October 18, 2022 • 14 mins
Welcome to another episode of "1 Jewel, 1 Verse". Where Hip-Hop Hidden Gems takes a deep dive into a special verse.
Who is the greatest rapper of all time? That is a question that has started many debates.
Everyone has an opinion, and many of these opinions clash. However there are a hand full of rappers who are sure to be in that conversation.
Nas is one of those names.
So how did the Hidden Gems crew sneak a song by Nasir Jones onto their podcast? It's pretty simple really. Have you heard the song "Last Words" before? Probably not. The track off of Nas' 1999 album Nastradamus has seemed to be forgotten in time, but deserves another look. It is a true example of a M.C. worthy of being considered the GOAT.
Please LIKE AND SUBSCRIBE!
You can find us on twitter @:
Mo @APowerMoJo
Willie @Williefreeman
19 Media Group: @19MGroup
Buy yourself a shirt & support the podcast:
https://19-media-group.myspreadshop.com/all
And special thanks to:
Warren Shaw @ShawSportsNBA
https://twitter.com/Dope_Interviews
Who is the greatest rapper of all time? That is a question that has started many debates.
Everyone has an opinion, and many of these opinions clash. However there are a hand full of rappers who are sure to be in that conversation.
Nas is one of those names.
So how did the Hidden Gems crew sneak a song by Nasir Jones onto their podcast? It's pretty simple really. Have you heard the song "Last Words" before? Probably not. The track off of Nas' 1999 album Nastradamus has seemed to be forgotten in time, but deserves another look. It is a true example of a M.C. worthy of being considered the GOAT.
Please LIKE AND SUBSCRIBE!
You can find us on twitter @:
Mo @APowerMoJo
Willie @Williefreeman
19 Media Group: @19MGroup
Buy yourself a shirt & support the podcast:
https://19-media-group.myspreadshop.com/all
And special thanks to:
Warren Shaw @ShawSportsNBA
https://twitter.com/Dope_Interviews
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
What's good. This is Warrenshaw andI'm inviting you to listen to my podcast,
Dope Interviews, brought to you bythe Mighty nineteen Media Group. As
a listener, you will be connectedwith talent, creators, business executives and
players from the worlds of sports,entertainment and the corporate environment. Each episode
provides insight from the guest expertise,making each Dope Interview a unique experience.
(00:20):
Takes the journey with me, youwon't be disappointed. That's Dope Interviews with
Warrenshaw, available on all podcasts outlets, brought to you by the Mighty nineteen
Media Group. One Jewel One Versethe shorter episode where we picked one song
and do a deep dive into anincredible verse and what makes it so remarkable?
(00:42):
Hip Hop, Head and Drums presentsOne Jewel One Verse. The artist
is Nas, the album Nostra Damisand the last words checking Niles is very
(01:23):
frequently picturesque, poetic and draws imageswith his words and when you add the
flow on top of that, it'salways interesting to hear I'm a prison cell
six by nine that they hail StoneWall Metal Boss for the guards in jail.
My nickname the can the slam bythe big House on the place many
(01:44):
fear because there's no way, y'all, I'm curious, what do you think
about him actually starting out with theline I'm a prison cell. Does that
bother you any when the verse startedthe first time I heard the song,
once I realized he really was talkingabout being a prison cell, yes,
I was concerned that it would feltlike spoon feeding. But the more I
got into the verse, once hestarted going into it, I didn't care
(02:07):
anymore because the verse was that dope, and he truly captured it and went
through it to the point that thatis a perfect opening. I'd be more
upset if it was the way itended. Opening that way works for me
because it's like the thesis statement beforeyou do your paper. But if you
gave me this extended metaphor for anentire verse, and then then the end
(02:30):
said, and in case you couldn'tfigure it out, I'm a prison cell,
I'd be like, oh, Ifeel insulted. But no, the
way he opens I'm a prison cellsix by nine living hell, that sounds
like we're just going to get anons verse where he's just you know,
running through spitting rhymes. Even thesecond line with the stonewall metal bars for
(02:52):
the gods. Still he could changethe topic right there. That couplet could
have been any non song to getto the next part. And you start
going in, you realize he's diggingdeeper. It becomes a treat I think
you bring up a good point aboutthe idea that the first two lines could
be the regular line with you know, a little bit of the naz splash
of fizazz on it, right,and then right after that then you start
(03:14):
to understand the weight he was seriousabout saying the first line, And to
me, that's what makes that firstline okay because otherwise, like you mentioned
the spoon feeding idea, that's likeshoving the spoon in right. You literally
don't realize the spoon is in yourmouth, so you're like until you're like
six lines in, you're like,oh wait, he really is a prison
cell. Yeah, I take thesun away, puts instead. When you're
(03:38):
with me, most folks the city, you said, when he starts with
I take the sun away and putmisery instead. When you with me,
more folks, consider you're dead.He's showing you the power that prisons have.
