Rapping With Uncle Reem

Today's episode is going to feature Uncle Reem who's a Hip Hop Artist from Chicago, IL. He's going to discuss his journey to becoming a Hip Hop Artist, his new album Shelf Life that's available on all streaming platforms, and many more!!!Ashley Janai's Website: www.ashleyjanai93.comAshley Janai's Link Tree: https://linktr.ee/ajhr1993Uncle Reem's YouTube Channel:https://youtube.com/channel/UCGKD9zo9NHhcYrpkjzAUKnw?si=xSrke3y2sY1vILi_Uncle Reem's Spotify: https://open.spotify.com/artist/4vnvkrckKmkPWiIwirHf1P?si=VcaFB0NnR8K-C9S7g5WQNQUncle Reem's Vinyl Album:https://elasticstage.com/unclereemUncle Reem's Tik Tok: @unclereemUncle Reem's IG: @uncle_reemz https://www.instagram.com/uncle_reemz?utm_source=ig_web_button_share_sheet&igsh=MWZ0Nmo3YnVuZWV0Ng==Slyme Tripp YouTube Channel: UCg14ZA-51iw6rUy7yl10FwQ

Episode Transcript

Speaker 1 (00:16):
Are you a huge wrestling fan? Do you enjoy watching
a WWE? If so, then check out Wrestling Discussions, my
second podcast that's available on all streaming platforms where I
discuss WWE topics. So tune in today.

Speaker 2 (00:34):
Welcome to this episode of Aspiring Discussions. I'm your host,
Ashley Janee and as usual, I want to thank God
for blessing me to do another episode and thank you
all for your support. In today's episode is gonna be
lit because we have a special guest. He's a hip
hop artist from Chicago, Illinois with a new album titled

(00:54):
shelf Life that's available on all streaming platforms, with hits
titled Your Role, shelf Life, BBL, Soldier, Mama's Laws, Angelic,
and hood Statistics. So please help me. Welcome Uncle Ring
to Aspire and Discussion. So how are you today?

Speaker 3 (01:13):
I'm doing all right? How about yourself?

Speaker 2 (01:15):
Oh, I'm doing good. I'm blessed. Yes and they could yes?
And they could? You tell the listeners a little bit
more about yourself?

Speaker 4 (01:22):
Yeah?

Speaker 3 (01:22):
Absolutely, I'm I'm a love.

Speaker 4 (01:25):
I'm much You probably will referred to as an old head,
which is why I use the name Uncle Ring. You know,
I just embraced that, you know, imbraced that. I embraced
that identity. There's a lot of ageism and hip hop,
and I try to like to go against that. You
follow me, so I adopt the name uncle Ing just
that let you know that I ain't running away from

(01:47):
my age, you know, because I believe that there's wisdom
in that. But I'm forty eight years old. I'm you know,
I'm from Chicago, originally the West Side Austin area. I'm Mary,
but Mary for twenty four years now. You know, I'm
a Muslim, you know. And yeah, I was a school

(02:08):
teacher for ten years. And yeah, when I was back
home in Chicago, you know, I talked you know, for
Mahamma University of Islam, Chicago for ten years in the
intermediate grades third through fifth grade. But as far as
hip hop goes, I've been rapping, you know, for really
most of my life.

Speaker 3 (02:29):
Yeah, most of my life, I've been you know, rapping.
I'm trying what else?

Speaker 4 (02:33):
What else? What else about me? Could I could? I say?
You know, because my life is I've been excuse me,
been through a whole lot, you know. I have had
a whole lot of different experiences. You know, some negative
something positive. You know, had a real diverse I guess
lifestyle and upbringing to get to this point. But that's

(02:54):
put up the main consistent man. I've always been a
fan and lover of hip hop and have always you know,
been and been a writer. That's you know, that's I
guess the most consistent aspect of my life.

Speaker 2 (03:07):
Mm hmm, okay, nice. So what made you the sad
that you wanted to become a hip hop artist? And
this was for you? This is really what you wanted, Okay.

Speaker 4 (03:17):
So when I was first started hearing hip hop back
in the eighties, you know, some of the earliest artists
that I heard was like Eric Berreck him Utfo, you know,
Roxanne Chante.

Speaker 3 (03:29):
That's the error that I come up in.

Speaker 4 (03:31):
I don't know if you know, if you familiar with
familiar with those artists. But when I first started hearing
hip hop and getting into it, I always wanted to
be a rapper. But I guess when I when I
first started taking this seriously, like taking the writing seriously,
learning how to count bars, learning how to structure song
is I would say, back when n w A was out,

(03:53):
I was a real big fan, a MC brand mwa.
That's why I used to kind of pattern my rams
after and and so you know, at school, I used
to do the talent shows at school, you know, we
used to do the little talent shows around the city,
you know. And uh yeah, so that you know, my brother,
my brother used to rap as well. And so you know,

(04:13):
my brother and now we used to do talent shows
and stuff, and you know, we were real uh, we
were real serious about it. But nothing that nothing really
took off from there because while we was while we
were trying to get into the hip hop, we was
also doing a lot of things we ain't had no
business doing, like in the streets. Yeah, yeah, you know,
you know the you know the story that you know,

(04:33):
that same story that you know that a lot of us,
you know, go through. We engage in certain stuff, and
that's you know, that's what we was into, you know,
and that kind of monkey wrenched a lot of what
we was aspiring towards as far as the music goes.

Speaker 2 (04:47):
Okay, cool, So I know you named some artists that
you grew up listening to. Now, are there any more
other influences that inspired you to rap?

Speaker 4 (04:56):
Yeah? Yeah, absolutely, So, Like I said, uh, you know,
coming up through the gears.

Speaker 3 (05:03):
Like I said, it was you know, it was mc
ran for a while, rock him.

Speaker 4 (05:09):
When Nas first dropped Illmatic, that that album had a
real magnetic effect on me, like because like when he
dropped Aromatic and everything that he rapped about on that album,
I was I was pretty much going through at the
same time. So it was like that album. I probably
listened to that album when that dropped, probably every single

(05:31):
day of the year that had dropped, like literally multiple
times a day the year that it dropped, because totally
related to it. His style of writing was was very
new to me in terms he was similar. I don't
want to say it was new, because he was similar
to rock Kim and who's he rapped, you know, and
I'm sure that those were his influences as well.

Speaker 2 (05:53):
But.

Speaker 4 (05:54):
Just the poetic depth of what he was doing was
different than even what rock Kimkuji Rat was doing. He
had more of a depth of a of an understanding
of the written word. And and like I said, it
resonated with me because I was always a good writer myself,
you know, And like I said, he I didn't prior

(06:15):
to that, I didn't think you could you could you
could get that profound with the pen and people still
pay attention to it, you know, and so ye had
that that had a real effect on me and how
I wrote my rams, you know. So Knives was a
big influence of Wu Tang clan. You know, it was
a real big influence on me particularly well, I liked

(06:36):
the whole group. That's probably my favorite group.

Speaker 1 (06:39):
You know.

Speaker 4 (06:39):
I used to listen to all Wu Tang albums, but
Rizza was the one that was the most influential out
of the group musically because just his uh, you know,
just his approach to music and his all and his
constant desire to improve on what he was doing with
music by learning instruments and things like that. So I

(07:00):
was always following his career, even like later owned his
career where he started kind of deviating from the formula
that made Mutan popular because he was you know, picking
up more live instrumentation and you know, learning more about
the music, scoring movies and stuff like that. This was
real inspiring to me though, even though a lot of
people went away from his music, it was just cool

(07:22):
to me to see, you know, the level of experimentation
and and you know, and you know, and how a
person could you know, could learn more about their craft
and you know what you put into it. And I definitely,
you know, learned a little something from all all of
these people that I mentioned.

