew XXLs.
That's where y'all come in at.
Y'all are the new double XLs.
So that's what the game wasback then.
You know the label will givethese platforms the project.

Speaker 1 (44:51):
Right, you get the 30 day event.
Yeah.

Speaker 3 (44:55):
And let you sit with it and live with it.
So when it's time for the drop,like you've lived with it and
you have a clear, conciseopinion on this music and what
y'all say matters to people.
You know what I'm saying and Iappreciate y'all, because before
I was on y'all platform as anartist, I was watching as a fan.
You know what I'm saying, evenwhen Coop was on the other
platform.
You know what I'm saying, soit's only right.

(45:16):
That's what I mean by like justblowing the dust off shit.
It's a lot like.
I understand the industry did alot of it.
Fuck the game up.
You know what I'm saying A lot,but at the same time, it's a
lot of gold from that, that,that model and that platform
that you can still utilize intoday's game and still like get
off and be successful.

Speaker 1 (45:36):
Well, you want to know.
You want to know.
What's crazy is that I actuallyfound out about you really and
that we kind of overlooked youon the previous podcast, when I
was watching another podcast andother followers knew I was in
the building and you were in thebuilding and somebody called us
out and was like yeah, theydidn't even cover I am god's

(45:56):
project.
I'm like who is that?
I was like what the fuck?
I jumped look here, I jumpedout the pod and started
listening to your shit.
That's how I found out about you, because I was like, did we
miss him?
I was like what did we miss?
I'm like what's going on?
I was watching another pod.
You and me was in the same pod.
So like when you mean you watchit no, I watch it the same way
because I be watching otherdudes and what they say.

(46:18):
That's how I found out.
Somebody stunted on me becauseI jumped in the chat Like, yeah,
this nigga Coop up in here, hedon't even know who I am God,
I'm like what the fuck I'm likethis nigga just tried me in here
.
I was like I'm out man, I needto go find out who I am, god is.
And then I listened.
I was like oh, I was like Istill got the text message.
I was like yo, we fucked up.

Speaker 3 (46:43):
Nah, that's love.

Speaker 1 (46:45):
I was like we ain't know who.
No, because you popped uparound the same time.
Me and him popped up.
You feel me Right?
And so that's why I was like ohno, I was like we fucked up.
He popped up when we popped upand somebody had to tell hold on
, sean.
You got a question.
Sean, you want to get to yourquestion?

Speaker 2 (47:06):
Yeah, yeah, I want to piggyback off what AG said
because you brought some stuffdown, man.
I want to think about thisPurple tape to the purple box,
right, I played that repeatedlyat the end of that joint, right.
But I also thought about theevolution and AG actually
touched on this about youascending into a whole different
pocket or different bag andmost MCs.

(47:28):
They get into an evolution andthen they start regressing after
they get into that evolution.
But it also sounds like you'relooking at getting to a
different zenith at this pointwhere you have already evolved.
Can you kind of share with us,like, what is that looking like
for you for future projects orjust for future?
You know songs or whateveryou're going to work on in the
future?
Are you looking at stilllooking at evolving as an artist

(47:51):
, as an MC, as an individual?
Or are you looking at trying toget to that scene to see how
far you can actually go?

Speaker 3 (47:59):
I'm actually looking to do, to do both.
I don't think y'all got toworry about me trying to be no
next Drake or no shit like that.
I have no desire whatsoever togo that far left or be that
appealing, so to speak.
But yeah, my thing is, when Isay underground, again I just
mean free from constraint,meaning you don't have to make a

(48:22):
specific type of music.
To me that's the beauty of theunderground.
But my thing is why can't youbring a little of the other side
into the underground but stilldo it in a dope, artistic,
tasteful manner?
You know I'm saying.
When I say that, I'm just sayinglike every project don't have
to be every song on.
Every project don't have to be50 bars, no hook, everything,

(48:44):
everything don't have to nothave drums.
You can play with this shitLike us as people.
We so sensual.
Like I'm trying to like.
I'm trying to like fuck withyour senses, like the audio
sense, and like give youdifferent looks when I create.
Like I'm not trying to give youthe same song and dance.
So when you pick up or when youpress play on the I Am God

(49:06):
project, you know exactly whatyou're going to get.
I feel like the only thing youshould know that you're going to
get from me every time out ismy best Lyrically, my best.
Like you know I'm going to come.
You know what I'm sayingLyrically, like like it ain't no
tomorrow.
That's the only thing that Iwant you to like be able to

(49:27):
predict and you know and andkind of foresee.
But as far as the vibe, themusic, like I don't want to get
caught in that box to where it'skind of like, oh, I know what
he's gonna do.
You know I'm saying he like todo this or he like to do that,
like I'm always evolving,because I'm always evolving as a
man.
You know I'm saying like I Idon't never want to stay too
static in any regard.
You know I'm saying, and I'mnot super dynamic, but I'm, I

(49:48):
feel like I got a nice pocket inbetween the two.
You know I'm not so static tothe point, so I'm never changing
and I'm always the same, butI'm not so dynamic to where,
like you wouldn't recognize menext week or some shit like that
.
You know I'm saying like I feellike I have a healthy balance.
So as I evolve as a person.
My music is a direct reflectionof me.
You know I'm saying so.

(50:08):
That's the good thing about myartistry as I grow and evolve as
a man, so are the music.
So you can kind of listen tothe music and kind of not know
where I'm at in my life but kindof feel, you know I'm saying
like, okay, he in this type ofmood right now or he on this
type of time, you know I willnever want to get you know what
I'm saying Stuck in a box, likeI'm always trying to create and

(50:29):
push myself.

Speaker 2 (50:32):
I love it you you.

Speaker 1 (50:33):
You know when, when you talk like that and I and I
hear it in you you remind youdon't sound like common and you
don't cover the same contentnecessarily the common covers.
But when I look at the arc ofyour music and I look at how you
rap and I look at the themesand the content and like and how
it's still like, rooted in thecity, like a lot of your early

(50:55):
stuff reminds me of his earlystuff, like, like.
Like.
Your style to me is veryresurrection, like, and I mean
that in a complimentary way no,you know where I feel like when
I'm listening to you, I'mlistening to to common before
everybody knew who common was,because people don't understand.
Common made classic shit.
It made hip-hop, classic albumsbefore everybody heard him make

(51:19):
the light like he was.
Um, he was like seven, eight,nine years in the game before
that moment happened for him.
And so when I listen to youtalk and I listen to your music
I do see like maybe it's theChicago of it too, because I
hear like the street in it, butI hear the.
I don't like the word conscious, you know I like when most said

(51:41):
you know, I'm just a wait.
I'm just a wait, dog, I'm doinggreat dog.

Speaker 3 (51:47):
Right Facts, I'm aware, and that's synonymous
with conscience, I understandthe connotation that conscience
has within rap and hip hop.

Speaker 1 (51:57):
But it just means to be aware and I am aware, Like I
said, I'm not so static that Ican't think and see from
different perspectives well,this is what I mean when I say
you remind me of Common, becausethis is what I wanted to get to
, because I want you to explainthis bar to me.
I used to run with disciples,but now I am God.

Speaker 3 (52:17):
Yeah, yeah, just the natural progression and
evolution of growing from a boyto a man.
You know, chicago is a realheavy gang affiliated city.
You know, right, right, whetherindirectly or directly, I feel
like ninety nine point nine,nine nine percent of us call

(52:40):
ourselves fucking around withsomething If we're not all the
way fully in it.
Some of us born in it, some ofus are sworn in it, some of us
just play with it.
Whatever your walk of life is,you're affiliated some type of
way.
And if you're not directlyaffiliated yourself, you got
family.
If it ain't your family, it'syour guys.
Some of us is just out the womb, thrusted into that.

(53:03):
That shit, that's just what itis.
So when I say, uh, used to runwith disciples, now I am god,
you know gd gangsta disciple nowgrowth and development, one of
the biggest gains, to come outof chicago and make his way to
other, you know states in a, ina country too.
So that's basically just a playon words and like going from
the gang banging shit.
But like you know, now I am god, like I'm on a different level,

(53:26):
a different way of thinking, adifferent wavelength.
I'm a whole grown-ass man nowlike the things that I uh valued
and and like to partake in backthen ain't the same things I
value and like to get into thesedays.
So just the whole play on wordshit.
You know I'm saying with thedisciples and with jesus.
You know I I'm saying but Iused to run with disciples.

Speaker 1 (53:46):
I'm like I'm.

Speaker 3 (53:47):
God, you know what I'm saying and also basically
saying like I was a followerwhen I was a shorty, a lot of
dumb shit I did came off mebeing a follower.
You know what I'm saying?
Because I didn't grow up withmy pops.
I didn't have no big brother, Ididn't have three siblings and
if I had any, if any of my guyswas older than me, it was about
a year or two.
So mentally we still on thesame level.
They might have been moreadvanced than me in certain

(54:09):
areas, but for the most part weon the same level.
So that also speaks to mecoming into my own as a grown
man.
I'm big on being a man because Ifeel like in this era, the
prototypical man is verydifferent than what I see as a
man and not to disrespect nobody, but it's just different.
And I get it.
Times change, things change,but, like I said, I got two boys

(54:31):
and I need to make sure thatthey're they're men, like in
every sense of the word, and Idon't know macho shit, but just
being able to stand on your owntwo feet, being able to provide,
being able to um, to endure youknow what I'm saying being able
to survive and also thrive,knowing how to put yourself in
position to win and knowing thatyou are the man of your shit.

(54:52):
Ain't nobody coming to save you.
You have to know how to carryyourself.
You have to know how to earnand command respect and you also
know how to give respect.
So just the whole thing of likecoming from that boyish
thinking, you a man mentality,not really knowing what the fuck
a man really is, and being ableto look in the mirror one day

(55:14):
and say, okay, yeah, I came along way, like I'm a grown-ass
man out here.

Speaker 4 (55:20):
Real stuff right there.
For my question, I want to talkabout Living Nightmares.
That's where you that'sactually my second favorite
track on the project and whereyou get into your storytelling
bag and, for me personally, mytop 10 emcees list.
That's like a prerequisite foryou to even have a buy in,

(55:40):
because I'm big on storytellingand you know you as a a rapper.
I think you have a dope voice.
So that's part of storytellingis being able to convey, you
know, through your voice, tokeep us locked in and interested
in the story that you'retelling.
But when you get into thatstorytelling bag, do you prefer

(56:04):
to write from a perspectiverooted in reality, like if
you're telling the real story,or do you like to get creative
and make up your own tales?
You know street stories orwhatever Like.
Do you have a preference inthat?

Speaker 3 (56:18):
I feel like it's always a little bit of both.
I can't think of a story that Itold that was a hundred percent
real, like I took like uh,experience of mine or somebody
experiences I know, and just putit out there like that.
I feel like it's always a bitof both, because my thing is

(56:39):
like, when it comes tostorytelling, I like to channel
the likes of Biggie Nas ScarfaceTo me.
Those are my favoritestorytellers in rap.
It's kind of like the vividimagery that they narrated with,

(57:00):
that they told a story with youcould damn near close your eyes
and you right there, inwhatever situation that it is
that they rapping about.
That's what I'm saying.
That they told a story with,like you could damn near close
your eyes and you right there inwhatever situation that it is
that they rapping about.
You know what I'm saying andthat's what I try to do.
Like the audio-visual aspect ofrap.
Like I want to bring you intomy mind.
I want you to be able to closeyour eyes and be able to, you
know, see and feel and smell.

(57:20):
Smell the shit that I'm talkingabout.
It's kind of like I don't wantto limit myself by trying to be
too rooted in reality, but Ialso don't want to be so
far-fetched that I'm gettingaway from reality because I
still want the stories to berelatable.
I feel like I'm more of a DonaldGoings-type storyteller.
Everybody know motherfuckersget locked up.

(57:41):
That's the first thing they dois pick up a Donald Goings book.
I know motherfuckers get lockedup.
That's the first thing they dois pick up a donald hawk's book.
Like I've been locked up.
So that's how I got put on.
You know I'm saying points andshit.
So I appreciated his uh, hisimagery.
In a way he told stories.
So I'm always trying to stayrooted in reality, but but not
so much that I can't use my mindand use my creativity and, like

(58:04):
you know, give extra life to astory.
But I love storytelling like Ithink that's.
I don't think it's a lost art,I just think it's done way less
than what it should be, becauseI feel like if you know how to
tell a story, right, that boostsyour stock as an MC.
You know what I'm sayingSubstantially.

Speaker 1 (58:24):
Can I piggyback off of AG rightquick, sean?
Yeah, yeah.
So I am God.
You literally just took mynotes from me when I have living
nightmare circle and I was likeextra credit for the MC for the
storytelling ability.
I literally have that songcircle.
It's not my favorite song onthere, but the first thing that

(58:46):
I noticed about it I was likeand this is what I like about
this project, I feel like youknow what your bag is and you
know that your core bag is goodand you made it a point to try
to express on this project thatyour other bags are good and
this is the prime example ofthat on this album.
To me it's like, oh no, I got astorytelling bag too.

(59:07):
You didn't know I had astorytelling bag, got a
storytelling bag for you.
I was like, oh.
I was like, oh, check.
I was like go ahead and checkthat dope-ass MC, mc box.
I got stories to check becausewhen I listen to your previous
projects, you really don't havea joint like this, and I think
you knew that you didn't have ajoint like this, which is why
you made the joint and it's verycompelling.

(59:29):
That's another thing.

Speaker 3 (59:31):
With the storytelling extra credit, it matters yeah,
it's like reading a book orwatching a movie, like like
think about this like slick rickliterally is in greatest to mc
all-time conversations strictlyoff of storytelling.

Speaker 1 (59:48):
That is how important it is absolutely, absolutely
rick.

Speaker 3 (59:53):
I'm tweaking like absolutely slick rick as well
like it's like watching a movieor reading a good book If you
can predict everything, I don'tfeel like the story was that
good.
If it's so predictable, I don'tknow.
I just feel like it's rushed.
I haven't even really hit mypeak with my storytelling

(01:00:14):
capabilities yet.
I'll be listening to Blaze of50 and Niggas Lead and I'll be
like damn, what the fuck wasthem niggas on to where they was
able to pin that type of shit.
That's the level I'm trying toget to.
I know I haven't reached thatyet.
The storytelling is still anaspect of mine that I'm working
on trying to get there.
I feel like I started tellingless stories than what I used to

(01:00:37):
in my music.
So I'm not going to say I'mgoing to do a story every time.
It's all about the feeling andwhat I'm trying to convey in the
project.
But I definitely want to get mystorytelling really up there
like high level.
I would say if I had to grademyself on storytelling right now
, I'd give myself like a, b,like a solid B, but I want that

(01:00:57):
A++.
You know what I'm saying andthat's like the Biggie, the Cube
, summer Vacation, the Blazer50s.
The motherfucking niggas bleed.
I got a story to tell.
Just countless storytellingjoints like Star Wars.
That's one of my favorite Nassongs.
It's not like a story likeBlazer 50, but it is Nas songs.
It's not like a story likeBlazer, but it is a story.

(01:01:19):
It's like the progression ofthe violence getting into
hip-hop and you know what I'msaying, how the shit was at that
time.
That was pre-drill, so it'slike those type of stories right
there.
I love them shits.

Speaker 2 (01:01:34):
No, doubt, city of God.
Change in Chicago.
Don't raise no holes.
Perfect sequence.
And to bring someone intoChicago at the gate, gratitude.
So I listened to those insequence like three or four
times honestly today while I wasat the gym and I'm like, I feel
like I'm in Chicago right now.

Speaker 1 (01:01:53):
Right.

Speaker 2 (01:01:53):
So I say that to ask this question for you.
If so, I say that to ask thisquestion for you, if you were to
take three records, threealbums from Chicago and put them
in a capsule to capture Chicago, and I want you to include your
catalog in there as well.

Speaker 3 (01:02:12):
What would three records be?
Shit, three records, damn man.
Then I got to include myselftoo, yikes, so I'm going to say
you mean albums, sean, or youmean songs, albums.
Oh, albums, okay, okay, okay.
So first and foremost, I'mgoing to say Adrenaline Rush.
Shout out to Twisted AdrenalineRush.
That was like the first time.

(01:02:32):
I'm not going to say it was thefirst time it was done, but
that was the first time my youngears heard chicago put down so
precisely and so on point and inrap music for a whole project.
You know, I was young at thattime, that's 97, so I'm only
what?
11 years old.

(01:02:53):
So I would definitely sayAdrenaline Rush.
For the second one, I'm gonnahave to say what would that
second one be?

Speaker 1 (01:03:10):
what's your favorite Kanye album?
What's his best album to youand does that crack your top
three?
I feel like his best album toyou.
Does that crack your top?

Speaker 3 (01:03:17):
three.
I feel like his best is myBeautiful Dark Twisted Fantasy,
but I don't know if that's myfavorite.
My favorite would probably beLate Registration Me, you and
Coop just saying.

Speaker 1 (01:03:31):
Yeah, Late Registration is me and AG's shit
too.

Speaker 3 (01:03:38):
Yeah, I love late registration.

Speaker 1 (01:03:40):
I love late registration.

Speaker 3 (01:03:42):
I don't think Kanye got one in here.
Ain't no disrespect.

Speaker 1 (01:03:45):
No, that's why I'm asking, because there's a
difference between shy shit andrap shit.

Speaker 3 (01:03:50):
If I had to pick for the second one.
I'm trying to think.

Speaker 1 (01:03:54):
Does Com have an album that makes your top three,
because I feel like One DayIt'll All Make Sense is very
Chicago.

Speaker 3 (01:04:05):
Yeah, but I would have to put see it's not.
It don't really sound, soundlike Chicago, but for me I would
have to put Food and Liquor inthere, because Lupe came at a
time to where it's like Chicago.
Rap was lyrical but it wassuper street and he showed you
just how far you can go with theimagination.

(01:04:27):
But it was real Chicago.

Speaker 1 (01:04:29):
You think food and liquor is better than the cool.

Speaker 3 (01:04:33):
Mmm, I love the cool man Shit Superstar the cool is
just the title track.
Yeah, the cool man ShitSuperstar the cool is just the
title track Put you on the game.

Speaker 4 (01:04:43):
You want to talk about storytelling man.

