HipHopTalks Top 20 Albums in 2024 (11-20), Missionary Review, and Much Much More!

Episode Transcript
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Speaker 1 (00:00):
🎵outro music plays🎵 Yo what is good?

(00:39):
everybody.
Ag, what's up?
You want to do the intro?
Yo, what's good?
Welcome to Hip Hop Talks,episode 48.
We got the homie Sean with us.
We got the homie Koo.
You know what I'm saying On theroad.
You know we want everybody topull up, like, subscribe and
share the channel.

(00:59):
You know what I mean.
We trying to get oursubscriptions up.
We almost at 2,000 subs, so youknow, keep on sharing with
other friends and tell them topull up to the best hip-hop
podcasts out there.
You can also find us on AppleMusic and Spotify in our heart.

Speaker 2 (01:15):
Yes, sir.

Speaker 1 (01:18):
So what do we got going on today?
Gentlemen, I'm currently on theroad heading to Charlotte.
Unfortunately, I have to takegoodbye to some more family, so
handling family business.
So actually, I actually have mymom actually in the front seat
driving right now, and it's kindof funny that she's in the car

(01:41):
because when we get to the Dr,dre and Snoop portion of this
show, I actually have somecomments to make about my mother
which is probably going tosurprise her because she's
probably never heard me say thisbefore.
She's actually going to be partof the show and not because
she's driving, but because ofactual memory I have that
involves Dre and Snoop and her,and it's going to explain some

(02:01):
of the context of some of themixed reviews of this album as
well.
Yeah, peace to Mama Coop.
No doubt I hope you saysomething crazy.

Speaker 2 (02:11):
and she just reached back and slapped you, man That'd
be great.

Speaker 1 (02:13):
I don't even know why , yo, you ain't have a real
childhood.
You ain't have a real childhoodunless you got.
You know your mom may tear arotator cuff, reaching into the
backseat to slap you orsomething.
You know what I'm saying, justswinging blindly trying to keep
her eye on the road.
You know what I mean andlanding every punch.
It was funny.

(02:35):
I was having a conversationwith a couple of ladies who were
actually older than me aboutthis and they was both like,
yeah, I talked to my mama likethat one time.
Yeah, that's all you had Onetime, one time, one time, one
time, absolutely.
But we're doing good, man.
I wanted to kind of start offwith the vibe that I can.
It's kind of actually AG, thisis something that's kind of like

(02:55):
in your wheelhouse and mine.
I'm from North Carolina, you'refrom West Virginia, but Michael
Vick just got named the headcoach of Norfolk State, which I
think is a pretty big deal.
My takeaway from it was thatthis is why you always hold home
down.
I mean, as everybody knows,like the area of Virginia,

(03:18):
michael Vick is from NewportNews.
Bad news, norfolk is not veryfar for those.
Yeah, bad news.
Everybody who's been through VAknow they call Newport News bad
news.
That's where Mike Vick is from,but Norfolk and Norfolk State
isn't too far away.
This is about HBCU giving ablack man who has been

(03:38):
downtrodden typecast definitely,in my opinion, drug too far
through the mud by the media,not saying that he didn't
deserve some of the drag, butjust too far.
And it just reminds me thatwhen you take care of home, home
is eventually going to takecare of you.
This is Virginia's own coaching.

(03:59):
You know, a football team isobviously a legend in the state
and I don't think that he wasgoing to get this opportunity
elsewhere, unlike an EddieGeorge or a Deion Sanders.
I think this was probably goingto be his only opportunity.
So I'm really excited to seewhat he does with it.
What are you gentlemen'sthoughts?
I think it's a dope opportunity.
His name has actually been inthe news a lot lately with that

(04:23):
news, as well as Lamar gettingready, you know, to break one of
his records.
So you know it's been a lot, alot of Michael Vick trending
lately with that.
So you know that's dope to see.

Speaker 2 (04:35):
Oh yeah, especially the.
You know the Michael Vick storyis unique story man.
You know this guy came out, hewas on fire.
You know he uplifted an entirecity.
You know, going to Atlanta andjust changed the entire culture
of football down there and madeit fun Not just for Atlanta but
just for the NFL in general.
Like you have to learn, likedefensive coaches would tell you

(04:57):
all the time, like there arecertain plays that come into the
league that changes how theyplay defense, changes how they
draft, how they change theentire landscape of their
defense moving forward.
And he was that guy, he wasthat offensive weapon that you
had to learn.
You had to go get fasterlinebackers, you had to get
smaller defensive ends becauseyou needed speed up front and

(05:20):
speed in the middle to make surethat you could attain this guy
the best way you could.
And when you even did that, youneeded safeties that knew how
to not only be smart but it knewhow to play you up on that line
and play off of that line,because you didn't know what he
was going to bring.
He was deadly with the legs,deadly with the arm, had a
cannon for an arm and just hadso much potential as to be one

(05:40):
of those.
Then that thing happened.
That happened.
It really put him and hiscareer in a vice grip.
At first, the Eagles who Icannot stand picked him up and
we saw a resurgence For a littlewhile we saw that resurgence.

(06:00):
It was still never the realthing that we saw in Atlanta.
You know what I'm saying.
He couldn't duplicate that inPhilly for the long haul that he
did in Atlanta.

Speaker 1 (06:13):
Not for the long haul , but I will say that there was
a stretch of about 12 gameswhere, if you look at how the
modern day quarterback playsfootball, that stretch of
football that Michael Vickactually played for the Eagles
is the prototype of it, becausethat was the running.

(06:34):
Patrick Mahomes, josh Allen,lamar Jackson, specifically that
style of play that they play isactually what Andy Reid got Vic
to buy into.
But take it from somebodythat's seen him live in Atlanta.

(06:56):
You've never seen nothing likethat on the football field and
this is no disrespect to evenLamar.
But I mean, you guys are highlyintelligent guys.
Neither.
None of us are mathematicians.
Michael vick used to pull runsoff down here in the dome.
That mathematically seemedincorrect.
You get what I'm saying.

(07:17):
What I'm saying.
It's like when you look at theactual angle that he would take
and then look at the linebackers, it's like, well, no, this 250
pound guy runs a four five atthis angle.
He should stop him about fouryards into this play.
Somehow this guy is 17 yards upthe field.
It literally defied logic.
It was one of those things.
He was actually faster than hisfour two speed.

Speaker 2 (07:39):
With the football in his hands it seemed like yep and
so ahead of his time, way aheadof his time, way ahead of his
time, way ahead of his time Wayahead of his time, way ahead of
his time, way ahead of his time.

Speaker 1 (07:47):
I was actually about to say my final thoughts is that
when people talk about him now,I reference another, sometimes
maligned Atlanta legend, andre3000, because Michael Vick is
the prototype.

Speaker 2 (08:00):
That yeah.

Speaker 1 (08:01):
Yeah.
So on to some new music fellas.
Fat Joe dropped a project theWorld Changed On Me, crack, okay
, first of all, crack, somebodyneed to tell crack that he
changed on the world.
The world didn't change on him.
That's the first thing we needto talk about.
I said the nerve of him to namethis album the World Changed On
Me.
That's like look at what you'redoing you've been doing the

(08:25):
last three to four or five years.
You've got a lot of nerve.
But, ag, I'm going to go aheadand let you take the lead.
What are your thoughts on thisalbum that got totally named
backwards While we're in thatbag.
He got a lot of nerve.
I probably got the most kick outof the Chris Rock skit, where
he was talking about hip-hopbeing the first music form by

(08:48):
free black men and he saidnobody exemplifies that more
than Fat Joe.
That threw me all the way off.
I was really confused, I wasbefuddled.
Even I was just like yo, thisis crazy.
It's a word for the night, butfor real, though, this album was

(09:09):
okay.
Joe's rapping didn't soundinspired to me, but what I will
say?
Joe, for as long as I canremember, has had one of the
best ears for beats, you knowalmost bar none.
Like you know, top fiveprobably arguably in rap and
Kool and Dre.

(09:29):
Usually Fat Joe beat-wise is upthere.
As far as like consistent over,you know more than a decade you
got Ross is consistent with theproduction.
Fat Joe Jay's up there.
I I mean it's only so many guysthat, like, really have
consistent production throughoutall the years and I think joe's

(09:51):
one of them.
But, um, but cool and drealways provide them with a with
a dope backdrop.
You know they didn't producethe whole album, I don't think,
but they did a lot of joints butum, uh, they don't get enough
credit in the uh, pantheon oflike, you know I'm saying dope
producers in the modern erabecause cool and dray have
really laced joe throughout hisyear, but throughout his years.

(10:12):
But something on this album forme really didn't connect.
I think it was, um, I mean, itwas pretty forgettable, if I'm
being honest, and I hate to saythat, but you know, for the part
it was pretty forgettable.
Hey, want me to jump back in?
Sean?
Would you like to go ahead andwant to keep the Joe train

(10:32):
rolling?
I mean?
yeah, you want to try to pickJoe up.
You want to try to pick Joe up?

Speaker 2 (10:37):
Give me a second, because I'm pretty sure you get
that.
Look on your face that you wantto say something real nasty
right now.
And, by the way, coop, youcan't get away with that
absolute tweet that you made.
That was foul.

Speaker 1 (10:50):
I didn't see it.
What'd he say?

Speaker 2 (10:52):
I said it was foul.
I told him the truth abouthimself.

Speaker 1 (10:55):
Oh man, I was very respectful when I told him.
I was very respectful when Itold him about himself.
I gotta look for that there.
When I told him about himself,I did.
I got to look for that, dan.
I didn't say that we got tostop enabling these guys.
Speaking of enabling guys, fatJoe, this album's not good.

(11:15):
Okay, this album's not good.
Let me tell you why thisalbum's not good.
First of all, aj, I do hear whatyou're saying about how Fat Joe
is a dope beat picker, but Ithink that is more the version
of Joe that we grew up with thanthe version that exists now.
Some of these beats are just alittle too Miami Vice-ish for me
.

(11:35):
And he's not current.
See, he doesn't sound as goodover some of these productions,
even though the beat selectionis good.
Does the beat selection workfor the artist?
I would say no.
Delivery on this album isterrible.
His delivery is terrible onthis album and I'm going to tell
you why.
He suffered from the same thingthat Busta suffered from with
his terrible album.

(11:56):
Stop trying to keep up withthese kids and do what works for
you best.
It was Drake flows on the album.
Did you catch that?
He was trying to flow likeDrake on a couple of joints?
Oh, I thought he was trying toflow like Drake on a couple of
joints.
Oh, I thought he was trying toflow like Drake, cole and
sometimes Kendrick on this albumand sometimes Future.
I'm like you're just pickingthe popular rappers from this
era and trying to adopt some oftheir style.

(12:16):
That's not you.
When he actually got into hisbag, which was the last two
records of the album, I'm likethese are the two best songs on
this album.
They're at the very end becauseI think he's still.
He's still one of those guys.
It's like, even though he's hada lot of hits, even though he's
had a lot of success, I thinkhe's still kind of like chasing
something.
That's really not for him, like, uh, like a prime mess, like a

(12:38):
prime jada kissing.
It's like that's not your lane.
Jealous ones envy is your lane.
Don carter.
Gina is your name, not yourlane.
Jealous One's Envy is your lane.
Don Cartagena is your lane.
John Blaze?
Crack Attack, that's it.
Remember Crack Attack?
That started off.
Don Cartagena?
It's like.
No dude, you're doing that.
That is what makes it move, andI just wish some of the OGs that
we grew up with would acceptwho they are in the game and

(13:01):
where they are in the game andjust make the quality record.
You guys aren't even making themoney off the music anymore.
Your other endeavors are what'spaying you.
Why are you trying so hard topop?
You're already a legend, you'realready an icon.
Just make the music dope.
This was the thing about the Nasand the Hit-Boy.
Run with the buy-in and it'slike no, I told people all the
time, do I think he's thegreatest MC of all time?

(13:21):
Yes, but the music is what gotme to buy in back in, and I
think he's one of those guys andI mean this as respectfully as
possible.
He's not legendary enough onthe microphone to get you to buy
in at this stage in the game,because it's hard for a black
thought and mouse to pull thatbeat off.
That's fair.

(13:42):
That's fair.
Was was Batman?
One of the last tracks of thealbum, because that was the one
that stuck out to me.
That sounded like most in hiswheelhouse, that that was
towards the end.
That would probably be my thirdfavorite track.

Speaker 2 (13:54):
I literally think the last song to the best song,
it's like like seven or trackseven or eight.

Speaker 1 (13:59):
I know what you're talking about yeah, that was a
nice little sample, but yeah,yeah, that was my favorite joint
, yeah, but I hear what y'allsaying.

Speaker 2 (14:08):
I don't disagree.
I do think that with Joe, yougo to Joe for a specific thing.
He doesn't give you thatspecific thing if it was short.
And, like you said, we go toJoe because we want to hear that
crack.
We want to hear Joey crack, wewant to hear Don Cartagena.
Because we want to hear thatcrack, we want to hear Joey
crack, we want to hear DonCartagena, we want to hear you
know, when he was rappingalongside Hunt and we've seen

(14:29):
glimpses of that in differentspots, right, we saw the Terror
Squad, both of their albums hewas able to do his thing and
held his own.
But to your point, I think, withJoe and this album is not that
long, it's like a 37, 38 minutealbum.
It's not that quick at all.
So if an album is that short,it should have more punches to
it.
I do think the production isokay.

(14:50):
I think that he again Joe got apretty solid ear when it comes
to music, very similar to RickRoss.
He has a pretty good sound, apretty good ear when it comes to
music.

Speaker 1 (15:00):
Look at you give it Ross credit, sean.
I'm proud of you.
First of all, I'd like to pausefor the cause.
We just heard Sean give RickRoss credit, first time this
happened since this podcast hasbeen in existence.
And second of all, I'm going tohave to push back with you guys
.
With this fat Joe and the beatpicking, am I the one that's off
base here?
Am I missing something?
He's like that as a beat picker,is this a consensus hip hop

(15:21):
opinion that he's like up therewith Ross and West Side?
I think?

Speaker 2 (15:25):
that's what carried his discography.
Because you can't really readquite a lot of his rhymes,
because nothing really standsout to you, it doesn't have a
lot of punch to it.
Post Don Cartagena, in myopinion, you know, it's hard to
go back and say, man, you know,thank God for that, white is one
of my favorite joints, you know.
Post Don Cartagena, because hewent crazy, right, but that's a

(15:48):
Primo beat, that's a Primo doingwhat Primo does, right, right,
right.
It's hard to find anything else.

Speaker 1 (15:56):
You want to know what I think y'all may have just
changed my opinion, because whenyou said that Sean about it's
like well, you said that Seanabout it's like well, he's
really not known for his micperformances, and I'm thinking
about all the Fat Joe songs I'vebeen popping my head to these
last couple decades.
I'm like might have a point,got a point Don Cartagena had
some of the best.

Speaker 2 (16:13):
I think Don Cartagena was better than Capital
Punishment.

Speaker 1 (16:18):
Absolutely Production-wise.
Yes, it was more concise, itwas more concise too.
So I Production-wise.
Yes, it was more concise, itwas more concise too.
Okay, so I tell people, thebest songs on Pun's album are
blowing out the stuff on DonCartagena.
But from beginning to end I'drather listen to Don Cartagena.
I've told people that peoplethink I'm crazy.
I'm like y'all are talkingabout Pun's mic performance.

(16:39):
Y'all are talking about thehigh-level songs like Dream
Shatterer, super Lyrical and allthat I was like, but the album.
I told people all the time thatI've got too many skits, it's
too long.
Some of the production is alittle lackluster here and there
.
I don't know if the best isblowing out the best on Joe's
album either, though I thinkDream Shatterer, I think Dream
Shatterer, dream is one of one.

(17:00):
Dream Shadows is one of onethat's what I'm saying.

Speaker 2 (17:02):
Dream Shadows has everything on the board.
Don Cartagena has some of thebest features.
You're talking.
Awesome Features are like.

Speaker 1 (17:09):
Well, I was about to say the pun features, the pun
hook on my World and the punverse on John Blaze is part of
what makes Don Cartagena sogreat.
Yes, yeah, then you got jointwith.

Speaker 2 (17:27):
Nori Misery Needs Company.
Yo, that joint is crazy.
Love that record, jose Luis Yo.

Speaker 1 (17:31):
Nori is one of the dopest non-lyrical cats ever man
.
People know Nori as a podcaster, but we got to do a Discord
dialogue with Nori one day.
Nori got over so much on stylepoints.
It's insane.
I mean, there was a point thatNori was the hottest rapper in
New York and people forget thatit really was.

Speaker 2 (17:47):
It was a brief moment , but it happened.

Speaker 1 (17:49):
Nori and Thad, for a brief moment was like the
hottest thing out.

Speaker 2 (17:53):
And.

Speaker 1 (17:53):
Nori gave Pharrell his big break.
Nori has a lot to give thanksto.
Pharrell has a lot to givethanks to Nori for, yeah, super
Thug is what got them in thedoor.
Yeah, absolutely.
Do y'all see yourselves goingback to this album?
Because me personally, I ran itthrough twice.
I don't really see myselfrevisiting this album anymore.

(18:16):
It'll be 10 months and thecover's nasty work.
Change that cover, no, I knowwhat the cover is that's his
brother man.

Speaker 2 (18:23):
That's his brother.
Oh, I didn't know that.
No, I know what the cover isthat's his brother man.
That's his brother, oh I didn'tknow that.

Speaker 1 (18:26):
See, now I have some context.
Who just goes like, what is thecover?
But for somebody that's dealingwith a lot of loss right now,
it appears to be the theme of myyear.
I can give that a slide.
You want to know what I reallythought about when I was
listening to this album, andthis is my trapped in the 90s

(18:48):
moment.
I'm like this is not the dudethat I grew up with, from
Digging in the Crates withShowbiz and AG and Lord Finesse
and Big L.
This is not that guy, andthat's why I'm talking about the
title of this album.
The world changed on who youwere from digging in the crates.

Speaker 2 (19:04):
He's changed.
He has changed a lot.
This ain't the same joke.
He has changed.

Speaker 1 (19:07):
Remy's verse was dope .
Remy's verse was dope.
I seen what she was trying todo.
Her flow was a little off, butthe bars were there.
I don't want to hear nothingfrom Remy right now.

Speaker 2 (19:17):
I heard the voice before the verse came out.
I changed the channel.
I'm not going to lie.

Speaker 1 (19:23):
Are we canceling Remy Because she's you know street
rocker?

Speaker 2 (19:27):
We listen and we judge, yeah for sure.

Speaker 1 (19:30):
But last question, before we move on to you guys I
said this was the year of the OG.
You know we said Nas had a callto arms the end of last year on
Magic 3 said, called mycounterparts, told them to try
this.
Do you think this is Joe?
Just you know, because he wasdoing his media thing.
Do you think like he was justlike yo?
I got to throw my ring in thehat and, you know, put something

(19:51):
out, and you think it wasn'tinspired, he just did it to be
doing it.

Speaker 2 (19:55):
I think he did it to be doing it Honestly.
I don't think that motivatedJoe.

Speaker 1 (20:03):
He's got so many, he's got such a good
relationship with Kool and Dre.
I do want to say that some ofthis was organic in its shape,
you know, like I think I thinkthe intention was organic.
The execution was not.
The execution was a 50 year oldrapper trying to make 20 year
old sounding records just likeBusta Rhymes, and it's not going

(20:23):
to work for your I'm about tostart saying this more get you a
young dude in the room.
If you're an old rapper, ifyou're really gonna take the Nas
formula, you go get you a hitboy or go get hit boy.
You know, go get somebodythat's about 10 to 15 years
younger than you, that'saccredited like even or or.

(20:46):
The parent just got to bespecial.
You want to know what the bestnon-hit boy Nas pairing actually
the last five years has beenwas Black Thought and Danger
Mouse.
Go get you somebody.
But let's not act like thisdidn't have potential because I
don't know if it was a year agoor two years ago.
He dropped that joint projectwith Dre and that joint was
pretty fire.
I didn't know if it was a yearago or two years ago.

(21:06):
He dropped that joint projectwith Dre and that joint was
pretty fire.
I thought that project was waybetter than this one.
It was, it was.

Speaker 2 (21:15):
It was too obvious, honestly the beats, all the
flips, all of the samples.
It was just too heavy on thatman.
It was just way too heavy onthat man.
It was just way too heavy onthat for me, I understand.

Speaker 1 (21:28):
I went Sean on that one.
Actually it was a little bittoo much for me.
It is better than this.
That's not saying a whole lot,not saying much in my humble
estimation.
If you were even going to dosomething like he has so many
connections, there were so manyopportunities for him to do
something it he he has so manyconnections, there were so many
opportunities for him to dosomething.
It's like I.
I would love to hear, like youknow, you got access to pun and

(21:50):
big l like give me, you know, Imean, give me, give give me a
moment, give me something.
You're too connected to thehistory of hip-hop you're on
return of the boom bap.
You're on krs1's return of theboom bap album.
Like you, you're culturally'reculturally so immersed in this
thing.
Give me some of that cultureout of your album.
Don't just give me the cool anddre like Miami vibe beats.
You know what I'm saying?

(22:10):
That's your style really.
He's the best representative offree black men, that's a fact.

Speaker 2 (22:20):
That's a fact.
That's a difference between himand the GOAT, honestly, because
if you really think about it toyour point, cool, you got fun,
you have fun, you have you gotstories that you can share, but
you can't put those storiestastefully and organically and

(22:40):
make it creative Like a Nasdoing a store run and Nas
talking about reminisce and makeit creative like a Nas doing a
store run and Nas talking aboutreminisce.
you can't do songs like that atthis stage in your career
because Joe was around for along time too, and if you can't
package those kind of storiesand make it appealing for an
audience that was growing upwith you, then, yeah, you're
going to miss the boat all thetime.

Speaker 1 (22:59):
Well, this is why I don't understand the album Sean.
He tells these stories on liveair all the time.

Speaker 2 (23:06):
All the time.
That's a great point.

Speaker 1 (23:11):
It's time to rap about it.
I'm like hold on.
It's like he has so muchhistory at the tip of his
fingertips and it's like youdon't want to share any of this
on the album.
Valid point.
Valid points.

Speaker 2 (23:26):
Valid points.
Some of the stories beincoherent.
Some of the stories be all over.
You all got to stop everything.

Speaker 1 (23:33):
How about this?
Nas has told multiple storieson record about being in Queens
and feeling the pain from thebridges over.
Show us from the Bronx, talkabout the other side of what
it's like when the bridgesoverdraw.
You us from the Bronx, talkabout the other side of what
it's like when the bridge isoverdrawn.
You're in the Bronx when thebridge is overdrawn.
Talk about what it was like forthe Bronx.
You feel what I'm saying.

Speaker 2 (23:52):
I don't think he can articulate himself in that
manner.
He's not a writer.

Speaker 1 (23:57):
Joe was not a writer, that makes me misplund that you
said that when you said that Iwas like.
Oh, I was like, oh, I missedpun yeah, yeah yeah, all right,
let's slide to someanniversaries, if we can fellas,
starting off with a little elefrom buster rhymes, december
15th 1998 um the ele, busterrhymes best album.

(24:18):
That's the same thing I wasgonna ask I think I think it is.
I was going to pose thatquestion to y'all because I
think it is.
I think people refer to whenDisaster Strikes the most, but I
think this is better.
I think so.

Speaker 2 (24:34):
I think this is it.
I think it's still going.

Speaker 1 (24:37):
Yeah, the big song's on here, I mean, put your hands
Hold on, hold on when DisasterStrikes, put your hands where my
eyes can see them, yeah, butoutside of that, I think this
album is smoking when DisasterStrikes.

Speaker 2 (24:48):
This one.
You got Janet Jackson on thisone.
That's big.

Speaker 1 (24:54):
And I might be in the minority, but I'm a big Anarchy
fan too.
I love Anarchy, Anarchy iscrazy Anarchy's underrated, it
doesn't get enough news.
It is Anarchy is underrated, itdoesn't get enough news.
It's in his top five albums.
Very much, very much so.

Speaker 2 (25:09):
Busta will run.
You got to give Busta credit.
He was knocking them out yearafter year.
He was a little run he was.

Speaker 1 (25:21):
But I mean just for me, I still think Becoming is
his best album because I thinkhis two best songs are still on
there Everything Remains Wrong.
Wu Hai still two of his threebest records in my opinion.
And when I look at Ill Vibewith Q-Tip, it's a Party with
John, a Flip Mo Squad meetsDeath Squad.
There's a lot of stuff on theCummins.
I feel like the Cummins didn'tget enough to do.
I'm probably still going tolean on the Cummins and it might

(25:42):
just be my bias for the busterthat I kind of remember and what
it was like.
I think and and this is crazy,and I think this is the thing
that's marked his career all ofthese albums are dope that he
did on this like stretch around.
He never made a top five rapalbum for the year when he came
out like think about it thecomments 96.
Yeah, he doesn't have adefinitive classic album.