There's a point where you don't getto spend time looking even up at
the sky and seeing the sun anymore. And that's not something we always appreciate
(04:00):
till it's taken away, the factthat now you have a concrete scot and
I feel like it's an indictment onhow we treat homies and loved ones that
are behind bars. When you withme, most folks consider you dead,
yes, And as somebody that's hadrelatives in prison, it gets a little
bit difficult to reach out in someways because a lot of times you're like,
(04:21):
well, what do I talk about? Because literally anything you talk about
it sounds like you're bragging, orif you're complaining, what are you complaining
about? At least you're not stuckin a cage, right, and it's
uncomfortable situation. And then a lotof people will just not do anything instead
of reaching out. There are peoplethat literally just don't think about you anymore.
And then there are people that Ithink about you, but don't really
(04:42):
know what to do and won't putthe effort forward or whatever. And then
everybody goes on with their lives whileyou're still stuck in a cage. Everything
I want to go back to theline before it for a second, though,
because this is very poetic of guys. Here he says, I take
the sun away and put misery instead. It wasn't like he said, you
put concrete instead, like concrete overyou or the bars around you. Misery
(05:03):
is literally over your head. Nowthat's what you're absorbing all the time.
I think it was very interesting thathe did that. He could have easily
said, I take the sun awayand put clouds instead, so now you
just it's cloudy. But he didn'teven bother sticking with the metaphor. He
just he went straight to the emotion, the sentiment behind it, right past
(05:24):
the I take the sun and goto the clouds. He didn't even make
it literal of I take the sunaway and put concrete like you said.
He actually went straight to how itfeels. Right. In effect, he
turned the sun into an emotion likea happiness. Right. I saw too
many inmates falling apart, called footthe guards and lift them out at night
(05:44):
when it's doctor tom bicks think theyalone. But if they listened close stick
and dam me bron touched the wall. Fill my posts. All the pitches
you put up it stucked in myskin, and I say your praise even
when you're whispering. I saw toomany inmates falling apart, called for the
guards let him out at night whenit's dark. Right there, and there's
a few other spots where it reallyfeels like the prison can grasp how the
(06:09):
person's actually feeling. I feel likethis whole area right there, man,
is the cell is making a connectionto the person, the individual person,
this inmate, not just all inmates. Now you think you're alone, but
if if y'all listen, you canhear me groaning. If you touch the
wall, you can feel my pulse. It's zooming in from being the can
(06:30):
the slammer in the big house,zooming in from the sun's been taken away,
zooming in from people on the outside. Treat you like you're not alive
anymore, down to late at night, in those quiet moments when you're feeling
that misery and you're alone. Ifyou listen, I'm groaning too. Yeah,
all the pictures you put up stuckto my skin, and I hear
(06:51):
your prayers even when you're whispering.What I like about that particular line.
Everybody that's in prison does not wantto be there, but they also know
that it doesn't work to their advantageto show any weaknesses. Right, there
are Christians or Muslims there and therethey can pray, but I would bet
(07:12):
that there's plenty of gang members outthere that will also pray, but they
probably don't want everybody to know aboutit. And they gotcha. And again,
this is one of those things thatmakes no special and it's really slick
that he does, because that extranuance is what turns a good verse to
a great verse. I'm making hotin the summer cold in the winter.
If the poor parole, then anothercon it's there's no reports for your tiers.
(07:35):
I've seen him too often. Whenyou cry, I'll make you feel
a lot inside of corporate. Thenhe goes into I'm making hotter in the
summer, colder in the winter.Next one from all that intimacy that we
had up to this point. Ifthe court paroles you, then another con
enters. So it's not like youget out, you were free. It's
(07:56):
not you get out. I'll missyou. It's not I'm happy you get
out. It doesn't matter if youget out, and the other one's coming
in, and it starts feeling likewe're commenting on not just the prison now,
but the institution of it and thesystem itself. No remorse for your
tears. That's seen him too often. It's like saying, it's a shame,
I've seen this over and over andover. When you cry and make
(08:18):
you feel alive inside a coffin,there's a point where this level of isolation
numbs all of your motion. Justfor the sake of survival. To keep
going, you have to kind ofyou have to stop feeling your family treats
you like you're dead. Nobody's talkingto you, even though it's full of
other people. You feel like you'reall alone. By the time you break
(08:41):
down and cry, you feel likeyou're walking dead. Sometimes I took a
way more literal and that because he'sthe prison cell and there's no way to
get out. You feel like you'retrapped in a coffin. Like you feel
like you're trapped in death and youcan't get out of it. Like if
you could just get out, you'dbe fine, but you're trapped than a
coffin. Death seems like it's it'sa better life than what you have here.