Speaker 3 (01:04:46):
But see the thing, hurt Me Soul, hurt Me Soul is
one of my favorite storytellingthings and that's food and
liquor.
So I'm going to have to sayfood and liquor, like I have my
moments to where I would preferthe cool over food and liquor,
because those are my favoritetwo Lupe albums.
I know everybody be talkingabout Tetsuo and Youth, but I
kind of tapped out after alittle after the cool.

Speaker 1 (01:05:09):
I don't love Tetsuo and Youth.
You and me are the same.
I tapped out after the cool Ilook at.
I look at food and liquor inthe cool.
The same way I look at collegedropout and late registration.

Speaker 3 (01:05:20):
Absolutely.
That's a perfect parallel,absolutely.
So that's my three right there.
If I had to say three and I gotto include myself, I'm going to
say Adrenaline Rush.
I'm going to say Lupe Fiasco'sFood and Liquor and I'm going to
say my second project from 2021, hell's Angels and Heaven's
Demons.
I think both of those are threedifferent dynamics of Chicago,

(01:05:41):
with my shit being closer toTwister's Adrenaline Rush, but
not identical.
Adrenaline Rush was from astreet level Shout out to
Legendary Traction, shout outTwister.
It was from a street level towhere it took you on a day in
the life of Twister.
It was from a street level towhere it kind of took you on a
day in the life of Twister.
Food and Liquor is kind of likethe little kid who grew up off

(01:06:06):
Twister but straight-A studentand he has this wild-ass
imagination, but you can stillfeel that he's from inner-city
Chicago and when my shit come in, it's kind of like the
socio-political talk mixed withthe street, mixed with the
lyricism, mixed with somecreativity and imagination.

(01:06:26):
So it's a little bit of both.
So that would be my three.

Speaker 4 (01:06:29):
You know, yeah you tied them together.
Well, that's interesting.
Dope, dope question, sean.
I'm surprised we didn't get Bin there, though.

Speaker 3 (01:06:38):
I love B.
I love B, but I just think,when I'm just trying to really
think of shit, that reallywhat's your favorite Common
album.

Speaker 1 (01:06:47):
Hold on what's your, Is it B?

Speaker 4 (01:06:49):
Okay, that doesn't really scream the essence of
Chicago to you, though.
Right, Absolutely yeah, Becauseby that time Common was already
who he is.

Speaker 3 (01:06:56):
You know, right, absolutely yeah.
Yeah, because by that timecommon was already who he is,
you know, and I'm not saying itdidn't have no chicago.
Feel like that project got thecorner.
I love the corner, you knowwhat I'm saying.

Speaker 1 (01:07:04):
So it's kind of like, but I just wanted to go like as
three level as possible withoutbeing too grimy for all three
selections so for those of usoutside of chicago, when we're
hearing B and we're hearingCommon and Kanye, we're like
that is what Chicago sounds like.
So you're telling me that's notnecessarily the case, or that

(01:07:27):
was the case for the time?
No, that's absolutely the case.

Speaker 3 (01:07:30):
That's absolutely the case.
Like Chicago has a verybackpacking type history.
Like the backpack was for spraycans and guns Motherfuckers was
backpacked, but it was still astreet element there.
It wasn't a backpack full ofglitter and shit.

Speaker 1 (01:07:51):
Spray, you might blast you.

Speaker 3 (01:07:52):
Yeah, you know what I'm saying.
We come from that backpack shittoo.
New York influenced everybody,chicago included, you know what
I'm saying.
So it was like we come fromthat backpack shit too.
Like New York influencedeverybody, chicago included, you
know what I'm saying.
So at a point in time, likebefore the industry kind of did
away with the lyricist, thatbefore the industry kind of
inferred that you don't have tobe a lyricist to be a star, when

(01:08:13):
that was the formula andeverybody wanted to be a
lyricist, like that's when itstarted, chicago had some of the
best lyricists.
Back then, I mean, we got abrother named Juice, ju Ice.
He'd be Eminem.
And like in battles before Mwas like really aftermath M
twice, you know what I'm saying.
Like so we always had like them, them, them motherfuckers, them

(01:08:33):
dogs, you know.
But it's kind of like chicagois like one of the biggest, we
the third largest city, so we abig market too, so we take in
everything and we kind of followthe leaderish when it comes to
certain shit.
But and that's why I saidearlier, like we trying to
re-establish the mc in chicagoand put more respect back on
that chicago never forgot how torap.

Speaker 1 (01:08:56):
That's the slogan, right absolutely not tell us
before you get out of here about, like you know, what's going on
, what's up next for you.
Tell me about your managementteam.
Tell me how you keep findingall of these dope ass artists in
Chicago.
I'm going to tell you what elseI got circling.
We're going to have to coverthis and I'm glad you brought
this up.
My favorite record on here hasbeen about that, featuring the

(01:09:19):
little people who you alreadybought up with little city hold
on which one of which one ofthem got the last verse.
That's my bro, rufus sams.
Yo, rufus is nasty like it wasyou jillo on the last album that
caught my attention.
It was rufus on on this album.
I'm like I Am God is a God MC,but he keep finding God MCs.

(01:09:40):
To rap with Rufus is like Rufusverse the cadence and the
delivery and how he's catchingthe meter and the bars oh no, I
hear all of that.
I'm like, oh no, he done foundanother one.
Where are you finding thesedudes from for real?

Speaker 3 (01:09:54):
Me and Rufus first got in tune with each other.
I want to say, in 2022.
You know what I'm saying he wasgoing by another name, weasel
Sims.
You know, in 2023, I want tosay he put out his first project
under Rufus Sims.
So I mean, like I say, we're abig-ass conglomerate, like the
city, big, but it's really smallknow what I'm saying?

(01:10:24):
And all of us is like aroundthe same age and I don't.
I think this shit is destiny,like the best way to put it.
I think this shit is meant tobe.
Because I quit call myselftrying to quit rap I came back
late 2019, put out my firstproject since coming back in
2020, and every year since thenI've been running into like a
bunch of raw ass artists fromthe crib that I didn't know
exist.
I was always familiar with VicSpencer.
Vic been doing it for a minute.

Speaker 1 (01:10:43):
Feel More Green.
I know about Vic.

Speaker 3 (01:10:45):
Yeah, you know what I'm saying, but it's like it's,
bro, we got so many and I'mtalking about the women too.
You know what I'm saying Likethe women too.
Like I said it before and I'mgoing to keep saying it, I feel
Chicago got the best MCs in thegame right now, male or female.
A lot of people are not goingto agree because we're not out
there like that.
You don't see our faces andhear our names like how you hear

(01:11:08):
and see these other people.
But if you would do your duediligence and tap into the names
that I'll be mentioning inthese interviews, you will see
why I say what I'm saying.
Like I feel like Chicago to meright now.
What we doing, we feel like whatNew York was in the 90s how
everybody is different.
Some similarities, buteverybody different.
But everybody was raw as hell,everybody nice as fuck.

(01:11:29):
I'm pulling up.
That's how I feel about Chicago.
We got so many fucking artists.
Like it's impossible for me toget working with everybody.
I would have to literally do acompilation, a double disc of
some shit.
That's how deep we is.
There's so many artists.

Speaker 1 (01:11:46):
On some Scarface, my homie shit.
You'd have to do some my homieshit like Scarface yeah.

Speaker 3 (01:11:53):
Yeah, that's why a lot of the features is Chicago
artists, because I don't want to.
I as much as I talk in themusic.
I really don't have an egoabout this shit, Like I won't.
If it ain't me Cool, At leastlet one of these motherfuckers
pop and be the next one.
I'm cool with it not being me,as long as somebody from here
you know what I'm saying canmake that shit happen.

(01:12:14):
That's what a whole Chicagonever forget how to rap thing
came from.
It ain't, I Am God, never forgothow to rap.
It's Chicago never forgot howto rap.
This shit is for the crib.
Like it's those of us that's inlove with this shit that came
up in this shit, passionateabout this shit, and we didn't
like the fact that everybody wasjust like connecting Chicago
with drill and that was it.
Like, yeah, we knew.
That's what it was, and we knewthat.

(01:12:35):
That's what the, the, thepopular sound was at the time.
But we looking like we've beenhere too, fuck y'all talking
about, like, I get it, you knowwhat I'm saying.
It's, it's, it's the new fad,it's the new trend, but I, we
feel like in chicago, theartists and the lyricists got
kind of like pushed to the, tothe, to the background you know
what I'm saying and we got achip on our shoulder about that

(01:12:56):
shit.
So, man, it's a lot of us.
We be Brazil, out of hell.
You can't tell me shit aboutChicago right now.

Speaker 1 (01:13:03):
We pulling up, we pulling up this year, we pulling
up.
No, I'm pulling up, I'm pullingup.
I'm telling you I'm pulling upthis year.
You have my word.
I'm pulling up this year, I'mcoming in.

Speaker 3 (01:13:13):
I'm telling you, we here, we out here.

Speaker 1 (01:13:15):
No, I'm pulling up.
Yeah, I feel it.
I'm pulling up.
Yeah, yeah, fuck that othershit.
Y'all got anything before?
We get out of here.
Yeah, just go to the music.

Speaker 3 (01:13:28):
More music, man, more music I'm trying to do, because
every time I say that shit.

Speaker 4 (01:13:33):
It never comes to fruition.

Speaker 3 (01:13:34):
Just know that I'm out here for the 2025.
Like I'm out here, like I knowI normally hit y'all with like
one project or two projects in ayear.
I'm trying to surpass that thisyear.
Like I'm really out here, likeI'm making a conscious effort,
you know, to get more work out.
And I really want to show y'allthat because, like a lot of

(01:13:57):
artists that that have well, Iain't going to say a lot, but
some artists that have put out alarge volume of work within a
year's span, I noticed peoplesaying you can hear that they
was doing a lot in a littleamount of time.
You can hear it in a quality.
Like the quality may not bewhere it could be.
I'm trying to show that you canput out a high volume of work

(01:14:17):
within that time span and allthat shit can be top tier.
That's my mission for this year.

Speaker 4 (01:14:23):
I didn't have another question but you speaking to
that right there I noticed hewas kind of rolling with the
format of the shorter projects,like present day 8, 9, ten
tracks or whatever.
So what's stopping you frommaybe saying holding on to some
songs and, instead of puttingout two projects within the same

(01:14:46):
year, put out one lengthierproject and, you know, try to
make that, you know, full inplayer.
That's a classic.
You know what I meanfull-length player.

Speaker 3 (01:14:56):
That's a classic.
I think for that, when I getback to that, I do plan on at
least dropping at least onesuper full-length project and
that'll be probably like 14joints.
But my thing is, with thefull-length projects I don't
want to beat a dead horse.
After 14, I'm tapping out.

(01:15:17):
Whether I'm tapping out whatI'm listening, that's like the
perfect number for me for albums14 or 15.
Yeah, Like for me it's 12 to 14.

Speaker 1 (01:15:26):
I feel like you talking 14 total records?
Are you talking 14 actual songs?

Speaker 3 (01:15:31):
14 songs on a project , so 12 to 14 is the sweet spot
for me.
I feel like that's enough forme to say everything I need to
say, for me to exhibit everytype of style I want to show,
for me to flex and check offevery box as an emcee that I
need to Anything more than that.

Speaker 1 (01:15:51):
Let me ask you something In that 12 to 14, how
many guest appearances would youestimate for you to get your
point across?
For me, I tend to feel like agreat artist can give you maybe
nine solo records, but maybeanother four or five records
with contributions.

Speaker 3 (01:16:07):
Out of 14, I feel like five is maybe too many.
If I'm doing 14 joints, threeor four are going to have
features, and that includesmaybe a vocalist on a hook.

Speaker 4 (01:16:20):
People have to pull up for you.
People have to pull up for youversus you.

Speaker 1 (01:16:27):
Now when you say that it was written and only has 13
records.
But let me try to run this downin my mind Foxy's on the hook
on Watch them Niggas, so thatwould be one.
It's a feature.

Speaker 3 (01:16:38):
But when I say feature, I mean like something
prominent.
Like somebody took up a wholeverse.

Speaker 1 (01:16:45):
Somebody took up space oh no, there's not a lot
of niggas taking up space whenit was written.

Speaker 4 (01:16:51):
And it's 14 hit records if you count Solid
Murder.
Yeah.

Speaker 1 (01:16:57):
Yeah, okay.

Speaker 3 (01:17:01):
I can see what you're saying.
I feel it.
So 12, I'm looking to do maybethree.
I feel like that number notgonna change whether it's 12 or
14, 12 or 14 songs.
I'm looking for like three orfour features because I want to
also show that I'm a songwriterand that you know I'm saying
like, I collaborate out ofrespect and out of just wanting,
just respecting the artists andwhat they can do and, you know,

(01:17:23):
wanting to push the envelopefurther as far as what I'm
presenting.
I don't collaborate out ofnecessity, and that's not to say
I don't need any collaborators.
But I don't, I don'tcollaborate because I don't have
what it takes to write a fullsong or to create a full song.
I collaborate from a space oflike.
I respect this person and Ithink if we mesh our shit

(01:17:46):
together, we can you know whatI'm saying make something grow.
I love to collaborate when Ifeel like you know the creative
energy, match and even if like,if it's something different than
what I do, it might be achallenge to me to try to match
that and come into that person'sworld or bring them into mine.
So I love collaboration, butit's never done out of necessity

(01:18:06):
.

Speaker 1 (01:18:06):
So I hate to bring this up because I do see the
common similarity.
Common felt like he had toleave Chicago to get his stardom
and he wasn't wrong because itwas when he moved to New York to
get his stardom.
And he wasn't wrong because itwas when he moved to New York.
Even though he got with aDetroit producer who was Dilla,
it was in New York where ithappened.
Are you possibly afraid aboutnot getting your fair shake by

(01:18:32):
staying in the shot?
Do you need to leave Chicago tobecome who you were supposed to
be as an emcee in this game?
Because the person even thoughI know Kanye had people ranked
higher I think Common is stillthe greatest MC to come out of
your city and when I look at hispath, I do see some
similarities to your path, butI'm also very clear in his path
he had classic songs.
He had all-time classic songs.

(01:18:53):
He had classic albums, but itwasn't until he left Chicago
that he actually became theall-time great that he became.
Do you feel like you need toleave the shadow to become the
all-time great?

Speaker 3 (01:19:06):
I definitely think I need to migrate just off,
getting my name out there more.
When I say migrate, I meanperforming in different states,
hitting other, bigger markets.
As far as just like do I feellike I need to pick up and move?
Maybe, but the way I look at itnow it's a different era, like

(01:19:26):
we're not picking up and movingfor labels no more.
So it's kind of like we'redoing what you would call
underground hip hop, hip-hoplike where, geographically, is
underground hip-hop popping towhere it's like it's all these
opportunities and this is whatyou need to be.
I don't think it's a place thatexists like that for that

(01:19:47):
specific genre of rap.
I just think people move aroundbased on opportunity and and
what's popping in that specificuh uh, in that specific location
.
I'm not saying I don't need tomove around, but I just don't
think it's the same.
I think back then the name ofthe game was getting a record
deal, so you had to go wherethese labels was at.

(01:20:09):
You know, nowadays, a recorddeal ain't really the thing you
want to do.
So it's kind of like youmigrating, but that's more so
you trying to perform indifferent, in front of different
demographics, in front ofdifferent audiences.
You're trying to get your nameout.
You're trying to spread themessages as far and wide as you
can.
So, yes, I do need to migrateand, you know, get outside of
Chicago, which I have, but Idefinitely need to do it more.

(01:20:31):
You know more consistent.
But as far as like picking upand moving, maybe I not gonna
say no, I don't, but I'm notgonna say yeah, I have to.
But I would definitely say yes,I do need to migrate and spread
my wings absolutely, but thatshit called that should take
money.
You can't just go nowhere.
And you know I'm saying expectto be put on nobody's stage like
I'm the one, like nah, likeit's like I feel like I don't

(01:20:54):
know the formula, but I feellike there is a formula.
It's just about striking at theright time while the iron is
hot and being consistent.
My thing is my consistencyalways being able to maintain I

(01:21:21):
feel like I can maintain aquality, but it's not having as
many, uh, longer gaps within umprojects.
I ain't saying I gotta drop 10times a year, but I also don't
want to drop once a year or noteven just twice a year, like I
want to drop at least like threetimes a year and give you a
little shit in between currencyand bolding.

Speaker 1 (01:21:35):
You've made a great career out of doing that yeah,
absolutely.

Speaker 3 (01:21:38):
You got to man, you got to be a self starter, you
got to basically live on theroad.
You know what I'm saying whenyou're doing this underground
hip hop shit these days.
That's what money coming from.

Speaker 1 (01:21:48):
Sean AG, y'all got anything before we wrap it up
nah, bro, this is dope.

Speaker 2 (01:21:53):
This is dope.
You got one at the park.
I appreciate the fact that youallowed us to kind of pick your
brain and get into your mind andyour creativity.
This is a blessing right here,bro, so we definitely appreciate
that.
For real, for real.

Speaker 3 (01:22:08):
I appreciate y'all anytime y'all extend a platform
to me is always gratitude,because y'all don't have to do
this.
The way I look at it, likethat's why I look at y'all and a
few others as the real ones,because I don't have to be up
here for y'all to acknowledge meand show love.
I definitely appreciate that,because a lot of people say it's

(01:22:29):
easier to make it today than itwas back in the 90s or
something.
I kind of disagree, becausethis day and age you have to
sift through so much shit to getto like the gym.
You know, I'm saying and Idon't think people want to
condition themselves to do that,you get ear fatigue like that.
So it's kind of like you, yousettle with what you find that's
to your liking.

(01:22:50):
So I definitely appreciatey'all for continuously extending
the platform, as I don't takeit for granted.
Like I said, I hold y'all inhigh regard, as I do a few
others, and let's just keepputting on for the coaching, for
the real rap shit and the realhip-hop together.
I appreciate y'all.
Much love and much gratitude.

Speaker 1 (01:23:09):
Appreciate you, bro.
We appreciate you, man,congrats.
I think I'm going to echo AG'ssentiments.
This is your most versatile andflexible project yet.
All the great things that theMC does you do on this project
and I'm impressed by it, sogratitude.
We want you to get what youdeserve too, you know that's

(01:23:29):
what it's about for us.
Yeah, we want you to get whatyou deserve too.