(26:04):
We get on the Method man andJadakiss a lot, but Busta
doesn't have one of those either.
His projects are better thantheir projects, though.
His projects are better thantheir projects.
He was consistent, that's fair.
Yeah, he was consistent.
You know consistent B-plus areayou know, and a bigger and a
better hit maker than both ofthem.
Right, but I think the reasonwhy I think ELE is his best

(26:27):
album because he's a morecomplete artist on ELE than he
was on his previous two projects, the Coming and when Disaster
Strikes.
I can agree with that.
I can agree with that.
All the tools that are in hisbag are evidenced in full on ELE
.
It's not just a piece of thebag, it is all the gifts that
you're getting, and not instantfull on ELE.
It's not just a piece of thebag, it is all the gifts that
you're getting, not for nothing.

(26:47):
We're going to talk about sequelalbums here shortly, but I
think that's why he went back toit and named the one album ELE
2, because I think he'sreferencing that as his one.
That's the one that's theclosest For my catalog.
Yeah, if you pick a sequelalbum, you're going to pick the.

(27:11):
You pick your cream of the crop, you pick your manifesto.
He did pick ELE, you're right,not the ELE.
Aj, that's a good one.
We're going to slide to NickiMinaj with the pink print,
december 15th 2014.
To Nicki Minaj with the pinkprint, december 15th 2014.
I'm going to tell you, likeDavid Alan Greer and Damon
Wayans told us on Men On Film,hated it Next.
Keep going, yo.

(27:32):
The views and opinions of Coopare not that of Hip Hop Talk, so
we don't want the Barbz comingfor us.

Speaker 2 (27:38):
We don't want the Barbz coming for us.
We welcome you doing that Coop,though we would love to see
that that would be fun.

Speaker 1 (27:45):
You're all getting together.
The side wasn't no good.
All right, next Go ahead.
What do you guys have?

Speaker 2 (27:51):
I don't know what to say on it.
I know AG probably want topander.
So, AG, what do you want to say?

Speaker 1 (27:56):
I'm not saying anything after that I'm just
leaving it alone.

Speaker 2 (28:05):
I'm just like I'm, just like the whole by himself,
and they hit up his social.

Speaker 1 (28:07):
Hit him up on socials .
It was definitely Queens getthe money.
Because she took everybodymoney and ran yes, she did.
Yeah, this album had too manyfeatures for me, but she was a
megastar by the time thisdropped, like you know, and you
could tell she was leaning intothat.
You know, pop heavy bag and ithad a lot of features.
Heavy bag and it had um, a lotof features.
Uh, not my favorite from her,but you know, this is this is

(28:30):
the transition I feel like.
This is when she stoppedrapping.
That's why I'm not a fan of thealbum yeah, Very, very.
She's a pop star, you know, anddifferent audience.

Speaker 2 (28:39):
Yeah, yeah.

Speaker 1 (28:41):
I mean being a different artist.
I mean the music can't be good.
Music still ain't that good.
But whatever, We'll slide tothe next one Iron Flag, December
18, 2001.
Don't do it, Kool, Fellas,fellas.
He said don't do it, Kool, I'mgoing to leave this.
You want to know what, Sean?
You take the lead.
Go ahead, Tell me what youthink about Iron Flag.

Speaker 2 (29:00):
No, I'll bit underwhelming in real time.
I'm not going to lie.
This album came out in 2001.
Hell, this album came out thesame day as it Still Matters,
didn't it?
It did it still matters, yeah.
It was underwhelming.
I'm not going to sit here andsugarcoat it.
Pinky Ring didn't really growon me until later on, because I

(29:22):
think the W was before thisright.
It was the W in 2000 and thenyou dropped this in 2001 and I
felt like Wu was trying to findtheir feeling on both albums.
I think the W was a prettysolid effort but I think when it
got to the flag, the Iron Flag,I really feel like they kind of
just trying to get theirfeeling back.

(29:43):
You could tell the chemistrywas off.
You could tell they were alldoing their own thing.
Different mindset.
It probably didn't even want toput together this album so soon
because it still was trying tocrank out the solo joints.
You know from those who weren'teven, you know, really out
there like that Right.
And we saw some misses.
Immobiliarity was a missleading up to this.
You know, debt was a missleading up to this.

(30:06):
Golden Arms was a miss leadingup to this.

Speaker 1 (30:13):
There was a lot of stuff going on before this
happened.
Yeah, yeah, yeah.
Speaking of that, what youmentioned, sean, about the album
coming out so quick, oh, realquick.
I mean I left the vinylupstairs.
I meant to grab that vinyl,shout out to my son my son
bought me um iron flag for mybirthday last year.
You know I'm saying my son,george, so he know I'm a wu-tang
fan.
So cop that joy for me.

(30:33):
I appreciate it okay, did youdid you tell your son after you
got the vinyl he could have donebetter, like they could have
okay oh nah, nah, we'll take usfor the children, man, man.
But this was, you know, this waswhen the fall off was clear.
The W you could see signs of itas the group, but the iron flag
was when it was evident that itwas falling off at that point.

(30:56):
But what I'll rebut to whatSean says.
Sean said is I heard half thisalbum around the time the W came
out.
It's weird because a lot of thetracks I think they recorded
during the w sessions andremember kaza, the downloading
site that was around that time.
I had half of these tracks likemonths and months before the

(31:18):
album came out.
So to me that always begged thequestion why do two albums you
know, back to back two years ina row and just put the best
songs together from bothprojects, trim all the fat and
have a real potent album?
Because I remember I did thatat the time.
I like burned the cd, took thebest songs from each and then
just made like one dope wooalbum and it was fire.

(31:40):
But that's kind of the approachthat I wonder why rizza didn't
take that at the time, unlessthey just really wanted to spin
the block the next year becauseit was so many years that went
between Wu releases.
They never did that as a groupbefore come back the very next
year.
So maybe he just wanted to keepthe Wu name buzzing, you know,

(32:06):
in back-to-back years.
But if it were me, I would havejust took the best from both
projects and made one reallydope.
Could have been close to afour-and-a-half, mike, I would
have did that.
Let me ask both of you something.
First of all, we all agree UziPinky rings the best song on
there, right, are we agreed?

(32:28):
I like Reasons, I like DashingReasons.
That joint go hard.
I like Dashing Me.
And my son's favorite song isthe Glock.
We play that joint all the time.

Speaker 2 (32:43):
He loves the Glock.

Speaker 1 (32:44):
Okay, so let's say we were to take Y'all been warned.
Son's favorite song is theGlock.
We play that joint all the time.
He loves the Glock.

Speaker 2 (32:48):
Let's say we were to take.

Speaker 1 (32:49):
Y'all Been Worn Mess.
Go Crazy on that.
That's one of my best, betterverses.
The beat is fire.
If you could pick two tracksfrom Iron Flag, what two are we
taking?
Pinky Ring and what else?
I'm taking the Glock.
Taking the Glock, you cool withthat?
Yeah, that was me and Sean'stheme song when we was chilling,

(33:10):
right when you were chilling atShelby.
Yeah, that was our theme rightthere when we was dealing with
Overzealous Crackheads.

Speaker 2 (33:21):
Talking to AG, we got a crackhead in the corner.
Good thing we brought the Glock.
Oh, I forgot.

Speaker 1 (33:33):
You brought it with the ball Kupo, sorry.
I was definitely looking at AGlike why.
I was looking like, hey, why AGkeep tapping his jack.
I'm like, oh, never mind, oh,okay, I'm going to start looking
around.
I was like, oh, okay, I'm like,oh, never mind, okay, I'm going
to start looking around.
I was like, oh, okay, but yeah,that's my joint, man, me and my
son, we listen to that.
That joint goes so hard, man,we listen to that joint a lot.
So let's say we were to takeGravel Pit and yeah, gravel

(34:00):
Pit's got to go.
Let's say we were to takeGravel Pit.
What's the other weakest songon the W?
Because I actually think the Wis criminally underrated.

Speaker 2 (34:08):
I think so too.
I think over, yeah, inhindsight overrated yes.

Speaker 1 (34:14):
Here's how I feel.
I feel like the W not gettingthe response that it deserved
prompted them to take thesetracks, which I think probably
this was probably supposed to beanother double album, and I
think they was like well, wecan't do that again.
I think the lukewarm receptionto the W from their core fan

(34:35):
base I think prompted them aboutnot trying to suffer the fate
that the duel of the Iron,michael and Liquid Swords is
talking about.
Caused them to do somethingthat they weren't really known
to do, which is to rush aproduct.
And this is the result when thegreatest rap group ever rushes
a product, it's this.

(34:55):
This is what it is, because,truthfully, they would have just
and I was just asking y'allbecause I kind of feel there I
feel like there's about four orfive really good songs on Iron
Flag.
I'm like, well, just take thosetwo or three worst songs off
the W and put them on Iron Flagand you actually have your flag
replanted in this game.
Absolutely, some of it is justrevisionist history and

(35:17):
unfortunate.
Because when I go back andlisten to the W, I'm like, man,
no, hollow Bones is great.
Careful Click, click is great.
I Can't Sleep is great.
Careful click, click is great.
I can't sleep is great.
Let my niggas all these joints,these uh conditioner with snoop
and odb.
It's like no, these records aredope.
It just wasn't into the wu-tangand wu-tang forever and so it
had people feeling like it wasover because of some of the solo

(35:39):
releases.
And I'm and I'm actually goingto be nice today and not include
kappa in that, because kappa'salbum is better than Deck album
and you Got album and all thatstuff.
That was like the dark ages ofWu-Tang Clan and the W was
actually the W and SupremeClientele are actually the
shining light of it.
The rest of the stuff is justnot that good.

Speaker 2 (35:57):
Yeah, and the.

Speaker 1 (35:58):
Ghost Dog soundtrack.
The Ghost Dog soundtrack washard.
It was just the beats.
I was a little mad at RZA forgiving the beats to a soundtrack
.
But Cakes with Kool G rap wascrazy.
But real quick, coop.
I'm glad you brought upCappadonna.
Iron Flag hold a special placeto me because this was the first
time he got acknowledged as anofficial member of the Woo.

(36:18):
He's on the cover, nothing saidfeaturing Cappadonna anymore.
So that was dope.
And out of all the Wu albumsthis is my favorite cover.
You know taking that iconicshot.
See how I give you an inch andyou take a mile.
Hey, man.

Speaker 2 (36:36):
It's Wu-Tang Forever over here Wu-Tang Forever,
wu-tang Forever.
No, I agree that is an iconicshot because that's, you know,
marines on Iwo Jima.
So they kind of owe a day tothe Marines on Iwo Jima.

Speaker 1 (36:48):
Yeah, when my son bought that album for me, like
he knew the reference, I waslike, okay, you was paying
attention to history class.

Speaker 2 (36:54):
Yeah.

Speaker 1 (36:57):
I just I think RZA was in such a.

Speaker 2 (37:00):
Go ahead, Kool.

Speaker 1 (37:01):
Go ahead.

Speaker 2 (37:05):
Go ahead, kool, go ahead.
Go ahead to the RZA point,because I think we're about to
make the same point.
Go ahead.
I think RZA was in such adifferent space musically, man,
because you're talking about theBobby Digital era.
Even you think about the album.
The Sting came out that heproduced and it was just heavy,
heavy digital man, no analog.
He just went away from hissound.
He went away from that RZAsound and he was spearing so
many different things originalconcepts, original music.

(37:29):
Rza's greatest feat to me wasthe fact that he was able to
take one song and make 12 tracksoff of one song.
Sample one song and make 12tracks in different ways.
To me, that's the greatest featthat any producer can do on a
budget.
He's not doing that, no more.
He's actually composingoriginal music.

Speaker 1 (37:53):
And that's beautiful, but this we're going to keep on
saying this about the OGs butwhat do you do best?
Is that what you do best?
You should do what you do best.
We are all taught in life to dowhat we do best.
This is where, when people talkabout money and power and how it
corrupts, well, it's really notthe money and the power that
corrupts, it's the freedom thatit provides that corrupts,

(38:16):
because the reality of thematter is that, well, think
about how many years he had towork analog versus digital.
You're a master at one, you'relearning the other.
Yeah, and that made itinnovative because his resources
was limited.
So you have to be innovative.
You have to be innovative, andas innovative as it was.

(38:38):
Nobody's done more with less,probably production.
What's the phrase?
Go Poverty is the father ofinvention, or something like
that.
I forget how it goes.
It is, it is.
But look at it like this, andthis I do hold against him, and
it probably is what's keepinghim from being the greatest
producer of all time.
Think about the stuff that DrDre made before Suge sat him

(39:01):
down at that board at Death Row,and then think about what he
did when he actually got access.
That's what I'm saying.
Rza didn't necessarily level upwith the access, dream leveled
up with the access, dre leveledup with the access, and that's
why I have them ahead of him.
They leveled up with the access.
You can tell when theirequipment and their stuff got
better and went digital too,then still they knocked it out

(39:23):
the park more.

Speaker 2 (39:25):
Yeah, that's true but you brought up, oh go ahead
Coop.

Speaker 1 (39:29):
My fault, I'm just holding him to his high end
contemporaries.
But you brought up Death Rowand before we go on to the next
thing, I just want somebody toscreenshot this and photoshop
Coop with the vibe cover ofDeath Row, with Shug, pac, snoop
and all the all black with thechains.

(39:53):
Photoshop Coop in there withthe vibe cover.
I just got that request fromone savvy fan out there.
That's all I got to say.

Speaker 2 (40:02):
Yo, we got a couple of super chats.

Speaker 1 (40:04):
Get your gold chains from TrioGoldShopcom, that's all
I got to say Yo, we got acouple of super chats.
All right, Get your gold chainsfrom Triogoldshopcom.
We got a sale going on at theend of the year.
You can get you a Cuban Lincolnor Franco too.
About to put a couple ofdiamond pieces on my Franco
About to drop a couple jewels onthere soon, Coming soon.
Good job, All right, you wearsuper chats.
There you go, fellas Can.
All right, you were super chat.

(40:24):
There you go, fellas.
Can you see AG?
Yeah, what's up to CJ?
The kid would follow our superchat.
We appreciate you.
What's up, fellas?
Bless you guys.
As always, anything I missed?
Um, just cover some new music.
Uh, fat Joe's new album.
And we're going through some uhclassic, uh music Robusta
Rhymes, ELE, Nicki Minaj, PinkPrint, Wu-Tang, Iron Falak which

(40:45):
is not classic?
I'll keep it real.
That's all we've covered so far.
You see the other one.
Oh yeah, CJ the Kid withanother $5 Super Chat.
I'll take Rumble from you.
Got Over Most Tracks on thePillage.
Don't shoot me.

Speaker 2 (41:00):
Dude man, he don't know where to stop.
Man, he don't know where tostop man.

Speaker 1 (41:03):
He don't know where to stop.
You're going to have to stop.
That's going too far.
This is for somebody this isfor me who doesn't like the
pillage.
Like that we're going too far.
We're going too far, darthRowan's on the pillage.
I remember when I first heardRubble by you guys, I was like
what is going?

Speaker 2 (41:18):
on.
Yeah, I got a crazy story aboutit.
Yo, t2 is crazy.
Man, shout out to T2, man, t2'snew album is all.

Speaker 1 (41:31):
You know T2 is one of those guys.
You know what T2 is.
T2 is the guy.
He's the most hated guy on theteam that you play, but as soon
as he becomes your teammate,he's your favorite person.
He's your favorite person.

Speaker 2 (41:44):
He's like Metta World .

Speaker 1 (41:45):
Peace he is.
He's our test.
Yeah, he is Right.
It's like man.
It's like I can't stand thatguy.
It's like he play on our team.
It's like we about to win thechampionship.

Speaker 2 (41:52):
Right.

Speaker 1 (41:57):
So you two is hip hop talks.
Ron our test, yes, yeah.

Speaker 2 (41:59):
That, that's right, yeah.
From the bridge Ain't I?

Speaker 1 (42:03):
test from the bridge.

Speaker 2 (42:04):
Yeah, I test from the bridge.
I test from the bridge.

Speaker 1 (42:06):
You can tell from how he play basketball Definitely
play basketball like he had apistol in his hand All right,
that's what we do Go ahead, goahead.
Cj the kid with another photoof Super Chat, Appreciate it.
I was going to say, Coop, I seeyou with the firm fit in the
car.
Be careful out there.
What am I going?

Speaker 2 (42:31):
to do All right.

Speaker 1 (42:36):
The last anniversary we have.
Don't believe that I'm saying.
This is actually my favoritealbums of the one that we've
mentioned so far, which is LupeFiasco's the Cool, which was
released December 18, 2007.
Guys, I would just like to sayI think this is still Lupe's
best album.
I think so highly of this album, guys, and I'm never going to
stop glowing about it, even if Idon't always agree with some of

(42:59):
the personal aesthetics andthoughts and feelings of the
person who made the album andthoughts and feelings of the
person who made the album.
I consider this album to beIllidel by Midnight Marauders.
Stakes is High level type ofalbum.
It's better than anything.
Most definitely quality did, inmy opinion, and that's together
and solo Go.
I agree with you, kool.

(43:19):
It's crazy because it's notstated enough how Lupe dropped
back-to-back classics, because Ifeel like Food and Liquor is a
classic, but the Cool.
I don't think I would beoverselling it if I said this is
a brilliant album, likeconceptually, from front to back
, this album is conceptuallybrilliant.

(43:42):
Man Lupe, as a writer, is inhis bag on this album
storytelling, deep concepts, um,the beat selection that he used
, flow and pocket, like thisalbum literally has everything.
This is lupe at his zenith.
So, yeah, I'm with you, coop.
Out of all the uh, you knowones that we just named so far,

(44:02):
this has been my favorite at theanniversary so far.
I played this album more thanany album that came out in 2006,
2007, and 2008,.
With the exception of Hell,half no Fury by the Clips.
That's how highly I thought ofthis album.
If my daughter could remember,she would be a Lupe fan, because
when she was a baby, this wasthe album that played in the car

(44:26):
with her the most Cause.
Even when I was younger, it'slike I don't want to be playing
all this, all this trap dope boymusic, for let me go ahead and
put on the cool why baby girl inthe backseat, and so that that
was what I used to ride to manit is.
It has some of everything.
It has hit records.
It has thoughtful conceptualrecords.
It has thoughtful conceptualrecords.
It's got far work out of thisworld.

(44:46):
Go Go, gadget Flow and Dumb itDown is, lyrically, some of the
best stuff you'll find.
This side of a, I feel like theend of their first prime, jay
and Nas' prime.
I actually thought this was theguy that was lyrically about to
take the mantle.
When I heard this album I waslike this, this is the guy.
This is the guy, because dumbit down was the first rap record

(45:07):
I heard.
I'm like nas can't make thatrecord, sign me up for him next.
Yo cool, yo get out of my head.
Man for real, like that serious, like it sounds crazy to say
this now, but when this albumdropped I remember I was telling
a lot of my friends like thisguy is the perfect hybrid of Jay
and Nas.
He can make a hit sounding yeah,man, he can make a hit sounding

(45:31):
record effortlessly flows,always in pocket cutting through
the tracks.
But he's really deep as awriter conceptually.
You know what I mean, if I everyou know, I feel like you know,
jay and Nas are really not evensimilar.
They're both great lyricistsbut they're not even similar.
But I think if they ever hadlike, if they ever had a baby,

(45:53):
so to speak, lupe around thistime was the perfect hybrid
between those two MCs as far aswhat Nas is great at and what
Jay is great at.
So this is the greatestcompliment I can pay him.
Everybody looked to those twoand bought and took from those
two From his era.
He is actually the person thatshowed himself the ability early

(46:14):
on to apply it the best, andthat is the highest praise I can
give any MC Like from his wholelike.
That includes TI Wayne, gainRoss, like all those guys.
It's like, yeah, he was the guy, but after this album he went
somewhere else.
But his trajectory was at thistime he was the perfect hybrid
between the two.
I thought I was hearing apotential top 10 MC all the time

(46:37):
.
When I heard Goddamn Listenin'to the Cool, I'm like, oh man, I
was like this dude, keep thisup, he's going to be up there,
up there, up there.
When it's done, he's notmissing anything.
Because it's hard to keepsomebody, it's hard to make a
Paris Tokyo, a Dumb it Down anda Hip Hop Save my Life in one
album.

Speaker 2 (46:54):
But you won games.

Speaker 1 (46:55):
Yes, it's really the coolest.
The record's the coolest.
Oh my God, crazy, crazy, crazy.
Five mics, easy, easy five micreally the coolest, the record
the coolest, oh my god, crazy,crazy, crazy.
Five mics, easy, easy, five,more five so what happened to?
him.
That's what I.
He wanted to be too smart andwrap over everybody's heads.

(47:18):
It's, it's right.
It's like game said see, Istayed the same, didn't go weird
like Lupe when he said that.
I was like, oh, he shouldn'thave said that, but it is the
truth.
He just went too far left.
He just went too far left and,to be honest with you, it wasn't
until these last couple ofprojects that he really started
to come back to give ussomething palatable, not

(47:40):
something like you have tounderstand what palatable means.
It means something that, beyondus as hip-hop heads, we're
going to listen and sit down anddigest and talk about all these
entendres and this cornucopiaof metaphors and similes and
alliterations and bar work thathe uses.
But at the end of the day, thepeople that are not like us are
like yo is the record dope andit's like a lot of the time with
him, the answer has been no.

(48:05):
Lupe knows how smart he is, andI think after this album, he got
to be focused on trying toprove that.
Take it from somebody that hasoften been the smartest guy in
the room too.
That shit is overrated.
Lupe, please make some fireshit, let's go.
The music gotta sound good.
The music gotta sound good.
That was always the buy-in.
The buy-in was always.
It wasn't even about remember.

(48:25):
It wasn't even about likeremember.
It didn't always used to beabout can the guy rap?
Can the guy not rap?

Speaker 2 (48:28):
It's like can he make a?

Speaker 1 (48:29):
dope song.
Can he make a dope song?
It was to connect.

Speaker 2 (48:33):
I've always wished that Lupe would have got into
the studio more often with Kanye, Because the Lupe that we saw
on Touch the Sky and then you gointo this album and you see
what he can do he needed somedirection.
He needed the right people inthe studio with him.
He needed a family to put theirarm around him.

Speaker 1 (48:52):
Do you think let's say Lupe does?
I love that, sean.
Let's dig on this real quickbefore we slide.
Do you think what does Lupe'scareer look like if, instead of
Common getting B and findingForever, that goes to Lupe?
What does a career?

Speaker 2 (49:09):
look like.

Speaker 1 (49:10):
Y'all forget.
They were supposed to make analbum that's CRS Child Rebel
Soldiers.
It was supposed to be Kanye,pharrell and Lupe.
They were going to make acollab album.

Speaker 2 (49:18):
They got derailed.

Speaker 1 (49:20):
Circa 2000,.
I want to say 10?

Speaker 2 (49:25):
I think it was 8 or 9 .

Speaker 1 (49:28):
Okay, but yeah, they were in deep talks of making an
album, but it never came tofruition.
First of all, when Kanye talksabout making an album, I don't
believe it.
The same thing happens withPharrell.

Speaker 2 (49:40):
This one, Kanye, was still.
You know.
I don't know if he was everthat, but he was ever that.

Speaker 1 (49:45):
He was close to it, he was close to it, man, that
future Metro album has turnedout to be the best rap album of
all time.
We can't trust you.
All I had to say to everybodywas we can't trust you, Can't
trust that.
We still can't trust you.
Still can't.
Speaking about people.
You can't trust Skip Bayless,that's right.
Speaking about people.
You can't trust Skip Bayless,that's right.

(50:06):
Skip Bayless interviewed LilWayne.
This thing is crazy.
But Skip Bayless interviewedLil Wayne guys and Lil Wayne had
some insightful things I guessyou could say.
I mean, it'd be so hard to callthe stuff Wayne say insightful,
because it's like 50-50 whatyou're going to get when you get
a Wayne interview.
Because it's like 50-50 whatyou're going to get when you get

(50:28):
a Wayne interview.
But I hate this humble downplayapproach that he is taking with
this.
But, fellas, tell me what youthink about just the Wayne
interview with Skip and just thethoughts about the phone call
of Kendrick, his thoughts aboutthe Super Bowl and all that.
I didn't like it.

Speaker 2 (50:42):
Can we get these two super chats real quick before we
answer that?
Sure, all right and all that.
I didn't like it.

Speaker 1 (50:46):
Can we get these two super chats real quick before we
answer that?
Sure, cj the Kid, yo appreciatethe $20 super chat he says.
I was in my music schoolanniversary party and a DJ told
me the best I played made himwant to cry.
I never thought I'd hear that.
I'm sharing it here because youguys are on the journey with me
, yo, that's dope CJ.

Speaker 2 (51:06):
Appreciate that.
Forget your journey man.

Speaker 1 (51:08):
Yo, that's crazy.
Sean Yo Esquire yo.
Peace bro.
Thanks for the $5 super chat.
His situation with Atlanticjaded him with lasers released,
that's true.
Since then he made a consciouseffort to go as left as possible
from that point forward.
That's very correct.
Shout left as possible fromthat point forward.

Speaker 2 (51:27):
That's very correct Shout out to CJ.

Speaker 1 (51:29):
Sean, you want to take the Wayne thing first?
Excuse me for one moment.