(09:03):
If you were dead, you wouldfeel more alive than you feel being
inside the cell. And it's alittle cyclical. At the beginning of the
verse, he says, when youwith me, most folks consider you dead.
And now you're feeling alive in acoffin. Yeah, now you're considering
yourself there watching when you eat,play with your mom, when you make
(09:24):
you dream that you free. Thenyou wake up to me face to face
with a cage. Don't matter yourage, I can shatter you, turn
you to a savage and rage,change your life. That's if you get
a chance to get out, becauseonly you would not know what sufferings about.
The first few times I heard thesong, honestly, not just the
first Watch You when you Eat mademe feel like, okay, yeah,
you're going through all this, you'recrying, and now at least I'm here
(09:46):
keeping an eye on you. Andit sounded like it was a thing that
was going back into a sense ofsome kind of sympathy or empathy for what
was going on, some kind ofcompassion for it. But it's like,
no, I watch you when youeat, and I play with your mind
when you sleep, make you dreamthat you're free, and then you wake
up to me. No, that'storture, You'll have no peace. Right,
I'm always here. You never wantme here, but I'm still here
(10:09):
and I'm always growing with you.Face to face with a cage, no
matter your age, I can shatteryou, trigg you into a savage and
a rage. A lot of folkssay the person that went in is not
the person that came out. Ittakes a special mentality to be strong enough
all the time that people one haveto always respect you, and two,
(10:30):
if they don't respect you, thatyou're able to make them deal with consequences
so that they won't disrespect you again. That's a tough thing to have on
twenty four hours a day and expectthat when you get out you can turn
it off right, because that's partof your life now. And it guy
ties back into what he said,I'm always with you, right, I'll
change your life. That's if youget a chance to get out, because
(10:54):
only you and I know what sufferingsabout, and that's how you can come
out with not just the trauma thatwas there, but sometimes a sense of
existential depression. You're surrounded by peoplewho have no idea where you've been,
what you've done, or how youeven see the world and interact with things
now. And also I think he'sreferring to the idea that something's happen in
(11:18):
prison that you aren't ever going toreally feel comfortable talking to people about it.
He's like, I'm the wall.I was there, we saw it,
we know what it's about. We'renot going to talk about it though,
And that also ties back into youstill have a connection with the prison.
Yeah, with stunning with bet seesto become your woman, and I'm
the one that got two weapons whenthe beast is coming. Maybe one day
I'll open up my arms to releaseyou. You'll always be my property state
(11:41):
legal state, legal state, legalstate, and close it with a recurring
theme that I've seen at least twiceother times in the verse. Maybe one
day I'll open up my arms torelease you, but you'll always be my
property. Stay legal, so evenwhen you get out, still catch You
gave the edit diversion because there wasan N word in there, But I
(12:05):
don't think that was an accident.He put that N word in there in
that particular time because he literally saidhe will always be my property and word
you're now owned by the system always, even when you're gone I think he
was talking about a much bigger thingas far as African Americans in the United
States throughout history, right lealized enslavementis the prison system we call the correctional
(12:28):
facility. But what does that experiencecorrect? It corrects your idea that you're
a human, That's what it corrects. There's no rehabilitation going on here unless
I'm trying to reset you to myperceived factory default that your property. You're
animalistic and you live on instinct,and you're less than human. Absolutely,
(12:50):
the entire process is dehumanizing. Thesethe last words of the hanged slave.
I cannot forget this problem. Putyou on my headless, under my nails
for dirty look at the Yeah,this was done very well. It's a
song I don't often hear people celebrate, right, which I don't get.
He has I gave you power?Right common has I used to love her?