Speaker 3 (01:23:33):
Yeah, that's love.
I appreciate y'all man.
I am God I am getting aheadwithout devolving.
No mediocre.
Chicago Never forgot a rapsigning off.
I appreciate y'all.
Love y'all man.
Peace bro.

Speaker 2 (01:23:45):
Peace.

Speaker 1 (01:23:52):
That was dope.
That was dope.
Next month will be five yearsthat I've been doing podcasts.
He's the best guy that I'vecome across since I've been
doing this that doesn't have acosign.
And so listen to what I'msaying when I say this.
I don't mean this to slightanybody.
You have to understand somebodylike AJ Snow, who we've
interviewed.
He has a Jansport.
J Armin has a Scott Storch.

(01:24:14):
I don't got nobody connectedlike that to him.
You get what I'm saying.
So when I'm supporting his stuff, people are like why is he
behind him?
It's like, oh no, I'm behindhim because nobody has gotten
behind him the way I feel.
You feel what I'm saying, soI'm behind that shit right there

(01:24:35):
.
Because it's like, oh no andthis is no disrespect to AJ or
Armin but it's like, oh no, he'sjust as good as they are and
they have official cosigns andso and not a lot of people know
this, but the person that Ibuilt the last brand with knows
oh, the main reason that I gotinto this was because I felt

(01:24:57):
like, as an artist, I did notget a fair shake, like there
wasn't proper support set upwhen the movement started
changing, when the genre startedchanging, when the trend
started changing.
There wasn't proper support tolet everybody exist in the space
.
The space used to exist as suchthat everybody could exist in

(01:25:17):
the space, and so part of meexisting in the podcast space
was about wanting to promoteanybody who I felt like have
next, and I feel like he's oneof those people that could have
next, so I'm going to promote it, because that didn't exist when
I was an actual rapper.
Like that didn't exist.
It was like you was eitherunderground and you committed to
being underground and you builtyour underground following and

(01:25:38):
you lived off of it and youhoped, like a motherfucker, like
pharrell or la reed or somebodywill walk in the door one day
and change your life.
But if that shit didn't happen,it didn't happen.
It didn't happen for 98 percentof people.
You feel what I'm saying.
Yeah, the way the game goes now, there's not even a hoop
anymore.
It's just like nah, you justout here.

(01:25:58):
There ain't no more fellas.
That's true.
Yeah, there ain't even a hoopto jump through, no more we the
hoop.
yeah, no, I'm not joking and I'mnot saying that to be arrogant
and to bloviate in any sort ofway, like when.
I mean we the hoop, not like we, just us, like this hip-hop

(01:26:19):
space that we exist in, we'rethe hoop that you got to jump
through now.
And so when I see him jumpingthrough the hoops and being
willing to jump through thehoops and I listen to the music
and I'm like, oh no, that's thenicest motherfucker I heard jump
through all these hoops in thelast five years, in the last
five years Without a.
Coltside without a Scott Storch,without a James Fort Jay,
without a Hit Boy.

(01:26:40):
Without all that shit, withouteven somebody like Crystal Glove
, you know what I'm saying?
He don't got none of that shit.
He's actually the one that'sputting me on the people's last
few years.
Every time I listen to one ofhis projects I find out about
somebody else from Chicago Iknew nothing about.
And nigga, I'm not joking.
I go on iTunes and they got awhole list of projects lined up
and I'm like, oh, thesemotherfuckers outside, I gotta

(01:27:03):
tap into those artists that hegot featured.
Yeah, jujilla on the last one,on the Lost Souls that started
off, the last project.
Jujilla got projects like oniTunes.
Yeah, like he ain't justmessing with people that got
work.
What do you mean these dudes isworking?
Oh no, they all gettingindependent, like in plugging it
up into the system and like ohyeah, like they ready to go.

(01:27:25):
They just need the proper cosine.
In these days and times Likethe cosine actually matters now
more than it did even when wewere coming up in this hip hop
shit and learning about it,because now, if you don't have a
cosine, you might just beresigned to existing in this
space.
Whenhop shit and learning aboutit, because now, if you don't
have a cosign, you might just beresigned to existing in this
space.
When you're greater than that,yeah.

Speaker 2 (01:27:46):
Lil Wayne told me.

Speaker 1 (01:27:47):
I met Wayne before Drake and Nicki got signed Me
and him.
I had a conversation with him.
He told me about Drake andNicki one time.

Speaker 2 (01:27:56):
You get what I'm saying yeah, like before.

Speaker 1 (01:27:58):
He's like, no, no, he's like.
I like what you're doing, buthe's like but I'm going
somewhere because the music isgoing here.
And he was right, you feel whatI'm saying.
But they got plugged into hissystem when he was the man.
That's part of why they becamewho they were.
Didn't nobody know who Drakewas?
The music was great.
The music was great.
The shit that Drake was makingbefore was great.

(01:28:20):
The shit that 50 was makingbefore M and Dre was great.
Right, yeah, let's have a gameget played now.
We the co-sign now, becausethose motherfuckers don't pull
up and co-sign nobody, no more.
It's like Jermaine Dupri saidit don't make sense for me, as a
label executive, to sign anartist to an album deal anymore.

(01:28:42):
These spams are coming crazy.

Speaker 2 (01:28:45):
My bad, I'm trying to get these spams out the way.
Shit, they come out of nowhere.
But no, that's a good point,because that's why it's so
important that we do what we do.
You know what I mean we inNorth Carolina with LT and his
hood, reflecting on his life andhis catalog, and shout out to
LT in the chat tonight as well.
You know what I mean Pulling upand showing love with I Am God.

(01:29:06):
You know we got rappers overthere in Vegas hitting us up,
you know, wanting to get ouropinion on their music.
Shout out to J-Sop from Vegas,you know, asking can we come out
to Vegas to A&R's project?
Because they respect the factthat we are unbiased and we're
giving out, we're givingspecific points and opinions on
things.
I mean.

(01:29:28):
Shout out to New Orleans JuveTuesdays.
You know we in there we gotyoung artists out of New Orleans
who want to spit and want tocome out here and show that,
show what they can do on ourplatform out here and show what
they can do on our platform.

Speaker 1 (01:29:36):
Jack in Las Vegas want us to A&R his project.
Not crazy, Jack.

Speaker 2 (01:29:40):
No, no, no.
I said Jay Sa, Jay Sa.
He's the guy that sent you guyshis music about a month ago.
Yes, yes, yes, he's asking usto come and do A&R's project
when he get back into the studioin the summer.
We got stuff on tap in Newsummer.
We got stuff on Tapping NewOrleans.

Speaker 1 (01:29:57):
I will fly out there and do that shit.
Yes, I will.

Speaker 2 (01:30:00):
It's important that platforms like Hip Hop Talks we
give the authentic riff we'renot out here doing.
Let me relax.
We're doing it for the people.
We're not doing it for nothingelse but the people.
I'm glad that the audience seethat, big or small, or in
between Pause, I'm glad they'reseeing that.

Speaker 1 (01:30:21):
In between Wow, I said pause.

Speaker 2 (01:30:24):
before I said it, though you know what I mean.
Can we get to the proceedings?
I'm sorry, I'm sorry.

Speaker 1 (01:30:32):
That's me being childish.
I'm just saying no, no, no.
That was me that Childish, nothat was me, I was being
childish.

Speaker 2 (01:30:40):
I want to apologize.

Speaker 1 (01:30:41):
Let's get the new music.
Let's get the new music, newmusic.
So Clips, mike Tyson, blow tothe Face.
Yes, a lot of people feel likeI'm getting worried that this is
not necessarily going on thenew Clips album, that this is
not necessarily going on the newclips album, that this is
actually part of a Pharrellmovie project and it's going to

(01:31:03):
be on the soundtrack to thePharrell movie project.
Did I just crack everybody'sface and fuck your day up with
that?
No, it's a bad.
Yeah, I don't know.

Speaker 4 (01:31:11):
I don't know, I don't know, I don't know, I don't
know, I don't know I.
You really made me excited forthe project bro.

Speaker 1 (01:31:16):
No, I think, not confirmed.
But I have been told thatPharrell has a movie coming out
and that this is actually mightbe more connected to the movie
project than the actual Clipsalbum.
Hence only getting the push ofT.
And because I was wondering, Ican't front guys.
When I was listening to thecontent I was like how is no
Malice not malice, how is nomalice going to wrap over the

(01:31:40):
Mike Tyson blow to the face.
And when you mean blow to theface, he's not talking about a
right hook or an uppercut, nigga, he's not talking about an
uppercut.
He's not talking about 88.
Mike knocking out speaks.
That's not the type of blow tothe face that Pusha T talks
about.

Speaker 4 (01:31:59):
But that's not the type of blow to the face that
Pusha T talks about.
But that's always what madethem brilliant, was that
juxtaposition?
Even before he became no Malice, he always talked about the
remorse of it all.

Speaker 1 (01:32:07):
The remorse exists on Hell.
Have no Fury.
The remorse is evident untilthe casket drops.
Or, lord willing, these niggasare some dope peddling ass
niggas.
That was the introductionketdrops.
Or, lord willing, these niggasare some dope peddling ass
niggas.
That was the introduction man.
No, these motherfuckers aredope boy, fresh on, lord willing
.
They are pushing keys ofcocaine and they are fucking

(01:32:29):
pimping hoes and talking shit inthe process of pimping hoes and
pushing cocaine.
Alright, that's what they aredoing.
Lord willing has contrition toit.
Until the casket drops is whenyou hear it.
But blow to the face, nigga.
It definitely feels like morelike a Pharrell Pusha T thing
than a Clipse thing.
What say to you of the factthat it ends up on a

(01:32:51):
Pharrell-produced movie?
Ass, I don't know what the fuckis going on anymore.
The album is taking too goddamnlong.
Been hearing about this shitsince last summer, pissing me
off.

Speaker 4 (01:33:02):
They're waiting on a feature.
Nobody waiting on that featureno more.

Speaker 1 (01:33:09):
Like Rakim said, nobody's been this long waiting
since Jesus.

Speaker 4 (01:33:12):
The rumor was the feature was Kendrick, but then
it was a rumor swirling that thefeature was done.
So I don't know what the holdupis.
But that just messed me upbecause when I heard the snippet
I became really excited for thealbum.
I said okay, jesus was gonethree days, not for three years.

Speaker 1 (01:33:28):
This is taking forever, right.
Three days, three days in thecomeback.
You got to turn back around.
They should know thesemotherfuckers so dope, they
should know what the comebacklook like.
It don't take this long for thecomeback when you cook it shit.
It's taking forever forever.

Speaker 2 (01:33:45):
Let's put it off.
Let's get over with.
Stop playing around with italright.

Speaker 1 (01:33:50):
In other news nobody talked about the fact that West
Side Gun just dropped 12 becausemostly he said that he was
retired and he wasn't droppingthe album.
But you know, whatever recordactually turned out to be pretty
good, just dropped 12 becausemostly he said that he was
retired and he wasn't droppingan album, but you know, whatever
Record actually, turned out tobe pretty good Guys.

Speaker 2 (01:34:08):
Thoughts on West Side Guns 12?
.
What's wrong with you, man?
You want to go fresh on these?
Niggas are so sick of all thisshit, nigga.

Speaker 1 (01:34:13):
You want to know what I'm going to tell you the truth
.
This is why I fuck what I havegot.
I don't have to deal with noneof this other shit.
What I have got.
He's like yo guess what?
I got a project coming.
Here's the preview to theproject.
Here's the project.
Can I get an interview when youneed me to pull up?
Can you pull up?
Man, I'll be there.
All right, have a good time,good night.
Here's why the fuck can't thisshit be so simple?

Speaker 4 (01:34:35):
Crazy.
Yeah, fnlb, need to likemoderate the chat or something,
but anyway the project.
Oh man, like I really love thisWest Side Gun project, but for
me you want to talk about analbum, need to hurry up and drop
.
We need that Stove God.
We need that Stove God.
It's a run of three or foursongs in the beginning of the

(01:35:00):
album.
They all got Stove God on itand it just made me want more
Stove God content.
That's 055, crazy yeah, he got awhole four track run on the
album where Stove God is justgoing off man and I'm like man,
when are we going to finally getthat project?
But you know, the man of thehour is Westside Gun.

(01:35:21):
This is his project.
What I want to ask y'all?
I really enjoy this and itmight even crack my top five
Westside projects.

Speaker 2 (01:35:35):
Sean your turn.
No man, you don't think.
No, no, ag.
Oh, no man.
Sean your turn.

Speaker 4 (01:35:38):
No man, you know what I'm saying no AG oh no, man,
this joint is pretty tough brofirst of all, it's not better
than B side of 10 right, yes,that's in my top 5 it's not
better than pray for Paris prayfor Paris is number 1.

Speaker 1 (01:35:56):
It's not better than pray for paris.
Pray for paris is number one.

Speaker 4 (01:35:58):
It's not better than blinds hell yeah, no, no, I'm
agreeing with you.

Speaker 2 (01:36:05):
So that's three so you're going to need to trouble
bro like that's what I'm saying.

Speaker 4 (01:36:13):
This is going hard man pause, hold on.

Speaker 1 (01:36:18):
Can I submit something to you?
So here's my problem with it,and I had to be honest with
myself about it because peoplepress me about it.
What's they look like?
What Mobb Deep would havelooked like if Mobb Deep would
have kept on doing what they'redoing.

(01:36:39):
But what Mobb Deep was doingwasn't working at the same clip
that it was working at afterMurder, please.

Speaker 4 (01:36:45):
Say that again because I didn't follow.

Speaker 1 (01:36:46):
Yeah, okay.
So the aesthetic, the hip-hopaesthetic that they follow, yes,
yes, right, people like theybrought East Coast you know rap
back East Coast, you know rapback East Coast gangster rap
back.
But really they brought thatMobb Deep shit back more than
anything else.
Is that fair?
I've always likened them to thelocks more than Mobb Deep.

(01:37:13):
But I see where you're going.
I think style-wise they're moreMobb Deep.
If you want to say lyricallythey're more locks, I'll give
you that because I get whatyou're saying, because it's
prodigy when you're talkinglyrically.
And you got KISS styles andchic.
That's fucking bar seminar shitevery time they step to the mic
.
So I feel what you're saying onthat AG.
I mean the aesthetic, the feel,the way the music feel, not the

(01:37:34):
bars.
The way the music feel, musicfeel, not the bars.
The way the music feel.
It's hard to keep recreatingthat sound at a high clip is
what I am finding out.

Speaker 4 (01:37:45):
That's just.

Speaker 1 (01:37:46):
That's just what, uh, I and god just got through
talking about is givingdifferent looks every time out
you know, yeah, well, okay, sobecause he's, he's in the same
kind of well, he's younger thanus but he's in the same
roundabout bracket as us, so hehas watched somebody like a mob
deep Quite.
Frankly, I mean, let's justcall it what it is.
Even though the first threealbums after Juvenile Hill are

(01:38:08):
great, they are progressivelyworse.
It's hard to keep thataesthetic.
We're clear that the Infamousis the best album, right?

Speaker 2 (01:38:18):
That's not clear to me, because I love Hell on Earth
.

Speaker 1 (01:38:21):
No, even if you prefer Hell on Earth, we're
clear that the Infamous is thebest album because of the songs.
Right, I'm?

Speaker 4 (01:38:27):
not Me and Sean had this conversation last night,
I'm not clear.

Speaker 2 (01:38:31):
He's not clear.
It's got a little.

Speaker 1 (01:38:34):
Okay, Sean.

Speaker 4 (01:38:37):
We just talked about this last night.
No, no, no.

Speaker 1 (01:38:39):
God damn it.
We're doing intervention liveon air.
Ag, respectfully speaking and Isay this respectfully as
somebody that loves theproduction on Hell on Earth and
actually think that, prodigy, itmight be Havoc's best beat tape
, it might be Prodigy's best micperformance, but here's the
reality of the matter.
Ag Survival of the fittest Eyefor an eye.

Speaker 4 (01:39:03):
The songs are too big Give up the goods Shook ones.

Speaker 1 (01:39:05):
You're just not fucking with the songs.

Speaker 3 (01:39:07):
Sam, the highs are too high, you can't win with the
songs.

Speaker 1 (01:39:11):
You can't win with the songs, so it is the infamous
.
If you want to talk, if youwant to break it down and get
into, like, the intricacies ofart and be like, oh well, beat
for beat, havoc is better withthe drums, because the drums
actually are better on hell onearth than they are on the
infamous.

Speaker 4 (01:39:23):
Well, here's how I look at hell on earth versus the
infamous, and it's a toughargument.
I look at the infamous likeJordan in his 88 season
defensive player of the yearscoring title dunk contest what?
But no, he was MVP that year.
They robbed him MVP.
He was MVP in 88.
He didn't win the chip, though,and I look at hell on earth

(01:39:49):
like 91, mike, where everythingcame together you know what I'm
saying and he didn't have asmuch individual accolades that
year, but he won the chip.

Speaker 1 (01:39:59):
How about this?
The people, that shit.
What people remember my beatfor?
Oh, that's, on the Infamous,what we as hip-hop heads
remember them, for Might be ahell of a lot.
But what hip-hop remember themfor is on the infamous.
It's their album.
I'll say that to illustrate isthat for the style of music that

(01:40:22):
it's being done, it is hard toprogressively get better.

Speaker 4 (01:40:27):
You usually progressively get worse they
have three five month albums ina row yeah.

Speaker 1 (01:40:32):
So it's like are those three albums classic?
Yeah, but them classics isbuilt different.
Hell on earth ain't classic theway that the infamous is
classic.
It's like are those threealbums classic?
Yeah, but them classics isbuilt different.
Hell on Earth ain't classic theway that the Infamous is
classic and Murder Music ain'tclassic the way Hell on Earth is
classic.
There's no reason for it.
And so the same thing ishappening to Griselda.
Okay, somebody is pulling uptalking about Okay, thank you,

(01:40:53):
we get spams.
I just say that to say thatthere are levels to what they
are doing.
And so I say this to say mybiggest problem with this album
is that this album is really,really fucking dope, that they
have actually done this betterbefore, and so they are the
victim of their own success in alot of ways, because, quite
frankly because quite franklystove I'm so tired of stove

(01:41:16):
sounding great that I almostdon't want a stoveove album
anymore.
Ag.