Speaker 2 (51:34):
Yeah.
I don't like this man, wayne,acting like he didn't know that
all the fun was for him.
He acting like he didn't tweetout.
You know, while y'all messingwith me, leave me alone before
you wake up the dragon orwhatever he said.
I don't like that man.
Like you get on there with Skipand you're acting like you know
.
You're oblivious to all of this.

(51:55):
You know what I'm saying, thatyou're oblivious to what's going
on around you and you're not,I'm sure.
And you, if he didn't hear thesong, like you said, he didn't
hear the song.
Someone in his circle told him,which I believe, like someone
touched you.

Speaker 1 (52:11):
Like you know, like Did you hear it, you got it.

Speaker 2 (52:14):
Someone in your circle even if you didn't hear
it, someone in your circle toldyou.
You're not that, you're notthat In reality, come on, come
on, this is stuff that I don'tlike.
Man, you realize you might nothave it and you realize you may
not want to get into the ringwith Kendrick at this time.
Just admit to that, it's okay.

(52:35):
It's okay, I hate that.
I don't.

Speaker 1 (52:40):
First of all, I think more highly of him getting with
Kendrick in the ring than a lotof other people do.
I have him ahead of Kendrick.
I do think he's a better emceethan Kendrick overall, but no,
wayne, I have Wayne overKendrick.
Oh, wow, yeah, I do.
It's too much.
It's too much.
How about this when you takefive years off and then come

(53:02):
back with a subpar product?
Guys like Wayne, I will not letyou jump over.
No, no, no, not Wayne, not withall, no, not with all those
albums and mixtapes and versesand surviving eras and being
part of one of the greatest rapcrews of all time.
It, like it even has a culturalicon is still a way bigger
impact than Kendrick.

(53:22):
There's not a lot of Kendrick'srunning around.
There's a whole bunch of Waynesrunning around.

Speaker 2 (53:27):
There's a lot.
There's a lot of them.

Speaker 1 (53:30):
That's a good thing.
I didn't say it was a goodthing, but I don't love his
comments.
I've never been a fan ofWaynes' interviews because so
many of the interviews have beennonsensical that it's hard to
tell the difference between thetruth and the lie.
I am like you, sean.
I'm like well, I've heardenough about you.
You know through circles toknow that.
Do I think that you heard thisrecord?

(53:51):
No, I don't think you heardthis record, but I know the
people around you heard therecord and played it for you.
So why are you playing?
Why are we playing?
You heard this record.
Why are you playing like youdidn't hear this record?
You heard this record.
Why are you playing like youdidn't?

Speaker 2 (54:06):
hear this record.
Somebody played the record foryou in the studio.

Speaker 1 (54:08):
You live in the studio.
People be forgetting like thatis like there's a world of us
out here that have like been inrecording studios and lived in
recording studios and we are thepeople when he says that we are
looking at him like now fool.
You know what we do when we'rein the studio.
We talk about each other, welisten to each other's music on
downtime and some of the homiesis always coming up with
something new.

(54:30):
Half the rap beats that I foundout about I found out about when
I was recording in the studio,because somebody walked into the
studio and was like oh yo, suchand such just dropped this
record.
Don't stop acting like that.
Don't happen.
That happens to you.
Right, and just say, like youknow, I heard the record.
I didn't love it.
I reached out to him about it.
I'm not happy about the SuperBowl thing.

(54:51):
Jay screwed me over.
Keep it a book.
Keep it a book.
Like you are one of our goats,you are one of our icons.
It's like you do have the rightto say those things.
Stop doing this whole coy17-year-old Lil Wayne thing.
You're 47.

Speaker 2 (55:09):
I didn't know he was going at me.
I ended up following him.
Come on, don't do that.
You know what I don't likeabout it more is because he
mentioned that he calledKendrick and congratulated him,
said you better kill it.
But on the other side of thatthing he was talking about like
yo, I'm disappointed becausethey didn't look out for me and

(55:31):
let me do it.
Which one is it?
Which one is it Because you gotthe Barbz and you got Nicki.
You got everyone on your backlike saying yo, we got your back
, this is Rome.
You know they're going atKendrick and Jay and everyone
who's responsible in their mindfor this.
For the strength of you, youcome out on Skip Bayless'
platform and you're saying Ididn't know he was going at me.

Speaker 1 (55:56):
I didn't hear that.

Speaker 2 (55:56):
I don't know what you're talking about.

Speaker 1 (55:59):
He tweeted out the same day.
The album dropped like leave mealone.
He tweeted.

Speaker 2 (56:04):
Again.
Maybe he was hot, I don't know.
I don't want to put that on him, but maybe he was hot, I don't
know.
But to Kool's point, artistsknow who artists are talking
about.
No exception to the rule, youknow.
You have an idea.
If someone says something aboutyou, whether it's subliminal,
whether it's direct or whatever,you know people in your camp

(56:27):
are telling you.

Speaker 1 (56:28):
There you go.
Yeah, if you don't hear itdirectly, it's going to get to
you one way or another.
I mean, this is what I mean.
Think about this Y'all rememberthat classic J and Nas picture
where Nas is in the blue bubblecoat.
I remember the first time I sawthat picture I was like, oh,
these guys are petty.
I was like both of you guysjust got here.
I'm already hearing you talkabout each other.

(56:49):
Y'all are taking picturestogether.
I'm like get out of here withthis.
That was 1997.
That was 1997.
That was four years before itquote unquote popped off.
I'm like nah, it been popping.
It was popping on day one.
It was when it popped off whenJay showed up.
When Jay showed up, that's whenit popped off.
Why are we acting like itpopped off when Jay showed up?
Yeah, it did, because guesswhat?
Nas was supposed to come to thestudio and record.

(57:10):
The record Didn't come.
Jay didn't like it and it'sbeen something ever since.
Yeah, facts.

Speaker 2 (57:17):
And that's one of my biggest pet peeves.

Speaker 1 (57:20):
They said it too.
They ain't never said it either.
That's why I'm talking.
I'm so sick of these dudesdoing this every single time.
It's like just tell the truth.
Yeah, that's, that's one of mybiggest pet peeves of any rapper
to act like that.
They're so out of touch andthey don't listen to nobody else
.
I think it was a thingcirculating a couple years ago.
Kendrick said he don't even owna phone.
Like you know what I mean.
Like I was just like no, it wasthing.

(57:42):
Like Kendrick said he don't owna phone and like Wayne acted
like he didn't hear this track.
I'm just like yo man, stop thecap.
Like Coop said, just call itwhat it is.
But I did see a lot of peopleonline.
I'm not a Skip Bayless fan soI'm not shooting him, no bail.
But they were trying to saythat Skip was clout chasing,
bringing Wayne on there to jumpoff his show.

(58:04):
But you know I can't say thatlike Skip and Wayne have been
friends for a long time, so thisis not a clout chase move by
Skip Bayless.
They actually have a friendlyrelationship.

Speaker 2 (58:15):
So yeah, I don't think that was clout, because
they are really close, right,because, oh, I don't like it
goes, I don't like it.
That's why I respect as much asI didn't like Cam back in the
day when he was going at Nas.
You got to respect the factthat Cam and those guys, they

(58:35):
were fearless, they didn't care.
You say their names, you'regoing to get a response.
You say Game's name, you'regoing to get a response and he's
not going to stop.
That's what happened with 50.
He went at 50 at the time whenG-Unit was on the top of the
mountain.
He didn't care If Kendrick wereto say the same thing to Game
that he said to Snoop.
If he would have said, you know, game shit, and I posted the

(58:58):
song or whatever Drake's songGame would be on his head the
following two hours straight up.
He wouldn't.
He doesn't care.
I respect that.
I respect that more than sayingI don't know what's going on.
I didn't hear.
Yeah, I don't respect.

Speaker 1 (59:12):
That's crazy well, what I gotta ask you guys is how
much do you think it was allcap that joe button was saying
on his podcast?
Or did he just get fed wronginformation?
Because I found that hard tobelieve.
I think I said on this show,like some weeks ago when he was
like Wayne is in the boothbecause enough of a response.
I said that's hard to believebecause push the T was going at

(59:35):
Wayne for years and Wayne neverwent in the booth really on, you
know, on pusher.
So why is he going to do it nowbehind this Kendrick situation?

Speaker 2 (59:41):
I texted you when that happened.
I texted you when that happened.
I said yo.
I said Joe is saying something,but that's not happening.
I was in when that came out andWayne was not nowhere close to
a booth.
He wasn't.
Even the people that's close toWayne was telling Wayne to stay
away from that, for right nowdon't engage don't engage you

(01:00:04):
can't engage Kendrick right now.
It's too dangerous.
I know I see what you're doing,but I'm just saying it's too
dangerous to engage Kendrickright now.
If anybody who could possiblydo it because of his fame was
Wayne, he had a puncher's shot.

Speaker 1 (01:00:24):
Yeah, but Kendrick's the new people's champ.
Wayne was the people's champbefore and he's not anymore.

Speaker 2 (01:00:29):
Bingo, bingo, bingo.
But they don't hate you, right,right.

Speaker 1 (01:00:36):
They don't and what I would submit to you and this is
, of course it's always going tosound shady and petty coming
from me when I'm talking aboutKendrick Is GNX really staying
in people's consciousness likethat?
Outside of Cali, I'm stillrunning the album personally.

Speaker 2 (01:00:52):
It's out there, it's still moving, it's still moving.

Speaker 1 (01:00:57):
Coop, it's still moving.
No, no, no.
I'm asking legitimately becauseI haven't been active because
of the personal stuff to reallykeep track of how the team leads
have been going for the lasttwo weeks.
So I am sincerely asking like,oh, how is it moving?
Because just for me, let'snever forget the J move on
Prodigy.
As soon as he realized H&S hewasn't moving, he was like, oh,

(01:01:19):
let me go hit Yank, yeah.

Speaker 2 (01:01:22):
And again position oh , he's still with this.
Again position oh, he's so this.
Okay, he's not there, he's not.

Speaker 1 (01:01:27):
yeah, yeah, let me go let me go ahead and pull his
card.
What I'm hearing the most, youknow I'm saying just on
different things, and moving andshaking like a squabble up is,
of course, making a lot of brownsteel.
The title track, which I'm nota big fan of, gnx, that's
getting a lot of play.
And uh, gloria, gloria isgetting a lot of play as well.
So, yeah, gloria, in my opinion, is probably the best song on

(01:01:49):
there.
Squabble up is my favorite songon there.
I did give both of those songsa five and so I'm I'm with if
those records, if those recordsare still spinning them all for
those, because I do think thosetwo records are the closest
thing that he has to a greatesthits.
Something on GNX which MrMorale has none of, which was my
problem.
I'm like, no, there's classicstuff on this GNX, never going

(01:02:14):
to let it go, going to be pettyfor life.
I'm going to be petty for life.
Shout out to Wayne.
No, not shout out to Wayne.
No, wayne.
No, not shout out to Wayne.
No, stop being so nice to theseguys.
This is rap.
I want to finish you with love.
Speaking of love, I love totalk about this guy.

(01:02:36):
J Cole did Madison SquareGarden.
Now, if he can only do aclassic rap album, keep going.
Guys.
J Cole at the Garden, yo dopeshow at the garden by.
J Cole.
Now, if you can only do aclassic rap album, keep going,
guys.
North Carolina J Cole at theGarden.
Yo dope show at the Garden by JCole.
Like was able to stream thatjoint live because you know
subscription to the Inevitablepodcast, so got to stream that

(01:02:56):
joint.
I subscribed so that I couldsee the show and so that I could
hear those bonus tracks.
So I didn't see the show.
Yeah, yeah, the joint was dopeUm and the setup.
He gave out 500 free tickets uh,prior to the um people to come
see him rehearse.
And then he had the um 2014tickets that were for a dollar

(01:03:17):
to keep the dollar in a dream um, uh theme going.
But the show itself he, ofcourse, he performed uh 2014
force heels driving full.
But he did a littleintermission in between to
perform his hits.
Like you know, workout and uh,power trip and um.
You know I'm saying otherjoints like uh can't get enough.
He did that and um outside ofthe hits.

(01:03:40):
The biggest highlight of theshow for me was he went into his
mixtape bag.
He just dropped those mixtapebag.
He just dropped those mixtapeson streaming and he did joints.
Like you know, off the warm up,like grown simba.
He did joint off.
Uh, friday night lights, um, uh, two-face.
Two-face is one of my favoritej cole songs of all time.
So when you're really in frontof your base, these are not a

(01:04:01):
quote-unquote like hit recordsor um, or they're deep cuts.
Like I can't explain how hype Iwas when I was at a nas concert
and he did.
You know I'm saying take it inblood, or he did.
You know I'm saying um, youknow joints like that.
You know joints from the losttapes.

(01:04:22):
I think he did Purple, do Ragsand one concert I went to.
Like when you're in front ofyour bass and you can pull deep
cuts like that, that meanssomething.
And he's performing a mixtapejoint in the garden in front of
like 20,000 people.
That's dope.
But yeah, and he did 2014Forest Hills Drive in his

(01:04:43):
entirety.
The stage set was dope to looklike his house.
It was on a slant.
He about fell once.
Well, he did fall Coming offthe slant one time.
That joke was kind of funny.
But yeah, dope show overall, hekilled it.
He repped in the garden.
And just the simple fact thathe chose the garden because a

(01:05:04):
lot of his roots are based inNew York.
When he was living in Queenstrying to get his deal Like.
So that's dope in itself.
The DJ I can't think of hisname, but he opened up with a
set playing joints from eachborough, you know what I'm
saying.
He was like I know I got peoplein here from other places, but
this is New York tonight, youknow what I'm saying.
So I mean it was a very NewYork-centric show and that just

(01:05:28):
shows the love that Cole has forNew York and shaping his career
and I thought it was reallydope.

Speaker 2 (01:05:34):
It's dope man Sean what you think Likes please,
likes please is my joint.
I've always loved Likes pleaseand he performed it.
The fact that people were inthe audience actually reciting
lights please, bar for bar,didn't feel alone To me.
That's more than Jay, I think.
In my personal Jay Cole that'slike his top three for me

(01:05:56):
personally.

Speaker 1 (01:05:57):
It's pretty high.
Oh, you think it's top threetoo.

Speaker 2 (01:05:59):
Yeah, I agree.
Just the story behind lights,please.
Just the way he constructed.

Speaker 1 (01:06:05):
Lights, please.
I think it's top ten.
I think it's top ten for me too.
So I put it in my ten.

Speaker 2 (01:06:10):
The simplicity of it to me, is genius.
It's conversation, j Cole.

Speaker 1 (01:06:17):
Yeah, I think me and AG share the same favorite J
Cole song, which is Middle Child, correct?
Yes, yes, lights please.
Probably the same favorite jcole shong, which is middle
child, correct?
Yes, yes, I'm a light.
Lights please probably besecond or third for me, okay,
okay.
So I guess maybe I like lightsplease a little less, because I
do feel like it.
Middle child does some of thesame things.
That's fair, I think.
What lights please?

(01:06:37):
Uh, what sean is saying aboutlights please, because it toes
the line, what he's what he'stalking about is conversational
is telling the and it's a hitrecord.
To do that and make it a hitrecord is a hard feat.
So that's why I enjoy therecord so much.

Speaker 2 (01:06:54):
The beat doesn't stand out to you, but it gets
the job done.
It's catchy, it's catchy, it'scatchy To me.
That's his signature song forme.
That's what caught my attentionon J Cole.
But overall I'm glad that hewas able to go to the garden and
perform and actually get hiscore audience.

(01:07:14):
You looked at the diversityamongst his audience.
That was a beautiful thing,because J Cole, he toes that
line and I know people alwaysask like, how is he selling?
How is he selling records?
You know the way, you know hisstyle and the way he does and
how is he getting this done?
Look at the audience.
The audience tells youeverything.

(01:07:35):
That diverse audience that hehad out there.
Everyone's like reciting hisrhymes and people like really
vibing out to his rhymes and hedoesn't.
Somebody posted rhymes andpeople like really vibing out to
his rhymes and he doesn't.
Somebody posted that this is aboring concert but it gets.
It gets the job done and Iunderstood the dichotomy to that
because he doesn't have a lotof stadium music.
He doesn't have a lot ofstadium uh beats.

(01:07:55):
He doesn't have like that, thatarena, that arena, stuff, right
, he doesn't have anythingthat's going to get you jumping
out the seat and like yo, thisis like is like you know, this
is exhausting, but it feels good.
Right, he doesn't have one ofthose.
Everything that he was puttingout was potent.
He doesn't have a lot of thestadium or arena flow.

(01:08:16):
Everything is still potent.
And that shows you how, howgreat, honestly, j Cole really
is to still move the crowd withthe tone of music that he has.
Yeah, it's a very hard feat.
Not many can do that.
Yeah.

Speaker 1 (01:08:27):
True, true MC.
Because if you look at it, thestage set didn't change.
It didn't have a lot of powertechniques or crazy stuff to add
to it to throw you off.
He was by himself on stagebecause the band was off to the
side that was playing.
So to be an MC to move thecrowd and control it, you're a
single MC on stage.
You're not animated, not abunch of power techniques and

(01:08:50):
stuff, the stage backdrop is notchanging and you to still
captivate the crowd like that isa big feat and it's the garden.
Why do I always have to be theone to go humbug?
So this show was good, j Coleis great, but it's, it's still.
It just still left me wantingsomething like first of all,

(01:09:12):
this is something that I noticed.
So when you're talking aboutlike uh, when you're talking
about everybody singing thewords word for word, sean, well,
it wasn't like that.
For all of the records likethat, there were a lot of casual
like.
I gauged the crowd interactionand engagement as best as I

(01:09:34):
could from a live stream and itdid appear to me that somebody
who's been to countless concertsand so have you, two guys that
some of the crowd engagement forsome of that core stuff you're
talking about wasn't all the waythere.
That's what I was catching.
Now, when Power Trip is comingon, everybody's singing the shit
word for word.
So when something like thathappens, I'm like we got a lot
of casuals in the buildingtonight.

Speaker 2 (01:09:55):
You feel me yeah.

Speaker 1 (01:09:56):
And I could tell you why that is Coop, because my
main critique on the show afterhe finished the album and did
those hits and mixtape joints inbetween, the concert was done.
He didn't do anything past theuh, 2014 forest hills drive era,
so a lot of that those peoplethat was tapped in was day ones
and the casuals might be more so, like kod going into like that

(01:10:21):
when jay cole was jay cole.
People who popped up after theblow up, which is right, rob is
the blow up.
Yes, he did not performanything after forest hills
drive era, so that's why thatwas because I thought the same
thing, like yo, he really endedit off here.
Yeah, I just, I just noticedthat it seemed like some of the
crowd didn't, and this might besome of the nas effect, because

(01:10:42):
the only time I've been toMadison Square Garden was for a
Nas show, but it just seemedlike damn niggas knew every word
of every song.
It's true too, but Nas, youknow that's a different level.
It's Nas in the garden and solike I understand that.
But that would bring me to mysecond critique, which would be
and I'm going to keep on sayingthis critique, which would be,

(01:11:06):
and I'm going to keep on sayingthis I want to thank Hip Boy for
giving Nas some stadium flow.
That Garden Show is not thesame without them.

Speaker 2 (01:11:10):
Hip Boy records.
I don't care what nobody says.

Speaker 1 (01:11:12):
That's fair.
His different.
Shit is not the same without 30ringing out in the building.
Shit is not the same withoutReminisce ringing out and Mary
coming out looking like Maryfrom Real Love.
It is not the same.
And so I did find myselflistening to these records like
yep love most of these records.
Yes, I do think this is hisbest album.
There's not enough stadium flowstill, yeah, but look at it

(01:11:34):
like this.
Like I said before, he mighthave had more stadium flow, but
everything he performed wasmusic he had before.
He had dreads Like if you wantto look, want to look like you
know what I'm saying it's fair,he wasn't dreaded in this era,
so look out, but he's the onethat chose.
I mean not he.
I mean it's smart tocommemorate this moment.

(01:11:54):
It is his biggest moment.
It is 10 years removed from it.
It is intelligent tocommemorate it and this is what
I mean.
It's like oh, I'm nitpickingjust because overall like a
great show.
Just, you know a couple ofthings here and there that I've
seen.
The casuals were something thatI've seen the stadium flow, and
that was really the extent ofmy critique.
Other than that, I thoroughlyenjoyed the show.

Speaker 2 (01:12:18):
Yeah, I'm happy you enjoyed the show.

Speaker 1 (01:12:19):
No, but I also like the record to that show don't
mean shit to me.
But no, that should be anormalized thing, like for real,
like classic albums, playingthe album from front to back,
like you know.
Artists should really normalizethat, like Nas did it with
Illmatic Raekwon and Gilston didit with Cuban Link Cole's doing
it with Forest Hills Drive.
Like y'all MCs, like get outthere and perform some of your

(01:12:41):
you know your best joints fromfront to back.
Well, it's just an intelligentbusiness move, because whatever
album made you a star, that'salso probably what's going to
generate you the most revenuewhen you go on tour.
So it is just an intelligentbusiness decision.

(01:13:09):
The scenes information from Tajabout Nas' strategic rationale
for how he moves with stuff whenhe tours.
That's what I mean.
It's like, oh, it's cool thatyou did it.
The strategic rationale forthis would be well, this is part
of the rollout for the fallout.
It's by reminding people of yourgreatest piece of work.
He gave people a hint, likewhen he walked off stage the

(01:13:29):
last Dreamville Fest is in April.
And then he said like yo seey'all in April at Dreamville.
Hopefully I'll have some newmusic to perform for y'all.
So maybe he's going to dropfirst quarter.
Man, that shit ain't funny orcute.
He still ain't made album ofthe year in a year yet.
So like, do that shit ain'tfunny or cute.
He still ain't made album ofthe year in a year yet.
So like, do that shit.
I say, look for him.
First quarter next year, 2025.
Oh, we just got done lookingfor him all this year, this was

(01:13:53):
the year to do it.

Speaker 2 (01:13:54):
This was the year to do it.
This was the year.

Speaker 1 (01:13:56):
Like this was the year.
This was one of those thatmight be a little bit marred by
his apology, though.
If you want to step outsidethat, yeah, I'm just saying Drop
the album.

Speaker 2 (01:14:06):
Drop the album.

Speaker 1 (01:14:07):
Look here, man.

Speaker 2 (01:14:07):
Look here, shut everybody up.

Speaker 1 (01:14:09):
Shut Coop up.
I'm tired of telling peoplethis.
They're like, oh, no, no, no, rKelly was in trouble, didn't
step in the name.
It's like, oh, he's not apedophile.
They're like, yes, but damn,this is banging.
Yeah, this is crazy.
Listen, we're going to moveaway from that.
But what Eve said on this show,on the inevitable show, he's

(01:14:33):
like when you got something, youcan hold on to it and make
tweaks and changes to reallycraft a classic.
They've been working on thefallout for a handful of years
at this point.
So I mean, little stuff's comeout here and there, but the fact
that he has been working on itfor years makes it worse.
Why, why do you say so?
It took Nas four years to makeIllmatic.
Pretty much that's what I'msaying.

Speaker 2 (01:14:56):
Not four, but three.

Speaker 1 (01:14:58):
The only time that you have time to take your time
is when you were telling thestory for the first time.
After that, you were on themotherfucking clock.

Speaker 2 (01:15:09):
So I do not want to Every rap album.

Speaker 1 (01:15:11):
Think about this Name , one rap album that we've heard
from a legendary MC or producerthat took years to make.
That was a classic when it cameout.
Name when it happened For meWu-Tang Forever.
They did not spend yearsworking on that project yeah,
they did Not years Not years AG93 to 97?

(01:15:36):
I don't believe when they firststarted recording that joint it
was probably.
The recording process took overa year.
I'll give them a year, but themsounds are fresh.
There is nothing about themsounds on Wu-Tang Forever.
That says 93.
And what about Life After Death?
Like how long did Big take torecord that?

Speaker 2 (01:15:53):
About two years.

Speaker 1 (01:15:55):
No, you get a couple of years, but that makes sense
because of the breadth of it.
They're both double albums, soyou know that still gives you a
point.
You know how about this?
This is what I'm saying becauseI don't know how long he's been
working on the fall off.
If this is exceeding yearnumber two, we have a problem.
If it's what exceeding yearnumber two of working on one

(01:16:16):
project, we have a problem fromhow, the way it's been taught,
the way they talked on thepodcast, they've been working on
it for a couple years or more.
You know, I'm saying justcarefully, crafting it like this
is not gonna make it.
This is gonna make it.
This is not gonna make it.
This is gonna make it like ag.

Speaker 2 (01:16:30):
Back in the day that was the norm.
The norm was it wasn't commonto drop an album once a year.
Right, right.
The elite artists were droppingalbums every two to three years
oh yeah, jay.

Speaker 1 (01:16:41):
jay started that trend and, like said Busta, was
like every year.
You know, jay started thatHigh-foddy projects every year.

Speaker 2 (01:16:47):
Right and it was like a carryover.
They had the lead single thatwas a radio single, and the back
half of that first album hadanother lead single and it
carried to the second album.
So it was a good formula thatthey used at that time, but it
was normally two to three yearsbefore you had an elite artist
to drop an album.