Speaker 2 (07:38):
Okay, well that's cool. Now do you remember exactly how
old you was when you wrote your first rap?

Speaker 3 (07:45):
Eight years old?

Speaker 4 (07:46):
Oh?

Speaker 2 (07:47):
Wow?

Speaker 4 (07:47):
Okay, so I was eight years old whatever. I wrote
my first rap. Now, it was like I think now
that I could count bars, it would nothing but like
eight bars At the time.

Speaker 3 (07:58):
At that time, of course, I didn't know what a
bar was.

Speaker 4 (08:02):
But the crazy thing is I knew I don't know
what a bar was, but I knew what a beat
or a four beat measure was because my grandmother was
teaching me how.

Speaker 3 (08:10):
To play the piano. Oh what an organ?

Speaker 4 (08:13):
Part of me an organ? My grandmother used to play
an organ. She was teaching me how to play an organ,
and I learned what a four beat measure was from her.
But I still didn't know, like you know at that time.
I you know, this is this.

Speaker 3 (08:26):
Is the eighties.

Speaker 4 (08:26):
So as far as what like what the sixteen by
verse was, this is not just something that I didn't
know that as an eight year old. I just know
I would hear you know who Dni and all these
guys on the radio, and and you know, they had
a real simplistic rahm scheme.

Speaker 3 (08:40):
And that's that's that's how I sought the rap.

Speaker 4 (08:43):
And me and my cousins Tavan, you know, we would
rap about people in our in our class, you know,
because that's all we the only experience we had. So
but but yeah, eight years old, I wrote my first rhyme.
You know, been writing rams up since then. I I
didn't I didn't start getting good until I got like
in middle school though, like you know, like good, like

(09:06):
you know, when I would go to school, it'd be
battles in the in the either the lunch room or
the lobby, you know, like if somebody like if somebody
come to the school knew who knew how to rap,
I bet you can't be Koreean, you know, And and
they coming to get me and and then were battling
in the lobby or the lunch from So that's the

(09:26):
way that it went by the time I got a
So that's how I knew I was good because I
was always even in the neighborhood, you know what I mean,
in the neighborhood because at that time. See, nowadays everybody
knew how to rap. At that time, everybody didn't know
how to wrap. It was only a few people in
the neighborhood that knew how to rap. And you know,
I was one of them. And so like if somebody
knew came to the neighborhood that knew how to rap,
they coming to get me or my brother and we battling.

(09:49):
I know, it was gods. So that that's the way
it went.

Speaker 2 (09:52):
Everything kind of like an eight mile.

Speaker 3 (09:55):
Right something like that.

Speaker 4 (09:57):
I didn't I didn't enter into organized battles like now
because that was you know, that was more organized. But
it was more like informal you know, this neighborhood bragging,
right stuff, not like an organized battle for money. Maybe
the maybe the dope the dope boys on the block
would put money.

Speaker 3 (10:12):
On it, get what I'm saying.

Speaker 4 (10:14):
But it wasn't like it wouldn't like into paying the
money to get We entered into competitions, but not like
not like organized battles like that.

Speaker 3 (10:23):
Like it wasn't a whole lot of those.

Speaker 4 (10:26):
I'm pretty sure that some in some area of Chicago was,
but like in our everywhere we was at Austin, it wouldn't.

Speaker 3 (10:32):
It wouldn't alloted that though, you know.

Speaker 2 (10:34):
Oh wow, yeah, And I see you come from a
large family of music. You know. You just said that
your grandmother used to play the Oregon and your brother
was a rapper. So now how did your family feel
about you wanted to pursue a career as a hip
hop artist.

Speaker 4 (10:49):
So my brother was always very supportive. In fact, like
he helped me. My brother helped me to like to
clean my lyrics up. And I don't mean like taking
cousin words out of it, but I mean cleaning it
up in the sense of how to better deliver my
flows and you know, how to you know, how to
how to vary my intonation of my voice and things

(11:12):
like that. My brother taught me, you know, how to
you know, breath control and all that. That's you know,
my brother taught me the mechanics of you know, delivering
room averse. So he was always very supportive. As far
as my parents, they really didn't have an opinion on it,
you know what I mean, They really wouldn't know. They
wouldn't like embracing it, but they wouldn't like against it either.

(11:33):
They was kind of neutral on it, you know, And
they didn't. They wasn't supportive of it back then in
a sense of they didn't they didn't like invest in
it or nothing like that. They wouldn't really like they
wouldn't really concern with it one way or another. They're
supportive of it now, you know, but at the time,
you know, they weren't very But my cousins they was
all supportive of it. You know, as far as the

(11:56):
adults and my family, like my aunties, uncles, they really didn't.
They were newsful on it. They and most of them
didn't even really know that I raped you know always.
You know, we was outside. You know, we was outside,
you know, in the eighties nineties, we was outside.

Speaker 2 (12:11):
You know, we went in the house exactly.

Speaker 4 (12:14):
So the people so the people who knew we Rapp
was outside too, our cousins, you know, siblings like that,
and the friends on the street or whatever. Yeah.

Speaker 2 (12:25):
Yeah, I guess they had their beliefs because you know,
in the old school days, people just wanted you to
go to school, go to college, you get a good job, exactly.
It came to like hip hop and stuff like you
just said it. I mean, you know a lot of
people I guess didn't understand the career, that you can
make a career out of it, and then Tupac and
Biggie basically proved that you can.

Speaker 4 (12:45):
Yeah, but and see even so like even like when
we was outside in the streets and doing whatever he
was doing. When we would be out doing whatever we're doing,
I would try to even convince people, you know that
you know that I was associated with, to try to
invest in the rap thing. And it was like they,
you know, they always will brushed it off, like you know,

(13:07):
they ain't gonna, ain't gonna be successful pretty much.

Speaker 3 (13:09):
You know, we out here get money, you know, focus
on that.

Speaker 4 (13:13):
You get what I'm saying that that that pretty much
what it was, you know, so it was hard to
get people to like to like really consider it and
really be serious about it. But and the crazy thing
is now we've seen people from the neighborhood, you know,
become successful from from the hip hop and you know,
and it's just like that boat passes because you know,

(13:34):
we you know, we were focusing on other things and
and that, and you can't really knock that because you know,
when you're survival mode, you know, you're just trying to
do what you need to do to get the next meal,
to get to the next day. You're not you're not
necessarily thinking about, you know, purchasing equipment things like that.

(13:55):
You might not have a disposable income to do that
because you might got babies you gotta feed. So I
can understand why, you know, you know, the people, my
associated family members, you know, we're reluctant to you know,
to take that serious because to something it just looks
like a pipe dream.

Speaker 3 (14:12):
And and in the most instances it probably is right.

Speaker 4 (14:15):
But but but that's where somebody passion comes in.

Speaker 2 (14:20):
You know, exactly, Yeah, because eventually your passion is going
to eventually pay the bills. Now, it's gonna pay the
bills in the beginning, No, because you have to work
your way up. But if you keep us staying consistent,
it'll happened. You know, you just can't give up. You
just got to keep going. They always have something to
fall back on to. It always have more than one
way to make money out here. That's what I try

(14:41):
to tell people too, because I know the last artists
I had on here, they said the same thing. You
got to have something going to support your dreams, exactly.
And and.

Speaker 3 (14:52):
I guess that's the I guess that's the advantage of.

Speaker 4 (14:59):
Uh F sing on my craft later on, you know,
because you know I got married. I got married, what
in my twenties and a young which would probably be
for most people that.

Speaker 3 (15:11):
Wrap the prime years of their life.

Speaker 4 (15:14):
But I focused on you know, marriage, family, you know,
my children, yeah, you know, educating myself, you know, everything
I needed to be to be responsible.