(13:13):
Yeah, organized confusion with stray bullet. These things are works of art,
and I don't exactly understand why somesongs are put at the highest level
like they should be, like acommon I used to love her, But
then you forget about this song.Obviously, Nashan wasn't talking about this,
but his verse was very good.The song is amazing, and the chorus
(13:33):
is catchy and the beat us catchy. I don't understand why this song is
ignored. I don't understand it.My theory is it was not a single.
Even people who collect albums seem largelyaware of the single. So if
you don't drop the song, sometimesthe brilliant song it is lost. One
of the things that bond Us isthat we always did exactly the opposite,
(13:56):
right, We look at an albumand be like, all right, what's
the hidden gem. It's powerful,brave, miss I'm smoking. I'm gonna
keep saying it. This is hiphop hidden gems. Perfect you the man,
Thank you, MAXI so much appreciateyou. Group, the mail Us
alias Gonna mozaren Is the Colombia sowell. You hadn't heard the song,
(14:20):
right, No, I hadn't heardthis until we started talking about it before.
This is a true hidden gem,man, Yeah, this is hidden
even for me. Break out theshow on the pickaxe and keep digging.
What's good. This is Warrenshaw andI'm inviting you to listen to my podcast,
Dope Interviews, brought to you bythe Mighty nineteen Media Group. As
a listener, you will be connectedwith talent, creators, business executives and
players from the worlds of sports,entertainment and the corporate environment. Each episode
provides insight from the guest expertise,making each Dope Interview a unique experience.
(00:20):
Takes the journey with me, youwon't be disappointed. That's Dope Interviews with
Warrenshaw, available on all podcasts outlets, brought to you by the Mighty nineteen
Media Group. One Jewel One Versethe shorter episode where we picked one song
and do a deep dive into anincredible verse and what makes it so remarkable?
(00:42):
Hip Hop, Head and Drums presentsOne Jewel One Verse. The artist
is Nas, the album Nostra Damisand the last words checking Niles is very
(01:23):
frequently picturesque, poetic and draws imageswith his words and when you add the
flow on top of that, it'salways interesting to hear I'm a prison cell
six by nine that they hail StoneWall Metal Boss for the guards in jail.
My nickname the can the slam bythe big House on the place many
(01:44):
fear because there's no way, y'all, I'm curious, what do you think
about him actually starting out with theline I'm a prison cell. Does that
bother you any when the verse startedthe first time I heard the song,
once I realized he really was talkingabout being a prison cell, yes,
I was concerned that it would feltlike spoon feeding. But the more I
got into the verse, once hestarted going into it, I didn't care
(02:07):
anymore because the verse was that dope, and he truly captured it and went
through it to the point that thatis a perfect opening. I'd be more
upset if it was the way itended. Opening that way works for me
because it's like the thesis statement beforeyou do your paper. But if you
gave me this extended metaphor for anentire verse, and then then the end
(02:30):
said, and in case you couldn'tfigure it out, I'm a prison cell,
I'd be like, oh, Ifeel insulted. But no, the
way he opens I'm a prison cellsix by nine living hell, that sounds
like we're just going to get anons verse where he's just you know,
running through spitting rhymes. Even thesecond line with the stonewall metal bars for
(02:52):
the gods. Still he could changethe topic right there. That couplet could
have been any non song to getto the next part. And you start
going in, you realize he's diggingdeeper. It becomes a treat I think
you bring up a good point aboutthe idea that the first two lines could
be the regular line with you know, a little bit of the naz splash
of fizazz on it, right,and then right after that then you start
(03:14):
to understand the weight he was seriousabout saying the first line, And to
me, that's what makes that firstline okay because otherwise, like you mentioned
the spoon feeding idea, that's likeshoving the spoon in right. You literally
don't realize the spoon is in yourmouth, so you're like until you're like
six lines in, you're like,oh wait, he really is a prison
cell. Yeah, I take thesun away, puts instead. When you're
(03:38):
with me, most folks the city, you said, when he starts with
I take the sun away and putmisery instead. When you with me,
more folks, consider you're dead.He's showing you the power that prisons have.
There's a point where you don't getto spend time looking even up at
the sky and seeing the sun anymore. And that's not something we always appreciate
(04:00):
till it's taken away, the factthat now you have a concrete scot and
I feel like it's an indictment onhow we treat homies and loved ones that
are behind bars. When you withme, most folks consider you dead,
yes, And as somebody that's hadrelatives in prison, it gets a little
bit difficult to reach out in someways because a lot of times you're like,
(04:21):
well, what do I talk about? Because literally anything you talk about
it sounds like you're bragging, orif you're complaining, what are you complaining
about? At least you're not stuckin a cage, right, and it's
uncomfortable situation. And then a lotof people will just not do anything instead
of reaching out. There are peoplethat literally just don't think about you anymore.