Speaker 1 (01:17:07):
Like OK, so this is what I mean.
Think about.
Think about it like this Well,I know Dr Dre Worked on 2001
pretty much from the moment thathe started Aftermath until it
came out.
But when you listen to thoserecords and I know because I've

(01:17:29):
talked to Glove it appears thatthe only record that made it
that was more than two years oldwas Forgot About Dre.
So what I'm saying is that themore time goes by, hip-hop
changes.
It is rare that these recordsget kept.

Speaker 2 (01:17:48):
It's like dog years man.

Speaker 1 (01:17:50):
No, you're right.
You fall in love with somethingand then it sounds dated to you
when you're about to put thealbum out, and then it don't
even make it.
But that's kind of my point,coop.
I think we don't get a micdelete later.
If he's not working on thisover the course of some years,
might delete later might besomething that's like we ain't
putting this on the fall off,but we made this during this

(01:18:11):
time, so we gotta form anotherproject.
I think that's how stuff likethat come about.
Yeah, he ain't got no alibi,and neither does the next person
we're about to talk about,which is Jay-Z's accuser.

Speaker 2 (01:18:26):
Let's get these all super chat back, the four or
three super chats.

Speaker 1 (01:18:30):
Yeah.
That's why $2 super chat.
No anniversary talk for GodsonStillmatic and Hip Hop is dead
Stay tuned, we're going to getto that.

Speaker 2 (01:18:40):
Whoa, whoa, whoa.

Speaker 1 (01:18:42):
We know better than that on it's us.
Give us more credit than that.
Yo mj with the ten dollar superchat, appreciate you.
If jay cole was independent, hewould be currency.
Wow, if gibbs was signed torock nation, he would be the
best rapper of this generation.
Cole catalog equals overrated,and you know what that's.

(01:19:03):
That's.
That's a wild take to say hewould be currency, though.
Esquire with the $2 super chatthat's just disrespectful
Esquire with the $2 super chat.
Just curious what was the bestalbum in 2013?
That was a good kid.

(01:19:23):
Good Kid is December 2012,.
Isn't it November, oh yeah.

Speaker 2 (01:19:32):
I keep thinking it's 13.

Speaker 1 (01:19:34):
No, it's 12.
It's 12.
It's like December-ish.
Did we miss Good Kid Mad Cityanniversary, or is it coming?
I have to go back and look.
It wasn't this week.

Speaker 2 (01:19:45):
No, lb got it.
Lb will get it to us.

Speaker 1 (01:19:50):
Okay, shout out to LB , we got any more Super Chat.
Fellas, are we sliding?

Speaker 2 (01:19:55):
That was it.
That was it.

Speaker 1 (01:19:57):
So you know, we talked last week, guys, about
what these potential allegationsand ramifications could mean
for Jay, and now his accuser andI think this is attorney driven
pressure, which is part of whatI was talking about, poking
holes in stories early is isthat she doesn't even really

(01:20:18):
recall exactly where she was,who she was with, dad, can't
recall picking her up.
Guys, is this stage?

Speaker 2 (01:20:26):
I don't know, man, because now new reports are
coming out.
It's not looking good.
Yes, new reports are coming out.
It's not looking good.
Yes, new reports are coming outnow saying that they're going
to sue Roc Nation for goingafter some witnesses or just
some other stuff.
I'm trying to pull it up rightnow, but there are some new
reports coming out that they'reabout to be sued.

(01:20:47):
Are they going after a lawsuitagainst Rocten Nation for, I
guess, going after witnesses?

Speaker 1 (01:20:55):
Witness tampering.
Is that what we're talkingabout?

Speaker 2 (01:20:58):
Here's the thing.

Speaker 1 (01:21:02):
We don't know the truth.
You know we don't know, weweren't there right.
So we don't know the truth.
But all that matters is is canthis be proven in a court of law
?
And right now is the evidenceis stacking up?
I don't.
It doesn't look like this couldbe proven.
Like jay said in day ofpresidents, one alibis ain't

(01:21:23):
matching up bull catching up.
You know what I mean and that'show it's like.
That's how it's looking is, uh,her dad can't corroborate the
story.
Um, you know, and uh, it's afive-hour trip from like, where
she lived, to even get to the uhmusic award.
So it wasn't like a just likeyou know, a short drive kind of

(01:21:45):
thing.
And um, she doesn't recallcertain events.
And then then people that shesaid she interacted with I think
it was Bleak 182 was one of thebands.
They weren't even there, theywere on tour.
So a lot of people can'tcorroborate this story.
So it's not looking really goodfor the accuser, but their team

(01:22:09):
is using certain trigger wordslike you know what I'm saying
with her health, her mentalstate, and throwing that out
there.
So it's it's.
It's going to turn nasty.
I hate to say it, but yeah.
Yeah, I don't got too much moreto add about that, but I just
want to continue to highlight toour Black men and women who are

(01:22:30):
in a position of power andauthority they will try to take
everything from you if you letthem.
You have to be beyond and abovereproach with all things.
I think the most striking thingthat really happened this week
that let me know that this issincerely something that's being
pursued by the powers that beis that Jay's attorneys

(01:22:53):
separated him and Diddy.
This week it literally came outand made statements saying oh
no, that guy, not Jay friend.
Him and Jay are more like.
You know that that is just anindustry thing.
That is not a real friendship.
I like man.
They took all that baby oil andthey slid right across the room
with the baby oil like slide.
I don't think that did Jay anyfavors, though I don't like that
they did it.
I didn't say it was a wise move, but it is a move that they

(01:23:15):
chose to make.
Because, everybody with eyes cansee that that's not true.
Yeah, yeah, it's definitely nottrue, but that's what I'm
saying.
The occurrence of thathappening is what lets me know.
Oh no, this is really going totake shape, because attorneys
don't do separation fromsomebody that's a not even your
co-defendant this early, unlessit's about to come to fruition

(01:23:37):
and some sort of saying notsaying it's the truth.
When I say come to fruition, Imean, oh no, somebody is trying
to take him down and is about totry to see it through.
So we need to get prepared forwhat's about to come, because I
feel like it's about to be on.
Get prepared for what's aboutto come because I feel like it's
about to be on.
Well, I don't think that it'sout of the blue, though, because
I think that it didn't do Jayany favors, but it's almost like
a necessary thing that had tobe done, because Diddy was named

(01:23:59):
in the act too.
Right, right, how about this?
I'm looking at it kind of likeno, did he get close to the oj
jay, and closer to bill cosby?
But they got bill cosby ass too, yeah, but then.
But then, even saying that froma defensive team, I'm not
saying jay did anything, butdon't insult people's
intelligence and logic, andsaying they're not friends,

(01:24:20):
because you don't have to befriends with somebody that
sexually assaults somebodytogether.
That's, but that's, but that'sthe beat.
But these are the games we play.
I actually this.
This is funny and this istotally by circumstance.
I happened to talk to one ofBill Cosby's attorneys right
before they went for the firstdeposition.
It was just totally bycircumstance and happenstance,
and I remember asking her onequestion.

(01:24:40):
I was like do you believe thathe did this?
And she just looked back at meand she said now you know how
they do us here.
And she walked away because shecouldn't tell me any more than
that.
And so you know, just beprepared, like all of us in this
community need to be preparedand we need to remind ourselves
within this hip hop community.

(01:25:01):
It is in a seat until provenguilty, because there ain't
10,000 bottles of baby oil andtapes and pornography and
freaking extortion going on withthis one.
This is just a straight up anddown.
We're coming to get you there.
Well, public opinion is tooloud.
So, unfortunately, coop, I knowyou say it's supposed to be
like that, but now it's guiltyuntil proven innocent.

(01:25:21):
You know, because because ofsocial media yeah yeah, and like
we always do here at hip-hoptalks, we need to push the
boundary and push the butt theother way and remind people that
this is an innocent till provenguilty nation.
It's supposedly what makes itone of the greatest nations in
the world, if not the greatestnation.
I beg to differ.
So any final thoughts before weslide.

Speaker 2 (01:25:44):
It's nasty stuff, man .
Regardless Of course, thelawyer job is to try to separate
the two entities, and the twoentities are Jay and Puff.
We don't know theirrelationship, nor do I care
about their relationship.
What his lawyer is saying isthat, yo, they're not as close
as you guys may think, but thereare times when I had to be like

(01:26:04):
yo because you saw me withhomie.
That doesn't mean that I dowhat you do, right, because I
got that, I grew up with that,do other things that I don't do.
So there are times when I haveto be like yo.
When I go back home to see thepeople I made I go over there, I
may send you a text.
Y'all I mean tom, hope y'alldoing well.

(01:26:25):
I don't want to be close overthere because I want to make
sure that you understand, justbecause you saw me and this guy
in a couple of pics and we mighthave grew up in the same
neighborhood or the same, youknow, same situation.
We we parted ways at the sea,at the Red Sea, and I think
that's what Drake James lawyeris probably just saying.
He's going to say to himself thelawyer is saying like look,

(01:26:46):
they're not close.
They're not as close as you maythink, and here's why that's
all they can do.
If that's the case, you mightas well incriminate everybody
that you see in pitches withPuff.

Speaker 1 (01:26:58):
You kind of did that to us when we got back from
North Carolina.
In the discord you wasdisowning me and Coop.
You was like I don't reallyknow those guys like that.
You put the blinky out.
I got to make sure my hands areclean Now.
In fairness, ag, in fairness toSean, he was disowning us long
before we met in person.
Long before we met in person hewas disowning us Disregardless,

(01:27:22):
just devil's advocate over here.
Oh, that's great.

Speaker 2 (01:27:26):
It's all love, though .

Speaker 1 (01:27:29):
But hey, just one final thought with all of this,
and this is what I mean, like,watch out, this is being handled
by jay's team in opposition tohow diddy's team has handled
things, because they do havesome sort of template to go off
of, because, because puff feetgetting thrown in the fire first
and and and notice this, oh,jay hasn't said a word, and

(01:27:51):
that's exactly how I should sayit.
The first thing that I had aproblem with Puff doing is when
Puff started releasingstatements.
I'm like what are you releasingstatements for?

Speaker 2 (01:27:57):
You were supposed to be quiet right now he's talked.

Speaker 1 (01:27:59):
He released his statement.
He released two statements, butnot on camera.
He released them, like you knowwhat I'm saying about when the
accusations initially came outand then when the stuff went
down, oh no, I read thosestatements.
Okay, this is what I mean aboutego and power.
It's like, oh no, I read Jay'sstatements, it's like those are
the attorneys.
That is my Jay.
I read Puff's statement.
I was like, oh, puff had themwrite that statement.

(01:28:19):
I was like that's stupid.
Yeah, that's what I'm talkingabout.
Like Puff, ego is in a placethat Jay's ego isn't, because
Jay was really outside.

Speaker 2 (01:28:29):
Because he's trying to get in front of social media,
because social media, thesocial media courtroom, is
ridiculous, because everyone hasan opinion and their opinion is
loud.
Everyone is saying, yeah, Iknew he has to do with it.
And these are all people whojust want to be a part of
something that they're not partof.
So sometimes these people,sometimes these artists and

(01:28:52):
others feel the need to get infront of the social media court,
as opposed to what the actualjudge is going to say or what
the judge is going to do, andit's one of those things, fellas
.
I just feel that the same way,people going at Jay, you can go
at a thousand more artists andbusiness people who've been
around Puff Might as well, putall of them under that same

(01:29:13):
umbrella, including our favoritewho's been in pictures with
Puff and all of these things.
You got to be careful how youincriminate or go after somebody
when other people are around.

Speaker 1 (01:29:23):
those guys you got to be careful about that, yeah,
you can't really hang your haton guilty by association,
because it's a lot of situationswhere you might not be guilty
at all, just because of you knowwho you're around.

Speaker 2 (01:29:35):
Absolutely, absolutely, absolutely.

Speaker 1 (01:29:40):
I think, I think there's.
I mean, we're all in theholding pattern about this.
Let's just you know wait to seewhat happens next, you know
this goes on.

Speaker 2 (01:29:48):
This is what goes on.

Speaker 1 (01:29:50):
Look here let's stay positive and text negative.
Next, topic.
Yeah, let's slide west, fellas.
The Chronic actually iscelebrating the anniversary in
December, december 15th 1992.
Y'all ready for a little Dreand Snoop talk?
This is some of my favoritestuff.
I love me some Dre and Snooptalk, let's get my favorite
stuff.

Speaker 2 (01:30:10):
I love me some great Snoop talk.
Let's get it, let's get it topfive album of all time that okay
, ag.

Speaker 1 (01:30:17):
Well, you took my question for me.
Is this a top five rap album ofall time?
There you go, jump in.
I I think it is.
Um, this was the first album Iactually bought with my own
money as a youngin' and you knowwhat I'm saying, brought it to
elementary school man.
It was a prized possession, man, classic album, love it.
I always associate this albumwith 93.

(01:30:39):
You know what I mean, becauseit was released in late 92, but
it ran all of 93.
Ran the whole year of 93.
And you know well it seemedlike it was a continuation.
Because of doggy style drop it,it seemed like death row was
just just took 93 by storm.
But, um, but yeah, man, I meanI could talk about this album

(01:31:01):
all day, but love this album.
For me it's a top five album ofall time.
And um, yeah, dre was in hisbag like reinvent, reinventing
himself after the NWA fallout,you know what I mean.
Second chance and he knocked itout of the park.

Speaker 2 (01:31:17):
I'm going to have to push back AG.
I think the Chronic ran itscourse in 92.
There was some carryover goingin early 93, but when Doggystyle
came out, I think Doggystyleactually took the baton from the
Chronic and ran 93 going into94.
Because in 93, when Doggystylereleased, it was everywhere.
Man, what's my Name waseverywhere.

(01:31:38):
Mtv was pumping my name likecrazy.

Speaker 1 (01:31:41):
It was a karaoke, but they're my four and five
favorite albums of all time.

Speaker 2 (01:31:46):
Like I got Doggystyle 4 and Chronic 5 for me all the
time I can rock with that, Iwant to have the Chronic number
5.
For me personally, it was just.
I always felt thataesthetically and musically,
doggystyle was maybe two tothree levels ahead of Chronic

(01:32:06):
Two to three.
Two to three.

Speaker 1 (01:32:09):
They two sides of the same coin.

Speaker 2 (01:32:11):
I can't go that damn far, you are absolutely correct,
but I'm talking about13-year-old 14-year-old Sean
versus 12-year-old 13-year-oldSean.
Sean, 12-year-old Sean, cannothandle the Chronic.
He cannot no.

Speaker 1 (01:32:29):
Thank you, you want no, thank you, you want to know
what?
Okay, first of all, definitelysomething going on in the
atmosphere the last few monthsof being agreeing with Sean too
much.
We're going to have to fix thatat the top of 2025.
All right, that's the firstthing we have to fix for Hip Hop
Talks top of 2025.
It's been too much.
Agreeing is going on.
Ag.

(01:32:54):
I'm actually with Sean on this,so I'm going to tell you what I
do think.
Both of you, uh, do you thinkthe chronic is a top 10 rap
album, not a top five rap album?
But part of my rationale for itis something that I realized
today when I was actually beentalking to my mother the last
few days while we've beenpreparing to go home.
The chronic wasn't made for ourgeneration, was actually made
for the generation before us.
Oh, it's not my fault, I wasemotionally more mature than
y'all.
That's not my fault.
No, no, no, no, no, no, no, no,no, not that, not that.

(01:33:16):
No, no, no, not that.
I'm not even going to let youpull that card, because you want
to know why.
And this is what I mean,because and it seems like that,
it's not a lot, but that age gapfrom 11 to 12 to 13 to 14.

(01:33:38):
Oh no, it's big.
And we didn't feel the impactof the chronic like we felt
doggy style.
Yeah, that is.
That is not true.
I found out about the chronic,you know, my first time
listening to the chronic mymom's best friend, tara.
We were staying with her onMemorial Drive and Tara bought
the Chronic.
I found out about the Chronicfrom my mother.
My mama and her best friendplayed the Chronic.

(01:33:59):
I didn't have a copy of theChronic.
I had to listen to their copyof the Chronic.
I had my copy of Doggy Stylewhen it came out.
And that's the difference interms of how we look at the
album generationally.
Ag, you can sit up there.
Ag, you can sit up there andmake it seem like every
12-year-old was walking aroundwith the Chronic.
No, I just said I bought itwith my own money.
That's what I said, I believe it.

(01:34:20):
My first purchase was byBaragata, by Bobby Brown.
I was eight.
I stand corrected.
It's not the first album Ibought with my own money.
It's the first parentaladvisory album I bought with my
own money.
To clarify Okay, I say this tosay that in 1992, well, my
mother was 30.

(01:34:41):
That's who the album was madefor.
That album was made for thatgeneration.
Oh especially with the samples.
Yeah, yeah, I was 11 years old,but my mom was 30.
That was for her.
I think Tara was probably about26.
No, no, no, they were playingthe Chronic.
Kids our age were playing theChronic.
We were playing there.
It is on the east side ofAtlanta, you feel what.
I'm saying I had to buy itagain.
I got my joints confiscated atschool.

Speaker 2 (01:35:03):
I can see that as you should be.

Speaker 1 (01:35:06):
But also what I will say is that it's more of a
cultural piece than doggy style,because its cultural relevance
and significance is whatcatapulted it for an adult
generation that was seeing theRodney King beatings and the
riots and LA lifestyle and knewwho NWA was.
These are just in ourperipherals and AG, not joking.

(01:35:28):
You might have been advanced,but for most of us the Chronic
wasn't that, it was Doggystyle,that was that, and so I have the
Chronic at about seven, I havethe Chronic at about seven or
eight, but I have Doggystyle atnumber four Sometimes five yeah
me too.
I got Doggystyle at four, thenChronic at five, but Chronic was
a springboard that helped Dogboard, that had helped Dolly
style be out of here, absolutely, absolutely, and I and I

(01:35:51):
totally agree with that.
And also too, I think both ofyou are actually like, like the
chronic did dominate 93 all theway into the fall and by the
time it had stopped dominatingwhat's my name?
My stupid drop.
So it was essentially the samerun and the only interruption in

(01:36:12):
the run, truthfully, wasactually into the Wu-Tang.
That was the one that everybodywas kind of like, oh, and stop
for a second.

Speaker 2 (01:36:19):
That was it it was Drake.
But not on a commercial level.

Speaker 1 (01:36:23):
though Not on a commercial level on a rap level,
but Drake and Snoop ran 93 and94.
Guys, it's like I hate to bethe one to bring it to people.
It's like, like big and naz arenot the artist of the year in 94
that's snoop and quite franklyand quite frankly, big didn't
become big till 95, not 94, likenaz was who he was at the mc in
94.

(01:36:43):
But naz did become naz till 96,it turned out.
That's true, right, so.
So so when people are talkingabout, yeah, the, the Chronic
came out, and this is what Imean about the Interscope
machine, they started thisfourth quarter shit with the
Chronic and Doggy styleback-to-back years because they
realized, oh no, we can donumbers to end the year and then
go dominate next year.

(01:37:04):
It is a genius move.
This is where the fourthquarter comes from.
There was never no fourthquarter talk before the Chronic
and Doggy Style dropped itback-to-back in December.
Guys, that's the real classicpart about it.
Nobody remembers this is thecreation of the fourth quarter.
That's a very good point.
They're moving.

Speaker 2 (01:37:21):
I'm trying to move numbers like Snoop, oops, big
set.
You got to acknowledge that.
You got Snoop in New York withthe blue flag on, with the
baseball bat saying you've gotno love for West Coast.
They weren't West Coast.
The West Coast was on top atthat time because, don't forget,
ice Cube was still droppingsome bangers at that time.

(01:37:42):
Ice Cube was still on fire IceCube was on fire at that time.

Speaker 1 (01:37:47):
Ice Cube was actually the best rapper on the planet.
When Dre dropped the chronicThank you, he was on fire at
that time.
Ice Cube was actually the bestrapper on the planet.
When Dre dropped the chronicThank you, he was my favorite
rapper Ice Cube's the bestrapper on the planet in 1990, 91
, and 92.
But you gotta show respect toDre from leaving the group
situation, going to death rowand surrounding himself with a
bunch of MCs that would.

(01:38:08):
A perfect example of that.
Stranded on Death Row, that's aposse cut that's not talked
about enough.
Everybody's going off on thatrecord.
And Dre, he's a producer.
Yes, he's the star of the show,he's the rapper.
I mean, he acts as a rapper onhis album, but it is really a
compilation album and he'ssurrounding himself with all the

(01:38:31):
talent to win a championship,like after he came out of the
like best group, one of the bestgroups of all time.
So what Dre did in thattransition period was flawless.
That can't be spoke aboutenough.

Speaker 2 (01:38:44):
Man listen, dre Davis .

Speaker 1 (01:38:48):
I still think Ice Cube's degree of difficulty was
harder, but I do agree with whatyou're saying.
Yes, as an MC versus a producer, yes, I agree with that.
But Dre also he left when theywere the biggest thing in the
world.

Speaker 2 (01:39:00):
Yes, listen, dre made Dre Day.
They had a video for Dre Day.
Dre Day was all over MTV Everysingle day, every hour on the
cloud.
Dre Day was playing and you hadno choice but to love it.
And then he follows it up withLet Me Ride, and Dad started

(01:39:20):
playing every hour on the houron MTV.
It was crazy.
And then after that you runright into what's my name.
You can't compete with that, nomatter what origin, what region
you're in, no matter what andpeople are forgetting this.

Speaker 1 (01:39:40):
These singles weren't playing for like 30-60 days.
It's like these singles lastedlike six months but, there's one
main point that we're missing,though, that we're going to get
to when we talk about this newalbum.
For sure, dre reinventedhimself Because the G-Funk
Wasn't a thing Until the Chronicstarted the G-Funk era.

(01:40:02):
He's coming from the NWA sound,and he made a whole new sound
that he ushered in during thistime.

Speaker 2 (01:40:10):
It wasn't new AG, it was more, he revitalized it.
Because you're talking aboutParliament, funk, right.

Speaker 1 (01:40:16):
Right.

Speaker 2 (01:40:17):
You're talking about.
You're going to get Boosie.
You're going to get the fatherof funk right.
You're going to get GeorgeClinton right.

Speaker 1 (01:40:25):
Growing up there was a lot of Boosie Collins being
played in my house by my uncleman.
It was a lot Growing up.
There was a lot of BoosieCollins being played in my house
by my uncle man.

Speaker 2 (01:40:30):
It was a lot my nickname was Boosie.

Speaker 1 (01:40:35):
So this goes back to the Glove interview and I'm like
you know, where did all thatcome from?
And he's like oh no, he's likewe riding around LA playing that
, roger Troutman playing that,yeah, glove is literally telling
me.
He's like I was there with Drewhen we came up with these ideas
.
It's like yeah, it wasdifferent.

(01:40:57):
Yeah, well, I mean people forgetthe LA scene in 1992 and 91.
The LA scene that you see now.
That was not the LA scene in 91, 92.
No, these dudes are stillwearing jerry curls and
gangbanging in their free time.
That's different.

Speaker 2 (01:41:17):
I see, kenny Mack, you're right.
Above the law they start toG-funk.
But what I'm saying was Hold on.

Speaker 1 (01:41:24):
Stop for a second Above the law.
I was executive produced by who.

Speaker 2 (01:41:38):
Dr Trey, right and Trey second.
Above the laws.
Ex-executive, above the laws.
First, I was executive,produced by who?
Dr trey and right and dre.
He revitalized it.
He brought it to a mainstreamspace where it made you be like
yo, I heard this somewhere.
I heard it somewhere, but Idon't know where I heard it from
.

Speaker 1 (01:41:46):
He revitalized I mean to be honest with you.
I mean Dre is really the firstproducer to take the samples
that we don't know and make themfunky.
Yeah, that's what made meconnect as a kid, like so early,
because I heard those samplesin my household growing up.
My Aunt Sonja, god rest hersoul.

(01:42:07):
She was a big Funkadelic andBootsy Collins fan and so like
when me and Cuz is listening tothe Chronic we're like oh, these
are your mama's records.

Speaker 2 (01:42:16):
He flipped them.
He did the West Coast versionof what RZA did.
On the East Coast version, RZAtook a lot of East-based samples
and he made classics out ofthem in a dungeon type feel
where Dre took the G-Funk and heglossed it up.
He made the sound so pristineand he made it feel you can't

(01:42:40):
take that away from him and hemastered it on doggy style.
He mastered it.
He was like oh shit, I got thatNow it's over.

Speaker 1 (01:42:51):
You want to know what it was.
So the way the Aftermathmachine runs is actually it runs
the way Doggystyle got madeLike.
Doggystyle is actually Dr Dre'stemplate for how he wants to
executive produce All the other.
All the Dre albums that he'sput his hands on have run like

(01:43:13):
doggy style, since not to thesame effect, but you can see it
in how he approaches it.
You can see it in how hepositions everything Like a band
conductor you know, yes, like aband leader, yeah, but that
starts with doggy style.
It's like, oh, no, no, no, dad'sdoing all those drums.
Yeah, oh, such and such asplaying.