Speaker 3 (15:25):
Now all my children are our.

Speaker 4 (15:26):
Adults, so so so now I'm focused on you know,
get it. You know, me and my wife, we focus
on building our legacy. So and and so my craft
something that I'm good at as part of that, you know,
one of the tools were using to you know, to
get to that point where we build in our legacy exactly.

Speaker 2 (15:49):
Yeah.

Speaker 4 (15:50):
So I was able to you know, purchase equipment and
and you know, in home my craft to the point
now where I feel like, you know, my my my
material quality of what I'm doing is to the level
that they can be shared with the world.

Speaker 2 (16:06):
Yes, okay, nice. And how many cities have you performed
that so far?

Speaker 4 (16:11):
So far, I've only I performed in Phoenix, I performed
in Chicago, perform in Charlotte.

Speaker 3 (16:18):
I haven't performed in a lot of cities.

Speaker 4 (16:20):
But we're putting together, you know, my wife and that
we actually putting together some plans to do some shows.
So yeah, yeah, we're putting together plans to do something, well,
not just do some shows, but to do some talent shows,
you know, to give exposure to local talent as well.
So you have some things that we have on the agenda.

Speaker 2 (16:40):
And that's nice too. That's nice so that you are
willing to, you know, help other people pursue their dreams
as well. Yeah, I like that, and that any other
dream cities and countries we would like to perform at.

Speaker 3 (16:52):
Yeah, absolutely, I.

Speaker 4 (16:57):
Initially, you know, we want to start local because that's
that's that's that's typically the thing that you want to do.

Speaker 3 (17:03):
So two cities that I'm connected to.

Speaker 4 (17:05):
Of course, I'm connected to Chicago, so I do want
to I do want to do some things in.

Speaker 3 (17:10):
The Chicago metropolitan area.

Speaker 4 (17:11):
You know, Chicago, Gary, uh, you know, just the Avery,
Detroit maybe you know Midwestern areas you know that that's
in that like the greatest Chicago area and down here
in Charlotte, because you know, I live here. I've been
here ten years, but I've been my father from here originally, right,
So I've been back and forth here most of my life,

(17:32):
you know, So I got I got as much family
here as I got in Chicago, you know, and I
got a lot.

Speaker 3 (17:37):
Of friends and family down here.

Speaker 4 (17:39):
So I got a pretty good foundation here as well
that that I would even the greatest Charlotte metropolitan area.
You know, it's an area that you know, you know,
five million people strong, So it's a lot of there's
a lot of things, a lot of performing and things
that could take place here. But I kind of want
to concentrate everything locally initially, you saw me, because at

(18:02):
the end of the day that my whole objective is
not really to like blow up per se, but to
you know, but to expand my social media presence and
to monetize from the social media platforms yeah, you know,
and like that are not necessarily you know, I don't
want to be signed to a label or nothing like

(18:22):
that to building my own and you know, in that way,
once we get to a certain level where we monetize
them on a certain level, then we can help other
people to do the same things. Okay, So to get
a system in place, that a working system in place
that's duplicable. That's the main objective.

Speaker 2 (18:40):
Okay, well that's nice. Then, like I said, you pretty
much got to well put together plan and I like
that too. All right, So now I want to get
into this album shelf Life. So, like I said, that
was a very amazing album that you put out, very
positive uplift and work and I really liked it. I know,
my favorite song is definitely shelf Life and she A
B B L and Angelic was definitely my favorite song.

(19:04):
So now what inspired you to write this album? Well, yeah, okay.

Speaker 4 (19:09):
So my inspiration for the album, well, let me first
break down the title.

Speaker 3 (19:14):
Okay, so the title is shelf life.

Speaker 4 (19:17):
That the logic behind the title is, you know, just
like if you go to the store and you purchase
perish perishable goods, you know, or not even perishable goods,
but just goods in general, they have a shelf life.
They have a they have a period where, you know,
where they remain good and then we're not. They have

(19:37):
a period you know that that that they'll last and
then they'll you know, then they'll spoil you, you know.
And I'm using that kind of as a metaphor for
you know, certain activities we engage in you know, uh,
namely the negative activities in the streets, you know, be it,
you know, drug abuse, uh, you know, sexual promise, human

(20:00):
t just you know, negative interactions things like that. It
is a shelf life to that, so that that's the
logic behind it, and the songs on that album, you know,
kind of navigate those things. And generally, of course, there
are songs that that that that don't exactly follow up

(20:20):
that that of that concept, but the majority of the
songs on the album have some kind of relationship to
those things. So that's so that's so that's the basis,
you know, that's the basis of the album's concept. Each
of the songs just just mean something to you know,
it's just something you know that means something to me
that I you know, I take the posture of you know,

(20:43):
og right, I'm you know, I come from the gang activity.
You know, I come from that, you know that that lifestyle.
But I grew up, you know, I changed my life
for the better, you know, I you know, you know,
I was kicked out of school. Before I even dropped out,
I went back got my ged, you know, when went toege.
You know, then I became you know, educated, myself, and

(21:03):
I took you know, I took the negatives and made
them positives. But I don't I don't want to like,
I don't. I don't want to forget you know, where
I came from to get to where I'm at, you know.
So you know, it's like the first song on the album,
you know, it's called I Could Pass Space, you know,
and and the guest artists on there it's my son,

(21:23):
my son about But the concept of that, the concept
of that song, it's a you know, it's an og
appealing to other ogs. You know. Not to judge the youth,
you know, for you know, for how the youth five
you know how we call the youth y ns or whatever,
and you know how you know a lot of the
young right now, you know, the young guys in the streets.

(21:45):
You know that a lot of them don't have no direction,
right you know, they're a lot different than even when
we was in the streets. You know, it was in
the gangs and things like that. We had something called literature.
We had the we had laws, and we had the structure, right,
but these young youngins don't have that, and so a
lot of us, you know, might cast judgment on them.
But we forget that a lot of these young kids,

(22:08):
you know, some of them was crack babies, right, what
calls them to be crack babies? Maybe we did it
back when we were selling crack.

Speaker 2 (22:16):
Yeah, you know.

Speaker 4 (22:17):
So so I look at it like, you know, don't
judge these you take some responsibility for what you did
in your day that contributed to these youth being the
way they are. Mm hm. So So that's my that's
my appeal to the you know, to my contemporaries. You know,
they're like, man, quit judging these youth. The way they
are is because of us. So we need to take

(22:38):
responsibility and get in school these youngins, and you know,
and get them on a better path. My son in
law his his part of the song is, you know,
it's kind of a balance it out and come from
the youngest perspective, you know. And and and I think
of the next song is a a song called Pandemonium. Okay, yeah,

(22:58):
so and so Pandemonium is it's like it's it's like
a dual or purpose. One one aspect of Pandemonium is
just me just showing off my lyricism. So you know,
and every every m C is gonna have a song
where they just boasting about their lyricism, but how much
better lyrically they are than everybody else, you know, And

(23:19):
that's that kind of song. But the second verse in
that song is, uh, it's just me just stating or
articulating a dilemma that a lot of lyricists have when
they attempt to decide, you know, what they're gonna what
they're gonna rap about? You know, do I wanna do
I wanna? Do I want to follow the trends and

(23:44):
rap about you know what everybody else is rapping about.
That would seem to be an easy route, right because
people might buy it if if I if I just
follow trends? Or or do I wanna? Or do I
want to challenge my audience to think? You know, do
I want to you know? Do I want to be conscious?
Do I want to address conscious things? Do I want

(24:06):
to warn people about what's coming? You know? That's a
that's a debate. You know that a lot of artists have.
I remember common one said, what did they say? He said,
dudes is getting paid, but what about the bills? I
want to make some dope, Yet I want to show
my skills. You know that that's a you know, that's
a conflict. And even jay Z said, truthfully, I want
to rap like common sense, but I sold five million.