And then there are people that Ithink about you, but don't really
(04:42):
know what to do and won't putthe effort forward or whatever. And then
everybody goes on with their lives whileyou're still stuck in a cage. Everything
I want to go back to theline before it for a second, though,
because this is very poetic of guys. Here he says, I take
the sun away and put misery instead. It wasn't like he said, you
put concrete instead, like concrete overyou or the bars around you. Misery
(05:03):
is literally over your head. Nowthat's what you're absorbing all the time.
I think it was very interesting thathe did that. He could have easily
said, I take the sun awayand put clouds instead, so now you
just it's cloudy. But he didn'teven bother sticking with the metaphor. He
just he went straight to the emotion, the sentiment behind it, right past
(05:24):
the I take the sun and goto the clouds. He didn't even make
it literal of I take the sunaway and put concrete like you said.
He actually went straight to how itfeels. Right. In effect, he
turned the sun into an emotion likea happiness. Right. I saw too
many inmates falling apart, called footthe guards and lift them out at night
(05:44):
when it's doctor tom bicks think theyalone. But if they listened close stick
and dam me bron touched the wall. Fill my posts. All the pitches
you put up it stucked in myskin, and I say your praise even
when you're whispering. I saw toomany inmates falling apart, called for the
guards let him out at night whenit's dark. Right there, and there's
a few other spots where it reallyfeels like the prison can grasp how the
(06:09):
person's actually feeling. I feel likethis whole area right there, man,
is the cell is making a connectionto the person, the individual person,
this inmate, not just all inmates. Now you think you're alone, but
if if y'all listen, you canhear me groaning. If you touch the
wall, you can feel my pulse. It's zooming in from being the can
(06:30):
the slammer in the big house,zooming in from the sun's been taken away,
zooming in from people on the outside. Treat you like you're not alive
anymore, down to late at night, in those quiet moments when you're feeling
that misery and you're alone. Ifyou listen, I'm groaning too. Yeah,
all the pictures you put up stuckto my skin, and I hear
(06:51):
your prayers even when you're whispering.What I like about that particular line.
Everybody that's in prison does not wantto be there, but they also know
that it doesn't work to their advantageto show any weaknesses. Right, there
are Christians or Muslims there and therethey can pray, but I would bet
(07:12):
that there's plenty of gang members outthere that will also pray, but they
probably don't want everybody to know aboutit. And they gotcha. And again,
this is one of those things thatmakes no special and it's really slick
that he does, because that extranuance is what turns a good verse to
a great verse. I'm making hotin the summer cold in the winter.
If the poor parole, then anothercon it's there's no reports for your tiers.
(07:35):
I've seen him too often. Whenyou cry, I'll make you feel
a lot inside of corporate. Thenhe goes into I'm making hotter in the
summer, colder in the winter.Next one from all that intimacy that we
had up to this point. Ifthe court paroles you, then another con
enters. So it's not like youget out, you were free. It's
(07:56):
not you get out. I'll missyou. It's not I'm happy you get
out. It doesn't matter if youget out, and the other one's coming
in, and it starts feeling likewe're commenting on not just the prison now,
but the institution of it and thesystem itself. No remorse for your
tears. That's seen him too often. It's like saying, it's a shame,
I've seen this over and over andover. When you cry and make
(08:18):
you feel alive inside a coffin,there's a point where this level of isolation
numbs all of your motion. Justfor the sake of survival. To keep
going, you have to kind ofyou have to stop feeling your family treats
you like you're dead. Nobody's talkingto you, even though it's full of
other people. You feel like you'reall alone. By the time you break
(08:41):
down and cry, you feel likeyou're walking dead. Sometimes I took a
way more literal and that because he'sthe prison cell and there's no way to
get out. You feel like you'retrapped in a coffin. Like you feel
like you're trapped in death and youcan't get out of it. Like if
you could just get out, you'dbe fine, but you're trapped than a
coffin. Death seems like it's it'sa better life than what you have here.
(09:03):
If you were dead, you wouldfeel more alive than you feel being
inside the cell. And it's alittle cyclical. At the beginning of the
verse, he says, when youwith me, most folks consider you dead.