(01:43:34):
But it was like when I wasasking glove about, I'm like, so
you know, cause you know, acouple of the people that had
played, you know, had complained.
One of them was dad's cousinand man glove was just like yo,
you're like man, that recorddon't sound the same and Dre
don't come in and put ittogether, that's just it.
At the end of the day, who putthe record together?

(01:43:55):
Yeah, who put the recordtogether and made it sound that
way?
Because even when I can hearDaz beats on All Eyes On Me,
you're like oh no, no, no, youlearned from Dre.
I can hear it in the beats onAll Eyes On Me.
You can hear it on Ambitions asa Rider.
Those beat drops, that's Dreshit.
I mean, even though Daz madethe beat.
So you can see how Doggy Styleis actually the start of the
factory.
The Chronic is the foundationand it's a beautiful moment.

(01:44:17):
Not as beautiful as this albumthat just dropped Missionary.
First Week Sales $37,000, whichbrings me back to the point
that I was actually making 36.
36, yeah.

Speaker 2 (01:44:31):
I thought it was 37.

Speaker 1 (01:44:34):
That's a lot of mainstream promo.

Speaker 2 (01:44:35):
The update had it at 36.
It was projecting at 37 andthen the update came out earlier
today and said 36.

Speaker 1 (01:44:43):
Yeah, yeah, before we do that we got a couple of
things.
You said, we got super chats.
Yeah, yeah.

Speaker 2 (01:44:53):
And LP.
I think we already got this LPasks can y'all speak on Jay and
Puff friendship or lack?
We got that for you.
Lp 88 Spence.

Speaker 1 (01:45:03):
Peace.
Rip to legendary Philly RadioClub and DJ Gary O oh man,
40-plus years in the game, yeah,rest in peace to Gary O.
Peace to legend.

Speaker 2 (01:45:12):
Gary O, what up CJ?

Speaker 1 (01:45:17):
the Kid with another $20.
Super Chad, appreciate you,cooper.
I remember you said the Chronichas the greatest introduction
of a collection of artists ever,but did that collection have a
better introduction than thecollection of artists on 36
Chambers?
That's a very good question, cj.
Yes, hard question actually yes, no.

(01:45:39):
But here here's why the answeris yes.
I said collection of talent,not collection of MCs, not MCs
talent.
Think about.
Think about what everybody likeyou got to go behind the scenes
Jimmy Iovine, interscope, drDre, suge Knight, snoop Dogg,
lady of Rage, rbx, nate Dogg,thaz Corrupt.
It's not even a conversation.

(01:46:00):
It's not even a conversation.

Speaker 2 (01:46:02):
I think it is, though we got to consider what RZA was
doing as a producer.

Speaker 1 (01:46:08):
We got Divine, like IZA was doing as a producer.

Speaker 2 (01:46:10):
We got Divine.

Speaker 1 (01:46:10):
Like I said, Jimmy I-Veen Suge Knight, it made
legends out of everybody.

Speaker 2 (01:46:17):
Steve Rifkin, don't sleep.

Speaker 1 (01:46:22):
Hold on, hold on.
Nothing against Steve Rifkin.
He is not Jimmy I-Veen or SugeKnight in life, in culture, in
hip-hop.
But, when it comes to Vision,though, I don't know, Kool.

Speaker 2 (01:46:32):
The vision was brief.

Speaker 1 (01:46:34):
No, the vision was brief.
The house that Death Row builtis still running.
I don't know, kool, we couldhave a whole other show about
this, but just even the way theWu's deal was structured, that
changed everything.
I mean it mostly changed things, but it changed things for them
.
It really didn't benefitanybody else.
Dr Dre and Death Row changedthe whole landscape of hip-hop

(01:46:56):
music forever.
We literally were making jokesabout for everything, for groups
that wanted to spawn soloartists, it did change.
For other people no, no, no.
Listen to what I said.
I said it is the greatestcollection of talent for one
album, and it's true.
No, no, no, no.
Listen to what I said.
I said it is the greatestcollection of talent for one
album, and it's true.
Talent, because talent goes toeverywhere.
That's why I'm saying Right.

(01:47:19):
That's why I'm saying.
That's why I'm like no, jimmy,I Mean Suge Dre, nate Dogg,
think about this, like Nate Dogg.
Not to be funny, guys, nateDogg's more important in the
history of hip-hop than half ofthe rappers who rap in Wu-Tang
Clan.
It's just the way that it is.
And Nate Dogg might not even bea top five star on this album.
So like, yeah, it's really notthat much of a conversation.

(01:47:39):
Like RZA is the only thing thateven makes it a conversation.
I'm not mad at you saying it's achronic, but I think it's
closer than what you're givingit credit for.
I mean, it might be, but I'mjust looking at you, god and
Inspector, deck and MasterKiller, and like I love those
guys.
But I'm looking at theircareers.
It's like no, no, no, theDogtown had a better career than
all you guys solo and together,unless I get into Daz's
production discography that'swhat I'm saying, like in a lot

(01:48:06):
ofang, except for the top guys,I mean, but Like they weren't
top guys at death row, but RBX,they had a better career than
nobody in the Wu.
Like I hate to do that.
Oh, I mean hey, hey, you can'twin them all, but how about this
?
Hold on, hold on.
Let's say this Dre cancels.
Let's say Dre and RZA canceleach other out.

(01:48:27):
Let's say Dre and RZA canceledeach other out.
Let's say Snoop and Methcanceled each other out.

Speaker 2 (01:48:32):
You want to keep going Because you don't want to
keep going after that.

Speaker 1 (01:48:35):
Right, that's what I'm saying, but, all right, what
do we think about missionary?
I mean, how about this guys?
When I saw the album sales, Iwas like, and I think this is so
funny, I'm about to make a joke.
Okay, so my mama may have beenlistening to the chronic when

(01:48:56):
she was 30 years old on memorialdrive, but my mother in her 60s
now, my mother is actually amissionary who, like, has been
to haiti and do relief funds and, like, goes and does
empowerment conferences inafrica.
Part of why this album isn'tselling and part of why I didn't
want them to make this album isbecause, quite frankly, the
people that bought doggy stylein the chronic guys, they're not
in their 40s, they're in theirlate 50s and 60s.
They don't listen to rap likethat anymore.

(01:49:17):
Your fan base has literallymoved on and that's why I didn't
want them to do this.
It is better off to rememberyou guys as you were I would
have.
We were better off rememberingyou as you were I would have.
This album would be so muchmore enjoyable if it wasn't
Snoop and Dre and if they justwould have popped up with it if

(01:49:37):
it was Snoop and Dre, all thispromo and preparation for it and
all that to get just a solidproduct out of them.
Solid is not good enough forthem.
A four is not good enough forthem In a lot of ways.
A four and a half is not goodenough for them.
These guys have gotten togetherfor three projects.
Guys, all the projects arefives.
Anything less than a five isbelow the bar that they set and

(01:50:02):
this is why I didn't want to seeit, because I knew that they
weren't going to sell, becausepeople who used to listen to
your stuff 30 years ago, like mymother, have totally different
lives, lifestyle, lifestylechoices.
That's happened.
The album's just good though.
The album's good.
Snoop sounds great.
Yes, he sounds stellar.

(01:50:22):
Yes, snoop sounds stellar.
He sounds as good as he'ssounded since the Blue Carpet
treatment.
But it's just, it's not there.
They're fighting like sean.
Think about the songs that youlisted.
Think about listening.
You listed the singles to thechronic and doggy style.
It like no, no, leave thatright there, because you don't
stand a chance, and this albumis proof positive they don't

(01:50:44):
stand a chance.
Even coming anywhere in thestratosphere is replicating that
stuff.
There is no dre day.
There is no let me ride.
There's no g thing.
What's my name?
Gin and juice.
Ain't no fun doggy dog world.
Y'all had it.
Let people remember that you'vehad it.
So I don't love this.
I just like it.
It's just good, it's enjoyeverything you just said.

(01:51:05):
That was their first mistake,naming it, you know, missionary
as a direct sequel to doggystyle, because they're setting
themselves up for this kind oftalk.
If this was named somethingelse then I think people would
be a little bit um more lenientwith how they grade this.
But you know that's fair.
If you want to name it a sequel, then it has to be somewhat
comparable um, and we'll getmore to the uh into that in a

(01:51:28):
little bit.
But I like what you said, thatSnoop sounds good.
I think Snoop sounds sharp onhere, very much in pocket.
Snoop was always one of our youknow what I'm saying best MCs.
As far as the flow is concerned, I love everything he's doing.
To me it's Dre that doesn'tsound inspired on here.
He tried to make like avibey-type record instead of

(01:51:50):
keeping it like real west coastcentric.
And here's the thing too.
This is what obsessed me withdre and why I'm have a hard time
struggling with this album.
If dre is really the goproducer of all time me
personally, I have him third umthen he should be more inspired
than what he is in recent yearsbecause we had the casa blanca

(01:52:12):
joint, um, you know, I'm sayingearlier this year where he took
he's he's baiting people onnostalgia, right, you know what
I'm saying.
Like he used a lot of theillmatic classics for that
record and then you get overhere he's using a lot of these
samples to try to rope in middleAmerica.
You got Pink Floyd, you know,breaking the wall like sample on

(01:52:34):
Hard Knocks, which I love.
That record, hard Knocks, isprobably one of my favorite
joints.
He got Tom Petty with you knowLast Dance with Mary Jane and
then he got another part of mewith Sting and these is like one
to one.
These ain't even like reallyflips.
These is like one to one.
These ain't even like reallyflips.
These is like one to one cutand paste songs.
That's big and middle America.
And then he's trying to graspthat fan base and it didn't work

(01:52:58):
at 36 K on the sales.
I just think Drake's uninspiredwhen it comes to making like
production.
Like we wax poetic earlier,especially Sean, about what he
did with his production and tookyou know what I'm saying funk
classics and made it somethingnew.
He's taking something that wealready love and nostalgia and
have nostalgia for and is doinglike a one-to-one.

(01:53:20):
You know what I'm saying likecut and paste on here.
But Snoop is like killing everybeat that he threw at him on
this record.
But for me personally that'sthe only gripe I have about.
It is Dre don't sound inspiredbut the features like I love.
The Method man joint is myfavorite record Skyscrapers.
Meth has the best verse on thealbum.

(01:53:43):
We talk about J Cole's featurerun.
We talk about Wayne's featurerun.
Method man has been blazingeverything that's been thrown at
him the past few years and thiscollaboration took way too long
to happen.
Because they came, theircomeuppance was at the same time
.
In 93 on to now, they're two ofthe best flowing on the mic

(01:54:04):
that we've ever had, and to be2024 and it'd be the first time
they collab is insane to me.

Speaker 2 (01:54:10):
But that's my favorite record.

Speaker 1 (01:54:14):
I feel like they've been on a record somewhere
together before.

Speaker 2 (01:54:17):
I don't recall any.

Speaker 1 (01:54:19):
I don't recall any.
I think this is for sure theirfirst collab.
I feel like there's been acompilation or a mixtape
somewhere where they're on thesame record.
If anybody knows that in thechat fact, check me.
But I think that that's theirfirst collab.
But, um, you know, the m and 50joint to your point.
Coop snoop outwrapped both mand 50 on that joint you know
what I'm saying.

(01:54:40):
Snoop in pocket, going crazy onthere now.
Granted, he's in the wheelhouseof what he normally talks about
lyrically.
He ain't doing nothing crazylyrically, but it sounds
appeasing aesthetically to theear.
And but Dre, dre is whatdisappointed me about this man,
snoop.
Snoop showed up.
It's a marriage.
They both had a task.
Snoop got the assignment To me,dre did that's.

(01:55:03):
That's what I got out of that.
So I think what we're, I thinkwhat we're finding out in hip
hop's 51st year, is that it iseasier for an all-time great MC
to get back to all-time greatlevels than it is for the
producers to.
That's what we're reallyfinding out.
We've been finding it out for awhile now.

(01:55:26):
We just haven't been payingattention enough like we should.
It's like AG, one of thestrongest points I think you
made this year.
You was like yo, why the beatson the Pete Rock Common?
Why the beats that's fading out, that you don't rap over better
than the beats that they arerapping on?
It's like oh no, that is amistake from a producer.
Maybe they'll be on part two.
Right, and both you and I bothspoke about how we'd like oh, we

(01:55:47):
hope that those are on part two, because those beats are better
, defy my Name, by DJ Premierbeat wise is underwhelming in
relationship to Nas's bars.
Dr Dre's production on here isunderwhelming in relationship to
Snoop's delivery and cadenceand flow and mic performance, I
mean, and Snoop, and Snoop'svoice sounds as good as it
sounded a long time.
And you want to know what elseSnoop, as far as like hitting

(01:56:16):
the end of a bar, like there's away that you punish a bar at
the end by punching andfinishing with your words, it is
like it is like watching aboxer hit a heavy bag.
Oh no, snoop is hitting theheavy bag on every record almost
, and I've not heard him do thatsince blue carpet treatment.
And so this is a failure by dre.
And I was afraid this is whatit was going to be, because
failure by Dre means oh, thisalbum is just like a four.
You're like oh no, we did notcome to Dr Dre for a four.
If we were okay with a four,we'd be okay with the firm.

(01:56:38):
But true, but real quick beforeyou go, sean.
I'm glad you said that, coop,because the vigor that Snoop is
punching with is not like Drewas giving him a whole bunch of
crazy beats.
I think he was just hyped to betapped in with Dre for a whole
project.

Speaker 2 (01:56:52):
Like yo, I'm going to give this my all.

Speaker 1 (01:56:54):
He went for his.
Yeah, he did.
Snoop went for his and Dredidn't.
Because it's like, well, not tobe funny, the producers
financially has always been morebetter off than the artist and
I think it's starting to show in, like their elder years, how
it's's like.
Oh no, you do not have tostarve, like the artist does.
You do not have to tour.
Like the artist does.

(01:57:14):
You get to sit at home and justmake beats, so that fire may
not be in you.
Snoop is still going on tour.
No, I'm still going on tour.
These guys still go on tourbecause that is where the
majority of their bread comesfrom.
Still, the producer gets to sitat home and make the beat and
make his money, and I think weare starting to see that them
not being involved in theprocess maybe the way they used

(01:57:35):
to be, is hurting some of ourall-time great producers.
Because I wasn't superimpressed with Pete Rock this
year, wasn't super impressedwith Prem these last couple
years.
And go ahead and add Dre to themix.
That's three of the top tenright there.
Oh, and Kanye, don't get mestarted on Kanye foe.
What about it's been Kanye fora minute?
How them beats on Almost Drysound from Kanye.

(01:57:57):
They sound dry.
Yeah, they do.
Them beats ain't no good.
So you know there's somethingto be said about these guys that
are sitting down collectingthese checks for all these fat
beats when they're in theirprime and then they get a little
bit older and they're just fatand the beats are not fat
anymore.
It's just the person.

Speaker 2 (01:58:13):
I don't know.
I don't know.
I got to push back on whaty'all I get, what y'all are
saying, but I got to push back alittle bit.
I think the main reason why wefeel this way is because of the
name of the album and who it is.
Sometimes the names clouds thematerial, right.
Sometimes, you know, the namecan be bigger than the output.

(01:58:33):
Because we're living off ofnostalgia, we're thinking in our
minds like man.
We just wax poetic about thechronic and about doggy style,
and you have the predecessor ofdoggy style, which is missionary
that they named it missionary.
I wonder if they would havenamed it something else, where
we had a different expectationon what we were going to get.

(01:58:54):
Because I listened to this album.
The first time I heard thisalbum in the Discord, I was like
man, this is bad, this is notgood.
And then I had to hear it againand I had to hear it a couple
more times just to understand.
I had to change my listening soI could understand what I was
like really taking in.
And I'll be honest, fellas, thebiggest thing for me is this

(01:59:14):
there's a lot of producer andwriters on this album.
This is not Dre and Snooplocking in the studio together
and having that symbioticrelationship that we saw on the
Chronic and on Doggystylerelationship, that we saw on the
chronic and on doggy style, thesymbiotic relationship that
these guys had with that groupof people that you just
mentioned.
Coop off the chronic whenyou're talking about the element

(01:59:36):
of lady of rage, the element ofum of daz, the element of nate
dog corrupt, you had differentpieces to that puzzle that made
chronic and Doggy Style sounique.

Speaker 1 (01:59:49):
The.

Speaker 2 (01:59:49):
Dumbo.
It was different.
You replaced that with Sting,you replaced that with Meth, you
replaced that with Jelly Roll,you replaced it with Tom Petty.
You're talking about a wholedifferent dynamic and a whole
different aesthetic to a core ofSnoop and Dre.
So now the blend, it's notsymbiotic anymore.

(02:00:12):
And what Dre is known for issequencing.
Dre is known for putting songs,bleeding songs into another
song.
Even the skits will bleed intothe proper song in the
transition.
This didn't have that.
This album was 58 minutes long,fellas, and it sounded
disjointed at best.

Speaker 1 (02:00:34):
I don't even think it was mixed.
It didn't even sound like Dremixed it, because usually his
mix is different.
They released the instrumentalversion of this and I listened
to it and it didn't sound likeit was hitting like Dre.
Joints had no cohesion, thankyou.
So both of y'all are speakingto the two things that actually
made him king Executiveproduction, which involves the
engineering process, the mixing,the master and the song

(02:00:55):
sequencing.
This is where he has reignedsupreme over his contemporaries.
This is where hiscontemporaries may not be as
good as him and he separateshimself right there.
And, sean, you are 100 percentcorrect.
There is no separation as amatter of fact.
It is a step of fact.
It is a step down.
It is a step down, it is.
And here's the reality of thematter.

(02:01:18):
I never forget when glove toldme he was like, you know,
talking about the chronicledoggy style.
He's like no, no, no.
He's like if we made a banger.
He's like I'm trying to calleverybody, the girls, the weed
man, the artist who all wasthere, and they could have used
that on this project.
It's like no, no, no, no, no.

(02:01:38):
I I like the fact that it is adre and snoop solo mission.
Y'all should have tried to pulloff this solo mission in 1995,
96, 97, 98, 99, 2000,.
2001.
How many years passed by?
That's what I'm saying, dude,because it's like, if y'all
aren't going to not to be funny,if y'all not going to do the
group thing and call the wholegang up like Dre and Snoop

(02:02:01):
usually do when they gettogether Cause here's what it is
.
And Friends, this album is justDre and Snoop and Samples, and
what we're finding is that thesamples don't replace the
Friends.
And you all should have donethis project.
Y'all should have done the Dreand Snoop project, like it's
just going to be me and Snoopthat's going around.
I don't know.

(02:02:21):
That would have been theappropriate thing to do right
after the Chronic 2001.

Speaker 2 (02:02:27):
That's because of all the writers in that room, who's
ever been writing for Snoop?
And again, there's a lot ofpeople.
Names of credit to theproduction, to whatever.
Ag and I were talking aboutthis earlier briefly, you got so
many names attached to thisalbum so you don't know who did
what.
You don't know who producedwhat, you don't know who wrote
what, all of these differentthings, right, and you can tell

(02:02:55):
it doesn't.
It doesn't have a Snoop feel insome of the records.
Some of the records sound likeone of them even sound like it
was like a Wiz Khalifa type offlow or Wiz Khalifa type of feel
.
And you can tell someone elsewrote something else for someone
else, right, someone else wrotesomething else for someone else
, right.
And again, guys, you thinkabout this.
Think about on Doggystyle, whenyou heard the toilet flush and
it goes straight into Gin andJuice.

(02:03:16):
That just that small aesthetic,that small attention to detail,
was very important for thatalbum.
Even having the skits, thatsmall attention to detail
floating to the other song.
With this you don't have that.
It seems like it sounds forced.
Even that Eminem 50, dre andSnoop joint, that sounds forced.

(02:03:37):
It didn't sound right.
It just didn't sound like itwasn't.
It didn't sound like thesymbiote suit getting on the
Venom suit.
It was, it was.
It's everything we're afraid of, guys.
Suit it was a muck, it was amuck.

Speaker 1 (02:03:53):
It's everything we're afraid of, guys, because really
what we're talking about,they're just the victims of
their own success.
They don't have time to sit inthe studio with each other, with
the homies, for hours on endand make it happen again.
That's why I didn't want tohear it.
That's why I was like no, no,no, dude, I'm cool with Doggy
style in the Chronic, in theChronic 2001.
And whatever bangers you wantto put on Snoop's album, I was

(02:04:13):
cool with that.
So I just feel like they hurttheir legacy some in terms of
their batting average.
It's like how about this, ifMichael Jordan don't play that?
Last two seasons with theWizards, you know his scoring
average is like 32 points pergame instead of 30.6.
And then he's two points clearof everybody all time on average

(02:04:33):
, and so they just kind ofregress back a little bit on the
average.
It's like, oh no, y'all ain'taveraging 32 points a game
anymore, it's more like 30 now.
Yeah, it's the truth.
Yeah, I like that analogy too.
But here's the thing we got totake some of the onus on us as
fans because we got to pick oneside of the fence, though I'm
glad they ended up coming outwith this album.

(02:04:55):
I know you said you was coolwithout it, but we always
complained about Dre holding onto music and I think Snoop
really held his feet to the fireon this one and said like yo, I
really want to tap in with youon a project and let's put it
out.
Dre's known for vaulting musicbecause he's a perfectionist and

(02:05:15):
doesn't want the.
You know I'm saying thecritique if it's not perfect, if
it's not good enough.
And we could.
You know I'm saying, and wecriticize dre for that for like
gatekeeping all of this music.
So I can at least respect thathe tapped in with Snoop and then
put it out there.
Is it up to snuff?
No, it's not, but at least helike stepped out there and did

(02:05:36):
it you know what I'm sayingInstead of gatekeeping the whole
project like he's done so manytimes throughout the years.
We can't have it both waysthough we can't be like I'd
rather them not drop it.
You know something like this atall.
And then when we hear Dre'sworking on a project and then it
don't drop, then we like yo,dre Wildin, he need to put that
out because he can't keep allhis music.
We got to pick one side of thefence on that argument, though

(02:05:59):
I'm just trying to keep it above.
As far as us fans, I like theperspective some.
But let me push back and askyou something, ag, just for the

(02:06:20):
sake of uh, I find this dialogueto be fascinating.
Now, I don't know if anybodynoticed, the last time Dr Dre
made a project was Compton.
I want y'all to make me thebeats on this project or Compton
that you think are Dr Dre level, because truth of the matter is

(02:06:42):
is that when I listened to thisalbum, I was like, oh, this
writing might have been on thewall and about who he is.
We might not be willing to sayit, but the reality of the
matter is is that well, thesebeats on Compton and the beats
on Missionary, this ain't thetype of shit you ride to on
Compton and the beats onmissionary, this ain't the type
of shit you ride to?
And if I'm a pull Kendrick'scard about a West coast artist
not making something for theWest coast homies to ride to
like, it sounds West, but itain't nothing to really ride to
like that.
And so and this is what I meanit's like no, I'd rather
remember you the way that youwere, because, really, as an

(02:07:04):
executive producer on your lasttwo projects, these projects are
just average, slightly aboveaverage at best, from a
production standpoint.
With Dread at the helm, wouldyou hold Eminem's joint over
Missionary With Death of SlimShades?
Yes, I would have to.
I would too, but I was justchecking in with that.
I would have to.

Speaker 2 (02:07:26):
Again, fellas, I really think that we're
critiquing this based onexpectation and not based on
reality, because we're we'retrying to.
Okay, we talk about nas all thetime and we talk about jay all
the time as well, and we say hownas music grow with nas, where
he was able to talk about hislegacy in his music and his song

(02:07:47):
Fly, and everyone can't do thatright.
Snoop couldn't do that off ayear, and Snoop's legacy is one
for the ages as well, and Dre'slegacy is one for the ages as
well, but they weren't able tochannel that.

Speaker 1 (02:08:02):
And I don't think that was the intent.

Speaker 2 (02:08:04):
The problem I have with it.
I don't know what the intentwas.
I don't know what the directionis.
I think if I'm listening tothese songs separately and not
in sequence, I can enjoy thesesongs a different way.
I do think that there's songson here.
I love the song Part of Me.
I love the song with him andSting.
I love the song with him andJelly Roll.
I love those songs.
I think it's vibes on here.

(02:08:26):
There's some vibes on here, butthe vibes doesn't fit the
nomenclature of what we know,who these guys are and what they
are.
And again, I know you got togrow with your artists.
These guys are 50 plus or whathave you, so you can't have a
certain expectation.
They shouldn't be talking aboutsmoking chronic or smoking weed

(02:08:46):
or whatever, or you know thecrazy things that they talked
about in 92.
They shouldn't be talking aboutthat.
But however you've made it,You've made a conscious effort
to say this is missionary andnothing rings off remotely close
to that, because you said it'sthe sequel.
The doggy style is the firsttime Dre and I got together in

(02:09:09):
30 years.