(24:28):
I ain't even rapping like common sense. You know. That's
the delimit that a lot of mcs have. And I
think and the next song after that, I believe it's
a I do have an album, Yeah I do. I
do have it on vinyl. Okay, okay, okay, So pandemonic, yeah,
b b L is after that, right, And BBL is

(24:50):
just addressing the sisters and and how.

Speaker 3 (24:55):
You know I saying lirically.

Speaker 4 (24:56):
They say, well, we don't really need an augmentation, no
disrespect to women with counterfeitigo biddies. Brothers got appreciation for
all type of women, even ones with the little bisies.
So we're saying that, you know, we ain't gotta you
ain't gotta bow all that stuff, you know, and ten
grand on a BBL. Fly to Cowbo to get a
BBL for ten grand, you wasting your money because most

(25:17):
brothers don't get they're gonna like you anyway regardless, you
know what I'm saying. So that that's the main idea
of the concept of BBL Mecca and the soul brother
is Uh is a track with the sister from Afron,
Ohio named named heck of a Mecca martists don't m
see in the in the mobs in the Nation of Islam.

(25:39):
She's really a really big artist, you know, in the
Nation of Islam. Okay, And so I heard her music
and I, you know, with one of the brothers who
are who are also rap and he let me hear
some of his music and she was face featured on
his songs. I said, yeah, I gotta get on the song,
and that's what I did. And you said, you mentioned
Shero as one of your favorite tracks. Yes, that's her

(26:00):
singing on that song.

Speaker 2 (26:01):
She wrote, but.

Speaker 4 (26:02):
She's she's she's a lyricist, a rapper in and also
a singer as well. Yeah, and the title track, shelf
Life my feature on. There is another young brother from
down here in Charlotte. Yeah, you know, named Slim Trip.
He's the one you know who got the last verse
on that, you know, real dope song. And then we
had she wrote, that's probably that's probably the track that

(26:26):
most people like off the album. Yeah, one of the
track I'm considering doing the video for a few tracks.
But she wrote was one of them. You know, that
was the first one that I was considering. But it
seemed it seemed like it'd be a look, it'll be
it'll be a bit.

Speaker 3 (26:41):
Expensive to really do that video. How I want to
do it?

Speaker 2 (26:44):
Oh yeah, so.

Speaker 4 (26:45):
I'm considering something else first, because yeah that you know that,
to do that video, how I wanted.

Speaker 3 (26:50):
I really want when I do that video, I wanted
to be right.

Speaker 4 (26:53):
I don't want to just.

Speaker 2 (26:54):
Throw the video now I understand, yea yeah, yeah.

Speaker 4 (26:57):
So now that that video because that song to me,
you know she wrote it's about single mothers. It is
a dedication the single mothers. And yeah, and like I said,
I don't know if I said it before. I made
all the beats on the.

Speaker 2 (27:10):
Album, Okay, nice, Okay, did.

Speaker 4 (27:12):
All the all the production, all the you know, all
the engineering except the only only song I didn't do
the engineering on.

Speaker 3 (27:20):
It's a song. It's the song it's shelf like the
title track.

Speaker 4 (27:26):
But but we did, we did. We recorded it at
a different studio. We didn't record it in my studio.
Also on a on a vinyl, there's a song called
American Way. Okay, you know American Way. It's not on
the digital version. That you heard, but you have to
purchase the vinyl to get it's two two bonus songs

(27:47):
on the vinyl that's not on the that's not on
the digital copy. One is called American Way and I
didn't produce that one. That's the only one I didn't produce.
It's produced by a friend of man, a gentleman by
the name of Tim six in Chicago. He's a really
talented producer. We we had a week in a mosque.

(28:09):
We had a group called the Ranks. It was popular
rendonation in Islam, you know, like we had, you know,
we had a really popular group at the time. So
so so I used to rap as a part of
the group, but now you know, I'm rapping solo, gotcha. Yeah,
so so again, the topics subject matter on the album

(28:31):
is pretty much just inspired by my life experiences, you know,
and the positive changes I made and you know, and
just an appeal to.

Speaker 3 (28:41):
Just an appeal to, you know.

Speaker 4 (28:42):
To everybody else. And like I said, I don't and
I don't want to come off preacy, which I'm sure
it doesn't come off preacy, does it.

Speaker 2 (28:50):
No? No, No, you're speaking facts.

Speaker 4 (28:52):
Yeah exactly, And I'm sorry. Yeah, so yeah, and that's
a acentially what I wanted to do. You know, I
wanted to appeal to everybody without preaching to people, and
also to you know, to provide like a soundtrack that
people could vibe to. You know. I wanted, you know,

(29:13):
I wanted the music to be you know, that people
can move to it, people could vibe to it.

Speaker 3 (29:19):
It could be ecolectic.

Speaker 4 (29:21):
And I have a real you know me personally, I
have a real a real uh love for hip hop
and not just you know, not just the hip hop
I grew up listening to. So I try to provide
different sounds, you know, like, for instance, like on the
song my d MS, I try I try to make it,

(29:43):
you know, throw the eight aways in there and you know,
and make the sound kind of like what a lot
of people doing today, you know, or or like on BBL,
like you know, I make that a little bit like
I try to make that a lot mut a little
more musical and and you know, so I don't try
to just stick to like the ninety sounds, even though
I love those sounds and and those songs are on there,

(30:05):
but I try to be a little more eclectic and
it has something on that for everybody. That's that was
my that was my objective with the album.

Speaker 2 (30:15):
Oh yeah, you did your thing. But when I was
listening to the album, it's like, your sound and your
bath remind me so much of Jada kids. Was he
also one of your influences?

Speaker 4 (30:25):
You know what's crazy? It wasn't one of my influences, Jada.
I like Jada though Jada, I'm a fan of Jadas,
but no, he wouldn't. He wouldn't one of my influences.
But it's crazy because I get I get compared to
so many different people, like most of most of the
most people compare me to. I mostly get compared to

(30:45):
eminem and I get compared to Kanye West. That's why
I get compared That's why I get compared to the most.
And I don't think I sound like either one of them,
but I get compared to them the most. But I
think when I listened to Shelf Life, when I listened
to off like my Verse on Shelf like.

Speaker 3 (31:02):
I do think that does remind me of Jadakis.

Speaker 4 (31:06):
Yeah it wasn't intentional, It wasn't intentional, but yeah, yeah,
my Verse on Shelf Like, when I listened to it again,
I was like this kind of remind me of Jadakis.
I don't know if that's like, yeah, okay, I don't
know if that's what you you know, if that's what
you're referring to. But that definitely that song definitely yeah.
When I listened to it, it definitely does.

Speaker 2 (31:25):
Yeah. But but just like in general, from the other
songs I was listening to, it's like that style and
that flow, and that reminded me so much of him.

Speaker 4 (31:33):
It's like that's a compliment though, because I like Jadakins
and yeah, he definitely one of my top ten lyricists.

Speaker 2 (31:41):
Yeah, okay, I would definitely love that collab one Dad,
which man?

Speaker 3 (31:45):
Please?

Speaker 1 (31:47):
Yeah?

Speaker 2 (31:47):
Now how long did it take for your put to
put put together this album?

Speaker 4 (31:52):
Babe? How long? By how long did it take me
to do this album?

Speaker 3 (31:58):
It was definitely over here?

Speaker 2 (32:00):
Oh wow, Okay definitely.