Speaker 4 (01:41:21):
I'm not going to say that.

Speaker 1 (01:41:22):
No, no, no.
Listen to what I'm saying.
You've given so many albumsworth of material away that I'm
starting to wonder what it lookslike as a solo artist, Because
I used to look at it like aMethod man thing.
You looked at it like a Methodman thing.
That was three years ago when Ilooked at it like that.
Ag Meth put out a few soloprojects.

Speaker 4 (01:41:41):
Stove has too much flair to not put out anything
else.
Like dude's a star man, oh andspeaking of Method man, which
album.
Does our bar seminar come from?

Speaker 1 (01:41:49):
His best verse.
His best verse does a JoseCanseco His best verse.
First of all, y'all picked that.
Sean picked the extortion verse.
Sean picked the extortion verseand it's not even a mob beat.
No, no, no, I'm cool withextortion.
I love Method man on extortion.

Speaker 2 (01:42:05):
It's great.

Speaker 1 (01:42:09):
It's no Shadowbox and or Woo Gambino's, but it's damn
good.
It's not even everything, butit's Method man.
He might be the best 16-barguest appearance guy ever, but
what I'm saying is that evenwhat Stove is suffering from is
the fact that, no, guys, hisbest verse is still Jose Canseco
.
That's off the Fly God 2 albumin 2020.
That's still his best verse.

(01:42:29):
Reasonable Drought is 2020.
That was five years ago, guys.
So, even when we're talkingabout the Stove album, are you
sure the Sobe album's going tobe great?
Because, guys, we've beenwaiting for the Sobe album.
Listen to this.
We've been waiting for the Sobealbum for over four years now.
Are y'all sure the Sobe album'sgoing to be great?
Because he done gave him Voguecover Ava Rex 99, Ava Rex.

(01:42:51):
He done gave Sobe Stove put alot of shit out.
He might have spent the wheelwhen he should have been keeping
shit in the bag.
I hope he kept shit in the bag.
We got to say that.

Speaker 4 (01:43:04):
You was talking about the best album since 2017.
Stove has arguably a top fiveto ten album since 2020.
So, and then plus his features.

Speaker 1 (01:43:16):
He has a top 20 album since 2020.
Top 20?
.
I think it's top 10 hold onhold on back up in the last 5
years.

Speaker 4 (01:43:28):
You think it's you can name 19 albums better than
Reasonable Drop in the last 5years no, you can better name
Cheat Codes is better than CheatCodes.

Speaker 1 (01:43:36):
I don't have Cheat Codes Better than Reasonable
Drop in the last five years.
No, you can better name itCheat Codes is better than Cheat
Codes.

Speaker 4 (01:43:40):
I don't have Cheat Codes higher than Reasonable
Drop.

Speaker 1 (01:43:43):
You don't think Cheat Codes is better than Reasonable
Drop?
I do not.
I'm going to have thisconversation with you.

Speaker 2 (01:43:49):
Production alone clears it.
I don't want to talk to you.

Speaker 1 (01:43:51):
No, I don't want to talk to you.

Speaker 4 (01:43:53):
I don't want to talk.

Speaker 1 (01:43:54):
No gold teeth in Aquamarine is better than
everything on Reasonable Drop.

Speaker 2 (01:43:57):
Production alone clears it.
The production.

Speaker 1 (01:44:05):
Danger Mouse's production job on Cheat Codes is
severely underrated.
I do not think Reasonable Dropis better than Cheat Codes.
It's dope.
I would like to put that up fora poll.

Speaker 4 (01:44:18):
I just think that would be hard pressed to name 19
albums.
Better Than Reasonable DroughtIn the past 5 years bro.

Speaker 1 (01:44:27):
I mean, no, what you're saying, that's not that
unreasonable.
When I'm saying it's top 20,I'm saying that it's like, well,
if you're actually going byyears, how about this?
Do you think it's better thanKing's Disease 1?

Speaker 4 (01:44:43):
Probably I mean no, it's close, but I'll give the
edge to KD1.

Speaker 1 (01:44:49):
Okay, so listen to what you're saying.
If you're saying you're givingthe edge to KD1, then Six and
Nas' projects are already ahead.

Speaker 4 (01:44:55):
I want to put Magic 2 above it.

Speaker 1 (01:44:58):
He's already in sixth place,just off the Nas projects.
Are you sure it's top 20 in thelast five years?
Based on what you said, he'sstarting off at sixth.
If we're starting off the Nasprojects, pray for Paris came
out in 2020, so he's at seventh.

Speaker 4 (01:45:13):
So did Alfredo, sold separately.
That's nine.
I'm running out.

Speaker 1 (01:45:20):
That's it From a king to a god.
No, you think reasonable growthis better than from a king to a
god.
I do, I'll stationhead you andI'll wax that ass.

Speaker 4 (01:45:33):
I've already done it Coop and.

Speaker 1 (01:45:35):
I lost Shout out to Trey.
Shout out to Trey.
You've already done it.
Coop.
And I lost Shout out to Tripe.
I tried it against Sean andTripe and I lost.
Hold on.
If y'all think reasonabledrought is better than from a
king to a god, y'all areoverrating.
Reasonable drought From a kingto a god is one of the five best
bar seminars of the last 10years.

Speaker 4 (01:45:58):
Reasonable Drought has everything there's just so
many quotables.
The production, just like that.
He gained so much equity withthat album that's why I'm still
anticipating the next one.
I'm sorry I'm not there.
I love Reasonable.

Speaker 1 (01:46:12):
Drought.
I love Reasonable Drought.
It is of in my time of doingthis.
It'll be five years next monththat I've been doing this.
It is the most impressive timeof doing this.
It'll be five years next monththat I've been doing this.
It is the most impressive albumthat I've heard from somebody
that I knew nothing about beforeI did this.
Of course, if we're talkingabout that, but it's not better
from a king to a god Reasonable.

(01:46:33):
Drought's not better from aking to a god?

Speaker 4 (01:46:35):
no way, no way not we have to agree to disagree not,
I'm sorry, and listen to whatI'm saying when I no way, not we
have to agree to disagree.

Speaker 1 (01:46:44):
Not, I'm sorry, and listen to what I'm saying when I
say this Conway is way tooversatile on From a King to a
God for y'all to be saying thatabout him.
Because Reasonable Drought hasone theme, has one content, has
one style and has one flow andhe's great in that flow.
But Conway is all over theplace from a king to a god in a
brilliant way.
Flow.
But conway is all over theplace from a king to a god in a
brilliant way.
Conway is trading bars withmethod man.

(01:47:05):
He is doing doing mob deep shitwith havoc.
He is pulling beats fromeverywhere.
He is doing shit with armani.
He is pulling shit.

Speaker 4 (01:47:11):
Yeah, no, he no, he was speaking of method man and
speaking of versatility.
Me and uh sean alreadyestablished early in the show
tupac was more versatile thanmethod man or torictly, but we
still have Takao better thanStrictly.
So versatility isn't everything.

Speaker 1 (01:47:26):
Yeah, yeah, yeah.
But just because y'all saidthat, don't mean y'all right.
Y'all can be wrong, which youare?
You just happen to be wrong.
No, no, no, no, no, no, ag, Ilike no, no, no, y'all thought
T'Kal is better than Strictlyfor my niggas.
Y'all was just wrong about it.
It's nothing wrong.
It's nothing wrong with y'allbeing wrong.

Speaker 4 (01:47:46):
I'm used to y'all being wrong, we'll put these
polls up.

Speaker 1 (01:47:57):
We'll put T'Kal up against Strictly.
On the socials, we'll put thepolls up.
I didn't even think that was aconversation.
I didn't think it was aconversation, but okay, I'll put
them up right now.

Speaker 4 (01:48:07):
I'm here to enlighten Coop Apparently.

Speaker 1 (01:48:11):
Apparently, apparently, apparently,
apparently, apparently.
I am the problem, I'm the onethat needs help.

Speaker 2 (01:48:22):
Yeah.

Speaker 1 (01:48:22):
We're here, we got a super chat.
No, no, you're not here, we gotto go.
Double barrel 12 is fire.
Can't stop playing.
Shout out to y'all.
No, it is fire.
It's just like.

(01:48:45):
How many times have they madethis piece of fire over this
wood, on this log?
When we talk about Mobb Deep'scatalog not being top 10 all
time for a group sometimes, okay, 007-499, queens, get the money
.
Slow down, coop.
Murder music was a moment.
There were bangers there.
Don't forget to wear your heartout.
Mobb Deep forever.
Yes, no, I actually.
How about this?
The songs on murder music areactually more enjoyable to
listen to than the songs onMurder Music are actually more
enjoyable to listen to than thesongs on Hell on Earth.
That don't make them better.

Speaker 4 (01:49:06):
Okay, I feel you using, I feel that they you know
the part that you're using itas an analogy or an example or
whatever, but I don't think it'sfair to Griselda to use Mobb
Deep's shortcomings against themBecause you know their approach
to releasing music has beentotally different than mobs well
, I'm using.

Speaker 1 (01:49:24):
I'm using mob deep as actually a good marker, because
using the locks isn't a highmarker in terms of album making.
That's why I'm using my.

Speaker 4 (01:49:32):
But gazelle releases projects at a way higher clip
than what mob did.
And if you, you know just thelaw, you know percentages and
stuff if you put more shots up,the chances are you're going to
miss more the more you take, sohold on.

Speaker 1 (01:49:45):
So when I said that you could put the Griselda
catalog up against the Mobcatalog for 50 songs and
Griselda might win, peoplelooked at me like I was crazy
and I was like no, y'allthinking about Mobb Deep's 20
best songs.
What about the next 30?
About the volume?
So I'm clear on the thing thatyou're talking about, but the
reality of the matter is, interms of their album making

(01:50:07):
ability, they're closer to mobdeep than they are the locks
because, quite frankly, in myopinion, pray for paris.
It's pretty much better thananything that the locks ever
made.

Speaker 4 (01:50:16):
Yeah, because that has more classic material laying
around.
But in a versus I think theywould still lose against the
Mobs catalog because the Mobsare too beloved.
You know what?

Speaker 1 (01:50:25):
I'm saying I think the Locks is losing to the Mob.
That's what I'm saying, yeah.

Speaker 2 (01:50:30):
Yeah.

Speaker 1 (01:50:32):
How about this?
How about this?
How about this?
Jadakiss can't kick that.
Who shot you?
Freestyle against Mobb Beat.
Mobb Beat, just come, dropshook ones.

Speaker 4 (01:50:40):
Yeah, that's not going to work.

Speaker 2 (01:50:42):
Or give up the goods.
That's not going to work inthat area.

Speaker 1 (01:50:45):
They got fucking.
They're like oh, you droppedthat.
Be like, that's cute, nigga.
We got five of those, let's go.

Speaker 4 (01:50:50):
Listen, I love Jada, but that ain't going to work
there.

Speaker 1 (01:50:52):
That ain't going to work against Mobb.

Speaker 4 (01:50:54):
That's what.

Speaker 2 (01:50:55):
I'm saying Not against Mobb, let's keep it a
buck.
Even Outkast would have a longday missing with Mobb.

Speaker 1 (01:51:01):
No hold on.
I personally think thatOutkast's catalog is better than
Mobb Deep, but if we're picking20 songs it's a long day.
No, I'm ahead.
So I already know what the shitsounds like when it drops.
Like how about this PlayersBall?
Don't feel the way Survival ofthe the fittest feel when it

(01:51:21):
drops.
Like, most people'sintroduction to Mobb Deep is
survival of the fittest.
Most people's introduction toOutKast is players' ball.
Oh, that ain't the type ofintroduction in terms of how the
shit grip you.
Well, I'll give yourversatility point.

Speaker 4 (01:51:36):
Some credence there, because going up against OutKast
, if they were to win which itwould be close it would be based
off the versatility alone and Ithink nothing else.

Speaker 1 (01:51:46):
How about this With Mobb Deep?
This is the thing between MobbDeep and OutKast.
For Mobb Deep you can just playMobb Deep's bangers.
For OutKast you'd have to thinkabout it to beat Mobb Deep, and
that's the problem.
You would have to think aboutit to beat Mobb Deep, and that's
the problem.
You would have to play certainrecords to offset certain shit.
You'd have to think outside thebox, because just playing
Outkast quote-unquote bangerslike the hits, the singles, oh

(01:52:09):
then you're not.
You would have to get heavy inan ATLians bag to lose Mobb Deep
.
If you just pick the recordsjust standing straight up and
down, that people know betweenMob and OutKast, mob would
probably win like 13 to like 8.

Speaker 2 (01:52:25):
You'd have to pick some shit, but it's too much for
almost everybody, though it'stoo much for almost everybody,
you understand.

Speaker 1 (01:52:33):
Mob people give NWA, public Enemy, epmd, de La Soul,
tribe the Roots.
Anybody Mob, give anybody aproblem.
You understand that right, it'sa long day.
Like to me they're a borderlinetop five group all the time.
Like no, they a problem Becausethey high-level shit.
Their high-level shit is whatEast Coast Gangsta Rap is based

(01:52:53):
off of, quite frankly.

Speaker 2 (01:52:55):
Yeah, yeah.

Speaker 4 (01:52:59):
So what we got next?
Fellas.

Speaker 1 (01:53:03):
In news.
We have reasonable doubt oh wegot more new music First.
Is there more new music?
Why?
I thought we covered Westside.

Speaker 4 (01:53:14):
The boy dropped a project no not there yet let's.

Speaker 2 (01:53:22):
We finished off with that.

Speaker 1 (01:53:24):
Yeah, we're almost there.
Yeah, but reasonable doubt byJay-Z did get inducted into
Grammys Hall of Fame.
Okay, sean, sean, you're theplayer hater extraordinaire of
the bunch, not a hater?
You're not a hater, you justcrush a lot, right, Crush an ass

(01:53:47):
.
Go ahead and talk nigga, thisis crazy.

Speaker 2 (01:53:51):
Anybody who think that this is cool.

Speaker 1 (01:53:53):
Oh my God, it's okay, it's perfectly okay, sean, wait
what Sean?

Speaker 2 (01:53:58):
I'm okay with it being in there at some point,
Paul, but not before Illmatic.
There you go, okay, you don'tdefrog Illmatic and go to this.
It's not right, it's notculturally right, it's not
ethically right, it's notmorally right.
This is ridiculous.
And if Coop thinks that this iscool, then shame on Coop, shame

(01:54:19):
on our Cooper, because this isridiculous.
There is no damn way thatReasonable Doubt should be
getting some kind of Hall ofFame, of Grammys or anything
before Reasonable, I mean beforeIllmatic, or even it Was
Written.
I'll put it Was Written in aHall of Fame.

Speaker 4 (01:54:36):
But let's not make it a Jay-Z Nas thing.
Sean 36 Chambers is not inthere, right?
No?

Speaker 2 (01:54:43):
It's not right.

Speaker 3 (01:54:43):
I mean stuff like that, if it preceded it.

Speaker 4 (01:54:46):
If it's other classic albums that preceded it that's
eligible, then I think, withwhat you're saying, those should
get in first.

Speaker 2 (01:54:53):
Okay with it.
Run it back.
Start at the inception of theyears.
Don't just leapfrog all theseother perfect projects to put
this in that.
It doesn't make sense.

Speaker 3 (01:55:04):
I'm sorry, it just doesn't make sense and I love
Reasonable Doubt.

Speaker 2 (01:55:08):
I think Reasonable Doubt is his number one album.

Speaker 1 (01:55:11):
It's one of the best rap albums ever.

Speaker 2 (01:55:13):
He said one, or did he say one, or did he say D?
You're right, it's one.
He was about to get triggered.
Oh my god, it's about to be bad.
It's about to be bad.

Speaker 4 (01:55:21):
It's about to be bad.
Sean was about to be like I'mchanging my flight.
Sean had a palpitation.

Speaker 1 (01:55:27):
Look here, sean.

Speaker 4 (01:55:28):
Sean.
Sean clutched his pearls.
Sean.

Speaker 1 (01:55:36):
AG.
Sean was about to change hisflight and come to Atlanta Like
where is this thing?
He's about to change his flight.
The whole.

Speaker 4 (01:55:42):
Sean was about to change his flight and come to
Atlanta, Like where is the scene?
The whole flight was about tochange.

Speaker 1 (01:55:46):
Did you know the flight was about to change?
The whole flight was about tochange.
Okay, okay, okay, yo, that'scrazy.
Here's the reality of thematter.
Ag, you want to go, or should Igo?

Speaker 4 (01:56:03):
What's up?
I'm gonna echo those sentiments.
Who would it be in there?
It definitely should be there,but I do think we should start
earlier on in hip hop and golike don't leapfrog other
legendary albums.
So like, when did the Grammystart?
Does anybody know?
They started rewarding us in1989, 1988, with Fresh Prince
okay, then I think you shouldstart there, and then you know

(01:56:26):
88, 89.

Speaker 1 (01:56:31):
That's my whole thing with.
Go ahead, aj.
I want you to finish.

Speaker 4 (01:56:36):
No, no, no.
I was just saying like youshould start.
You know Payton Full was 87,but let's start with classic
albums that came around in thatera when the Grammys first
started, and then keep down theline.
I think that's more fair.
I don't want to make it a likeIllmatic or it was written kind
of deal.

Speaker 1 (01:56:53):
But so what I was about to say, let's not make it
an Illmatic thing, let's make ita hip hop thing.
So I don't disagree with whatSean is saying.
I'm more in line with what youwere saying, hg.
Let's make it.
No, you missed it.
Takes a Nation of Millions toHold Us Back.
There you go, I'm okay with it.
You missed the GreatestAdventures of Slick Rick.
You missed America's MostWanted.

(01:57:14):
You missed Death Certificate.
You missed Doggy style.
You missed the chronic.
You missed enter the wu-tang.
You missed illmatic.
You missed ready to die.
You missed only built for cubanlinks and like in the infamous
like.
So let's not.
Let's understand who jay is andunderstand that.
Let's put the pressure on jayto highlight the fact that those

(01:57:38):
albums that his ass was raisedon, that he talks about so
glowingly, didn't make it beforehim.
Because, not being funny, hegot a bad habit of pulling up in
this shit like he was the firstmotherfucker to do it, knowing
good and damn well he wasn't thefirst.
Cause he'll talk in a rap abouthow he rode other people's

(01:58:01):
coattails, but then he'll pullup to the ceremony like first
nigga to do it.
It's like no, you weren't Cool.
G Rap was the first nigga andhe made a song about it and then
he talked about it.
It wasn't you.