And now you're feeling alive in acoffin. Yeah, now you're considering
yourself there watching when you eat,play with your mom, when you make
(09:24):
you dream that you free. Thenyou wake up to me face to face
with a cage. Don't matter yourage, I can shatter you, turn
you to a savage and rage,change your life. That's if you get
a chance to get out, becauseonly you would not know what sufferings about.
The first few times I heard thesong, honestly, not just the
first Watch You when you Eat mademe feel like, okay, yeah,
you're going through all this, you'recrying, and now at least I'm here
(09:46):
keeping an eye on you. Andit sounded like it was a thing that
was going back into a sense ofsome kind of sympathy or empathy for what
was going on, some kind ofcompassion for it. But it's like,
no, I watch you when youeat, and I play with your mind
when you sleep, make you dreamthat you're free, and then you wake
up to me. No, that'storture, You'll have no peace. Right,
I'm always here. You never wantme here, but I'm still here
(10:09):
and I'm always growing with you.Face to face with a cage, no
matter your age, I can shatteryou, trigg you into a savage and
a rage. A lot of folkssay the person that went in is not
the person that came out. Ittakes a special mentality to be strong enough
all the time that people one haveto always respect you, and two,
(10:30):
if they don't respect you, thatyou're able to make them deal with consequences
so that they won't disrespect you again. That's a tough thing to have on
twenty four hours a day and expectthat when you get out you can turn
it off right, because that's partof your life now. And it guy
ties back into what he said,I'm always with you, right, I'll
change your life. That's if youget a chance to get out, because
(10:54):
only you and I know what sufferingsabout, and that's how you can come
out with not just the trauma thatwas there, but sometimes a sense of
existential depression. You're surrounded by peoplewho have no idea where you've been,
what you've done, or how youeven see the world and interact with things
now. And also I think he'sreferring to the idea that something's happen in
(11:18):
prison that you aren't ever going toreally feel comfortable talking to people about it.
He's like, I'm the wall.I was there, we saw it,
we know what it's about. We'renot going to talk about it though,
And that also ties back into youstill have a connection with the prison.
Yeah, with stunning with bet seesto become your woman, and I'm
the one that got two weapons whenthe beast is coming. Maybe one day
I'll open up my arms to releaseyou. You'll always be my property state
(11:41):
legal state, legal state, legalstate, and close it with a recurring
theme that I've seen at least twiceother times in the verse. Maybe one
day I'll open up my arms torelease you, but you'll always be my
property. Stay legal, so evenwhen you get out, still catch You
gave the edit diversion because there wasan N word in there, But I
(12:05):
don't think that was an accident.He put that N word in there in
that particular time because he literally saidhe will always be my property and word
you're now owned by the system always, even when you're gone I think he
was talking about a much bigger thingas far as African Americans in the United
States throughout history, right lealized enslavementis the prison system we call the correctional
(12:28):
facility. But what does that experiencecorrect? It corrects your idea that you're
a human, That's what it corrects. There's no rehabilitation going on here unless
I'm trying to reset you to myperceived factory default that your property. You're
animalistic and you live on instinct,and you're less than human. Absolutely,
(12:50):
the entire process is dehumanizing. Thesethe last words of the hanged slave.
I cannot forget this problem. Putyou on my headless, under my nails
for dirty look at the Yeah,this was done very well. It's a
song I don't often hear people celebrate, right, which I don't get.
He has I gave you power?Right common has I used to love her?
(13:13):
Yeah, organized confusion with stray bullet. These things are works of art,
and I don't exactly understand why somesongs are put at the highest level
like they should be, like acommon I used to love her, But
then you forget about this song.Obviously, Nashan wasn't talking about this,
but his verse was very good.The song is amazing, and the chorus
(13:33):
is catchy and the beat us catchy. I don't understand why this song is
ignored. I don't understand it.My theory is it was not a single.
Even people who collect albums seem largelyaware of the single. So if
you don't drop the song, sometimesthe brilliant song it is lost. One
of the things that bond Us isthat we always did exactly the opposite,
(13:56):
right, We look at an albumand be like, all right, what's
the hidden gem. It's powerful,brave, miss I'm smoking. I'm gonna
keep saying it. This is hiphop hidden gems. Perfect you the man,
Thank you, MAXI so much appreciateyou. Group, the mail Us
alias Gonna mozaren Is the Colombia sowell. You hadn't heard the song,
(14:20):
right, No, I hadn't heardthis until we started talking about it before.
This is a true hidden gem,man, Yeah, this is hidden
even for me. Break out theshow on the pickaxe and keep digging.
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