Speaker 4 (32:01):
And see my process, h My process is, you know,
I do songs, you know, I shoot them to my
people who hears I trust, you know, and and get
their criticism from him, you know what I mean? Like,
you know, I want them to tell me whatever however
they feel about it. Don't don't lie to me, You
don't gasp me up. You don't tell me how you

(32:23):
feel about it.

Speaker 2 (32:24):
I liked it. I really did those fifteen songs. Was
very positive.

Speaker 4 (32:29):
Appreciate that.

Speaker 2 (32:30):
Yeah, yeah, no worries. And then because I know you
just named a few artists you collaborated with. Now it's fine.
You said you collaborated with him on shelf Life. Now
how did you meet him? Because I didn't catch that.

Speaker 4 (32:44):
It's funny. I used to hustle with his dad. Oh wow, okay, yeah,
I used to hustle with his pops, right and so
and this back in this back and man, when I
was fortunate, when I was fifteen, sixteen, you know, and
you know because I you know, I got in Chicago,
I went to tap High School.

Speaker 3 (33:03):
Ninth grade, I got kicked out.

Speaker 4 (33:05):
Oh Mama made me move to Charlotte to come stay
with my dad for a rab and you know, I
met him, I met you know, I met all them
because you know, we lived in the projects down here
called down Village, and and his father, you know, it
was it was one of the cats used to hang
with us back in the day. We used to hang together.
We went to the same school all that, and so,

(33:26):
you know, so his pops when I when I came
back to Charlotte. You know, I connected with some of
the people I knew from damn village, you know, and
I came across his pops. His pops was like, you know,
my son rapped. I'm like, for real, he let me,
he let me hearhim rap. I'm like, okay, cool, he cold.
And so from from there we just uh me and

(33:48):
me and young and started building like young and to
do a song. Hit me up?

Speaker 3 (33:52):
Unk?

Speaker 4 (33:52):
What you think about this? Mm hmm, it's cold, you
know what I mean? Eventually, you know, we just chopped
it up and we went to the studio.

Speaker 1 (34:00):
Yo.

Speaker 4 (34:00):
You know, I took I took him to the studio,
and yeah, we we came up with the song. I
had to beat. I had already made the beat. In fact,
I had recently made that beat to work with another
artist out of Chicago, and like, but we never can
like coordinate to get it done. So so I played
that beat and Shorty was like, man, this is cold.

(34:22):
He wrote to it, and we just you know, we
put it together at the studio that day.

Speaker 2 (34:27):
Okay. Yeah, And you know, and and and that.

Speaker 4 (34:30):
Young brother is very talented. He could sing and rap.
You know, look him up Slam Trip as l Y
M E t R I p P. He got some
music out there. I got a lot of music with him,
Like yeah, I got like five or six tracks with
him that haven't been heard yet. And you know, we're gonna,
but we're gonna, we're gonna, we're gonna put some stuff
out with him. But he already got some stuff going.

(34:52):
He got you know, he got a lot of videos.
He gotta he got a lot going already.

Speaker 2 (34:56):
Okay, well, cool man, that's cool. I definitely put his
information in at the description box, definitely. Now, I want
to talk a little bit about Mama's Lass. I really
like that song. Anytime someone talks about their mom, that's
very uplifting and powerful because I did the same for
my mom for one of my singles, Queen. So it's
just it was just so relatable with that.

Speaker 4 (35:15):
I want I want to check your music out too.
I like that. I like the joint where you you're
talking talking about your man, about about about what you.

Speaker 3 (35:23):
Do for him and stuff like that.

Speaker 4 (35:24):
Oh right or that yes, yeah right of dad, Yeah yeah, yeah,
yeah yeah. I like that track. That's dope. But uh
but anyway, uh so, Mama's Loss came about. So the
artists on there, this feature, there's two artists featured on there,
and there's a guy named who named Nut, and then
there's and there's a young lady named Maria Soul. So

(35:45):
the way that came about was Nut. You know, he
he worked with me. You know, we work in the
same factory. I was a supervisor of a production supervisor
in the factory and and so I.

Speaker 3 (35:58):
Was his production supervisor.

Speaker 4 (35:59):
Book. You know, we were friends, you know, at work,
and so we decided to start working together because he
rapped two and we used to you know, spit bars
when we take breaks and stuff. And so he came over.
We worked on I played I had made. I had
just made the beat for it, and I didn't really
have no direction for the beat. I didn't really know
what I was gonna do with it. But I just
made the beat and then I played it for him,

(36:22):
and then I told him to write something to it.
I told him right, and he wrote something that it
was different than what we originally what we ended up doing.
But I listened to his voice and his voice, you know,
he from down here in the South, and he got
that you know, he got that southern voice.

Speaker 2 (36:36):
Right.

Speaker 3 (36:36):
Oh, and a man of like an outcast or a
Goodie Mob. Youet know what I'm saying.

Speaker 4 (36:41):
So when I heard his voice, I say, damn, it
made me think about a Goodie Mob song. Goodie Mob
had a song called Guess Who About they Mamas? And
I was like, you know what I mean. And then
in the vibe of the song, I was like, hey,
write some about your mama. Oh, I told her write
something about your mama. He did, so, then I wrote
some about about my mama, you know, and then it

(37:02):
was good. But I was like, nah, it ain't ready,
It ain't it need it needs somebody singing on the hook.
You get what I'm saying. So, Mom, I'm scrolling on Instagram.
I'm scrolling on Instagram. I see a soulful lady, soulful
young ladies singing and I'm like, she's soulwful. She sounded

(37:25):
like a black woman, but she looked she looked Latina right.
So then I looked I checked out listen to some
more of her songs. I'm like, oh, she dope, right, yeah,
So in box you know what your.

Speaker 3 (37:41):
Chods for a feature? Man?

Speaker 4 (37:44):
She three hundred dollars. I was like, okay, cool that
that ain't bad at all. Come to find out, she's
a really big artist in her own country, Argentina, Grand
nominated and.

Speaker 2 (37:54):
Everything get out.

Speaker 4 (37:56):
Okay yeah yeah, so so man, you know, worked it out,
sent the little center of what was it was it?
It wasn't cash up.

Speaker 2 (38:06):
It was a PayPal exactly.

Speaker 4 (38:09):
Yeah. Yeah, not only need the coding was. All she
was supposed to do was sing the hook she sent.
She sent me a hook in the bridge and yeah,
she went off like like really a whole verse just
about yeah. Yeah. So so then we then I take it,
mixed it, and.

Speaker 3 (38:28):
Then you have it is what it is. We even
did a video for it.

Speaker 4 (38:31):
Oh wow, Okay, it's a video on YouTube. Yeah.

Speaker 3 (38:34):
Yeah, it's a video on YouTube for Mama's Law.

Speaker 4 (38:36):
So you check that out.

Speaker 2 (38:38):
Okay, Yeah, I'm gonna definitely add that link up in
that too. Okay. But other than that, that was it
was a very amazing album. I definitely enjoy listening to it.
No skips, nothing, I heard the whole album. It was.
It was very amazing.

Speaker 3 (38:50):
I appreciate that.

Speaker 2 (38:51):
Yeah, no problem. So I know you did discuss about
things you're planned on doing in the future, like creating
your own shows to give different talents different opportunity. Now,
do you have any other future projects you're working on
at the moment that you would like to discuss at
the moment, Like I said, that's what we were focusing
on right now.

Speaker 4 (39:11):
That's how that's why the line's share of our focus
is outside of the outside of the music itself. My
you know, right now, I'm focused on my son in law.
You know, he's the one you heard on Occupy Space.

Speaker 2 (39:23):
Okay, yeah, you know.