Speaker 2 (01:58:15):
So that's what needed to happen.

Speaker 1 (01:58:17):
I got a controversial question for both of y'all.
No, for real, jamie, just stepto the mic and be like
motherfucking painful.
It takes a nation to millions.
That's the hater in you talking.
We going to pray about it.

Speaker 4 (01:58:28):
The speech that he gave for Beyonce at the Grammys
last year.
He's not going to do that forhip-hop as a culture.
No, you know he's not going todo that.
But I got a controversialquestion for both of y'all
because I like where we're goingwith this.
So if we do that, you know, foracknowledge the early years of
hip-hop forward versus, you know, other albums.
Leapfrogging is your buy-in toget inducted.

(01:58:51):
Like what if that album was?
You said they started honoringus in 1989.
What if said album was never upfor a Grammy Award that
respective year?
Should you still getconsideration?

Speaker 1 (01:59:06):
Is now a good time to say fuck them Krakows.

Speaker 4 (01:59:10):
Yo, that's crazy.

Speaker 1 (01:59:11):
That is crazy, that's crazy.

Speaker 4 (01:59:15):
Cuban Pia da Cooper is of his own.
But no, but for real, ifReasonable Doubt wasn't
nominated for a Grammy in 96,should that be the buy-in or no?
You see what I'm saying.
Every year they go through thecycle of hip-hop albums that
should make it.
Do you think that the buy-inshould be?
Well, at least at one point hadto be a Grammy nominee to be

(01:59:41):
inducted.

Speaker 2 (01:59:42):
Yes and no.
I see where you're going withthat, because that's very
difficult, because revision ishistory, right?
It's like going back and saylet me go back and re-rate this
actual album.
I didn't put it at five when itfirst came out.
Let me go back and do a do-over.
That's no different than aGrammy.
If you didn't get a nom back,then, then how can you
retroactive that nom to say heshould be in that category?

(02:00:02):
Who's what?
Here's the thing.
What criteria?

Speaker 1 (02:00:07):
are you using?
I'm trying to think who are theGrammy nominees in 96.

Speaker 2 (02:00:12):
I don't know.

Speaker 4 (02:00:13):
It would have been for 95.

Speaker 1 (02:00:14):
No, no, that's 95.
No no, no the 96 Grammy winnerwould have been from the awards
in 95, so that's Naughty byNature, with Poverty's Paradise,
because that's 1995.
That's the return to the 36chambers.
Got nominated, let me checkreal quick, I feel like that as
far as 96, right In terms of theyear the award got handed out?

Speaker 4 (02:00:36):
Yeah, because it's the next cycle year that it's
the next cycle.

Speaker 1 (02:00:39):
So then, that's the Poverty Paradise year, which, by
the way, is Naughty by Nature'sworst album.

Speaker 4 (02:00:47):
I mean that raises the question should the winning
albums be inducted to the GrammyGangsta?

Speaker 2 (02:00:54):
Paradise 1996.
Huh, gangsta Paradise 1996.

Speaker 1 (02:00:59):
Oh, Coolio, Coolio.
Okay, that's still a 95 record,though Hold on for album.

Speaker 2 (02:01:06):
He won for best rap solo performance.

Speaker 1 (02:01:08):
Right, what one album .
Yeah, the album should be.

Speaker 4 (02:01:11):
Poverty's Paradise Rap album.
Was that even a category in 96,though?

Speaker 1 (02:01:16):
No, it is Poverty's Paradise by Naughty, by Nature,
I think.
Let me see.

Speaker 2 (02:01:23):
Where's the Jeopardy?

Speaker 4 (02:01:24):
music when you need it.

Speaker 2 (02:01:25):
No, I don't see it.
It's not showing up.
Gucci's won in 97, but I don'tthink 96 had one for hip-hop 96
didn't have one.

Speaker 1 (02:01:34):
No, no, no.
96 had a Naughty by Nature wonin 96.
I'm pretty certain Poverty'sParadise came out in 95.
That was craziest and fill meflow.

Speaker 2 (02:01:45):
Somebody help me out with this.
I don't, I just started pullingup.
Somebody in the chat help meout with this.

Speaker 3 (02:01:49):
I don't see it anywhere.

Speaker 2 (02:01:54):
But be as it may, you dropped the ball, bro.
Yeah, it started.
Lp said it started in 96.
So if it started in 96.
If it started in 96, then thatwould be the Fugees.

Speaker 4 (02:02:10):
But Fugees would have been nominated in 97, would it
not?
Yes, no, because it was the 97Grammys where Puff and Wu-Tang
were up for the rap album.
No, it's.

Speaker 1 (02:02:26):
Naughty by Nature, guys, it's.

Speaker 2 (02:02:28):
Naughty by Nature.

Speaker 1 (02:02:30):
Yeah, naughty by Nature won in 1996 for Poverty's
Paradise.
Yeah, I just remember becausethat's what really started the
ODB shit, because ODB lost thatyear.
So when he went up with theWu-Tang for the children shit,
it's because ODB lost.
And then Wu-Tang lost Because,think about it, that was back to
back, that was kind of likewithin two out of three years,

(02:02:51):
where he was like hold on?

Speaker 4 (02:02:54):
That's kind of all I'm asking.
Okay, naughty got an actualGrammy win and granted the
Grammys are the Grammys, and wesay they're out of touch, we
don't care about it, whatever,but all.

Speaker 1 (02:03:04):
I'm asking is Until they do it, right, then we'd be
like, oh, we care.

Speaker 4 (02:03:08):
All I'm asking is are the former hip-hop album
winners?
Do they get consideration, orare they going back and just
acknowledging classic albums?

Speaker 1 (02:03:19):
Okay, so here's how I feel like I think that I'm not
sure when the best album thingstarted happening.
I feel like night naughty bynature might have been the first
group to win best rap album,because when dj jazzy, jeff and
fresh prince won, it was forbest rap performance, not best
rap album.
So I don't, I do not know whenbest rap album became a thing,

(02:03:42):
so Naughty by Nature might bethe first ones to win best rap
album, though.

Speaker 4 (02:03:49):
The other side of things.
It behooves the Grammys to giveJay this award because he did
his whole complaint speech lastyear.
Beyonce finally won for thecountry album this year and they
honored him this year.
It's all lining up with, youknow, everything that's

(02:04:11):
transpired over the last year orso.
It deserves to be there, butthe optics are what they are.
You know what.

Speaker 1 (02:04:18):
I mean AG is like it's a conspiracy.

Speaker 4 (02:04:21):
He's niggas C-O-N conspiracy he's trying to kill.

Speaker 1 (02:04:25):
J&B.
He's like they're trying totake rid of J&B.
Yeah.

Speaker 4 (02:04:29):
But nah, it should be there.
But I'm with Sean, it shouldn'tleapfrog other albums, but I
don't want to make it just theIllmatic thing.
It's a lot of albums that.
I would put in ahead ofReasonable Doubt.

Speaker 1 (02:04:41):
Right, okay, so how about this?
If you think Reasonable Doubtis a top 20 rap album and I can
respect that understand thatthere's at least 10 to 12 albums
that come out before at leastLike bare minimum.
No matter how high that youthink about Reasonable Doubt, it

(02:05:02):
probably will deserve thishonor before Reasonable Doubt.
And that's like bare minimum.
No matter how high that youthink about reasonable doubt,
that probably will deserve thishonor before reasonable doubt.
And that's the problem with it.

Speaker 4 (02:05:13):
It's like oh no, they're 10 to 12 albums before
reasonable doubt Better.
We're all in agreement there.

Speaker 1 (02:05:19):
Better.
It's not about the greatness ofreasonable doubt, it's like oh
no, those of us that know knowthat there are about 10 to 12
albums before reasonable doubtthat are better.
See look, look, look, look.
Rewind one year.
See the infamous by Mobb Deep,and Only Built for Cuban League.

Speaker 4 (02:05:35):
We just talked about Me Against the World.

Speaker 1 (02:05:37):
Yeah, see Illmatic ready to die.

Speaker 4 (02:05:43):
enter the Wu-Tang this is controversial but I
think Reasonable Doubt is betterthan Ready to Die, but that's
just me.

Speaker 1 (02:05:52):
I used to think that and I'm going to tell you where
Ready to Die wins the productionis so superior on Ready to Die.
You can't say that the songsare bigger and the production is
better, and you can't tell methat Jay is that much thicker
than Big Nah.

Speaker 4 (02:06:06):
I actually disagree on all those accounts.

Speaker 1 (02:06:08):
You think the production is better?
On Reasonable Doubt I don't.
Oh no, oh no, oh no.

Speaker 4 (02:06:16):
You got three Primo beats, Like I mean.

Speaker 1 (02:06:20):
Oh them, three Primo beats.
How about this?
Not one of those three primobeats is better than the one
primo beat he gave big Not one.

Speaker 4 (02:06:29):
I'd put the evils up there, but that's a whole other
conversation for another day.
That's a whole other.

Speaker 1 (02:06:35):
Let me ask you something Do you think the evils
is a better song than EverydayStruggle?
Yeah?

Speaker 2 (02:06:41):
Yes, okay, yes.
Whoa better song than EverydayStruggle?
Yeah, yes, okay, yes.

Speaker 4 (02:06:44):
Whoa, sean gave Jay some credit.
Okay, that's great, I thoughtit was Jay like devil?

Speaker 2 (02:06:48):
Hold on hold on, hold on hold on.

Speaker 1 (02:06:50):
Watch this, hold on, watch this.
Where's the Evils all time?
In terms of Jay catalog, interms of a song, it's a top five
song.

Speaker 4 (02:06:57):
if he is right, it's definitely up.

Speaker 2 (02:06:59):
Yeah, where's.

Speaker 4 (02:07:00):
Everyday Struggle for me.

Speaker 1 (02:07:03):
It's not in this top five to me.
All right, there we go.
That's my whole point.
But those songs are comparableand that's why Ready to Die is
better than Reasonable Doubt,because Jay's best song.
They are comparable, they arecomparable.

Speaker 4 (02:07:19):
Who said they were comparable, other than you?
I said they were comparable.

Speaker 1 (02:07:22):
They're comparable because you literally compared
them.
But I told you what.
What's the best song on?
Ready to Die to you, ag?

Speaker 4 (02:07:30):
I'm gonna go with.
Actually, my favorite isUnbelievable, but I'm gonna go
with shit.
I love Warning man.
I mean I really love Warningfrom storytelling the beat, just
everything he does on thererapping the two different voices
.
He does everything that can bedone on a song you think Warning

(02:07:52):
is the best song on Radio Day?
I mean, I would objectively sayso.

Speaker 1 (02:07:58):
Sean things done, change y'all think both of those
say so, sean, things don'tchange.
Y'all think both of thoserecords are better than Everyday
Struggle, I think.

Speaker 4 (02:08:09):
Juicy's better than Everyday Struggle.

Speaker 2 (02:08:11):
Yeah, y'all are tripping.

Speaker 4 (02:08:15):
Juicy's one of the greatest songs of all time bro.

Speaker 1 (02:08:19):
I personally think Juicy is Okay.
So I'm going to tell you what Ithink I Get Around by Tupac is
overrated, and I think Juicy byBig is overrated.

Speaker 4 (02:08:27):
I did.
I'm not mad at anybody sayinganything is overrated.
It is rated up there prettyhigh.
So if you disagree, then I'mcool with that.

Speaker 2 (02:08:34):
You say Tupac, I Get Around is overrated.

Speaker 1 (02:08:37):
I do think it's overrated.
I do think it's overrated.
I never loved that beat andthat's me, and you know how I
feel about Pac.

Speaker 4 (02:08:43):
I never felt like.
Why would you go on Wax Poeticabout Strictly and then say that
that song is overrated?
Coop, make it make sense,because I'm objective.

Speaker 1 (02:08:51):
That's why it's not my first feelings at all.
No, I'm not confused.
See, you're asking mepersonally what I think
personally.

Speaker 4 (02:08:58):
Personally what I think personally, how I feel
about it.
Okay.
So objective versus personal,okay, right right right, right,
right.

Speaker 1 (02:09:04):
My objective when I talk about Strictly for my
Niggas, those are my objectivethoughts about what I've seen,
because I was influenced by it,because musically, ag, I'm more
aligned with you, but I'velearned not to lean on my own
understanding.
No, no, no, I'm very clear abouthow all the girls that were
around me around that time feltabout him and felt about that
album.
I'm very clear about how allthe street niggas felt about
that shit that I was around.

(02:09:24):
So even though musically when Ilisten to it I'm like, nah,
that ain't it.
When everybody around you islike, nah, it's it that matters.

Speaker 4 (02:09:33):
See, I didn't have that.
Everybody around me wasn't on.
That's why.

Speaker 1 (02:09:38):
So when you explained it to me, I was like, oh no, my
experience of it live in realtime was different, and that's
why our perspective is differentand so no.
So personally, when I listen to, I Get Around.
It's like that beat.

Speaker 4 (02:09:54):
Round and round.
We were texting in the groupchat.
I was like, well, I've neverheard nobody else call this a
classic and honestly God, Iliterally never heard nobody say
that.

Speaker 1 (02:09:59):
Never heard nobody else call it it's a classic and,
honestly God, I literally neverheard nobody say that but it
has more to do with theinfluences around me, because
people around me was talking andwalking and acting like that in
real time.
It wasn't me, because I feelmore like you musically,
musically, it's like I'll giveit a four.
But when that, try to explainthat shit to some of the people
I knew.
Oh, you tripping, you gonnafuck with Pac nigga.

Speaker 4 (02:10:21):
And you know what.
You know not to go off on acrazy tangent but I think that's
the problem with hip-hop as awhole, because in our inner
circles we rate stuff in avacuum and we think, just
because us and our crew thinksomething is the greatest thing
ever, that that spans nationwideor worldwide.

(02:10:42):
And a lot of times it don't belike that.

Speaker 1 (02:10:45):
Like I'm going to tell you what part of why I love
the purple tape so much.
Oh no, I was the first one onmy block to call the purple tape
.
When the purple tape came out,niggas was heavy on meth and old
, dirty bastard.
And so niggas was like oh no,it's good.
I was like good.
I said this is one of the bestrap albums of all time, if it's
not the best rap album I've everheard.
When I told niggas I thought itmight be the best rap album I

(02:11:05):
ever heard, niggas almost fuckedme up.
They almost beat my ass.
I was in eighth grade.
They were like thismotherfucker, coop is tripping.
Three months later, threemonths later, three months later
, yo Coop.
Months later, yo Coop.
That incarcerated Scarface's,that criminology, that glaciers
of ice, that ice cream, that WuGambino's ooh, that verbal

(02:11:28):
intercourse verse, oh.
But when it came out the firsttwo weeks it came out, oh nigga.
I almost got my ass whooped,and I'm not joking, I almost got
my ass whooped.

Speaker 4 (02:11:39):
When I was in school, everybody loved that album.

Speaker 3 (02:11:42):
Not in.

Speaker 1 (02:11:42):
Charlotte.

Speaker 4 (02:11:43):
North.

Speaker 1 (02:11:43):
Carolina, sir, not in 1995.
No, no, that's what I'm saying.

Speaker 4 (02:11:47):
No, it wasn't like that for everybody we used to
just carry it around outside ofthe case so we could marvel at
the like purple tape we used tojust carry it around outside of
the case, bro.

Speaker 1 (02:11:57):
It was not like that in Charlotte, north Carolina, in
1995.
How about this Outkast?
Soul Food was playing more thanthe Purple Tape was playing.
You feel what I'm saying?
I knew Soul Food was a classicand everybody around me was

(02:12:18):
calling Soul Food a classic.
But when I'm calling a PurpleTape a classic in Charlotte,
north Carolina, in 1995, oh no,no, niggas is not with that shit
.

Speaker 4 (02:12:27):
Niggas ain't trying to hear that shit where I'm at,
it's no regional bias, we justembrace everything that's what
I'm saying.

Speaker 1 (02:12:32):
No, I'm in Charlotte, north Carolina, in 1995, the
summer of 1995, when the purpletape and all that shit is
happening, oh no, and that'swhat I mean about.
It's like oh no, wu-tang wasbig, but wu-tang was big down
here mostly about meth and dirty.
So ray was actually when niggasdown here stopped paying
attention.
It wasn't until when niggasreally realized how dope the
album was.

(02:12:53):
The niggas came and picked itback up because niggas down here
actually briefly thought thatthe purple tape was a drop off
for what, what Meth and Dirtyjust did.
How about that?
Because they were thepersonality.

Speaker 2 (02:13:08):
They have no taste.
That's why that's ridiculous,that's what I thought you said.
I'm sorry they were listeningto 95 South and 69 Boys, or
whatever.
They were listening to TootsieRoll and you think I'm going to
take the no, no, no, no, no, noboys, or whatever.
They were listening to TootsieRoll and you think I'm going to
take the no, no, no, no, no, no,no no, no, this is Charlotte,
not Atlanta.
How about this?

Speaker 1 (02:13:27):
I'll tell you this.
No, this is how funny it is.
Mobb Deep was getting moreplayed, the Infamous was getting
more played than the PurpleTape and Charlotte, because
Survival of the Fittest andShook Ones and Give Up the the
goods was more in line.

Speaker 2 (02:13:39):
And they were doing a butterfly in Charlotte.
You think I'm listening tosomebody doing a butterfly in
Charlotte by the perfect team.

Speaker 1 (02:13:47):
What do we got?

Speaker 2 (02:13:47):
next.

Speaker 1 (02:13:48):
First of all, who are you doing a butterfly?
First of all, I know how to dothe butterfly.
Oh no, Second of all.
First of all, I never got theone leg down.
I never got the one leg down,even though I tried.
Second of all, sean, where areyou sitting and residing right
now?
No, no, no.
I want Sean to tell everybodywhere he's sitting and residing

(02:14:09):
right now.
We got to get super chats realquick.
No, no, no, sean, where are you?
I want to know where you are.
Sir, you're at home, right?