Speaker 1 (02:09:11):
I think you got something right there, sean, and
I think I may have identified acommon ground problem that we
can all agree upon.
So I'm about to submit astatement to you guys and tell
me if you agree.
Part of what makes this albumso disappointing, on different
levels, for all three of us isthat, in the history of hip-hop

(02:09:32):
this is what I'm about to saythese are two of our 10 most
savviest people ever to walk inthe building right, and so the
fact that they missed the markmakes us think that it might be
over, because it's like well,when have they missed the mark?
It's like, because there are alot of things like all the stuff

(02:09:53):
that we're talking about isessentially a nice way of saying
these dudes are old, out oftouch and off base a little bit,
and we say it about otherartists all the time.
We're just having troubleaccepting it because, well, it
don't get any savvier on thebusiness side of things in terms
of promoting and preparing aproject and getting you ready.
It doesn't get any better fromthat side, like we forget.
No, no, they're not just greatat the music side, they're great

(02:10:15):
at the business and marketingand promotion and getting you
excited side and I think themnot delivering on that side
might be contributing to thisfailure.
What do you say to them?
I'll say oh, go ahead, sean.
I Wait, wait, wait, please.
You know, and this will set upa transition going forward.
But I think I'm glad you usedthat word savvy, and you know

(02:10:37):
what I'm saying.
I'm going to use the wordclever because, as sequel albums
go, you said it missed the mark.
The mark is evidently doggystyle.
If you're going to namesomething after a previous album
and it's going to be the directsequel, you have to be savvy in
your approach to that, becauseeverything is going to be
measured by that and that's partof our main disappointment.

(02:10:58):
And it doesn't have to be thesame classic, but it has to
stand on its own.
You talk about all the timelike um, you know what I'm
saying?
Up'm saying updating theformula.
They had a formula, but theycould have.
They didn't have to recreatedoggy style.
They could have updated theformula, made a sequel album.
That's something new andclassic in his own right, a la

(02:11:22):
what naz did on stillmatic,because stillmatic is a sequel
album to illmatic.
But he's clever and savvyenough to let you know.
When the first few bars theythought I'd Make another
Illmatic.
But it's Never forward.
I'm moving, I mean, but it'salways forward, I'm moving,
never Backward stupid.
Here's another classic.
So I'm smart enough to let youknow I can't recreate that back

(02:11:45):
there, but I'm giving yousomething Else that you can lean
on as classic, and is that asequel album, as sequel albums
go?
So I think their approach wasjust wrong and how they did that
and they set themselves up forfailure.
They could have did it in abetter way, where we would have
judged this album on its ownmerit versus comparing their

(02:12:08):
previous work and and I thinkthe title has a lot to do with
that- Right, and that's why Isaid I have to separate the two
entities, because even a titleyou think about, even the
artwork, is a condom Right.
So you're saying I'm taking it,the bottle is dope, though I
ain't going to hold you.
It's wild but it's dope.

Speaker 2 (02:12:27):
You're saying I'm taking it there, but you really
take it there musically.
And I'm okay with that because,again, 44 year old sean, I
don't want to hear about thestuff they were talking about
back in 93, 94, 93.
I don't want to hear that thistime.
You know this time and age, Idon't care about that.
But I want to hear somethingthat can say you know what?

(02:12:47):
That's the Dre song I'm lookingfor, or that's the Dre and
Snoop collaboration.
That gives me some kind ofnostalgia in a different way,
right, yes, not so much asnostalgia in smoking weed and
all of this.
I'm talking about nostalgia ina way of there is some DNA there
.
I can see the DNA between thetwo entities.

Speaker 1 (02:13:10):
OK, so Right.
So when you talk about updatingthe formula, let's go, let's,
let's just take a couple ofrecords.
It's like OK, it's like ain'tno fun is something that you can
redo with a different song type.
You could be taking somethinglike the day the niggas took
over, which talks about the LAriots, and, and you could be

(02:13:32):
turning around instead andtalking about a George Floyd uh
uh and Amir uh rice.
Um, what's a Trayvon Martin?
They touched on these subjectmatters before.
It just feels like this was.
I feel like they tried to comein and have a good time, but the
chronic and doggy style arefocused and concise, and so I am

(02:13:53):
going to put this on Dre.
I am.

Speaker 2 (02:13:55):
Yes, it's definitely on Dre Dre's head's in the
clouds on this.

Speaker 1 (02:14:00):
He's trying to make a sound too big and the irony of
this whole thing, the West Coasthas such a large resurgence
this year that if they wouldhave just kept it in the West
Coast wheelhouse everybody wouldhave ran to that.
But Dre trying to do this bigsound and let's get Sting and do
Pink Floyd and all that.
They don't want to hear thatfrom Dre and Snoop.

(02:14:20):
I know I don't and not to befunny, this is coming from me.
Listen to what I'm about to say.
Where the hell is KendrickLamar on this album?
You're dropping a West Coastalbum at the end of the year,
after all this stuff, and you'renot putting Kendrick on a verse
.
Yeah, that is crazy.
Who Kendrick signed to Failure.
That's why I'm talking aboutfailure and not being savvy.

(02:14:42):
It's like hold on.
To be fair, kendrick was mad atSnoop about the edible stuff.
Okay, tell him to shut up andget in the booth.
Go ahead and give him 500 grandand say, shut up, give him 500
grand, get in the booth.

Speaker 2 (02:14:58):
End of story.

Speaker 1 (02:14:59):
End of story.
Mr Righteous ain't saying no to500 grand for 16 bars.
He's not that righteous, guys.
But I like how we'recompartmentalizing because don't
get it twisted.
Snoop did his thing on thisalbum.
One thousand percent.
So it's Dr Dre fault, just likeit.
Pete Rock fault, just like it'sabout to be DJ Premier fault if
he do this Dr Dre thing.
Don't do that.
Contact, contact, contact.

(02:15:23):
Okay, shout out to Q-Tip.
Wow, giving none of these otherold dudes no credit.
Kanye is old now too.
He belongs with the era.
We can go to the next topic.
And speaking of the next topic,ag and I have a question for
you.
Now we're doing some littleEscobar season anniversaries

(02:15:45):
when y'all want to start, y'allwant to start with the worst
album, or y'all want to start,y'all want to start with the
worst album, or y'all want tostart with the best album.
Where are we starting?
We are starting with the worstalbum.
You know where we are startingStillmatic, stillmatic, okay,
stillmatic.
Ag is stillmatic.
Wait, you said the worst album.
What are you doing?

Speaker 2 (02:16:01):
I thought you said we started with the worst album I
was asking you.

Speaker 1 (02:16:04):
I said we're starting with with the worst album, we
start with the best album.

Speaker 2 (02:16:07):
We'll go in order of release.

Speaker 1 (02:16:09):
We'll go in order of release.
You know the classic.
So God's Son came out December13, 2002, if we're going in
order.
No, stillmatic was 01.
God's Son was 02.
Ah, that is right, got my yearsback from getting old.
Okay, so Stillmatic Do youthink Stillmatic is the sequel

(02:16:29):
to Illmatic?
Because I never looked at itthat way, but when you said that
it made me think it's like ah,it's only Illmatic Part 2 in
name to garner attention.
There's nothing about it.
I've always considered it that.
But to your point, like youalways say, updating the formula
, like I said, he lets you knowin the first few bars.
Like I'm not trying to recreatethat, I'm gonna give you a 2001

(02:16:51):
version of that which he did.
Everything that's present onthe original Illmatic is present
here on Stillmatic thestorytelling, the like you like
to say Coop, the timeless themes, like every the bar work,
everything is there.
The AZ feature he's reachingand pulling back like and Sean,
you alluded to this I want tosee the dna pause in the record

(02:17:14):
that calls back to, you know,the, the classic of yesteryear,
the dna of illmatic isinstillmatic but it's still
different.
And it's a classic when it canstand on its own right, and it's
it's.
It's not better, but it'scomparable.
I could argue with somebodylike yo you.
Let me take the best ninerecords off still matic.

(02:17:35):
I'm slap boxing with ill matic,sean.
What's up?
Queens, get the money go ahead.

Speaker 2 (02:17:43):
It's innovative.
You got songs like rewind onthere.
You got one mic on there.
You got the intro, the stillmatic on there.
You you got one mic on there.
You got the intro, thestillmatic on there.
You got so much original musicon there.
You cannot lose with that.
And you update your formulawith original music and original
stories.
You got what goes around onthere.

(02:18:04):
Tell them the story.

Speaker 1 (02:18:05):
Top five Nas records.

Speaker 2 (02:18:07):
Oh, my goodness.

Speaker 1 (02:18:09):
I don't know if it's top five.
For me it is.

Speaker 2 (02:18:12):
I might be top three bro.

Speaker 1 (02:18:15):
If we're talking about the bar work, then yeah,
but I mean, I mean I think it'shis best mic performance outside
.
Of it Was Written or Illmaticas far as the song.

Speaker 2 (02:18:31):
It's crazy because we haven't even gotten into you
know, we haven't gotten intoether.
We're talking about the songsong zone here.
We're talking about everythingthat represented the importance
of Still Illmatic, becauseyou're talking about someone who
was once the champion, who wascrowned a champion since his

(02:18:52):
inception and then the industryturned it back on because one
person said you had one hotalbum every 10 year average and
that's so lame, as if, as if weforgot about it was written.
But I digress.
So you got someone who's backagainst the wall and he's only
two years removed from whenyou're talking about his albums

(02:19:15):
itself and really a one yearremoved from having QB's fondest
.
So it's not like he was out thespotlight and he was on a
hiatus.
He was just not putting out thematerial that his
contemporaries wanted him to putout, because everyone still was
wanting.
They were still searching forIllmatic.
They were still searching forthat.
We never said that Snoop.
When he did Dogfather afterDoggystyle, right, we were like,

(02:19:39):
oh, it's Snoop, it's okay, youknow what I'm saying.
But they criticized andridiculed him.
Even when he dropped, it WasWritten.
They were saying they didn'tlike the line.
When he dropped, it was written.
They didn't like the line whenhe said I'll be flooded with ice
and hell fire.
You can't scorch me.
I love that line.
I love that line.

Speaker 1 (02:19:55):
Cormega wrote that line.

Speaker 2 (02:19:59):
And they hated it.
They didn't want him to saythat, so he took it back to the
essence.
He went back to storytelling,he went back to being who they
wanted him to be, which is anoriginal MC, mc of all MCs and
someone who was able to puttogether some phenomenal writing
in Stillmatic.
Stillmatic phenomenal writing,phenomenal concepts cool To me.

(02:20:21):
I think Stillmatic concepts arethe best in his discography.

Speaker 1 (02:20:27):
It is in my collection.
If you pull the best ninerecords off, steelmatic, I'm
telling you, it's Slapbox andWheelmatic, I'm telling you.

Speaker 2 (02:20:36):
Easily Beats were on point, because you cannot.
Now you can't say, oh, hepicked bad beats, because the
beats on Steelmatic, with theexception of Braveheart Party.
Thank you, swizz, it wasphenomenal.

Speaker 1 (02:20:47):
Shout out to Trike.
But do you agree with that now,coop?
Because even what Sean issaying, it lends to the fact
that this is very much a sequelalbum.
I still don't totally feel thatway about it because of the
diversity of the product.
You know, illmatic is astraight up and down product.

(02:21:09):
Stillmatic is not that to me.
But I do see a little bit moreof what you're saying, even
though I still don't consider itto a sequel.
But here's what I will tell youabout everything that you all
said, because I was actuallythinking.
That's why you were talking andthen you all convinced me of it
while you were talking.
It is the most triumphantreturn to glory that we have
ever seen from an all-time greatMC.

(02:21:30):
Hence the title.
It's the return to form.

Speaker 2 (02:21:33):
Still Matic, matic, I still got it.
Fellas, I don't understand.
But what are we talking about?
The brother still Matic?
I caught up on it.
You thought I'd make anotherill Matic.

Speaker 1 (02:21:48):
Yes, and it is all of those things.
But you want to know what Irealized when y'all were doing
all this talking.
It's like man, we are allreally really super big Nas fans
and part of why my press playis the way that it is.
Jay's not totally right withwhat he's saying on the takeover
, but there's enough smoke therethat he's not far off base.

(02:22:12):
A great MC is never needed analbum the way Nas needed a
stillmatic, because this albumis so far superior to I am and
Nostradamus put together.
It is so far superior.
You could put how about this?
Take the best nine songs from IAm and Nostradamus and they

(02:22:32):
don't come close to the bestnine songs on Stillmatic.

Speaker 2 (02:22:36):
No, that's a fact.

Speaker 1 (02:22:37):
This is the most triumphant return to form we've
ever seen from one of ourall-time great MCs.
Nobody had ever released andI'm not going to call the
material poor, because I don'tthink I Am is poor material.
I can't stand Nostradamus, butI don't think that it's poor
material.

Speaker 2 (02:22:55):
But I like that point Coop.

Speaker 1 (02:22:56):
I like that point because Nas was cheating during
this era because, like you said,take the best Nas songs off.
I Am Like.
A lot of those songs didn'tmake I Am, and then he released
them on the lost tapes.
So now this is cheap duringthis era.
It's like you want the bestsongs from I am that didn't make
I am here, you go, here's thelost tapes, yeah, but.

(02:23:18):
But I'm.
I agree with you, sean.
Conceptually this is hismanifesto, ag.
Uh, as far as lyrically isconcerned, I think what goes
around is is how about this?
Lyrically, what I think of whatgoes around, it's the only song
post it was written.
Then I'm like, oh no, thatbelongs on.
It was written.
It is so lyrically like that's.
I've always told you 96 noz isthe best lyricist I've ever

(02:23:40):
heard.
What goes around deserves to beon.
It was written, not still,maddie, that's how lyrically
inclined that record is and howbrilliant that record is the
flyestest with AZ.
Here's where I don't think it'slike Illmatic and this is why
I'm going to push back with youguys on it.
This album has a personalitythat Illmatic doesn't have One

(02:24:01):
mic in.
Destroy and Rebuild is why I donot think this album is like
Illmatic.
The guy that is on Illmaticdoes not need to make rewind.
The guy that is on Illmaticdoes not need to make rewind.
The guy that is on Illmaticdoes not impersonate Slick Rick.
His personality is not likethat.
On Slow it Down, he tells youwho he is Mean mug and was slow
to speak.
This is Nas coming out of hisactual shell for the first time,

(02:24:22):
and that's why I don't thinkit's like Illmatic.
The guy that's on Illmatic isdark, dense, dreary, intense,
quiet, aloof.
He's none of those things.
On Stillmatic, this guy istalking shit.
He is crushing people at everyturn.
He is impersonating Slick Rick.
He is actually screaming onrecord, which we had never heard
him do before prior to one mic,and so I don't think it's like

(02:24:45):
Illmatic.
Because of all the beautifulthings that make Stillmatic a
classic, this is his mostcolorful classic of all the
classics.
When I talk about how Illmaticis the Sistine Chapel.
Well, you know, the SistineChapel got different rooms, but
it's all Michelangelo's painting.
If we were to compare, you know, nas's artworks to the sistine

(02:25:09):
chapel, this would be the onefresh.
This, these would be thefrescoes with the brightest
colors.
This is his most colorful albumand so I don't think it's like
ilmatic, because ilmatic's notcolorful.
Ilmatic is dark, depressing andvery new york.
This is a home run, derby,there's a lot of home run, it is
.
So what do you?
So?
What do you think about mypushback, sean and ag?

Speaker 2 (02:25:29):
it's.
It's a reason for that because,you know, I I kind of compare
it more to um the zack snydersuperman.
Right, when um ilmatic is notnot confident in his own
strength at the time, right, andif you think about what she
said, uh, she said yo calab,calab're not, you're not showing

(02:25:49):
your strength.

Speaker 1 (02:25:51):
Right.

Speaker 2 (02:25:51):
Okay, Still Illmatic.
You hear a different tonebecause now he's showing off his
strength.
He know what he is, he know whohe is.

Speaker 1 (02:25:58):
Now he's reflecting on who he is.
How about this?
How about this?
You know what A little biblicalreference.
So for me it's like on Illmatiche is like King David before
King David becomes King David.
You know King David just in thefield.
You know singing these songsand there's the most beautiful

(02:26:19):
song anybody had ever heard.
For those who had heard it,that's what Illmatic is.
Oh no, stillmatic is.
When David decided he'd grab aslingshot, he like oh no, I will
kill the whole tribe with thesethree stones.
Who won't go to war with theking?
That's what's still Maddox tome.

Speaker 2 (02:26:33):
It's the difference between David.

Speaker 1 (02:26:34):
It's David in the field.
Illmatic to me is David in thefield singing those beautiful
songs and still.

Speaker 2 (02:26:39):
Maddox is the guy it's evolved.

Speaker 1 (02:26:44):
It's like oh no, I'm not singing in the giant Come on
, let's go.

Speaker 2 (02:26:48):
I like that Kool, but I still think it's more about
his youth in 93, 94, becausehe's so young.
But he's being crowned so youngand he's speaking from an
honest place on Illmatic.
He doesn't even know what he is.
He doesn't know his ownstrength on Illmatic.
He doesn't even know what he is.

(02:27:09):
He doesn't know his ownstrength on Illmatic.
By the time you get toStillmatic you know again.
Like Superman on the secondJustice League, when he came
back now he's confident withstrength.
He went straight to Steppenwolflike it was nothing and he's
looking at him like yo, that'sall you got.
Like really.

Speaker 1 (02:27:24):
But he's still confident with that perspective.
I'm glad you said that, sean,because, like on the intro,
walking out the door, all of uspoor, I learned the difference
between the real ones, that whosaw you know what I'm saying,
talking about born in the TashBrowns, like those bars, and
then second childhood, thosebars, like you know what I'm
saying Like he's still speakingfrom that Illmatic perspective.
He was still young.

(02:27:45):
I don't okay, I don't okay, Idon't like, I don't.
How about this?
On Stillmatic, even thoughgreat nostalgic rapper, it's not
about the nostalgic moments onthis album, it's his most
current album too.
But I do hear what you'resaying.
But you know what, sean, whenyou were talking, I thought
about something it's like whenit got pretty special if you

(02:28:06):
were talking about Superman.
I'm talking about King David,the greatest king in the Bible.
We're talking about David andSuperman.
To compare MC and that meansthis guy is just out of this
world.
But to your point, coop, he didneed this because this was the
first uptick back, because evenI love it was written, and I
think it was written in a lot ofways is just as good, if not
better, than Illmatic.

(02:28:26):
So, even if you say it's alateral movement from ill matic
to.
It was written im was a drop,nassar, we're not going to talk
about firming qb's minus, butfor solo.
Then nassar domus was anotherdrop, way further still.
Matic is the first uptick andit was a major uptick back on
the level of you know I'm I'msaying it was written close to

(02:28:49):
Illmatic territory.
So yes, he did need this infact.

Speaker 2 (02:28:53):
He needed it At the time because of the timing At
this time, jay had the game in achokehold.

Speaker 1 (02:29:00):
We talk about trending.
Like you know what I'm saying.
If we're being honest, as Nasfans, he was trending downward.
So, like what Jay said has sometruth to it, yeah, I work.
So, like what jay said has sometruth to it, yeah, I mean.
This is why I compare it todavid.
It's like, oh no, no, no peoplewas running around acting like
the giants was really running it, and and, and.
The way the game really went itwas like, well, it was never

(02:29:20):
really meant for them to run it.
God was just waiting for davidto step up.
So that's why I'm saying it'slike like one of the most
important things that reallyhappened in the happened in the
history of hip-hop, is Jay doingwhat he did on Summer Jam.
I'm not talking about theprodigy, I'm talking about when
he uttered those words.
Ask Nas, he don't want it withHo, that would be equivalent to

(02:29:42):
the Goliath and the Giantswalking out of the land like
yeah, yeah, this is ours and wegot this.
And then David pull up therelike you don't have anything
Bang bang.
Yeah.

Speaker 2 (02:29:51):
When he said it, I was like did he say that?
Did he just really?
Did he just say that?

Speaker 1 (02:29:58):
He was on top of the world, though he could say that.
But that one moment changed thecourse of hip hop so much,
because it took David out of thefield and put a slingshot in
his hand, and he's not grabbingthat slingshot if that doesn't
get set.

Speaker 2 (02:30:10):
And so we don't get.

Speaker 1 (02:30:11):
So we don't get stillmatic.
If Jay doesn't do that, imaginethat.
Imagine this rap game withoutstillmatic in modern day era.
Yeah Well, you know what I'msaying.
And then, taking it a stepfurther, you know what I'm
saying.
When he cuts off Goliath's headand like parades that around,
you know what I'm saying we getthe victory lap album.
I think that's very much whatGodson is.

(02:30:33):
That's where the Rudyard Kiplingquote comes in at on the Made
you Look video.
It's like oh, coronationceremony, got it copy.
So beautiful moment.
One of the best rap albums ofthe 2000s, easily.

Speaker 2 (02:30:49):
Absolutely.
You followed it up with Godson.
Another anniversary Came outroughly a year later.

Speaker 1 (02:30:56):
Yep December 13, 2002 .
Actually a little less a weekbefore.
So actually 51 weeks laterdropped Godson so not quite a
year.
And I mean I tell people Ithink I'm somewhere in the
middle about this album.
Sometimes I think it's good,sometimes I think it's great,
sometimes I think it'sborderline classic.
But I'm never mistaken aboutthe fact that I think Made you

(02:31:19):
Look is the best single he everreleased.
So what are your thoughts aboutGodson?
Because every time I talk aboutGodson I just go to Made you
Look.
It is one of the best rap songsever, in my opinion.
It is one of my favorite rapsongs ever.
It is a moment of moments forhim and I still think it's his
best rap song.
It rings off the most when heperforms.
Live out of anything.

Speaker 2 (02:31:44):
It was a victory lap song.

Speaker 1 (02:31:46):
Can you imagine if Major Luke was on Stillmatic?
My God, okay, if Major Look ison Stillmatic, we're having a
top 10 to 15, 20 albumconversation.
Just that one song, like matterof fact.
Think about this and I knowBraveheart Party's not on
Stillmatic anymore, but imagineBraveheart Party not being there

(02:32:10):
and Major Look being there.
That is a top 20 rap album ofall time.
Easy Jesus, yeah, that's a huge.
What if?
But yeah, godson is a great.
I'm with you, coop.
I have it ranked 10th in hisdiscography, which is saying a
lot as great as Godson is.
This weekend in our Discord Idid a little playlist with the

(02:32:32):
bot that's in our Discord.
I did KD2 versus Godson and itwas a pretty interesting matchup
.
You know what I'm saying,because I got KD2 at number 9
and Godson at number 10 for hisdiscography and to have an album
that great that low is kind ofcrazy.

Speaker 2 (02:32:49):
I owe Godson a very close.
It's one of my most personablealbums for me.
I know it's very personable forNas but he was going through
some things.
You know his mother.
He just lost his mother.
Very somber album.
But I also I lost my grandaunt,who was actually my godmother

(02:33:10):
at the time and that was thefirst time I lost her that close
to me and I was away.
I was stationed in NorthCarolina at the time and I
remember just playing one danceover and over.
My weirds didn't tell me tostop playing it.
She was like you got to stopplaying it.
I was playing it over and over.
I couldn't get out of it Tothis day.

(02:33:31):
I can't really play that songto this day because I don't want
to go back into that memorybank.
During that time this entirealbum was very personal to me
because you guys were in 2002.
We was at War Without War.
I was in the middle of all ofthat.
Warrior Song was one of thosesongs that kept me going.
Heaven was one of those songsthat kind of kept me going.
You know, heaven was one ofthose songs that kind of kept me

(02:33:51):
going.
It was just in such a beautifulyet realistic human form, in my
opinion, as an emcee showinghis vulnerability.
See that most emcees weren'tdoing A lot of rappers don't do
that.
That most MCs weren't doing Alot of rappers won't do that.

Speaker 1 (02:34:13):
So, sean, I'm actually going to echo your
sentiments and I think you knowwhat makes an album great for
some is actually what can hurtits ranking in his catalog and
overall.
So when you said that, Ithought to myself well, part of
what drew me to the album.
I lost my grandfather, whoraised me a military man, 2001.
And so songs like Dance andHeaven and Warrior Song, oh,

(02:34:39):
they resonate with me because Iwas going through missing my
grandfather and I you know.
So there's that relatability.
Take the personal emotion outof it and let's just look at
those records objectively.
It's like, well, heaven'sprobably still a classic, but
I'm not sure about Dance andWarrior song objectively, if you

(02:35:00):
take the personal feeling,attachment out of it.
And that's how I try to look atGod's Son, when it comes to the
quality of the songs, because Ithink it's arguably prior to
life, is good.
This was his most personalalbum.
It was most introspective, butlike I like how you said, cooper

(02:35:20):
, it dangers, you know, itteeters, because if you can
identify with it it's going tobe great to you.
But those are not just tracksyou could put on in any setting,
you know.

Speaker 2 (02:35:29):
Correct.

Speaker 1 (02:35:31):
That's what I mean about that record.
That album, like Godson, isn'tfor everybody.
Maybe you look and get down.
It's for everybody.
I Can is for everybody, but thealbum itself isn't for
everybody.
It does connect more dots.
If you have been dealing orexperiencing loss and you just
know how it is in the streets,Sometimes people be like oh, I
lose people every day, I justwant the shit in the bank.

(02:35:52):
And you've got to make musicfor those cats too.