Speaker 4 (39:24):
So so you know, we we're working on we're gonna
work on a mixtape for him, and and and like
I said, we're gonna we're gonna work on getting these
uh these shows off the ground and and you know,
really try to get the you know, to get the
music out there to the people, you know, and and
we we're gonna we're gonna have We're gonna we're gonna
umbark on the local campaign initially until you know, until

(39:47):
we get until we get that solid fact, and then
we'll look at we'll look at other things from there,
but we want to focus on one thing at the time.

Speaker 2 (39:53):
There you go. I like that. So that's what you
don't even overwhelm yourself and you want to make sure
you know you execute your goal is properly too. Yeah, definitely.
So now any dream collapse any you know, like.

Speaker 3 (40:08):
If I could collab with another.

Speaker 2 (40:10):
A dream artists?

Speaker 1 (40:11):
Yeah?

Speaker 3 (40:11):
Yeah, man, So I would love to wrap to a
metro boom and Beat.

Speaker 2 (40:19):
Okay, yeah, yeah, I would love to.

Speaker 4 (40:20):
Wrap to a metro Boom and Beat. I would love
to collaborate with uh even like and if I'm if
I'm if I'm wrapping to metro booming. I would love
to collaborate with a twenty one Savage over a metro
Booman beat. Oh yeah, you know. But as far as
other artists, like my contemporaries, really any of them, like
you said, Jada me being from Chicago, you know, a

(40:44):
bump jay or a common feature would be dope. Yeah, Loup,
a Fiasco feature that would be dope.

Speaker 3 (40:55):
Man.

Speaker 4 (40:56):
It's just so many artists that I that I that
I appreciate that. Man, it could be I'll be here
all day really like talking about who I would like
to be, you know, be featured with.

Speaker 1 (41:07):
You know.

Speaker 2 (41:08):
So yeah, because it's kind of hard though, because like
you said, it's a lot of talent out here, because but.

Speaker 4 (41:13):
You got to know, like who you know, who you
would work with, you know who you're sound would uh
will work with you?

Speaker 3 (41:22):
Who will work in harmony with you?

Speaker 4 (41:23):
You know exactly that's apposed as opposed to clash with you.
But but but but also like but in the in
the immediate future, I just would like to work with
my brothers, you know, from my group the Ranks. Okay, yeah,
because you know we worked together before, and we had
we put out on some real good music before that.

(41:46):
The world had never really got to hear because we
were confined, well, a lot of people in the Nation
of Islam heard because you know, we got a song
called Elijah Rock. Okay, you know if you look that
up by the Ranks, if you look that up, you
know that song has you know, got you know what
all together, like almost one hundred thousand views, so that

(42:06):
you know, that's a song that actually did pretty well
for us. And but but it's just really confined to
the you know, to to the you know, the Muslims
in the Nation of Islam, like other people didn't really
get get to like the benefit from that or they
would get to check it out. But my objective, our
objective for that song was to make a song that

(42:27):
uh that that gave Elijah Muhammad the flowers because a
lot of times he's written out of history, you know,
just you know how and what I mean is that
he did a lot for black people, not just not
just Nation of Islam members, but you know, he you know, the.

Speaker 3 (42:46):
First black.

Speaker 4 (42:48):
School system, you know, the Nation Islam responsible for the
first black school system.

Speaker 3 (42:52):
That's that was his contribution, you know.

Speaker 4 (42:55):
So there's a lot of there's a lot a lot
he contributed to the general black that we don't even
know about because he's written out of history because of
his religious affiligation, you follow me.

Speaker 3 (43:06):
So objective with that song was to try.

Speaker 4 (43:08):
To to try to try to give him fly overs
and then try to make people see, you know, what
he's done for black people, you know that haven't been
given any attention.

Speaker 1 (43:20):
Mm hm.

Speaker 4 (43:21):
Similar to like you know, I remember every day THEA
hsu to play the Martin Luther King song. You know
that that's that's really what we were trying to do
with that song. But it kind of it kind of
did the opposite and stayed confined to the religious community,
but it didn't really get out into the world, you know.

Speaker 3 (43:39):
But it was a dopen up song.

Speaker 4 (43:40):
I believe to get out into the world, but I
just guess it just didn't. I kind of blame us
for not pushing it in that direction though, because we
kind of we kind of fell short of doing all that,
you know, getting out doing shows things like that. We
didn't do that, but because we were all trying to
focus on our families and stuff, which you should be
doing that.

Speaker 2 (44:01):
I agree. I agree. Now, what advice would you give
to any upcoming artists.

Speaker 4 (44:07):
It's uh, you know, just stick, just persevere, stick to
your stick to your guns. Don't let nobody, what nobody
say deter you from what you're doing. But don't be
afraid of criticism either, don't don't don't surround yourself, Yes, man,
who just going to tell you what you want to hear?
You surround yourself with people whore gonna tell you what

(44:27):
you need to hear.

Speaker 3 (44:29):
But in the right spirit and a more constructive spirit.

Speaker 4 (44:34):
Like I tell people all the time, I don't mind criticism.
You know, in fact, I welcome it because I'm gonna
consider the criticism. But at the same time, I don't
want meaning spirit criticism because how is that going to
help me? You know? So so yeah, I just and
like if they are older artists, man, don't like, don't

(44:54):
let them, you know, discourage you with all that. You
know where they talk about old people rapping and you
know we need more plumbers start rapping, you know that
type of shit.

Speaker 3 (45:07):
You know, that's that that type of stuff.

Speaker 4 (45:09):
It kind of pisses me off because I think I
got a lot to talk about and I think.

Speaker 3 (45:15):
I could do.

Speaker 4 (45:15):
I think my music is good enough where anybody can
still listen to it. It don't matter what my age is.
It's just that age isn't in hip hop is you know,
it's a real problem to me because you don't see
it done and no other genre in sadly, you don't
see it in R and B, you don't see it
in rock and roll, you don't see it in in country.
You don't see it in any genre have hip hop.

(45:37):
It said to me that it's just an attack on
black men. At the end of the day, you know
that that's what it is. And that's just something that
that don't sit well with me and any man, any
men that's forty fifty that still want to rap. Man,
do your thing, keep rapping, do you know, don't let
nobody shut you up. That's your craft, that's your that's

(46:00):
your uh, that's your canvas. You don't hear nobody telling
the artists to stop drawing or stop doing art when
they get fifty, or you don't hear nobody telling the
author to stop writing books when they fifty. You know
what I mean? That show that, that's show craft. That's
what you that's what you're passionate about. Keep doing it.

Speaker 3 (46:18):
Don't let nobody tell you to stop.

Speaker 2 (46:20):
Yeap, I agree, because if you look at a Smokey
Robinson and Ronald Asky still doing that thing, yeah yeah.

Speaker 3 (46:28):
Or look at right now, look at Utang Clan.

Speaker 4 (46:30):
They on a tour right now, right them guys as
what fifty five some of them are almost sixty, ye
and they on a tour right now and they're selling out.

Speaker 3 (46:38):
Cities all over the country, all over the world.

Speaker 2 (46:41):
Really yeah, So.

Speaker 4 (46:45):
That that that's an indication to me that it's still
the lame or it's still a demand for it. And
if you really paying attention to the last year or two,
it being the OC's that been really keep putting the
best music out.

Speaker 2 (46:57):
Honestly, Oh yeah, yeah, yeah, they been there, done that
and They've been doing it for years too, is thatch Yep.
So now you're gonna play a game called which album
was your favorite? So I'm gonna name an artist, and
I'm gonna name some of the albums, and you just
tell me which one was your favorite?

Speaker 4 (47:14):
Okay?

Speaker 2 (47:14):
All right, So now you're gonna start off for Tupac.
So what you said your favorite album was Tupocalypse? Now
me against the World? All ass on me or the
Don Kilolmonati.

Speaker 3 (47:27):
That's very easy. Me against the World is my favorite
Tupac album?