Speaker 2 (02:14:16):
I'm on Earth, man, you at home?
Where are you, sean?
Sean, are you at home in SouthCarolina?
Sean, are you at home in South?

Speaker 1 (02:14:22):
Carolina Are you at home in South Carolina.
No, I just want you when you'retalking about these people that
don't have taste.
Are you talking about thepeople in South Carolina or the
people in North Carolina?
Because you're in.

Speaker 2 (02:14:32):
South.

Speaker 1 (02:14:32):
Carolina.

Speaker 2 (02:14:33):
Both, both.

Speaker 1 (02:14:34):
Respectfully.

Speaker 2 (02:14:36):
Respectfully.
I just got to see myself doingthe butterfly.

Speaker 1 (02:14:43):
Remember when.
I just got to see myself doingthe butterfly.
Yo, remember, when you do theLike, do the right leg to the
left leg Do you come back and doboth of those?
They wear the black BartSimpson shirt.
First of all, I've never had ablack Bart Simpson shirt.
I was definitely getting moregirls than you In 8th grade
because I knew how to do thebutterfly.
Alright, alright, pull up thesuper chats Because my iPad is
dead.

Speaker 2 (02:14:59):
I didn't land on the second.
On the second, I land on me.

Speaker 1 (02:15:01):
Your ass is still stuck there in low country nigga
, all right, you wear thatYankees hat all you want your
ass in South Carolina, right?

Speaker 2 (02:15:12):
now, oh my God, south Carolina, man Merc City, all
right, so where we, at when weat.

Speaker 1 (02:15:20):
I can't see shit.
All right, mobb Beat with Smoke, outcast East Coast Bias.
No, mad Max, I said that.
We said that yeah, Deuce Falco,Harry Fogg Currency coming soon
.
Well, they've done shittogether before Rhea Love
Currency Currency's consistent.

(02:15:40):
When I Am God talked about whathis plans are about releasing
currency, Currency's consistent.
When I Am God talked about whathis plans are about releasing
projects, currency's the firstperson that I thought of.

Speaker 4 (02:15:48):
You mentioned that during the interview.

Speaker 1 (02:15:50):
yeah, Currency and Boldy, because they'll give you
three, four, five projects ayear and you'll be like man, all
these is bangers.
This nigga's a shit.

Speaker 4 (02:15:57):
The only problem I have with that is people don't
get with it's a microwavesociety.
Have with that is people don'tget with it's a microwave
society now anyway, but peopledon't get to sit with the last
project enough before they're onto your next.

Speaker 1 (02:16:09):
So my biggest fear for somebody like I am God is
that he's not going to get thetime to make it.
It was written, or a reasonabledoubt.

Speaker 4 (02:16:16):
It's a product of the era we're in.

Speaker 1 (02:16:19):
You're going to get two and a half years.
We don't give product of theera we're in.
You're going to give that niggatwo and a half years.
We're going to give IMGOT twoand a half years to make
Illmatic a reasonable doubt?
Of course we're not.
We won't be doing that.
The nigga Big had three yearsto make Ready to Die.
He had three years to makeReady to Die, nigga.

Speaker 4 (02:16:33):
Jimmy Life After Death.

Speaker 1 (02:16:35):
Shit better sound great.
All that shit better soundgreat if you take three years.
It took three whole years.
Shit better sound great.
Shit don't work like that.
No more.
007, ready to die is betterthan reasonable doubt.
What are we talking about?
I don't know, 007.
Tell these niggas, not me.
In real time when something hitsyou you know what it is Cats
had to split the block onreasonable doubt.

(02:16:56):
Guys, this is a fact.
007 is talking about and I wantyou to acknowledge the fact.
When Ready to Die came out,instant classic.
When Reasonable came, doubtcame out, spin the block because
it was about.
It was written Muddy Waters,atlians.

Speaker 4 (02:17:11):
I say Reasonable Doubt was a classic in real time
, though me and Sean talkedabout this yesterday as well in
real time.
I thought it was a classicnobody.

Speaker 1 (02:17:18):
AG.
Respectfully nobody.
This shit dropped around thesame time as it was a classic
Nobody.
Ag.
Respectfully nobody.
When this shit dropped aroundthe same time as it was written,
nobody was calling ReasonableDown a classic AG.

Speaker 4 (02:17:27):
I did.
I'm so far ahead of my time.
I'm about to start another life.
Mind you, I'm about to pass youtwice.
Nah, but for real, I need youto die first.

Speaker 1 (02:17:35):
Die right now.
Die right now and do it.

Speaker 4 (02:17:37):
Listen, I think we're ready to die.
People focus on the singles andthe remixes that weren't even
on the album.

Speaker 2 (02:17:44):

Speaker 4 (02:17:45):
Because a lot of people focus on you know what
I'm saying the One More Chanceremix.
People focus on who Shot Ya.
They're on the remasteredversions of the album years
later, but we've already provedthis on Stationhead.
Like we put Ready to Die headto head where it was written,

(02:18:05):
and it was written Smoke, readyto Die, bro.

Speaker 1 (02:18:08):
Like we talking about I'm not saying that Ready to
Die we talking about ReasonableDoubt okay, or it was written in
Reasonable Doubt, notcomparable it was written better
than Reasonable Doubt to me,and Ready to Die is better than
Reasonable Doubt to me.
But it was written as betterthan reasonable doubt to me, and
ready to die is better thanreasonable doubt to me, but it
was written and reasonable doubtare more close in my opinion

(02:18:29):
you think so?
oh no, fuck that shit.
I think both are better thanready to die.
Really, I do not agree.
I'm sorry.
Where's the?
Give me the loot on ReasonableDoubt?
Where's the warning?
Beat wise, beat wise.
Where is the ready to dierecord like beat wise?

(02:18:52):
I'm talking about the beat likeno.
The production on ready to dieis better.
Big Flow is better than Jay-Z'son ready to die we can talk
about this all day but I justJay is still doing that double
time Jay is still doing thatdouble time fast rhyme flow.
y'all, Y'all are wild.

Speaker 2 (02:19:11):
Let's table this one.

Speaker 1 (02:19:12):
Put ready to die versus reasonable down up.
No, put ready to die versusreasonable down up.
Put ready to die versusreasonable down up.

Speaker 2 (02:19:19):
Let's table this one, because somebody's going to
take this segment and make ashow tomorrow and Saturday and
Sunday.

Speaker 1 (02:19:27):
Look here they making fucking 27 shows with 18,000
followers and getting 300 views.
Look here when you do 22 showswith 8,000 followers and you get
300 views.

Speaker 2 (02:19:41):
nigga you suck.
Nobody cares about your fuckingniggas.
This is my fault, man man man,man.

Speaker 1 (02:19:49):
Cut the 300 view ass niggas off man.
Cut the 300 view ass niggas offman.

Speaker 4 (02:19:53):
Yo Coop didn't take his riddle in before the show,
or he took it with alcohol oneor the other Might worry about
these niggas.

Speaker 1 (02:20:00):
18k with motherfucking 800 views.

Speaker 2 (02:20:03):
No.

Speaker 1 (02:20:04):
What the fuck are we doing out here?
Lord of the Cows, get Around,is a club banger.
Y'all West Coast haters, try totell you.

Speaker 2 (02:20:13):
Coop is a West Coast hater.

Speaker 1 (02:20:15):
I'm the one that said it's a classic on the West
Coast.

Speaker 2 (02:20:19):
But you just also said it wasn't.
No, I said I don't love thebeat.

Speaker 1 (02:20:23):
I said I don't love the beat.
I didn't say it wasn't aclassic to the West Coast.
I said how I feel.
See the feelings that Coop feelis not fucking perpetrated by
fucking hip-hop talks, you seewhat I'm saying and they said
y'all Right, I don't know whathe's talking about.
I said it's a West Coast classic.
Come on, guys, the Chronicthree feet high, low end theory

(02:20:47):
are in the Grammy Hall of Famebefore Nas.
But you were complaining onlybecause reasonable doubt is
going to be there beforeIllmatic.
I mean he's fair.

Speaker 4 (02:20:57):
If you want, to call it that those came before
Illmatic, though.
No, that's what he's saying.
Those albums came beforeIllmatic though.
No, that's what he's saying.
Those albums came beforeIllmatic though.
So that that's a mute point,because Reasonable Doubt came
after Illmatic.

Speaker 1 (02:21:11):
I mean truthfully, is Doggystyle in the Grammy Hall
of Fame.

Speaker 4 (02:21:16):
No, even if it was, doggystyle was still before
Illmatic.

Speaker 1 (02:21:19):
No, no, no, Damn all that Illmatic stuff.
doggy style right alright causelook here you can have your east
coast boom, bap, ass, ilmatic,reasonable doubt conversation no
, doggy style fucking betterthan reasonable doubt.
So fuck that other shit.
How about that?
Next?
Do say falco what I like.

(02:21:40):
Now we have jskis, I God evenartists out here like Dolce.
No, no, no, I love this spaceright now.
Highly talented artists, very,very gifted.
We just want I Am God to getwhere Dolce and yeah, that's
what I'm saying, I Am God is theguy in this space without the
people behind him, like theother people that exist in this
space that we know about.
We just want to get the peoplebehind him because he's just

(02:22:04):
nicer to these othermotherfuckers, if not nicer.
Next, we got more Super Chats.

Speaker 4 (02:22:06):
Alright, fuck y'all.
Good night, I'm out.

Speaker 1 (02:22:08):
No, no, we got shit to talk about, no.

Speaker 2 (02:22:12):
He's finishing off with the boy oh.

Speaker 1 (02:22:17):
Punk-ass nigga ain't sending me my jacket.
That's what the fuck happenedAnyway.
Punk-ass nigga ain't sending memy jacket.
That's what the fuck happenedAnyway.
So Drake and Party Next Doorare going to do what?

Speaker 2 (02:22:26):
What is it?

Speaker 1 (02:22:27):
Sean.
Quarter million units.
Quarter million units 250.

Speaker 2 (02:22:30):
Yes, sir, 250 for the new album.

Speaker 1 (02:22:33):
I mean, let's talk about it, guys.
People are talking about thenumbers being fake.
People are talking about thenumbers being low for a Drake
album.
People are talking about thisbeing Drake overkill and he
keeps trying to get the Kendrickeffect rub off.
Where are we at with all thisbullshit, guys?
I'm so tired of these niggas.
I hate these niggas, Niggas areruining my life.

(02:22:55):
Sean, you go first.
I'll piggyback off what yousaid Taking all the fun out of
this shit for me.
Yeah, sean, we all going takingall the fun out of this shit
for me.
Yeah, sean, we all gonnapiggyback off you no fun.

Speaker 2 (02:23:04):
Hate these niggas, because it's like the weirdest
climate of hip hop when it comesto an album release, because we
wanted to see what this albumdo when it comes to streams and
when it comes to the numbers andall of those things.
Right, and I told AJ yesterdayand Coop I think you and I
talked about this a long timeago about numbers and how

(02:23:26):
numbers can be.
You know they can be masked alittle bit.

Speaker 1 (02:23:30):
Tinker, tinker, tinker, tinker motherfucker.

Speaker 2 (02:23:32):
They can be tinkered all over the place and I'm not a
P&D fan.
I don't know much about P&D.
I'll be completely honest.
I can't tell you three songsthat I can say is in my playlist
from P&D.
So let me start there.
This kind of music is notreally for me.
I'm going to be honest with you.
I can appreciate it for whoit's for.

(02:23:53):
I guess you got to be in a clubscene.
You got to be living thelifestyle that Coop lives to
appreciate what Drake is sayingRespectfully.
That's what I to appreciate whatDrake is saying respectfully.
It's respectful.
You got to be able to live thatkind of lifestyle.

Speaker 1 (02:24:07):
I don't trust these hoes.

Speaker 2 (02:24:09):
You got to live that kind of lifestyle to understand
what he's talking about on here.
Is the album good?
Is it great?
Is it solid?
I think it's none of the above.
I think it's an album.
It's a thing.
I think it's none of the above.
I think it's the album.
It's the thing, right?
I mean, I think it's the thing.
The one that stands out to memost is when he actually rapped

(02:24:30):
and when he made the commentsabout Joe and all of that.
You kind of saw glimpses of theboiler being there.
But everything else it just tome is the run of the mill.
I do feel that the numbers areindicative of Drake more than
they are P&D.
I told AJ yesterday P&D neverwent platinum.

(02:24:50):
I think they went platinum onceor twice.

Speaker 1 (02:24:52):
Never, never been platinum, that's wild.

Speaker 2 (02:24:56):
Hug me as fire, definitely hug me as fire.
But P&D doesn't really move theneedle for numbers per se.
They're more of a gold type.
He's more of a gold type artist.
So that 250 is a good deal ofDrake regardless.
But it also brings down,because you're talking about the
average of what P&D actuallydoes himself as an artist and

(02:25:20):
you're thinking about Drake'saverage, which is around 400,000
, I think close to right AG.
You know this more than I do,but P&D is more around that gold
market.
So you're talking about maybe60,000, 40,000.
And this is P&D's first numberone as well.
So now the law of average iscoming into that.
I say this this is somethingthat Drake had to do from a safe

(02:25:45):
space.
He had to make a safe album onthe heels of the beat.
This was very safe.
This is likened to Jay and JayElectronica doing that joint.
That they did Very safe.
If it fails, it doesn't fall onone side or the other.
The other person doesn't getthe hit.
If it succeeds, that persongets the hit.

(02:26:05):
If it succeeds, drake gets thehit.
If it doesn't, he's still goingto get a hit, but he can always
say well, that's a, that's acollab or project between myself
and pnd, so I'm gonna justleave it at that.
I know, uh, ag really wanted tosay something on this one, so
I'm gonna just leave it at that.

Speaker 4 (02:26:20):
Yeah, you cooked that , sean, Before I even get
started.

Speaker 1 (02:26:25):
Did he cook that?
That's what you said.
You said he cooked that?

Speaker 4 (02:26:29):
Yeah, because he brought up excellent points and
I got some numbers to go alongwith those points.
And before the chat goes crazyand say we're caping for Drake
or whatever, no, we're not,we're just calling it right down
the middle.
And I hate where hip-hop is atnow because if you call
something down the middle, onefan base is going to say you
know, you're hating on theirfavorite artist and you're

(02:26:50):
caping for the one that they'reagainst.
So that's where we're at rightnow, but this is straight down
the middle.
So to Sean's point, with P&Dbeing the artist that moves less
units and Drake moving a higheramount of units Drake's last
album, for All the Dogs, did402K the first week.
Party's Next Door 4 album did37K the first week, which that

(02:27:15):
comes out to an average of justunder 220K.
Right, if you combine those twoare just under $220K, right, if
you combine those two.
And if they're saying thatthey're doing $250K, then that's
right in the wheelhouse ofwhere they should be right.
Because people are trying to dothis comparison of in which we
said that this will happen ofDrake's numbers to Kendrick's

(02:27:36):
numbers on GNX, which was $319Kthe first week.
That's not an apples-to toapples comparison, it's more
apples to oranges.
You know it's not a one to onecomparison.
And if you look at the buzzthat granted, that was a
surprise album, if you look atthe buzz that Kendrick has in
context, if he's only doing youknow what I'm saying like 69

(02:27:56):
grand more than Drake is at thispoint, when Drake is supposed
to be dead in the water off acollab album, then I don't
really think that that'ssomething to really champion for
the Kendrick fans.
It's really not, if I'm beinghonest.
So y'all can say I'm caping forDrake if you want to, but I'm
just calling it down the middle.

(02:28:17):
But here's the thing Collabalbums are very tricky because
you're trying to merge two fanbases together, which both fan
bases have to tap in.
Because this is a situationwhere if you're a big time P&D
fan like you know me and my son,we both rock with P&D heavy you

(02:28:37):
know you'll still tap into thisalbum, or Drake, or vice versa.
But if you don't rock with P& D, you might say you know what,
I'll catch Drake when he drop asolo.
I'm not even tapping in.
I know plenty of Nas fans thatdon't want to listen to distant
relatives, which I think is astellar album, because they
don't want to hear Damian Marley.
They don't want to hear thereggae stuff.
I know plenty of people whohave Jay-Z as the GOAT that said

(02:29:04):
yo, you can keep that JayElectronica album, I'll hear Jay
if he come out with somethingelse.
It's hard to merge those two fanbases but just for some
comparison sake I got somenumbers.
Her loss did 404K the firstweek, which their fan base is 21
, and Drake cross-pollinate alittle bit more than Drake and P

(02:29:24):
and D and they're trying to doan R and B album, which are R
and B album is.
You know, r and B is a dyinggenre at this present day, if
you ask me honestly, nevermind.
That did two oh four K thefirst week for Drake and that
was a house music album and thiswas before the beef.
So it's like if people want tosay because of this 250K that

(02:29:45):
Drake is dead in the water, hedid less than this even before
the beef.
So it's just like it depends onwhat they want to hear from you
or not.
And, comparatively speaking,what I mean about fan bases
merging everything is love Jay-Zand Beyonce.
By name recognition alone, allthe fans that Jay got on the
hip-hop side and all the fansthat she got on the R&B side you

(02:30:07):
would think that would be agreat selling album.
It did 123k the first weekBecause the people who want to
listen to Jay and what hedelivers Are not tapping into
that album because of Beyonceand vice versa, people who love
Beyonce for her music are nottapping to that album because
they don't want to hear Jayrapping.
It just is what it is.
This is what collab albums doVultures $148K the first week.

(02:30:32):
I know Kanye fans that don'tmess with Ty Dolla $ign.
Vultures 2, $107k the firstweek.
So collab albums are kind oftricky.
So for everybody comparing it,even if drake would have outsold
kendrick on this one, it'sstill not a one-to-one
comparison.
It's not an apples to applescomparison.
It's really apples to orangesat the end of the day.

(02:30:52):
But as far as the project itself, I rock with it.
I think it's dope.
You know I'm set a mood likevalentine's day.
You out moving and shaking.
You know I'm saying with yourgirl whatever it out moving and
shaking.
You know what I'm saying withyour girl.
Whatever it's a dope littlemood.
I'm glad that the albumswitched, because it's very much
like a P&D album at thebeginning and then it switches
moods towards the end and givessome different looks.