Speaker 2 (02:35:55):
I think that's what makes it so special, because we
gravitate to music personallywhere it reaches us the way
music.
I can identify where I was inlife, you know, physically or
even professionally or mentally,based on the music I was
consuming at that time.
Hip hop is like the soundtrack.
Music is the soundtrack of mylife, so I can tell you

(02:36:17):
specifically where I was, whatstate of mind I was in, based on
what I was listening to at thattime.
You have to be able to connectwith the artist and connect with
the music for it to be one ofyour very own.
If you can't connect with it,then it becomes baseless to you,
and to me it wasn't baselessbecause it has so much depth to
it that it spoke volumes to 22,23-year-old Sean when he was

(02:36:41):
going through.
I'm facing my mortality, we atwar, I just lost my aunt.
I got a lot going going on, soit connected some dots for me
personally.
And not only that.
My favorite artist just cameoff of a battle with one of the
biggest, if not the biggest,artist at that time.
This is him on the back end ofthat battle.

(02:37:04):
He's been going back home withthe spoils.
So now it's time for me to siton my throne and now I got to
deal with coming back home.
I have a lot.
I lost my mother, the closestthing to me.
I have to deal with that afterthis battle.
It's crazy when you look at it.
It's a tough place to be in asan artist.

Speaker 1 (02:37:20):
So so this is what I would submit to you about that.
So there were times, sean, thatI would listen to it's Dark and
Hell is Hot and about theimpoverished situation that I
was in.
I would listen to it's Dark andHell is Hot and it would
actually make me cry because itmade me realize how poor we were

(02:37:42):
.
It would hit that nerve in mewhen I listened to the records
and that's the nerve that itwould hit on me like dmx struck
the poverty curve uh chord withme.
He didn't strike a street dudecurve, because I always felt
like it's like oh no, he's notjust talking about the dudes,
who was robbing dudes, he'stalking about the people who do
not have, and I was one of thepeople that did not have, and so

(02:38:03):
it resonated with me and I tookthe album more personally.
But I take my personal feelingsand emotions out of it's dark
and hell is hot.
Those songs are stillremarkably brilliant, and that's
my quibble with godson.
I don't know if it's remarkablybrilliant like that if you take
my emotional attachment out tome.
That's all I'm saying.
But for those with thatemotional attachment to it, it's

(02:38:25):
like I understand, becauseyou're talking about godson.
Oh, that's how I feel aboutit's dark and hell is hot.
You can't tell me nothing aboutthat album.
You can't tell me nothingbecause it struck such a chord
with me personally that I can'tdetach myself from the personal
attachment I can't.
Every time I listen to it.
I can remember walking up anddown badies ford on the way to
school when it's dark and hellis hot was out and I was like I
gotta get out of here, like Igotta get out of the West side

(02:38:46):
of Charlotte.
It's like I got to get out ofhere Because, because, because,
because, listening to him talkabout his situation made me
realize how much, how dire mysituation was.
It was like it's like oh no, Igot to get out of here.
And so there are albums thatmotivate you like that.
I just I've always been of thetrain of thought that sometimes
your emotional feelings attachedto it may make you like the
album more.
That's why I have it's dark andhell is hot over reasonable

(02:39:07):
doubt.
When I tell people they're likeyou're crazy, I'm like well,
I'm not attached to reasonabledoubt Like I am.
It's dark and hell is hot.
I wasn't selling dope in 96.
I was broke in 96.
I was broke two years later,when it was dark and hell is hot
, came out and that's why Irelated to it more.
But he's such a good writer.
He strikes a balance withrecords and other records are

(02:39:32):
still personal but they have somuch flair to it, like to be
able to pull back the curtainand give the fan this is coming
off the battle people love.
Whacked out murals becausekendrick addressed everything
that's happened in the past year.
Well, do yourself a favor andgo listen to last real nigga
live by naz.
Because for the fan he pullsback the curtain and says, okay,
yeah, me and homie was in abattle, but I'm going to start

(02:39:52):
early 90s, when everybody wasjust getting on, and walk you
step by step through what led upto this point to where we're at
now in 2001, 2002.
And then the writing on that isjust brilliant.
You know what I'm saying Justtaking the listener through that
ride and that experience and tome his arguably the most slept

(02:40:12):
on song in his catalog as far asconceptually Book of Rhymes
Love.

Speaker 2 (02:40:18):
Book of.

Speaker 1 (02:40:19):
Rhymes, alchemist.
That's how I got hit toAlchemist.
That's how I got hit toAlchemist.
Yeah, I think Book of Rhymesmight be Nas' most slept on song
in his catalog.
I think Book of Rhymes might beNas' most slept on song in his
catalog.
I think that's a brilliantconcept, man and I just you know
it's a very personal album, butit's tracks like those two that
like really still strike a goodbalance.

(02:40:40):
So even on Book of Rhymes,which is the concept, he ends it
with a personal thought Look atme jealous of my own baby,
infant.
It's so personal.
I felt me jealous of my ownbaby infant.

Speaker 2 (02:40:50):
It's so personal, I felt every bit of that.
So personal.

Speaker 1 (02:40:53):
Even the concept of it.
No, so it's there.
It's one of those ones.
But you want to know what?
Just real quick guys, real talk.
The still bad at God son hasmade me realize yo Jay was super
arrogant.
He had no business stepping tothis dude.
He was not prepared for this.
The more we are talking aboutthis out loud, I'm thinking to

(02:41:13):
myself.
He must have been having thebiggest moment of all time to
think that he was about to stepto this dude with all this
information this dude had on thetable and it wasn't about to go
this way.
He really thought he had him.
Sometimes you can't see pastyour own ego.
It's the most arrogant man damnjust um.

Speaker 2 (02:41:34):
Yeah, that's a show.
Yeah, and don't forget, he alsodropped um the lost tapes in
that same within that window,within that year.
Yeah, we got some super chatsreal quick.
We have a few that we gotta getto.

Speaker 1 (02:41:51):
CJ the Kid follow super chat.
Appreciate you, sean.
After that comparison you mightneed to do a chronic versus 36
chambers of Flavibot.
Yeah, yo, appreciate Ethan Hillwith the follow on super chat.
Snoop sounding good is creditto Dre, because Dre is coaching
his vocals on every line.
Yes, dre is a producer, hedoesn't just make the beats, he

(02:42:14):
does you, he does you knowvocally.
But you know, instead of youknow, coaching Snoop on how to
say things, he should have beenfocusing more on, like his
production, in my opinion.
But that's just me though.
Cj the Kid with 5.0 Super Chat,you said Missionary is a 4, but
the Firm got a 3.5.
Is, but the firm got a threeand a half.

(02:42:37):
Is the firm better than thisalbum?
That's hard to compare.
I'll just say both wereletdowns for their own, for
different reasons.

Speaker 2 (02:42:44):
Yeah, I agree.

Speaker 1 (02:42:48):
CJ, with another thought on Super Chat, since you
guys were in real time in thisresurgence of the West Coast now
looking like how it did in 93and 94 when the West was on top.
This is a resurgence, but thisis not 93, 94.
By any means.
Stop that.
Stop that, okay.
So let's get this straight.
1993 and 1994, ice Cube, snoopDogg and Tupac were walking

(02:43:11):
around.
They don't have any of that andDrake, what was?
That going on?

Speaker 2 (02:43:15):
Warren G Was active.

Speaker 1 (02:43:19):
Like I said, we can stop at.
Tupac Snoop we can stop atTupac Snoop and.

Speaker 2 (02:43:22):
Ice Cube no, Warren G .

Speaker 1 (02:43:26):
Oh, Regulate the G-Fuck era, oh, this is great
the West was killing it backthen.
I mean there are dudes likeSpice One, mc8, dj Quick.
I was a big Ravcast fan man.

Speaker 2 (02:43:38):
I was a big DJ, I love.

Speaker 1 (02:43:40):
Ravcast and DJ Quick Alcoholics.

Speaker 2 (02:43:44):
Pyro.

Speaker 1 (02:43:48):
Cliff is casual Del funky homo sapien.
No, it's not the same.
It's not the same.
Shorten 40.
Lp with the $5 dollar superchat, appreciate you.
Narration describes the liveslost tribes in the ghetto trying
to survive.
Top five intro ever.
Definitely feels like aspiritual successor.
Pause the illmatic.
Um, yeah, I mean, I've alwaysconsidered it that always.

(02:44:12):
Uh, cj the Kid with the $5Super Chat.
If Made you Look was onSteelmatic, would it be better
than it Was Written?
Short answer yes, absolutely.
That one song would make thedifference.

Speaker 2 (02:44:23):
It's not based off one.

Speaker 1 (02:44:26):
Yes, that caveat too.
Cj, the Kid with the $5.
Super Chat RevolutionaryWarfare's All Fair Love of War,
for the Cause I Gotta Take youOff.
I'll super chat RevolutionaryWarfare's All Fair Love of War,
for the Cause I got to take youoff here.
Nah, I spazzed on that track,yeah you want to know what.
Hold on, you want to know what Imight take you all up on.
That it Was Written Stillmatic.
What Made you Look thing?
I don't know about that.

(02:44:47):
I might take you up on that.
I thought about that for asecond.
Oh no, I'm not beating Made youLook, but I'm going to take a
lot of them Stillmatic records.
The writing would be better on.
It Was Written Still, but thehome runs on Stillmatic is just
like it just sounds bigger.
If that makes sense, yeah, buthow about this?
It's like I like the Stillmaticintro personally better than

(02:45:09):
the Message, but it's not betterthan the Message.
No, I wouldn't say that.
That's what I'm saying, but it'snot better than the message.
No, I wouldn't say that.
I don't know if it was written.
I don't know if Still Madigan'sbeating, it was written even,
which made you look.
I don't know about that.
We might have to.
Alright, quick question whatgoes around?
Or silent murder?
What goes around?

(02:45:30):
For me Super close, what goesaround?

Speaker 2 (02:45:33):
or taken in blood.

Speaker 1 (02:45:35):
How about this?
What goes around silent murderand taking in blood, or in the
back half of his top 10 to me?
So I can go with those I goseven three of my top five nine
songs.
Right there, they're in the samewheelhouse.
Yeah, they're three of my 10,yeah, yeah, but but notice, but
notice how, taking in blood andsilent murder, on it was written
two of your three.
Or on it was written Two ofyour three are on it.
It was written Fair enough,fair enough.

(02:45:57):
And yeah, my mere thoughts withthe $10 Super Chat Top Nas
albums one, illmatic, two, itwas written.
Three, stillmatic, four, magicFive, kd3.
Six, life is Good.
Seven, magic Three.
Eight, god's Son Nine, 8, god'sSon, 9, kd2, 10, kd1.
I'm not mad at that list.
It's a pretty good list.
It's a pretty good list.
I'm impressed.

(02:46:19):
Unfortunately, we have to slidedown the scale a little bit and
go to something a little bitless stellar from Nas.
Yeah, this is not a top 10 Nasalbum.
On this day 18 years ago, hereleased Hip Hop Is Dead.
It's not a top 10 Nas album.
Um, how about this, guys?
I will tell you the part of methat was disappointed in
nostradamus has more to do withthe young man and his early
fandom of his favorite rapartist.

(02:46:41):
This was the album thatdisappointed me the most,
because I had such highexpectations for this.
After winning the battle.
After still matic, after god'sson, after lost tapes, after the
deaf jam signing, after the jayreunion and all the hoopla, I
thought we were getting theclassic album.
And then I hear this Lucy callwhere y'all at and I'm thinking

(02:47:01):
to myself it is about to go down.
Where y'all at is still.
How about this?
This is what I'm talking about.
Where y'all at is one of my 25favorite Nas songs.
Like to my top 25, somewhere itmight be top 20.
So you have to understand.
Think about this, for godson,godson stillmatic, lost tapes,
winning the battle, signing thedeath jam where y'all at.

(02:47:22):
I thought this album was goingdown like a classic and it is
just submitted.
We just need to call it what itis.
You talk about one song makinga difference.
Man, I was sick when wherey'all at wasn't on the album,
but I did get the track.
I bought my joint from best buyand it had like two downloadable
bonus tracks.
They had where y'all at andthen the end joint.
You all remember the end.
I had those but it wasn't onthe official album album.

(02:47:43):
I do got an import joint thatgot it on there and it got the
uh, the blood diamonds jointshine on.
Yeah, I got it.
Yeah, I got an import that gotthose three tracks on it.
But at any rate it was somewhatof a letdown because you had
all the hype coming with.
Black Republicans when y'all atwas buzzing crazy on the

(02:48:05):
underground level.
It's crazy.

Speaker 2 (02:48:08):
It had potential.

Speaker 1 (02:48:09):
It's tracks on there, it's dope joints on there, but
it's just uneven.
It's not that it's not fire onthere, it's it's.
It's just uneven.
It's not that it's not fire onthere, it just sounds like the
retail version of I am, but alesser version like it's um it's
uneven.

Speaker 2 (02:48:22):
It didn't fit the aesthetic of that year and that
era.
That hip-hop was changingdrastically during that time and
jay and nas honestly both ofthem didn't drop albums within
that window.
That fit the aesthetic of thattime, because during that time
the South was on point.
The South was killingeverything.
The music was different, thetone was different.

(02:48:45):
If you were in the clubs, youheard it different.
There was nothing on hip hop.
Instead, that you can ring offin a club or ring off in a whip
that had bass in the back,because during that time people
was buying a lot of bass music,a lot of speakers.

Speaker 1 (02:49:00):
Hustler's got some knock to it.
That's Dre.

Speaker 2 (02:49:03):
Hustler has it, but still the tone.
The tone just didn't fit whatwe were listening to at that
time.
The sound was on fire.

Speaker 1 (02:49:12):
You want to know what's funny.
You want to know what's funny.
You want to know what's funny,though and this doesn't have
nothing to do with the qualityof the album, but remember, when
Jeezy was on the radio like youknow what I'm saying popping
off about Nas because hip-hopwas dead, like you know what I'm
saying with Monie Love and allthat, and he was like basically
talking about you know, nasdon't bust as good Nas.
Don't know if I ain't the fanNas irrelevant.

(02:49:32):
But if you go back and look atthose numbers and I hate to, you
know, be the one to talknumbers, but Hip Hop Is Dead,
outsold the recession, you knowwhat I'm saying for the first
week and stuff.
So it's kind of ironic becauseJeezy and you know Jeezy was one
of the people that was runningthe era.
But if you go back and look atthe numbers, hip Hop is Dead,
outsold it.

Speaker 2 (02:49:52):
Yeah, that's what Nas said on.

Speaker 1 (02:49:54):
They dropped around the same time.

Speaker 2 (02:49:56):
What Nas said on Success walking to, the walking
to the Lions Take everybody'schips.

Speaker 1 (02:50:01):
About to cash the man Up your catalog dog.
Mine's worth as much yeah hewas taking shots at all those
dudes that were taking shots inthose mid-2000s.

Speaker 2 (02:50:10):
That was that was those.
Yeah, that's what he said.

Speaker 1 (02:50:12):
He said you ain't gotta brag about the feds.
Young man right old cribs Isold y'all.
Drive by like monuments, googleEarth knobs.
I got flats on other continents.
It's like I was like, okay,don't talk too greasy to him
today he's from the A-Town.
You need to be nice to myAtlanta brethren all right.

(02:50:33):
I will say this, I think well,you know, I mean I don't want to
give this album too much runbecause it doesn't deserve it,
but I do think Money OverBullshit is one of his more
underrated intros.
Not the best, but I think it isone of his most underrated
start-offs to an album.

Speaker 2 (02:50:46):
Might be top five dude.
Might be top five.
It's not top five.
It's not top five.

Speaker 1 (02:50:54):
It's not top five, but it might be six or seven,
but it's not top five.
I respect that you said six orseven, because it's right there,
man.
The way it starts off is crazy.
We got a stillmatic intro ofthe message in New York State of
Mind, so it's fourth at best,and then I'll put speechless
over it.
Speechless definitely.
Would have started off KD2 withDeath Row East.

(02:51:18):
Be going with Death Row Easttoo.
Could have started off KD2 withDeath Row East.

Speaker 2 (02:51:23):
Top five, you would not survive.
Rule one come on.

Speaker 1 (02:51:28):
Rule two thought you knew don't.
Rule three see, If y'all reachtop five, I'm going to eat y'all
reach top five.

Speaker 2 (02:51:35):
I'ma eat y'all alive each one of you rappers who
claim hip hop is still alive.
I need an agreement with Nas.
I said it's dead.

Speaker 1 (02:51:44):
He doubled down.
I like that he doubled down.

Speaker 2 (02:51:47):
I like that.
He doubled down.

Speaker 1 (02:51:49):
Yeah, good times, good times we'll just blame
Khalees for 2006 to 2010 andkeep it pushing.

Speaker 2 (02:51:58):
Blame Khalees, it's an easy thing to do Y'all want
to hit the Discord dialogues andthen get into this quick press
play called the Night?

Speaker 1 (02:52:12):
Yeah, because that one thing we're going to do, we
need to really lock in for thatnext show.
We do Like, as a whole, Justnothing but that I was thinking
about that too.
Actually, I'd like to actuallyend the show by reading off our
top 20 the last time we talked,so that we have a template to go
off of, because I went andfound the notes from our

(02:52:33):
mid-season review show.
I got it too.
Coop Say less Great minds.

Speaker 2 (02:52:40):
I thought we were going to make it this far.

Speaker 1 (02:52:42):
I'll do mine, AG what kind of Dear Lord AG.
Discord Dialogues DJ Clue oh myGod, yeah.
Discord Dialogues manue oh myGod, oh yeah, yeah.
Discord Dialogues man Queensget the money.
Dj Clue, more Queens.
I was actually kind of hypedthat DJ Clue, you know, made the

(02:53:03):
Discord Dialogues this week.
I nominated him because, Iwasn't, I wasn't excited.
This is your fault, this isyour fault, this is your fault,
this is happening.
That's wild.
But yeah, the professional alsohad an anniversary this week.
Hold on, ag, not to cut you off.
You talking about Queens, getthe money to sign the
Rockefeller.
Okay, keep going, keep going,keep going.
Okay, say less.

(02:53:24):
But yeah, the professional hadan anniversary this week as well
.
And I don't think people givethe professional, uh, enough
credit because, granted, um,funk, master flex had 60 minutes
of funk, a couple volumes maybeout before professional, but on

(02:53:45):
a major label scale putting outa compilation.
The quote-unquote mixtape wasdone in the biggest of ways when
coop dropped the professionaland I don't think people that
wasn't tapped into that era knewwhat clube meant to the culture
.
Like artists used to reallyfight for, like placements on a

(02:54:06):
clube tape, like you know, beingfirst or second, you know, on a
clube mixtape.
During that time in new yorkclube was breaking new artists,
like if you had somebody in yourcamp like a Seagull or you know
what I'm saying Rough Riders.
You know if they had, like youknow, whoever, whoever in
Terrace Walk, yeah, anybody whowas a new artist coming up the

(02:54:29):
first time you heard them wouldbe on a Clue tape.
And then the world gotintroduced to them when they
were on a feature on an album or, you know, in a video, but
guaranteed, the first timeanybody heard him was through dj
clue.
You know he was breaking thesenew artists and to get a
placement on clue tape was ofthe highest esteem.

(02:54:49):
You know, especially in that era, from new york, especially if
you can get on the jump offtrack, or you know track two or
three and um New York,especially if you can get on the
jump off track, or you knowtrack two or three, and I just
don't think he gets enoughcredit for the rise that
Rockefeller had.
I mean, that's actually kind ofa cheat code because you know
what I'm saying, all the new,you know what I'm saying, the
sauce, money tracks or whatever.
They had him in house to breakall these new Rockefeller

(02:55:13):
artists during that time.
But he was also, you know,showing love to, like, you know,
all the other artists too.
So it just not.
It's just.
It's not like he was justshowing Rockefeller love, he was
really breaking artists all theway around, man.
And DJ Clue was somebody who wasa legend Once you heard his
voice.
Now, granted, he talked alittle bit too much over some

(02:55:33):
fire tracks, I will say that hetalked a little bit too much.
Over some fire tracks, I willsay that he talked a little too
much, but once you heard hisvoice you knew it was on, and so
many classics respond from hismixtape.
So I don't think he's a legendthat gets talked about enough in
this game.
Sean, you have some kind words.

Speaker 2 (02:55:52):
No, you hit on the head man.
I think that as much as we laudhim for being with Rockefeller,
I think it also kind of hurt himin some way as well.
You know being from Queens andalso you know being part of that
backdrop and being onRockefeller and not getting a
chance to maximize his time onRockefeller when Rockefeller was
on fire.
I think one of his biggest, youknow, tributes to Rockefeller

(02:56:13):
was when he did the backstagejoint right, because he was all
that and I still think that Idon't know if it was by a
byproduct of just what was goingon, because the engine was Jay.
You know everything, all theeverything, the energy and all
the resources are pushed intoJay to get Jay at the forefront.
And you had, like you said, youhad Lou in that camp who had an

(02:56:38):
opportunity to do mixtapes forBleak Beans, all those guys and
break those guys a bit further,because to be on a Clue mixtape
was very heavy in New York andmaybe it was just a sign of the
times, because I don't thinkClue was with the Rockefellers
until like 98, 99.
I think that's when he 98.

Speaker 1 (02:56:59):
So by that time Late 97, early 98.
Yeah.

Speaker 2 (02:57:03):
So maybe by that time it was like his.
The legend of Clue was alreadyestablished.
But also, you're talking abouta time when artists weren't
clamoring to get to him becausethey had other outlets.
You still, you had on Funk Flex, that was still out there.
You had Big Cap.
About a time when artistsweren't clamoring to get to them
because they had other outlets,you still.
You had on funk flex, that wasstill out there.
You had big cap.
That's in peace.
Yeah, you had all these otheruh uh djs out there that you

(02:57:25):
could go to, and not only that.
You know, you still had.
It was a very small backdrop,because now clued with rockef,
we don't want to go.
You know, if I'm mobbed deep, Idon't really want to contribute
so much to that, right, becauseright now you're looking kind
of shaky.
For me the battle wasn't infull display, but there's some

(02:57:49):
things, there's some underlyingthings going on, there's some
undertone there and you don'twant to be a part of that in
some way.
And clue was on that side.
So I don't know if thatimpacted him as much.
Um, but clue is clue, stilllegend, still made man and he
was moving and shaking.

Speaker 1 (02:58:05):
One thing I don't think he gets enough credit for
more so than other djs.
He was really out there gettingsome exclusives, Like exclusive
exclusives.
I've heard stories aboutsituations that Clue had been in
to get an exclusive to put onthe tape that he wasn't supposed

(02:58:25):
to have certain records.
But I think Clue's a legendAin't cheating if you ain't
trying.
I like Clue.
I don't love Clue.
I do feel like he is one ofthose people that just his
presence with him being fromQueens but helping put on a
Brooklyn artist like Fab, alwaysgoing to Jay and Rockefeller

(02:58:47):
but still getting a Nas record Ido feel like he was part of the
friction that kind of started aCold War because he was on both
sides.
I don't like dudes that play Ithat kind of started a cold war
because he was on both sides.
I don't like dudes that playboth sides.
That's why I don't care forSteve Stout like that.
I don't care what nobody say,he got something to do with all
that starting too.
I don't deal with dudes thatreally do that because it's like
really you may get in the musicbusiness, you ain't going to
survive outside like that.

(02:59:07):
But I'm a big fan of theprofessional and the
professional part too.
I think both of those mixtapes,as far as for public
consumption and release, isbetter than Funk's, Flex stuff,
K Slay's stuff, Cap's stuff,Clue put together the best
mixtapes for mass consumptionfor people outside of the New
York State area to hear, and Ido appreciate him for that I'm

(02:59:31):
with you.
I think his biggestcontribution to Rockefeller is
actually backstage.
To me, Beanie Siegel's In theClub is a top three bean song
and I can't front.
Part of my attachment to thatrecord is when Clue come in.
Dj Clue professional.

Speaker 2 (02:59:46):
DJ.

Speaker 1 (02:59:47):
Beanie Siegel In the Club, what no?
So it's part of my attachmentto even one of my favorite
Seagull records.
You know, I personally thinkthat Live from the Bridge is
better than Queen's Finest.
I'm one of the few people thatfeel that way.
I've been arguing with Queen's.
I think War is better than bothof them, and that's on the

(03:00:08):
Professional 3.
That's fair, it might be, buthow about this?
This is what I hold on.
It's just more of a naz risk,but it's like, oh no that he's
live on live from the bridge.
That's why I like it.
I like it when naz getsanimated.
Get animated.
But what pacified is thebastard who died, rumors say I
came back a lot to attack, toattack niggas acting like my

(03:00:29):
eyes.
My passion is to capitalize.
Come to my hood.
You get jacked for your ride,hit you from the passenger side.
My eyes turn to sea red like theeyes of a weenie.
Y'all peep my lead and hidelike east of the edge.

Speaker 2 (03:00:43):
Ooh, when he's talking like that.

Speaker 1 (03:00:46):
I will say this.
I will say this, ag, and youbrought it up on War.
There is something about a cluemixtape that always gets Nas to
talk like that, and that's whyI was like, oh, I don't love the
guy but I can see how he bringsout the best in artists.
He brings out the best in thebest artists.
That would be Nas and Jay.
He helps break new artists likea Beanie, siegel, a Fab, a Drag
on.