Speaker 2 (47:31):
Okay, okay, yeah, against the World. Yeah, because he had
that Dear Mama joined on there too, so that one
was nice. And then I feel like that was more
of a deeper side in him too.

Speaker 4 (47:42):
Yeah, because Me Against the World came out at a
real pivotal time in Pop's career. You know. That was
right before he went to jail, Yes, coordinated, like right before.
So he was in New York at the time, and
he was associating with he was associating with Jimmy Henchman
and those guys, and you know, and.

Speaker 3 (48:01):
This is like right right after he did Juice.

Speaker 4 (48:05):
You know, when when he when when when he first
started like becoming a mature man. This so this was
a real pivotal time in his life, and the music
that came out of that was it was really excellent music.
In fact, this was the last period that I was
really a fan of Tupacs because I wasn't a.

Speaker 3 (48:22):
Fan of death roll pop.

Speaker 2 (48:24):
Oh yeah, I.

Speaker 4 (48:25):
Wasn't a fan of death roll pop because he kind
of broke my heart because he come from he come
from a panther background, you know, like me, My father
was a panther, you know, So yeah, he come from
a panther background. And and you know, he wasn't like
a street rapper, you know, like he wasn't no street gap.
But he started like indulging in that street stuff, and

(48:47):
it was like, man, why are you doing that? You
don't need to be doing that. You Tupac, you know
you and Chankul you a panther. You get what I'm saying.
Your music was Yeah, So once he once he went
over to death roll to kind of now I like,
but I did like Macavelly though. That was a dope album,
but but it kind of like him going over to
death Rod kind of like I didn't like.

Speaker 3 (49:08):
I didn't like like all.

Speaker 4 (49:09):
Eyes on me, I didn't even like that album because
it just was I didn't like the energy of it. Yeah,
I didn't like the end. It was negative energy, you
know what I mean. And and then like I said
to me, a wooden pot. To me, it was more to.

Speaker 2 (49:23):
Yeah, yeah, who knows to me?

Speaker 4 (49:25):
So I couldn't get into all eyes on me. But
Colluminati that his last album, That album was was was dope.

Speaker 3 (49:32):
That was that was dope. That was right up there
with Me Against the World.

Speaker 4 (49:35):
To me, it was. It wasn't a better album, but
it was right up there with Me Against the World.
Ye with Me against the World was my favorite pack album.

Speaker 2 (49:43):
Okay, nice Okay, Now with Biggie because I know he
I remember him only doing two albums. So he had
Ready to Die or Life after Death? Which one would
you said would be your favorite?

Speaker 4 (49:53):
Life after Death?

Speaker 3 (49:54):
Okay, Life after Death? I just think that.

Speaker 4 (50:00):
I mean, he worked with everybody on that album. But
you know he he you know DJ Premiere, well he
worked with DJ Premiere. I'm Ready to Die as well,
but Life after Death, man, he was he. DJ Premier
did Kicking the Door. He had some dope, bad songs
on that album. You know, he worked with the Locks,
he worked with you know, he worked with Having from
ob Deep, he worked with Rizard from Bhutang, Long Kids,

(50:22):
good Night. You know he man, he just man with
so many dope songs on the album. And his storytelling
on the album was just on a whole other level. Like, yeah,
it was on the whole his The production was just clean.
The storytelling was on a whole other level. Man, he
had Every song on the album could have been a video,
It could have been could have been a hit, like
it was no skips on that album period. Yeah.

Speaker 3 (50:44):
My favorite song one that's probably got I got a
story to tell.

Speaker 2 (50:47):
Oh okay, yeah, and that's one thing I can say
about Biggie. He was definitely a storyteller. Yeah, definitely, yeah. Yeah.
And now what about now we're going to talk about nas.
So would you say a Illmatic it was written still
Madic or God's Sons your favorite album?

Speaker 4 (51:05):
This is This is really harder than the person might think,
because all though Illmatic.

Speaker 3 (51:13):
Effected me a whole lot.

Speaker 2 (51:16):
Mm hmmm.

Speaker 4 (51:17):
I can't.

Speaker 3 (51:18):
I can't say that it's.

Speaker 4 (51:19):
Sonically better than it was written though, Okay, you know
what I mean. I can't say that it's sonically better
than it was written. I think organically the effect that it
had on me was more impactful because at the time
it came out and you know, my lifestyle at the time.

Speaker 3 (51:38):
Yeah, I could say it.

Speaker 4 (51:38):
Was I don't know, it's kind of that's kind of
hard man. Like if this was drink shamps, I probably
would take a shot. Yeah, but let's see, let's see
it was written with sonically better then than Illmatic. Okay,
it was, like I mean, because there's only nine songs

(51:59):
real Matic. You Hearddic before.

Speaker 2 (52:03):
I don't think I heard the full album though, but
I heard it was it had a.

Speaker 4 (52:06):
Positive songs on the album.

Speaker 3 (52:12):
But man, I gotta say you Madic though.

Speaker 4 (52:15):
I got to say you about it, man, like what
I think about it, I gotta say you'll Madic because
it's just like like no other there's very few albums
that impact packed in me like that album.

Speaker 2 (52:24):
Okay. Yeah, and he's still doing his thing. So he
had just released a new album too.

Speaker 3 (52:28):
Oh yeah, now it's been on the road.

Speaker 2 (52:30):
Yeah.

Speaker 4 (52:31):
I like everything he's doing. But yeah, all Madic was
just it's just a magnum opus.

Speaker 2 (52:35):
Yeah, and that was his baby too, that first album.
So yeah, now now we're gonna talk about jay Z. Now,
what you say, reasonable doubt, Hard Knocked Life Volume two,
The Blueprint or the Plup or The Blueprint Three's one
of your favorite albums?

Speaker 4 (52:51):
The Blueprint my favorite jay Z album. I like all
those albums, but the Blueprint is just see see the
Blueprint is Kanye when he first came out, you know,
in terms of production, like you had Kanye just blaze,
you had Hole at the top of his game lyrically.

Speaker 2 (53:08):
Mm hmm.

Speaker 4 (53:10):
It's just nothing was stronger than that album from from
a jay Z perspective, like that's that's his best album. Mean, yeah,
the Blueprint easily, okay, I think, And I'm pretty sure
most people who answer that question say the Blueprint. Oh yeah, right,
I'm pretty sure the Blueprint is ninety people what they say, yeah,
the Blueprint. I got to get to the Blueprint. Yeah.

Speaker 3 (53:31):
I still listen to that album to this day.

Speaker 2 (53:33):
Oh yeah.

Speaker 1 (53:34):
Yeah.

Speaker 2 (53:35):
And then and and to note that that album came
out in two thousand and one and it's still you
know relevant today.

Speaker 4 (53:40):
Yeah, that that album if it never came out in
two thousand and one, they could come out to day.
It's probably be the biggest thing ever that's how good
that album book.

Speaker 2 (53:47):
Yeah. True. Okay, So now the last artist who want
to get into is Lil Wayne. So what you said
the Carter, the Carter, the Carter two, the Carter three,
or the Carter four was one of your favorite albums?

Speaker 4 (54:00):
I think the Carter was out of all the them,
the first I think, yeah, the first one.

Speaker 3 (54:05):
Yeah, I think I think it was the Carter.

Speaker 4 (54:06):
Yeah, yeah, the Carter because that that that to me,
established Wayne as a lyricist, because he was just you know,
getting out of you know, he was just coming off
of the Hot Boys and all that, and you know,
he was in the group, and he was young, and
you know, so it was like you really didn't know,
like it surprised everybody. To me, like when I heard
first heard go DJ, it surprised me. Our lyricals Wayne

(54:31):
was in contrast with his other group members, and and
the Carter to me established Wayne as a you know,
as a force to be reckoned with from a lyrical
vantage point.