(02:31:12):
I do like that about it.
But what I will say, and thisis what I'm going to stand on, I
don't think this album was madeorganically, and what I mean by
that is, like Sean said, andthis is my last point, it's very
safe.
You remember when Drake tweetedout or put on his Instagram or
whatever, summer Vibes?
Next, you know what I'm saying,he's making some tunes.

(02:31:34):
He tried that 100 gigs orwhatever.
I think he really started to dohis own solo project and was
throwing out temperature checksand it wasn't coming back how he
liked it.
So I think he pivoted andturned this into a collab album
with P&D, which is ironicbecause it's like, ok, people

(02:31:54):
ain't messing with me rapping soI can fall back into this R&B
bag, but I still need somebodyto stand beside me to make it a
safe bet, a safe play.
And because P&D he's neverreleased.
P&d has signed the OVO.
He's never released twoprojects back-to-back years by
P&D before, but now, all of asudden, you want to do yeah

(02:32:15):
until now.
So now he wants to stand besidehim and put him to the forefront
, like yo, because he needssomebody to stand beside him and
put him to the forefront likeyo, because he needs somebody to
stand beside him at thisjuncture, right, and I find it.
The reason why I say I think hestarted a solo album and
pivoted to the uh collab jointwas because it's six drake solo
records on here.
Out of 20 some songs, one pndsolo record.

(02:32:38):
That's very lopsided for acollab album.
So what those six solo recordstell me is Drake was cooking in
the lab with a solo album andhad to pivot and pull P&D and
say yo, let's make this collabalbum so I can fall into this
safe space of R&B.

Speaker 1 (02:32:58):
Respectfully, I'm going to say something to you
that is a checker's opinion, nota chess opinion, and I'm going
to tell you why Everything thatyou're saying can be looked at
totally differently from adifferent perspective.
And here's why Drake is testingthe waters right now.
Right now, that's why he did anartist with somebody who has

(02:33:25):
been on his label for prettymuch a decade, that has never
dropped material consistently.
He's testing the waters withthis.
This is the first time PartyNext Door has literally dropped
back-to-back projects.
The motherfucker been aroundsince 2014.
It 2025.
So party next door, and likesome new artists that just
popped up, it's been a decade inthe game, but the brevity of

(02:33:48):
music exists because in the ovospace has existed as some sort
of like um outliers, some sortof like, you know, like sunken,
like secret peace, like to thebattleship, like, like like to
win the war.
And so this is drake actuallyusing party next door, very much

(02:34:08):
like kanye used ty dollar sign,in my opinion, only with better
results, because the resultsthat they are getting is
actually the results of vulturesone and two combined in the
first week.
And so I think drake wasworking on a project, but I
think the intention of theproject was to attach somebody
to it, about just seeing how thenumbers would move, to see

(02:34:29):
where he's at in a space wherehe's currently apparently at an
all-time low.
If kendrick is at an all-timehigh and drake is at an all-time
low and 100,000 units don'tseparate them, not even 100,000.
No, that's what I'm saying.
I said under 100,000 units,separate them.
Oh, that would give credence toeverything I'm saying about

(02:34:52):
Kendrick not being like that.
Like I'm saying, guys, youunderstand that all this hoopla,
all this Super Bowl like whoop,whoop, whoop, and Drake can
just pull up with an album onValentine's Day with a
motherfucker that don't dropmaterial regularly and pretty
much sell what you're selling atyour highest moment.
And let's respect the fact thatDrake does have a section of

(02:35:15):
fans.
It is a large section.
Oh no, they fuck with Drake,guys.
They don't fuck with Nicki.
They don't fuck with Nikki.
They don't fuck with Wayne.
They damn sure don't fuck withParty Next Door.
They're like who is thismotherfucker?
They fuck with Drake and theypull up with Drake when they
know Drake is dropping afull-length project Not a
surprise, padraic, a week afteryour biggest rival is literally

(02:35:36):
having the biggest moment of hiscareer.
This is a win for Drake to me,and I am saying that objectively
, because if Kendrick just hadthe biggest moment of his career
and he had it on your back andall he got out of it was 70,000
more sales than you, oh he ain'twinning shit in the battle, and

(02:35:58):
that is what this is reallytelling me.

Speaker 4 (02:36:00):
Let's be clear.
Clear the numbers battle, notthe battle is.
So he won the battle verydecidedly but, but, but.

Speaker 1 (02:36:07):
But what I'm saying is this is how drake looks at.
He looks at it very much theway jay looked at it when he
liked looked at nas.
So even in defeat there's avaluable lesson learned.
So it evens out for me, becausejay already knew that numbers
wise, it wasn't a conversation.
And he's like no, no, even ifyou beat me on some rap shit,

(02:36:28):
I'm still jay, numbers wise.
Hence the reasonable doubtgoing into the hall of fame
before ilmatic, a full two and ahalf years after ilmatic.
You get what I'm saying andthat's's what Jay was speaking
to.
It's like oh no, even if I loseto you, I still win because I'm
Jay and all I've tried toexplain to people.
It's like, oh no, he may havelost the battle, but he's still

(02:36:48):
Drake.
This 250?
That's proof positive, he isDrake.
If G and X did 319, because tobe honest with you, g and X, for
the way motherfuckers play, notlike us, am I.
Am I wrong for saying that itshould have sold double that the
first week?

Speaker 4 (02:37:04):
guys, in context, it was a surprise album, so
surprise albums are tricky too.

Speaker 1 (02:37:08):
You know what I mean Because you had a chance to
double up.
They could have doubled backand made 200.
You're sitting missing.

Speaker 4 (02:37:15):
Everything you're saying is no different than what
I was saying.
The only difference in what Isaid was is, I think that the a
hundred gigs was more so himtesting the waters and he didn't
like the response to that whilehe was making these other
tracks, and then that caused thepivot into the collab.
And you're very correct, he isusing P and D.
You know what I mean and that'sexactly what I said.

(02:37:36):
This is not.
I don't feel like, althoughit's a good project, I don't
feel like it's an organicproject.
So you're not saying anythingfundamentally different than
what I said.
You know what I mean, Because Isay he, you know he's using
them like, hey, come standbeside me so we can make this
project and I can be in a safespace and we'll see what it does
.
So I think that's what it is.

Speaker 1 (02:38:04):
And it's a safe genre because he's not.
He's rapping on songs on here,but it's a r&b.
So when I'm saying, when I'msaying it's a win, that's what
I'm saying.
All things considered, yeah,yeah, that's what I mean.
This is kendrick's moment andall kendrick got to show for it
is doing the super bowlperformance in 70 000 more units
first week than a project.
Listen to what I'm saying, guys.

(02:38:24):
A project Drake is not evenreally thinking about.
Like this was strategic by him.

Speaker 4 (02:38:28):
He wasn't thinking about making this a solo project
, guys, he's competing, butthat's smart to not do an
apples-to-apples comparison,because if he drops a solo album
where there's rapping liketypical Drake stuff rapping with
R&B sprinkled in there orwhatever then that is a
one-to-one comparison with GNXand if he loses that battle,
then it's something that wouldreally be a problem.

(02:38:50):
That happened before with Damnand More Life.
Damn outsold More Life duringthat in real time.

Speaker 1 (02:38:58):
Drake only really loses for what he does if those
numbers come out in less three20 on his next solo project.
That's when the hit happens.
That won't happen.
That won't happen.
I mean, he's been hoveringaround 400 for a minute, so it's
like Kendrick has crept up onhim.

Speaker 4 (02:39:15):
So but that's my whole point with the collab
album and Sean alluded to thatwith the law of averages P and D
is not pulling a big fan baseinto the project, you know what
I mean.

Speaker 1 (02:39:28):
This is all drink.
This is just just organic drinkshit.

Speaker 4 (02:39:33):
But it's a lot of P and D fans that are not tapping
in because they don't want tohear a drink.
Yeah, but but, like I said,it's a tricky thing to measure
because, if I told you just in avacuum, JNBR say doing how Does
anybody know what the numbersfor GNX were after the Super

(02:39:53):
Bowl?

Speaker 1 (02:39:53):
Did the GNX number spike?

Speaker 4 (02:39:55):
His whole catalog spiked Like a little 50, 60, 70
piece.

Speaker 1 (02:39:58):

Speaker 4 (02:39:59):
His whole catalog spiked.
I think his back catalog spikedmore than anything, though.

Speaker 2 (02:40:04):
Everything went up.

Speaker 4 (02:40:05):
Everything went up.
It did so.
He got a spike, yeah, butthat's natural.
It's the Super Bowl, thathappens to everybody.

Speaker 2 (02:40:12):
It's that stimuli from the Super Bowl that's going
to go up.

Speaker 1 (02:40:15):
Yeah, where are we placing the album then, sean?
Where do you rank that actualalbum?
What do you think of the Drakeand P&D album?

Speaker 4 (02:40:22):
He said it was a thing, he didn't even say it was
solid.

Speaker 2 (02:40:26):
I'll be honest with you.
It's off in the corner.

Speaker 4 (02:40:30):
For me for context purposes, in the same wheelhouse
genre.
I think, this is a lot betterthan the Weeknd's album.
The Weeknd's album got highpraise.
It's so similar to the Weekndalbum.
I forget what Weeknd sold thefirst week, but it's similar to
that.

Speaker 2 (02:40:49):
Oh, yeah, yeah, yeah, I think it did.
What did Weeknd sell, you knowhe?

Speaker 4 (02:40:55):
sold the first one, not off the top of my head, but
it was close to around the sameballpark LP said it was off the
top of his head, I thinkWeeknd's beating these niggas.

Speaker 1 (02:41:04):
Yeah, Weekend's beating these niggas.

Speaker 2 (02:41:06):
Yeah, he sold 500K, hold on.

Speaker 4 (02:41:10):
Weekend sold 500K, 500k.
That's the Weekend.
I thought, it was like 300.

Speaker 1 (02:41:15):
I don't know if it was 500.
I don't think he did afive-piece.

Speaker 2 (02:41:23):
I don't know if he did a five piece.

Speaker 1 (02:41:24):
He did more than Drake and Kendrick did.
I know that shit.
Yeah, let me check.
The Weeknd is actually one ofthe few guys out here that's
actually supposed to be movingmore than Drake and Kendrick,
though.

Speaker 2 (02:41:31):
Yeah.

Speaker 1 (02:41:32):
Yeah, he has a whole different demo.
There go LP 490.
It's like yeah.
I ain't remember hearing nofucking 500k, 490.
It's like, yeah, I ain'tremember hearing no fucking 500k
.

Speaker 2 (02:41:41):
Yeah, 490?

Speaker 1 (02:41:45):
490.
Jack's saying 475.
Motherfucker's saying 400k withbundles.
This, that bullshit.
This is what I'm talking about.

Speaker 4 (02:41:52):
It's the bundles.
Regardless of what, I thinkthis is a better album than the
Weekend album, though, because Ithink that's a more accurate
comparison compared to G and X,though you know that's a more
accurate comparison compared toG and X, though that's a rap
album.

Speaker 1 (02:42:07):
Okay.
So let me ask you this, AG whatdid you think of the actual
album, the Drake and P&D album?
We've been doing all thisnumbers talk and all this
logistic talks and all thismaneuvering, all this bullshit.

Speaker 4 (02:42:18):
No, you missed that part.
You missed that part becauseyou wasn't listening.
I said me and my son are bothlike big P&D fans and we love
the album because it's a vibefor, like, if you're out with
your lady, if you're trying tocatch a vibe, I think it's a
good album for what it'sintended to do.

Speaker 1 (02:42:34):
No, no, no.
What I'm saying is okay, solet's look at your demographic.

Speaker 4 (02:42:39):
You are in your 40s.
My son said 490.5 for the firstweek on weekend Okay, 490.5.

Speaker 1 (02:42:47):
So almost 500.
Close to 500.

Speaker 4 (02:42:49):
We'll give him the five.
That's a hell of a good week.
You know that's a hell of agood week.

Speaker 1 (02:42:52):
We ain't going to be petty, we're going to give him
the five.

Speaker 2 (02:42:54):
Different demo.

Speaker 1 (02:42:55):
Different demo True, true what would you listen to
more at this stage in the game?
You listening to that Kendrickmore.
You listen to this Drake andP&B more uh, gnx, gnx definitely
.

Speaker 2 (02:43:07):
Yeah, gnx definitely.

Speaker 1 (02:43:08):
I'm not listening to GNX anymore.

Speaker 4 (02:43:11):
I still got it in heavy rotation.

Speaker 1 (02:43:14):
It's off to rotation it's not guys, it's I mean I.
Okay.
So be, I'm gonna be honest withyou, both of these projects.
To me it's not guys, I meanokay.
So I'm going to be honest withyou, both of these projects to
me, if the guys that areattached to them weren't
attached to them, I don't eventhink I would have even played
them as much as I've played themso far.

Speaker 4 (02:43:34):
I rock with GNX, but what I will say, I don't go back
to it as a whole project andlet it run front to back, but
it's a lot of songs.
I still go back to man.
Yeah, I still go back toWhacked Out Murals man at the
Garden.

Speaker 1 (02:43:49):
I still go back to Luther, Gloria Squabble Up is my
shit.
I ain't even on front onSquabble Up.

Speaker 4 (02:43:54):
Squabble Up is my shit and them is the popular
joints, them the joints I goback to Whacked Out Murals is
dope Whacked Out Murals.

Speaker 1 (02:44:05):
I fuck with.
I'm sorry, guys, I don't feelGNX like everybody else does.
I hear it.
I'd rather listen toPimplebutter.

Speaker 4 (02:44:13):
I wouldn't say it's a classic, but it's a really dope
album.

Speaker 2 (02:44:22):
I did a short on it and I said it's a solid four.

Speaker 1 (02:44:23):
I think it depends on who you're.

Speaker 2 (02:44:24):
I think it depends on your environment guys like
Cooper.
Last time you've been to a clubI know, aj, you don't really go
to clubs like that when lastyou been to a club, cooper, it's
been a while December, so youhaven't really heard anything
like G and X or P and D andDrake in a club.
I think in that environmentluther was spinning.

Speaker 1 (02:44:47):
When I was in the club, luther was spinning and I
mean, okay, so you have tounderstand.
I work in atlanta and so I workin an environment where there
are djs in my spot, so it's likeall right, I hear I hear all
the shit.
I hear lotto and glow and sexyshit that y'all ain't even heard
, not being funny because it'sAtlanta.

(02:45:09):
I'm plugged to shit.
I live in the world where I'mon that scene, but I don't go to
the club, no more.

Speaker 4 (02:45:18):
I ain't been to the club in a handful of years.
I can't even front when I wentto the club, no more.

Speaker 1 (02:45:20):
It's like I ain't been to the club in like a
handful of years.
I can't even front, like when Iwent to the club.
The club I went to is rightnext to my job and the niggas
know me and so, like security islike, oh, it's cool.
Like we ain't about to chargethis nigga at the door, nigga,
work next door.
We about to walk downstairs, welike what?
You Better fucking give me thisshit for free when I fucking
pull up, take care of all youniggas Like yeah, so it's like I

(02:45:42):
don't really go to the club nomore.
But I'm around in that scenewhere I hear and see that stuff
and that's what I mean about itbeing different Guys.
Ain't nobody playing thatKendrick or that Drake like that
down here Atlanta.
Ain't that type of scene wherethe type of shit they just did
really flow down here like that,not like us hit like that.
But I'm going to be honest withyou Between Drake and Kendrick.

(02:46:02):
If you want to talk about arecord that they made hitting in
this city, oh no, outside ofNot Like Us, these niggas ain't
made nothing hitting this citylike that since the pandemic
happened.

Speaker 4 (02:46:10):
Between the two of them.
You talking about what'sringing off in Atlanta, both P
and D and Drake.

Speaker 1 (02:46:16):
I only talk about them niggas when I pull up to do
this shit.
Ain't nobody talking about themniggas in Atlanta like that?

Speaker 4 (02:46:21):
Well I'm asking the question is that 250 just
domestic?
Because, being that both, ofthem are from Canada.
What's that doing in Canada iswhat I would like to know.

Speaker 1 (02:46:33):
No, how about this?
I feel the same way about that319 for GNX.
No, nigga, I lived in Cali.
It's like, oh no, you can do200 off Cali.
On Cali, you can do 200.
You feel me.
So that's what I mean.
It's like, oh, when you talkabout drinking, oh no, I feel
the same way about Kendrick outthere and Cali.
It's like, oh, I don't evenknow how real these niggas is,

(02:47:00):
these niggas.
Ain't nobody in here worriedabout Kendrick or Drake in?

Speaker 4 (02:47:03):
Atlanta.
As popular as this album, asGNX is, it doesn't have the
reach of damn, Like you know,even Kendrick at his height of
beating Drake.
The album in and of itself, GNX, doesn't have the reach that
damn had.
How?

Speaker 1 (02:47:17):
about this?
How about this?
No, when Kendrick dropped down,oh no.
Humble getting played down here, loyalty played down here, love
played down here.
That's what I mean.
Multiple records on themgetting played down here.
Ain't nobody heard no shit fromG and X getting played down
here like that.

Speaker 4 (02:47:35):
But let's be fair, let's be real, it's a very West
Coast hour.
No, the Drake and P&B shit thesame way but we gotta be fair,
coop, cause you was the onesaying that like he needs to
make a west coast soundingbanging album, and he did that,
but you can't fault him for notreaching to the south if he made
something that's a regionalsound for where he's at, though

(02:47:58):
we can't play both sides of thefence like it gotta be one way
or the other.

Speaker 1 (02:48:02):
No, I'm not knocking him for what he did.
He did what he needed to dobecause he hadn't done that in a
while.
That's why I'm like, oh no, that319, wouldn't be surprised if
200 came from cali yeah, so ifthey don't reach Atlanta, then
so be it you know, oh no, I'm,I'm when I when I am saying that
I am speaking factually what isgoing on, as somebody who

(02:48:25):
actually lives and is on thescene in atlanta still live.
I'm not saying that to detractaway from the quality of the
product that he made.
I think gnx is a high qualityproduct.
What I am saying is thedemographic that I exist in.
Oh no, that shit ain't slappingdown here like that and that's
cool.
If it don't slap down here likethat, it's some West Coast shit
.
Let me tell you what Crash Talkslapped down here.