(03:01:07):
He has done a lot of good workin Queens and in Brooklyn.
He is a legend, shout out toClue we got nasty Nas on war.
He said God gets me out of this.
The devil swallowed me up andburned a hole in his guts.
That's just crazy.

Speaker 2 (03:01:22):
You know what I'm saying Like Gangsta, live in the
sky.
He was going off.
I grew on paper.

Speaker 1 (03:01:32):
He fell down into a whip and he said blast Nas shit.
He fell down into a whip and hesaid blast Nas shit.

Speaker 2 (03:01:37):
To the whip saying blast Nas shit.

Speaker 1 (03:01:39):
Yo, that song is crazy.
But one thing about Clue hedidn't play favoritism because a
lot of people don't rememberwhen Nas first jumped stuff off
with the I4Ni freestyle, thatwas on a Clue tape, it was on
Clue tape.
Clue put that out.

Speaker 2 (03:01:56):
Like I said, that was on a clue tape.
Clue put that out While youwere beside the Rockefeller.

Speaker 1 (03:01:58):
But that's what I mean about playing both sides of
the fence and it not being asmart idea.
It's better to be diplomaticthan to just be one-sided to
Rockefeller.
I look at it like that becauseyou're a DJ.

Speaker 2 (03:02:10):
But it also got suppressed, though it also got
suppressed by Jay, because ifyou know who had it, who else
had it in their possessionaround the same time?

Speaker 1 (03:02:19):
You can't be diplomatic when you're dealing
with Jay.
You either are with Jay oryou're not with Jay.

Speaker 2 (03:02:24):
You can't be diplomatic when you're dealing
with Jay.

Speaker 1 (03:02:27):
That's why a lot of things happen for him the way
you do.

Speaker 2 (03:02:30):
That's the freestyle.
A lot of people didn't knowabout that freestyle.
This is true.
Jay made that line.
They didn't know what he wastalking about.

Speaker 1 (03:02:38):
They didn't know what he was talking about.
I think that verse is slapboxing with his verse on the
actual real record.
But I digress absolutely youcan see that it's a possibility.
Alright, fellas, time to get toour last segment for the day.
A little press play from thefellas.

Speaker 2 (03:02:54):
Yes, sir, you know it's time to get to our last
segment for the day.
A little press play from thefellas.

Speaker 1 (03:02:56):
Yes, sir, you know we decided to switch speeds a
little bit and cut our pressplay down to a little four-pack.
When AG hit me up with thefour-pack idea, sean, and told
me we were condensing down thefour, I immediately thought to
myself.
I was like, well, we aretalking about Nas's fifth studio

(03:03:17):
album today.
He has four projects.
Before I wanted to pick thefour track fours from the first
four albums to show some of thethings that Jay was actually
talking about.
That led to the triumph return.
That is still Maddie.
A little 4-4-4 for Nas, a little4-4-4 for Nas, a little 4-4-4
for Nas.
Glad you picked it up, ag.

(03:03:38):
Glad you're liking it.
The first number four is theWorld Is Yours by Nas off
Illmatic.
Anybody who knows me, this songis my motto and been my anthem
since I was pretty much 13 yearsold.
It is my personal favorite rapsong and it seems crazy to say
this is actually becoming anunderrated song of his, because
nobody really plays the World isYours like that anymore.

(03:03:59):
It ain't hard to tell, and NewYork State of Mind have
circumvented it in terms of, Ithink, what the street heads
play and I think One Love andLife's a Bitch lives on in
street lexicon more, and so Ithink a lot of people have
forgotten about the brilliancethat is the World Is Yours,
which I still think is a bettersong than it.
Ain't Hard to Tell, but that'sjust me personally.
Next we are going to go to maybethe most lyrical manifesto ever

(03:04:23):
written, which is Nas.
On track four of it Was WrittenI Gave you Power, I think.
Just bar-wise and hook-wise.
This is the best song lyricallyever created and a lot of
people forget.
The lyrics on here are soastounding.
This is one of DJ Premier's mostunderrated beats that nobody
talks about.
This beat is actually really,really great.
It actually sounds something.
This beat sounds very grouphome living proof like it.

(03:04:46):
I mean that in a good way, theunderstated tone of it was good
so he could tell the story hewas trying to convey Correct,
and that's what I mean about ithaving that group home feel,
because a lot of those grouphome beats are brilliant but
understated, but have a real hiphop feel to it.
I do think I Gave you Power isin that vein.
And now I would like toillustrate some of the fall off.

(03:05:06):
Track four, small World off ofI Am and I love Small World.
Small World is a Small World,is a great story and it's a
great song.
If you think, if you all think,that Small World is not a drop
off from the World is Yours andI gave you power, you a sniffing

(03:05:30):
Peruvian flake.
Let's go to all nah man.
I ain't let you do that.
Carol is the Lady Hair, crazyPeruvian flake.
Let's go to all the way to Nahman, I ain't letting you do that
Coop.
Carol is the Maryland she'sLady Heroine, she elegant.

Speaker 2 (03:05:38):
Yeah, crazy I like Small World.

Speaker 1 (03:05:41):
Small World is a top five song on I Am, but that's
the problem with I Am and myman's wig.
She said the eulogy you canspit those bars on.
That is not.
The world is yours or I gaveyou power, and then we're going
to go all the way to the bottomwith number four, number four,
on album number four, some of ushave angels yeah so we went to,

(03:06:04):
the world is yours, so some ofus have angels.
That's what we doing.
That's Coops, faux, faux, faux.
And now you can see.
And now you can see whystillmatic is so important,
because you can see the drop-offbetween Illmatic and it Was
Written, and I Am andNostradamus.
You can separate and see somedecline how I still love this

(03:06:27):
Track four on Stillmatic.
You know what I mean Smoking,smoking.
I never was a big fan ofsmoking.
From being honest, what's crazyabout it?
I love smoking.
Me too, I love it.

Speaker 2 (03:06:40):
It was good for me early on.

Speaker 1 (03:06:42):
It's for the West Coast cats.
I think I was.

Speaker 2 (03:06:44):
Yeah.

Speaker 1 (03:06:45):
Yeah, it's for the West Coast.
That was a West record.

Speaker 2 (03:06:49):
These super chats real quick.
I almost forgot we got likefour of them.
No doubt, no doubt, no doubt.

Speaker 1 (03:06:57):
Yo Chief and them with $5 super chat.
Add Street Dreams remix or Takeit In Blood 2 and it was
written We'll get Stillmatic outof there.
Those are both very good songs.
I can use the Street Dreamsremix.
It's over for y'all.
Yeah, that's a fact.
With Nastyasty as R Kelly on it, andrew Williams with the $5

(03:07:18):
Super Chat, hip-hop is dead.
It's not good, but I will saythis Hold Down the Block is my
favorite Nas song ever.
Wow, wow.
Some of the hardest bars you'llever hear is on that second
verse, for real.

Speaker 2 (03:07:31):
I don't think I've ever heard anybody say that.

Speaker 1 (03:07:33):
Me neither I'm going to go listen to the song again,
just because I respect Andrew'sacumen.

Speaker 2 (03:07:38):
Yeah, go listen to the song, andrew.

Speaker 1 (03:07:40):
Yeah, thanks for sharing that.
Ill Magic with the $5 SuperChat said I feel like Dre should
have did what Hip Boy did andjust focus on the beats, let
Snoop do his thing.
I don't think that'snecessarily true, because I
think hip boy did coach nas andproduce nas.
I don't think he just showed up, pulled up with a beat pack and
let nas do his thing.
They were very collaborativeand how nas, like, rapped on the

(03:08:02):
track, I don't think.
I don't think hip boy producednas that much on kd1.
I believe from my interviewit's like he he really didn't
start executive producing nastill kd2.
Yeah, yeah.
But if you, if you watch themasterclass that Nas had and the
hit boy with him when they wascrafting the song, big Nas hit
boy is very instrumental in howNas, like you know, lays out.

(03:08:25):
You know the flow pattern.
Like he he's lit, he's open tohis feedback.
We'll say that.
It's a very you know I'm sayingit's a very you know um give
and take relationship.
Like you know.
You know, this is this.
This is somebody that did thefirst verse to new york state of
mind in one take and thenturned around as dj premier did
that sound good, so he is acollaborator.
Yeah, does that sound good.

(03:08:51):
Is that all of them?
Sean?
Are we got more?
Are you good?
Okay, you want me to go next?
Yes, sir, please.
Okay for my press play.
I wanted to stick with thetheme of the albums that we got
for anniversaries.
My favorite track off of theProfessional is the Fantastic
Four featuring the likes of BigPun, cannabis, nori and Cam'ron.

(03:09:15):
Dope track you know what I'msaying?
My favorite joint on that byfar.
And one thing you can count onfor a clue tape you would get
the dope collaborations.
That wasn't normal pairingsthat you would get to hear every
day.
So, yeah, this is definitely aclassic record.
I still go back and forth withwho had the best verse.
I think all of them brought iton this track.

(03:09:35):
I like Cam on the record.
Style points, cam with stylepoints.
You know, what I'm saying.
Like Faithy Dash, you know.
The rest you already know.
I'm sorry about saying thatline earlier.
Coop, I forgot you was in thecar with your mom.
Yeah, come on man.
Headphones are in.
Headphones are in.

(03:09:55):
Headphones are in Headphonesare in oh okay, got you.
That's some cool man, got you.
Next, I got the Glock.
I said I had this joint.
I said shout out to my son forcopying me the vinyl.
You know what I and flag manlove that record, that joint

(03:10:22):
just goes hard.
We listen to that joint in thecar often, me and my son, so I
had to put that on here.
Um, next, uh, coop.
We talked about this, theconceptual brilliance of the
cool.
My favorite record on the coolis put you on game.
Like, conceptually, what lupedoes with that song is very
coherent, it's palatable, it'sdigestible, like everything is,
you know, from a greatstorytelling track is there, the
beat is there, and, um, I justwish Lupe cause I'm a big Lupe

(03:10:42):
fan I wish he would get back inthis, back, you know, but it
might be a hey, real quick.
The cool has a lot of it waswritten to it in terms of the
lyrics are very complex but verydigestible at the same time.
Yes, right, he said he studied.
He said he studied it waswritten to make the cool not
necessarily a one to onecomparison as far as, but just

(03:11:04):
how Nas approached certainthemes.
He said that it was written washis template when making that
album is documented that.
You know he studied that tomake it so you can hear it.
You can hear it, absolutelylove love that album.
It's documented that.
You know he studied that tomake it so you can hear it.
You can hear it.
Yeah, absolutely love, lovethat album and love put you on
the game.
And then um, for my last track.
Uh, I mentioned this earlier,stranded on death row from the

(03:11:25):
chronic.
What a hell of a way to end thealbum.
Um, and I just don't think it'stalked about enough.
As far as posse cuts go, youknow what I'm saying?
The track's banging, everybodybrings it with their verses and
I just wanted to show us somelove, man, you know it's one of
my favorite posse cuts of alltime.
I don't love that record, to behonest, which is one of my

(03:11:50):
least favorite records on thechronic.
But, everybody else loves it andI see why I was never about it
like everybody else because,because it's the outside of,
maybe like little ghetto boyit's, it's the lyrical.
I don't think that.
I don't want to say lyricswasn't a priority, but I just
think that's the one to say okay, we're going to spit on this
record.

(03:12:10):
You know what I'm saying, I?
So this is more to the doggystyle thing too, ag, I think I,
like all the posse, cut recordson doggy style better than
stranded on death row.
Oh, that's fair, it's doggystyle.
You know right, I think thathas something to do with it.
I can see that.

Speaker 2 (03:12:27):
Yup.
So mine start off with you'rethe man we're listening to.
Stillmatic.
Love this joint, love thereflection that he portrayed on
You're the man, how he was ableto really just reflect on
himself really quick and getright back into the floor of the
battle, and I love this joint.
I think this was like a smalldiss record to Jay as well.

(03:12:51):
I think it was like asubliminal song for us.

Speaker 1 (03:12:55):
I was told that this was actually part of the I Am
Nostradamus sessions.

Speaker 2 (03:13:00):
You're the man.

Speaker 1 (03:13:02):
I was told that you're the man is actually from
the Nas Nostradamus.
I'm not sure because I heardanother version of you're the
man that got leaked out and ithad a lot of bars.
Nas tweaked stuff over the yearso that might be true, cool,
but I heard a version that youremember the scarface joint in
between us.

(03:13:22):
Yes, okay, with faith.
Yeah, yeah, I heard like it was.
It was a version of that thatthe bars were in you're the man
and he was going at jay and hewas saying some like wild stuff.
You know I'm saying it wasleaked around, uh, napster and
all that stuff around that time.
You know I'm saying but that'sthe making for that verse became

(03:13:44):
what was part of in between us.
You know I'm saying so it was.
Yeah, because, because I feellike somebody had told me a long
time ago that him and large prodid that record in 99.
And if you listen to thebeginning of it, it would make
sense because that wouldcoincide with Jay's reign, kind
of happening.
The plan was to knock me offthe top of the game, but I
understand the truth is all lame, it just happens to fit, but I

(03:14:06):
think he said it before.
Yeah, and I'm glad you broughtup Large, because the way Large
flipped that sample, that Sugarman yo.

Speaker 2 (03:14:15):
Sugar Man's sample was crazy, crazy best beats.
You're the man's one of hisbest beats, large, did his thing
I know I don't know how he evendid that, how he took his sugar
man.
He turned it into you're theman like.

Speaker 1 (03:14:27):
I don't even know how he did it, it's you know it's
the only thing I will compare toit like that tweet is the it
Ain't Hard to Tell remix, whereyou know what I'm saying, lars,
same person to you know what I'msaying Biz Marquis Nas, where
he said recognizes the king ofdisco.
You know what I'm saying, likewhere he takes the end of it and

(03:14:48):
says Nas is the king of disco.
Lars is a genius man.
He don't get enough credit.

Speaker 2 (03:14:54):
That was Sanchez's song, right?
Sugar man, the guy Sanchez,yeah yeah, one of the biggest
artists that never existed,really.
He disappeared.
I disappeared, man.
My second one was a gamefeaturing non-street riders.
Love street riders, love streetriders.

Speaker 1 (03:15:14):
I was talking about this track today with Mahoby man
.
Why you play it?

Speaker 2 (03:15:18):
It was harassing the illest.
He went crazy on that.
What?

Speaker 1 (03:15:23):
we was talking about was the random shot fired at
Ferris.

Speaker 2 (03:15:27):
It was random, I don't think it was.
It was intentional.
I think it was popping.
It was intentional.

Speaker 1 (03:15:34):
Do you like Street Riders better than Letter to the
King?
Yeah.

Speaker 2 (03:15:40):
This is the best for me?

Speaker 1 (03:15:42):
Yes, and it didn't end up on the album.
It was on his Break Lightsmixtape, I remember.
I agree, I think this is thebest record they did together.
I don't know Pharrell.
He wear pastel colors.
I wear the pain of the Soledadbrothers and the chrome gap
buses.

Speaker 2 (03:16:00):
My arm, I could go shots, you niggas Come on man.

Speaker 1 (03:16:04):
He ate 50 spoons on that joint.
I should fix their firstBentley.
I went to the shop, went to theshop.
Crazy, definitely talking crazy.

Speaker 2 (03:16:14):
Crazy, I actually dig into the craze.
Man D Definitely talking crazy.
Crazy, I actually dig into thecraze.
Man DMX had a birthdayyesterday, man.
Rest in peace to the.

Speaker 1 (03:16:20):
X.

Speaker 2 (03:16:22):
Rest in peace to X man.
And I dig into the craze man.
I went and listened to GrandChamp a little bit and that
Grand Champ album was underrated.
Man Underrated, I agree.
I agree.
Crazy young man.
He was fed up.
Oh, I mean, he was fed up witheverything.
He was fed up.
This is my favorite song onthere.

Speaker 1 (03:16:42):
Actually it's the best song on there.

Speaker 2 (03:16:44):
This is his fourth best album, this is better than
the Great Depression it is.
It really is.
If he would have dropped thisbefore, Great Depression
different conversation.

Speaker 1 (03:16:54):
this before Great Depression, different
conversation.
Yes, I think the GreatDepression slowed his momentum
down greatly.

Speaker 2 (03:16:58):
Yeah, it really did.

Speaker 1 (03:17:00):
Yeah, because he was on an all-time great run until
the Great Depression.

Speaker 2 (03:17:05):
Yeah, yeah, the Styles had a crazy verse.
He was like he said if you gotyour shoulders how you said,
that shit start off in thatverse.
I forget, I ain't heard it inso long.

Speaker 1 (03:17:18):
but yeah, styles always said wild stuff man.

Speaker 2 (03:17:22):
He said if your head not off your shoulders, you
ain't got shot, you got nipped.
Nigga Just nipped.
My last one was Bees GotNowhere.
Shout out to Bees.
If there's a song thatrepresents Philly, this is a
song that represents Philly tome.
I don't know if 88 Spence is inthe chat still, but Got Nowhere

(03:17:44):
is one of those songs that justchilling man that beat, man
Beat man that beat is awesome.

Speaker 1 (03:17:53):
I don't know how Jay let that get past him over to
State Property.
I think Beans might have had toshoot the fairway with Jay for
that one, I mean, he's theoriginal.
Yeah.

Speaker 2 (03:18:10):
That's an A-folder beat.
That is yes.
Well, Lord knows, Beanie.

Speaker 1 (03:18:14):
Segal didn't get a lot of those because of somebody
.
That's what A-folder beat.
That is it?
Yes, Well, Lord knows, BeanieSiegel didn't get a lot of those
because of somebody.
I don't know how he got a holdof this one.
Jay must have not been at thestudio that day and being like
I'm taking this.

Speaker 2 (03:18:26):
I don't know if Jay could have pulled this one off
with the velocity.

Speaker 1 (03:18:31):
So remember earlier in the show when I'm like, oh no
, jay man, he did one of thegreatest things in hip hop
history when he stepped on thatstage and said, oh no, he don't
want to hold.
This is the worst thing he didyeah, suppress me.
I'm never letting it go,because Beans is a top five
talent.

Speaker 2 (03:18:51):
Beans is better Beans ?

Speaker 1 (03:18:53):
how about this all the Kendrick shit?
Cole talent how about this Allthe Kendrick shit.
He eat all their food in hisprime Gaines was a problem, man.
Oh yeah, With ease.

Speaker 2 (03:19:06):
Oh yeah, With ease.

Speaker 1 (03:19:10):
Alive.

Speaker 2 (03:19:11):
Yeah, he wait.

Speaker 1 (03:19:17):
All this boogeyman stuff.
No, no, no.
You want to see a boogeyman?
Go see Beans in 01.
That is a real boogeyman.
That guy is terrifying.
He is the guy that had Jay andNas scared.
You can tell he had Jay scared.
Look at what Jay did to him.

Speaker 2 (03:19:31):
Yeah, had to suppress to him.
He had a suppressor.
He just didn't have thecharisma that Jay had.
Of course, everything else,check, check, check.

Speaker 1 (03:19:41):
Nobody this side of Big and Tupac has Jay's charisma
, so there's not a good enoughreason to do that Freeway was up
there too.

Speaker 2 (03:19:51):
Freeway's first album .

Speaker 1 (03:19:53):
Freeway's first album was fire Freeway's first album
was crazy.
I think the first five, thefirst six records on.
There is just.

Speaker 2 (03:20:02):
Line them Up is my favorite.

Speaker 1 (03:20:05):
The first six, seven records are all fives on Free's
album, though we flip side, yeah, flawless.

Speaker 2 (03:20:12):
But yeah, that's mine , fellas, that's my four right
there.
For yeah, that's mine, fellas,that's my four right there For
this press.
Play man good show fellas.

Speaker 1 (03:20:21):
Yeah, I know we didn't have time to kind of
start doing our top 20 albums ofthe year, but for everybody
watching us and everybody staytuned our last show of the year
or second our last show of theyear or second to last show of
the year is going to be a yearend recap where we break down
the top 20 albums of the yearaccording to Hip Hop Talks AG.

(03:20:42):
Did you want to read out thetop 20 albums that we had before
?
Alright, starting from the top,we had Rhapsody.
This is the last time we talkedabout it, so a lot has dropped
since then.
Just so people know, we hadRhapsody.
This is the last time we talkedabout it, so a lot has dropped
since then.
Just so people know.
We had Rhapsody at one PleaseDon't Cry.
Number two I Am God with BloodStain, sway 2.5.
Number three we had the Gameand Big Hit with Paisley Dreams.

(03:21:08):
Number four we had Schoolboy Qwith Blue Lips.
Number five we had Gunna, oneof One.
Number six we had gunner, oneof one.
Number six we had big hit.
Hit boy in the alchemist withblacks, black and white.
Um number seven we had futureand metro booming where we don't
trust you um, number eight wehad um, my commie, uh.

(03:21:29):
And then number nine I got alot of scribble on here.
Number nine we got the DogPound with WAWG.
Number 10, I think we hadMaster Ace, but I got that
scribbled out.
And then 11 through 20 was kindof all over the place.
You know what I'm saying on mynotes.

(03:21:50):
But we had.
I'll tell you what we had, inno particular order, but we had.
I'll tell you what we had, inno particular order.
We had Ransom, lavish MiserySchool, sorry.
Crooked Eye, joel Ortiz withTapestry, lupe, samurai Benny,
everybody Can't Go.
Bodie James, across the Tracks,conway Slap Face, killer Rock
Marcy with Marciology, ghostfacewith Set the Tone I don't think

(03:22:13):
that made it while you'replaying.
And then we had 21 SavageAmerican Dreams and that rounded
out our top 20 then.
So a lot of these about 10 or12 of these are going to get cut
.
I can see that right now.

Speaker 2 (03:22:27):
Yeah, that's going to get tossed.

Speaker 1 (03:22:30):
I was about to say AJ , when you started reading off
the side I was like oh man, 12of them albums is gone.

Speaker 2 (03:22:34):
Yeah, easy, easy.

Speaker 1 (03:22:39):
That's a whole flip fellas.
Oh, and I left out Ben Staples'joint.
Yeah, so we got some work to do.

Speaker 2 (03:22:46):
It's okay to leave that out.
I mean, it's a lot to be leftout.

Speaker 1 (03:22:50):
Man free big hit.
Man Free Big Hit.
They made two of the 10 bestalbums this year.
Free Big Hit.
You really did.
Yeah, free Big Hit.
They made two of the 10 bestalbums this year.
Yep, and I think I had Eminemon here.
Yeah, eminem was in the runningfor top 20, but I don't know if
he put him in with Death ofSlim Shady.
Definitely need to call LACounty.

(03:23:11):
Y'all let OJ out once upon atime.
You can let Big Hit out If youcan.
That's what's up.
Y'all Dope show fellas and BigHit ain't wearing no Bruno Mali
and stabbing white chickens.
Free Big Hit.
Okay, on that note.

Speaker 2 (03:23:32):
Yo, we appreciate y'all.
Like, subscribe, share, tell afriend.
Tell a friend.
Follow us on Discord.
We put the link in the chat.
Follow us on TwitterHipHopTalks1 at Twitter.
Follow us on FacebookHipHopTalks on Facebook.
Follow us on IG HipHopTalks onIG.
And definitely follow us here.
If you're not already followingon YouTube, make sure you put

(03:23:54):
the thumbs up in the chat, putthe thumbs up on the actual
screen of our YouTube and makesure you share it, like and
subscribe.
That's all we're asking for.
We're close to hitting that 2Kmark.
We're actually at 1.8, going on1.9, but our shows are
averaging at 2.5 to 3K views.

(03:24:14):
So those of you who are stillpulling up, we appreciate the
love.
We're just asking that you goahead and subscribe and make it
official and join the family.
A lot of things we are workingup for the finish of the year
and we're going to kick off 2025really strong.
Our 50th show will actuallykick off 2025.
So we may do something specialfor you all for our 50th show.

(03:24:36):
It's a milestone for us, so weappreciate y'all.

Speaker 1 (03:24:43):
I'm not black emoji.
Hey, andrew, I waited till theend of the show to compromise
our ad revenue Victory.
I'm pretty certain YouTubedoesn't watch at the end.
All right, it's only becauseyou're in the car with your
mother.
Coop, stop it.
That's the only reason.

Speaker 2 (03:25:02):
The only reason.
Oh my God, right, you did notgo unconscious.

Speaker 1 (03:25:06):
Yo, I pay so much money to watch her pull over and
tell Coop to go get a switch.
Right, coop's like hold on,I'll be back y'all.
You see, I see the camera moveon all places.
How do you know that didn'thappen already when I blacked
out the camera?
Right, yeah, yeah, you justneed a hand to come out the
sunroof and smack.

Speaker 2 (03:25:28):
Coop on the side, coop passes and be like this.

Speaker 1 (03:25:37):
Mom has the dual sunroof in the car.
I'm in the back sunroof.
She hits you.
You be seeing stars, likeyou're in the Maybach.

Speaker 2 (03:25:47):
Back in the Maybach Face, that Don't taste.
That Yo man Peace y'all, peacey'all.
That Yo man Peace y'all, peacey'all.

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