Speaker 2 (54:42):
Mm hmm. And you know, I would have to say
my favorite apple with Wayne was the Carter, the Carter three.
It was just something about that album that was significant.
I do know, I was a freshman in high school
when that came out, and he had a lot of features,
but I would have to say, mister Carter was my
favorite song off that alcohol entire album, right, and then
he teamed up for Jay Z for that album, so you.

Speaker 4 (55:04):
Know, mister Carter h give him. Yeah.

Speaker 2 (55:09):
And then when a Milli came out, come on, everybody
went came out.

Speaker 3 (55:13):
Yeah yeah, yeah.

Speaker 4 (55:14):
So from a I guess from an impact point, you're right,
you know, But I'm just saying like it's just for
me personally, Like you know, getting in the Wayne that
was you know, that first Carter to me just established
him true, you know, as a lyricists, you know what

(55:34):
I mean. Like I said, I didn't view Wayne as
a lyricist before. I thought he was just a novelty,
you know, because he was a young rapper, you know,
and you know I thought he would be like Chris
Cross or the Brad or something, you know, you know
what I mean, just a novelty once once he gets
to a certain age, it wouldn't pop no more. But

(55:55):
he got to the age it just took the mantle.
Like the Hot Boys got the through legal troubles all that,
he took the whole He took the mantle with it.

Speaker 3 (56:03):
Was like, this is this is cash money right now?

Speaker 2 (56:06):
Exactly. It's like you graduated, you put He put the
whole New Orleans on his back exactly.

Speaker 4 (56:11):
He took it his own direction. And yeah, so that's so. Yeah,
that's why the card you know, was was the one
for me for for Wane.

Speaker 2 (56:20):
Okay, cool, now that you hear his newest one he did.
He just dropped the car to sick.

Speaker 4 (56:24):
I heard about it and everybody clowned it. But I'm
gonna react to it on my on my on my
YouTube channel. I haven't listened to it because I want
to react to it on my YouTube channel.

Speaker 2 (56:35):
Okay, cool, of course, Okay cool. Was there anything else
you want to leave with the listeners?

Speaker 4 (56:41):
Oh yes, yes, just uh like I said, check out
the album Shelf Life.

Speaker 3 (56:48):
You can.

Speaker 4 (56:49):
It's available on CD, it is available on vinyl, and
it's also available on all digital platforms. You can get
my vinyl on Elast six stage. What I can do
is I can send you the link if you want
to put the linked in the description, you know what
I mean. If you could order it on that lastic
stage and they'll ship it to you. You can hear

(57:10):
my you can hear it on all digital platforms. Yeah,
just check it out. I could be My YouTube is
a Uncle Rem the artist. You know, that's my YouTube.
I'm on you know, Facebook, Instagram, all you know, TikTok
Uncle Rem you know, just you know, check me out.

(57:31):
That's all. I appreciate. You continue to support sister podcast
and yeah, go check out some of her music too.
She's dope.

Speaker 3 (57:43):
Check out some of her music too.

Speaker 2 (57:45):
Yeah, I appreciate it. But I just want to thank
you again, Uncle Ree for even stopping by because you
appreciate time. Somebody dropping the album and I want to
put them on the platform to promote it because, like
I said, hands down, there was a positive album.

Speaker 4 (57:57):
No, I really liked it.

Speaker 2 (58:00):
Next year or two years from now, we get another
album for you from you.

Speaker 4 (58:04):
Oh yeah, it probably won't be another two years because
you know we I'm working. I'm in the studio every
day working, so in fact, I got enough material for
another album already. But but I'm I want to continue
to focus on on this for now. But I don't
think it'll be two years.

Speaker 2 (58:20):
Okay, you said that's gonna come out soon.

Speaker 4 (58:23):
It might be out sooner than people probably.

Speaker 2 (58:25):
Probably predict it's gonna be a surprise already.

Speaker 3 (58:28):
Plus I'm an old man.

Speaker 4 (58:29):
I ain't got a whole lot of years, so I
gotta put stuff out when I can.

Speaker 2 (58:35):
Okay, okay, well yeah, but thank you so much again
raining for stopping by, and then again you all make
sure you all stream that album and then I will
have all of the information in the description box.

Speaker 3 (58:46):
I appreciate that.

Speaker 2 (58:47):
Yeah, I appreciate take care. Thank you so much again,
you too, you too, thank you.

Speaker 4 (59:05):
Umph big unk. Yeah, we don't really need the augmentational
disrespecting women. What count of Potago beaties brothers got appreciation
for all type of women? The been ones with a
little babies. You ain't gotta drop ten bands on a
BBA and flat and all the waiting cowbo. You ain't
gotta look like you know Miami Carty beat Nikki, you
miss Malatto. All that is is a distraction. Can you

(59:27):
see them with compassions? Do addition and subtraction? Former native
coherent paragraph compliment wherever you lack it? You ever open
up a book? You know how to cook anything? Other
other's working.

Speaker 3 (59:37):
We should rather put twenty.

Speaker 4 (59:38):
Thousand then a bank account or ways twenty k on
a burkean out here flexing and you're looking off fine
penetrate the society. You out here hurting, making up excuses,
reflecting like a lobbyist is obvious to something that you're
doing when they working pretty ass, basing your lace drum mace.
But you're from if you really put a toy the
you was getting your nails done, the Korean lady with
the Chris ojail while you still a got a boyfriend.

Speaker 2 (59:58):
It's that nigga big up.

Speaker 4 (01:00:00):
She's defended THEE, but she lives understood. Give my bite foot?
What put that on my hug? I put that on
my hugs? That nigga big what's good? She's defended THEE,
but she was understood. Give my bite foot? What put
that on my hug? I put that on the other
stand As a pop culture, the BBL and the all menitator,
because if you're a despicable types of person who never
learned how to street a man, that she's not really pretty,

(01:00:21):
it don't matter that she's barely even work and then
she carry in the burke because all the information's really
telling me for certainty she's stressed.

Speaker 3 (01:00:26):
My life is a house that's a mass she don't.

Speaker 4 (01:00:28):
Want nobody lifting up the curve, she says, her identity
because really she all own worse enemy, thinking that the
material this is a misser remedy relationship in trouble. Hey,
the but her parents, not herself to two for chemistry
that cnal only last to a point, trading at least
front for a little bit of femininity on a real man.
Won this woman triggering all over the ground club, I've
been smoke like she has simity only your woman, that's
what you probably fel to be. You don't see therapy

(01:00:48):
and some positive entity broke a black woman, black man
in a broken a black child as.

Speaker 3 (01:00:52):
A gold and a black man enemy.

Speaker 4 (01:00:53):
And it's been the same live but since the slave days.
Some of this is something of books. M cain't saying
hope but not a stimidate the brain. What's good? But
she's just understood on my hug. I put that on
my hug. It's that what's good she's she's just understood

(01:01:15):
that on my hood.

Speaker 3 (01:01:17):
I put that on my hoods.

Speaker 1 (01:01:29):
That's gonna do it for this episode of aspiring Discussions.

Speaker 2 (01:01:33):
I would like to thank Uncle Rim again for stopping by,
and please check out his album shelf Life, which is
definitely a great album that's available on all streaming platforms,
and I will leave the info in the box and
I would like to thank you all for tuning in
and please check out my second podcast, Wrestling Discussions, that's

(01:01:53):
available on all streaming platforms. And I still have merched
on my website if.

Speaker 1 (01:01:59):
Anyone is in arrested, and of course I will be
releasing another episode soon, so stay tuned.

Speaker 2 (01:02:06):
So thank you all so much again, Stay safe and
God bless you all.