(02:48:46):
It sound like some Atlanta shitwhen schoolboy Q did Crash Talk
.
That's part of why it slappeddown here.
No, kendrick made some shit forthe West, finally.
But what I'm saying is that ifyou actually look at his numbers
, he even might have made someshit for the West too late.

Speaker 4 (02:49:02):
Nah, they galvanized behind that shit.

Speaker 2 (02:49:05):
Everywhere.

Speaker 1 (02:49:06):
Hold on when you're saying they galvanized behind
that.
How many records has it done?
Is it Platinum already?
G and X Platinum.

Speaker 4 (02:49:14):
I don't know, but just the movement in and of
itself.
I haven't seen the West thisactive, with this much energy
behind something since, like youknow know, game was out, or
before that, when death row waspopping.

Speaker 1 (02:49:26):
It's like the energy feel real, but usually in cali,
when the energy feel real, thethe numbers.

Speaker 4 (02:49:33):
That's why I don't like putting too much credence
in the sales, because salesdon't tell the whole story.
A lot of times, even though Ibroke down a bunch of sales, I'm
always a big advocate ofnumbers can make them do
whatever you want to do.
You know what I'm saying theycan tap, dance and do whatever
you know what I'm saying you canmanipulate numbers, they do lie

(02:49:55):
sometimes.

Speaker 1 (02:49:56):
What I'm saying is when the West's behind you, you
ain't going to go platinum,you're going to go triple,
quadruple, quintuple.
You understand that right?
Yes, large markets.
History has shown us like dogfood by the dog pounds like

(02:50:16):
double platinum off Rip Fam.

Speaker 4 (02:50:18):
That was a different time.

Speaker 1 (02:50:19):
That's not streaming there, oh no, oh, no, no, no,
hold on.
If kendrick is who we aresaying, that we he is, I can
compare him to somebody like thedog pound from that era and
it'd be a comparable.
Like I'm not comparing, I'm notasking him to do doggy style I
see what you're saying.
I'm not asking him to do tupacice cube.
Right, I was fair about thecorrelation.

(02:50:41):
It's like like, oh no, dogpound numbers is reasonable in
this day and time.
I'm not asking him to do alleyes on me.

Speaker 4 (02:50:47):
But they got a lot of that Snoop and Dre carryover,
though they got a stimuluspackage as well.

Speaker 2 (02:50:58):
That's how it is.
It's everywhere.

Speaker 4 (02:51:01):
It's a bleed over effect, you know listen to the
nba games halftime.

Speaker 2 (02:51:06):
You hear kindred.
Listen to when you go.
You heard everything from lastweek from the all-star game.
Every cut it was kindred.

Speaker 4 (02:51:13):
Every time you watch a game, which confused me
because, granted, he got thesuper bowl, but, being that the
um, that the all-star game wasin san francisco, I'm like yo,
that might have been a perfect,more of a perfect, situation for
Kendrick to perform there.
Granted, they had, you know,tushor E40, the Legends, sweden.

Speaker 2 (02:51:33):
That's overkill.
I'm not going to do that.
That stage, you don't go tothat stage after the Super Bowl.
You got to, especially withthat group.
You got to that's a downgrade.

Speaker 4 (02:51:42):
Right, it's not like a downgrade.

Speaker 2 (02:51:46):
Especially the way the All-Star game was projected
this year.
They had to stay with thelocals.
They got to stay with those whorocked really hard with the
Golden State Warriors.

Speaker 4 (02:51:53):
That's their.
I got you.
I got you and the game waswhack.
Anyway, the game was terrible.

Speaker 2 (02:51:58):
He has a Anyway, so the game was terrible.

Speaker 1 (02:51:59):
The game was awful.
Yep, double barrel.
Gnx is plat.
Coop.
The owl dropped the dud.
It's okay.
First of all, if GNX isplatinum and we're in February,
that's been three months.
Drake's already a fourth of theway there after one week, so
that's just me.

Speaker 4 (02:52:19):
I don't know if this album is going to go platinum
though Coop.

Speaker 1 (02:52:21):
I really don't know if this album is going to go
platinum, though, coop, I reallydon't.
You don't think the P&D albumis going?

Speaker 2 (02:52:25):
to go platinum?
I do not.
It's going to take a while.

Speaker 1 (02:52:29):
What's the second week?

Speaker 4 (02:52:31):
Honestly, never mind go platinum, because I think
that's an easier track.

Speaker 1 (02:52:37):
Hold on.
Actually, I think a good trackis to say when did GNX actually
go platinum, though, while we'redoing this, Because GNX has
been out for like three monthsnow right, Two months.

Speaker 4 (02:52:46):
Almost three.
It came out in December, rightBeginning of December right?

Speaker 1 (02:52:51):
Yeah, I believe so.
So we're getting close to likeit's been over two months of GNX
.
So what's the numbers Like?
If it's platinum, where?
Where the number is that?

Speaker 2 (02:53:06):
somebody gonna show.
I think lp did say it wentplatinum on gns already, but I
don't know when it went platinum.
But it went platinum okay.
Oh, it had to be no, no, no.

Speaker 1 (02:53:16):
The information sounds so precise and very well
founded, we're just gonna justgoing to go.
I'm pretty sure it wentplatinum.
Okay, 007, the boy's stillrapping, shout out, shout out to
the ghost writer, drake.
I'm just saying you understandhow this shit sounds out loud.
I want you all to listen towhat I just said.

(02:53:37):
It's like well, it's Kendrick,so I'm pretty certain that it's
platinum.
It's like oh, it's like well,it's Kendrick, so I'm pretty
certain that it's platinum.
It's like, oh, it's like isthat what we doing?

Speaker 2 (02:53:42):
Because we would never do that shit with Drake.
All right, appreciate you.
Just send it to me.

Speaker 1 (02:53:46):
Appreciate you it went platinum.
It went platinum on Drake.

Speaker 2 (02:53:52):
When February 19th it's over, that's yesterday,
sean, that's my daughter'sbirthday.

Speaker 1 (02:53:59):
My daughter turned 18 yesterday.
Shout out, sean, that's mydaughter's birthday.

Speaker 2 (02:54:02):
my daughter turned 18 yesterday shout out to my
daughter, sade.

Speaker 1 (02:54:03):
Sean, let me know yeah, yeah, appreciate you, man
baby girl is not baby girlanymore.

Speaker 4 (02:54:08):
Baby girl is a grown ass my son just came and told me
he chimed in live.
When I phoned a friend, he toldme that, honestly, nevermind
did go platinum, in fact inAugust of 2023.
So if that went platinum thehouse album by Drake that nobody
wanted to hear then maybe theP&D album does go platinum.
I didn't think, honestly,nevermind was platinum.

Speaker 1 (02:54:28):
I really did.
You're telling me thatKendrick's album just went
platinum yesterday, so it tookpretty much.
What 10 weeks is what you'retelling me?
So let's see.
So, let's see in 10 weeks iswhat you're telling me.
Yeah, so let's see in 10 weeksfrom now where this Drake and
P&D project is, before we go.

Speaker 4 (02:54:52):
I think that's fair and for Kendrick's height and
all the buzz that he has, thatis a slow burn.

Speaker 1 (02:54:59):
I will say that but is that not fair, though?
So we can pull up and say, 10weeks from now, drake and pnd's
album is platinum, that kendrickdidn't step all over?
This guy, like we think if he'sdoing the same numbers for a
throwaway album with pnd, likewhen people are talking about
drake is over.
No, because people are runningaround talking about drake is

(02:55:20):
over, and all I'm saying is that, well, if he can just do an
album with PnB and just drop itrandomly on Valentine's Day and
do the same numbers as Kendrick,how over is the motherfucker if
this is Kendrick?

Speaker 4 (02:55:29):
they don't tell the whole story.
You can still lose and still bethat guy.
What?
What Jay?
I mean Jay lost, you know,decidedly to Nas but what he
said, niggas thought hobo wasover such dummies, even if I
follow Lando and a bunch ofmoney Y'all ain't got nothing
for me.

Speaker 1 (02:55:45):
He lost.
This is not about Drake losing.
People are acting like it'sover.
Show me that it's over.

Speaker 4 (02:55:52):
Nah, his career is not over.
But see, here's the problem.
People like it's over, even ifit's over as a rapper.
That's what I keep saying Ifpeople say I'm not going to tap
into Drake, no more the rapper.
He has all these otherdifferent bags he can fall back
into.
But the rapping is what I wantto talk about, because we didn't
even touch on that.
On, give Me A Hug, what didy'all think about the bars?

(02:56:12):
That was aimed at Joe Budden.
That was aimed at Kendrick,when he said Kendrick going to
have the girl twerking with thedictionaries like do you think
too little, too late?

Speaker 1 (02:56:19):
I thought it was funny, it's funny.

Speaker 4 (02:56:22):
I don't.
I don't respect the joe buddenbar because he wouldn't respond
to joe when joe was active,rapping at him, and then now
joe's not active, so now some ofthe kendrick snuffed them out
and instead of barking up thattree again, you go and you know
double back and say some stuffto Joe.

(02:56:43):
So that's why I don't respectthat bar and Joe was barring him
up and, if I'm being honest,it's almost like if a tree falls
in the forest, there's nobodythere.
Does anybody hear it right?
I would take Joe's four or fivediss tracks against Drake over
Kendrick's just as far asbarring him up, because Wake and

(02:57:04):
Makin' the Murderer are insane.
He was going crazy.
It matters the messenger,because Kendrick is who he is
and that's why his diss is moreeffective.

Speaker 1 (02:57:16):
You're making my point.
For me, ag, it's like oh well,if Bud's bars were better, why
didn't they hit this communityas hard?
Because this community is themessenger.
This community values Kendrickin a way they don't value Budden
, even though Budden actuallydid the better job of dissecting
and breaking him down.

Speaker 4 (02:57:34):
Let's be real.

Speaker 1 (02:57:35):
Pusha T and Budden have both done a better job on
Drake than actually Kendrick did.
It is just Kendrick wants to dothe job.
That is the part of it where itdoes feel like it is industry
planted.

Speaker 4 (02:57:47):
That's the part.
If Pusher don't have thatsalacious info, I don't think
that Adidon has the impact thatit does if he don't have the
this is what I'm saying.

Speaker 1 (02:58:00):
What Kendrick is doing on Not Like Us is right
out the page of Exodus andInfrared.
It is just Kendrick doing it.

Speaker 4 (02:58:11):
It's just Kendrick doing it.
It's the messenger, it's themessenger.

Speaker 1 (02:58:17):
He's not doing anything, he's not saying
anything.
Button and Pusha T haven't saidyou do understand that right.

Speaker 4 (02:58:22):
We all know those button tracks.
If y'all ain't heard them likebutton.

Speaker 1 (02:58:30):
So people are like, oh no, kendrick is an industry
plant.
It's like, well, if somebodylike push a T and button have
been saying this about the guyall this time time and they have
been landing these topics overdope beats and dope production
and dope hooks for years and ithasn't caught fire, why did
kendrick caught catch fire?
There is something about thatthat does make it seem like it

(02:58:51):
is industry motivated andplanted to take drake out, quite
frankly.
And so when people gravitatetowards kendrick like this, it
feeds that part of theconspiracy, because people like
you who know about Joe Budden'sdisses, people like me who know
about Pusha T's disses like,well, about 95% of this shit has
been said.

Speaker 4 (02:59:10):
Well, taking the conspiracy theories out of it.
And then, Sean, you was goingto say something, but we
couldn't hear you.
Real quick Joe, oh okay Joe,real quick Joe.
And Pusha.
When they did that, they wentat Drake at his height.
When Kendrick went at Drake,people were already tired of him

(02:59:30):
anyway, like he was alreadyDrake.
Fatigue was a real thing.

Speaker 1 (02:59:34):
Kendrick chose the perfect time to strike he took a
page out of Floyd Mayweather'sbook.
What a shock.
You said super chat, sean.
Yeah.

Speaker 2 (02:59:43):
Floyd Das strike.
He took a page out of FloydMayweather's book.
What a shock, okay.

Speaker 1 (02:59:45):
Right, you said Super Chat, sean.
Pack it on what Floyd's ass ifyou would have called him
younger.
Pack it on what Floyd's ass ifyou would have called him
younger.
Ag made me spill my drink, lol,because the Weeknd new album is
Smokin' Drake and P&D album.
Is it now?

Speaker 4 (02:59:57):
The Weeknd album's good People say good things
about that album, but I like theDrake album better.

Speaker 1 (03:00:02):
I fuck with the Weeknd.
Mad Max.
Oh Lord, Dear Lord, let us pray.
Ag Joe got 50 problems now.
Drake, the least of his worriesJoe been having the owl name in
his mouth more than a scornedBM.

Speaker 2 (03:00:15):
Agreed, I agree with Mad Max, no one cares about Joe.

Speaker 1 (03:00:19):
First of all, I'll never admit in public anymore to
agreeing with Mad Max.
I won't be doing that, Thankyou.

Speaker 4 (03:00:27):
Mad Max.
I agree with that.
But that still doesn't negatethe fact that those Joe Button
tracks were fire a handful ofyears ago they were hitmakers
Yoga Fire.

Speaker 1 (03:00:35):
Flame, yoga, fire, flame, mad Max.
See here, mad, don't, mad Max,don't start this Floyd shit with
me.
You know he ran his punk assFloyd, two year olders than Pac.
Stop it, coop, and he still ran.
That's why he ran, because he'stwo years older.
With him in his brittle asshands and little arthritic hands
that he had, he did not want tofight Pac when he got all soft

(03:00:58):
and brittle.
I do not want to punch anymore,I just want to play defense.
Okay, anyway, I Pacquiao whenhe ain't got all soft and burly,
I do not want to punch anymore,I just want to play defense.

Speaker 2 (03:01:02):
Okay, Anyway.

Speaker 1 (03:01:03):
I just want to play defense.
That is boxing to me.
It's like nigga that ain'tboxing to nobody.

Speaker 2 (03:01:08):
It's art, cool Yep.

Speaker 3 (03:01:11):
And just like that.

Speaker 2 (03:01:13):
Just like that Fade to black.
Oh man, yo anything for usfellas.

Speaker 1 (03:01:23):
No, I don't have.
I think we got everything, manalright.
So I want to say more.

Speaker 2 (03:01:27):
The story is GNX is still everywhere.
You hear it in every venue,every major platform, even
though it's not selling.

Speaker 4 (03:01:34):
Even though it's not selling once the tour starts,
you'll see another bump in sales.
Once the tour starts, you willsee it.

Speaker 1 (03:01:45):
Put a cape and a cap on both of you niggas, whatever.

Speaker 4 (03:01:48):
Just calling it down the middle.
I'm not caping for either oneof them.
That's just a fact.
It's a stimulus package.
When you tour an album, thatalbum gets a bump in revenue
sales.
It's just what it is.

Speaker 1 (03:01:58):
Yeah, so what if Drake does the same thing?

Speaker 4 (03:02:05):
he's doing it now.
He's in Australia now it'sinternational, but he's not
necessarily.
I don't think he's touring.
I don't think he's performinganything from this album yet.
At least I haven't seen thatbut that's what I'm saying.

Speaker 1 (03:02:17):
Who's to say he's not gonna just be petty and start
circulating when Kendrick startspopping up at the tour as he
should, as he should?
Who's to say he's not going tojust be petty and start
circulating when Kendrick startspopping up at the tour as he
should, as he should?
Well, tune in next week formore Petty Wars from old-ass
niggas approaching 40.
While you're hearing about someniggas already in their 40s,
this has been Hip Hop Talks.
Yo, some quick shout-outs,shout-out to the chat.

Speaker 2 (03:02:41):
Shout-out to the chat .
Shout-out definitely to thechat LP everybody, miss LB, jack
, you know everybody whoactually contributed to nice
chat.
The chat is always live and weappreciate that.
A lot of Discord family inthere.
Double, we saw some new facesout there.
Reason Hearts from the OVO,jadarian.

(03:03:01):
Shout out to Jadarian.
Shout out to Ernest, who'sactually looked like he's new in
the chat as well.
If you haven't subscribed,please subscribe to the show.
Please make sure that you hitlike and share.
Get the word out.
Join our Discord.
Join our Twitter.
Join our Facebook.
All of that stuff is on thetaglines to the bottom of the
ticker.
We appreciate y'all.
Jack, we'll be bringing backthe press play next week.

(03:03:23):
We want to dedicate this showto.
I Am God for him showing up forus tonight.
We may spend a block on y'allin the next 48 to 72 hours.

Speaker 1 (03:03:34):
Jack, you sit your ass down.
Don't be asking us about ourpress.
Play, jack, you sit your assdown.
We got you next week.
Don't ask about what we'redoing on Hip Hop Talks, Jack.
Don't be asking questions,nigga.
How?

Speaker 2 (03:03:47):
about that.

Speaker 1 (03:03:48):
That's what Sean really wanted to say.

Speaker 2 (03:03:49):
I'm going to say what Sean really wanted to say.
Don't be asking questions.
I don't want no beef with Jack.

Speaker 4 (03:03:54):
Jack is a staple man.

Speaker 1 (03:03:55):
Jack is wild.
Stop cosigning Jack.

Speaker 2 (03:03:57):
Jack's a wild boy, every team need needed, dennis
Rodman, every team, every team.
So again like share, subscribe,get the word out, join the
Discord, join all of our socials, follow us for content, follow
our YouTube page really well, aswell.

Speaker 1 (03:04:17):
When did I become the voice of reason for social
media behavior?
You see the shit Jack be doing,right?
Jack be getting shit cracked.
Jack is.

Speaker 2 (03:04:26):
You be with him, he's one of one.
He's one of one.
You need Jack.
You don't go against Jack.
You partner with Jack.

Speaker 4 (03:04:33):
He's necessary, he's necessary, he's necessary evil.

Speaker 2 (03:04:36):
Stop encouraging this nigga.
Yes, the Jack ring.
So yo, this nigga Jackering Yo.
Shout out to West Virginia,shout out to Atlanta, charlotte,
shout out to everybody in SouthCanada, north Canada, worldwide
.
Appreciate y'all, we out Peace.

Speaker 1 (03:04:49):
Jack, I will smoke you like a pack of loud from
California.
Yeah, I will Jack.

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